Bal Harbour Magazine - Fall 2013 by Bal Harbour Shops

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FALL 2013

MAGAZINE

Lily Donaldson

Ricky Lauren

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contents

PHOTO BY KORAY BIRAND

FALL 2013

J. Mendel vest available at Neiman Marcus; Love Leather top available at Intermix; Roland Mouret trousers; Cesare Paciotti booties; de Grisogono gold and diamond rings, cuff and diamond earrings; Kenneth Jay Lane necklace, ring and bracelets.

CONTRIBUTORS We asked our contributors: “What’s worth the splurge this Fall?” 36 FASHION FRENZY What to see, visit and wear this Fall. 42 DOYENNE VREELAND A collection of memorandums paint an intimate portrait of the influential editrix. 46 ROCK SOLID Like blue-chip art, the value of fine jewelry continues to rise. 48 TREND REPORT Accessorize in the season’s top trends. 52 THE NEW LEISURE SUIT Playful they may be, but these pajamas are made for the workplace. 60 STYLE DIARY We talked to tastemakers from Buenos Aires to Beijing to see what they’ll be wearing this Fall. 64 BRIGHT YOUNG THING Francesco Carrozzini takes on film, photography and fashion—and a bit of hip hop. 74

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PHOTO BY NAGI SAKAI

contents

LA FAMIGLIA Roberta Armani is defining the next generation of Italian style. 76 IN HIS SHOES Inès de la Fressange and Bruno Frisoni pay tribute to Roger Vivier with a new retrospective in Paris. 80 ON LINE Through a process of reduction, David Downton has found his signature. 84 IN GOOD COMPANY In her new book, Rana Florida shares lessons from the Creative Class Group on living the life extraordinary. 93 UP ON THE ROOF Supermodel Lily Donaldson heats up the Manhattan skyline in the season’s best blues. 130 BRING IT ON Jewels, pearls and fur? Yes, please! This season, more is more. 142 UPTOWN GIRL With Central Park as her backdrop, this lady proves that she’s still got plenty of edge. 156 PICTURE SHOW These creative couples share a knack for fashion, art and design. 168

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contents

An illustration by David Downton for Absolut Vodka, 2010.

STUDIO VISIT Thakoon Panichgul shares a sneak peek of his new collection and what keeps him creating. 172 FASHION FLOCK Making holiday travel plans? If there’s one crowd to follow, it’s the fashion set. 174

FALL 2013

MAGAZINE

MEET LILY DONALDSON The British supermodel shares some style secrets on set in New York City. 190 FASHION FÊTES Partying around the world with Bal Harbour’s brands. 192 MUST-READS Haute couture, bespoke motorcycles and coveted menus take center stage this Fall. 198 IDENTITY SHIFT With its new name and a home in New York (and Asia), Kering is truly a global brand. 200 DESIGNER OBSESSION While they may produce highly coveted creations for the closet, these designers’ garages are a good place to start when it comes to their own collectibles. 202 LOVE, PEACE AND PARSNIPS The vegetarian movement continues to evolve from grungy to glam. 208

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Nagi Sakai photographed Lily Donaldson wearing a Gucci cape and lambskin jacket, 305.868.6504; Eddie Borgo cuff available at Oxygene, 305.864.0202; Giles & Brother hoop earrings available at Scoop NYC, 786.304.2600. Styled by Sarah Gore Reeves.

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Just one of our many featured talents in this issue is supermodel Lily Donaldson. While this is the first time the British fashion star has graced the cover of Bal Harbour magazine—she is no stranger to magazine covers. In fact, she first made fashion news in 2009, when she simultaneously graced the covers of Vogue in three different countries. The 26-year-old, who shared with me some of her style secrets on set in New York City, has never looked back. Egyptian-Japanese photographer Nagi Sakai and contributing fashion editor Sarah Gore Reeves captured the perfect dose of demure on the Gucci-clad glamazon, setting the perfect tone for our Fall issue. This issue also celebrates the mercurial talents of creative couples. Bee Shapiro sits down with the French blogger Garance Doré and the Sartorialist’s Scott Schuman, as well as Jamie Beck and Kevin Burg of Ann Street Studio; both couples acknowledge the importance of teamwork. The ability to inspire others was one of the most compelling legacies of the late editrix Diana Vreeland, whose grandson, Alexander Vreeland, shares his personal memories with us and for the tome, released this month by Rizzoli, “Memos: The Vogue Years.” Contributing writer Kate Betts talks about the creative process with Rana Florida and discusses the power of imagination with the head of Kering Americas, one of the most powerful fashion conglomerates on the global stage; Lynn Yaeger shares her clever and humorous take on one of the season’s most ubiquitous trends, pajama dressing; William Kissel proves that the Graff diamond statement piece you may have been coveting is indeed a sound investment and Mark Ellwood cozies up to the fashion set to find out where we should travel next—just in time for the holidays. But, you may ask, how will any of this help me decide what to wear this Fall? We’ve got you covered. Follow the lead of our international style setters, who—guided by their own internal compasses—shop with confidence and personal passion. After all, aren’t those the most important ingredients for any well-dressed woman? See you at Bal Harbour!

Publisher/Editor in Chief Sarah G. Harrelson

Sarah Harrelson and Cheryl Stephenson at the Lily Donaldson cover shoot; Carlos Suarez in his 1957 Corvette.

Publisher/Creative Director Carlos A. Suarez

Bal Harbour Magazine Publisher/Creative Director Carlos A. Suarez Publisher/Editor in Chief Sarah G. Harrelson Executive Editor Tali Jaffe Contributing Fashion Editor Sarah Gore Reeves Contributing Writers Kate Betts, Mark Ellwood, Rachel Felder, William Kissel, Alexandra Marshall, Brandon Palas, Bee Shapiro, Alyssa Shelasky, Lynn Yaeger Contributing Photographers Koray Birand, Douglas Friedman, Steven Gomillion, Dennis Leupold, Ben Ritter, Nagi Sakai Sales and Marketing Coordinator Noelle Lacombe Graphic Designer Adriana Sandoval Copy Editor Omar Sommereyns Digital Imaging Specialists Matt Stevens, Pete Jacaty Interns Hanna Domit, Joana Hecker, Bianca Morrison Account Services Joe Brennan Chief Executive Officer Mike Batt

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Contributors Our contributors share which item is worth the splurge this Fall...

Lynn Yaeger is a fashion writer who lives in New York City and has an imaginary apartment in Paris, where she spends all, or at least most, of her time visiting flea markets. She writes frequently for Vogue, The New York Times’ T magazine, Travel + Leisure and the Sundance Channel’s Full Frontal Fashion website.

“The item worth splurging on this season, and every season, is the item that you can't live without—the one that makes your heart flip over when you see it on the rack, the one that looks just the way you hoped it would when you see yourself in the fitting room mirror!” A former hedge fund attorney, Bee Shapiro is now a contributing columnist to The New York Times Fashion & Style section. Her work has also been featured in Vanity Fair, W, Harper’s Bazaar and Fast Company. Though she lives in the leafy West Village with her husband, she daydreams about beach vacations, like her recent getaway to Máncora, Peru.

“Ooh so many choices. But if I had the funds, I’d splurge on a Saint Laurent black leather motorcycle jacket. It’s a closet classic—which might soften the blow.”

Fashion editor and stylist Sarah Gore Reeves was born and raised in Manhattan. She began her career in the fashion industry as a model for Calvin Klein and Ralph Lauren, but quickly learned that her creativity would be best put to use as a stylist. Throughout her career, she has collaborated with photographers such as Patrick Demarchelier, Mark Seliger, Ruven Afanador and Norman Jean Roy. Gore Reeves has worked with celebrities and top models, including Sarah Jessica Parker, Maggie Gyllenhaal, Karolína Kurková, Gisele Bündchen, Cindy Crawford, Carrie Underwood and Heidi Klum. In addition to her role as fashion director of Vogue México/Latin America, Gore Reeves also styles and consults for numerous clients, and has a new television show launching next year.

“I bought a fabulous vintage black-and-white Chanel jacket and a new Boy Chanel flap bag. Staples like these are must-haves and never go out of style.” 36 BAL HARBOUR

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Contributors Our contributors share which item is worth the splurge this Fall...

Native-New Yorker Julie Baumgardner is a freelance writer on art, music, style and design. Her work has appeared in Art+Auction, Details, the New York Times’ T magazine, Elle.com, Interview, Surface, Whitewall and V, among others.

“Sneakers! While flats have been shunned for the last few years, the more gypset we all become, it's so necessary to have a gorgeous, dressy pair of trainers, like Giuseppe Zanotti’s embossed croc-and-gold kicks that are as fashionable as they are functional.”

Douglas Friedman was born and raised in New York City and now divides his time between his hometown and Los Angeles. He shoots portraits, interiors and fashion for Harper’s Bazaar, Vogue Italia, InStyle and The New York Times. In this issue, Friedman visits the studio of Thakoon Panichgul and captures him as he was preparing for the Spring 2014 collections.

"My fall splurge is boxing lessons. I've committed to three months of legit boxing at a down and dirty basement gym. No scented candles, no mood lighting, no bubble gum—and no free bath products in the locker room."

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Kate Betts is a contributing editor at Travel+Leisure and was until 2009 the editor of Time Style & Design, a special supplement to the magazine. Previously, Betts was editor-in-chief of Harper’s Bazaar and the fashion news director of Vogue. She is the author of the book “Everyday Icon: Michelle Obama and the Power of Style.”

“I have been hankering for a new pair of Louboutin boots. They are so sleek and chic. The essence of classic style, but expensive! And while you’re at it, throw in that blush pink cashmere Céline coat!”

BAL HARBOUR BAL HARBOUR SHOPS 9700 COLLINS AVENUE 786 206 6657

Contributors Our contributors share which item is worth the splurge this Fall...

Steven Gomillion and Dennis Leupold came to New York via Brazil and Germany, respectively, and began working together in 2006. Since then the duo has shot fashion and celebrities including Jennifer Lopez, Sharon Stone and Selena Gomez for magazines including Elle, Flaunt, Zink, Blank, L'Officiel and Allure, among others.

“Our must-have for Fall is a Givenchy photographic print sweater.”

Rachel Wolff is an art writer and editor based in Brooklyn. Her work has

Native New Yorker Stella Lee has a penchant for urban escapes. After spending four years in the small town of Hanover, New Hampshire during college, she has since spent much of her time as a Manhattanite, in the fashion departments of Vogue, W, InStyle and Harper's Bazaar. Lee is currently an independent fashion stylist working for editorial and commercial clients. This issue, Lee produced the “Style Diary,” as well as the Spring trend report.

“I'm really feeling the color red right now. I'm looking to splurge on one of the amazing Dolce & Gabbana little red dresses this season!” 40 BAL HARBOUR

appeared in New York magazine, The Wall Street Journal, The New York Times, Architectural Digest, ARTnews, Condé Nast Traveler, Departures, Details and Elle, and she serves as a contributing editor to Art + Auction and Modern Painters. In 2012, Wolff and filmmaker Jonathan Sanden co-founded SandenWolff, a boutique production company specializing in short films about art and design. Their clients include Architectural Digest, the National Academy Museum and Christie’s, and their subjects have ranged from artists Jennifer Rubell and Luc Tuymans to designers Bec Brittain, Antony Todd and Tommy Zung.

“Boots. Always boots. Specifically, a sexy, over-the-knee number I spotted by 3.1 Phillip Lim.”

FASHION FR What to see, visit and wear this Fall.

BY JULIE BAUMGARDNER AND TALI JAFFE

CULT STATUS In the canon of cult-worthy designers, Azzedine Alaïa exists in a rarified space outside the rest. Like a mystical force in the fashion field, his collections follow no calendar, or even standard trends. The prolific designer gets his due this fall with a retrospective at the Palais Galliera—which reopened during Paris Fashion Week—that spans the newly renovated galleries and spills over to the Musée d’Art moderne de la Ville. “Alaïa,”curated by Olivier Saillard, comprises a selection of 70 iconic looks retracing the designer’s unique career. Through January 26.

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A Mestiza woman in traditional dress in Cusco, Peru, 2012, by Mario Testino.

Men in costume for the Carnival of Ccatcca, 2007, by Mario Testino.

NATIVE EYE

Like Martin Chambi before him, Mario Testino flashes his Peruvian and fashion bulbs with his latest exhibition, “Alta Moda,” at New York’s Reina Sofia Institute. The famed fashion photographer turns his lens to the indigenous beauties of the Andes Mountains in traditional dress. Think of it as haute couture of a different height. November 20 through March 29.

PHOTO BY © PATRICK DEMARCHELIER, © GILLES BENSIMON, © MARIO TESTINO

Alaïa dresses as featured in French Elle, 1990; left, Azzedine Alaïa with a model wearing a look from the Spring 2003 couture collection.

ENZY GRANDE DEBUT PEARLY WHITES

Frozen, by Sam Tho Duong, 2011

Drop, Melo and South Sea are just a few of the types of pearl stunners on view at the Victoria & Albert Museum in London, for “Pearls,” an exhibition from its own and Qatar’s royal collections. The exhibition traces the history of these valuable jewels of the sea from antiquity to present day. Through January 19.

Fears of misconduct in this one-time jail are limited to artists rather than inmates. Works from the Pinault Collection will be on view for the first time in Paris, including those by Julie Mehretu, Bill Viola and Justin Matherly, whose Untitled sculpture is shown above. Apropos of its venue, “Á Triple Tour,” held inside La Conciergerie, the former cell quarters of Marie Antoinette, centers on the theme of imprisonment. October 21 through January 6.

