Bal Harbour Magazine - Spring 2017 by Bal Harbour Shops

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SPRING 2017

Toni Garrn

The SAILOR PANT, 2016 Photographed by Steven Meisel #RLICONICSTYLE

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PHOTO BY TOM SCHIRMACHER

SPRING 2017

Hannah Holman in a Marc Jacobs silk blouse and Graff diamond necklace and ring.

MATTER OF STYLE What to see, where to go and what to buy this Spring.

PUMPED UP KICKS Gianvito Rossi discusses his elegant creations at his new Bal Harbour Shops boutique.

HEAR HEAR You’ll want to grab hold of these bold, mismatched earrings that are sure to make a statement this season. ALL IN THE FAMILY Sophie Elgort picks up (the camera) where her famous father, Arthur, left off. THE FUTURE IS NOW Lynn Yaeger looks forward to the new See Now—Buy Now fashion trend.

STARK CONTRAST Noma Bar turns seemingly simple images into powerful commentaries on the duality of life.

BOLD STROKES Carly Kuhn—aka the Cartorialist—has quickly found a devoted following for her fashion-forward drawings.

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PHOTO BY DANIELE MATTIOLI

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Thomas Heatherwick’s Seed Cathedral

IT’S A MUST We've assembled the perfect Spring accessories to dust off that hazy shade of Winter.

THE BIG CHILL Fashion editor Suze Yalof Schwartz investigates the nouvelle namaste in her new meditation book.

GET A LEG UP This season, slip into something more comfortable and covered.

BAND OF SISTERS These bold feminine timepieces fuse stunning aesthetics with innovative complications and movements. HUNGRY FOR COMMUNITY From L.A to Philly to Miami, the food hall movement is sweeping the nation.

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THE MADDING CROWD A new book goes behind the scenes of Terence Donovan’s sexy street and studio photographs.

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MARCHING ON Gloria Steinem says the fight for parity is far from over.

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THE GOLD STANDARD Golden Door is welcoming a new generation of visitors, while paying tribute to its remarkable past. TAYLOR MADE Catherine Opie’s “700 Nimes Road” arrives at the NSU Art Museum. CREATIVE COUPLING Ruben and Isabel Toledo make a case for the power of two. PLATT DU JOUR Adam Platt recounts a life of good eats. 30 BAL HARBOUR

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Maja Krag wearing a Tory Burch blouse and Kenneth Jay Lane earrings.

LIKE CULTURE Take the (click) bait from these five tastemakers. You'll be happy you did.

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FULL BLOOM Designers are betting big on the power of the flower.

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ALL DOLLED UP This season's brightest whites offer a primed canvas for work or play time. PICK UP ARTISTS The Bass Museum unveils a gleaming new renovation.

BLINDED BY THE LIGHTS These stunners add the perfect punctuation to this season's hottest looks.

OUT OF AFRICA Iwan Baan captures the continent's architecture, revealing the stories behind the structures. AHEAD OF THE CURVE Thomas Heatherwick is redesigning cities for the future.

EN VOGUE Albert Watson opens a new show at the Palm Beach Photographic Centre.

SWEET INDULGENCES Spring's style tomes are sure to delight.

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Model Toni Garrn photographed by Kristian Schuller and styled by Sarah Gore Reeves exclusively for Bal Harbour Magazine wearing a Gucci silk wool dress.

Welcome Note Welcome to our Spring Issue. In a season of new beginnings, this issue celebrates visionary thinking. For Kristian Schuller’s inspired cover story ("All Dolled Up") and Fashion Director Sarah Gore Reeves’s fantasyland of blossoms (“Full Bloom”) ravishing works by Gucci and Chanel are transformed into fresh visual narratives. We also profile the next generation of innovators: photographer Sophie Elgort (daughter of the famous Vogue lensman Arthur) and Sergio Rossi’s son Gianvito, whose shoes have propelled legions to a new boutique at Bal Harbour Shops. Contributing writer Ted Loos looks at the limitless practice of architect Thomas Heatherwick, the British phenom co-designing Google’s London and California headquarters. Because fashion and art are engaged in constant dialogue, this issue dedicates significant space to springtime’s exciting art happenings, such as the reopening of The Bass on the heels of its Arata Isozaki–designed expansion. Farther afield, the curators of NSU Art Museum Fort Lauderdale are showcasing Los Angeles-based photographer Catherine Opie’s delicate images of Elizabeth Taylor’s home and possessions, while the Columbus Museum of Art surveys the collaborative work of beloved fashion couple Isabel and Ruben Toledo. Fashion, design and art reflect as well as catalyze innovation. As an exquisite place to shop, Bal Harbour embodies this thrilling push and pull of creative culture. We hope this issue of the magazine does the same, inspiring your Spring look—and your outlook.

PHOTO BY WRE

See you at Bal Harbour!

Sarah Harrelson with Ivana Berendika

Publisher/Editor-in-Chief Sarah G. Harrelson

Bal Harbour Magazine Publisher/Creative Director Carlos A. Suarez Publisher/Editor-in-Chief Sarah G. Harrelson Executive Editor Tali Jaffe Minor and Michael Slenske Associate Art Director Adriana Sandoval Contributing Fashion Director Sarah Gore Reeves Market Editor Shannon Adducci Copy Editors Zoe Lintzeris, Magdalena Puniewska Contributing Writers Kate Betts, Charlotte Burns, Leslie Camhi, Jackie Cooperman, Amanda Eberstein, Mark Ellwood, Rachel Felder, Emily Holt, Ted Loos, Jessica Michault, Degen Pener, Bee Shapiro, Alyssa Shelasky, Samantha Tse, Lynn Yaeger, Janelle Zara Contributing Photographers Nico Bustos, Anthony Cotsifas, Chris Craymer, Boo George, Fumie Hoppe, Dean Isidro, Russell James, James Macari, Daniel Matallana, Richard Phibbs, Kristian Schuller Editorial Assistant Jessica Idarraga Interns Sarah Zerdoua Accountant Judith Cabrera Chief Executive Officer Mike Batt

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Contributors .

Shannon Adducci is a writer, editor and stylist based in 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, T: The New York Times Style Magazine and Travel + Leisure. For this issue, she wrote about the new See Now—Buy Now fashion trend in “The Future is Now.”

New York City and Los Angeles. Growing up in a family that owns a 100-year-old auction house, DuMouchelle, in Detroit, Adducci was exposed to rare and important pieces of jewelry and objects at a young age. After graduating from the Medill School of Journalism at Northwestern University, she spent seven years at Departures, most recently as senior style editor. In this issue, she curates Spring’s must-have items for our trend pages.

Romanian-born, Berlin-based photographer

Kristian Schuller

has shot for Black Book, Harper's Bazaar, and various international editions of Vogue and also published the books "90 Days, One Dream“ and “Tales for Oskar.”For the Spring issue, Schuller photographed the fashion feature "All Dolled Up," which features models wearing the season's most striking white dresses amidst an army of vintage mannequins inside an old Brooklyn warehouse.

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Bal Harbour magazine’s contributing fashion director, Sarah Gore Reeves, was born and raised in Manhattan. She began her career as a model for Calvin Klein and Ralph Lauren, but quickly learned that her creativity would be best put to use as a stylist. She has collaborated with photographers such as Patrick Demarchelier, Mark Seliger, Ruven Afanador and Norman Jean Roy. She is also the fashion director of Vogue Mexico and Latin America. For this issue, she styles cover model Toni Garrn by photographer Kristian Schuller.

Contributors

Tom Schirmacher is an American photographer born outside of

Chicago in 1985 and raised in Connecticut. His obsession with photography started at age fifteen and has been his focus ever since. After receiving his BFA in photography from Rochester Institute of Technology he went on to apprentice with some of the industry’s top photographers. At 25, Tom began his own career and has since gone on to develop a unique and personal vision that has defined him as a leading young talent. He currently resides in New York City.

Mackenzie Wagoner writes for Vogue, Apartamento, and Architectural Digest among other publications. In this issue she revisited the empowering history of tights and made a plea for statement earrings in every shape, size, and combination. “The Spring 2017 runways featured heart-pumping displays of costume jewelry,” saids Wagoner. “This is certainly a moment for more is more.” Rebecca Kleinman

showed an early interest in cuisine when she asked her parents to take her to the finest restaurant in town on her fourth birthday. The odd request from a preschooler was all the more shocking since neither parent was a foodie, and they lived in rural North Carolina. Decades later, she writes about dining and other topics for publications such as Women’s Wear Daily, Architectural Digest and DuJour. For this issue, Kleinman checked out the explosion of food halls across the country.

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Kate Betts is an award winning magazine editor and the author of The New York Times bestseller, “My Paris Dream: An Education in Style, Slang, and Seduction in the Great City in the Seine.” Her memoir chronicles her years in Paris where she worked as a reporter and the associate Bureau Chief for Women’s Wear Daily. In 1999, she became editor in chief of Harper’s Bazaar— the youngest ever editor in chief of a national fashion magazine. She has worked for Time magazine and has also written for The New York Times, The Daily Beast, Travel+Leisure, Glamour, Elle, New York and The Wall Street Journal. She lives in New York City with her husband and two children. In the story “The Big Chill,” Betts speaks with Suze Yalof Schwartz about her new book.

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Contributors

Daniel Scheffler is a writer living in New York with his fiancé and pup. He is currently working on his first novel and writes for the New York Times, Playboy and South China Morning Post every so often.

Jessica Mehalic Lucas is a fashion and lifestyle writer who

Adam Platt has been a contributing editor and restaurant critic for New York magazine since 2000. During the course of more than three decades in the magazine business, he has written for a variety of publications, including The New Yorker , The New York Observer, Esquire, Town and Country, and Condé Nast Traveler.

lives in New York City with her husband and dachshund, an up-and-coming Instagram star (@adachsieslife). A regular contributor to BalHarbourShops.com, she has been a senior editor at Women’s Health and Us Weekly, as well as a content director at Victoria’s Secret. In this issue, she interviews Gianvito Rossi, plus writes our features on women’s watches and Instagram feeds to follow.

New York City native Amanda Eberstein first fell in love with Los Angeles as a journalism student at the University of Southern California. After moving back to Manhattan and working for People, Departures and Architectural Digest, she returned to L.A. in 2013 to take the helm of Angeleno magazine as editor-in-chief. Now, she is thrilled to be executive editor of LALA, in addition to contributing regularly to a variety of national publications. In this issue, she checks out California’s legendary wellness retreat, The Golden Door. 40 BAL HARBOUR

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COURTESY OF BOTTEGA VENETA

MATTERof STYLE

Bottega Veneta’s Lauren 1980 leather bag modeled by Lauren Hutton

CINÉMA VÉRITÉ

Bottega Veneta celebrates its 50th anniversary this spring with a bag from its Hollywood past When it comes to fashion, the 1980 movie American Gigolo might be best known for Richard Gere’s slick Armani wardrobe. But there was another Italian luxury brand that made a cameo in the film, Bottega Veneta, in the form of a chic clutch bag in its signature intrecciato leather weave, which Lauren Hutton’s character paired with a wardrobe of chic blouses and drapey trenchcoats. To celebrate its 50th anniversary—as well as creative director Tomas Maier’s 15th anniversary—the fashion brand went back to this understated look with a new version of the bag (in "Gigolò Red," of course), which Hutton herself carried down the runway back in October.

