Bal Harbour magazine Spring 2019 issue

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PHOTO BY ANDREW YEE

SPRING 2019

Model Bola Edun wearing a Balenciaga dress, scarf and necklaces.

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

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MAN OF VISION Theater of Shopping celebrates the legacy of Bal Harbour Shops founder Stanley Whitman.

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THE ART OF INSPIRATION Laurence Graff invokes the spirit of Cy Twombly for his high jewelry brand’s new collection.

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COME AS YOU ARE Olivia Song gives us a glimpse at her Spring favorites.

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BALANCING ACT Alexis Goldsmith tells us how to keep stride in style this season.

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THE POWER OF THE PUMP For Italian shoe designer Gianvito Rossi, empowerment is on par with elegance.

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IT’S A MUST > >ÀL ÕÀ >à ÕÃÌ Ì i >VViÃà ÀÞ Þ Õ ii` Ì w à vv Þ ÕÀ Ì i Ãi>à ½Ã ÌÌiÃÌ ÌÀi `ð 38 BAL HARBOUR

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PHOTO BY STEWART SHINING

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Model Kasimira Wilding wearing Chanel.

THE SHAPE OF THINGS TO COME Aranda\Lasch brings a Milan-meets-Miami retail experience to Valextra at Bal Harbour Shops.

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A FORCE FOR GOOD Kinga Lampert’s commitment to health and well-being has transformed thousands of lives, including her own. 87 A PARK IN BLOOM /Â…i 1˜`iĂ€Â?ˆ˜i Ă•Ă€L>˜ ÂŤ>ÀŽ Ă€i`iw˜iĂƒ ĂŒÂ…i Ăœ>Ăž ĂƒÂŤ>Vi ÂˆĂƒ ĂƒÂ…>Ă€i` ˆ˜ ˆ>“ˆ°

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MEMORIES OF AN EPICUREAN PAST >V¾ÕiÂ?ˆ˜i /iÀÀiLœ˜˜i Ă€iyiVĂŒĂƒ œ˜ ,Ă•ĂŒÂ… ,iˆVÂ…Â?½Ăƒ “iÂ“ÂœÂˆĂ€] Save Me the Plums, and her

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`>ĂžĂƒ ĂœÂœĂ€ÂŽÂˆÂ˜} >Â?œ˜}ĂƒÂˆ`i ĂŒÂ…i Â?i}i˜`>ÀÞ VĂ€ÂˆĂŒÂˆV >˜` i`ÂˆĂŒÂœĂ€ Âœv Gourmet magazine. THE GENIUS OF CRAIG GREEN The designer’s SS19 collection for Moncler weathers the elements.

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MAN OF LETTERS ÂˆĂŒVÂ…iÂ?Â? >ÂŤÂ?>˜ ÂŤÂˆÂœÂ˜iiĂ€i` ˆ>“ˆ½Ăƒ Â?ÂˆĂŒiĂ€>ÀÞ VĂ•Â?ĂŒĂ•Ă€i° ÂœĂœ] ĂŒÂ…i ÂœÂœÂŽĂƒ E ÂœÂœÂŽĂƒ vÂœĂ•Â˜`iĂ€ w˜`Ăƒ ĂŒÂ…>ĂŒ

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Ăƒ>“i ĂƒĂ•VViĂƒĂƒ ĂœÂˆĂŒÂ… wÂ?“° ALL THE LIKES 7ÂˆĂŒÂ… Â…ÂˆĂƒ ÂˆÂ˜Â˜ÂœĂ›>ĂŒÂˆĂ›i Â˜ĂƒĂŒ>}Ă€>“ VÂœÂ?Â?>}iĂƒ >˜` ĂƒĂŒÂˆÂ˜ĂŒĂƒ >ĂŒ Â?Ă•Ă?ÕÀÞ LĂ€>˜`Ăƒ] >VViĂƒĂƒÂœĂ€ÂˆiĂƒ `iĂƒÂˆ}˜iĂ€ >˜` illustrator Benjamin Seidler is a must-follow.

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Philanthropist Kinga Lampert discusses her role as co-chairman of BCRF on page 87.

THE ART OF DRESSING Pari Ehsan takes her signature mashup of fashion and art to the far corners of the world.

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ENDLESS SUMMER Newlyweds Kasimira and Tarquin Wilding revel in the joy of new love, dressed in styles for eternal bliss.

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THE AMAZING MONSIEUR MOURET In his new book, designer Roland Mouret discusses the art of transformation.

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MEETING OF THE MINDS Summit brings people together the old-fashioned way. Are you invited?

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COOKING ACROSS CONTINENTS / iÃi ÕÝÕÀÞ VÕ >ÀÞ iÝ«iÀ i ViÃ Ü > i Þ ÕÀ iÝÌ Û>V>Ì > vi>ÃÌ v y>Û Àà > ` VÕ ÌÕÀi°

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LAYERS OF LUSH Sheer and sultry, this season’s looks revisit chic mid-century styles with plumes aplenty.

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THE BELLE OF BOHEMIA Ƃ Ì i L ` y À> «À ÌÃ] >Vi > ` LÕÌ ` ½Ì Ì ÕV >VViÃà À ià «iÀviVÌ v À > « i > À >vÌiÀ ° 192 SPRING BREAK Whether you’re looking for serenity or cultural stimulation, spring has the titles for you.

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THIS ISSUE HAS SERVED UP THE glamour and sophistication of the spring season in typical Bal Harbour fashion. My friend and brilliant photographer, Stewart Shining, photographed Kasimira Wilding for our 18-page cover story. The newlywed whose mother once posed for the famous French photographer, Guy Bourdin, convinced her husband Tarquin (Elizabeth Taylor’s grandson) to pose for a few shots. The gorgeous couple invites the reader to spend a day in their life as Kasimira effortlessly rocks some of the best spring looks from Chanel, Balenciaga, McQueen, Versace and Ermanno Scervino, to name just a few. For our second cover, the iconic Ruven Afanador captures model Missy Rayder in the season’s best whimsical looks adorned with feathers and lace. These covers capture both the spirit of spring and the depth of feeling fashion often evokes. Also in the issue, writer Les Standiford talks with Mitchell Kaplan, the founder of beloved shop Books & Books, about Kaplan’s growing production career and their passionate commitment to literature and culture. As serious bookworms ourselves, we were very lucky to have Jacqueline Terrebonne, who previously worked with legendary author and former Gourmet editor-in-chief Ruth Reichl, review Reichl’s new book Save Me the Plums, in a nostalgic recollection of their days at Gourmet. Mark your calendars for a reading by Reichl at Books & Books on April 23. Speaking of emotional connection, that’s exactly what makes Bal Harbour so special, says the president and CEO of Bal Harbour Shops, Matthew Whitman Lazenby, in Theater of Shopping, Alastair Gordon’s story about the prescient vision of Stanley Whitman: “People have emotional connections to Bal Harbour, which is very unique for a shopping center.” Whitman, Lazenby’s grandfather, founded Bal Harbour shops in £ ÈxÆ Üi «À w i > «ÀiÛ iÜ v À` ½Ã L }À>« Þ° His incredible narrative will inspire you to embrace your own passions—after all, fashion is about so much more than brand names. It’s the art form that speaks most directly to personal expression, and there is endless potential for fashion to translate who we are on the inside to how we present ourselves to the world. It’s why we do what we do.

MY INSTA INSPIRATION @journeyofabraid @versace

Publisher/Editor-in-Chief Sarah G. Harrelson Follow me on Instagram, @sarahgharrelson

@stewartshining @olivia_song @paridust

BAL HARBOUR MAGAZINE Publisher/Creative Director Carlos A. Suarez Publisher/Editor-in-Chief Sarah G. Harrelson Executive Editor ->À> , vw Digital Media Editor Jessica Idarraga Associate Art Director Katie Brown Contributing Writers Shannon Adducci, Taylor Dafoe, Jessica Kantor, Siobhan Morrissey, Jennifer Piejko, Karen Quarles, Les Standiford Contributing Photographers Stewart Shining, Andrew Yee, Ruven Afanador Assistant Editor Simone Sutnick Marketing Coordinator Carolina Navarro Lins Accountant Judith Cabrera Intern Carolyn Batchelor, Paola Coriat Copy Editors Vered Engelhard, Anna Bonesteel, Bartolomeo Sala, Monica Uszerowicz Pre-Press/Print Production Pete Jacaty Digital Imaging Specialist Matt Stevens %JKGH 'ZGEWVKXG 1HƂEGT Mike Batt 1680 MICHIGAN AVENUE, SUITE 1013 MIAMI BEACH, FLORIDA 33139 786.342.7656 44 BAL HARBOUR

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BAL HARBOUR MAGAZINE IS PUBLISHED BY WHITEHAUS MEDIA GROUP TO SUBSCRIBE, BALHARBOURSHOPS.COM

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SPRING 2019

Kasimira Wilding

Model Kasimira Wilding, photographed by Stewart Shining exclusively for Bal Harbour Magazine. Styled by Inge Fonteyne, Wilding wears a Brunello Cucinelli suit and Cartier earrings.

SPRING 2019

Missy Rayder

Model Missy Rayder, photographed by Ruven Afanador exclusively for Bal Harbour Magazine. Styled by Romina Herrera Malatesta, Rayder wears a Miu Miu dress, Oscar de la Renta pearl button earring and Missoni cuff earring and an Eric Javits headpiece available at Saks Fifth Avenue.

PHOTO BY WORLDREDEYE.COM

WELCOME NOTE

Bal Harbour Shops 305.861 .1515

Contributors

RUVEN AFANADOR has been behind the lens since i wÀÃÌ i ` > V> iÀ> >Ì Ì i >}i v £{° - Vi Ì i ] Ì i Colombia-born photographer has shot nearly every > À Û } >ÀÌ ÃÌ] Õà V > ] `> ViÀ] >VÌ À] « Ì V > ] and supermodel, bringing a contrast of masculinity and femininity to his innumerable portraits, fashion spreads, and Ì Àii L à v « Ì }À>« Þ° À Ì Ã ÃÃÕi] i Ã Ì `i Missy Rayder in mid-century inspired layers accented by `À> >Ì V vi>Ì iÀà iÛiÀÞÌ } vÀ >ÌÃ Ì Ã iiÛið

GARY KRAVIT (STANDIFORD)

“I was introduced to Mitchell Kaplan back in the early ‘80s, before there was a Books & Books,” LES STANDIFORD says of his «À w i ÃÕL iVÌ > ` à E à v Õ `iÀ° “He was already talking about the kind of store he wanted and how the Miami Book > À Ü>à } } Ì ÌÀ> Ãv À Ì i V ÌÞ° Ƃ Ü> Ìi` Ü>Ã Ì «ÕL à > à } i L °» Since then, Standiford has become the founding director of the Creative Writing Program at Florida International University > > ` ÜÀ ÌÌi ÓÎ L ð º Ài Ì > 35 years later, I look back at all the things that have been accomplished and shake Þ i>`° - iÌ ià `Ài> à ` V i true—if you work hard enough, stick at it for two or three decades, and have a little ÕV > } Ì i Ü>Þ >à Üi ] Ì >Ì Ã°»

INGE FONTEYNE started her career at Vogue as an

assistant to stylist Carlyne Cerf de Dudzeele, before becoming the senior fashion editor at Elle° Ü Ü À } `i«i `i Ì Þ] Fonteyne brings her eye to Bal Harbour, working with photographer Stewart Shining on the fashion spread featuring >à À> > ` />ÀµÕ 7 ` }° º/ Ã Ã Ì Ü>à > Ü À Ü `]» à i Ã>Þð º Ì Ü>Ã Þ i `>Þ > ` iÛiÀÞ Ì « `ià } iÀ Õ «i` L >À`° Ûi V >L À>Ì } Ü Ì -ÌiÜ>ÀÌ° 7i Ài> Þ >` fun—to me it’s not worth it unless you have fun!”

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º }> > «iÀ̽à « > Ì À «Þ > ` V>ÀipÀi> ] }i Õ i V>Ài pv À LÀi>ÃÌ V> ViÀ «>Ì i Ìà > ` ÃÕÀÛ Û Àà à ë À } > ` V v ÀÌ }]» Ã>Þà ÜÀ ÌiÀ MONICA USZEROWICZ v Ì i «À w i à i «i i` v À Ì Ã ÃÃÕi° º iÀ Ü À >vv À`à iÀ > ëiV > Û> Ì>}i « Ì Ì ÃÕ«« ÀÌ Ì i ÃÌÀ `ià Li } >`i Ì i wi ` v LÀi>ÃÌ V> ViÀ ÀiÃi>ÀV ° i>À i` à ÕV vÀ iÀ] > ` vii iÝV Ìi` v À Ì i vÕÌÕÀi° «i >à Üi Ûi v ÀÜ>À`] i` V i Ü LiV i Ài V «Ài i à Ûi] >VViÃà L ip> ` > Ì Ài Õ > °»

GABRIELA SERRA (USZEROWICZ), FRANCOIS DISCHINGER (BENJAMIN)

Contributors

Photographer GESI SCHILLING à > > >Ì Ûi Ü À>Ài Þ w `à iÀÃi v ` VÕ i Ì } vi Ü V> L À «i « i Ì Ã V ÌÞ v ÌÀ> ë > Ìð * Ì }À>« } ÌV i >« > v à E à v À Ì Ã ÃÃÕi ÌÕÀ i` ÕÌ Ì Li i ÃÕV VV>à ° - i >à V >L À>Ìi` Ü Ì ÌV i v À Ì i >ÃÌ ÃiÛi Ƃ«À Ã] ` VÕ i Ì } Ì i "] > * iÌÀÞ iÃÌ Û> ° ÕÀÌ iÀ i ÌÜ } Ì i ÌÜ ] -V }½Ã « Ì }À>« à ÜiÀi ÀiVi Ì Þ iÝ L Ìi` How to Take the Words Out of a Poem: Objects & Images from O, Miami >Ì / i -ÌÕ` à v iÞ 7iÃÌ] Ü V VVÕ« iÃ Ì i Ã> i ë>Vi >à à E à iÞ 7iÃÌ° -V } > à V>«ÌÕÀi` « ÜiÀ ÕÃi }> > «iÀÌ v À Ì Ã ÃÃÕi°

MARK BENJAMIN Ã Ì i i` Ì À > ` VÀi>Ì À v RAIN

>}>â i] > `i«i `i Ì v>à > ` >ÀÌà «ÕL V>Ì vÀ iÜ 9 À Ü Ãi ÌiÀ ÛiÜ Ü Ì À> } Àii >««i>Àà «>}i £Óä° º À i] À> } Àii ½Ã Ü À Ã Ì i iÛ ÕÌ v Ì i i ½Ã à ÕiÌÌi\ > `iV ÃÌÀÕVÌ ÃÌ Û Ã v ë ÀÌÃÜi>À] >ÌiÀ > ] } L> VÕ ÌÕÀi > ` LÀi>Ì Ì> } `i ÃÌÀ>Ì Ã Ü Ì > Ì iÃ Ì }iÌ iÀ°»

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Bal Harbour Shops 305.868.2113

“I jumped at the chance to photograph Kasimira again,” says photographer

STEWART SHINING. “She’s one of my all time favorite models to shoot. And since she’s a newlywed, I thought it’d be really fun to include her husband Tarquin Wilding, one of Elizabeth Taylor’s grandsons. Kasimira’s mother was a favorite model of the legendary fashion photographer Guy Bourdin in the ’70s, so between the two of them there’s some seriously good genes bouncing around. Add their adorable rescue pups Jackson and Sammy, photograph them in their new home, and you’ve got a pretty good shoot!” On page 170, JENNIFER PIEJKO checks in with the founders of Summit, which brings together Ì Õ} Ì i>`iÀÃ vÀ Û>À ÕÃ wi `Ã v À Ài> vi exchange and connection. “Our interests are so divided now, the idea of getting people together to teach each other is so appealing,” she says. “Summit is trying to do something that we just don’t encounter in our regular social and working lives anymore.”