BRAND NEW BAG This might just push the Falabella—Stella McCartney's most iconic bag—right off its perch. In line with the company's ethos, the new Beckett bag was created from almost entirely renewable resources, including the wood, which comes from an FSC certified source. No buyer's remorse here.

LONDON CALLING There’s a new contender for coolest fashion-art coupling. “I can’t think of a company that has more consistently bent convention, merging art and fashion in the most imaginative of ways than Alexander McQueen,” says Amanda Sharpe, co-director of Frieze, the contemporary art fair in London. The fashion house has announced its co-sponsorship of the fair, which takes place in London, October 17-20.

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Hermès Chaîne d'Ancre plates. “La Mariée” gown from Jean Paul Gaultier’s “Mermaids” Spring 2008 haute couture collection.

The exhibition “The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk,” has been touring internationally since it first debuted at the Montreal Museum of Fine Arts. This month, the Brooklyn Museum stages the exhibition, which features 130 haute couture and prêt-à-porter ensembles accompanied by sketches, early designs and photographs by the likes of Andy Warhol, Richard Avedon, David LaChapelle, Herb Ritts, Cindy Sherman, Peter Lindbergh, Stéphane Sednaoui and Mario Testino. The Brooklyn Museum show also features some new additions to this spectacular career overview, including pieces from his recent collections and stage costumes worn by Beyoncé. October 25 through February 23.

"The most exciting things I find are always by accident," says Sara Colombo, founder of NEST, which just opened at Bal Harbour Shops this month. "But there are a few questions I ask myself before purchasing something for the store: 'Do I love it?' and 'Would I put it in my home?'” Judging by the selection at Nest—Hermès China, St. Louis crystal, glassware from Murano and a host of other exclusive accessories—Colombo's is one well-feathered nest.

A FINE COLLABORATION Bottega Veneta’s creative director Tomas Maier must have a soft spot for the revered porcelain maker Königliche Porzellan-Manufaktur Berlin, with which he shares a birth place. To celebrate the 250th anniversary of KPM, Bottega Veneta has released a limited edition of its Knot bag, one of Bottega Veneta’s most beloved handbags, embellished with a unique porcelain medallion featuring hand-carved angels.

PATTERN PLAY

Lively and vibrant has defined Etro and its signature paisley textiles since its inception in 1968. The family-owned company—now run by founder Gimmo Etro’s four children—opened a new store in Bal Harbour teeming with bold prints, bright colors and accessories for men and women. As evident by its latest Fall collection, Etro is about more than the swirling pattern that made it famous four decades ago. This season, cathedral vaults and Renaissance ceilings add a weight to the otherwise bohemian-infused collection. The cosmopolitan gypset crowd has found its Fall look.

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PHOTO BY © ALIX MALKA

NESTING HABITS

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DOYENNE VREELAND A collection of memorandums paint an intimate portrait of the influential editrix. BY JULIE BAUMGARDNER

“My grandmother didn’t tell people how to do things; she gave them thoughts that would trigger how to do it,” remembers Alexander Vreeland, whose surname reveals just who is the lady in question: the grande dame of fashion editing, Diana Vreeland. While it may be hard to fathom that a leader with such storied vision and monumental gesture, as she was in the halls of Vogue and Harper’s Bazaar, Vreeland inspired her staff of fellow creatives through rather unconventional means—often through her interoffice communication that is the subject of the latest tome, “Memos: The Vogue Years.” About 2,000 were originally compiled then edited down to around 400 top notes by Alexander and his own son Reed (Vreeland’s husband’s name, in fact), to whom it became apparent that between exclamations of the season’s freshest color or anxious proclamations of editorial emergencies, there were many valuable lessons. “She had a way of inspiring,” Alexander explains, “o, I decided to organize the book as more of a ‘how-to’ volume—even though she didn’t even believe in those sorts of things!” While Vreeland would never be caught in the aisles of Barnes & Noble perusing the self-help section, flipping through the organized chapters of “Memos,” it is obvious that she had an unorthodox way of managing her team that Alexander believes has a broader appeal “outside of fashion people or those who would have known her.” In essence, a handbook for out-of-the-box thinking, by the master of the technique herself! Tucked in the pages of this Rizzoli-published gem due out this month, are also reflections from Vreeland’s cohorts Polly Mellen, and the fashion director, Grace Mirabella, who raised to the ranks to editor in chief and quips in the text: “Diana really had a vision. She saw where fashion was going. She spoke in such a way that the creative team knew what she had in mind . . . and wow, did By LYNN YAEGER she have a vision!”

Playful they may be, but these pajamas are made for the workplace.

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FROM TOP LEFT: Diana Vreeland; Vreeland with Cecil Beaton in 1965; Vreeland with Truman Capote in 1965; a selection of office memos sent while Vreeland was the editor of Vogue.

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ROCK SOLID

Like blue-chip art, the value of fine jewelry continues to rise. BY WILLIAM KISSEL

Laurence Graff broke the record for a single diamond purchase in 2010 with this 24.78-carat pink diamond for $46 million, now known as the Graff Pink.

This past spring a rare 34.65-carat pink diamond went on the auction block at Christie’s in New York and quickly sold for an astonishing $39.3 million. Known as the Princie Diamond, the stone was discovered more than three centuries ago in the Golconda mines of India and named in honor of Sayajirao Gaekwad, the late Prince of Baroda, who was in attendance at the Paris store of Van Cleef & Arpels when the stone was first purchased in 1960. Surprising as that may be, it is not the record price for a single diamond. That honor goes to London jeweler Laurence Graff, whose $46 million purchase in 2010 of a 24.78-carat pink diamond known as the Graff Pink–once the centerpiece of Harry Winston’s collection–has yet to be matched. Treasured for centuries by royalty and nobility, the famous and the notorious, such gems and the high jewelry made from them were traditionally bought or commissioned for love, and sometimes status, seldom for monetary security. But as rare stones, vintage designs with hallmark signatures and statement pieces from the past and present reach prices higher than some blue-chip paintings, these days more and more buyers are beginning to

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recognize the investment potential of fine jewelry as well. “Today clients are realizing that not only do these pieces retain their value, but many also increase tremendously,” says Henri Barguirdjian, president and CEO of Graff America. “That has triggered a different kind of clients who not only buy for beauty and to please their wives but also as a safe haven for their money.” In the U.S. alone last year jewelry sales topped more than $71 billion, with auction houses like Sotheby’s that typically dabble in more obvious collectibles such as fine art and real estate selling more than $460 million just in jewelry, a 57 percent increase over the company’s peak in 2007. Naturally, some pieces are more collectible than others. At Harry Winston, for instance, this past spring the Swatch-owned brand paid a record $26.7 million for a 101-carat flawless diamond at a Christie's auction in Geneva. In that case the value was purely in the quality of the stone. However, colored gems and statement pieces from the past and present often garner equal attention, and record prices, at Winston as well as jewelers such as Bulgari, Graff, Tiffany & Co. and Van Cleef & Arpels due to their signature and high quality design.

“Like a Picasso or Warhol, whatever is really special and exceptional can reach prices we never thought possible.” —Henri Barguirdjian, Graff

Buying exceptional stones and high jewelry as a portable form of wealth is a sound idea, experts insist. However, they also caution against buying as one would a stock, bond or gold. Like a Picasso or Warhol, “whatever is really special and exceptional can reach prices we never thought possible,” says Barguirdjian. “With jewelry I always tell clients they’re always better off buying a smaller stone of fine quality versus a larger stone of mediocre quality because it’s easier to sell something impeccable versus having to apologize for this defect or that.” While art can sometimes be more about status than security, Nicolas Luchsinger, vice president of American retail operations for Van Cleef & Arpels, says jewelry as investment has material substance behind it. “First you have precious gold and the pure value of the stone, whether it be an important diamond or sapphire,” he says. After that you have design and a signature. A signed piece by a noted artist is always more valuable, and a guarantee of quality. “These things hold their value, not like a piece of clothing,” he says, adding how it’s important to buy with trends rather than fads in mind. Some pieces, like tiny watches from the 1950s and the diamond-covered Shamballa bracelets so popular today, aren’t as likely to hold their value as great designs from the Art Deco and Art Nouveau periods. Instead, says Luchsinger, signature designs from the 1970s are fetching high prices now, as are Cartier’s Tutti Frutti pieces from early 20th century and Van Cleef’s Egyptian revival pieces from the 1920s, all of which were ahead of their times. And then you have provenance. Notes Luchsinger: “If it is something that belonged to Marlene Dietrich or a Rockefeller or Elizabeth Taylor that can be a big plus.” But not always, says Barguirdjian. “At auction it’s easy to get caught up in the moment and pay very high prices. Most of the time when those pieces come back to market they don’t reach the price they previously achieved at auction. What is most important is the quality of the stone, the beauty of the design and the skill of the crafter,” he says. “It’s like art. You can have a Picasso for $15 million or $150,000. One is exceptional and one is just okay. It’s the same with jewelry.”

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Van Cleef & Arpels diamond, carved rubellite and turquoise Lady’s cocktail ring was recently included in the exhibition, "Van Cleef & Arpels, l’Art de la Haute Joaillerie," at Les Arts Décoratifs museum in Paris. The piece channels the house’s style from the ‘60s and ‘70s, incorporating vivid color and a bold use of materials.

oyster perpe tual date just l ady

rolex

oyster perpetual and datejust are trademarks.

TRENDS BY STELLA LEE

Alexis Bittar Santa Fe necklace, Neiman Marcus. Alexander Wang Chastity sling bag, Saks Fifth Avenue.

Oscar de la Renta Vine earrings.

Jason Wu water snake bootie, Saks Fifth Avenue.

A look from the Carolina Herrera Fall 2013 collection.

Giuseppe Zanotti tall suede boot.

Y A R G ER T T A M

Pomellato rose gold and brown pavĂŠ diamond Tango bracelet.

ite. h w d n lack a b t â&#x20AC;&#x2122; n s i it just s e m i t Some

Roger Vivier Prismick leather and felt bootie.

Oscar de la Renta Empire bootie.

Loro Piana Isabel gloves.

Chanel Boy bag.

Rag & Bone fedora, Scoop NYC.

Valentino gray satin pearl clutch. Saint Laurent by Hedi Slimane gray suede heels. Giorgio Armani tote bag. 52 BAL HARBOUR

©T&CO. 2013

ATLAS

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TRENDS Kara Ross Crescent bib necklace, Neiman Marcus.

Prada vitello leather bag.

Giuseppe Zanotti suede sandal with gold star hardware.

Versace Collection watch with studded bezel.

Bibi glasses, Optika.

A look from the Dolce & Gabbana Fall 2013 collection.

E H T T N I A P WN RED TO

Salvatore Ferragamo bag.

Christian Louboutin.

xe. u l o t n ack i b y x e ing s g n i r b on is s a e s f the o r o l o test c t o h e Th Charlotte Olympia Riding Hood Flats, Neiman Marcus.

Christian Louboutin Armurabotta over-the-knee boot, Neiman Marcus.

Roberto Cavalli Red Night earrings.

Miu Miu patent leather kitten heel.

Giorgio Armani top-handle bag.

Bulgari mother of pearl, diamond and rubellite ring from the High Jewelry Collection.

Oscar de la Renta Ruby Firework crystal cuff.

Saint Laurent by Hedi Slimane heels. 54 BAL HARBOUR

Valentino Absolute Rouge All Over Rockstud cage flats.

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TRENDS Kara Ross Stick necklace, Neiman Marcus. Oscar de la Renta Mulberry belt.

Gucci Kim python boot.

Delvaux Madame Mini purse, Neiman Marcus.

Saint Laurent by Hedi Slimane Betty bag.

Erickson Beamon Queen’s Ransom bracelet, Oxygene.

R E P HY OR L O C

Fendi Adele 1328 Selleria handbag.

l hues. a y o r p e ese de h t r o f l l a elp but f h t ’ n a c n you o s a e s s i Th A look from the Bottega Veneta Fall 2013 collection.

Alexis Bittar Santa Fe earrings, Neiman Marcus.

Brian Atwood

Etro embossed leather bag.

Sergio Rossi suede Ava bootie.

Brian Atwood Obsession heel, Saks Fifth Avenue.

Alexander McQueen Heroine bag. Roger Vivier Virgule satin pump.

Miu Miu ostrich leather bag.

Jimmy Choo clutch.

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TRENDS

Van Cleef & Arpels Jardin des DĂŠlices ring.

Lanvin tassel necklace.

Nicholas Kirkwood lace-up sandal, Saks Fifth Avenue.

Chanel pearl bracelet.

Loree Rodkin bracelet, Oxygene.

L R I G Y L R A E P

Rene Caovilla open-toe pumps, Saks Fifth Avenue.

on. s a e s s i ing th h t y r e v orn e d a s l e tle jew t i l e t a c eli These d Tiffany & Co. pearl and diamond ring.

Loro Piana.

Christian Dior Mise en Dior bracelet, Saks Fifth Avenue.

Tom Binns earrings, Saks Fifth Avenue. Alexander McQueen platform sandal.

Roger Vivier Maxi Boite de Nuit Orthodoxe Gold Frame Clutch. Saint Laurent by Hedi Slimane embellished boot.

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A look from the Alexander McQueen Fall 2013 collection.

