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C FOR MEN

features 84 well suited On the cusp of two blockbuster releases, Chris Pine shows he’s every bit the leading man— and still a regular L.A. guy.

96 the last rebel Actor, artist, filmmaker, Dennis Hopper lived and died by his senses. Excerpted here, a bold new biography trails the prolific renegade.

100 swell time The unspoiled California coast through the lens of Rob Machado.

108 game changer The technological innovations end of illness a reality.

112 house of blues Aged brass accents, unfinished woods and plenty of natural light warm up a family’s handsome, ROB MACHADO, Page 100.

William Hefner-designed home.

Todd Glaser/A-Frame

of Dr. David Agus make the

C 20 men’s spring 2013

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Well suited, Page 84.

departments 26 Founder’s Letter

specs. South Willard’s Ryan

79 C Travel

C for Men champions heroes

Conder makes a mark on the

Winery visits in industrial

on a mission.

California art scene. The best

warehouses and other surprising

in boutiques, from Mattison to

urban tasting rooms—from Berkeley

28 C people

Louboutin. The ultimate grooming

to Santa Barbara. Tent alternative:

Who’s who behind the scenes

guide. Rugged accessories

the luxurious way to camp.

of C for Men.

and watches, exposed.

33 C what’s hot

59 C DESIGN

A look at new and exciting

Landscape architect Bernard

122 C California

people, places and products

Trainor’s natural views. What’s

around the state: Recycled kicks

new in imaging includes a

pound the pavement. Morrison

funky-fun camera. The most

Matthew Porter’s ’67 Ford Mustang Shelby GT 500 gets some serious air.

Hotel Gallery at the Sunset

incredible wheels hitting the

Marquis. Model Bar Paly dishes

road. Plus, a bedroom worth

on dating. A glimpse into the life

bragging about.

brothers. And, artist Alexander

69 C THE MENU

Yulish’s colorful technique.

In S.F. and Century City, chefs are fired up for the hearth.

45 C STYLE

Barrel-aging hits hot sauce.

Hanni El Khatib’s ’50s-inspired

The latest burger sensation. Busy?

Coachella cool. Retro mail-order

Order fresh produce to your door.

On Our Cover Chris pine photographed by Sam Jones in a Louis Vuitton suit, Ermenegildo Zegna shirt, Etro tie, and Ralph Lauren Purple Label pocket square. See Shopping Guide for more details, page 121. Styled by Wendi + Nicole at The Wall Group. GROOMER David Cox at Celestine Agency

using Kevin Murphy.

SAM JONES

of the super-successful Emanuel

121 shopping guide

C 22 men’s spring 2013

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216 Stockton Street, San Francisco 415.391.1363

C for men

Jennifer Hale

Founder + Editorial Director

lesley campoy President + Publisher jenny murray Editor

PAUL LUSSIER

Sue chrispell

Design Director

Associate Publisher, West

Alison clare steingold

Renee Marcello

Senior Editor

Associate Publisher, East

Kelsey Mckinnon

Crista Vaghi

Senior Editor

Account Director, California

Samantha traina

Alexandra Von bargen

Fashion Editor

Account Director, New York

elizabeth khuri chandler Arts + Culture Editor

kristine schreiber

christine lennon

Account Director, New York

Contributing Home Editor

Catherine Abalos

annina mislin

Sales + Marketing Manager

Assistant Fashion Editor

krista natali

caroline cagney

Administrative Assistant

Associate Style Editor

Troy felker

jackie treitz

Finance Associate

Designer

sandy hubbard

michael green

Information Technology Director

Contributing Photo Editor

allison oleskey

mor weizman

Special Projects Director SHO & Company, Inc.

Art Production Assistant

style editor-at-large

George Kotsiopoulos

San Francisco Editor-at-large

Diane Dorrans Saeks

DESIGN Editor-at-large

Circulation Consultants/Circulation Specialists, Inc. special projects contributors contributing editors

Andrea Stanford

Contributing Editor-at-large

Kendall Conrad

Greg Wolfe, Russell Marth

Stephanie Steinman, Alisa Wolfson

Suzanne Rheinstein, Cameron Silver, Michael S. Smith,

Jamie Tisch, Nathan Turner, Mish Tworkowski, Hutton Wilkinson contributing writers contributing photographers interns

Cat Doran, Melissa Goldstein, Marshall Heyman, Nora Zelevansky

David Cameron, Lisa Eisner, Douglas Friedman, Lisa Romerein, Williams + Hirakawa

Hannah Berbos, Allan Cameron, January Jones, Lindsay Kindelon, Merrill McHugh, Erik Staalberg, Courtney Zupanski