“There are not many things I love more than travel and eating,” says JESSICA KANTOR, the freelance writer and newly appointed editor-inchief of LALA magazine. “And although I have no natural cooking abilities— my family jokes that I can’t even boil water—interviewing these incredibly talented chefs, who are passionate about sharing their food and cultures, was truly inspiring,” she says of her piece about cooking schools around the } Li] «>}i £ÇÈ° º7 i Ì >Þ Ì > i i yÕi Ì Ì i ÌV i ] Ì Ü certainly get me on a plane to try all of their delicious food!” 50 BAL HARBOUR

BRUCE WEBER (SHINING), DEBORAH FARNAULT (PIEJKO), NANCY FEINGOLD (KANTOR)

Contributors

BAL HARBOUR SHOPS FERRAGAMO.COM

Bal Harbour Shops, 9700 Collins Avenue, Bal Harbour, FL 33154 / +1 (305) 894-9235 / miami@goyard.com / www.goyard.com Model: The special edition Aligre III bag, coming in an exclusive turquoise-blue hue

COURTESY OF THE METROPOLITAN MUSEUM OF ART, PHOTO © JOHNNY DUFORT, 2018

MATTER of STYLE

BAL HARBOUR NEWS AND BEYOND

THE MET GOES CAMP

Drawing on Susan Sontag’s seminal essay, “Notes on Camp,” the Metropolitan Museum of Art’s 2019 Costume Institute Gala and 'ZJKDKVKQP HQEWUGU QP VJG QTKIKP QH VJG EQPEGRV KVU CGUVJGVKE RTCEVKEGU CPF KPƃWGPEG QP VJG HCUJKQP YQTNF CU C OQXGOGPV 6JKU [GCT #PPC 9KPVQWT DTKPIU QP C UNGY QH ECOR CƂEKQPCFQU CU EQ EJCKTU VJG /QVJGT /QPUVGT JGTUGNH .CF[ )CIC )WEEK %TGCVKXG &KTGEVQT #NGUUCPFTQ /KEJGNG QPG QH JKU OCP[ OWUGU UKPIGT *CTT[ 5V[NGU CPF VJG DQWPFCT[ FGH[KPI VGPPKU UVCT 5GTGPC 9KNNKCOUtKP UJG YCU VJG EGPVGT QH C EQNNCDQTCVKQP DGVYGGP 0KMG CPF 8KTIKN #DNQJ YJQUG 1HH 9JKVG FGUKIPU CTG KPENWFGF KP VJG GZJKDKVKQP (TQO U $CNGPEKCIC VQ EQPVGORQTCTKGU NKMG /QUEJKPQ CPF )WEEK VJG HCUJKQP YQTNF EGNGDTCVGU p%COR 0QVGU QP (CUJKQPq CV VJG /GV )CNC QP /QPFC[ /C[

BAL HARBOUR 53

www.gianvitorossi.com Bal Harbour Shops – 9700 Collins Avenue #111

BAGS FOR THE AGES

A RUNWAY HOMAGE

What began as a collaboration has evolved into a stunning homage to the late artist )'6# $4Ă&#x;6'5%7, whose work has come to life on the runway for AKRIS’s Spring 2019 collection in the form of effortless silhouettes and billowing pleats. Albert Kriemler fell for the Romanian avant-gardist’s work at the Documenta 14 exhibition >˜` >ÂŤÂŤĂ€Âœ>VÂ…i` Ă€Ĺ…ĂŒiĂƒVĂ• vÂœĂ€ ĂŒÂ…i VÂœÂ?Â?>LÂœĂ€>ĂŒÂˆÂœÂ˜pœ˜i she sadly did not see realized before her passing in September. Kriemler pays tribute to decades of her work in the collection with playful patterns, textures and `iĂŒ>ˆÂ?i` wÂ˜ÂˆĂƒÂ…iĂƒ°

THE NEW NORTON

This February brings the highly anticipated reopening of the iconic NORTON MUSEUM OF ART in West Palm Beach, along with an expansion by visionary architect Lord Norman Foster of Foster + Partners that hails the symmetry of the original structure. With awards programs, special exhibitions and the addition of an auditorium and classrooms, the Norton is an ever-growing hub for community and creativity.

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COURTESY OF AKRIS; CHLOÉ; FOSTER + PARTNERS

Love is in the air with CHLOÉ’s warm and earthy runway bags inspired by the bohemian breeze of the modern hippie. Making its debut on the catwalk KU VJG %JNQÅ % DCI C versatile piece that makes a statement in a range of leathers and a myriad of earth tones and sunset ITCFKGPVU %NCUUKEU NKMG VJG 6GUU CPF /CTEKG DCIU ƂPF themselves reimagined in croc-embossed leather and new colorways.

AUDEMARS PIGUET BOUTIQUE BAL HARBOUR SHOPS

+1 305-864-6776 | AUDEMARSPIGUET.COM | INFRARED PHOTOGRAPHY

TO BREAK THE RULES, YOU MUST FIRST MASTER THEM.

FLOWER POWER

HIGH NOTE GIUSEPPE ZANOTTI and RITA ORA take center stage this spring with a capsule collection that will never let you down. No strangers to collaboration, the legendary shoe designer and British songstress harmonize their love for glam in a show-stopping collection of sky-high heels.

MAKE A SPLASH

The London-based ORLEBAR BROWN came onboard at Bal Harbour Shops this fall, bringing its vibrantly whimsical men’s swimsuits and more across the pond for the new boutique. For the Spring/ Summer 2019 collection, the ocean reigns with an aquatic palette and rippling patterns to gear you up for the summer.

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COURTESY OF GIUSEPPE ZANOTTI; TIFFANY & CO.; ORLEBAR BROWN

Reed Krakoff’s Paper Flowers collection for TIFFANY & CO. took the jewelry world by UVQTO UJCVVGTKPI QNF PQVKQPU QH Ƃ PG LGYGNT[ with a refreshing approach to material and form. The pieces resemble petals delicately cut from paper—a playful interpretation of nature’s beauty and ephemerality, immortalized in precious metals and stones.

BAL HARBOUR SHOPS 9700 COLLINS AVENUE, SUITE 106 305 864 2218 S T E L L A M C C A R T N E Y.C O M

9700 Collins Ave, Bal Harbour, Level 1 — +1 (786) 502-8985 — goldengoosedeluxebrand.com

A MAN OF VISION COURTESY OF WHITMAN FAMILY ARCHIVES

Stanley Whitman founded Bal Harbour Shops more than five decades ago, bringing European luxury to Miami and paving the way for an entirely new concept of fashion. Theater of Shopping, out this February from Rizzoli, is a celebration of Whitman’s life and legend. BY NICOLE MARTINEZ

Stanley Whitman at the opening of the new Versace boutique in 1991.

“THEATER OF SHOPPING IS TRULY A STORY about a man and his creation,” says Matthew Whitman Lazenby, the president and CEO of Bal Harbour Shops and grandson of Stanley Whitman—the visionary who founded the Shops in 1965. “It’s as much about one as it is the other.” Written by Alastair Gordon, Theater of Shopping weaves together Whitman’s personal and family history with real estate, fashion and the social and economic forces of the 20th century to tell a behind-the-scenes story of the early days of the now-iconic luxury enclave, while celebrating the man who made it all happen. Whitman spent his childhood on Collins Avenue, watching wÀÃÌ > ` >Ã > Ü>Ã ÌÀ> Ãv À i` vÀ > À Õ} > ` ÌÕ L i tropical outpost into the global cultural destination it is today.

7 Ì > Ü>Ã i v Ì i wÀÃÌ Ì ÀiV } âi Ì i « Ìi Ì > v Ì i concurrent burgeoning of air travel and American suburbs in order to entice the most selective shoppers to a modern destination with both fashion and experience at the forefront. Underlying his vision from the outset was the importance of architecture. “Design,” explains writer and director Matthew Tyrnauer in the book’s introduction, “would determine the quality of the shopping experience.” £ x{] 7 Ì > ÃiÌ ÕÌ Ü >Ì Ü Õ ` LiV i Ì i wÀÃÌ v many research expeditions to realize the transformation of the 16 acres of swampland that today are the site of Bal Harbour Shops. He traveled from Fifth Avenue to the Champs-Élysées to the Ala Moana Center in Honolulu, which, set in a similarly tropical setting BAL HARBOUR 61

to Miami, became an inspiration for the Shops. Whitman also visited dozens of middle-of-theroad establishments in cities like Yonkers and Arlington to understand the practical concerns of building a shopping center, including the social and psychological habits of shoppers. Traversing the country by car and often staying in motels, he meticulously documented everything he saw using notecards and a Contax Model III-A V> iÀ> Ü Ì Ü V i V>«ÌÕÀi` > ÛiÀÞ Ã«iV wV moment in American history—through images of shoppers, mannequins, sidewalks, power stations and every conceivable element necessary for the construction of a retail center. Whitman’s uncompromising belief in the importance of architecture went hand-in-hand with his outlook on which brands would be able to present their styles at Bal Harbour Shops: only the best. Though it was an era when European designers opened their storefronts on only the grandest of avenues, Whitman set out to bring them to Miami. Helping him along the way was Martha Phillips, a New York-born luxury retail 62 BAL HARBOUR

pioneer, whose shop—simply called Martha— was a mecca for celebrities and discerning clients. Phillips brought many European desingers to Miami, including Valentino himself on one of his wÀÃÌ ÌÀ «Ã Ì Ì i 1 Ìi` -Ì>Ìið Martha and F.A.O. Schwartz were among Ì i wÀÃÌ Ì «i > >ÀL ÕÀ] Ü Ì ÕVV and Versace leading the way among European designers. Yves Saint Laurent, Oscar de la Renta and Prada followed in the next years; Neiman >ÀVÕà >ÀÀ Ûi` >à > > V À £ Ç£Æ > ` wÛi years later Saks Fifth Avenue came to the Shops as well. Today, Whitman’s legacy continues as Bal Harbour Shops remains synonymous with luxury and Lazenby carries forth his grandfather’s ability to stay one step ahead of the times. “Bal Harbour Shops has always been about creating something memorable,” says Lazenby. “People have emotional connections to Bal Harbour, which is very unique for a shopping center. Stanley Whitman certainly set the tone for generations to come.”

COURTESY OF WHITMAN FAMILY ARCHIVES; © THEATER OF SHOPPING BY ALASTAIR GORDON AND BARBARA DE VRIES, RIZZOLI NEW YORK, 2019

“This is truly a story about a man and his creation.” —Matthew Whitman Lazenby

Bill, Stanley and Dudley Whitman (left to right) with other early surfers at Daytona Beach in 1934; Theater of Shopping is out this spring from Rizzoli.

F E AT U R I N G B O Y D H O L B R O O K , M I L A N , 6 p m # D E F I N I N G M O M E NT S by LU C A G UA DAG N I N O

THE ART OF INSPIRATION Laurence Graff invokes his prized private art collection for his high jewelry brand’s new Cy Twombly-inspired collection. Shannon Adducci catches up with the octogenarian legend.

IS JEWELRY ART? IT’S A QUESTION that has confounded the art world and the jewelry industry for decades. The former tends to brush off jewelry designers as lesser artists, while the latter often focuses more on the intrinsic value of the gold, diamonds and other materials that may comprise a piece of jewelry than on the value of design alone. But, as major art shows, auction records and important private sales have proven, both have major investment potential. Laurence Graff knows this. Since 1960, the 80-year-old has helmed Graff, which today is one of the world’s top purveyors of

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important gemstones and high jewelry, vertically integrating its sourcing, design, manufacturing and retail operations. The founder has become especially well-known for his sourcing, paying top dollar at auctions for rare diamonds, including the Wittelsbach, a famous blue diamond with an illustrious family history. Graff purchased the stone from Christie’s Geneva for a then-record-setting $23.4 million (in true jeweler fashion—and to the dismay of many—he then had the stone recut to enhance its color and clarity). Graff has played a similar role of buying maverick with

Founder and avid art collector Laurence Graff sits in front of Pablo Picasso’s 1967 work, L’Aubade. Graff’s Peter Marino-designed salon at Bal Harbour Shops.

impeccable taste in the art world, having amassed a private collection of mostly modern art that includes rare and enviable works like Andy Warhol’s Marilyn Monroe portrait in lavender, Pablo Picasso’s L’Aubade (1967) (purchased in 2004 from Sotheby’s) and Jean-Michel Basquiat’s Untitled (The Black Athlete) (1982), which he reportedly purchased via phone bid at Sotheby’s in 2015 for 3.5 million euros. He also sits on the boards of the Guggenheim Museum in New York and the Tate Modern in London, and once told Peter Brandt that he bought a Renoir at auction in the ’70s because Ìà à > à âi > Üi` ÌÃi v Ì wÌ > Ã>vi Ü Ì Ã ` > `ð So when Graff decided to introduce a collection of artistinspired jewelry last year, the only surprise was that it didn’t come sooner. Drawing from artists Paolo Scheggi, Kazimir Malevich and Cy Twombly, Graff created a series of statement earrings, necklaces, rings and bracelets that mirror the artists’ famous abstract motifs. “The art world has long been an inspiration,” Graff explains. “I don’t see the worlds of art and jewelry as mutually exclusive. I appreciate > w i «> Ì } iÝ>VÌ Þ Ì i Ã> i Ü>Þ >à ` > Li>ÕÌ vÕ ` > `°» Graff’s point of view on jewelry is a unique one that could only be molded through his decades of experience in handling gemstones by the thousands, one by one. When the jeweler started his business in a tiny room in Hatton Garden (London’s jewelry quarter dating back to Medieval times), he was selling semi-precious rings for two or three pounds each. Now, he and his son François (the brand’s CEO since 2004) handle stones in the 100-carat-plus category, V Õ` } Ì i À>vv 6i ÕÃ] Ì i Ü À `½Ã >À}iÃÌ y>Ü iÃà i>ÀÌ shaped diamond at 118.78 carats. And in 2017, Graff purchased the 1,109-carat piece of Botswana-sourced rough known as the Lesedi La Rona for $53 million and is in the process of turning it into 67 diamond pieces. Graff’s artist-inspired pieces are of no lesser quality than his

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famous mega-stones, and this year’s additions to the Inspired by Twombly collection features stunners that capture the artist’s whirls and twirls in a new way, using sculptural ribbons of stones—most of them diamonds. “The works of Twombly have a creative verve that really excites me,” says Graff. “I wanted to capture the incredible vii } v ë Ì> i ÌÞ Ì >Ì `iw iÃ Ã Ü À °» Ài ëiV wV> Þ] Ì >Ì i iÀ}Þ V iÃ Ì i v À v À Üà v invisible-set diamonds, many of which are punctuated by pearshaped diamonds that mimic Twombly’s calligraphic forms, originally done on large-scale canvases. “To achieve this freey Ü } ivviVÌ] iÛiÀÞ }i ÕÃÌ Li VÕÃÌ VÕÌ]» Ã>Þà À>vv] Ü admits that the task of achieving the three-dimensional swirls was ºiÝÌÀi i Þ ` vwVÕ Ì» > ` ÀiµÕ Ài` º i Ãi à » vÀ L Ì Ã craftsmen and designers (the latter of which include design director Anne-Eva Geffroy). Graff isn’t usually one to play favorites (how could he with the volume of diamonds and jewelry that has passed through his hands over the years?), but of the new Inspired by Twombly pieces he points to a 59.59-carat diamond bracelet with the collection’s ribbon motif. “The swirls of diamonds extend all the way round the wrist—it’s a fantastic creation,” he says. There is also a series of looping earrings in four different styles (one of which is an all-diamond update to the original diamond-and-ruby iteration), an 8.13-carat ring designed Ü Ì w ÌÞ ` > ` «Ã > ` > > ` > ` ÃÌ>Ìi i Ì iV >Vi that features 25 pear-shaped diamond drops and totals 83.58 carats. The jeweler is tight-lipped on the brand’s future creations with artists. “You’ll have to wait and see,” he says coyly. But Graff insists that art has informed many of the brand’s most expressive jewels over the years, and will continue to inspire more. And of that oft-debated, original question: Is jewelry actually art? “Without a doubt,” says Graff.