THE NEW LEISURE SUIT Playful they may be, but these pajamas are made for the workplace. BY LYNN YAEGER

s rumor has it, the reason that Marc Jacobs’ Fall 2013 runways were bursting with looks rarely seen outside an Art Deco boudoir—glistening satin pajamas at his eponymous MJ collection; fur-lined velvet bathrobes at Louis Vuitton—was because the designer, marooned after Hurricane Sandy, found himself languishing in his hotel room, whiling away the hours in his PJs. But if Jacobs spent those strange October days in a state of dishabille, what was the excuse of Marco Zanini at Rochas, whose standout look for Fall was a vast house-coat affair with a baby-blossom pattern that might have warmed Donna Reed, or the full-on black-and-white stripers, worthy of a female Cary (Carrie?) Grant, promulgated by Céline? We are not speaking here, to be clear, of the lingerie looks of yore—the deliciously sexy slip dress; the rather hackneyed underwear-as-outerwear syndrome. No, what we are discussing is the current penchant for floppy pants and baggy buttoned-up tops heretofore hidden under a tightly tied robe, even if you’re only opening the door for room service. As it happens, this is the exact outfit artist Julian Schnabel, an early adopter of this trend, has been wearing around town for decades. (Could it be an accident that Schnabel’s former wife—the glamorous Olatz—makes her fortune designing high-end night-clothes?) Now Schnabel has been joined by a battalion of younger, skinnier devotees: the actor Jessica Alba, the enviable girl-about-town Giovanna Battaglia, the director Sophia Coppola and even Rihanna, so famous she doesn’t need a second name. Their enthusiasm for this new matched set may have something to do, perhaps, with the appeal of off-hand dressing, the desire to seem as if you’re not trying too hard. (But of course, it is one of the great ironies of fashion that this affectation takes enormous time and effort). Or it may reflect the fact that so many people are

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PHOTOS COURTESY OF GETTY IMAGES

An early example of pajama dressing, circa 1965.

Still, I am not 100 percent sure I am ready to walk down the Champs-Élysées in a pair of commodious draw-string-waisted trousers.

working from home—when it’s just you and a computer all day long, why bother getting dressed? If I myself have been reluctant to embrace this new style, who can blame me? Years ago, I wore a heavy linen Victorian nightie as an evening dress to a swanky Parisian soirée. (What can I say? It was hot. I was young.) This bold gesture received what I would term politely as a rather cool reception (the French were too refined to throw tomatoes at me, but I could tell from their sour faces this wasn’t what they thought constituted appropriate attire for a grown woman.) But even in the City of Light, times have apparently changed: during the couture shows last July, I visited the showroom of Raphaëlla Riboud, who specializes in silk jammies in alluring prints. The vendeuses floating around the atelier were thusly clad, and the highly sensuous offerings were clearly meant for a night of carousing, not just an after-party for two in your pied-à-terre. Still, I am not 100 percent sure I am ready to walk down the Champs-Élysées in a pair of commodious draw-string-waisted trousers. So I decide to phone up the writer/director (and member of Hollywood royalty) Liz Goldwyn, a woman who has spent years prancing down red carpets in vintage ensembles. “I love 1940s lounging pajamas as evening outfits!” she crows. “I wore black satin vintage ones lined in lime green for the opening of Richard Prince’s show at Gagosian—so chic!” But then again, Goldwyn lives mostly in LA, where people have long worn tracksuits all day long, and usually they are in their cars anyway, so who knows what they have on? I feel I need to turn to a real New Yorker, the curator Valerie Steele, director of the Museum at the Fashion Institute of Technology, to get her feelings on this sartorial development. “It’s all about the long-term trend toward being comfortable and casual,” she confirms, confessing that at this very moment, though in her office, she is swimming in a vast snowy-white Yohji Yamamoto top and a pair of voluminous Jil Sander pants. “But I also think it has to do with global warming,” Steele alleges. “This is the way people in the Middle East have dressed for centuries! There are plenty of precedents for this kind of dressing—look at the Brits in India or the Dutch in Indonesia. Why, the very word ‘pajama’ comes from India!” Thank you, Valerie—these are global sentiments to live by. Just remember as you jump into your jammies, slide into your bunny slippers, strap on your sleep mask and sally forth to meet your CEO: somewhere in the world, it’s bedtime.

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CLOCKWISE FROM TOP: Marc Jacobs takes a bow in pajamas at the Louis Vuitton Fall/Winter 2013 show; a pajama-inspired jumpsuit at the Fall 2013 Diane Von Furstenberg show; a look from Lanvin’s Fall/Winter 2013 collection.

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STYLE Diary

ALL POINTS WEST “I enjoy visiting the galleries in Chelsea for contemporary art. And then I like to finish the afternoon with a walk on the High Line.”

TEA TIME “When in London, I love staying at Claridge’s, and I never miss afternoon tea there.”

LUXE LOTION “Santa Maria Novella makes a wonderful body milk that I love using in the winter.”

K R O Y W E N

TAMARA MELLON

This fashion force is back branding her own name as a luxury house beyond sexy stilettos. PORTRAIT BY SHAWN BRACKBILL fter spending 15 years promoting another moniker, Jimmy Choo co-founder Tamara Mellon is turning the attention to her own name with the launch of her luxury lifestyle brand. The eponymous line debuts this Fall, along with her memoir, "In My Shoes." The mother, newly minted New Yorker and art collector certainly has style, and here, she shares a few items on her Fall wish list. —Stella Lee

EASY VERSATILITY

“I love the ease of this look from my line. It’s very cool and Bianca Jagger-inspired. This is something that a woman can wear to her office during the day, then put on a great red lip for a night out.” PERENNIAL FAVE “I can always count on Stella McCartney for flattering, wearable clothes.”

WISH LIST

“This Saint Laurent flat ankle boot tops my wish list.”

GLAM GIRL

“This look from Saint Laurent is perfection. I love the glamorous fur.”

GLOBAL SCENTS “I always burn candles in the winter. I love Vie Luxe. Each fragrance is named for a fabulous travel destination.”

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GREAT TIPS “I love JINsoon’s Coquette nail color. It is the perfect shade of red.” Gee Beauty

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USUAL SPOT

“Dadá Bistro in Buenos Aires is terrific for a fun dinner and drinks with friends.”

STATEMENT PIECE “This Balenciaga necklace is a must for me this Fall.”

S E R I A S O N E U B SOFIA SANCHEZ

SOFT LIPS

“My Chanel Rouge Coco Baume keeps my lips moisturized and soft all winter long.”

BARRENECHEA

This fashion fixture shares her Fall favorites and a few key spots in her hometown. t is no surprise that Sofia Sanchez Barrenechea considered a career in modeling. Instead, the stunning Argentinian has been working on another side of the fashion industry, wearing many stylish hats spanning art director, graphic designer, fashion consultant and entrepreneur. Born and raised in Buenos Aires, Sanchez Barrenechea takes pride in introducing her country’s native artists through UnderOurSky.com, a design incubator she founded. —Stella Lee

PLAYFULLY PRACTICAL

“Charlotte Olympia’s mushroom clutch is on my Fall shopping list.” Neiman Marcus

FEET FLATTERY

“This embellished loafer from Alexander McQueen is fabulous. I love the intricate detailing.”

LUNCH BREAK

“Farinelli is the best lunch place in Buenos Aires! The salmon and the cheesecake are my absolute favorites.”

CLOSET STAPLE

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“I love my Chanel Boy bag. It’s one of the few things in my closet that I can’t live without!”

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I M A I M

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The Webster

This fashion veteran brings her sharp eye to Bal Harbour with the opening of The Webster’s new boutique.

LADY LUXE “I love the luxurious mix of silk and fur from Lanvin.”

PORTRAIT BY CAMILO RIOS was initially drawn to Miami’s year-long amazing weather,” says Paris expat Laure Heriard Dubreuil. “And five years later, I still enjoy it every day!” The CEO and founding partner of The Webster, a luxury boutique carrying Tom Ford, Céline and Givenchy, among others, is responsible for bringing some of the most exclusive and covetable merchandise to South Beach. And her next venture—a second location for The Webster at Bal Harbour Shops this December—will no doubt become the sartorial destination of the season. —Stella Lee

BUILDING BLOCKS “This Chanel Plexiglass clutch in tweed is so fun. It’s definitely on my wishlist for Fall.”

CUDDLE UP

INSIDER TRADING

“This winter will be all about soft fabrics and cocoon-like shapes. This Stella McCartney look is perfect.”

“I recommend this fashion insider’s guide, that I produced with French Vogue correspondent Carole Sabas, to everyone visiting Miami.”

SECRET GARDEN

"I try to go as often as I can to the Fairchild Tropical Botanic Garden, one of the richest exotic gardens in the world."

SKIN SAVER

“Clarins Tonic Body Treatment Oil is a must. It’s so energizing and nourishing.” Saks Fifth Avenue

SLEEK SNEAKS

“Runners are going to be big this Fall. I love these platformed ones from Pierre Hardy.” Saks Fifth Avenue 68 BAL HARBOUR

FALL ESSENTIAL “These Céline gray boots are so chic!” Neiman Marcus

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STYLE Diary

DOWN TO PARTY “Migas has Beijing’s best rooftop parties in the summer. My friends know that I simply love to go dancing, and Migas has the best DJ in town!”

SARA JANE HO

For this expert in etiquette, elegance is more than a sartorial statement.

WARDROBE ESSENTIAL

“I cannot live without my classic flap Chanel bag.”

arvard Business School graduate Sara Jane Ho is pioneering the nearly lost art of etiquette training in Beijing. As the founder of Institute Sarita, Ho is fusing classic etiquette training with an international twist, thanks to her upbringing throughout Asia, the U.S. and Europe. Think less ankle-crossing and more art collecting—not to mention skiing, floral arranging, competitive riding and entertaining. —Stella Lee

ART APPRECIATION “I’m a patron of China’s largest art museum, Ullens Center for Contemporary Art. I enjoy art that broadens my horizons.” Grey, 2012, by Zhang Shujian

HOLIDAY WISH LIST

“I love collecting beautiful gloves. I hope to get this fur-trimmed pair by Gucci for the holidays.”

COLLECTOR’S ITEM “I recently began collecting art by young Chinese artists. My favorite work right now is by rising star Zhang Shujian.”

Wang Xingwei exhibit at UCCA

The pool at The Opposite House

PERSONAL TOUCH

“I firmly believe that every lady should have her own personal stationery. I love Crane & Co., and would love to see it available in Beijing.”

HEIGHT OF ELEGANCE

“We teach in our deportment class that the most elegant heel height is two inches. I love nude color, which is subtle, classy, and also makes my legs look longer.” Jimmy Choo suede pumps.

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DIPPIN’ TIME

“Exercise is very important to me. I begin every morning with a 7am swim at the pool inside The Opposite House, a boutique luxury hotel across the street from my apartment. It’s my oasis in Beijing.”

PHOTO COURTESY HADRIEN DE MONTFERRAND GALLERY (SHUJIAN)

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WINTER WONDERLAND

K R O Y W NE

JILL KARGMAN This busy author and mother shares a few of her tips for staying effortlessly hip. PORTRAIT BY PAMELA BERKOVIC he New York Times best-selling novelist and humorist is hot commodity on the writers’ circuit. Kargman is the author of 10 books including “The Ex-Mrs. Hedgefund” and “Momzillas,” which has been translated into 14 languages. The mother of three enjoys hanging out in Brooklyn, admits to being a cult-member of Soul Cycle and raves excitedly about Trent Reznor. Here, she shares her style essentials and what’s on her radar for Fall. —Stella Lee

WATERING HOLE “For a night out, I always love a bellini at Daniel. Lots of good people watching—especially those with expense accounts.”

QUICK ESCAPE

ON THE WATCH “I love this Chanel watch. It’s feminine and a classic style.”

“My husband and I do a yearly weekend at Glenmere Mansion. It’s like a European chateau in Upstate New York.”

CONSTANT COMPANION

“I’ve had the same Louis Vuitton organizer for 10 years and I carry it around with me everywhere. I will never give it up!”

BOOTIE LOVE

“I love Valentino. Their booties are great—particularly this studded style.”

NAUGHTY & NICE

“This Chanel look is perfect; it has the right mix of lady and edge.”

WINTER ESSENTIAL

“I use Smith’s Rosebud Salve because I get so dehydrated in the winter.”

MIX IT UP

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“I carry messenger bags because they’re actually large enough to fit my stuff.” Chloé Baylee bag.

“I think people always go to their old standbys in New York and that’s a mistake. Try walking Bedford Avenue in Williamsburg and make a pit stop at Walter Foods.”

THE LFD “Marc by Marc Jacobs makes the best little dresses. I’m hoping to buy a few more this season.”

PHOTO BY SARGENT PHOTOGRAPHY (GLENMERE); E. LAIGNEL (DANIEL)

“I’m awful at all sports—except skiing! So, this winter we’re going to Sun Valley in Idaho with my family.”

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Photographer and filmmaker Francesco Carrozzini.

BRIGHT YOUNG THING Francesco Carrozzini takes on film, photography and fashion—and a bit of hip hop. BY TALI JAFFE PORTRAIT BY MICHELE CIPRIANI

Some people seem born into greatness.