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ON DISPLAY

STi h ke pgTn

For Swiss fashion house Akris’ Spring/Summer 2017 collection, creative director Albert Kriemler looked to 101-year-old Cuban-born, New York-based artist Carmen Herrera for inspiration. The idea sprung from her debut exhibition at the Whitney Museum of American Art in June 2015, when Kriemler was taken by Herrera’s Blanco y Verde, a 1959 painting of a white plane with a green arrow-shaped triangle. Kriemler has translated the artist’s abstract, geometric lines into relaxed and refined womenswear, including limited-edition scarves boasting digital prints of Herrera’s works.

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The Savannah College of Art and Design’s FASH Museum of Fashion and Film—located on SCAD’s Atlanta Campus—is launching its first historical retrospective with a pair of ambitious exhibitions. “Threads of History: 200 Years of Fashion” celebrates the power of clothing to reflect societal and cultural trends, while “Embellished: Adornment Through the Ages” highlights European and American style through hats, accessories and other sartorial items. Both exhibits feature pieces from SCAD’s permanent collection, as well as a selection from renowned Italian fashion collector Raffaello Piraino.

WESTERN EXPOSURE Maria Grazia Chiuri has chosen Los Angeles as the location for Dior’s 2017 Cruise show—her second collection as creative director of the famed French fashion house. Known for her alluring take on the brand’s signature silhouettes, Chiuri has scheduled the exclusive West Coast presentation for May 11.

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GLOBAL APPEAL

French accessories brand Roger Vivier has chosen Argentine art director and fashion consultant Sofía Sanchez de Betak as the face of its Spring 2017 collection. The campaign—aptly titled “Urban Nomadic”—features the peripatetic style-setter in a series of images shot by British photographer Quentin Jones. In addition to Roger Vivier’s signature embellished sandals and colorful purses, creative director Bruno Frisoni has designed a limited-edition Viv’Tango bag, featuring red watercut leather and a top handle, in celebration of

GOLDEN OLDIES

After coming under new ownership last year, Sergio Rossi’s SR1 line hit stores in February, a collection that revisits the brand's golden era—the Nineties—with everything from bejeweled suede slip-ons to square-toed python platform heels. Finishes include: gold and silver details, baguettes, tinted glass, mirror effects and a subtle “sr1” micro-engraved on the heels. It's a return to the brand's DNA, which began over 50 years ago in their factory in San Mauro Pascoli, where every shoe is still handmade to this day.

COMING OF AGE Known for her bold, irreverent fashion taste— most famously captured by late street style photographer Bill Cunningham—Tziporah Salamon remains a sartorial star well into her sixties. Now, she is the author of The Art of Dressing: Ageless, Timeless, Original Style (Rizzoli), highlighting nine other incredibly chic women—from artist Michele Oka Doner to dancer Carmen de Lavallade—in addition to herself.

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MARILOU DAUBE

Betak’s South American roots.

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Hear, Hear

Bold, mismatched earrings make a statement BY MACKENZIE WAGONER

Details from the Gucci Spring Summer 2017 collection

This is a moment to make a statement. With a president live Tweeting his every waking thought and a 24-hour news cycle invariably refreshing headlines, broadcasting ideals is par for the course. It certainly seeped onto the Spring 2017 runways, where the prescriptions for this season involved wearing slogans on your t-shirt, power clashing your patterns, and making like Coco Chanel and grabbing “a handful of jewels to brighten up the moment.” Her fashion house, helmed by Karl Lagerfeld, imagined a future in which AI is your fashionable friend and dressing is best finished by absentmindedly tossing on a single exaggerated enamel stud or hulking Byzantine cross as an afterthought before heading out of the door. If nothing else, the sculptural jewelry, when worn together, alone, or as was the case on runways from New York to Paris, entirely mismatched is certainly a coy route to finding your audience (“Excuse me, miss, you dropped an earring…”). The mood-lifting power of a major set of earrings first gained traction in New York, where it had everyone from Rodarte to Proenza Schouler lending an ear. You’d be forgiven for forgetting what Kate and Laura Mulleavy designed below neck after they paired sweeping 50 BAL HARBOUR

romantic ear cuffs with drips of chains, metallic loops, and teardrop gems, occasionally tying the two together with a connecting string of baubles that hung below the chin like an anti-gravitational necklace. By the time the trend crossed the pond to London, it took on a playful wink. Simone Rocha produced sartorial-caused serotonin topping her trench coats and loosely fitted lace dresses with mad dashes of red lipstick and splashes of mismatched earrings: one a crystal drop, one a golf ballsized pearl. In Milan, the Gucci girl was waving her maximalist flag ever higher, accessorizing like her life depended on it. There were silk embroidered wide brimmed hats, studded lapels, bedazzled glasses, a rainbow of pussybows, and rhinestone encrusted earrings extending from lobe to collarbone. And, taking a final victory lap in Paris, earrings had grown so over-the-top that Humberto Leon and Carol Lim decided to anchor Kenzo’s baubles at the top of the ear rather than allow the oversize crystal clusters to pull the models’ ears down low. Because staying quiet in noisy times is an affront to democracy, instead make a statement all the way up to your earrings.

Italian shoe maestro Gianvito Rossi discusses his elegant creations, including a cocktail-inspired spring collection at the new Bal Harbour Shops boutique. BY JESSICA MEHALIC LUCAS e’s one of the most revered footwear designers in the world, but Gianvito Rossi almost walked away from shoes. Growing up as the son of Sergio Rossi in San Mauro Pascoli, Italy, he was smitten from an early age. “When I was four or five, I went down to the factory and the shoes were my toys,” says Rossi. “It’s always been natural to be involved with them.” Learning firsthand the intricacies of design and complexities of production, Rossi helped his dad build the brand into a footwear powerhouse before they sold the company in 2005. “I found myself for the first time in my life without shoes,” he recalls. “I was thinking I would do something else, but I realized that’s my life. I couldn’t really understand how much it meant until I lost it.” Fortunately for well-heeled women everywhere, he launched his eponymous line shortly thereafter. Today, the elegant, edgy feminine designs are coveted on every continent and worn by the likes of Gwyneth Paltrow, Gigi Hadid and Carine Roitfeld, who serves as an inspiration to the designer. “She’s super elegant, super

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PHOTO COUTESY OF GIANVITO ROSSI

Pumped Up Kicks

The iconic Helmut bootie features a black leather stiletto profiling the foot and ankle.

sophisticated and chic, but at the same time, she’s modern,” he says. Rossi recently opened his second stateside boutique in Bal Harbour Shops with a vibrant selection of shoes that capture the city’s vibe. “The mood you have in Miami is a little more sensual, like the weather.” he says. “Someone who travels to Miami changes a little bit to match that. That’s why we offer a color or a special style that’s slightly different.”On the heels of a successful militaryinspired collection, Rossi has launched a spring/summer line that celebrates the brand’s 10-year anniversary. Glittering sandals and embellished pumps, garnished with crystal olives, slices of orange and maraschino cherries, are named after classic cocktails. “It was a lot of fun,” Rossi says of the new design, which include the lime crystal Mojito lace-up sandal and a sparkling neon Cocktail bootie. “I don’t use many crystals because I think it can get kind of

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pretentious and so I wanted to do it in a more ironic way,” says Rossi. “Having a cherry, olive, or orange is a way to play with that. It’s an approach that I think is going to become more and more common in fashion: just play, have a little bit of fun.” Devotees of Rossi’s signature aesthetic, built on a self-described pillar of elegance, modernity and femininity, will be thrilled by a selection of new styles in luscious satin and fringe. The Caribe sandal updates the iconic Portofino silhouette with fringed satin in Tabasco red, while the quintessential pointed-toe Gianvito pump is rendered in a deep purple satin. “Satin is something we’re not used to seeing in shoes, but it’s very interesting,” says Rossi. “It’s light, very feminine and elegant, but not as delicate as people think.” To ensure optimal comfort and exquisite design, every shoe adheres to a rigorous craftsmanship in the brand’s San Mauro Pascoli factory where Rossi’s

dad plays an advisory role. “When you talk about the quality and make of these shoes, it’s based in experience. There’s no college for it,” explains the designer. “My father has a unique experience and he’s very helpful.” Rossi’s celebrated precision—60 steps are followed to create and ensure perfection of a single classic pump—is what keeps the brand from expanding too rapidly. “I don’t want to have a huge network,” he says. “I’m really focused on quality. You cannot achieve quality in unlimited numbers.” Up next? His elegant footwear will continue to walk the runway for designers like Joseph Altuzarra, Brandon Maxwell and Mary Katrantzou. Rossi will also launch a complete men’s line (he’s been test-driving prototypes) to complement the existing sneaker collection, but don’t expect to find it at the Bal Harbour boutique. “This is a woman’s place,” he says. “It’s her fantasy.”

PHOTO COUTESY OF GIANVITO ROSSI

“The mood you have in Miami is a little more sensual, like the weather.” —Gianvito Rossi

ALL IN THE FAMILY Sophie Elgort picks up (the camera) where her famous father, Arthur, left off. BY DANIEL SCHEFFLER

With a father like legendary Vogue photographer Arthur Elgort, keeping the art and practice in the family wasn’t too hard. For his daughter Sophie, who started taking photos professionally after college, it was perfectly on the cards to become a professional photographer. In the last few years, Elgort has worked with brands like Mercedes Benz, magazines like Teen Vogue and designers like Etienne Aigner, gaining the confidence to hold a camera whilst putting people at ease. “My father loves taking pictures more than anyone I’ve ever met,” shares Elgort. “The camera is basically attached to his neck at all times. He is the ultimate people person and can make conversation with anyone.” And so Elgort expertly took on some of that very know-how as a woman working in the big field of photography, in the age of

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Above, Kate Somers shot in 2014; at right, a photo of Elgort by Aline Velter.

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Instagram. “Now that Instagram is so big, everyone is a photographer in a way. People ask me if I get annoyed by that—everyone thinking they’re a photographer—but in fact it’s the opposite, everyone now is more aware of what a photographer is, instead of it being such niche thing,” she says. And, in fact, Elgort uses her Instagram to share photography, a constant source of inspiration—as well as an easy way to discover a plethora of art, fashion, new locations and interesting people from all around the world. “On my account, I try to post a blend of both professional and personal things so I can show who I am, as well as my work,” says Elgort. “It’s also a great place for behind the scenes pictures and to self-publish those outtakes that you love that didn’t make it into the story.” The focus of her work, as much as its fashion heavy, is telling the story of a person, or brand. “For me its about bringing out something in the subject that I see that shows a glimpse of his or her personality,” says Elgort. As a result the Tribeca based photographer is rather busy, and that may be an understatement. Elgort, along with her friend Carolyn Pride, also recently started a non-profit called “Through Our Lens” it provides lifechanging access and significant mentorship to teen girls who are underrepresented in the fashion space with the goal of boosting racial, socioeconomic and gender variety in fashion; behind the lens as well as in front of the camera,” shares Elgort. And when she’s not working she actually just likes to be a home body. “It sounds cheesy but honestly, I like to hang out with my husband,” she shares. “Any extra time I get with him, I’ll take it.”

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Top and right: Coco Rocha and Nadine Leopold both for Botkier New York.

PHOTOS BY SOPHIE ELGORT

“Now that Instagram is so big, everyone is a photographer in a way.” —Sophie Elgort

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THE FUTURE IS NOW Lynn Yaeger waxes nostalgic on the yearnful planning once required of seasonal dressing, while looking forward to the quick fix dopamine rush of the new collections available straight off-the-runway.