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THE POWER OF THE PUMP For Italian shoe designer Gianvito Rossi, empowerment is on par with elegance. BY NICOLE MARTINEZ

“I envisioned a collection that works for laying on the beach or partying on the beach, and just feeling very relaxed and free in the moment.” -Gianvito Rossi “TO TRULY EMPOWER A WOMAN, you have to show her personality, not yours,” Gianvito Rossi tells me at his Bal Harbour showroom. “You need to give her a shoe for her every style and every mood.” Glamorous and practical, it’s no wonder that Rossi’s eponymous label has quickly become a staple for smart dressing among the style set. Developing his craft alongside his father, the venerated shoe designer Sergio Rossi, Gianvito Rossi struck out on his own in ÓääÈ° º w `i Vi v À > Ü > i> à Li } vi i but not too fragile, and wearing a style that makes her feel comfortable,” he says. Rossi is in town preparing to ÃÌ > à «« } Li iw Ì v À ÀiÃà v À -ÕVViÃÃ] > «À w Ì À}> â>Ì Ì >Ì i « ÜiÀÃ Ü i LÞ «À Û ` } them with professional attire and support. It’s a charity that’s close to his vision for the brand. “Women need to be strong to face their challenges,” he says. “Style is particularly relevant in the way she faces the world.” His design ethos is inspired by the women in his own life: His wife of 25 years, Monica Rossi, works for the brand, and his daughter Sophie spends her time away from university consulting her father on a variety of projects. With his son Nicola also at the helm, Rossi’s business and personal life are inextricably intertwined. “A typical Saturday or Sunday morning is spent in the studio, going over our designs and spending time with prototypes, sketches, ideas and materials,” he says. The resulting footwear toes a delicate balance between fashionable and functional, with subtle accoutrements preferred over extravagant details, 72 BAL HARBOUR

and quality fabrics sourced from Italian tanneries. His signature Vamp bootie, for example, is the embodiment v à Ãi ÃÕ> ÞiÌ « ÜiÀvÕ VÀi` \ Ƃ } L>V >``à `À> > Ì > à >À« ÃÌ iÌÌ ] Ü i > « Õ } } 6 VÕÌ ` Ü the arch of the foot suggestively bears a little skin. “It really combines the two elements I want to bring to life: empowerment and femininity,” he says. Comfort may not immediately come to mind when Þ Õ Ã « > }À>Û ÌÞ `ivÞ } > Û Ì , Ãà «Õ «] but it’s at the core of Rossi’s philosophy. Each shoe is iÌ VÕ ÕÃ Þ ÀiÃi>ÀV i`] Ü Ì £ä Ì £x w ÌÌ }Ã Ì w ` Ì i proper cut, proportion, and shape. A shoe doesn’t leave the atelier until it strikes the perfect balance between «À>VÌ V> > ` v>à v ÀÜ>À`° º ̽à > Ü>Þà LiÌÌiÀ Ì Li smiling than crying, no?” laughs Rossi. His 2019 Spring/Summer collection will certainly bring a smile to any woman’s face: Inspired by a Mediterranean summer—Rossi spent his summer holidays in Greece—the line features an airy color «> iÌÌi] ÀiV > Ã> `> Ã Ü Ì V > ÃÌÀ>«Ã] > ` w à iÌ > i > ` ÛiÀ Ì i ii L Ìà v À V iÀ temperatures. “I really wanted to create something that expresses freedom, because to me, that’s summertime,” says Rossi. “I envisioned a collection that works for laying on the beach or partying on the beach, and just feeling very relaxed and free in the moment.” With a style for every mood from racy to romantic, edgy to decidedly laidback, Gianvito Rossi proves that a woman can be anything she wants. “Feeling beautiful and V w `i Ì]» i ÕÃiÃ] º Ü Ì >̽à ÌÀÕi i « ÜiÀ i Ì°»

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“THIS IS A SUBJECT THAT TOUCHES everyone,” Kinga Lampert is telling me, her voice bright with hope. For the last 12 years, the philanthropist has been the co-chair of the Breast Cancer Research Foundation (BCRF), founded in 1993 by Evelyn Lauder. It was Lauder’s family who asked Lampert to take on a leadership role when Lauder passed away. Now, says Lampert, she’s “so close to the research—and very hopeful.” The BCRF is the largest private funder of breast cancer research worldwide. In 2018, the foundation awarded $63 million in grants to support nearly 300 scientists at institutions in 14 countries. “In the last 25 years,” she explains, “every > À LÀi> Ì À Õ} >`i Ì i wi ` ÃÌi i` vÀ ÃV i Vi supported by the BCRF.” Some of these are growing initiatives, like the liquid biopsy—a blood test to test for cancer “before it even appears on imaging or mammogram”—and Oncotype Dx, a test that can determine whether chemotherapy is necessary to reduce the risk of reoccurrence or metastasis (a certain estrogen receptor would mean patients can forgo it). “Early stage breast cancer is today 95 percent curable,” Lampert says, “but metastatic breast cancer—the sort that travels to organs and bones—is not. But there are incredible advances to prolong and better the lives of those who have it. This is why I feel we’re so close to a cure: perhaps breast cancer will be cured when women can live with it and not lose their lives to it.” Lampert loves science, particularly fact-based results. “Maybe that’s my lawyer mind,” she laughs. Lampert was born in Warsaw and raised in Paris, where she attended law school; her wÀÃÌ L >Ì > >Ü wÀ Ü>à iÜ 9 À ÌÞ° - i > ` iÀ ÕÃL> ` lived between Connecticut and the city for years—before relocating to Miami—and became close friends with the Lauder family. At the time, Lampert had stopped working to care for her children, and was getting approached by lots of organizations for her input and support. But she wanted to be, so to speak, in the trenches. “What was important to me,” she says, “was a working L >À`° ` ` ½Ì Ü> Ì Ì i yÕvv° Ûi Þ «À Ãi` i Ì Ã Ã Ü >Ì Ì i foundation would be.” The Lampert Foundation, Eddie and Kinga Lampert’s foundation through which they now support BCRF, also assists lots of local organizations here in Miami. For Lampert personally, health care and education are the most rewarding spheres: she’s actively involved with Breakthrough Miami—an academic enrichment program for under-resourced students—Boys & Girls Club, and KIPP Public Charter School network, where she Vi ÃiÀÛi` Ì i L >À` Ü i iÜ 9 À ° - i > à ÀiVi Ì Þ took a seat on the board of Miami’s Sylvester Cancer Center. Lampert likes to stay busy—returning to work, she tells me, was an emotional boon. It’s also her compassion, her love for helping people in real ways, that keeps her going. - i ÀiV> à v À i] LÀ iyÞ] Ì i i Ì> Ƃ À ià Ài>ÃÌ > ViÀ " i « > i] Ü V > Õ> Þ y ià ÃÕÀÛ Û Àà > ` v ÃÞ L V gesture. (Delta is a corporate sponsor of BCRF.) “The plane was packed with survivors hugging, crying, sharing stories. It gives me goosebumps remembering this.” It reminded her of how she } Ì Û Ûi` Ü Ì , Ì i wÀÃÌ « >Vi\ º Ûi` Ì >Ì vii } of contributing to something good in the world. The statistics are amazingly hopeful. Women are unfortunately still dying, but the numbers are getting better. There are more survivors in the world—more women who, in spite of the disease, live full, normal lives.”

A FORCE FOR GOOD

Kinga Lampert’s commitment to health and well-being has transformed thousands of lives, including her own. BY MONICA USZEROWICZ PORTRAIT BY GESI SCHILLING

BAL HARBOUR 87

A PARK IN BLOOM A 10-mile stretch of parkland beneath the Metrorail is set to redeďŹ ne the way space is shared in Miami. We check in with Meg Daly, who shares her vision for the ambitious Underline project with us. BY SIOBHAN MORRISSEY 88 BAL HARBOUR

Š2018 JAMES CORNER FIELD OPERATIONS, COURTESY OF FRIENDS OF THE UNDERLINE

YEARS FROM NOW, THE HISTORY of the Miami Underline will read as a series of unlikely events. A proposed 10-mile ribbon of parkland beneath an elevated train system known as Metrorail, the Underline might never have broken ground this past fall if Meg Daly hadn’t fallen off her bicycle and broken both arms. Daly got the idea for the park while walking to her physical therapist. Despite the heat of the day, it was cool in the shadow of the tracks, and she thought, “We need to turn this into a park.â€? Where others saw only patchy grass and dirt, Daly envisioned ÂŤi`iĂƒĂŒĂ€Âˆ>˜ >˜` LˆVĂžVÂ?i ÂŤ>ĂŒÂ…Ăƒ] `Âœ} ÂŤ>Ă€ÂŽĂƒ] LĂ•ĂŒĂŒiĂ€yĂž }>Ă€`iÂ˜Ăƒ >˜` iĂ?iĂ€VÂˆĂƒi ✘iĂƒ° iĂ€ iÂŤÂˆÂŤÂ…>Â˜Ăž V>“i ˆ˜ Ă“ä£ĂŽ] >˜` Â?Ă•ĂƒĂŒ wĂ›i Ăži>Ă€Ăƒ Â?>ĂŒiĂ€ Â…iĂ€ ÂŤÂ?>˜ ĂœiÂ˜ĂŒ vĂ€ÂœÂ“ ÂşVĂ€>âĂž ˆ`i>Âť ĂŒÂœ ĂƒÂ…ÂœĂ›iÂ?Ăƒ ˆ˜ ĂŒÂ…i }Ă€ÂœĂ•Â˜`° /Â…i wĂ€ĂƒĂŒ ÂŤÂ…>Ăƒi Âœv ĂŒÂ…i ÂŤĂ€ÂœÂ?iVĂŒ ÂˆĂƒ slated for completion in June 2020. “People who know public infrastructure projects say this is breaking all ĂŒÂ…i Ă€iVÂœĂ€`Ăƒ]Âť >Â?Ăž Ăƒ>ĂžĂƒ° Âş ÂœĂŒÂ…ÂˆÂ˜} Âœv ĂŒÂ…ÂˆĂƒ Â?iĂ›iÂ? Âœv VÂœÂ“ÂŤÂ?iĂ?ÂˆĂŒĂž >˜` vĂ•Â˜`ˆ˜} gets done this quickly. But we have really good projects that came before us—the High Line, the Atlanta BeltLine, the 606 in Chicago.â€? With no delusions about the challenges the Underline poses, Daly maintains, “It’s really about overcoming the hurdles rather than focusing on how to make ÂˆĂŒ i>ĂƒÂˆiĂ€° ĂŒ½Ăƒ Âź`Âœ ÂˆĂŒ Ă€Âˆ}Â…ĂŒ]½ >˜` w˜` ÂœĂ•ĂŒ Â…ÂœĂœ ĂŒÂœ }iĂŒ ÂˆĂŒ `œ˜i° The entire project runs through three cities from downtown Miami southward. The continuous park spans roughly 100 feet in width and includes plenty of space for communal living as well as an impressive public arts platform that reaches from the ground some 20 feet skyward along ĂŒÂ…i ÂŤÂˆÂ?Â?>Ă€Ăƒ ĂŒÂ…>ĂŒ Â…ÂœÂ?` Ă•ÂŤ ĂŒÂ…i ĂŒĂ€>ˆ˜ ĂŒĂ€>VÂŽĂƒ° /Â…i w˜>Â? VÂœĂƒĂŒ\ >˜ iĂ?ÂŤiVĂŒi` fÂŁĂ“ä “ˆÂ?Â?ˆœ˜° >Â?Ăž] ĂœÂ…Âœ vÂœĂ•Â˜`i` ĂŒÂ…i Â˜ÂœÂ˜ÂŤĂ€ÂœwĂŒ Ă€Âˆi˜`Ăƒ Âœv /Â…i 1˜`iĂ€Â?ˆ˜i ĂŒÂœ Â…iÂ?ÂŤ ÂŤĂ€ÂœÂ“ÂœĂŒi >˜` vĂ•Â˜` Â…iĂ€ ˆ`i>] Â…>Ăƒ >Â?Ă€i>`Ăž ĂƒiVĂ•Ă€i` f™ä “ˆÂ?Â?ˆœ˜ ˆ˜ ÂŤĂ•LÂ?ˆV >˜` private funds to date.