Their creative prowess develops supernaturally in a process fueled by destiny. When Francesco Carrozzini stepped behind the camera for the first time, at the tender age of 19, it all clicked. What began with a project for Italian MTV quickly evolved into a career producing and directing short films, documentaries and music videos, some of which have competed at the Venice Film Festival and Cannes. His photography is equally as alluring, and has appeared in Vanity Fair, L’Uomo Vogue, The New Yorker, W, Rolling Stone, POP, New York Magazine and Vogue Italia—and all before his 30th birthday. We caught up with New York-based Carrozzini, (now at the ripe old age of 31), as he was wrapping up a music video with A$AP Rocky and Joan Smalls, to discuss working for giants of photography, navigating Instagram and what it’s like to be on assignment for his mother, Franca Sozzani. Who were some of your earliest influences that have impacted your career? Definitely the photographers I was surrounded by growing up, and Italian movies from the 50s and 60s. You also had the chance to work with some of those photographers. What are some of the lessons you learned from them? From Bruce [Weber], I learned that you can’t just think about the picture you want to take, you have to create it. Bruce has amazing vision, and the ability to execute it so perfectly. I also learned how to hold a boom box very well. Working for Peter [Lindbergh] was the closest thing to what I imagined photography would be like.

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He works in such a narrative way and gets so much emotion from his subjects. It’s really inspiring. Among the many publications you’ve shot for is Vogue Italia. What’s it like on assignment for your mother [Franca Sozzani]? It’s one of the top assignments I can get. I feel it’s one of the best for any photographer, actually. Vogue Italia is quite distinguished because of the freedom of expression and creativity they allow. It’s a different way of working. Tell us about your involvement in the The New York Times Screen Test series. I came in after two of the films were made. In collaboration with Lynn Hirschberg and Stefano Tonchi, we changed how the Screen Tests were filmed. To this day, it is still a very successful project that I’m proud to have been involved with. You have a new video with A$AP Rocky being released this fall. What was it like on set with him, Joan Smalls and Michael K Williams? It’s great to be surrounded by extremely talented people—each in their own right—especially when it’s a 20-hour day. You have more than 20,000 followers on Instagram. How do you feel about this explosion in visual communication? It’s great because it allows me to understand what people like. Because my Instagram is based more on my life than on my work, it’s an interesting way to confront yourself. Often the results are unexpected; I’ll put up a photo of a beautiful landscape that will only get 100 likes, and then I’ll put up a picture of myself on a boat and that will get 500. It’s a funny thing.

Famiglia Roberta Armani is defining the next generation of Italian style. BY RACHEL FELDER PORTRAIT BY GIOVANNI GASTEL Since the 1970s, the name Armani has been synonymous with sleek and sophisticated fashion—the type of timeless, quietly chic pieces that look stylish and appropriate for just about any occasion. These days, the brand includes an executive who perfectly embodies that sensibility: Roberta Armani, a niece of the company’s founder Giorgio, who oversees the brand globally, including the vital job of celebrity relations. In a sense, Roberta Armani is the personification of many of the brand’s most loyal customers: working women who are busy, social, fashionable and juggle plenty of responsibilities, often on the road. Her integral role at Armani means that she has a hand in, amongst other things, global strategy, 76 BAL HARBOUR

photo shoots, events, openings and working with the brand’s many celebrity fans. “As for a typical day, that doesn’t really exist,” she says. “I do travel a lot throughout the year, but it is something I don’t take for granted, as other cultures, languages, people and points of view are one of the most rewarding things in life. They make us better people.” Roberta Armani joined the family company when she was just 17, taking on a job that was decidedly unglamorous: working on the sales floor at the Emporio Armani store in New York. “I came to learn the business from up-close, especially from the retail and customer side, which is a core aspect of how to improve yourself and your products,” she recalls.

FROM LEFT: Roberta and Giorgio Armani; Roberta with Sean Penn; a look from the Giorgio Armani Fall 2013 collection; Jessica Chastain in Armani Privé at this year’s Oscars; a look from the Giorgio Armani Fall 2013 collection; Naomi Watts in Armani Privé at this year’s Oscars.

“I believe seeing other cultures is one of the most rewarding things in life. It makes us better people.” —Roberta Armani “I wanted to understand how everything worked, every step of the process, from design to production to distribution to marketing.” Over 25 years later, a key facet of her position is working directly with celebrities, including everyone from George Clooney to Katie Holmes to Lady Gaga, doing everything from finding the perfect Armani pieces for those boldfaced names to wear on the red carpet to keeping them company in the front row of fashion shows to (in the unique case of Holmes) helping her find the perfect wedding location (naturally, the bride wore Armani). “When we deal with more high-profile people who are in the eye of the world and the media, it’s certainly a challenge sometimes, but it’s one that is gratifying as much as it is fun,” Armani says. “You really have to bring together psychology, the ability to communicate and a sense of style. It’s usually about trying to create harmony with the Armani look. The clothes, with their elegant and sophisticated lines, help me a lot.” Giorgio Armani was one of the first designers to work closely with celebrities for red carpet

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wear—something that is now commonplace. “The connection between fashion, celebrities, brands, public relations and high-profile individuals has become its own industry today,” she says. “It’s quite intriguing to see how that continues to change every day. But since we were the first ones to make the real connection between fashion and the world of entertainment, I feel that a lot of our work is based on wonderful friendships and relationships—true, personal and lasting ones—which make our day-to-day much easier. Everything is less spontaneous and a lot more strategic and planned, but at the end of the day, style is style, elegance is elegance, comfort is comfort and Armani is always relevant.” She’s unquestionably motivated, and devoted to the company, but, inevitably, it’s easy to wonder if the famous last name weighs heavily on her. “It does on occasion, but only if you place too much importance on it,” she says. “We have to focus on the bigger picture.“ Roberta Armani isn’t the only family member focusing on that picture: her sister Silvana also works for the company on the design side, as does her

cousin Andrea. Although she’s always worked for the family business (in various capacities, even as a model at one point), she acknowledges that it’s a special experience. “The difference is basically involvement,” she explains. “You feel twice the responsibility, but also twice the involvement. It is part of who you are, part of your identity and with that comes the love of doing it and the passion.” At the helm, of course, is Giorgio Armani himself, undeniably one of the most influential designers of the last 50 years. “My uncle is a man who made himself without anyone’s help, and his example is an essential one,” she says. “This taught me the value of dedication and something that follows me every day in everything I do. I learned from him the ethics of commitment, integrity and hard work: I couldn’t have asked for a better lesson, but every day I learn from him. He inspires and energizes me. “ She is also, incidentally, constantly inspired by her uncle’s designs as well. “They give you the ability to always let yourself feel like your best self,” she says, which is—from anyone, even a member of a world-renowned fashion family—high praise indeed.

IN HIS SHOES 80 BAL HARBOUR

Roger Vivier in his atelier in 1987 working on a thigh-high Mimosa boot, embroidered with flowers by Lesage.

Inès de la Fressange and Bruno Frisoni pay tribute to Roger Vivier with a new retrospective in Paris. BY KATE BETTS PORTRAIT BY FRANC ¸ OIS HALARD

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PHOTOS COURTESY OF ROGER VIVIER BY STEPHANE GARRIGUES, AGUTTES AUBERT, ANNA BAUER

don’t like to cheat—that’s my motto,” says Inès de la Fressange, the creative consultant behind the Roger Vivier brand. “Even if it is not successful, at least you won’t regret it!” Fressange, who is calling on a hot summer morning from her house near Tarascon in Provence, is referring to the ideas that inspired her and colleague Bruno Frisoni to conspire and create a Roger Vivier retrospective. “Virgule, Etc: In The Footsteps of Roger Vivier,” named after the designer’s comma-shaped heel, opened at Paris’ Palais de Tokyo on October 2 and runs through November 18th. “By not cheating I mean that I like to do things the way they should be done, with passion and spirit and a twist of humor,” she adds. “Nothing too serious.” Fressange and designer Bruno Frisoni have been leading the storied French shoe and accessories brand for 10 years now, always respecting Vivier’s sense of humor and innovation. After all, it was Vivier who created the stiletto heel for Christian Dior in 1955 and the buckle pump made famous by Catherine Deneuve in Luis Buñuel’s 1967 movie, “Belle de Jour.” Now, with this exhibit, the brand will highlight the lesser-known Virgule, which is the subject of one of the rooms at the show and is featured on the cover of the announcement. The idea for the exhibit originated when the contents of the Musée International de la Chaussure in Romans, France went on sale. Sensing that the Vivier patrimony might be lost forever, Fressange and Frisoni urged the owner of the brand, Diego Della Valle, to buy the whole lot and donate it to the museum’s permanent collection. “We found so many things that Vivier had done that we didn’t even know about,” says Fressange. “Suddenly we thought we had to do a show so we could display all of his work.” Fressange was a big fan of Olivier Saillard, the director of Paris’ Musée Galliera, who had done an exceptional job on the Madame Grès retrospective two years ago at Paris’ Musée Bourdelle. Luckily, Saillard was available. “It was circumstance, and that’s how the best things always come about,” says Fressange. The Vivier brand, while luxurious and glamorous, is not without a sense of humor. “We didn’t want this exhibit to be too serious since there is an originality to his work and a spirit that is not just about luxury,” Fressange explains, adding that the show will capture the history of Vivier, who died in 1998, through displays of 140 different models and also pieces of art on loan from other museums. “We benefit from a paradox,” says Fressange. “On one hand we have this great patrimony, but on the other it’s a rather new business. We have the French grand luxe, but we’re still a small house. This is very precious because we can maintain a certain ambiance. Perhaps it won’t last, but we try to keep this idea of spontaneity.” When preparing the exhibit, Fressange was surprised by the variety of Vivier’s creations. While the shoe designer was perhaps best known for the whimsical and glamorous heels he designed for clients like Queen Elizabeth II, the Duchess of Windsor and Marlene Dietrich, he also created some very modern, futuristic handbags with plastic handles. “He was a visionary,” Fressange says, “no matter what he was designing.”

“We didn’t want this exhibit to be too serious since there is an originality to his work and a spirit that is not just about luxury.” —Inès de la Fressange

CLOCKWISE FROM TOP: Pop-Poppy Doo shoe from the Rendez Vous Spring 2013 collection; a boot from 1965; Huitre et Demie minaudière from the Fall 2008 Haute Couture collection; Collection Mask, 1967, for Yves Saint Laurent; a Virgule heel from the Fall 2013 collection; Ines de la Fressange and Bruno Frisoni.

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Through a process of reduction, David Downton has found his signature. BY RACHEL WOLFF

T David Downton sketched this look by Giambattista Valli for Madame magazine in 2008.

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here’s something about David Downton’s oeuvre that exudes a sort of effortless perfection—a mood, a vision, an era, all encapsulated in a few deft strokes. It’s economy of language, color and line. Less is more. Indeed, Downton’s ethereal fashion illustrations convey limbs, hems and au courant cuts, styles and silhouettes with expertly placed strokes. Dior cocktail dresses and Valentino evening gowns are rendered as bursts of gradient color. Chanel suits are referenced unmistakably with lightly sketched checkered swaths. Feathery blots of flesh-colored ink denote slender legs, sharp cheekbones, enviable cleavage and full lips. Reductive shapes and cluster-like vignettes cleverly suggest headpieces and gems. And great beauties like Catherine Deneuve, Carmen Dell’Orefice, Cate Blanchett, Rachel Weisz, Linda Evangelista, Dita Von Teese, Erin O’Connor, Jerry Hall and Iman are pared down to their essential features, as if Downton is documenting not the women themselves but the dizzying, unforgettable impressions they tend to leave wherever they go. “Impression” is a fitting term, in fact—auras left both by great subjects encountered fleetingly and the minutes-long spectacle that is an haute couture fashion show. Downton starts with an abundance of detail. He executes dozens of drawings of shows and sitters, grabbing every possible detail he can. Yet the final process is one of reduction, examining his sketches and eliminating anything extraneous so that a clean, stylized and singular impression remains.

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“David has made fashion illustration relevant in our fast-moving world.” —Thomas Kochs, Claridge’s

“Controlled spontaneity is my goal,” Downton says. “David captures something ephemeral in his drawings,” adds Thomas Kochs, the general manager of the ultra-luxurious Claridge’s in London, where Downton has been an artist-in-residence for the past two years. An exhibition celebrating his achievements there was on view during London Fashion Week. “His illustrations express more than photography is able to,” Kochs explains. “David has made fashion illustration relevant in our fast-moving world.” Yet despite his reputation as a maestro in the field, Downton’s earliest loyalties leaned more towards cinema than fashion. In the 1960s, the London-based artist grew up in a household that was more sports-centric than fashion-forward or artistically inclined. “I didn’t go to galleries or read books about art,” he says. “My appreciation came from Disney animation, movie posters, book covers and magazines.” “I loved Bond movies, especially the posters,” Downton continues. “‘Thunderball’ and ‘You Only Live Twice,’ with artwork by Bob McGinnis, were—and remain—the high-water mark for me. I also loved anything by the great Bob Peak, who was the acknowledged master of the artform. He could tackle any genre, from spy movies like ‘Modesty Blaise’ and ‘In Like Flint’ to musicals like ‘My Fair Lady’ and ‘Camelot.’” As a kid, Downton would sketch his own versions of McGinnis’ and Peak’s work. He went on to study illustration and graphics in

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college and, throughout the 1980s and ‘90s, he took, as he puts it, “whatever commissions I could get”—from cookbooks and textbooks to theater posters, romance novels and, occasionally, fashion and clothes. A serendipitous assignment came in 1996 when the Financial Times commissioned Downton to travel to Paris and capture the haute couture shows. “The startling thing was to be paid to go to Paris and draw,” Downton recalls. “I had never been anywhere on someone else’s dime and I had never seen a fashion show, much less a couture show. I wasn’t completely naïve. I knew who Valentino and Yves Saint Laurent were. But I certainly never expected to be in a room with them.” The experience, he says, was visceral: “It was like entering Narnia—a magic kingdom where everyone in it was beautiful and blessed.” The first show he saw was Atelier Versace at the Ritz, wherein the likes of Linda Evangelista, Naomi Campbell, Kate Moss, Carla Bruni and Christy Turlington strutted down a marble path extended over a swimming pool. “They were all side by side on the catwalk, at the peak of their beauty and power,” he says. “It was like a meteor shower. A great supermodel moment.” The experience gave Downton a “subject matter, a point of view” for the first time in his career up until that point. And beautiful as they were, it wasn’t just the models and the clothes. “It’s a

David Downton captured Cate Blanchett for Vogue Australia in 2009 and Dita Von Teese for A Magazine, curated by Stephen Jones, this year.