Looks from Tom Ford Autumn Winter 2016 collection

When I was a teenage girl, long before the chic young things reading this were born, I used to stroll along the Atlantic in early summer and dream about my fall wardrobe. I still remember that longing—for a suede cowgirl jacket, a Mondrian-inspired mod dress, even a John Lennon cap—my knowledge of the latest styles fueled by the Seventeen magazine I fought with my older sister to get first crack at. In that prehistoric time, winter clothes were wooly and warm, summer things were crispy and cool, and the twain didn’t meet, especially not on store racks. But then a funny thing happened. People started to wear the same things all year round—boots in July! Sleeveless shifts in January! A big cashmere wrap instead of a coat when it snowed, that same soft swath employed to ward off airconditioner chill. Not only did we get used to popping into boutiques and buying what we needed when we needed it, but the arrival of the Internet meant that all of us, not just a few privileged buyers and editors, could watch the runway shows even as they happened. Suddenly everyone was invited to the party! (And full disclosure: even I, a super-important fashion icon, sometimes have a better seat watching 60 BAL HARBOUR

the livestream from my boudoir instead of sitting in row eleven at the show.) Now that you were at least virtually in the room where it happened, you could phone up your favorite boutique immediately after the runway presentation and tell them, I want Look Six, the bias cut guipure lace—so please, make sure you order it in my size! But you still had to wait months for that lacey miracle to arrive. That is, until last fall. Enter the latest wrinkle in the fabric of fashion: a retailing concept known as See Now—Buy Now, wherein the catwalk clothes are available immediately, either in a pop-up right outside the show, or in the flagship down the block. For Ralph Lauren, Buy Now meant setting up a glass show space on the Madison Avenue sidewalk in front of his store, then flinging the doors open so you could immediately satisfy your lust for fringed tunics and oneshouldered white jumpsuits. Tommy Hilfiger mounted a carnival, complete with Ferris wheel; Tom Ford hosted a dinner at the Four Seasons, with his clothes, as the designer put it the day before, “hanging downstairs, steamed, and ready to be flipped into the store tomorrow night.” Across the pond, Burberry went all out. The show, held at the

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Backstage at Chanel Haute Couture 2016 collection

site of the now-shuttered historic bookshop Foyles, featured genderfluid British country house classics. (Copies of Virginia’s Woolf’s Orlando on each chair took the place of gift bags.) But if the hoary atmosphere and the drawing-room ensembles had a distinctly vintage air—Mary, Edith, and even poor dead Sybil, would be right at home in these frocks—that was where the old-world vibe ended. Mere moments after the show, the Burberry store on Regent Street exploded with excitement. My colleague D., who has a waif-like physique, a fierce intelligence, and an addiction to Snapchat, nearly killed himself on the slick cobblestones, running between the raindrops to avail himself of a pastel pink velvet hacking jacket and a voluminous ruffled pirate blouse.

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I didn’t join him. At least not that night. Much as I love a Downton-worthy dressing gown, I guess at heart I am still that girl on the beach, comfortable with the waiting game, needing at least a minute to think about what I want, to wallow in my desires, to let the stuff that dreams are made of capture my imagination. But that can change! After all, was I not the last person in New York City with seven TV channels when the rest of the town had 700?? Do I not squeal with joy when I get a phone call on my Apple watch? So it’s probably just a matter of time until I add See Now—Buy Now to my shopping repertoire. And who knows? By then, the words of the late great Carrie Fisher may ring truer than ever: “Instant gratification takes too long.”

ROBERT DE NIRO and MCC AUL LOMBARDI, L A , 8:30 am T H E F U L L C O N V E R S A T I O N A T Z E G N A . C O M # Z E G N A C O N V E R S AT I O N S

Stark Contrast Israeli-born artist Noma Bar turns seemingly simple images into powerful commentaries on the duality of life. Clockwise from left: An artwork by Noma Bar; Erica Jong’s “Fear of Flying” and an installation shot in London's Rook and Raven gallery.

BY AMANDA EBERSTEIN

magery has always been the preferred form of communication for Avinoam “Noma” Bar. “My first memories are drawings,” says the 43-year-old artist, who grew up in Israel during the first Gulf War, fascinated by pictograms and icons found in newspapers (one of his earliest sketches was of Saddam Hussein, with his eyebrows and mustache formed by the fan-like symbol for radioactivity). After graduating from Jerusalem’s Bezalel Academy of Art & Design, Bar moved to London, and with English as his second language, the native Hebrew speaker turned to pictures once again. His big break came in 2003, when he was commissioned by Time Out London to create a portrait of William Shakespeare. “I wasn’t sure if I could do it, but as I hesitated, the famous line ‘To be, or not to be, that is the question,’ echoed in

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my mind,” he recalls. “I finished the call with the agreement ‘to be.’ I sent in my illustration after a few hours; they loved it, and the next day it was on the shelves, exposed to millions of people.” That image—a deceptively simple black-and-white depiction of Shakespeare’s signature wig and ruff collar, with a cleverly positioned question mark shaping the profile of his eye and nose—set the tone for all of Bar’s work moving forward. Upon first glance, his bold, colorful images—which begin as sketches before being transferred onto the computer screen and completed digitally— may appear straightforward, but a deeper look reveals something much more complex. The empty space between two upside down boxing gloves creates the shape of a man standing with his biceps curled, for example, or the curvaceous figure of a woman is in fact

a thumb tack, delivering a fresh, tongue-incheek take on the term “pin-up girl.” This is what makes Bar’s work so unique—he takes familiar symbols and shapes and manipulates them to form new meaning. Although a lot of his work is humorous, he often uses his art as a form of stark social commentary or pop-culture reflection, such as his well-known portraits of celebrities, merged with icons that encapsulate their fame. “Illustration has the ability to tell a story in a way that other media can’t,” says Bar of the appeal of his work, which has graced the covers of more than 100 magazines and served as the subject of two books, with a third, “Bitter Sweet,” out this spring from Thames & Hudson. “The accessibility of cameras has somewhat damaged photography. People want things that are done with human hands, because we are surrounded by machines.”

Bold Strokes Using social media as a platform, LA-based artist Carly Kuhn—aka the Cartorialist—has quickly found a devoted following for her fashion-forward drawings. BY AMANDA EBERSTEIN

lthough New York City native Carly Kuhn originally moved to Los Angeles to pursue her Hollywood dreams, it was her childhood hobby of drawing that eventually led to her true calling. While working as an associate producer on The Chelsea Handler Show, as well as performing with the legendary improvisational group, The Groundlings, Kuhn set up an Instagram account (@thecartorialist) to showcase her playful illustrations and paintings. “I would sketch at my desk for fun—random characters, friends on their birthdays,” says Kuhn, noting a pal suggested she open an account as an artistic outlet. “I started to draw something

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every day, just whatever inspired me. This began my unintentional path as a fashion illustrator.” In October 2014, her big break came when she created an image of Carrie Bradshaw from Sex and the City, which was retweeted by Sarah Jessica Parker to millions of her adoring fans. Kuhn quickly became a social media sensation and a darling of the fashion industry, known for her stylish drawings and paintings of simple feminine figures—a girl peeking out from an oversized turtleneck, for example, or the soft curve of a woman’s back. She is now experimenting with more abstract images, larger canvases, and new mediums such as charcoal. “I am constantly evolving, taking chances, testing

out new things,” she says, explaining that the constant in her work is “the importance of the line, white space, and the perfectly imperfect.” Today, The Cartorialist boasts 165,000 followers, and Kuhn has collaborated with top brands such as Prada, Dior and Alexis Bittar. She also created limited-edition T-shirts and sneakers for NSF Clothing and Vans, ran a five-month pop-up studio at L.A.’s buzzy new mixed-use development, ROW DTLA, and is launching a wallpaper line. “Social media can feel overcurated and sometimes almost too perfect,” says Kuhn. “I try to be transparent and show my flaws within my work, rather than editing it too much to create a false image.”

COURTESY OF ©THE CARTORIALIST

“I started to draw something every day, just whatever inspired me. This began my unintentional path as a fashion illustrator.” —Carly Kuhn

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Suze Yalof Schwartz zens out at her new meditation studio in Los Angeles.

The Big Chill Fashion editor Suze Yalof Schwartz investigates the nouvelle namaste in her new meditation tome. BY KATE BETTS ow does one transition from hard-charging, high-heeled fashion director and makeover expert to blissed out spiritual entrepreneur? Take a deep breath, close your eyes, and ask Suze Yalof Schwartz who, after two decades as a top editor (Vogue; Glamour) and Today Show correspondent, was inspired to open her own guided meditation studio, Unplug Meditation. The move was inspired by her family’s move from New York City to Los Angeles. The mother of three boys, Schwartz likes to say she was “living on the to-do list” and needed a daily relaxation ritual. “I’d been looking around for places to learn to meditate and I tried everything,” she explains. “But everything was too inaccessible, too inconvenient or too expensive. I wanted a place I would go, a Drybar for meditation.” Unable to find it, Schwartz decided to create a meditation studio that fit her needs. She rented a studio on Wilshire Boulevard, decorated it with cool accessories found on Pinterest and at Staples, and enlisted Maha Yoga founder Steve Ross to help her vet new teachers. By April 2014 Schwartz was offering ten rolling 30 and 45-minute classes a day to stressed out Hollywood execs and Brentwood soccer moms and CEOs. Now, after three years and countless targeted programs (“Gratitude of Billionaires” is a favorite), Schwartz and her writing partner, Debra

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Goldstein, are publishing their first book, “UNPLUG: A Simple Guide to Meditation for Busy Skeptics and Modern Soul Seekers” (Harmony Books). Using the same techniques she and her teachers employ at the Unplug Meditation studios, Schwartz aims to enlight readers by showing them how meditation produces such inspiring life changes. Through UNPLUG, Schwartz hopes to debunk the common belief that meditation involves a huge time commitment to be effective.“ The Espresso Meditation” is for practitioners under pressure who need to get calm quickly. “The Peace, Love, It’s All Good Meditation” is for those upsetting situations that require a bit more perspective. And the “Starbucks Meditation” is for starting off your day in a mindful, present way. “What we’re teaching is technique,” Schwartz says. “When you breathe you anchor to the present. When your brain starts racing, you go back. I’m teaching people a technique they can incorporate into their lives.” For practitioners with too little time to drop in, Unplug now offers online classes and they sell zen music so that you can set yourself up at home. Although meditation can be practiced anywhere at any time, Schwartz still believes in the power of the group and the energy you can derive from the meditation room.