>Â?Ăž ÂˆĂƒ >˜ iĂ?>“Â?i Âœv Â…ÂœĂœ œ˜i ÂŤiĂ€ĂƒÂœÂ˜ V>˜ “>ÂŽi > `ˆvviĂ€i˜Vi° /Â…i vÂœĂ€Â“iĂ€ >`Ă›iĂ€ĂŒÂˆĂƒÂˆÂ˜} iĂ?iVĂ•ĂŒÂˆĂ›i ĂœÂˆĂŒÂ… > Ć‚ ˆ˜ ˜}Â?ÂˆĂƒÂ… vĂ€ÂœÂ“ 6>˜`iĂ€LˆÂ?ĂŒ Vœ“iĂƒ vĂ€ÂœÂ“ > v>“ˆÂ?Ăž Âœv ÂŤÂ…ÂˆÂ?>Â˜ĂŒÂ…Ă€ÂœÂŤÂˆĂƒĂŒĂƒ >˜` >VĂŒÂˆĂ›ÂˆĂƒĂŒĂƒ° -Â…i ĂƒiÀÛiĂƒ >Ăƒ " >˜` *Ă€iĂƒÂˆ`iÂ˜ĂŒ Âœv ĂŒÂ…i Ă€Âˆi˜`Ăƒ Âœv /Â…i 1˜`iĂ€Â?ˆ˜i >Ăƒ > vĂ•Â?Â?Â‡ĂŒÂˆÂ“i Ă›ÂœÂ?Ă•Â˜ĂŒiiĂ€] >˜` Â…iĂ€ iÂ˜ĂŒÂ…Ă•ĂƒÂˆ>ĂƒÂ“ has brought legions of supporters to her cause, including legendary landscape architect James Corner, the visionary behind Manhattan’s High Line. The 1.5-mile-long linear park built on a former elevated train track became a social hub that spurred a building renaissance in Chelsea and the i>ĂŒÂŤ>VŽˆ˜} ÂˆĂƒĂŒĂ€ÂˆVĂŒ° ÂœĂ€Â˜iĂ€½Ăƒ wÀ“ `iĂƒÂˆ}˜i` ĂŒÂ…i “>ĂƒĂŒiĂ€ ÂŤÂ?>˜ vÂœĂ€ ˆ>“ˆ½Ăƒ project, which is awakening similar dreams for residents and adjoining property owners. Today there is a groundswell of grassroots momentum from people who want to see more green space in the urban corridor. A true believer in that possibility, Daly sees the park as a unifying force for Miami. “I just think parks are amazing,â€? Daly says. “They are the heart and soul of a community. ÂœĂ€ “i] ĂŒÂ…iĂž >Ă€i > }Ă€>Ă›ÂˆĂŒ>ĂŒÂˆÂœÂ˜>Â? ÂŤĂ•Â?Â?° Ć‚ Lˆ} VÂˆĂŒĂž ÂŤĂ•Â?Â?Ăƒ “i ĂŒÂœ ÂˆĂŒĂƒ ÂŤ>Ă€ÂŽĂƒ° It’s hard to believe, but at the start of her quest Daly was unsure her ˆ`i> ĂœÂœĂ•Â?` Ă€iĂƒÂœÂ˜>ĂŒi ĂœÂˆĂŒÂ… ÂœĂŒÂ…iĂ€Ăƒ° ÂˆĂ€ĂƒĂŒ] ĂƒÂ…i Ă€>˜ ÂˆĂŒ LĂž Â…iĂ€ Â…Ă•ĂƒL>˜`] œ…˜ Daly, a classical music composer and software developer who swam vÂœĂ€ *Ă•iĂ€ĂŒÂœ ,ˆVÂœ ˆ˜ ĂŒÂ…i ÂŁÂ™Ă‡Ăˆ "Â?ĂžÂ“ÂŤÂˆVĂƒ° /Â…i˜ ĂƒÂ…i ĂŒÂœÂ?` Â…iĂ€ v>ĂŒÂ…iĂ€] *>ÀŽiĂ€ /Â…ÂœÂ“ĂƒÂœÂ˜] > VÂœÂ“Â“Ă•Â˜ÂˆĂŒĂž >VĂŒÂˆĂ›ÂˆĂƒĂŒ >˜` >ĂŒĂŒÂœĂ€Â˜iĂž ĂœÂ…Âœ >Ă€}Ă•i` ÂˆĂ€ĂƒĂŒ Ƃ“i˜`“iÂ˜ĂŒ cases before the U.S. Supreme Court in addition to spending more than two decades helping to secure funding for the Adrienne Arsht Center for the Performing Arts—giving him an inkling of what his daughter was up >}>ÂˆÂ˜ĂƒĂŒ° i >˜` œ…˜ LÂœĂŒÂ… Â?ÂœĂ›i` ĂŒÂ…i ˆ`i> >˜` Ă•Â˜ĂŒÂˆÂ? Â…ÂˆĂƒ `i>ĂŒÂ… ˆ˜ Ă“ä£Ă‡] Â…i worked by her side to make the Underline a reality. Daly remembers her father’s words of encouragement. “If you’re going ĂŒÂœ Â…>Ă›i > Lˆ} ÂŤĂ€ÂœÂ?iVĂŒ] “>ÂŽi ĂƒĂ•Ă€i ĂžÂœĂ•½Ă€i wĂ?ˆ˜} Lˆ} ÂŤĂ€ÂœLÂ?iÂ“Ăƒ]Âť ĂƒÂ…i Ă€iV>Â?Â?Ăƒ him saying. “He felt that the Underline would do just that.â€?

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MEMORIES OF AN EPICUREAN PAST

PORTRAIT BY MICHAEL SINGER

Ruth Reichl’s memoir of her days as the editor-in-chief of Gourmet magazine is out this spring. Jacqueline Terrebonne reflects on the book and her days eating and editing alongside the legendary critic.

Ruth Reichl comes to Books & Books at Bal Harbour Shops for a talk about Save Me the Plums on April 23.

LAST WEEK IN PARIS, AS I SLATHERED mounds of housemade pâté de campagne on thick slices of bread at L’Ami Jean, I heard a familiar sound—the voices of Americans. There was a big table of women seated in the window laughing over bottles of red; by the bar, a couple on a long-weekend getaway canoodled. And then there was the New York-based catering chef ordering everything on the menu with his wife. The low-ceilinged, off-the-beaten-path restaurant had become a must on every foodie adventure in Paris for one reason—

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Ruth Reichl had anointed it so in Gourmet’s “Paris on a Budget” issue in September 2008. Such was the power of Reichl and her team of editors for 10 glorious years, from 1999–2009, at the glossy food bible. It was the golden age of magazine publishing, especially at Condé Nast— when creativity reigned and budgets were unknown. In her memoir of that decade, entitled Save Me the Plums, which is out this April from Random House, she brings readers to the heart of that incredible

BOTH IMAGES COURTESY RANDOM HOUSE

“The best thing you can do as a boss is to hire people who are smarter than you in their fields.” —Ruth Reichl

time—capturing the people, events, and places in much the same way she’s done in her other best-selling books. But I didn’t need a copy for backstage access. I had already had the great privilege of living it—as the special projects editor at Gourmet. When you tell people you worked at Gourmet, they light up. They have a million questions about what it was like, but most of all they want to know about Ruth. It’s hard not to sound like a blathering idiot answering. “She was amazing, inspiring. She was a great boss. She changed the way I think about food. She changed the way I think, period.” But it’s all incredibly true. I wish I could explain the magic of what it felt like to have her lean An iconic issue of Gourmet magazine from 2007; Save Me across her massive desk with her the Plums is out this spring. wide-open eyes, chin on her hand, genuinely wanting to hear your idea. vÌi Ìi Ì i ÃÌ ÀÞ v Ü i >` ` iÀ Ü Ì iÀ v À Ì i wÀÃÌ Ì i° I had made a promise to myself not to make any comments about the food for fear I’d mess up. About three courses in at Del Posto, she noticed me chugging my water and not paying enough attention to my Barolo, and I inadvertently blurted out, “The food’s just so salty.” And she agreed. Huge sigh of relief, and I decided it was best to tell her what I really thought from then on. The book is packed with so many incredible memories, and you can tell she relishes in the retelling of them. What I didn’t expect was that this book about the past spoke so much to my present. As the newly minted editor-in-chief of Galerie magazine, I related to Ruth in an entirely new way. She was becoming a mentor to me all over again. 7 >Ì½Ã Ì i Ì > i Ì i `iV à à > wi ` à L>Ãi` «iÀà > opinion? How do you lead a team of quirky, creative individuals? And then, how do you balance your time between actually editing the magazine and all the other party-hosting and brand-promoting duties of the role? The book was hitting on all the topics I’d been grappling with—all told through anecdotes about these incredible people with

whom I once worked side-by-side. A }À Õ« v «i « i Ì >Ì ÀiyiVÌi` i v ,ÕÌ ½Ã wÀ iÃÌ Li ivÃ] Ü V à i recently told me again: “The best thing you can do as a boss is to hire people who are smarter than you in Ì i À wi `ð» 7 i Ài>V i` Ì i w > V >«ÌiÀ of the book, my eyes welled with Ìi>Àð - i >} wVi Ì Þ V>«ÌÕÀi` the sadness and confusion of those last few days. I remembered how I said goodbye to her in the elevator at Condé Nast’s then-headquarters in Times Square, while awkwardly ` } iÀ w > } vÌÃ Ì ip> pair of unworn Christian Louboutin L> iÌ y>Ìà > ` > à > ] «iÀvÕ i sample-sized vile of the world’s most expensive balsamic vinegar. I had never felt so empty. Now, I couldn’t imagine what she must have felt like writing this, so I called her. “It made me miss the whole experience so much,” she said in her warm voice. “It was so much fun. Writing it was remembering how lucky I was.” Ƃà à >à w à i` Ì i >ÃÌ «>}i of the book, I longed for the people inside. I missed all the real characters Ruth had so beautifully captured. I texted some, called others. And then did what instantly brought me back to those famed Gourmet test kitchens. I pulled out the January 2009 issue (yes, I saved every one I worked on) and made a grocery list for the best spaghetti and meatballs recipe I’ve ever tasted. I carefully followed every step of the three-hour process from the actual pages— Ì Þ * i À > Ì>L iÌ° - ] Ì i >À > v Ã>ÕÌji } à w i` Þ >«>ÀÌ i Ì > ` Þ L> } à iiÌà ÜiÀi w i` Ü Ì Çä «iÀviVÌ Þ À Õ `i` beauties. Then, I started dancing around the kitchen as I stirred them into the pot, just the way that would make Ruth ever so proud.

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THE GENIUS OF CRAIG GREEN Continuing Moncler’s collaboration with the most sought-after designers, Craig Green’s Spring/ Summer 2019 collection for the brand takes the idea of weathering the elements to the next level. BY MARK BENJAMIN

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AS ONE OF THE MOST EXCITING NEW designers out of London, Craig Green has quickly become a leading voice for menswear. His unmistakable signature of deconstructing traditional men’s silhouettes by way of referencing functional garments and uniforms has earned him a distinctive role within the industry. He combines a colorful and worldly approach to each collection with a constant reimagination of sportswear and the injection of innovative materials into his creations. Green’s combination of vision and skill made him a natural choice for the ongoing Moncler Genius ÂŤĂ€ÂœÂ?iVĂŒ VĂ€i>ĂŒi` LĂž œ˜VÂ?iĂ€ "] ,i“œ ,Ă•vw˜ˆ° Ă€ii˜ debuted the voluminous and beautifully ominous Moncler 5 Craig Green for Fall 2018 in Milan to great fanfare last February. For Spring 2019, he collaborated with the project again, this time presenting a kinetic collection inspired by kites and tents. We check in with Green about his designs, collaborations and the process of creating something new. *QY FKF [QW HGGN YJGP [QW YGTG Ć‚TUV CUMGF VQ DG RCTV QH VJG /QPENGT )GPKWU RTQLGEV! I was working with Moncler for the capsule collection, Moncler C, when the Genius project was initially shared with me. It felt like an exciting opportunity to continue our collaboration and to keep building on the ideas and concepts that we had started developing together. *QY FQ [QW FGUETKDG /QPENGT! Moncler has always been a leader in developing product and understanding the end consumer. I think that owning a signature wardrobe item is the sign of true success for a brand, which is the case with Moncler and the feather down jacket. I think it is really impressive, how they are able to continue exploring and interpreting their traditional feather down while perfectly balancing traditional and modern ideas. %CP [QW VGNN WU CDQWV [QWT PGY EQNNGEVKQP HQT /QPENGT )GPKWU VJG 0GZV %JCRVGT! For Moncler SS19, the initial idea was to develop structures to be used against the summer elements and explore ways to create protective structures and volumes without the use of padding. We looked at summer expeditions and things that are both protective and preventative: sun-shield, kites, tents, weathervanes. *QY FQ [QW UVC[ KPURKTGF! I am constantly learning and ĂƒĂŒÂˆÂ?Â? w˜` ĂŒÂ…i `iĂ›iÂ?ÂœÂŤÂ“iÂ˜ĂŒ >˜` iĂ?ÂŤiĂ€ÂˆÂ“iÂ˜ĂŒ>ĂŒÂˆÂœÂ˜ ÂŤĂ€ÂœViĂƒĂƒ exciting—something I don’t think will or should ever change. To me as a designer, there is the responsibility to always try to move things forward and to create something new.

Designer Craig Green’s vision for his Moncler Genius collaboration is inspired by summer expeditions, integrating materials that are both protective and versatile.

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MAN OF LETTERS Mitchell Kaplan is a pioneer of literary culture in Miami. Now, the founder of Books & Books is finding that same success with film. BY LES STANDIFORD PORTRAIT BY GESI SCHILLING

THE FAMED AND OFTEN VERY FUNNY crime writer Elmore “Dutch” Leonard once opined during a Miami reading that “the chances of getting your book turned into a movie are about the same as drawing a picture of a car and sending it to the head of General Motors, asking ‘don’t you want to make one of these?’” But if Mitchell Kaplan, owner of South Florida’s iconic Books & Books, was listening, he wasn’t listening very closely. Kaplan has spent the past 36 years building a set of successful L ÃÌ Àià > ` V>viÃ] V Õ` } Ì i y>}à « ÃÌ Ài À> >L ià and outposts in Miami Beach, the Bal Harbour Shops, Grand

>Þ > ] > ÌiÀ >Ì > Ƃ À« ÀÌ] Ì i Ƃ`À i i ƂÀÃ Ì i ÌiÀ] * iVÀiÃÌ] V ÕÌ À Ûi > ` iÞ 7iÃÌ° i> Ü i] i >à > à labored to nurture the largest book festival of its kind, the Miami > À ÌiÀ >Ì > ] Ü iÀi Õ«Ü>À`à v xää ÌiÀ >Ì > Þ known authors jostle each November with hundreds of thousands of residents along the closed city streets. Kaplan’s combined endeavors have had a profound impact Õ« Ì i V Õ ÌÞ° 7 i Ì Ã ÜÀ ÌiÀ wÀÃÌ Üi Ì >LÀ >` Ì i i>À Þ £ näà > ` iÌ Ì Li Ü Ü iÀi i Ü>à vÀ ] > Ã̽à `i i> À Ü Õ ` ÌÀ> Ãv À ÃÌ> Ì Þ] L Ì > `à ÃÕ``i Þ ÌÕÀ i` Ì w }iÀ « Ì } « ÃÌ Ã° ºƂ ] ÞiÃ] i Þ> ii° i Þ> ii 6 Vit > } L> }t» Kaplan’s work creating the stores, as well as his efforts > }à `i > >`i i}i½Ã `Õ>À` *>`À LÕ ` } Ì i Book Fair, have transformed Miami’s current image into that of an internationally known literary center. No New York publisher would design a major book tour without including a stop in Miami these `>ÞÃ] > >À i` V > }i vÀ >« > ½Ã wÀÃÌ Þi>Àð º ½` V> Õ« «ÕL V ÃÌà iÜ 9 À ] Li}} } Ì i Ì Ãi ` Õà writers, and there would always be this pause,” Kaplan says. “Then w > Þ Ì iÞ½` V i L>V ] ÃÕ}}iÃÌ } L à ÀiÌ Ài i Ì « > } > ` LiÃÌ «À>VÌ Vià }iÀ >ÌÀ V i` V i°» >ÃÌ v ÀÜ>À` £x Þi>Àà À Ã Ì £ È] Ü i Ài Ì > £]xää v> à ÃÌ ` i > i>V to get the signatures of 13 Miami mystery writers who combined Ì i Õ i Þ LiÃÌ Ãi iÀ Naked Came the Manatee] À Ì Óää{] Ü i VÀ Ü`à V> «i` ÕÌ ÛiÀ } Ì Ì i ÃÌÀiiÌà v À> >L iÃ]