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A look from Valentino couture, 2006, by Downton.

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“The startling thing was to be paid to go to Paris and draw. I knew who Valentino and Yves Saint Laurent were, but I certainly never expected to be in a room with them.” —David Downton

combination of the designers’ fantasy and the artistry of the people who realize it” that affected him, he says. “It’s cliché to say, but couture sells more than clothes. It sells dreams and—to compound the cliché—it’s about love.” Downton hasn’t missed a Paris couture season since. Over the past 17 years, Downton has amassed an impressive roster of clients and put countless models and starlets at ease. “I hadn’t met David before I arrived for our first sitting together, which was at a charming boutique hotel in Los Angeles,” recalls Dita Von Teese. “I showed up alone, with my suitcase full of corsets and négligées. Of course, this could have been an awkward first meeting, me posing in various stages of deshabille! But David and I became instant friends and have done many sittings together over the years, usually in Paris or London with me always in various stages of undress. He is one of my favorite people in the world—a delight to work with, with an unmatched wit.” He has drawn Cate Blanchett for the cover of Australian Vogue; executed frequent commissions for The Telegraph, The Times, Harper’s Bazaar and Vanity Fair; and spearheaded ad campaigns for Topshop, Harrods and Absolut. He also had the privilege of designing and illustrating new DVD covers for Criterion Collection films “Belle de Jour,” “Lola Montès,” and “Jules et Jim”—not quite a Bond poster, but close. Downton has also played a critical role in advocating for and bringing visibility to the field of fashion illustration as a whole, which has been something of a redheaded stepchild in the greater art world. In 2007, he self-published the first of two fashion illustration journals called Pourquoi Pas? And his elegant 2010 tome, “Masters of Fashion Illustration,” highlights work by some of the greatest practitioners of the past 100-plus years, including Giovanni Boldini, Étienne Drian, René Bouché, Antonio Lopez, Tony Viramontes and Andy Warhol. Next year, Downton will publish a monograph of his own work and has actively embraced an up-and-coming generation of supermodels, having recently sketched Joan Smalls and Karlie Kloss. Mainly, he says, “I’m having fun. And as my great friend Carmen Dell’Orefice would say, ‘If it’s not fun, it’s no fun!’”

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CLOCKWISE FROM TOP: Downton at Claridge’s in London where he’s been the artist-in-residence for the last two years; a sketch taken backstage at Yves Saint Laurent in 1999; Cate Blanchett for Vogue Australia in 2009.

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hen Rana Florida was in college, she went backpacking through Europe with her sister and her cousin. She put aside money to spend on shopping in Paris. But when they arrived at the cheap youth hostel where they planned to stay in the French capital, Florida realized her money was better spent on the experience of a nice hotel. The intangible always outweighs the tangible, she says in her new book, “Upgrade: Taking Your Work And Life From Ordinary to Extraordinary.” Florida, who runs The Creative Class Group with her husband, Richard, shows readers how we all have choices to make in our everyday lives, and how we can transform our experience by envisioning the future we want and going after it. It sounds like a familiar self-help trope, but you have to imagine a visual on Florida first, and then read her resumé. In addition to her consulting firm, she also contributes a column to The Huffington Post and is a regular contributor to HGTV. I felt like I knew Florida long before I met her through my brother, William. He constantly referred to her when doling out advice or recounting career success stories. “Rana says this” or “Rana does that,” he would tell me. When I finally met her, a stylish six-foot-tall blond with a brilliant smile and a mind to match, it made perfect sense that she would be publishing a book about how she had made the switch from a high-powered but dull corporate job at an advertising firm to running her own company with Richard, a renowned urban development expert. Through interviews with a fascinating group of people and anecdotes about her own career and life, Florida shows readers how to take risks and assess goals in order to improve everything about their lives—from leisure experiences to work habits to careers. Along the way, she illustrates her directives with anecdotes from creative leaders who reveal their secrets about switching careers or finding their passion or simply recognizing the most productive work habits and surroundings. Florida interviews people like popular chef Ina Garten about how she traded a dull career in international trade for a job running a specialty food shop in East Hampton, which lead to her bestselling cookbook and a career as an expert chef and television personality. Bottega Veneta designer Tomas Maier talks about his creative process and how he uses color to inspire him. Tim Brown, the CEO of design firm IDEO, describes how travel and changing contexts encourage new ideas. Florida has a gift in that she sees creativity in the smallest details—from coffee cups to website splash pages to the lining of a sneaker—and she reveals in her book how to do the same. Additionally, she holds up familiar examples like Zappos CEO Tony Hsieh and his informal approach to breaking down the corporate walls between management and employees. Florida tells the story of visiting Hsieh and his team at their Las Vegas campus and how Hsieh insisted on hugging her hello instead of shaking hands. She also tours the offices of New York City’s Mayor Michael Bloomberg, Mayo Clinic president and CEO John H. Noseworthy and award-winning architect Zaha Hadid, taking the reader along for the ride and sprinkling the sage advice garnered from each trip throughout the book. In all of her examples and axioms, the best guidance Florida offers is to stop wasting time. “It’s the most valuable resource we have,” she writes. “It’s the one thing we can’t buy, trade or get back.” That should be the starting point for all of us.

COURTESY OF RANA FLORIDA

The author at home

In Good Company

In her new book, Rana Florida shares lessons from the Creative Class Group on living the life extraordinary. BY KATE BETTS

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UP ON THE RO OF SUPERMODEL LILY DONALDSON HEATS UP THE MANHATTAN SKYLINE IN THE SEASON’S BEST BLUES. Photography by NAGI SAKAI Styling by SARAH GORE REEVES

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Fendi leather fringe coat, 305.861.7114; Roberto Cavalli Wild Flower ear cuffs, 305.865.1749; Walter Steiger Vitani heels available at Neiman Marcus.

Valentino sleeveless sheath dress, 305.867.1215; Oscar de la Renta, marine stone necklace, 305.868.7986.

Photographer: Nagi Sakai Photographer first assistant: So Yoshimura Photographer second assistant: Peter Panszczyk Digital Tech: Tom Neal Stylist: Sarah Gore Reeves Stylist Assistant: Alexandra Kulukundis Makeup artist: Moani Lee/Altered Agency Hair: Kenshin Asano/Lâ&#x20AC;&#x2122;Atelier Manicurist: Maki Sakamoto/Kate Ryan Model: Lily Donaldson/Storm

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BRING IT ON

Jewels, pearls and fur? Yes, please! This season, more is more. PHOTOGRAPHY BY KORAY BIRAND

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Valentino leather dress with lace, 305.867.1215; J. Mendel fur coat available at Neiman Marcus, 305.865.6161; Blumarine sandals; Kenneth Jay Lane crystal dome ring available at Neiman Marcus; Chopard diamond earrings and Copacabana ring, 305.868.8626; de Grisogono gold ring, 305.865.8765; Graff Superstar watch, 305.993.1212. OPPOSITE: Chanel wool pullover, tweed skirt and clutch, 305.868.0550; J. Mendel fox fur scarf; Prada Gingham pumps, 305.864.9111; Vita Fede Eclipse, Bulloni and Titan bracelets and Kara Ross gold bracelet available at Intermix, 305.993.1232.

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Gucci patent leather dress, 305.868.6504; J. Mendel fur coat available at Neiman Marcus, 305.865.6161; Graff diamond bracelet and medallion earrings, 305.993.1212; Cesare Paciotti booties, 305.861.8656.

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Saint Laurent by Hedi Slimane sweater, 305.868.4424; Cesare Paciotti suede booties 305.861.8656; Vita Fede Anneli, Eclipse Bulloni and Titan bracelets and Geo and Emma rings, Kara Ross gold bracelet and gemstone ring available at Intermix, 305.993.1232; Kenneth Jay Lane gold hoop earrings.

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Chanel wool pullover, tweed skirt and bag, 305.868.0550; J. Mendel fox fur scarf available at Neiman Marcus, 305.865.6161; Graff diamond medallion earrings, Graff Superstar watch and diamond bracelet, 305.993.1212.

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J. Mendel fur zip vest available at Neiman Marcus, 305.865.6161; Love Leather black crop top available at Intermix, 305.993.1232; Roland Mouret Ardabil trouser available at Neiman Marcus; Cesare Paciotti suede booties, 305.861.8656; Kenneth Jay Lane rope necklace, flower bug ring and bracelets available at Neiman Marcus; de Grisogono gold and diamond rings, green cuff and diamond earrings, 305.865.8765.

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Dolce & Gabbana bejeweled top and shorts, 305.866.0503; Brian Atwood lace-up booties available at Saks Fifth Avenue, 305.865.1100; Graff emerald dome earrings and ring, 305.993.1212.

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Antonio Berardi jacket and trousers available at Saks Fifth Avenue, 305.865.1100; Chanel bag, 305.868.0550; Fendi metallic pumps, 305.861.7114; Graff emerald dome ring, 305.993.1212; de Grisogono pink cuff with diamonds, 305.865.8765; Chopard rubellite earrings and gold and ruby cuff, 305.868.8626. Photographer: Koray Birand Stylist: Sarah Gore Reeves Stylist Assistant: Alexandra Kulukundis Hair: Felix Fischer/Factory Downtown using Philip B Makeup: Moani Lee/Altered Agency using Yves Saint Laurent Beauty and Tata Harper skincare Manicurist: Gina Edwards for CND/Kate Ryan Producer: Fill in the Blank Production Model: Mila Krasnoiarova/The Lions

Uptown GIRL With Central Park as her backdrop, this lady proves that sheâ&#x20AC;&#x2122;s still got plenty of edge. Photography by GOMILLION & LEUPOLD Styling by KIM JOHNSON

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J. Mendel blouse and dress available at Neiman Marcus, 305.865.6161; Jimmy Choo pumps, 305.864.3656; Alexis Bittar earrings, choker and ring available at Neiman Marcus.

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Alberta Ferretti ivory coat-dress available at Saks Fifth Avenue, 305.865.1100; Chanel chain necklace, 305.868.0550; Fendi mink and patent leather heels, 305.861.7114; Gucci handbag, 305.868.6504; Kenneth Jay Lane bracelet and Alexis Bittar earrings available at Neiman Marcus, 305.865.6161.

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Michael Kors turtleneck, skirt and houndstooth fur wrap, 305.864.4144; Prada belt, 305.864.9111; Bottega Veneta suede pumps, 305.864.6247; Alexis Bittar earrings, choker and bangles and Kenneth Jay Lane spike bracelet available at Neiman Marcus, 305.865.6161.

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Valentino dress with beaded peplum detail, 305.867.1215; Michael Kors pumps, 305.864.4144; Alexis Bittar earrings available at Neiman Marcus, 305.865.6161.

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Chanel dress, 305.868.0550; Jean-Michel Cazabat pumps available at Neiman Marcus, 305.865.6161; Jimmy Choo clutch, 305.864.3656; Alexis Bittar earrings and Kenneth Jay Lane necklace and bracelet available at Neiman Marcus.

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Balenciaga turtleneck sweater, pants, coat, boots and bag, 305.864.4932.

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PICTURE SHOW

These creative couples share a knack for fashion, art and design. BY BEE SHAPIRO

Jamie Beck and Kevin Burg are revolutionizing visual imagery one gif at a time. On a Friday afternoon, Jamie Beck, 30—photographer and one half of the creative husband-wife duo behind Ann Street Studio—was preoccupied with urgent matters. On the terrace of the sunlit, live-work and newly-leased Tribeca studio she shares with her husband Kevin Burg, was a ladder adorned with potted blooms and a few well-positioned, if deteriorating ice blocks. “It’s a time-sensitive issue,” Beck says, laughing and nodding towards the mini glaciers. Her partner (in more than ways than one) Burg, 31—a Kansas City-born creative director with a graphic design background from Drake University—kept his cool. “We’re in the middle of a shoot,” he explains. The pair would work through Saturday to make deadline, he adds. “We keep seeing our friends Instagram photos and it seems everyone is in Montauk,” Burg says, somewhat

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wistfully. But if helming a buzzy enterprise requires weekend office hours, at least the long days could be a shared. “We get to be really busy and still see each other,” Burg says, while later leading me around their upstairs offices. The generous skylights highlighted framed portraits like the heiress Hannah Bronfman, a ringer for Josephine Baker in a glamorous ‘30s-inspired shoot, and a playful model wearing a frock by designer Misha Nonoo. Neighboring a couple red boxes stuffed with Polaroids, an impressive collection of Beck’s vintage cameras was at the ready. “I was shooting with the 4x5 view camera today,” says Beck, intimating that she likes working with everything from old-school Hasselblads to today’s HD superstar, such as the Red digital cameras. Indeed, it’s their experimentation and genre-bending work that have their clients, which now include such fashion heavyweights as Chopard, Donna Karan,

FROM TOP: Carine Roitfeld, 2012; a Great Gatsby inspired fashion editorial, 2012; a Cinemagraph of Oscar de la Renta, 2011; Karlie Kloss at Ralph Lauren’s Spring 2013 show. OPPOSITE PAGE: Kevin Burg and Jamie Beck on location in Joshua Tree National Park for a campaign shoot.