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Band of Sisters These bold feminine timepieces fuse stunning aesthetics with innovative complications and movements. BY JESSICA MEHALIC LUCAS

F.P. Journe

It took master watchmaker F.P. Journe eight years to perfect the quartz movement of the revolutionary, and appropriately named, Élégante, When the watch is not worn, it goes into standby mode after 30 minutes; automatically setting itself to the correct time when you put it back on. The 40mm diamondframed Tortue case is offered in platinum, rose gold and titanium. 305.993.4747

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Yes, Panerai’s Luminor Due 3 Days is technically a men’s watch, but at 42mm with an extralight case and a sky blue alligator strap, a woman can definitely pull it off. Designed in rose gold, it features a three-day power reserve and a glass caseback to show off the sophisticated movement. 786.735.6446

Chopard

Chopard has created just 100 pieces of the limited-edition, boutique-exclusive Imperiale La Vie En Rose. The ultra-feminine 36mm timepiece is detailed with mother-of-pearl inlay on the dial, an amethyst-set crown and alligator strap. Engraved with “La Vie en Rose” on the back, it nods to ancient Rome with hands reminiscent of combat daggers and lugs inspired by imperial columns. 305.868.8626

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IWC

IWC revisits an iconic design of the 1980s with the Da Vinci Automatic Moon Phase 36mm in rose gold. Positioned as a ladies’ timepiece, it features the brand’s signature moon phase in the center of the silver-plated dial and a Santoni alligator leather strap. You’ll find the so-called “Flower of Life” engraved on the back, nodding to Leonardo da Vinci who made a study of its geometry. 305.909.6935

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The ladies’ Datejust is the highest selling model for Rolex, so naturally the brand keeps improving on it. This 41mm style in steel and Everose gold with diamonds on the dial has been upgraded with a 70hour power reserve and an Oyster bracelet with a 5mm comfort extension link, allowing you to adjust the watch while wearing it. 786.209.0611

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Get a Leg Up This season, slip into something more comfortable and covered. BY MACKENZIE WAGONER

or the Spring 2017 collections, head-turning moments were served not by a flash of unexpected skin, but with the strut of a well covered leg. Tights in every color, pattern, and opacity took strides down runways. Inciting actual gasps from his Parisian audience, Demna Gvasalia flexed his forte for need-it-now fetishism at Balenciaga with brilliant seventies floral printed spandex liberated from the dreg athleisure and applied to pairs of pointed tip boots that extended all the way to the hip. Anthony Vaccarello envisioned Saint Laurent in sheer black swaths of fabric that left knees and nipples barely obscured. And, putting her ever smart relatable spin on the trend, Phoebe Philo trotted out peeks of red, white, and tan nylons flickering from beneath Céline’s gorgeously tailored midi skirts and cropped leather flares. It’s not that Joseph Altuzarra, Domenico Dolce, and Marc Jacobs were feeling a sudden urge for modesty—tights, after all were created to set their wearer free. Siblings of the riding breech, the second-skin legwear was initially conceived for Anglo-Saxon men to increase mobility and prevent equestrian chafing. It was the color that distinguished the man in the tights. Lower classes wore stain-resistant black while nobility slipped into white, exemplified by Hans Holbein the Younger’s progressive 16th century portrait of Henry VIII. Without the standard trappings of a king (crown and scepter), the royal’s confident stance, gaze, and impeccably pale tights communicated his social and political standing. It wasn’t until the end of the 20th century that stockings migrated from the legs of men to those of women, where their shifts in styles became inextricably tied to the changing tides of hemlines. Suffragettes gave glimpses of their gumption and their silk- and wool-covered ankles marching in justoff-the-ground skirts. Laissez-faire flappers required knee-length fringe and even more flexibility, provided by a thin rayon barrier between newly exposed skin and cold winter air. Mary Quant’s mini skirts provided ample room for mod sixties adopters wearers to subvert nylon, a last fulcrum of modesty, with technicolor shades and graphic patterns. And with the midcentury invention of lycra, every weave evolution since has escalated the clothing genre’s tightwalk balance between style and utility— offering control top shapewear, insulating fleece lining, and ultra thin denier (ie, fiber density) for subtle washes of color. These days, even the wellness world is getting a leg in the game, with the new aged healing obsession reaching its apotheosis via crystalembedded compression legwear by Item M6 meant to improve circulation, stimulate acupressure meridians, decrease cellulite, and detoxify through far-infrared radiation. Not exactly your grandmother’s pantyhose. Which is all to say, whether you’re communicating glamour, feminism, adventurism, or just good vibes, this season, tights will help you walk the walk.

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HILARY RHODA RUSSELL JAMES

The Spring and Summer collections highlight the versatility of tights, including, clockwise from top, Dolce & Gabbana, Hilary Rhoda in Wolford thigh-high stockings and Balenciaga’s hot pink tights.

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HUNGRY FOR COMMUNITY From L.A to Philly to Miami, the food hall movement is sweeping the nation. BY REBECCA KLEINMAN

omewhere between a food truck and a fine dining establishment, the food hall emerged. But this new crop differs from the Old World model imported by European immigrants in the late 19th and early 20th centuries (Reading Terminal Market in Philadelphia or Downtown LA's Grand Central Market). The visionaries and vendors behind the latest incarnation have been put through their 21stcentury food revolution paces. They speak Alice Waters and Michael Pollan’s language of farm-to-table fare with a fast-casual spin served in modern airy settings where a denizen of Portlandia would feel at home. Imagine the complete opposite of the uninspired food courts found in most malls. “People want to be surprised and delighted with a feast for the eyes as well as the taste buds,” said Ivy Ackerman, who built her Butter and Egg Road roving supper clubs into a New York-based culinary consulting firm for companies to connect with customers through food products and events. “Food halls are the next generation of communal eating but give you the choice to build your own meal.” These culinary catchalls are proliferating from coast to coast: Miami alone has at least five in the works, including a three-story, Italian-themed market at Bal Harbour Shops’ sister center in Brickell. New Yorkers still aren’t sated either, since pioneering the trend with Chelsea Market, Smorgasburg and Eataly. Gotham West Market in Manhattan followed up with Brooklyn’s Gotham Market at The Ashland in winter, while Anthony Bourdain readies his eponymous cornucopia of ethnic eats from his global travels. When his massive market opens at Pier 57 on the Hudson River in 2019, it will be the be-all-end-all of food halls. No matter the size, the term “curated” comes up a lot and should, considering today’s discerning diners— gluten-free, anyone? “I relate the process of selecting a really great vendor for each category to Noah’s Ark,” said David Spatafore, a serial restaurateur

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who launched San Diego’s Liberty Public Market a year ago with empanadas from an Argentinean family and lobster rolls by a gang of Maine millennials in search of an endless summer. “The space must have character, too, which is why you’re seeing many markets popping up in repurposed historic buildings.” His market is named after Liberty Station, a Spanish Colonial Revival base built in 1921 for the Navy’s commissary, and has gone full circle from mess hall to food hall. Spatafore toured similar adaptive reuse projects, noting Krog Street Market in the Atlanta Stove Works’ former factory and its nearby Central Food Hall, part of Ponce City Market, a gargantuan, brick fortress that once housed Sears, Roebuck & Co. The latter assembles a who’s who of Southern cuisine with concepts from James Beard Award winners Sean Brock, Linton Hopkins and Anne Quatrano. The proof is literally in the pudding. “Lyft named it among the city’s highest requested destinations,” said Michael Phillips, president of its developer, Jamestown, which has a knack for the niche. “We live in a time of global brand fatigue, and food halls bring more engaging options when people are looking for new experiences in food and retail.” They are also the new town square for community events. New Orleans’ Victorian-era St. Roch Market, which relaunched in 2016 after a long hiatus, hosts crawfish boils and live music. The combination of festivities, a full bar with flowing sazeracs and food (don’t miss Fritai for Haitian home cooking) has gone over so well that its operators plan to expand to Miami and Nashville next year. Event and marketing director Molly Friedman champions chefs just starting out. As rents are going through the roof in major cities, they benefit from the communal safety net and included perks like flatware and busboys. “We’re about giving the little guy a home to become the next big guy.”

“We live in a time of global brand fatigue, and food halls bring more engaging options when people are looking for new experiences in food and retail.” —Michael Phillips

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The Madding Crowd

A new book goes behind the scenes of Terence Donovan’s sexy street and studio photographs, from London to Britannia BY DANIEL SCHEFFLER

he new book, Terence Donovan: Portraits aims to restore the late British photographer to his rightful place: as an era-defining, genre-busting talent. It’s a stunning compendium of Donovan’s work, starting with his 1960s breakthrough as chronicler of Swinging London and ending in a mid1990s portfolio that celebrated Cool Britannia, its Blair-era counterpart (Donovan died in 1996). Standout portraits in the book capture Terence Stamp staring out broodingly from the page and channeling the Thomas Hardy anti-hero he played in Far from the Madding Crowd and miniskirt inventor Mary Quant, her crossed arms conveying quiet rebellion. On the cover, a tousle-haired Sophia Loren is caught, seemingly off-guard, staring into the distance. Donovan was one of a trio of camera-wielding enfants terribles of that era; alongside David Bailey and Brian Duffy. These rebellious friends transformed photography overnight when they began working in the early 1960s, at least according to curator Philippe Garner, who also wrote the book’s forward. “They threw out the old rule books with a willful informality that challenged the emphasis in both fashion and portrait photography on social hierarchy or grandeur,” Garner marvels, “For them, it was just as important to make it fresh, animated and sexy.” The blue collar, rough-edged trio rejected the campy, rarefied precepts of their immediate forerunners, such as Cecil Beaton. Instead, the three of them took models out of sterile studios and posed them on the street; instead of worshipping their subjects, they flirted with them—and for the first time, the women flirted back. “There’s a raw, heterosexual

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energy that we hadn’t seen before. It’s the start of the empowered woman,” adds Ivan Shaw, photograph director at the Condé Nast Archive. “How did we get to the supermodels of the 1990s, Linda, Naomi and Christy? This is the beginning of it.” Today, of course, David Bailey is by far the best known of the trio, both thanks to his constant trips to America, and a supermodel-studded love life (he counts Jean Shrimpton, Catherine Deneuve and Marie Helvin among his exes).Yet Donovan had distinctive talents that his friends could never match, especially when it came to photographing men. Most lensmen gravitate towards either male or female subjects, but Donovan was adroit at drawing out the essence in both. Donovan often worked for Town, an early men’s lifestyle magazine, which curator Robin Muir calls “the Rosetta Stone of fashion magazines”. “He radicalized the way men’s fashion was depicted, “Muir explains, “by creating wonderful, narrative stories like spy dramas that used London as a backdrop.” Bucking convention by shooting fashion outdoors, conversely he insisted that portraits were instead studio-based. “At the time, those studio portraits were quite radical,” Muir continues, “Until then, if you were photographing a real life person, you went to their house and did it.’ Donovan and his pals, filled with ballsy swagger, insisted that subjects instead come to them. His aesthetic influence remains palpable today, whether in the intimate, slightly noirish work of upcoming talents like Jamie Hawkesworth or Jack Davison or in the effortlessly breathtaking work for which Mario Testino is known. “It’s all about making it look as if the picture sort of took itself,” says Philippe Garner, “But if you think it’s easy? Just try it.” Available at Books & Books Bal Harbour.