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`iëiÀ>Ìi Ì Li i v Ì i Ó]äää ÕV Þ i Õ} Ì }iÌ Ì ½Ã signature on My Life. - i i ÌÀi«Ài iÕÀà } Ì Li Ã>Ì Ãwi` Ü Ì >à ÕV ] LÕÌ Ì >« > ] Ü i>À Þ vi Õ `iÀÃÌ ` Ì >Ì L à ÜiÀi à V> }° º ÌÀ i` >Ü ÃV ]» i Ã>ÞÃ] ÀiviÀÀ } Ì > ÃÌ Ì >Ì Ƃ Ì V -V v >Ü 7>à }Ì ] ° °] º> ` Vi Ài> âi` Ì >Ì Ü>Ã Ì } } Ì Ü À v À i] Ì>Õ} Ì } Ã Ì i «ÕL V ÃV ð ÕÌ > > } Ü>à LÃiÃÃi` Ü Ì }iÌÌ } «i « i Ì Ài>` } ` ÃÌÕvv° ` ` ½Ì Ì Ü>à VÕÌ ÕÌ Ì Li > ÜÀ ÌiÀ] LÕÌ Ì Õ} Ì Ì >Ì Ü } > L ÃÌ Ài would be just about the greatest thing.” He put everything he could scrape together into a small corner store half a block from today’s iconic Gables location, and everything grew from there. 7 Ì Ì >Ì `] >« > ½Ã ÃÌ ÀiVi Ì Ûi ÌÕÀip>à > w «À `ÕViÀp } Ì Ì Ãii ÕV v > ` ÛiÀ}i Vi° ºƂ Ì iÃi Þi>Àà ½` Li Ài>` } Õ `Ài`à > ` Õ `Ài`à v L Ã]» i iÝ« > Ã] º> ` iÛiÀÞ Vi > Ü i Ü Õ ` V i >VÀ Ãà i Ì >Ì Ü>à ViÀÌ> could make a very good movie.” 7 i > iÜ 9 À i` Ì À > `i` > >`Û> Vi V «Þ v >ÀÞ Ƃ - >vviÀ > ` Ƃ i >ÀÀ Üýà The Guernsey Literary and Potato Peel Pie Society Óään] >« > w > Þ >VÌi` à ÃÌ VÌð " Ì i >`Û Vi v à à ÃÌiÀ] /6 «À `ÕViÀ >ÀVÞ , ÃÃ] i à Õ} Ì ÕÌ iÀ w «À `ÕViÀ vÀ i ` *>Õ > >âÕÀ Ü Ài>` Ì i L > ` >}Àii` Ü Ì >« > ° ii« } Ü Ì ÕÌV i >À`½Ã µÕ «] Ì Ì º Þ» £ä Þi>ÀÃ Ì «ÕÌ Ì > Ì }iÌ iÀ] LÕÌ Ì i w ] ` ÀiVÌi` LÞ >Ü>À` Ü } i iÜi ] `iLÕÌi` iÌy Ý Ì Ã «>ÃÌ ƂÕ}ÕÃÌ] >ÌÌÀ>VÌ } Ài Ì > ££ Û iÜiÀà Ìà «i } `>Þð Ì Ü>Ã Ì i ÃiV ` Ài i>Ãi v À Ì i >âÕÀ >« > «> Þ\ >ÃÌ À ÃÌ >à > Ì iÀ >`>«Ì>Ì V > « i` LÞ >« > pThe Man Who Invented Christmas, starring

> -ÌiÛi à > ` À ÃÌ « iÀ * Õ iÀ >à Li iâiÀ -VÀ }ip « >Þi` i>À Þ £]äää Ì i>ÌiÀÃ Ì À Õ} ÕÌ Ì i 1°-° > ` >LÀ >`° / iÀi >Ài > v > ` âi Ài w «À iVÌà µÕiÕi` Õ« v À >« > > ` >âÕÀ] i >L ÕÌ Ì ÜÀ>« Õ« Ã Ì } iÛi > `] LÕÌ >« > >à « > Ã Ì `iV> « > v À ÞÜ `° º ½ > > > Ì À Õ} > ` Ì À Õ} ]» i Ã>Þð ºƂ ` > } Û ià à ÕÃÌ > iÝÌi à v Ü >Ì ½Ûi Lii ` } > Þ vi°» iÌÌ } Ì i º} ` stuff” in front of people.

There’s nothing like being a bookseller at the Bal Harbour Shops, some of the most enlightened readers anywhere are found right here!” - Mitchell Kaplan

K APLAN’S SPRING READING LIST 1. Black Leopard, Red Wolf by Marlon James

2. Inheritance

by Dani Shapiro

3. Nouns & Verbs

by Campbell McGrath

4. The Nickel Boys

by Colson Whitehead

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ALL THE LIKES

With his innovative Instagram collages and stints at luxury brands, accessories designer and illustrator Benjamin Seidler is a must-follow. BY JESSICA MEHALIC LUCAS

A SERIES OF CLEVER COLLAGES V L } v>à > ` w pMary Poppins Returns½ Þ Õ Ì > i V >}>] Game of Thrones½ i > i>`iÞ > > ] A Star is Born½Ã À>` iÞ «iÀ > ` >`Þ >}> Õ Ã 6Õ ÌÌ pÜ V Ìi Þ Õ Ì >`` i > -i ` iÀ] JLi > Ãi ` iÀ] Ì Þ ÕÀ ÃÌ>}À> vii` v Þ Õ½Ài Ì v Ü } > Ài>`Þ° / i >VViÃà À ià `ià } iÀ > ` ÕÃÌÀ>Ì À LiV> i > ÃÌ> v>Û À Ìi Óä£È] Ü i i « ÃÌi` > >à ի v Ì i Mean Girls½ * >ÃÌ Và Üi>À } 6iÌi i Ìð º Ì Ü>Ã Ì i i Ì 6iÌi i Ìà iÝ« `i`Æ v>à i LÀ>Vi` ÃÌÀiiÌÜi>À > ` à iÌ } > Ì Ài À>Ü]» i Ã>Þð º/ i V >}ià ÀiyiVÌ v>à ½Ã i` >VÞ > ` Ì i ii` Ì LÀ } à iÌ } iÜ iÛiÀÞ Ì Àii ÕÌið» -i ` iÀ >à > «ÀiÃà Ûi > ` ` ÛiÀÃi ÀiÃÕ i] VÀi>Ì } ÕÃÌÀ>Ì Ã v À *À>`>] Vogue and Harper’s Bazaar] > ` `ià } } >VViÃà À ià v À LÀ> `à ÃÕV >à Ƃ Þ> ` >ÀV ] ƂV i -ÌÕ` à > ` - ÞÌ Ã ° ,> Ãi` , i LÞ } à «>Ài ÌÃ] i Ü>à i Ì À> i` >Ì > i>À Þ >}i LÞ Ì i Ì i>ÌÀ V> ÌÞ v v>à ÌÀ à V Ì Ì> > VÕ ÌÕÀi] Ü iÌ iÀ ÃÌÀ } «>ÃÌ Ì i Ü ` Üà >Ì ÃV À >ÌÌi ` } > > Õ> Ã Ü «ÕÌ LÞ Ì i ià v 6> i Ì > ` i ` Ì i -«> Ã

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-Ìi«Ã° 7 i ÃÌ } ÃV ] i > `i` ÌiÀ à «Ã Ü Ì Ƃ > -Õ > ` / >à > iÀ >Ì ÌÌi}> 6i iÌ>° º ½Ûi Ü i à Vi i Ü>à £È Þi>Àà `] Ü i i Ü>à > ÌiÀ >Ì Þ `ià } vwVi]» Ã>Þà -Õ ° º i` >Ìi Þ ÀiV } âi` à iÌ } ëiV > >L ÕÌ p Ì ÕÃÌ Ìi }i Vi] LÕÌ > à à `i` V>Ì > ` Ûi v v>à °» -i ` iÀ VÀi` Ìà iÀ º`>À LÕÌ ` v VÕÌiÃÞ» >iÃÌ iÌ V >à > i>À Þ yÕi Vi > ` iÛi VÀi>Ìi` / à ÀÌ }À>« Và v À Ì i iÜ 9 À L>Ãi` `ià } iÀ] Ü V ÜiÀi > L } Ì >«> ° º Ài i LiÀ i >vÌiÀ Üi « >Þi` Þ > ` Ü Ã i` vv Ì Ü>ÌV > -ÌiÛi i Ãi « Ì Ã Ì]» ÀiV> à -Õ ° Ì >««i i` Ì Li > ÃÌ ÀÞ ÃÌÞ i` LÞ À>Vi `` }Ì v À Vogue° º v Ì >Ì ` ià ½Ì Ãi Þ Õ v>à >à > vi V>ÀiiÀ] ` ½Ì Ü Ü >Ì Ü ]» Ã>Þà -i ` iÀ° ƂvÌiÀ > >} V> ÃÕ iÀ iÜ 9 À `ÕÀ } Ì i i } Ì v Sex and the City‘s « «Õ >À ÌÞ] -i ` iÀ Üi Ì Ì ÃÌÕ`Þ v>à `ià } >Ì i ÌÀ> -> Ì >ÀÌ Ã > ` >ÀV ÌiVÌÕÀi >Ì > LÀ `}i° 7 À } >Ì

> LÀ `}i½Ã iÜë>«iÀ] i ÌiÀÛ iÜi` > Õ > ` Ì i «ÕL V>Ì ½Ã wÀÃÌ vi > i i` Ì À -ÕâÞ i iÃ] Ü vviÀi` > L >Ì Ì i International Herald Tribune Õ«

Seidler’s Instagram collage of Sex and the City’s Sarah Jessica Parker in Comme des Garçons for the Met Gala. BAL HARBOUR 125

“It’s one of my most pure fashion drawings—just colored pencils on paper,” Seidler says of this Diana Vreeland illustration. “I wanted to really distill what she was all about.” Above: A portrait of Seidler by Petra Collins. Opposite: Seidler’s illustration of Rei Kawakubo. “When you think Comme des Garçons, you think outthere and conceptual,” says Seidler. “Drawing someone severe in such a tender way makes you think about her in a different way.”

graduation. “She let me write, she let me illustrate and she let me go to shows,” says Seidler. “It wasn’t what I had in mind as the start to my career, but it made me see everything and that was an amazing opportunity.” -i ` iÀ iÛi ÌÕ> Þ >`i à Ü>Þ L>V Ì `ià } >Ì *À>`>] wÀÃÌ in-store design and then creating prints in menswear. “Illustration really paved the way for me to enter accessory design,” he says. “Whether I was a journalist or a designer, illustration has always been with me and has helped me embrace the freer side of fashion.” Seidler has racked up an impressive list of credentials in both the brand and editorial worlds. Two favorites: discovering a window display he created for Miu Miu as he walked down the street in London and designing ultra-luxurious scarves for Asprey. “The project was to design the most beautiful scarves and the price didn’t

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matter,” he says. “We came up with innovative techniques where we could print on both sides of a silk scarf, developed in an Italian factory that sadly no longer exists.” Today he designs for a prominent fashion house and lives with husband Stuart Vevers, executive creative director at Coach, in New York. He illustrates for various magazines and brands (stay tuned for a series of collages for Marc Jacobs) and is always open to new endeavors, such as designing invitations for weddings or fashion shows. Scroll through his IG feed and in addition to those eye-grabbing collages, you’ll see charismatic illustrations of Karl Lagerfeld, Diana Vreeland and other fashion royalty. “My favorite illustrations of Ben’s are always his portraits,” says Sui. “Not only does he delicately capture the likeness of a person, he can reveal their true inner essence.”

“I hope that an illustration will make you stop on your Instagram feed or on that page in a magazine and do a double take and think about something.” —Benjamin Seidler

BAL HARBOUR 127

THE CURATOR

Social media star @paridust is taking her signature mashup of fashion and art to the far corners of the world. BY TAYLOR DAFOE PORTRAIT BY LOGAN JACKSON

TWO YEARS AGO, PARI EHSAN, aka @paridust, felt like she was ready to take the next step in her career. Over the previous half decade, the fairy-esque woman known for posing in couture fashion next to works of contemporary art—donning a banded Salvatore Ferragamo blouse in front of Daniel Buren’s signature stripes, for instance, or a Lou Dallas dress next to a suite of colorful Isa Genzken collages—had gone from being a `ià } iÀ Ü Ì > L } Ì > L > w`i yÕi ViÀ° She had amassed hundreds of thousands of followers on Instagram, was sought after by brands from both sides of the art-fashion divide, and was ready to push her project to the next level. But that change didn’t quite come about like she had hoped. “It was one of those things where you think you’re ready for something, but really you need to master all these other small things to be able to realize the next level of a concept,” says Ehsan in her soft, metered voice. “It was an ongoing realization

over the past two years. There were things in my life that I hadn’t sorted out, stones I had left unturned. I was really forced to recognize those and resolve them.” So she went to work. She doubled down on Pari Dust, making increasingly sophisticated pictures that could compete with shoots from the glossiest of fashion magazines. She expanded her website to include interviews and personal essays. And she began taking on more collaborations than ever. Ü] Ã> à w > Þ Ài>`Þ Ì Ì> i the next step. And it’s an ambitious one. Ehsan plans to expand Pari Dust into a fullyi`}i` i` Ì À > « >Ìv À ë> } à V > media and her own website. She wants to bring on a dedicated staff and incorporate more writing, more video content and more creative collaborations. Perhaps most importantly, she wants more voices. Citing Anthony Bourdain as an example, Ehsan wants to use her

signature mash-up of mediums to shine a light on cultures around the world. As a wÀÃÌ }i iÀ>Ì Ƃ iÀ V> L À Ì > À> > father and Dutch mother, she’s long been fascinated by, as she puts it, “art’s ability to transcend region, race and religion.” She adds, “I want to explore the ways in which art and fashion intersect around the world, how they shape culture and identity.” It’s ambitious, but don’t count her out. She may look like a pixie, but she has a dogged work ethic. And the stars are literally in her favor. For Sagittarians—which Ehsan, > >ÃÌÀ }Þ ÕÌ] ÃpÓä£ Ã Ì i wÀÃÌ > ` luckiest year in what is supposed to be a particularly fruitful cycle of 12 consecutive years. “For the last two years, I’ve been carrying a backpack full of bricks,” she says, with a smile. “All the work that I’ve done is important and I’ll get to keep it forever, but this next period, the next 12 years—it’s going to all explode.”

Chanel Haute Couture x Davide Balliano Since September 2014, Ehsan has conceptualized and photographed with pieces from every Chanel Haute Couture Collection in an ongoing creative collaboration with the brand. Pictured is a dialogue between Chanel Haute Couture and artist Davide Balliano, a sculptural silhouette spirals into a state of abstraction. Photo by Jason Gringler 128 BAL HARBOUR

Peter Pilotto x Eero Saarinen

/ i wÀÃÌ iÛiÀ v>à i` Ì À > «iÀ ÌÌi` iÀ ->>À i ½Ã V V ` century modern home and landmark, The Miller House. Ehsan collaborated with the Indianapolis Museum of Art, returning to her home state of Indiana to create a play on Saarinen’s Modernist linear architecture and Alexander Girard’s whimsical interiors wearing Peter Pilotto. Photo by Kelly Elaine Smith

Versace x Audi

A chameleon in her element, Ehsan wears Versace for Aspen’s annual celebration of art and environment. Photo by Logan Jackson

Pari Ehsan wearing Todd Oldham amongst Yayoi Kusama’s Narcissus Garden installation in New York last summer. BAL HARBOUR 129

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305.867.7777

Rosé Sundays A W E E K LY S U N D A Y B R U N C H

The St. Regis Bal Harbour is delighted to present a weekly signature Sunday brunch with a lengthy menu of bottomless rosé wines, Champagnes, and a curated selection of the signature St. Regis cocktail, the Bloody Mary. Executive Chef Franck Steigerwald has created an exquisite menu of brunch favorites including roasted dry aged prime rib, king crab legs, freshly shucked oysters on the half shell, caviar, an international and domestic charcuterie selection, plus an assortment of soups, salads, decadent desserts and Miami’s largest macaron display. Featuring live music and floor-to-ceiling windows overlooking the Atlantic ©2019 Marriott International, Inc. All Rights Reserved. Preferred Guest, SPG, St. Regis and their logos are the trademarks of Marriott International, Inc., or its affiliates.