Saks Fifth Avenue, Tiffany & Co. and Jimmy Choo, clamoring for more. “Our brand elevation has grown,” says Beck. Particularly, the two officially launched their enterprise in 2011, based on the success of their Cinemagraphs—a photography series with isolated animation, which they also trademarked. That year, Mashable.com claimed the duo was “changing fashion photography.” It began with side projects, says Burg. Beck, who moved to New York in 2003 to attend FIT and majored in fashion photography, was already a working photographer by then, and Burg, who arrived in Manhattan in 2005, actually held a full-time job at Dotbot. “You know how you click with a place?” asks Burg, regarding his experience with New York City. “I just felt at home here immediately.” Cinemagraphs came about after some tinkering off-hours and seeing how their talents could jive. “I was always experimenting with animation and 3D graphics,” says Burg. Their first pitch was a hit: Gilt Taste signed on. By then, they were already a couple, after first meeting through friends on the Upper East Side in 2006. “We’d go out after work, at a bar,” says Burg. The two, who started as friends but got together romantically in 2008, celebrated their one-year wedding anniversary in June. (The bride wore Katie Ermilio and said she was “very organized” about the whole event.) “We had really similar upbringings, but I think we really bonded over art and creativity—there was lots to talk about,” Beck says, pointing to her middle-class upbringing in Fort Worth,

Texas, and Burg’s comparable childhood. In 2009, Burg encouraged Beck to start From Me to You, a now-wildly popular Tumblr account, which made the “30 Must-See Tumblr Blogs” on Time.com. At one point, the blog, before migrating to AnnStreetStudio.com, garnered some 250,000 hits a month. “She forced herself to stretch [with that blog],” says Burg, regarding Beck’s site. “I used to call it her master’s degree. It was an intensive thing she did every day.” Beck was also shooting for indie magazines at the time, she says: “I’m always thinking of what I’m shooting next, not of what I’ve already shot.” Beck and Burg’s future looks promising. In the last couple of years, Cinemagraphs has become a bona fide hit, spawning imitators and coverage on BuzzFeed.com. But Beck, especially, now has built-in relationships with clients and admirers. For Mercedes-Benz Fashion Week in New York, Beck will be booked per usual, “covering for Donna Karan and a few other in-house designer collaborations. They’re very specific stories or looks about the day,” she says. “I also really want to be a part of Art Basel Miami Beach,” Beck says. “We’re trying to find the right technology partnership.” “We’re a good balance between clearheadedness and creativity,” Burg adds. “We just want to go bigger and better. We’re always trying to stay on the edge of technology and pushing the medium creatively as well, so it looks like you’re peering into a window.”

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Garance Doré and Scott Schuman, the queen and king of street photography.

Garance Doré and Scott Schuman are street style photography royalty. It’s a sunny New York morning and Garance Doré, the charmante street photographer and blogger extraordinaire is wrapping up a few things in the Manhattan studio she shares with live-in boyfriend and fellow shutterbug Scott Schuman (see: The Sartorialist). “My mom worked with my dad, and I used to say I would never ever do that—now look at me!” Doré says. “We share this studio—everything. But we’re in this together. It’s pretty funny.” The Corsica-born talent has much to be in good humor about. The next day, she has a flight to Bali—it’s been on her “bucket list,” she says—where she’ll be soaking up the island atmosphere and snapping shots for GaranceDore.fr. Since launching in 2006, the site has blossomed from an indie blog to an influential, multimedia enterprise. Aside from blogging, she often collaborates with Schuman on fashion projects, such as a recent one for Superga and the brand’s creative directors Mary-Kate and Ashley Olsen. “He was shooting and I was filming,” Doré explains. They also worked together on an Instagram campaign for Tiffany & Co., aptly titled “What Makes Love True.” “We’re like each other’s editor-in-chief; we consult each other on every subject,” says Doré.

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Schuman particularly appreciates Doré’s “incredible dedication to create a new honest emotion.” Although he adds that it’s “also challenging to work with another artist who is so strong in so many different areas. It keeps me on my toes and challenges me to look for new ways to express myself.” Certainly no slouch in the photography department, the Indiana-born Schuman has plenty of his own strengths. TheSartorialist.com was one of the early definers of the street style genre, and has spawned lucrative offshoots including several hardcover tomes featuring some of his best work. He’s since shot for GQ, Vogue Italia, Vogue Paris, Interview, Absolut and more. Doré, meanwhile, grew up in a “very small village, with almost no cars,” in Corsica and has always viewed fashion as a visual escape. “The only way to see what was going on in the big cities was by reading magazines,” she remembers. More recently, she’s been developing her writing skills. Her voice, relatable but sprinkled with sassy bon mots, sounds clearly in her blog posts. Writing style hasn’t been something she’s given a lot of thought to in the past, she says, though “my boyfriend says it’s one of the best things I do.” She’s keen on testing out her talents, like writing an upcoming book (a sort of funny French take on the self-help genre, she says) and building other media extensions. “Keeping my voice is a more

Garance Doré features photographs, musings and illustrations, including those seen here, on her wildly popular blog, garancedore.fr.

conscious thing now,” she muses. “There are so many channels and the way you speak on Instagram, your blog and Pinterest can be all different,” she adds. “It’s really about trying to understand your voice and what you stand for. I really question myself, ‘What is my message?’” Video has been a wonderful way to deliver a fuller picture, she says. She actually first started toying with live shots in 2007, only a year into her blog. “My camera had a video option, so I just used that,” she explains, chuckling. These days, she might be chatting up Stella McCartney or J. Crew’s Jenna Lyons for her YouTube web series, “Pardon My French.” If Doré looks enviably at ease on-camera (“I edit out the bad parts,” she says, laughing), she keeps from “freaking out by interviewing” only those she’s really interested in. At one point, “I was wondering if I should interview celebrities because maybe more people would want to watch,” she recalls. “But then I thought that it wouldn’t come from the heart. With celebrities, it can be very remote. It would become an exercise and I wouldn’t want that.” But as her YouTube channel has become a larger part of her work—Kering and Net-a-Porter, for example, have commissioned her for video projects—the irony is that she’s become something of a celebrity herself. If people now stop her on the street, Doré claims it’s been nothing but friendly. “I’m more careful

about giving the address of the studio and stuff like that,” she said. “But I read a piece on Vanessa Paradis once where she said it’s all about the way you behave to people. If you’re very nice, you usually don’t have a problem.” Besides, Doré likes hearing impromptu feedback. “I’m interested in what people think,” she says. Part of it is keeping her thumb on the pulse and maintaining that elusive thing called influence. “It’s not just how many visits I get to the blog,” she says. “Influence is intangible. It’s not just numbers because maybe one person is good at Instagram and someone else is better at Twitter.” Plus, with the overflow of options out there, her own media diet has whittled down some. “I’ve changed a lot from the beginning,” she says. “I used to follow a lot of blogs. But this morning with my coffee, I was looking at Pinterest and Tumblr, and then The New York Times, which I like because it always has a point of view. I don’t have one favorite.” Instead, Doré senses a broader shift in how we view fans and followings. “We live in an interesting time right now,” she says. “Because somebody who is famous on TV might have a lot of followers. But then maybe a good actor might not do so much social media because it’s more about his work. Twitter and social media are not a true vision of reality.”

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STUDIO VISIT Thakoon Panichgul shares a sneak peek of his Spring 2014 collection and what keeps him creating. BY JULIE BAUMGARDNER PORTRAIT BY DOUGLAS FRIEDMAN What’s a go-to source for inspiration? I love books—there are so many things to discover and be inspired by. I used to read and buy books a lot more than I do now, but the habit is still there. I've been collecting since I was 15 or 16, but when I moved to New York City, it accelerated. I rotate books between the apartment, the office and my house Upstate. I go through moments; right now, I just want paperback books and ‘zines, especially from Japan—they're so well done. How does your office inspire your mood? We moved offices a week before our fashion show in February, which was insane. But there's just a lot more space to create and to think. I never come in with a complete idea of what I want my office to look like. Because I work on so many projects, I don't have a strict ritual, so I need the office to be a bit of a blank canvas. I dream of a couch in here, but it's not conducive to how we work. Although, when we are prepping for the show, it would be nice to have a spot to lie on. Describe how you get into the creative zone. My new office has gotten me back into looking at magazines. There's a newsstand right downstairs from us now, which is really convenient. I love getting in the office early, picking up a magazine, having my coffee, listening to my music…That's a good way to get the day started! Where do you find all of your objets d’art? I get them from all over. eBay, vintage stores, hardware stores, nautical stores in Cape Cod, John Derian...the list goes on! Is the color red of particular inspiration? I really respond to it. It's such a strong, sensual, classic color that really goes with everything. Maybe it's the association with lipstick that I like.

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“I’m really drawn to white ceramics. They’re what I always seem to pick up.”

“It's funny—I didn't really realize there are so many Kate Moss pictures here. She has made such great images in her career, ones that I always go back to. I think it's her persona that comes through and makes them beautiful.”

“To me, this particular Peter Lindbergh picture (above) is about the attitude. It was such an iconic moment, with such great style. I remember when I was young, just staring at the photograph...something about it spoke to me.”

“The jars contain color swatches from fabric clippings. It's the best way to choose colors because you see the saturation on fabrics.”

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FASHION If there’s one crowd to follow, it’s the fashion set. Here’s

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FLOCK

where they’re going this season and beyond. BY MARK ELLWOOD

The vibrant party scene at Brown TLV in Tel Aviv, where in the past year the stylish fashion crowd has added the Israeli city to their “must-visit” list. BAL HARBOUR 175

CLOCKWISE FROM TOP: The Grand Canal in Venice, Italy; the Sea of Caldera in Santorini, Greece; a suite at the Mykonos Theoxenia in Greece; the Aman Canal Grande in Venice; the swimming pool at the Mykonos Theoxenia.

WHETHER SHUFFLING FROM show to show in city after city, or sitting in the same restaurant staring delightedly at another plate of lettuce, the fashion set does everything together. When it’s time for time off, they travel en masse too, descending on certain destinations like trendsetting locusts. Every year, much like the looks on a catwalk, that roster of vacation spots shifts; we’re presenting the class of 2013 with the fashpack seal of approval. It’s a passport to the next set of must-see destinations, as endorsed by the most fickle and finicky travelers anywhere. Just make sure to book a ticket before they move on to fresh locations next year.

TEL AVIV, ISRAEL The clearest sign of the White City’s new perch on the roster of fashion’s must-see destinations was the establishment of its first ever Fashion Week two years ago. This was as much a side effect of a slew of stylish visitors as an economic strategy: Givenchy’s Riccardo Tisci, County of Milan designer Marcelo Burlon, Mugler muse Stella Ellis, supermodel Bar Refaeli and a cadre of Louis Vuitton designers have all stayed at one hotel, which has become ground zero for the glamorati. Brown TLV (browntlv.com) is a 30-room boutique spot in a onetime bank. The décor—largely brown, of course—channels Warren Beatty in “Shampoo,” more wah-wah than chi-chi, down to the “Girls of Israel” feature in Playboy in 1970 spotlit in the lobby.

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VENICE, ITALY Venice has always been a glamour-soaked destination, thanks to its gilded history and starry events like Fall's annual film festival. This summer, though, it was anointed as a style set must-see once again, with the likes of Grace Coddington and stylist Giovanna Battaglia spotted among the canals. Dolce & Gabbana threw a candlelit masked ball there celebrating their Alta Moda couture collection with their inner circle, including Anna Dello Russo in an outré wig that would have outdone even the most indulgent Doge. Another endorsement of Venice's rediscovered cachet: the new 24-suite Aman Canal Grande (amanresorts.com), housed in the converted 16th century Palazzo Papadopoli. The property opened during what's arguably the city's most glamorous biannual event, the Venice Biennale, during the weeklong opening celebrations where fashionistas and the arterati collide and collude.

THE GREEK ISLANDS Land on almost any of Greece’s 200-plus inhabited islands in the summer, and you’ll slalom into a slew of the stick-thin and chic. Mykonos? Dolce & Gabbana moor their yacht in the harbor, doubtless to make land for the scene poolside at Jackie O’s favorite crashpad, the Mykonos Theoxenia (mykonostheoxenia.com). Santorini is where Riccardo Tisci, clearly fashion’s most enthusiastic frequent flyer, and his friend and artist Marina Abramovic once holed up to heal their mutual broken hearts—follow their lead with a stay at the Astarte Suites (astartesuites.gr), overlooking the island’s volcano. But the most exclusive invitation is to join the art set on Hydra, where blockbuster collector Pauline Karpidas invites an elite caste of jetsetters for a dinner to celebrate the gallery she created out of a kayiki workshop on the waterfront.