PHOTOGRAPH TERENCE DONOVAN/ Â© TERENCE DONOVAN ARCHIVE

Naomi Campbell, British Elle, 1988

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The Gold Standard Under new ownership and a charitable mission, Californiaâ&#x20AC;&#x2122;s legendary Golden Door is welcoming a new generation of visitors, while paying tribute to its remarkable past. BY AMANDA EBERSTEIN

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PHOTO BY JESSICA SAMPLE

finally arrive at the hallowed gilded gates of the Golden Door following a two-hour drive from Los Angeles towards San Diego, through the picturesque, winding hillside near Escondido, California. Really, though, my journey to get here has taken far longer than that. I have heard much about this legendary retreat throughout the years—both from my friends and colleagues, who have spoken of its life-changing remedies, and from tales about its storied history and pedigree. Perhaps the most famous spa resort in the United States, the getaway was founded in 1958 by wellness pioneer Deborah Szekely, and was a favorite of Hollywood luminaries like Natalie Wood and Elizabeth Taylor. These days, the Golden Door plays host to the likes of Oprah Winfrey, Nicole Kidman and—most recently—comedian Amy Schumer, as well as titans of industry and other luminaries from all walks of life. After years of tending to the well-being of others, the resort has undergone a transformation of its own, under new owner Joanne Conway—the wife of billionaire philanthropist William Conway, Jr.—a devoted patron who visited 22 times before purchasing the Golden Door in 2012 in an effort to preserve it for future generations. And what a job Conway has done. In addition to acquiring the surrounding land, and expanding the grounds from 377 to 600 acres, she enlisted renowned New York-based interior designer Victoria Hagan to oversee a full makeover of the 40 Japanese ryokan-style guest rooms and lobby. She also hired fashion veteran Kathy Van Ness to serve as COO and general manager, upgraded the programming

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(including new select co-ed and men’s-only weeks; it was formerly a women’s-only retreat), and brought in biodynamic and organic gardens and orchards, as well as a new executive chef Greg Frey Jr., formerly of San Francisco’s Rubicon and Bernardus Lodge and Spa in Carmel Valley. And in an unprecedented move, Conway created The Golden Door Foundation, pledging to donate 100% of all proceeds from the resort and products to select charities, mostly those that support victims of child abuse—almost like a Newman’s Own for hospitality. “Every single week, we transform people’s lives, whether we get them to think or pause or get healthy or change their diets, or just look at themselves in the mirror and say, ‘Hey, this is where I am on the planet,’” Van Ness explains to me. “And through our charitable mission, we transform children’s lives outside of our doors as well.” Now, as the resort settles into its new look and purpose, I am finally ready to check in and experience the magic for myself. When you walk through the golden doors and across the yatsuhashi-inspired footbridge to the entrance of the property, you’re told to leave your thoughts and problems outside. Not only do you surrender yourself emotionally to the process, but you shed yourself physically— rather than wear your everyday clothes, each guest is given a uniform of athletic wear for the day and comfortable robes for night. The preparation for my visit began months ago, via phone conversations with the pre-arrival team to go over my wishes for my stay. My goal was to use the seven days as a time for self-reflection and awareness, and also to give myself the

opportunity to focus on my health, exercise and hopefully recharge after a long, eventful year. As soon as I stepped foot on the property and walked around the peaceful gardens and grounds, I knew that this would be easy to achieve. I was taken to my guest room—a serene oasis decorated in earthy, neutral tones—and settled in for the journey ahead. Over the week, guests’ experiences are completely customized for individual needs and requests, with the first half of every day dedicated to personal training and group activities. Mornings begin with a hike—anything from slow-paced meditation walks to much more rigorous climbs to the mountain summit—followed by breakfast, either enjoyed in solitude in your room, or in the common dining area. Unlike some wellness retreats that force guests to follow rigid diets, at the Golden Door food is treated as a necessity and treat. One morning, you may be served avocado toast with cherry tomatoes and feta cheese, and the next day, citrus ricotta pancakes. The concept is that each day, you will eat about 1,200-1,500 calories, and burn anywhere from 2,000-3,000. “We’re not about teaching people to starve and diet,” Ness says. “We’re about teaching that if you put in your mouth what you’re supposed to, like every other animal on this earth, you won’t have a weight issue. You have to put fresh, healthy food into your system that you can digest fast and get out.” And with so many activities, the calories go fast. I worked with fitness lead Melinda Nelson, who guided me through Pilates, yoga and cardio training over the seven days. Group classes included

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PHOTOS BY JESSICA SAMPLE

Food for Thought The Golden Door is a pioneer in bio- intensive farming. The idea is to nourish your soul through a balanced diet by consuming about 1,200-1,500 calories each day.

everything from a traditional boot camp to tennis and archery and even a Broadway-style dance class taught by choreographer Yuichi Sugiyama. As you push the limits of your body and mind, you become fast friends with your fellow guests, as well. Lunches are a group affair—social poolside gatherings featuring meals like sushi-style bento boxes, turkey burgers and even chicken sausage pizza. Afternoons, however, are a time of selfreflection and healing. Not only are you treated to a 45-minute in-room massage every day, but guests are encouraged to enjoy services like facials, body wraps, pedicures and even selftanning and hair styling (usually saved for the end). “What happens after lunch is the soft part of the day,” Van Ness says. “You’re now going to the quiet side, rewarding your body for working so hard. Your muscles have to be thanked and treasured, so that when you go to bed at night, you feel really great.” Afternoons are also a time for inner focus—such as awareness classes with mindfulness expert Annharriet Buck and astrology sessions. All of this is followed by a relaxing dinner

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and evening activities that include cooking classes, game nights and Tibetan sound bowl meditation. Somewhere along the way, you begin to change—it starts off slow and steady and by the end, there is a breakthrough. Suddenly, your breathing is easier, your thoughts are clearer, and you feel lighter, both physically and mentally. When you leave the Golden Door, you must go back and face everything you left behind outside the gates—yet somehow, you’re more equipped. Maybe you even decide to shed some of that weight because you realize it isn’t that important—or difficult—anymore. Typically, after a great retreat, the post-vacation blues set in, but after a week spent at the Golden Door, I returned home invigorated and renewed. There’s a reason why 60% of guests visit ten times or more. My friends were right—it is nothing short of life changing. The best advice I can give you: go and experience it for yourself. 777 Deer Springs Rd., San Marcos, CA; 760-744-5777; goldendoor.com

“Every single week, we transform people’s lives, whether we get them to think or pause or get healthy or change their diets.” —Kathy Van Ness

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MARCHING ON Half a century after she took the world stage as America’s leading feminist, Gloria Steinem says the fight for parity is far from over. BY DANIEL SCHEFFLER

loria Steinem has been fighting the good fight for nearly five decades. After all, the 82-yearold activist and women’s advocate has been the voice for the feminist movement since the ‘60s. She helped start Ms. magazine in 1972, cofounded the Women’s Media Center aimed at making “women visible and powerful in the media” in 2005, published her memoir, My Life On The Road, in 2015, and these days travels the globe lecturing. Steinem recently traveled with Annie Leibovitz to 10 cities—rom Mexico City to Milan and Tokyo—for the exhibition “Women: New Portraits.” Some of the works are an extension of Leibovitz’s book “Women” while while others are commission by UBS, the exhibition sponsor. Over the past year the duo has also set up the exhibition in spaces that are in various stages of evolution - or as Leibovitz calls them: “places that would eventually have another life.” One such place is an art deco building on the West Side Highway of Manhattan—the Department of Correctional Services. Constructed by Shreve, Lamb & Harmon, the

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same architectural firm that designed the Empire State Building, the space is about to come down later this year and morph into The Women’s Building. This center, set to open 2020, is developed, designed, and will be constructed by an all female workforce, and then inhabited as a place of activism. “The destruction preceding the construction of this building needed to coincide with this traveling exhibition, and it all worked out,” says Steinem, standing in front of a group of portraits in the womb of the building. “Welcome to a place of freedom that was formerly a place of limits and difficulty and discrimination. There could be nothing more symbolic than this space right now—nothing we need more than this space right now,” The photographs, mounted in the building’s gym, are of Women, with a capital “W,” who according to Leibovitz are “extraordinary in their fields.” Think: Hillary Clinton, Meryl Streep, Yoko Ono, Misty Copeland, Venus and Serena Williams, Cindy Sherman, Caitlyn Jenner, Patti Smith, Lena Dunham, Doris Kearns Goodwin, Andrea Medina Rosas, Malala Yousafzai, Aung San Suu Kyi, and, of course, Gloria Steinem.

“You can’t look at all those images without seeing the true human diversity of women, not characterized by whatever feminine idea or roles of who we’re supposed to be,” says Steinem. And this is exactly where Steinem injects herself into the cultural and political fray. Her ability to take on anyone—particularly the patriarchy—is what has given her a solid and worthwhile platform her entire career. Her deep concern for women has stretched beyond just furthering the feminist cause, which was created as an inclusive way of being in the world. “This exhibit captures what it’s like to be a human being and therefore it shatters gender,” she says. “Because it’s so diverse. It helps us realize that gender is artificial.” The show comes at a critical time in history—particularly for women—with a new rise of white male power in post-Trump America. “What has been revealed to us is a truth that we must now deal with,” says Steinem. “Never again is anyone going to say 'post-feminist' or 'post-racist.' Because there is still something like a third of the country that is still locked into these old hierarchies.”

Gloria Steinem at home in New York City in 2015.

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Â© ANNIE LEIBOVITZ. WOMEN NEW PORTRAITS EXHIBITION BY ANNIE LEIBOVITZ WITH EXCLUSIVE COMMISSIONING PARTNER UBS

TAYLOR MADE Catherine Opie’s unconventional portrait of Elizabeth Taylor through her possessions, “700 Nimes Road,” arrives at the NSU Art Museum.

lizabeth Taylor (1932–2011) was certainly among the most photographed women of her time, endlessly represented by formal portraits, journalistic shoots and paparazzi snaps—and famously one image was eventually turned into an iconic Andy Warhol painting, too. She broke into the consciousness at age 12 in National Velvet, and never left it through her two Academy Awards (for Who’s Afraid of Virginia Woolf? and Butterfield 8), her infamous love affairs, pioneering AIDS activism and countless accolades (including the Jean Hersholt Humanitarian Award Oscar). But perhaps the most haunting and evocative portrait of Taylor doesn’t even depict the star herself. Los Angeles-based photographer Catherine Opie’s acclaimed series “700 Nimes Road” takes us inside Taylor’s home (the book title is the address), closely examining a life through its accumulated details—a cat walking over a row of white shoes, roses in the garden, dresses lined up in a closet, walls of memorabilia. “I wanted to do an intimate portrait of her through her belongings,” says Opie, the acclaimed artist who had a solo exhibition at the Guggenheim Museum in 2008–09. And now 53 of the best images in the series are going on view from February 12 to June 18 at

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the NSU Art Museum in Fort Lauderdale, a show that was originally organized by the Museum of Contemporary Art Los Angeles. In some ways Opie, a married lesbian mom, is the last person you’d think would be suited for the task. Many of her most famous portraits plumb the identity of marginalized people who don’t fit the dominant paradigms of gender and sexuality. But Opie turned a bizarre, only-in-L.A. connection—she and Taylor shared an accountant—into a powerfully poignant project. For years, her accountant was asking her if she wanted to do something related to Taylor. “But I said, ‘I’m not interested in celebrities,” Opie recalls. Still, there was something pulling her to the project. “She’s such a star, the last of her generation,” says Opie. “She’s already so well represented by photography. So I was interested in complicating the iconic image.” Opie essentially embedded herself parttime in Taylor’s house, with the permission of the star, whom she never met. “There’s an incredible sense of light in that house,” she says of the intensive six-month stretch she put in at 700 Nimes Road. “I would spend a lot of time watching the light change through the day.” Three months into the work, Taylor passed away. Instead of scrapping the project, Taylor’s intimates had a very different response. “The family and staff didn’t want me to stop,”

recalls Opie. “It was an important marker for them—they saw it as the last portraits of Elizabeth.” Bonnie Clearwater, the director of the NSU Art Museum, puts it plainly: “Cathy caught the transition between life and death.” Clearwater has long been a fan of Opie’s, and, two decades prior to this exhibition, included the photographer in a show of 90s art. “I spotted the Nimes series four years ago at Art Basel Miami Beach and I told her, ‘As soon as these are ready, I want to show them,’” says Clearwater, who has also added a set of the images to the museum’s permanent collection. “It’s such a unique take on portraiture.” One of the rare parallels in photographic history was color photography pioneer William Eggleston’s series of Graceland pictures from the 1980s, taken after Elvis’s death—it was also devoid of human subjects, and focused on mementoes and physical traces of a life. But that body of work pointed out the soulless, tacky and narcissistic elements of the singer’s famed mansion. Opie, by contrast, is a fan of Taylor’s, and wanted to simply add another layer to our understanding of the star. She says she still thinks of the universal humanity of the images: “A remote control on the beside table.” Taylor’s spectacular jewelry collection was also of particular interest, not as much for the shiny baubles as for what held them.