Ocean, there is no better way to spend a leisurely Sunday afternoon with family and friends. Every Sunday The St. Regis Bal Harbour Resort 9703 Collins Avenue Adults - $105.00* Children 12 & younger - $45.00* *excludes tax and service charge For reservations, dial 305-993-0700 or visit stregisbalharbour.com/brunch

Stay exquisite at more than 40 St. Regis hotels and resorts worldwide. @stregishotels

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BAL HARBOUR SHOPS 305 866 4117

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Follow the conversation On Beauty at santonishoes.com #makersofbeauty Bal Harbour Shops, Bal Harbour

BAL HARBOUR SHOPS APPOINTMENTS (305) 864 3978 WWW.REDMARKETMIAMI.COM 9700 COLLINS AVENUE BAL HARBOUR, FLORIDA 33154 3RD LEVEL OF BAL HARBOUR SHOPS

Where park meets the ocean Eighty Seven Park is a selection of private, oceanfront homes designed to seamlessly embrace both park and ocean. Located in Miami Beach’s newest neighborhood, it is the ďŹ rst residential project by Pritzker Prizewinning architect Renzo Piano in the USA. Delivering 2019

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This condominium is being developed by 8701 Collins Development, LLC, a Delaware limited liability company (“Developer”), which has a limited right to use the trademarked names and logos of Terra and Bizzi & Partners Development. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by Terra and Bizzi & Partners Development, and you agree to look solely to Developer (and not to Terra and Bizzi & Partners Development and/or any of its affiliates) with respect to any and all matters relating to the sales and marketing and/or development of the project. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for illustrative purposes. No guarantees or representations whatsoever are made that existing or future views of the project and surrounding areas depicted by artist’s conceptual renderings or otherwise described herein, will be provided or, if provided, will be as depicted or otherwise described herein, will be provided or, if provided, will be as depicted or described herein. The project graphics, renderings and text provided herein are copyrighted works owned by the Developer. All rights reserved. EQUAL HOUSING O PP O RT U NI TY

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NEWLYWEDS KASIMIRA AND TARQUIN WILDING WERE PERHAPS BORN WITH ALL THE RIGHT GENES, SHE BEING THE DAUGHTER OF MODEL MELISSA MILLER AND HE THE GRANDSON OF ELIZABETH TAYLOR. HERE, THE TWO REVEL IN THE JOY OF NEW LOVE DRESSED IN STYLES SET FOR ETERNAL BLISS.

ENDLESS SUMMER PHOTOG R A PH Y BY STEWAR T SHINING

ST YLING BY ING E FONTE YNE

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On Tarquin Wilding: Ermanno Scervino knit sweater, 305.866.5996. On Kasimira Wilding: Roberto Cavalli printed long sleeve top, 305.865.1749. Opposite: Manyana beige wide brim hat. Agnona emerald green dress. Cartier Panthère earrings in white gold with diamonds, emeralds and onyx, available at Saks Fifth Avenue, 305.865.1100. Bulgari 'LYDV¡ Dream necklace in rose gold with malachite and mother of pearl, 305.861.8898.

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Versace buttondown blouse, Ă RUDO SULQW MDFNHW ZLWK JROG EXWWRQV VWULSHG VKRUWV DQG Ă RUDO WLJKWV 305.864.0044. Chopard GLDPRQG HDUULQJV 305.868.8626.

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Balenciaga monogram offthe-shoulder top and pantashoes, 305.864.4932. Opposite: Alberta Ferretti colorblock dress with embroidery detailing. Bulgari onyx and turquoise necklaces and turquoise earrings, 305.861.8898. Wildfox Liz acetate sunglasses. Jacquie Aiche turquoise ring. Santoni gold sandals, 305.866.8774.

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Brunello Cucinelli cotton and linen embellished chevron suit, 305.864.4833. Cartier white gold diamond drop earrings, available at Saks Fifth Avenue, 305.865.1100. Opposite: Ermanno Scervino FRUDO UXIĂ HG GUHVV 305.866.5996. Buccellati Macri pendant earrings, 305.866.8686. Christian Louboutin Martha Strass 100 leather & silk mules, available at Saks Fifth Avenue, 305.865.1100. Tracy Watts straw hat with navy blue band.

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Zimmermann Moncur cutout plisse paisley dress, 305.397.8231. Cartier Cactus earrings in yellow gold with diamonds, available at Saks Fifth Avenue, 305.865.1100. Opposite: Sergio Rossi fringed peeptoe suede heels with rhinestones, available Intermix, 305.993.1232.

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Alexander McQueen black leather coat and belt, asymmetrical white dress with UXIĂ H WULP VWXGGHG leather boots and multi-stone earrings, 305.866.2839. Opposite: Yasmine Eslami bikini. Sandro button down dress. Eugenia Kim straw fedora with ostrich feather trim. Linda Farrow rose gold 851 C6 round sunglasses, 305.864.8221. Buccellati Ghianda necklace with white and yellow gold, diamonds and gray pearls, 305.866.8686.

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Dior pink sheer GUHVV ÀVKQHW ERG\VXLW ULEERQ lace-up sandals and headband, 305.864.3263. Chopard ZKLWH JROG DQG GLDPRQG HDUULQJV 305.868.8626. 2SSRVLWH $ ZHGGLQJ SKRWRJUDSK RI Tarquin and Kasimira ZHDULQJ D JRZQ FXVWRP GHVLJQHG E\ Donna Karan.

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On Kasimira and Tarquin: Matching Wildfox palm leaf print T-shirt and sweatshirt and round sunglasses. On Tarquin: Chopard watch with black leather strap, 305.868.8626.

Photographer: Stewart Shining Photo Assistant: Rasmus Jensen PA: Graham Dalton Stylist: Inge Fonteyne Stylist Assistant: Juliana Vargas Models: Kasimira Wilding/ Next Models and Tarquin Wilding Hair: Dominick Pucciarello Makeup: Melissa Rogers

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The Amazing Monsieur Mouret

Roland Mouret isn’t superstitious, but he is a magician. In his new book, the French fashion designer talks intimately about the art of transforming his clients—and himself. BY KAREN QUARLES

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COURTESY OF ROLAND MOURET, PHOTOS BY ALESSIO BOLZONI

Roland Mouret views his designs as tools to empower the women that wear them— tailored suits and coats from 2013 and 2017 collections put a bold and feminine spin on the menswear-inspired powersuit.

MACABRE AND OCCULT DETAILS surface throughout fashion designer Roland Mouret’s new monograph, Roland Mouret: Provoke, Attract, Seduce. As a boy in his father’s butcher shop, near the pilgrimage town of Lourdes, France, he would submerge his hands in the buckets of blood, entranced by the way it would coat his arms like a pair of red opera gloves. The opening chapter, in fact, is called “Blood Bones and Fat.” In it he describes learning his father’s trade—carving meat, trimming fat—and the way that intimate knowledge of yià yÕi ViÃ Ã Ü À >à > `ià } iÀ° ÃiÜ iÀi i says that his favorite number is 13. Another spread is devoted to a black-and-white photocopy of his hands, annotated with a palm reading. There are also more personal dark shadows. The book, which grants readers access to Mouret’s inner world, is formatted as a series of interviews conducted by award-winning fashion journalist Alexander Fury. In those conversations, Mouret discusses his fraught relationship with his father and his feelings of being trapped by convention. “There are a lot of personal things in the book, about my family and myself when I was young,” says Mouret by phone from London, where he’s lived and worked since the 1990s. Curiously, though, the lauded designer’s clothes >Ài V w`i Ì] Õ«Li>Ì > ` vÌi L ` Þ V À >Ì V° There’s not a whiff of spidery goth girl or angsty grunge waif. Like the best spells, Mouret’s magic is invisible yet completely transformational. Take his most famous creation: the Galaxy dress. The opening look from his fall 2005 runway show, it became an instant red-carpet favorite, worn that season by Victoria Beckham, Cameron Diaz and Naomi Watts. Since then, it’s evolved into a beloved classic, spotted on the likes of Miranda Kerr, Dita Von Teese, Halle Berry, Scarlett Johansson and the queen herself—Beyoncé. Inspired by the glamour of Paris in the 1940s, the bodycon silhouette is enhanced by an interior belt. “I have a friend who is a drag queen, and he pulls on a belt with his costumes,” Mouret recounts in the book. “So I pinched the dress in one inch at the waist, with a tape inside, to give it that look.” It’s far from his only trick. He’s known as a master of draping—molding fabric around the body with tucks and folds rather than cuts and seams. Largely selftaught, Mouret developed his own technique, which has become his signature. Throughout Provoke, Attract, Seduce, new photographs taken expressly for the book by Mouret’s longtime friend and collaborator Sophia Neophitou-Apostolou illustrate his deft and original approach to design.

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In the chapter titled “Glamour and Uniform,” Mouret reveals that his particular penchant for the styles of Old Hollywood and classic French cinema grew from a childhood obsession with movies and Ìi iÛ Ã ° i Ü>à ÌÀ> ÃwÝi` LÞ Ì i Ü>Þ clothes, along with pose and attitude, could build an image. “That was maybe my wÀÃÌ ÛipÌ LiV i > >} V > ] Ì Ü Ì i ÌÀ V Ã] Ì VÀi>Ìi > >}i Ì >Ì «i « i are really surprised by,” he tells Fury. “I Ì Þ Ûi v à ÕiÌÌi] v > à ÕiÌÌi

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COURTESY OF RIZZOLI (BOOK COVER); VANINA SORRENTI

“Women have to fight very hard to establish themselves in the world, to become who they want to be. It’s not easy. I feel, in a way, that I understand this, because as a homosexual, as a fashion designer, I had to do the same to become who I am.” —Roland Mouret Ì >Ì Ã VÀi>Ìi`pÌ i > >ÝÞ iëiV > Þp comes from that moment, that interest in ÌÀ> Ãv À } «i « i° / i > >ÝÞ « V i` the waist, changed the body. It created an illusion. It’s magical.” ÕÌ `ÕÀ } ÕÀ V >Ì] Ü i >à ÕÀiÌ if he’s superstitious, he laughs. “No, no, I’m not superstitious at all,” he says with a hint v ÃÕÀ«À Ãi Ã Û Vi° º ÕÌ Ì Ì >Ì Ì i idea of magic and witches is very powerful. - i Ü i ] i >Ìi Õà ] Ü iÝ«ÀiÃà themselves very powerfully can seem witchy.”

Ultimately, this is what Mouret strives v À ÃÌpÌ > « vÞ > Ü > ½Ã Ü « ÜiÀ > ` > i iÀ vii i Ì i «iÀà à i½Ã i> Ì Ì Li° Ƃ Ì Õ} Ì i L i Ã>Þà that his primary job is to protect a woman, i Ì> ià > i Ì V ÛiÀÃ>Ì Ì clarify this point. “I wouldn’t say my job is Ì «À ÌiVÌ Ü i ] iÝ>VÌ Þ]» i `i ÕÀð º Ì½Ã Ì i « Ì i iÝ«ÀiÃÃ Ì i Ãi Ûið Ì ià add another layer to your personality. As a designer, I help women add that layer in the way that feels right for them.”

MARIA ZIEGELBÖCK

Mouret’s celebration of the body has led to daring cutout looks, from the 2003 Autumn/Winter collection’s skin-baring harness dress (opposite) to the curve-hugging Exton skirt and Malda top from Spring/Summer 2016—all documented in Provoke Attract Seduce (opposite).

º7 i >Ûi Ì w} Ì ÛiÀÞ >À` Ì iÃÌ>L Ã Ì i Ãi ÛiÃ Ì i Ü À `] Ì LiV i Ü Ì iÞ Ü> Ì Ì Li]» i V Ì Õið º Ì½Ã Ì i>ÃÞ° vii ] > Ü>Þ] Ì >Ì Õ `iÀÃÌ> ` Ì Ã] LiV>ÕÃi >à > ÃiÝÕ> ] >à > v>à `ià } iÀ] >` Ì ` Ì i Ã> i Ì LiV i Ü > °» ƂvÌiÀ Óä Þi>ÀÃ Ì i v>à `ÕÃÌÀÞ] Ü i½Ã LiV i à iÌ ià ÃÕÀ«À Ãià ÕÀiÌ Ãi v° i½Ã ÃÌ > >Û ` v> v Û ià > ` /6p i V ÌiÃ Ì i ÃiÀ ià Killing Eve >à > ÀiVi Ì v>Û À ÌipLÕÌ Ì iÃi `>ÞÃ

Ì i >VÌÀiÃÃià ÃVÀii VV>à > Þ ÌÕÀ Õ« Üi>À } , > ` ÕÀiÌ° º ̽à > >â } Ì i Ì >Ì Ü ½ «>ÀÌ v Ì i `ÕÃÌÀÞ Ì >Ì `Ài> i` v >à > V `]» i Ã>Þð à } iÃÌ «À w i V i Ì Ã Ì i ÕV iÃà v -ÕÃÃiÝ] > Ã Ü >à v À iÀ Suits ÃÌ>À i} > >À i] Ü v> ÕÃ Þ Ü Ài ÕÀi̽à >ÀÜ V `ÀiÃÃ Ì i `>Þ Liv Ài iÀ Üi`` } Ì *À Vi >ÀÀÞ >ÃÌ Ã«À }° Ü Ì i «À «À iÌ À v > ÃÕVViÃÃvÕ LÕà iÃÃ] Ü Ì y>}à « ÃÌ Àià ` ½Ã >Þv> À > ` iÜ 9 À ½Ã >` Ã

ƂÛi Õi] ÕÀiÌ] i Ì i Ü i i `ÀiÃÃiÃ] >à w > Þ V i Ì Ã Ü > ` à v ÀÜ>À` Ì iÝ« À } Ì i Ìà v à VÀi>Ì Ûi « ÜiÀ° º7 i Þ Õ >Ûi > Þ Õ } V «> Þ] > Ì v Þ ÕÀ i iÀ}Þ Ã ` ÀiVÌi` Ì Ü>À` }À Ü } Þ ÕÀ LÕà iÃà > ` ii« } Ì > Ûi]» i iÝ« > ð º Ü Þ V «> Þ Ã > Ìii >}iÀp ` ½Ì >Ûi Ì Ü ÀÀÞ >L ÕÌ Ì Ã ÕV ° ½ Ài vÀii Ì Ã«i ` Þ Ì i v Ü } Þ `ià } `i>Ã Ü iÀiÛiÀ Ì iÞ Ì> i i°» ̽ Li Ì À } Ì Ãii Ü >Ì i Ãi i >à ի à à iiÛi°

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MEETING OF THE MINDS Summit brings people together the old-fashioned way. That is, if gathering the most powerful movers in the world on top of a Utah mountain or on the beaches of the Riviera Maya for gourmet meals, performances and talks on wellness, democracy and everything in between can be considered old-fashioned. The bonds are real, the invite coveted. BY JENNIFER PIEJKO

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“What we’re striving to create is a platform where you have the best, the brightest and the most innovative from all verticals gathered in one space.” —Alex Zhang

COMMUNITY BUILDING CAN START TO FEEL like a hollow term for networking. Tumblr published guidelines for it. Start-up incubators pride themselves on it. A kind of socializing for the anti-social, our new ways of building one, however loosely, provide little structure for making them a tangible reality. Summit, however, seems to understand that locality, even for a short while, is essential to weaving together some earnest threads of connection. The annual kaleidoscopic, Los Angeles-based well, summit, brings together a curated program of people who appear to have little in common with each other except that they‘ve all made it to the level of global expert, leader—or even star. “We want people to connect better,” Alex Zhang, the organization’s Art Director, says over breakfast at Silver Lake’s perpetually buzzing Café Stella. “Human connection and empathy go a long way. In all six pillars of Summit‘s program—Talks, Performances, Wellness, Culinary, Arts, and Impact—human connection is in the

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middle. We can connect over a great meal or a yoga class, and it’s the most successful when it’s multidisciplinary and multigenerational and multidimensional. What we’re striving to create is a platform where you have the best, the brightest, and the most innovative from all verticals gathered in one space. Right now, that doesn’t exist; most industries are quite siloed if you think about it.” Summit grew from the same place that many straightforward solutions to the world’s complex circumstances do—with friends talking late into the night. Ryan Begelman, Summit’s CEO, describes the organization’s beginnings as something unforeseen. “When we started, we had barely been to an event, let alone a talk. We were in our early to mid-20s, working nonstop to start our careers. The idea of a talk never came up until days before the second Summit, in Riviera Maya, Mexico in 2009. We just thought, ‘what if Scott Harrison, founder of Charity Water, shared his story and a bit about his mission to drill wells across Africa?’ The day of his talk, we scrambled together

PHOTO BY MICHAEL DRUMMOND (THEATER); GEORGE EVAN (TULUM, STEELE)

Summit brings leaders from across disciplines together for gatherings in Los Angeles and around the world. Pictured here, clockwise from top, are a dinner on the beach in Tulum; artist Olivia Steele’s waterfront installation; one of many talks hosted in LA’s Orpheum Theater during Summit 2018.