CLOCKWISE FROM TOP RIGHT: Dining al fresco at the Surf Lodge in Montauk; the Incan ruins of Machu Picchu in Peru; an aerial view of Palaia, Italy, a small town in Tuscany.

PALAIA, ITALY The latest passion project from André Saraiva and business partner Lionel Bensemoun—the hipster duo behind iconic Parisian boîte Le Baron—is Villa Lena in Palaia (villa-lena.it). The idyllic hotel soft-launched this year in the week between the Pitti Uomo shows in Florence and Paris Fashion Week, bringing a throng of attendees to sample the setup. A 500-hectare estate of olive groves and woodland in Tuscany, it’s intended to be as much a high-class commune as a hotel, drawing creative types from across various disciplines for a rustic getaway in the Italian hills. There are standalone buildings for rent across the property, and the best place to stay is at one of the apartments inside the 19th century villa known as the Fattoria, a grand stable with original pillars and vaulted ceilings.

PERU Peruvian superstar shutterbug Mario Testino has quietly championed his home country his entire career—see how he recently shot Kate Moss in full Peruvian costume for French Vogue—and Cynthia Rowley recently stayed at Tambo del Inka (luxurycollection.com) in the Sacred Valley. Stylist, designer and Mick Jagger arm candy L’Wren Scott is another Andean acolyte who makes regular trips, first to de-stress in the Amazon and then to soak up the history of onetime Incan capital Cusco. No doubt she’ll stop in at the new ultra-luxe hotel debuting this summer at the heart of this UNESCO-endorsed site, the Palacio del Inka (luxurycollection.com). The hotel sits on sacred grounds directly across from the Temple of the Sun (or Qoricancha). Among its 203 rooms, the standouts are the 17 Casa de los Cautro Bustos suites: with their 13-foot ceilings and hand-carved furniture, they channel the mansion of a wealthy settler in the early colonial era.

MONTAUK, LONG ISLAND Technically part of tony East Hampton, the fishing village of Montauk at the tip of Long Island is separated from it by a long sandy road, the Napeague Stretch. It’s a sharp dividing line: while bankers and their wives cluster the manicured streets in East Hampton, Montauk’s winding roads host a ragtag band of fashionistas, surfers and, well, surfing fashionistas. Bruce Weber long rented a manse here to shoot hunky, dewy male models on the beach each summer while Da Silvano scion Leyla Marchetto—one of the team running clubby hangout restaurant Navy Beach—lives there year-round. For overnight stays, skip the noisy hordes at the waterfront Surf Lodge (thesurflodge.com) and hunker down at the landlocked Solé East resort (soleeast.com), a former motel with bright, cozy rooms. Montauk’s surf scene has spawn a similar culture even further east—in Japan. Check out Kamakura, the swell-soaked Japanese surf center near Tokyo, now luring the same posse.

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t e e M LILY DONALDSON The British supermodel shares some style secrets on set in New York City. PHOTOGRAPHY BY RUSH ZIMMERMAN What is your daily go-to fashion uniform? Levi’s 501 cut-offs, lace-up Vans and I love men’s oversize cashmere jumpers. What was your first big ticket purchase after becoming a successful model? A pair of YSL boots that I still wear. They get better with age. Tell us some of your favorite photographers whom you’ve worked with. There are lots but Inez and Vinoodh, Mario Sorrenti, Terry Richardson—he’s so fun to shoot with—and Steven Meisel, he basically taught me how to model. What’s your go-to Fall look? Oversized and comfortable. What was the last book you read and loved? I just re-read Fyodor Dostoyevsky’s “The Idiot.” Favorite movie of all time? That’s a hard one as I have many, but I really love Werner Herzog’s films. Favorite restaurant in NYC? Takahachi. Who are your current style icons? Jane Birkin because she’s effortless and my grandfather because he’s always covered in paint. Most prized possession? My biker jacket. Young designer you are most excited about? I like Simone Rocha. How did you feel after your first Vogue cover? Shocked but excited, it was quite a surreal feeling. Your best vintage find? My best vintage finds have been jewelery. I like things with history attached to them. Who has influenced you most in the fashion world? I always found the theater of John Galliano and Alexander McQueen the most exciting. Most memorable shoot? Having a fake pregnancy for French Vogue with Carine Roitfeld and Patrick Demarchelier. We laughed—a lot. Three things you can’t live without? My family, music and paint. What magazines do you read on a monthly basis? I read The Economist and National Geographic. Favorite juice spot? Juice Press.

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“We shot outside on a rooftop in Manhattan...It was a sunny day and we had lots of laughs.”

For an exclusive behind the scenes video of the cover shoot, visit balharbourshops.com. BAL HARBOUR 191

FASHION FÊTES

Partying around the world with Bal Harbour's brands

David Lauren, Jessica Alba and Dylan Lauren at the Ralph Lauren Girls’ Fall 2013 Fashion Show in Sagaponack, New York.

Models sporting looks by Stella McCartney at the Spring 2014 presentation in New York.

Salma Hayek at the Bottega Veneta and Christie’s dinner in New York.

Giorgio Armani at the premiere party for the “Eccentrico” exhibition at the Palazzo della Civiltà Italiana in Rome.

Loro Piana Superyacht Regatta in Porto Cervo, Sardinia.

Karen Elson at the Roger Vivier book launch in New York. 192 BAL HARBOUR

Stella McCartney at her Spring 2014 presentation.

Ransome Rombauer at Gucci.

Marie Ange Casta and Clare Waight Keller at the new Chloé flagship store opening in Paris.

Loro Piana’s sailing crew.

Karen Elson performs at Roger Vivier.

Gucci hosts Giant Steps Charity Classic in Sonoma, California.

Kate Bosworth at Stella McCartney.

Stella McCartney and Anna Wintour.

Julianne Moore at Stella McCartney. BAL HARBOUR 193

Jessica Alba with daughters Honor and Haven Warren at Ralph Lauren.

Bruno Frisoni and Ines de la Fressange at Roger Vivier. 194 BAL HARBOUR

Hannah Selleck in Gucci.

Helena Christensen at Stella McCartney.

Karen Elson, Ines de la Fressange and Coco Rocha at Roger Vivier.

Kate Bosworth and Naomi Watts at Stella McCartney.

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Christie Brinkley with models at Ralph Lauren.

Milla Jovovich and Giorgio Armani.

Giorgio Armani’s “Eccentrico” exhibition in Rome.

Tory Burch and Tomas Maier at Bottega Veneta.

Cameron Diaz at Stella McCartney.

Vanessa Getty at Gucci. 196 BAL HARBOUR

Latanya and Samuel Jackson at Armani.

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MUST-READS

Haute couture, bespoke motorcycles and coveted menus take center stage this fall. BY NOELLE LACOMBE

City Parks Catie Marron captures the spirit and beauty of 18 of the world’s most beloved city parks in an extraordinary visual and poetic journey, from Calcutta to Chicago. Photographs by Oberto Gili are presented alongside evocative essays by celebrated writers and personalities, including President Bill Clinton, Ian Frazier and Zadie Smith. (HarperCollins)

Amber, Guinevere & Kate With their unique features and waiflike figures, Amber Valletta, Guinevere Van Seenus and Kate Moss symbolized the anti-supermodel that, alongside grunge, signified a global shift in ‘90s pop culture. In this title, photographer Craig McDean captures the evolution of these models from the beginning of their careers. (Rizzoli)

Baccarat 1764 In celebration of more than 250 years as one of the most prestigious luxury houses, Baccarat is releasing a sumptuous publication, written by Murray Moss and Laurence Benaïm, showcasing over 300 pieces of crystal creations. This lavish coffee table book offers an in-depth look at the brand’s storied history, starting with the very first set of glasses commissioned by Louis XVIII. (Rizzoli)

Eating at Hotel Il Pellicano In this cookbook, Juergen Teller photographs the extravagantly elegant food from the celebrated Hotel Il Pellicano in Tuscany. This title explores the complexity and originality of two-Michelin-starred chef Antonio Guida and his wild and whimsical dishes. (Violette Editions)

Shiro Kuramata The first-ever complete monograph on this highly influential Japanese designer is presented in two volumes featuring photographs, drawings, essays and interviews from the Kuramata archives. (Phaidon)

Valentino: Objects of Couture With specially commissioned photography and artwork by David Bailey, Luisa Lambri, Nobuyoshi Araki, Scheltens & Abbenes, Philip Lorca diCorcia and Douglas Gordon, this volume celebrates Valentino’s latest phase, under creative directors Maria Grazia Chiuri and Pierpaolo Piccioli. (Rizzoli) 198 BAL HARBOUR

It’s Modern: The Eye and Visual Influence of Alexander Liberman This visually rich volume presents, for the first time side-by-side, the commercial work and artwork of Alexander Liberman. As the editorial director of Condé Nast from 1960 to 1994, Liberman was responsible for reshaping Vogue into the publication we know today. With works by Matisse, Picasso, Beaton, Leibovitz, Newton, Ritts, Horst, Avedon and Penn, this engaging book is a must for lovers of fashion, art and magazines. (Rizzoli)

François Halard This extravagant coffee table book is the magnum opus of today’s most celebrated interiors photographer. The highly anticipated volume takes readers on an insider’s tour of the glamorous homes of the most important tastemakers, artists and designers of the 20th century. (Rizzoli)

Jean Patou: A Fashionable Life Drawn from previously unpublished family archives, this illustrated monograph recounts the life and career of master haute couturier Jean Patou. Although his career only spanned 15 years, his mark on fashion is legendary. Day pajamas, jersey sportswear, swimwear and the little black dress were all among the innovative designs he created, earning him the title of the king of Parisian fashion. (Flammarion)

Tahiti: Faery Lands: François Nars For over 10 years François Nars has been capturing the landscape, culture and people of Motu Tané in French Polynesia. In a departure from his recognized subject matter—cosmetics and beauty—”Faery Lands” is the first published collection of Nars’ personal photographs. (Rizzoli)

100 Contemporary Green Buildings Some of the most exciting new buildings in the world are now environmentally aware, sustainable and conceived to consume far less energy than ever before. This two-volume tome depicts a groundbreaking collection of 100 of the world’s most innovative sustainable structures and built environments by the likes of Frank Gehry and Norman Foster, as well as up-and-coming architects. (Taschen)

A Work In Progress: Journal, Recipes and Snapshots René Redzepi, co-founder and chef of Copenhagen’s two-Michelin-starred Noma, brings us into the kitchen and into the lives of the talented team behind one of the world’s best restaurants. This unique collection includes a cookbook with 100 new recipes from Noma, a personal journal written by Redzepi and a pocket book of candid, Instagram-style snapshots taken by Noma’s staff. (Phaidon)

The Impossible Collection of Motorcycles Imagine the perfect collection of motorcycles—from the one-of-a-kind 1934 BMW R7, the iconic 1969 Easy Rider bike that Peter Fonda made famous and the 1973 Harley-Davidson XR750, Evel Knievel’s ride of choice—and that gives you a taste of what this beautifully designed book has in store. The deluxe volume, presented in a sleek, black rubber box, is brimming with vivid images of 100 of the world’s most incredible motorcycles. (Assouline)

Beken of Cowes Celebrating the very best in yachting as captured by the legendary Beken family over the past century, this title features a collection of black-and-white photographs of sailboats, presented in a luxury handbound limited-edition linen case. (Assouline)

All titles available at Books & Books Bal Harbour.

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Identity Shift With its new name and a home in New York (and Asia), Kering is truly a global brand. Meet Laurent Claquin, the head of its U.S. office. BY KATE BETTS

ot many executives in the fashion business have a surfboard and a skateboard propped up against the wall outside their office door. Fewer still would prominently display the Albert Einstein quote, “Imagination is more important than knowledge,” in the reception area. But the U.S. headquarters of Kering, the French luxury group formerly known as PPR, have more character than most midtown Manhattan offices thanks to Laurent Claquin, the head of Kering Americas. Claquin, a handsome 40-something Frenchman from Quimper, the seaside town in Brittany famous for its pottery, moved to New York City from Paris two years ago to oversee what he calls a transformation of the luxury group that includes Saint Laurent, Gucci, Stella McCartney, Bottega Veneta and Altuzarra, which it recently took a minority stake in. “We were talking about the transformation of the group—a new name and an identity change,” explains Claquin, who had previously been the head of corporate communications for the group for eight years. “It all came together, personally and professionally. The move made sense.” At that time, François-Henri Pinault, the chairman and CEO of the group and scion of the Pinault family, had made the decision to focus the business on fashion and accessories. He sold the rest of the company’s properties and transformed PPR from a conglomerate to a more cohesive group. It also made sense to change the identity of the group and to find a name that meant something, “not just a bunch of letters,” says Claquin. “We wanted a name that expressed the way we take care of the business, our environment, the people we work with,” he adds. Ker, which means house or home in Breton, made sense as a root of the name not only for its meaning, but also for the fact that the Pinault family is from Brittany, a region of France that is very proud of its heritage (not to mention its surfing spots). “To have home in the name is like you know where you’re coming from,” says Claquin. The emblem, an owl, represents global vision, discretion and protective qualities, but it also refers to a collection of owls on Pinault’s father’s desk. For the company, the transformation is huge, marking it as a true global business rather than one simply based in France. (There is also a Kering headquarters in Asia.) For Claquin—whose previous career was in the art world working in communications at Paris’ Galerie Nationale du Jeu de Paume and at the Centre Georges Pompidou—the move to New York opened up new vistas, too. “Coming from France, New York is impressive, especially the enthusiasm and the positive energy,” he says. It was his love of art as a kid that would eventually lead him to the fashion world, albeit on a circuitous route. “When I was 12, I remember visiting the museum in Quimper with my school. My parents didn’t have any paintings or anything in the house, but I knew right away that art was my passion. I wanted to be an auctioneer.” Later, after a business school degree and stint at PricewaterhouseCoopers, he answered an advertisement in Le Monde for a job at the Jeu de Paume. Soon he was organizing private events at the museum for fashion brands like Thierry Mugler and Hermès. Then, when he moved to a job at the Pompidou, he met Pinault and eventually went to work for him. These days, when he isn’t visiting Gucci or Balenciaga stores or overseeing communication about Gucci’s Chime for Change concert in London last June with Beyoncé, Jennifer Lopez, Jay-Z, and Mary J. Blige, Claquin likes to reconnect with his early love of fine art, visiting art galleries in Chelsea and checking out new exhibits at MoMA. If living in New York was something Claquin always imagined he would do, then Albert Einstein’s quote, spelled out in bold letters right outside his office, makes total sense.