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“She’s already so well represented by photography. So I was interested in complicating the iconic image.” —Catherine Opie

Catherine Opie’s Andy Warhol to Elizabeth (Self-Portrait Artist), 2010-2011 BAL HARBOUR 141

Creative Coupling Ruben and Isabel Toledo make a case for the power of two. BY BEE SHAPIRO PORTRAIT BY TONY BYRD

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all it the power of two, but in fashion, music and art, duos are often tremendously productive. Take the husband and wife team of illustrator Ruben Toledo and fashion designer Isabel Toledo. Their decades of unique, intimate and intertwined work is now the focus of a museum show Bodies@Work: The Art of Ruben and Isabel Toledo at the Columbus Museum of Art. “Every morning we make these choices: we put on our clothes,” she says. “To make that as a bridge for more aesthetic discussions or social discussions is tremendous, and fashion is a really good vehicle for that.” Unlike most fashion shows at museums which focus on designers’ archives, all the pieces for this exhibit are new, and took six months of nonstop work to achieve according to Ruben.“The exhibition is in the new contemporary wing,”says Ruben.”Therefore the work had to be created as one writes in a diary—to the day, to the hour, to the moment until it left our studio—in order for it be contemporary.” Indeed, entering the exhibit feels like overhearing an ongoing visual conversation. Two tables line the space, one featuring Isabel’s work and the other Ruben’s creations. Both are heavily inspired by art (they ran around with Warhol in their youth). “It is all art all the time at our house,” Ruben says. But Isabel elaborates more on their ability to apply art to real life. It pervades both their high end (such as her eponymous label worn by the likes of First Lady Michelle Obama) and mass endeavors (like her collaboration with Lane Bryant). “I love the unexplained, the

poetic,” she says. “I live in that sphere constantly. I’m comfortable in this place and it’s where my ideas start and are formed—even for practical things like clothing and shoes and interiors.” A nod to Warhol, likely, but both Isabel and Ruben won’t draw a line in the sand between art and commerce. As an illustrator who has worked with large fashion houses like Chanel, Ruben finds that after working for the last 30 years side by side, he’s still “constantly surprised by Isabel’s ideas and points of view,” including her tailoring. “I find her work to be mystical, like a secret language between the body, mind and soul,” Ruben says. In real life, it might mean Ruben’s gorgeous line drawings transformed into a custom print for an Isabel Toledo for Lane Bryant dress. For the exhibit, the influence is more abstract. Ruben used his wife’s patterns and forms to create felt paintings, which he calls “a fertile, alive landscape.” Isabel was also thinking landscape but her table reflects more what she calls “landscape of women” and her thoughts on how women can change their appearances and how that’s “achieved through clothing.” She also wanted to lend her table a feeling of permanence to an anchoring piece: her first ever sewing machine encased in tailored black silk taffeta. Should outsiders view their working and martial relationship as a blissful idea, Isabel reminds them that in fact, their relationship is far more complex and, daresay, creatively violent than just a pretty picture. “Creative friction was my starting point,” she says.”I wanted to freeze that moment when an object becomes art.”

From left, Ruben Toledo installing Bodies@Work and an interior look at the museum show. BAL HARBOUR 143

PLATT DU JOUR The esteemed New York restaurant critic recounts a life of good eats.

hen I first began my strange career as a professional restaurant critic, way back in the distant, mostly vanished dinosaur era of what used to be called “gourmet fine dining”, I paid a lunchtime visit to a venerable New York restaurant called Le Périgord. In those pre-Instagram, pre-blog days, dining rooms of the city’s most admired establishments were still quiet, even stately places, where your meal proceeded in a mannered, time honored way, like the stages of a Kabuki play. The tables were covered in white linen and decorated with fresh roses. Many of these restaurants (La Caravelle, on 55th street, Le Côte Basque within walking distance) were still run by proprietors like Le Périgord’s Georges Briguet, who met me at the door dressed of his restaurant dressed in his ritual tuxedo and black tie. When I gave him the fake name under which I’d made the reservation, he led me back to a not very good table by the kitchen door, and handed me my menu with a ceremonial bow. “What’s good today,” I asked, thinking this was the kind of thing a practiced regular was supposed to say to the proprietor of a fancy restaurant. “You tell me,” he replied with a faint smile, “you’re the critic.” You can still visit Le Périgord in New York’s Sutton Place neighborhood, as it happens, and the ancient French specialties like cheese soufflé, and pâtés en croûte, are as pleasing as ever in their quirky, dated way. But since that meal more than fifteen years ago, Monsieur Briguet’s world as a restaurateur and tastemaker has changed in all sorts of unimagined ways, and as a practicing dining critic, mine has too. These days, the most talked about restaurants in town tend to be run by bewhiskered, tattooed chefs, not old fashioned Frenchmen dressed in tuxedos. The raucous chef’s culture, which was largely behind

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closed doors in Briguet’s day—market dining, pork belly, brown spirits, rock n’ roll—is what drives the dining world these days, and it’s possible to eat out in New York City for months at a succession of trendy ramen joints, burger bars, and elevated veggie centric farm to table establishments, and never see a starchy white table cloth (or a vase of fresh roses, for that matter) at all. With the arrival of the internet, and a more savvy, independent generation of eaters and chefs (many of whom cut their teeth ordering sophisticated latte combinations at Starbucks, instead of microwaved TV dinners) this cozy old alliance of high brow food mandarins and tastemakers has gone up in smoke. The opening of a new restaurant used to be reported to the wide world by critics many weeks after the fact, but thanks to sites like Grubstreet, Eater and Yelp, the average knowledgeable eater knows all about the “hot” new restaurant months before it’s even opened. Some critics in the old days famously also used to employ disguises, but experienced restaurateurs like Briguet generally knew them all, and had their photos plastered all over the kitchen walls. These days, a critic’s photo is plastered all over the internet, making the concept of “anonymity” even more absurd, which is why I decided, several years back to end the charade and “come out” in public by putting my face on the cover of New York magazine. In the old pre-blog days restaurant critics tended to be like solitary miners, shining their creaky headlamps on discoveries for our rapt readers, but now those of us dinosaurs who still roam the dining landscape (when I started work at New York magazine there were close to ten full time restaurant critics in town, now the number is less than half that) are more like carnival barkers, attempting to herd the crowds of informed, unruly diners from one ephemeral

attraction to the next. Members of the food obsessed, Instagram happy Starbucks generation are more informed than their parents about ingredients and cooking techniques, and more confident in their opinions about what does and does not taste good (thanks Yelp!). Thanks to the new mobile smart phone, clickdriven culture, the actual reviews that we critics write have gotten shorter, and although the top end of the old star system has eroded (most millennials would rather enjoy a good burger or bowl of ramen than visit a stuffy “four star” French restaurant), the appetite for quickly consumed (and highly subjective) stars and top ten listicles is greater than ever before. Is this such a bad thing? I’m guessing if you asked Monsieur Briguet, he’d shrug his shoulders, and say “C’est la Vie.” Fashions change, time moves on, and nothing lasts forever. “Haute cuisine” continental dining may in decline, but during my time as a critic, the food world has gone from being a relative sideshow to part of the national conversation, and whether you’re in New York, or Miami, or Portland, Maine, there are more delicious things to eat than ever before. It’s fashionable to say that everyone’s a critic in this madcap, digital world, and that’s true. But I would also argue that this clamor of opinions has made the voice of the old grizzled professional more important than ever before, especially in the booming, highly subjective world of restaurant dining, where the choices of where to spend a buck on your soufflé or garden burrito have never been richer or more confusing, and as Monsieur Briguet will tell you, the experience of the even the most practiced gourmand can still change radically depending on what time of day you eat, whether the sous chef (or the ace ramen cook) has a cold that day, and whether or not the hostess decides to seat you by the kitchen door.

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From netted knits to ruffled trains and sportif lace, this season's brightest whites offer a primed canvas for work or play time. Photography by KRISTIAN SCHULLER Styling by SARAH GORE REEVES

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Simone Rochas dress, available at Saks Fifth Avenue, 305.865.1100. Le Vain rose gold ear jacket. Borgioni ear cuff, available at Saks Fifth Avenue, 305.865.1100.

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Vera Wang button up shirt, peplum belt and sheer dress, available at Saks Fifth Avenue, 305.865.1100.

Dior jacket, available at Saks Fifth Avenue, 305.865.1100. 168 BAL HARBOUR

Alexander Wang sweater, available at Neiman Marcus, 305.865.6161.

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Brandon Maxwell dress, available at Saks Fifth Avenue, 305.865.1100.

Chanel lace dress, 305.868.0550. Roger Vivier lace sandals, 305.868.4344. Carolina Herrera skirt on mannequin, 305.864.0888. Eddie Borgo diamond stud hoops, available at The Webster, 305.868.6544.

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Valentino lace dress, 305.867.1215. Le Vain earrings.

Photographer: Kristian Schuller Photo Assistants: Tom Rauner, Hector Adalid Fashion Director: Sarah Gore Reeves Hair: Keith Carpenter/The Wall Group Makeup: Christopher Ardoff/Art Department Manicurist: Roseann Singleton/Art Department Props: Peggy Schuller Fashion Assistants: Jennifer Mok and David Taveras Producer: Isabel Scharenberg Model: Toni Garrn/ The Lions

Tory Burch floral vine blouse, 305.867.7469; Missoni printed bathing suit bottom, available at Saks Fifth Avenue 305.865.1100; Kenneth Jay Lane earrings, available at Saks Fifth Avenue 305.865.1100. 174 BAL HARBOUR

Full Bloom

With a wide range of floral prints, knits, and formalwear sprouting up on spring runways, designers are betting big on the power of the flower. PHOTOGRAPHY BY

DANIEL MATALLANA

STYLING BY

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Alexander Wang rose printed blouse, available at Neiman Marcus, 305.865.6161. 176 BAL HARBOUR

Valentino dress, 305.867.1215; Erickson Beamon earrings. Kenneth Jay Lane ring, available at Saks Fifth Avenue 305.865.1100.

Chanel pale pink rose brooch and tweed jacket, 305.868.0550.

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Dolce & Gabbana rose printed sleveless blazer, 305.866.0503; Graff diamond and emerald hoop earrings, 305.993.1212; Tiffany & Co. ring in platinum with green gem and round diamonds, 305.864.1801.

Miu Miu flower swimmer cap, 305.993.2300.

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Fendi floral blouse, 305.861.7114; Tiffany & Co. rings (left hand), 305.864.1801. Le Vain rings (right hand).