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Summit’s enticing mix of brilliant minds and gorgeous landscapes brings an eclectic mix of does and makers together. Here: an aerial view of Summit’s Tulum gathering. Right: making environmental art on the snow-covered Powder Mountain.

a mic, mixer and two speakers. Scott blew everyone away. He ignited the leaders gathered to consider how they could give back while they built their organizations, and not wait until retirement to become philanthropists. Everything changed that day.” “The production for Summit is madness,” he continues. “The most common feedback we get is that this is the place where people meet their life partner, co-founder, shift their career, shift their personal mission or have their big idea.” His pipe dream is now staffed by a Ìi> v £x vÕ Ì i VÕÀ>Ì ÀÃ Ü À } > vwVi 6i Vi i>V ° >`` Ì Ì Ì i > Õ> y>}à « iÛi Ì] Ì i }À Õ« > à vviÀà Ìà members ski weekends to Powder Mountain, Utah; beach getaways in Tulum; excursions to Kenya; and smaller pop-up events. Though they may be trying to break new territory in collaborations, they follow the ÃÌ> `>À` V viÀi Vi `i \ -Õ Ì Ã Û Ì>Ì Þ° 6 `i ÃÌÀi> à of their panel discussions are often made public later on, but the event à Ìi` Ì >À Õ ` Î]äää }ÕiÃÌÃ] Ü i>V «>Þ > à } wV> Ì i ÌÀÞ vii°

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/ i ÃiV ` > Õ> iÕ«] Ü V w i` Õ« Ì Àii `>Þà Ûi LiÀ 2018, reads like Google’s annual December release of its most popular “Year in Search” results. The program took over storied venues V ÕÃÌiÀi` Ü Ì Ü Ƃ½Ã À >`Ü>Þ ÃÌÀ VÌ] V Õ` } Ì i ÀiVi Ì Þ restored 1927 Spanish Gothic-style theater at the Ace Hotel and the opulent marble Orpheum and Palace Theaters, opened in 1911 to stage the vaudeville circuit. Conceptual artist Jenny Holzer brought her “truisms,” quick, opaque-yet-cutting one-liners that draw attention to V>ÃÕ> « ÜiÀ `Þ > VÃpÌ *,"/ / ," 7 Ƃ/ 7Ƃ /] 1, , Ƃ- /- - 81Ƃ - > ` Ƃ 1- " *"7 , " - Ƃ- " -1,*, - ° iÀi] à i ÕÃi` µÕ Ìià vÀ Ì i ÃÌÕ`i Ìà i>` } March for Our Lives and placed the blinking LED light strips that she uses to write them on Summit’s theater marquees, as well as on buses «>À i` ÃÌÀ>Ìi} V> Þ > ` >À Õ ` À >`Ü>ÞpÌ i Vi ÌÀ> LÕÌ Ü À avenues of the city’s traditional, hurriedly gentrifying streets. What might Michael Ovitz, who co-founded legendary Hollywood

powerhouse agency Creative Artists Agency (CAA); Ram Dass; Transparent and I Love Dick creator Jill Soloway; Esther Perel, the Ă€iÂ?>ĂŒÂˆÂœÂ˜ĂƒÂ…ÂˆÂŤ ĂŒÂ…iĂ€>ÂŤÂˆĂƒĂŒ ĂœÂˆĂŒÂ… > VĂ•Â?ĂŒÂ‡Â?ˆŽi vÂœÂ?Â?ÂœĂœÂˆÂ˜}Æ ĂƒiÂ˜ÂˆÂœĂ€ ÂœvwViĂ€Ăƒ vĂ€ÂœÂ“ Google; and DJ Premier have to say to each other if they were all in the same room? And if bestselling spiritual author Eckhart Tolle; >˜ˆVi ÀÞ>Â˜ĂŒ ÂœĂœĂ€ÂœĂž`] ĂŒÂ…i wĂ€ĂƒĂŒ Ć‚vĂ€ÂˆV>Â˜Â‡Ć‚Â“iĂ€ÂˆV>˜ ĂœÂœÂ“>˜ Â?i>`ˆ˜} a billion-dollar-plus business; Amy Sherald, the artist who recently ÂŤ>ÂˆÂ˜ĂŒi` ˆVÂ…iÂ?Â?i "L>“>½Ăƒ ÂœvwVˆ>Â? ÂŤÂœĂ€ĂŒĂ€>ÂˆĂŒĂ† >˜` >Ă€Âˆ>˜ œœ`iÂ?Â?] ĂŒÂ…i CEO of Burning Man(!) were across the street? They were all there, too. There were voices in contemporary politics and intersectional activism: Al Gore was in conversation with Jaden Smith on climate change, popular culture and Smith’s JUST Water brand; #MeToo founder Tarana Burke discussed the pathways to personal and community healing; activist Dolores Huerta presented the work of organization, United Farm Workers. Chef JosĂŠ AndrĂŠs explained the concept of his World Central Kitchen, which serves training to young

chefs and homemade meals to victims of disaster areas and political war zones (most recently in Tijuana, where thousands of migrants have passed through seeking asylum in the U.S.), earning him a nomination for a 2019 Nobel Peace Prize. Bronx collective Ghetto Gastro delivered a late-night cooking performance. Chefs from some of the city’s buzziest restaurants, including Guelaguetza, Providence, and Broken Spanish, the new outpost of the NoMad Hotel, also spent some time in the kitchen. Sirius XM founder and biotech entrepreneur Martine Rothblatt debated the emerging technologies of bio-fabrication, that is, organ printing with the potential to extend the human lifespan with Segway inventor and Advanced Regenerative Manufacturing Institute vÂœĂ•Â˜`iĂ€ i>˜ >“i˜° ,<Ć‚ ĂƒVÂœĂ€i` ĂŒÂ…i £™Çn œ˜} œ˜} ÂŽĂ•Â˜} vĂ• wÂ?“ The 36th Chamber of Shaolin live, using music from Wu-Tang Clan’s catalog. In these divisive times, it looks like there’s something for just about everyone on the ticket. The key is that we all show up for it, and each other.

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From Bath to Provence, these five unique, luxury culinary experiences will make your next vacation a feast of flavors and culture. BY JESSICA KANTOR JULIA CHILD FAMOUSLY WROTE HER 726-page tome, Mastering the Art of French Cooking, to introduce Americans in the 1960s to a French way of life. Similarly, with his beloved television series, Parts Unknown, Anthony Bourdain implored his viewers and fans “to walk in someone else’s shoes. Or at least eat their food.” These two culinary giants both loved to travel and understood one simple, universal gastronomical truth: there’s no better way to be introduced to a foreign culture than by eating— and cooking—the local cuisine. Following this truism, amateur home cooks and aspiring «À viÃà > V ivà > i >Ûi y V i` Ì V } ÃV à >À Õ `

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Ì i Ü À ` Ì iÝ«> ` Ì i À «> >Ìià > ` LÀ >`i Ì i À w}ÕÀ>Ì Ûi > ` ÌiÀ> À â ð 7i à Õ} Ì ÕÌ wÛi v Ì i LiÃÌpÜ iÌ iÀ you have a taste for capturing the art de vivre in Paris or want to ` ÃV ÛiÀ Ì i viÃÌ Ûi V Àà > ` y>Û Àà v Ì i V> >À iÌ -> Miguel de Allende. While the classes described in these pages take place thousands of miles apart, utilizing various ingredients and teaching different techniques, their purveyors—from James Beard Award-winning chefs to a Venetian countess who hosts seminars around her kitchen table—all share a deep love for their countries and cuisine that will surely increase your appetite and appreciation for international food and culture.

COURTESY OF THE BERTINET KITCHEN COOKERY SCHOOL

COOKING ACROSS CONTINENTS

COURTESY OF PATRICIA WELLS, PHOTO BY STEVEN ROTHFELD

Patricia Wells’ love for fresh ingredients becomes infectious in her intimate cooking classes. Opposite: Richard Bertinet teaches eager students to embrace the dough in his hands-on baking classes.

AT HOME WITH PATRICIA WELLS

COOKING IN THE VENETO WITH GIULIANO HAZAN

www.patriciawells.com

www.giulianohazan.com

A modern-day Julia Child, Patricia Wells grew up in the States, but when a job at The New York Times took her to Paris in 1980, Ì Ü>à Ûi >Ì wÀÃÌ Ã } Ì v À Ì Ã À> V « i Ü >à >` «Ìi` Ì i V Õ ÌÀÞ >à iÀ i iÛiÀ à Vi° / i v À iÀ } L> ÀiÃÌ>ÕÀ> Ì VÀ Ì V v À Ì i International Herald Tribune v À Ài Ì > Óx Þi>ÀÃ] >ÕÌ À v £x L à > ` v ÕÀ Ì i > ià i>À` ƂÜ>À` Ü iÀ] Üi V ià ÃÌÕ`i Ìà v À Üii } V >ÃÃià `iÀ ÌiÀ >Ì > Ài V VÕ Ã i >Ì L Ì iÀ £nÌ Vi ÌÕÀÞ *À Ûi X> v>À ÕÃi]

> Ìi`ÕV] > ` iÀ V>ÀivÕ Þ ÀiÃÌ Ài` £nxäà }>À`i >«>ÀÌ i Ì Ì i V >À } ,Õi `Õ >V *>À ý ivÌ > ° With personalized classes limited to eight participants each, Ì iÃi i v > ` VÕ >ÀÞ iÀà Ãp V Õ` } > ` Ü ÌiÀ >V /ÀÕvyi } ÝÌÀ>Û>}> â>pv VÕà ÌÀ> Ãv À } Ì i vÀià iÃÌ Ãi>à > }Ài` i ÌÃ] V Õ` } Ì >Ì iÃ] i}}« > Ì > ` V iÀÀ ià vÀ 7i Ã½Ã Ü À}> V }>À`i > ` À V iÀL>Vi Õà vÀ Ì i Ûi }À Ûià iÀ «À «iÀÌÞ] Ì `iVi«Ì Ûi Þ Ã « i ` à iÃ] ÃÕV >à ÃÌi> i` ÌÕÀL Ì > Ã>ÕVi v i }À>Ãà > ` }À Õ ` >vwÀ i i>Ûið Ƃ Ãi v `iÃVÀ Li` V i> iÃà º ÕÌ]» 7i à has all her students take an oath to keep their kitchens clean. - i½Ã > à ÃÕÀi Ì «>ÀÌ Ì i Ü Ã` v iÀ i Ì À > ` Ài V ÀiÃÌ>ÕÀ> ÌiÕÀ l , LÕV Ì º i>À Ì Li > }ÕiÃÌ >Ì Þ ÕÀ Ü Ì>L i]» ÃÌÀiÃà } Ì i « ÀÌ> Vi v «Ài«« } > ` V } >`Û> Vi] Ã Ì >Ì >Ì Ì i i ` v i>V `>Þ] iÀ ÃÌÕ`i Ìà V> i Þ Ì i vÀÕ Ìà v Ì i À >L À] LL } i ÛiÀLi > à ÀLiÌ > ` «>ÀÌ> } } >ÃÃià v à > Ìi`ÕV] Ì i Ài` Ìià `Õ , i vÀ Ì i v>À ÕÃi½Ã Û iÞ>À`ð

i>À Ì i À > Ì V V ÌÞ v , i > ` Õ i̽à 6iÀ >] Ì i LÀi>Ì Ì> } }À Õ `à v Ì i iÝµÕ Ã Ìi Þ ÀiÃÌ Ài` £ÈÌ Vi ÌÕÀÞ ,i > ÃÃ> Vi 6 > `i > / ÀÀi > ` Ì i ÃÕÀÀ Õ ` } Û iÞ>À`à >Ài i Ì Ì Ã V } Ìi à Ûi° >V ëÀ } > ` v> ] ÃÌÕ`i Ìà >Ài ÃÌi` v À Üii } V >ÃÃià LÞ Õ > > ` >i >â> > ` >À Ã> Ƃ i}À ] i v Ì> ޽à ÃÌ ` ÃÌ }Õ Ã i` «À `ÕViÀà v Ì i L i Ài` Ü i] *> >ââ `i > / ÀÀi° Ƃ «À wV >ÕÌ À > ` Ìi>V iÀ] Õ > ] Ü Ã>Þà i i>À i` Ì V ºÌ À Õ} à à û LÞ Ü>ÌV } Ã Ì iÀ] Ì i v> i` >ÀVi > >â> ] V Ì ÕiÃ Ì i v> Þ ÌÀ>` Ì >à i v Ì i Ü À `½Ã v Ài ÃÌ >ÕÌ À Ì ià Ì> > V }° Õ > `i } Ìà à >À } à º Ûi > ` ÀiëiVÌ v À } ` v `]» Ü iÌ iÀ i½Ã Ìi>V } ÃÌÕ`i ÌÃ Ì ºV « à > ` Ã>ÕÌj ÃV> «« i» À i>` } Ì i `> Þ iÝVÕÀÃ Ã Ì À Õ} ÕÌ Ì i 6i iÌ Ài} pvÀ > Û Ã Ì Ì > > V i Ì Ü iÀi À Vi v À À à ÌÌ Ã «À ViÃÃi` Ì i Ã> i Ü>Þ Ì Ü>à £È{nÆ Ì Ü Ì iÃà } Ì i > } v Ûi >Ì > vÀ> Ì Æ Ì Ì>ÃÌ } À>Ài Õ >Ìi ` < Li ] > > À cured ham more prized than prosciutto. Upon returning to the villa, ÃÌÕ`i Ìà >Ài i` wÛi ÕÀ] > `à ºV Ãi Ãi» V } V >ÃÃiÃ] i>À } Ì iÛiÀ ÕÃÌ L ` Þ v Ü > ÀiV «i] LÕÌ Ì ÌÀÕÃÌ Ì i À Ü ÃÌ VÌÃ Ü i «Ài«>À } Ì i i i i Ìà v > ÌÀ>` Ì > Ì> > i> \ i >`i «>ÃÌ>] À à ÌÌ ] i>Ì] V> wà ] Ûi}iÌ>L ià > ` `iÃÃiÀÌð ºƂ `>Þ Ü Ì ÕÌ «>Õà } Ì Ã>Û À > i> Ì }iÌ iÀ Ü Ì Þ v> Þ Ã Õ >} >L i]» Ã>ÞÃ Õ > v à իLÀ } }] > ` à i Ü>À Þ ÃÌÀÕVÌà à ÃÌÕ`i ÌÃ Ì v VÕà y>Û À° º Ì½Ã Ì >L ÕÌ Ü > Þ Ì }Ã Þ Õ V> >`` Ì > ` à ° ̽à >L ÕÌ Õà } Ì i LiÃÌ }Ài` i Ìà > ` LÀ } } ÕÌ Ì i À y>Û À°»

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COURTESY OF GIULIANO HAZAN

Giuliano [Hazan] delights in sharing his “love and respect for good food,” whether he’s teaching students to “chop onions and sauté scaloppine” or leading them on daily excursions throughout the Veneto region—from a visit to an ancient mill where rice for risotto is processed the same way it was in 1648; to witnessing the making of olive oil at a frantoio; to tasting rare Culatello di Zibello, an air-cured ham more prized than prosciutto. 178 BAL HARBOUR

Verdant vineyards set the scene for Giuliano Hazan’s cooking school at the historic 16th-century Villa della Torre in Italy.