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FROM TOP: Laurent Claquin; François-Henri Pinault and his wife Salma Hayek in Venice where his family’s art foundation is held; a look from Alexander McQueen’s Pre-Fall 2013 collection.

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DESIGNER OBSESSION PHOTOS COURTESY OF ADITYA KAPOOR/GETTY IMAGES AND JASON SCHMIDT/TRUNK ARCHIVE

While they may produce highly coveted creations for the closet, these designers’ garages are a good place to start when it comes to their own collectibles. BY WILLIAM KISSEL

Designer Lapo Elkann has always been an independent spirit, first with his reinvention of the Fiat 500; later with his have-it-your-way fashion collection, aptly named Italia Independent; and, coming this Fall, his collaboration on a new label, Lapo’s Wardrobe, with Gucci creative director Frida Giannini. However, anyone who’s met the irrepressible grandson of the late Italian style icon Gianni Agnelli and heir to the Fiat fortune knows that Elkann’s true passion is cars. His favorite is a matte green Fiat 500, which he drives regularly, and his latest is a camouflage-painted Ferrari 458 Italia. Now the charismatic designer of both cars and clothing has enough muscle power (Fiats, Ferraris, Maseratis and more) in his garage to have his collection counted among the best in the world. But Elkann isn’t the only high-profile fashion designer with a passion for cars; Ralph Lauren’s fascination with motoring is legendary. His first purchase was a Porsche Turbo bought in 1978 and since then he has amassed more than 70 vehicles—from Alfa Romeos and Bugattis to Porsches and Ferraris—all stored in a specially outfitted garage, the contents of which were the subject of an exhibition, “L’Art de L’Automobile,” at Les Arts Décoratifs in Paris in 2011. Lauren doesn’t attest to a favorite, but the designer does own one of the world’s most expensive cars, with his $40 million Bugatti 57SC Atlantic Coupe, built in 1938. Apart from their physical beauty, Lauren says cars play a significant role in his creative vision. To that end, everything from highly styled air vents and perfectly crafted steering wheels to Ralph Lauren’s 1955 Porsche 550 Spyder convertible. 202 BAL HARBOUR

As the heir to the Fiat fortune, designer Lapo Elkann was born with a passion for cars.

Ralph Lauren’s 1955 Porsche 550 Spyder convertible.

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buttery soft leather interiors have inspired the designer’s myriad collections, “from a watch to a chair to a woman’s evening dress,” he says. The fashion and automotive worlds have been constant collaborators over the years, usually for charitable causes and, often, with some rather offbeat results. For instance, British designer Paul Smith once painted a rainbow of his signature stripes on a Jaguar X-Type; Matthew Williamson added a shocking fuchsia and gold silk interior to a Rover 25; while, prior to his ouster from Dior two years ago, bad boy designer John Galliano teamed up with Toyota to fashion a limited-edition Paseo in canary yellow with swooshy green stripes. But, for some, the collaboration is more than a folly. Designer Johan Lindeberg has been doing a lot of Instagramming lately with his black 1985 Mercedes-Benz 500 SEL, a car he also featured in his 2012 ad campaign. While Kenneth Cole, who once outfitted a Mini Cooper convertible with studs for charity, discovered his passion for automotive muscle behind the wheel of a black 1966 Mustang, a car he drives regularly on Martha’s Vineyard. “I appreciate timeless style, and the Mustang is a classic,” says the designer behind some of fashion’s most ideological advertising campaigns (his latest is a nod to standing up for your rights—in the right shoes, of course). “It’s an understated machine that looks good, and runs even better, which is what makes it quintessentially cool,” says Cole, whose love of the car is so deep-rooted that he actually uses Mustang leather on one of his duffle bags. Cole also owns an Aston Martin, but he doesn’t like to talk about it. Italian menswear designer Stefano Ricci has long held a passion for fast cars and even faster fashion, and, whenever possible, he loves to mesh the two. At one time, Ricci outfitted a custom-made Lamborghini with an emerald green crocodile interior that was later sold at auction. Likewise, his collection of car coats, driving shoes, cufflinks and caps are sporty testaments to his love of vintage Italian sports vehicles. Ricci doesn’t just love (and own more than 20 vintage) cars, including what he calls his “baby,” a 1953 Lancia Aurelia B20. He is also the primary sponsor of Italy’s historic 1000 Miglia car race, an annual auto event that pays tribute to the beauty of handmade Italian sports cars and, surreptitiously, to the art of the handmade suit. “Today, everything is manipulated by technology, so I decided it was time to offer a tribute to that which is still handmade,” says Ricci, who finds a curious parallel in the world of handmade cars and clothing. In both cases, “you’ll never find the right side exactly the same as the left,” he says, noting how this lack of symmetry is evidence of the human hand and “the real point of owning something entirely handmade.” Ricci says his love of historic cars was nurtured as a teenage boy, when his father gave him a 1937 Mercedes-Benz 170D. “It goes back to my childhood when I would stand and watch the cars zoom through Florence as they raced in the 1000 Miglia,” says the designer, now a frequent participant in the race with his two sons, Niccolò and Filippo, to whom he’s passed down both his design and motoring passions. For anyone who has ever dreamed of racing through the narrow cobblestone streets of Europe in a luxury sports car, Ricci will only say that the once-in-a-lifetime experience is “simply great.”

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LOVE, PEACE AND PARSNIPS The vegetarian movement continues to evolve from grungy to glam. BY ALYSSA SHELASKY

ale is the new black, Kristen Bell has been crowned PETA’s sexiest vegetarian celebrity and people are running in droves to New York City’s hyper-veg Dirt Candy restaurant for “Cabbage!” and “Beans!” and “Onions!” (Yes, those are the punctuations used on the menu—can you feel the passion?) Toss in a handful of global influencers like Bill Clinton—who famously swapped Big Macs for beet burgers and has never felt/looked better—not to mention the bright, sexy, universal spotlight on the farm-to-table movement, and it’s no surprise that David Frenkiel and Luise Vindahl’s blog, Green Kitchen Stories, led to a book, “Vegetarian Everyday,” which is now a delectable smash hit. We spoke to the Stockholm-based couple, who were vacationing in Barcelona with their three-year-old daughter, Elsa, about the wild success of their cookbook, the smoothie-food-bike they plan to launch and the natural beauty of a Brussels sprout. Are you both 100 percent vegetarian? David: I’m fully vegetarian. Luise is 90 percent—and always one at home. For me, it started when I was 15. In Sweden, we had free school lunches. They were pretty bad: random, pre-heated forms of meat. But I found out that for

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Co-authors David Frenkiel and Luise Vindahl and their daughter, Elsa.

vegetarians, they would prepare the food on-site, done fresh. So I had my mom write a note to the school saying I was a vegetarian. And it kind of just stuck. Is it hard being world-travelers with a strict diet? David: In some countries, it’s extremely easy. Most of Asia is vegetarian-friendly. India, Vietnam, all their spring rolls and noodles, most of these dishes have vegetables at the core. Mexico wasn’t entirely easy for us. Thank goodness for guacamole. That was basically a guacamole holiday for us. Portugal was the worst. I had nothing to eat but this creamy vegetable soup. Every. Single. Day. Luise: We really love to travel in southern Europe, because their side dishes are all comprised of beautiful vegetables. We practically lived off side dishes. What are your favorite vegetables? David: I use a lot of eggplant. It’s so interesting to cook with because it can be prepared from really raw or really soft to cut-thin, extra-crispy or something extremely hearty. Luise: I love mushrooms—there are so many different kinds, especially when you get to go foraging; it’s so much fun. Vegetarian recipes have been around forever, so why do you think your

Six Must-Try Vegetarian Restaurants Right Now Greenbar, Fort Lauderdale 1075 SE 17th Street, 954-533-7507; greenbar.com Green Bar & Kitchen embodies the concept of vibrant, plant based, gluten-free wholesome eating. Their menu items feature whole, gluten-free grains, nuts, seeds, veggies, soups, fruit, cold-pressed juices, superfood salads and smoothies, raw treats and vegan/gluten-free bakery items.

Kajitsu, New York 125 East 39th Street, 212-228-4873; kajitsunyc.com The top choice for gourmands, specializing in shojin cuisine, a type of vegetarian cooking that originated in Zen Buddhism. This is the Japanese star for meatless, fishless haute cuisine.

Café Gratitude, California Various California locations; cafegratitude.com A super-chic, karma-centric restaurant serving the freshest and most healthy, feel-good food available. The menu is vegan, always organic and unbelievably satisfying.

Vedge, Philadelphia 1221 Locust Street, 215-320-7500; vedgerestaurant.com Considered one of the best vegetarian restaurants in the country right now, Vedge prides itself on being a foodie’s restaurant—for omnivores, vegetarians, vegans and carnivores alike.

Seva, Michigan Ann Arbor and Detroit locations; sevarestaurant.com An award-winning vegetarian institution that’s been around since the ‘70s, this whimsical restaurant remains the core of Ann Arbor’s bohemian scene, not only for its delicious food, but coffee bar, juice bar, bakery and overall vibe.

Green Zebra, Chicago

Clockwise from top left: a tomato mini pizza; banana pancakes; tomato-and-potato salad with snap peas and zucchini spaghetti, all from “Vegetarian Everyday.”

recipes have such a cult following? David: We don’t know! Maybe because we’re nice and compassionate people. We were amateurs when we started…neither of us were chefs or photographers. We’ve taught ourselves everything, and I suppose people like that we’re not superhuman or anything like that. Luise: Also, vegetarian food is quite simple to make pretty because it’s so full of colors. We’ve tried to capture that prettiness in everything from Brussels sprouts to beets. You have the whole rainbow spectrum. We see our food like that, and we hope others do too. What is your most popular recipe? David: Our Beet Bourguignon—everybody seems to be obsessed with it. It’s playful and tastes really nice as well. Do you receive a lot of fan mail? Luise: It’s incredible. We get emails from families that really needed to get healthy—notes from mothers saying that it’s changed their kids’ well-being. David: We’ve heard from young girls with eating disorders saying they’ve started to eat well again because our blog makes them feel good about food. That’s really moving.

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1460 West Chicago Avenue, 312-243-7100; greenzebrachicago.com With an intense focus on the purity of ingredients, the owners have strong relationships with local farmers and foragers, creating unique dishes that mindfully connect the seasons with our senses.

What’s next? David: I’m still disappointed in the quality of vegetarian restaurants in Stockholm. We’ve talked about opening our own, but we’re not restaurant people. It’s so much work and we have a small child. We do have another dream, which is to create a food bike—like a food truck—and cycle around Sweden with smoothies and such. Luise: We also have another book that we’re working on. It will be the same format, but with a different twist. “Vegetarian Everyday” was such a long, hard process. When we handed in the final manuscript, we were like, “We’re never doing that again…” But that didn’t last long! And your daughter, Elsa—what are her current eating habits? David: Elsa eats almost everything we cook. Apart from loving all kinds of beans, lentils and chickpeas, she has always been a pancake kid. No surprise! So we often make banana pancakes from the book. And when we make gluten-free pancake for dinners, we prepare the batter in our Vitamix blender, where we also add spinach or kale, and call them green pancakes. She loves that they are actually green and we love that they are more nutritious than normal pancakes.

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MCB IS SUPPORTED IN PART BY AN AWARD FROM THE NATIONAL ENDOWMENT FOR THE ARTS. ART WORKS. SPONSORED IN PART BY THE STATE OF FLORIDA, DEPARTMENT OF STATE, DIVISION OF CULTURAL AFFAIRS, AND THE FLORIDA COUNCIL ON ARTS AND CULTURE. FUNDING FOR THIS ORGANIZATION IS PROVIDED IN PART BY THE BROWARD COUNTY BOARD OF COUNTY COMMISSIONERS AS RECOMMENDED BY THE BROWARD CULTURAL COUNCIL AND GREATER FORT LAUDERDALE CONVENTION & VISITORS BUREAU. MCB PROGRAMMING IS MADE POSSIBLE WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. CITY OF MIAMI BEACH, CULTURAL AFFAIRS PROGRAM, CULTURAL ARTS COUNCIL. A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE (800) 435-7352 WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL OR RECOMMENDATION BY THE STATE. MCB REGISTRATION NUMBER: CH1034. photo: sara esty, Photo © Gio Alma.

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