Tiffany & Co. earrings in platinum with pink sapphire and round diamonds and diamond necklace, 305.864.1801. Marc Jacobs embroidered jacket, available at Neiman Marcus, 305.865.6161. 182 BAL HARBOUR

Fendi printed dress and skirt, 305.861.7114; Chanel earring, 305.868.0550.

Photographer: Daniel Matallana Fashion Director: Sarah Gore Reeves Model: Maja Krag Hair: Matthew Tuozzoli/ Atelier Management Makeup: Rie Omoto at See Management for THREE

Sylvie Fleury’s Eternity Now, 2015

PICK UP ARTISTS

After launching a bold new acquisitions program, the Bass Museum unveils a gleaming new renovation. BY TRACY ZWICK

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ounded in 1964, the Bass Museum is one of the oldest of the splashy, contemporary art institutions in and around Miami. “We have a proud and strong historical presence,” says Silvia Karman Cubiñá, the museum’s executive director. But, with a $12 million renovation by architects David Gauld and Arata Isozaki ready to open in late spring, and a new acquisitions program that launched last year with Ugo Rondinone’s neon-bright, instantly instagrammable Miami Mountain, there’s nothing staid about it. “Fifteen years ago, when people went to a museum, it was like going to church. You had to be quiet, look at the art reverentially and walk out,” says Cubiñá. Those days are gone. Visitors now expect not only world-class art that excites and challenges, but also delicious food, broad educational and social programming, and chic shopping experiences. “We are following the behavior of the visitor today,” says Cubiñá, by adding a café led by Thierry Isambert, a museum store, and 50 percent more programmable space. Amenities are swell, but contemporary art remains the sine qua non of the Bass. “We’ve always had a collection, but we hadn’t been acquiring,” says Cubiñá. “For the past seven years, we’ve been studying and assessing our collection. We weren’t ready to start an acquisitions program until now.” Cubiñá and her board, led by George Lindemann, committed last September to adding a major work of contemporary art to the permanent collection every fall for a decade—and with a bold opening salvo. “Our big present to ourselves in 2016 was the Ugo Rondinone sculpture, Miami Mountain, that is now on Collins Avenue,” she says. The second purchase was Sylvie Fleury’s Eternity Now, which is installed on the museum’s façade. Swiss-born, New York-based Rondinone will have his first U.S. solo museum show at the Bass in 2017. The inaugural year of programming will also include solo exhibitions of contemporary artists Mika Rottenberg and Pascale Marthine Tayou. The Bass was no stranger to expansion, historic preservation, or architect David Gauld when its board selected the New Yorkbased architect for the project. It was already the most important historic building of Miami’s Art Deco District when legendary architect Arata Isozaki authored an iconic addition in 1999. Gauld spearheaded that addition, working under Isozaki, who, this time

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around, at age 85, serves as an advisor. Gauld says his vision for the addition was “a beautiful, light-filled space. One of the central new areas we’re creating is a glass-enclosed courtyard, with a dramatic 30-foot ceiling. The historic building is on one side, the addition by Isozaki is on the other and the glass enclosure is by me, so all three of us are together.” “Nearly 20 years ago, we created the courtyard between the two buildings, and the museum has used it mainly for special events,” Gauld explains. “It was a loved space, right up against the historic building. But they could only use it if the weather was cooperating.” Enclosing the courtyard was the obvious answer, but with the museum’s landmark 1930s-era building, “attaching anything to the façade would require a lot of care.” Gauld’s solution was to install glass walls, to avoid attaching anything to the stone. As an added benefit, “glass contrasts with the solid stone of the building and compliments it rather than competing with it,” according to Gauld. The museum’s historic façade is still visible in its entirety, without interruption. “From the exterior, there’s very little change on the north side. As you walk around the building, though, you see the transformation,” says Gauld, who addeda ramped entrance accessible directly from 22nd Street, and a dedicated entrance for the education department on Park Avenue. “The education department is now three times the size it was,” says Gauld. Cubiñá adds,“We are going to have the largest education facility in any art museum in Miami-Dade County.” She thinks recent growth of the art market and culture in Miami demanded the enlargement. “Museums here have come into their own in a big way,” she says. “I consider it a a maturing of philanthropy and civics. We’ve quadrupled our attendance and tripled our budget. When I started eight years ago, I had a board of four. We now have 30 members.” While the museum’s physical plant is expanding to accommodate more visitors, it is also bursting beyond its walls, situating new acquisitions outside of its confines. “It’s one thing to have a sculpture in the museum,” says Cubiñá. “But when you have sculptures outside, you’re getting people who aren’t interested in walking into the museum, or don’t have time—tourists, locals, and families. It touches so many different types of people.”

“We’re building the bicycle as we ride it. There’s a lot happening very quickly.” —Silvia Karman Cubiñá

Clockwise from above: An exterior view of the newly enclosed courtyard; view of the renovated lobby; Ugo Rondinone's Miami Mountain, 2016.

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Blinded by the Light Fortune (and fashion) favor the bold. From traffic-stopping chokers and heavyweight rings to blinged out bijoux above and below the neck, these diamond-studded stunners add the perfect punctuation to this season's hottest looks. PHOTOGRAPHY BY TOM

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Brunello Cucinelli blazer and trousers, 305.864.4833; David Yurman diamond willow three-row ring and diamond X collection ring, 305.867.1772; Bulgari bracelet, 305.861.8898; Graff diamond necklace and watch, 305.993.1212; Theory hoodie, available at Neiman Marcus, 305.865.6161.

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Chopard diamond ring, 305.868.8626; DKNY sweater, available at Saks Fifth Avenue, 305.865.1100.

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Harry Winston pear-shaped, marquise and round diamond earrings set in platinum, 786.206.6657; Alexander Wang top, available at Neiman Marcus, 305.865.6161.

Chopard diamond earrings, 305.868.8626; Tiffany & Co. platinum and mixed-cut diamond ring, 305.864.1801; Jacob & Co. choker, custom made to order. 194 BAL HARBOUR

Van Cleef & Arpels diamond necklace, 305.866.0899; Acne leather jacket, available at Saks Fifth Avenue, 305.865.1100.

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Bulgari four band ring in 18kt pink, white and yellow gold and 18k white gold bracelet with round pavĂŠ diamonds, 305.861.8898; Acne sweater dress, available at Saks Fifth Avenue, 305.865.1100. Photographer: Tom Schirmacher Fashion Director: Sarah Gore Reeves Model: Hannah Holman Hair: Matthew Tuozzoli/Atelier Management Makeup by Rie Omoto at See Management for THREE

OUT OF AFRICA Dutch photographer Iwan Baan has spent a decade capturing the continent's architecture, revealing the stories behind the structures. BY ERIC NEWILL

The National Park of Mali by Kéré Architects, 2010 198 BAL HARBOUR

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PHOTO BY IWAN BAAN

en years ago, when Dutch photographer Iwan Baan began documenting the African continent, “there was hardly any notion architecture would happen there,” he says. In the decade since, visionary architects such as Burkina Faso-born Diébédo Francis Kéré and Boston-based MASS Design Group have worked to transform the landscape, building needed structures such as hospitals and schools from indigenous materials and with local help. Baan’s photographs of these buildings, as well as older modernist creations that symbolized the hopeful spirit of newly born countries free of European colonization, reflect his signature method of placing architecture in the broader context of its environment and time. “In much architectural photography all notion of place has been stripped away,” he says. “My work tells a story about the city and its surroundings. That building is there for a specific reason, and that is all part of the narrative.” Pointing to the cover of ‘African

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Modernism,’ a book he published in 2015 with Swiss-German architect and writer Manuel Herz, Baan explains his enduring fascination with Africa's most provocative architecture: ”We know the classic modernist icons of the West such as Brasilia, but there was also a large modernist architectural movement on the African continent. As countries like Ivory Coast and Ghana gained their independence, the governments had a utopian dream of building modern new cities, and hired mostly European architects to design large public projects and monuments,”said Bann.“There’s still a lot to see, but many of these structures are now being replaced by generic boxes. This is one of the main plazas in Abidjan, Ivory Coast.” “Francis Kéré was asked by the Malian government to rehabilitate an old botanical garden in the center of Bamako, which was completely overrun. He worked with a local architect to create public buildings and small cultural centers there. This is a restaurant and viewing platform with his signature double

roof. These structures are very low-tech— there’s often no air conditioning. The larger roof creates shade, while another below it repels the heat and keeps it cool inside.” “The founders of MASS Design Group, Michael Murphy and Alan Ricks, were still at Harvard when they began building in Africa. This is the first project they completed, the Butaro District Hospital in Rwanda. Often the electricity there is out, so they conceived a facility based entirely on natural ventilation, with no need for expensive generators. It’s become a model for new hospitals all over Africa.” “This is the waiting area of the same Butaro hospital. They worked with locals to build the structure, whose materials are all natively sourced. The volcanic rock on this wall is beautiful yet also very inexpensive, because it’s basically from around the corner. And since it never gets cold, this window is always completely open. This allows the wind to blow constantly and reduces airborne diseases that arise in closed areas.”

PHOTO BY IWAN BAAN

“My work tells a story about the city and its surronding. The building is there for a specific reason, and that is all part of the narrative.” — Iwan Baan

The Butaro Hospital in Rwanda by Mass Design Group, 2011 BAL HARBOUR 201

The Butaro Doctors’ Sharehousing in Rwanda, 2012

“A ’60s residential building in Dakar, Senegal, offered an architectural blank canvas for the designer to do interesting work. Africa was a big playground for foreign architects at that time, with few restrictions. They were inspired by the residential work Le Corbusier had done in Europe, and wanted to replicate that in these conditions.” “In 2011, MASS Group opened the Umubano Primary School in Kigali, the capital of Rwanda. The terraced playgrounds running off the hill add to its appeal as a pleasant place to learn. It’s constructed of simple brickwork, with a double roof that brings light in from the top.” “Mali has an incredible history of UNESCO-designated mosques constructed of mud dating back to the 14th century. The agency commissioned Francis Kéré to design this small museum and visitors’ center at the Grand Mosque of Mopti to commemorate this heritage.” “The Lycée Schorge Secondary School in Koudougou is one of Francis Kéré’s public buildings constructed in Burkina Faso, his home country. Though he now works in Berlin, many of his projects are here, where he grew up in a tiny village as the son of a local king. This structure is completely built from local materials: The exterior is

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fashioned from bamboo sticks, which provide shade to the mud classrooms within. The little towers on the roof generate air flow to the interior, so it remains cool even though outside it can be 104 degrees.” “Though Abidjan is Ivory Coast’s main city, when it became independent the government decided to build a new capital from scratch in the center of the country. Yamoussoukro is still not finished, with roads that lead nowhere, and this is one of the strangest buildings there. The Vatican presented a copy of the original that is 100 times as big, a huge white elephant surrounded by people with absolutely nothing. It’s a crazy symbol of power that is off-limits to the locals, used only for ceremonial proceedings.” “The territory of Western Sahara has been in dispute for more than 40 years, with Morocco refusing to grant its independence in the face of numerous resolutions from the UN. Displaced persons built these huge refugee camps four decades ago and they’re still there. It is a completely selfbuilt and -governed mini country inside Algeria; many people have never been outside these camps. Just outside the habitation is the vast desert, with animals including camels.”