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More than just baking, The Bertinet Kitchen Cookery School offers a range of savory courses from seafood to curries.

THE BERTINET KITCHEN COOKERY SCHOOL

ENRICA ROCCA

www.thebertinetkitchen.com

www.enricarocca.com

Behind the quaint façade of this cooking school and bakery in Bath, England, is Richard Bertinet, the acclaimed French baker and chef who was named the 2010 BBC Food Champion of the Year. A selfdescribed Anglophile, Bertinet has lived and worked in the UK for over three decades, establishing the school with his wife, Jo, in 2005. While Bertinet offers a range of culinary courses spanning a host of cuisines and styles for all levels of cooks—such as saucing, pasta making and knife skills—his specialty is breadmaking and pastries. “I love the fact that you can take three basic, simple ingredients— y ÕÀ] Ü>ÌiÀ > ` Ã> Ìp> ` Ü Ì Þ Þ ÕÀ > `à > ` i>Ì] VÀi>Ìi something that is both beautiful and life-sustaining,” says Bertinet, who began his training as a baker at the age of 14. Often overhead imparting his catchphrase, “Show the dough who’s boss!” Bertinet uses a high hydration level, so his doughs are wetter, and he encourages his ÃÌÕ`i ÌÃ Ì }iÌ «>ÃÌ Ì i >ÌÕÀ> ÃÌ V iÃð º9 Õ ` ½Ì Ü> Ì Ì >`` y ÕÀ to the dough,” he explains. “You just need to take charge of it, to learn how to control it, so you can turn it into something truly beautiful.” Passionate about both bread and teaching, Bertinet describes what he calls the “fougasse grin,” the look of pride on his students’ faces when Ì iÞ Ì> i Ì i À wÀÃÌ v Õ}>ÃÃi] > >v Ì i à >«i v > } > Ì i>v] ÕÌ v the oven. “The achievement of having made something that is both beautiful to look at and delicious is written all over their faces, and I never get tired of seeing it.”

º } à ÕÃÌ vÕ t» iÝV > à À V> , VV>] Ì i y> L Þ> Ì Venetian countess, whose exuberance is contagious at the eponymous cooking classes she hosts in her family’s palazzo. After establishing the London Cookery School, voted one of the top 10 cooking schools in the world by Gourmet magazine, Rocca founded the Venetian outpost, where she invites students into her loft in the heart of the Dorsoduro district. “If you choose the best quality ingredients, your dishes do not need to be complicated, and you will still have a fabulous outcome,” says Rocca to her students, who can select from half-day, full-day or even wine pairing courses, during which they learn to cook dishes in the Italian and Venetian traditions with just three or four ingredients each. On tours to the Rialto Market, Rocca shares her philosophy v ºÃ «« } Ì i «« à Ìi Ü>Þ°» ,>Ì iÀ Ì > w ` } > ÀiV «i > ` searching for its ingredients, she teaches her students to “see what’s in season, speak to vendors, see what looks good and then create recipes around those key ingredients.” Think squid cooked in its own ink with polenta, deep-fried live shrimp, baby artichokes and Venetian spices. Ƃ ` > Ì Õ} Þ Õ V> vÌi w ` iÀ V } iÀ à } >ÌÕÀi Õ Ì « i strands of pearls, Rocca’s warm and relaxed classes are a far cry from the meals of her childhood served by butlers in white jackets and gloves. With generous pours of Prosecco and ample laughter, Rocca teaches an appreciation of food, recognition of tastes and how to mix ingredients, but, she says, “More than teaching cooking, I teach a lifestyle.”

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COURTESY OF THE BERTINET KITCHEN COOKERY SCHOOL; ENRICA ROCCA

Explore contemporary takes on Venetian classics at Enrica Rocca’s courses, held in the countess’ own home.

COURTESY OF PACO CÁRDENAS

Returning from the market, Cárdenas hosts students at his home for four-hour cooking sessions, where his first rule of thumb is “Siempre cocina con amor” or “always cook with love.” Paco Cárdenas focuses on fresh, vibrant food—beginning with a trip to the local market where the photo-ready ingredients are as mouthwatering as the dishes they are made into.

PACO CÁRDENAS COOKING CLASSES www.elpetitfour.com/paco-cardenas.html

“I am really proud of being Mexican and sharing that with other people,” says Paco Cárdenas. Originally from Mexico City, Cárdenas, who is affectionately known as “Chef Paco,” now lives in San Miguel de Allende, where he opened his bakerypatisserie, Petit Four, in 1998 with his cousin and partner, Norma Guerrero. Passionately sharing his culture, Cárdenas leads a tour every Monday morning—complete with tastings—at the colorful Mercado Ignacio Ramirez El Nigromante, the local marketplace where he introduces his students to friends and vendors who sell fruit, vegetables, dried herbs, fresh cheese, y ÜiÀà > ` V «i««iÀÃ] > V> Þ }À Ü À «À `ÕVi`° “We have nice weather and great produce all year round,” says Cárdenas, who encourages guests to bring cameras to photograph the vibrant hues of the marketplace wares. “With simple ingredients, we can make something great.” Returning from the market, Cárdenas hosts students at his i v À { ÕÀ V } ÃiÃà Ã] Ü iÀi à wÀÃÌ ÀÕ i v Ì Õ L is “Siempre cocina con amor” or “always cook with love.” During the classes, students learn about the variety of ingredients and the substantial differences in food between the various Mexican ÃÌ>Ìià > ` Ì i à } wV> Vi v ` « >ÞÃ Ì i V Õ ÌÀ޽à VÕ ÌÕÀi° “The magic of Mexican food is that it is very attached to life and death and used in celebrations,” says Cárdenas. After the class, Cárdenas hosts his students for lunch, promising, “The food may be simple or complicated, sometimes not pretty, but always delicious.” BAL HARBOUR 181

LAYERS SHEER AND SULTRY, THIS SEASON’S LOOKS REVISIT

OF CHIC MID-CENTURY STYLES WITH PLUMES APLENTY.

LUSH PHOTOG R A PH Y BY RUVEN AFANADOR ST YLING BY RO MINA HERRER A MAL ATE S TA

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“FOR ME IT ALL STARTS THERE... IN THE ATMOSPHERE OF THE SPACE WHERE A PHOTOGRAPH IS CREATED. THE TEXTURES OF THE WALLS AND FLOORS AND CORNERS... THE BARE STRUCTURE IN THE PROCESS OF BECOMING ALIVE ONE MORE TIME BY SETS AND INSPIRED COLLABORATORS... THE EXISTING NATURAL DAYLIGHT THAT INHABITS ITS WALLS MIXING IN WITH THE SET UP OF OTHER LIGHTS AND HAZE THAT CAPTURES THE ETERNAL. THE ENDLESSLY SEDUCTIVE MOMENT OF THE MODEL AND HER GAZE TO THE CAMERA. THE DREAM…” -RUVEN AFANADOR 000 BAL 186 BALHARBOUR HARBOUR

Stella McCartney embellished dress, 305.864.2218. Wolford sheer stockings, 305.868.4044. Miu Miu crystal-embellished headband with bow, 305.993.2300. Vintage feathered jacket from Cloak Wardrobe.

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Miu Miu dress with oversized bow, 305.993.2300. Eric Javits feathered headpiece. Oscar de la Renta pearl button earring, 305.868.7986. Missoni ear cuff. BAL HARBOUR 189

“WORKING WITH RUVEN IS TO GET INSIDE THE IMAGE, MOVING THE STILL THROUGH THE MOOD. HIS UNIQUE TALENT MERGES FASHION AND ART AND ALLOWS ONE THE FREEDOM TO STRETCH THE BOUNDARY OF STYLE.” -MISSY RAYDER

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Photographer: Ruven Afanador/ Sarah Laird & Good Company Photo Assistant: Mario Anibal Jimenez-Borbolla Producer: Anna Groth-Shive/ Sarah Laird & Good Company Stylist: Romina Herrera Malatesta/ See Management Fashion Assistants: Elaine Ragland and Johanna Aquino Model: Missy Rayder/ One Management Hair: Chuck Amos/ Jump Management Makeup: Joanne Gair/ Kiwi Jo Productions

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Alexander McQueen silk dress, embellished leather harness, over-the-knee boots and Iris pendant earrings, 305.866.2839. Jimmy Choo Cloud clutch, 305.864.3656.

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Photographer: Andrew Yee/ Ray Brown Photo Assistants: Jake Soper, Rob Karlsson Stylist: Romina Herrera Malatesta/ See Management Stylist Assistants: Elaine Ragland, Hillary Esther Sproul and Carolina D’Lacoste Casting: Julius Poole Model: Bola Edun/ Elite Model Management Hair: Adrien Coelho using Oribe and Coelho/ Creative Management Makeup: Marco Antonio using Mac Pro Cosmetics Digital Tech: Fernando Sanchez 203 BALHARBOUR HARBOUR 000 BAL

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Whether you’re aching for some secluded serenity or looking for cultural stimulation from the high-key fashion and art worlds, spring has the titles for you. BY CAROLYN BATCHELOR

Antiglossy: Fashion Photography Now The fashion photography industry has long drawn inspiration from visual artists. In this book, Paris-based writer and art director Patrick Remy provides a close look at some of the more inspiring contemporary photographers in the fashion world today. In this era of social media, in which we’re inundated with image, Antiglossy streamlines the most daring and exciting SKRWRJUDSKLF WUHQGV à RRGLQJ RXU IHHGV (Rizzoli)

Balenciaga: Winter 18

The acclaimed fashion house is now on display in Johnny Dufort and Pierre-Ange Carlotti’s book, with SDJHV FRYHULQJ WKH EUDQG¡V :LQWHU UXQZD\ 7KH FRORUIXO JUDIĂ€WLHG FRYHU UHIHUV WR %DOHQFLDJD artistic director Demna Gvasalia’s narrative and inspiration for the show; the edition is comprised of both color and black-and-white images individually shot by Dufort and Carlotti, who were the only photographers granted behind-the-scenes access. (Rizzoli) 206 BAL HARBOUR

PHOTOGRAPHY BY JOHNNY DUFORT AND PIERRE-ANGE CARLOTTI (BALENCIAGA: WINTER 18); MAĂ„DCHEN HERZ / NUMERO BERLIN / 4 / SPRING/SUMMER 2018 (ANTIGLOSSY: FASHION PHOTOGRAPHY NOW)

SPRING BREAK

PHOTOGRAPH Š 2019 PATRIC JOHANSSON; PHOTO BY F. WILBUR SEIDERS, COURTESY OF MENIL ARCHIVES, THE MENIL COLLECTION, HOUSTON

OFF THE GRID: Houses for Escape

IDYLLIC ESCAPE

Dominic Bradbury surveys a series of homes off the beaten path in this volume, which features state-of-the-art houses secluded in the wilderness, eons away from the distractions of urban life. The gorgeous edition captures an array of hideaways—all of them self-sustaining with renewable energy—from Tasmania to New York, from hillside to coastline. Bradbury’s selects offer a dreamy escape while also highlighting the practicality and beauty of sustainable, off-thegrid living that keeps us close to the natural environment. (Thames & Hudson)

Dominic Bradbury has compiled a stunning collection of the world’s most serene and sustainably-built homes in his latest book, Off the Grid: Houses for Escape.

Mistral: The Legendary Wind of Provence

Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil

Dominique and John de Menil’s Philip Johnson-designed house was a creative haven and a hub, with their guests ranging from Marlene Dietrich to RenÊ Magritte. William Middleton KDV JRQH RQ WR ZULWH WKH ÀUVW GHÀQLWLYH biography of the celebrated collector couple, sourced from the family’s archives. And it touches on everything: their groundbreaking exhibitions, their development of progressive galleries and museums DQG VLJQLÀFDQWO\ the couple’s civil rights activism and humanitarian efforts. (Knopf)

Photographer Rachel Cobb has been fascinated by the winds in the South of France for decades. Here, she captures the essence of Provence through the mistral gusts that sweep through the RhĂ´ne Valley, cold and powerful, during winter and spring. Her striking images include a leaf caught in Ă LJKW D EULGH WDQJOHG LQ KHU YHLO and a sky full of colorful kites. (Damiani)

As someone who explores an array of homes and lifestyles, what do you consider the ideal living situation? On a personal and professional level, I have become more and more interested in 21st-century country living. I live in a small, rural village and love the sense of freedom that this gives me in comparison with my years of living in London. I feel more inspired, more creative and more in tune with the world in the countryside. My new book (Off the Grid: Houses for Escape) explores country living in a fresh way, looking at those who have managed to balance creating extraordinary homes in rural settings with thoughtful sensitivity to the environment in every sense. What prior education or exposure has sculpted your eye for architecture and design? Or were you simply born with an eye for aesthetics? I studied English literature and history at university, followed by a post-graduate diploma in journalism, so the written word has always been incredibly important to me. But at the same time I have always loved architecture, interiors and design, so that’s the subject I have followed for the last 20+ years and through my books. Travel is a reoccurring topic in your work. Why is it so important to expose the public to different cultures and ways of life? It’s such an important theme now. I think, generally, we are all so much more worldly, wellinformed and better travelled than ever before, `Ă€>ĂœÂˆÂ˜} œ˜ ˆ˜yĂ•i˜ViĂƒ >˜` ÂˆÂ˜ĂƒÂŤÂˆĂ€>ĂŒÂˆÂœÂ˜ vĂ€ÂœÂ“ >Â?Â? over the globe. As writers and publishers, we need to be aware of this. For me, travel has always been a really important part of the whole creative process. What do you consider to be the fundamental elements attached to superior design? What are a few qualities you look for when deciding which properties to cover? I am always looking for homes and buildings with a unique character. I’m looking for strong ideas and for a wonderful story to explore and celebrate. Often, such truly original projects are a positive collaboration between a client with a dream and an architect who responds to that dream and builds upon it. Or it might be an architect’s own home, perhaps, where he or she has the freedom to explore new ideas and invent something new. As a long-time writer specializing in architecture, have you recognized an increase in sustainable design over the years? Yes, absolutely. I think it’s becoming a really important and vital strand in architecture and design. Architects have been talking about this for a long time, of course, but now their clients are also seeing it as a priority. Construction and house building takes up a lot of energy, so there is a huge responsibility to be as sustainable as we can and as sensitive to the environment as we can. Going off the grid, using passive design techniques and home-grown heat and energy is one way of living up to that responsibility. BAL HARBOUR 207

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