PHOTO BY IWAN BAAN

Clockwise from left: The Lycée Schorge Secondary School in Burkina Faso (Kéré Architecture), 2016; Western Sahara, 2016; Angelican Cathedral of the Holy Cross in Lusaka (Architects Hope, Reeler and Morris), 1960-1962; Umubano Primary School in Rwanda (Mass Design Group), 2011 and an exterior look at the Lycée Schorge school.

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AHEAD OF THE CURVE From islands off Manhattan to museums in Cape Town, Thomas Heatherwick is redesigning cities for the future. BY TED LOOS

Heatherwick’s Seed Cathedral in the UK Pavilion at the Shanghai Expo, 2010 BAL HARBOUR 205

t times, you’d think Thomas Heatherwick was the only architect-designer working these days— he gets that much attention. In his native Britain, he is endlessly chronicled, praised and sometimes pilloried for his out-there designs, which frequently have an organic, curving shape to them. Curly haired, well-dressed and intensely focused, Heatherwick is known as the mad scientist of design because all of his work involves ingenious leaps of imagination, even though they are also possessed of a simplicity of concept. No wonder that when London’s V&A Museum put on a 2012 exhibition of his work, it was subtitled “Designing the Extraordinary.” The 46-year-old Heatherwick, founder of Heatherwick Studio, is probably best known for his torch from the 2012 London Olympic Games, known as the Caldron. It was made up of smaller flames carried into the stadium by athletes, that, when combined, formed one very big, fire-y statement about cooperation and global unity. In the United States, his star wattage was enough to attract billionaire developer Stephen M. Ross, of the Related Companies, who commissioned him to design a $150 million interactive sculpture of sorts—a climbable, 15-story basket-shaped structure in bronzecolored steel—to anchor the Hudson Yards development on the west side of Manhattan, due to be completed next year. Called the Vessel, the project’s design was debuted with ballyhoo last September. His island in the middle of the Hudson River off Manhattan, known as Pier 55, is moving forward with the sponsorship of media mogul Barry Diller.

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Heatherwick’s still-in-development London Garden Bridge—essentially a densely planted park—has been on-again, offagain with controversies and funding. Let’s just say he has a lot going on in terms of forthcoming projects, too. The list includes the Zeitz Mocaa, a private contemporary art museum in Cape Town, and the attached hotel, The Silo; a collaboration with architect Bjarke Ingels on the new Google headquarters in Silicon Valley; and a collaboration on the redo of the New York Philharmonic’s home. His website lists his projects in three categories—small, medium and large—but they all seem to have a very big impact on the design world. Heatherwick grew up in Kent, England and never trained as an architect: he’s always seen himself as a creator of three-dimensional objects, and buildings are just one of the many types of things that, in his mind, need designing. He’s spent a lot of time and energy on product design, like his bottle for Christian Louboutin’s fragrance, Beauté. Given his wide-ranging creativity, it’s not surprising that he’s from a family of artists, inventors and other “makers.” After his education at the Royal College of Art, he was mentored by the British design icon Terence Conran. Recently Heatherwick wrote a heartfelt introduction to Conran’s memoir-withpictures, “My Life in Design.” Though Conran has been more associated with furniture and home goods, particularly through Conran’s and the Conran Shop, he’s a polymath in a similar vein to Heatherwick, refusing to be categorized or to be stopped from thinking across genres. Until 2010, Heatherwick’s projects

An exterior look at the Seed Cathedral

Heatherwick is known as the mad scientist of design because all of his work involves ingenious leaps of imagination. BAL HARBOUR 207

were acclaimed but largely located inside Britain. But the “Seed Cathedral,” the U.K. Pavilion at the Shanghai Expo 2010, launched him into a new orbit. The addition of 250,000 seeds to tiny fiberglass strands made part of the pavilion seem like a living, hairy being, both a statement about biodiversity and a cool icon. The pavilion was really all about a magician’s misdirection. The attention was focused on the seeds, but most of the useable part of the building, off to the side, was architecturally basic and eminently practical for large crowds. By diverting attention with the seeds, Heatherwick got both the sizzle and the steak. To prove that nothing is beneath him or foreign to him, Heatherwick immediately jumped to redesigning London’s buses. His “Routemaster” bus designs lets in more light and improves safety—and, as always with Heatherwick, it pleases the eye too, with its diagonally draped front windshield. London has naturally been home to the most Heatherwick architecture, as

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the designer has long been a resident of that city. But as demand has exploded, the work has gone fully global, especially in Asia, where his Learning Hub (The Hive) at Nanyang Technological University in Singapore has helped rethink how university classrooms, offices and public spaces can be arranged for maximum communication. With the Vessel project now fully underway, and Pier 55 not geographically very far away, New York is becoming a Heatherwick hub of sorts, too. Stephen M. Ross was so happy with the Hudson Yards design that he hired the studio to do a couple of residential buildings, too. Private structures like those are relatively rare for this designer—overall the most striking thing about his career is that his work has been largely comprised of public projects, places that anyone can enter and enjoy, products that anyone can buy (if they can afford it), and structures that somehow serve as links, like bridges. In the end, his greatest passion may be to let the whole world share in his ingenuity.

PHOTO COURTESY OF PIER55 INC./ HEATHERWICK STUDIO

Pier 55 will be a 2.7 acre public park and performance space located on Manhattanâ&#x20AC;&#x2122;s lower west side.

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EN VOGUE The don of fashion photography, Albert Watson, opens a new show at the Palm Beach Photographic Centre. BY TOM AUSTIN n a perfect winter afternoon, Fatima NeJame of the Palm Beach Photographic Centre is admiring some 45 photographs by the Edinburgh-born Albert Watson, who was given an Order of the British Empire (OBE) by Queen Elizabeth II last year. Watson’s photographs have also been featured in London’s National Portrait Gallery and the Metropolitan Museum of Art in New York. This month, Watson will also serve as the 2017 recipient of PBPC’s FOTOmentor award and the star of “Greatest Hits: A Special Exhibition by Albert Watson,” a PBPC show on view from January 24 to March 11, 2017. The New York-based Watson is, yet again, in good company: over the 22-year history of the non-profit complex, master photographers Duane Michaels, Gordon Parks, and Arnold Newman have also won the award. Watson, born blind in one eye, is all about hard work—he’s done more than 40 Rolling Stone covers and 100 Vogue covers— expertly capturing such subjects as Steve Jobs, Michael Jackson,

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Clockwise from right: "Kate Moss” and “Christy Turlington”; a portrat of Watson by Gloria Rodriguez.

Andy Warhol, David Bowie and Prince. Watson is also a prolific art photgrapher. In “Teacup,” which is part of the PBPC exhibition, a nude model is dominated by an enormous Shades-ofDali teacup. Supermodels take center stage: a nude Kate Moss resembles a pensive-yet-chic woodland creature; Christy Turlington, surrounded by a tendril of ominous cigarette smoke, radiates take-no-prisoners cool. One of NeJame’s favorite pieces is Watson’s first celebrity portrait, a 1973 Harper’s Bazaar photograph of Alfred Hitchcock, with a bemused Hitchcock holding aloft a skinned duck. To NeJame, who also co-founded PBPC, Watson’s photo of Hitchcock embodies Hitchcock’s essence, “so funny, so macabre, and ultimately, so cool.” Watson, who made his Vogue debut in 1976, has always had a gift for fashion: in 1970,

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he shot a Rudi Gernreich swimwear campaign, and went on to shoot campaigns for Prada and Chanel. Over the years, Watson’s travel photography has captured snake charmers in Morocco and a children’s ballet company in Bejing. His commercial work includes a movie poster for “Memoirs of a Geisha,” a 1975 Grammy for a Mason Proffit album cover, and directing more than 100 television commercials. Watson is also no slouch in the arty erotica department: his studies of a Las Vegas dominatrix in black kink gear recall the best of Helmut Newton. This is a life crowded with glamour, guts, and genius, and as Watson writes on his website, he's ultimately looking to “create an aura that takes the viewer into the image, but simultaneously demands a reverent distance.” All hail the photographic gaze.

One of NeJame’s favorite pieces is Watson’s first celebrity portrait, a 1973 Harper’s Bazaar photograph of Alfred Hitchcock, with a bemused Hitchcock holding aloft a skinned duck.

Alfred Hitchcock

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GREAT ESCAPES ASIA

Discover Asia’s most exotic jewels in Taschen’s updated regional guidebook. The collection presents interior and exterior photographs of its featured hotels and plentiful opportunities to nourish the body and soul. This compact piece of paradise is destined to satisfy even the most opulent globetrotter. (Taschen)

DIOR

Mats Gustafson captures the tasteful elegance of Dior through 150 pastel illustrations that evoke haute couture’s halcyon origins. The emblematic house’s commitment to innovation and tradition are emphasized in this must-have collection. (Rizzoli)

Sweet Indulgences Whether they're capturing Belgium's top chocolatier, the sprawling garden of architecture's reigning enfant terrible, or the latest gang of fashion provocateurs, spring's style tomes are sure to delight. BY JESSICA IDARRAGA

HEIMAT

Ellen von Unwerth revels in nostalgia and feminine eroticism while subverting the timeworn tropes of the Bavarian countryside to unabashedly decadent ends in this collectible edition. (Taschen) 222 BAL HARBOUR

THE ART OF SHOES

The Art of Shoes highlights the wideranging influences that shape Manolo Blahnik and his craft. The visionary shoemaker’s independent ethos shines on each page as he discusses the lessons learned in a career on the forefront of high fashion. (Rizzoli)

ALBERT FREY

One of Le Corbusier’s most intrepid disciples, Albert Frey designed California’s unforgiving desert into a modernist wonderland. This visually stunning tome captures the sleek optimism of one of Midcentury architecture’s most ingenious minds. (Taschen)

THE GARDEN OF PETER MARINO

Freed from contractual obligations, architect Peter Marino crafted a meticulous, if unorthodox, garden at his Hamptons retreat. This book offers an unparalleled tour of his distinctive folly. (Rizzoli)

DIGIT@L GIRLS

Marko Macpherson chronicles the lives of the pioneering women that pushed fashion into the social media era. Diversity and self-expression are celebrated in this timely who’s who of contemporary couture. (Rizzoli)

LA CUCINA DI LUCA FANTIN

Arguably the world’s best Italian chef, Luca Fantin practices his art in a surprising location: the top floor of Bulgari Ginza Tower in Tokyo. Readers can attempt to recreate Fantin’s idiosyncratic and culturally imaginative concoctions as they delve into the art of fine cuisine. (Assouline)

ABSTRACT ART

Taschen’s comprehensive guide on abstract art is bound to become required reading for any creator inspired by the movement that upended any and all convention to radically expand the possibilities of expression. (Taschen)

VENETIAN CHIC

The intimate side of Venice is put on display in this magnificent new volume. Native Francesca Bortoletto Possati and photographer Robyn Lea will have readers checking fares for the next direct flight to Marco Polo airport. (Assouline)

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CHOCOLAT

JOHN CURRIN

Reminiscent of Old Masters, John Currin’s paintings present complex images of women that walk the line between enticing and repellent. This new collection challenges the viewer to question idealized beauty. (Rizzoli) ( (Rizzoli )

Sweet-tooths everywhere owe Pierre Marcolini, Belgium’s foremost chocolatier, their gratitude. This stunning volume is the innovator’s mouthwatering meditation of the craft that spans from the bean to the dessert (or savory) bowl. (Rizzoli)

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