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founder’s letter

e love a movie featuring a man on a mission. Good guy seeks revenge on bad guy; father needs to rescue his daughter from impending danger; underdog overcomes it all to win the game. The idea is a classic Hollywood notion and one we thought we could tell through C for Men’s spring features. Take our cover subject, Chris Pine. At first playing a few

romantic roles, he quickly moved onto bigger and bolder ones. From

taking over beloved franchise parts (in Star Trek and upcoming Jack Ryan, to name a few) to starring in indie projects, his career is on the rise. We profile Pine in the season’s coolest suiting… as a gentleman has to be well dressed when saving the world (even if it is only on screen). Speaking of coming to the rescue, oncologist and a total rock star within the medical world, Dr. David Agus is trying to do just that. Expert with a who’s-who of patients, Dr. Agus decided he was tired of having to tell people that there were no more options for them. He wanted to change people’s behaviors so they wouldn’t get to the point of no return. He spent years writing a book, The End of Illness (a title picked for him by patient and friend Steve Jobs). The New York Times bestseller has already increased awareness about the little things we can do to change our lives. We profile Dr. Agus, at the forefront of the fight against cancer, and we hope his mission will resonate with you. Art has always resonated with me…it speaks to an individual so specifically (beauty really is in the eye of the beholder). One talented creator was famed actor turned artist Dennis Hopper. His careers in both film and photography are really worth exploring in depth. We present an excerpt from a new biography on the man, myth and legend. Surf phenom Rob Machado has been on an eternal mission to find the perfect wave. But beyond the career for which he is best known, he has moved into different fields (music, film, photography, philanthropy) and now shares his brilliant images with us. Jump on board and escape into the deep! Of course, as with every issue of C for Men, we present the best of what is happening

around the Golden State. We check in with singer Hanni El Khatib to see what he’s got planned for Coachella; we serve up the best artisanal spirits from NorCal; we’re profiling up-and-coming fashion designers and the most interesting emerging artists on the scene. We want you to be informed of all the elements that make up our state’s collective cool…

Jennifer Hale Founder & Editorial Director

Azabra Photography

and that is our mission.

We’d love to hear from you Please send letters to edit@magazinec.com.

C 26 men’s spring 2013

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people who’s who behind the scenes of this month’s issue, plus their favorite california places

sam jones “Chris [Pine] was great because he has a genuine interest in photography, so he was really invested in the process. It’s always nice to work with someone who shares your passion. It made for a really fun day,” says proud father and photographer Sam Jones, who shot Pine for our cover portfolio (“Well Suited,” p.84). C SPOTs • Gorman, for a motorcycle ride • Apple Pan—it’s my favorite burger • Los Angeles Public Library has the best children’s section

“This issue was a breath of fresh air since my subjects and audience are usually women. It’s refreshing to focus on guys for a change,” says

James ray spahn

L.A. native, writer and editor Alisa Wolfson. Her work has

“The most notable thing about this shoot

appeared in the New York Post,

was that the homeowner was an artist and

Us Weekly and The Huffington

photographer. Her images were sprinkled

Post. C SPOTs • Rivas Canyon

throughout the home. There were amazing pieces

for a hike with my dog

of art,” recalls photographer James Ray Spahn

• Santa Barbara Polo and

(“House of Blues,” p.112). Most recently,

Racquet Club • Café Vida for the

Spahn wrapped up a cross-country photo

yellow corn-blueberry pancakes

shoot for Hilton Hotels. C SPOTs • Brophy Brothers in S.B. • Tower Bar at Sunset Tower • Washington Boulevard in Marina Del Rey

bernard trainor “Landscape is such a slippery art form in the sense that a piece is just never truly complete” says Bernard Trainor (“Field of Dreams,” p.59). His book, Landprints: The Landscape Design of Bernard Trainor (Princeton Architectural Press) is available this month. C SPOTs • Big Sur for the great architecture, food and the best nature has to offer • Flora Grubb Gardens • William Stout Architectural Books in San Francisco

ALISA WOLFSON: Chris Mortimer. JAMES RAY SPAHN: COURTESY OF James Ray spahn. BERNARD TRAINOR: Joe Fletcher

Alisa Wolfson

for the most inspiring design books

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people who’s who behind the scenes of this month’s issue, plus their favorite california places

Wendi + Nicole ferreira “If there was anyone who could pull off Sam Jones’ vision of cool suiting around the remote edges of L.A., it’s Chris Pine,” says Wendi and Nicole Ferreira, the Venice-based sister styling team who prepped Pine for “Well Suited” (p.84). The duo will embark on a Star Trek world tour as well as The Hunger Games: Catching Fire tour this year. C SPOTs • Hog Island Oyster Farm • Stiff drinks at Karaoke Bleu • Estate sales and

Tom Folsom “I always thought Dennis Hopper had a particularly literary quality—a cowboy hero in search of his movieland American Dream, like a modern day Don Quixote.

Nick Walker “I didn’t shoot anything out of the norm for this issue—just a couple dudes drinking champagne, eating chocolate-covered cream

It’s this dreamer spirit I wanted to capture in the book, the naïve optimism of a boy from Dodge City, Kansas, who loved the movies so much he wanted to live his life

puffs and talking about sports,” says photographer Nick Walker.

onscreen. A story too irresistible for me

The L.A. native shot artist Alexander Yulish (p.38) and musician

not to tackle,” says author Tom Folsom

Hanni El Khatib (p.45). Walker’s artistic talents can also be seen in a

of Hopper, excerpted on p.96. C SPOTs

music video he directed for the Coachella-bound singer/songwriter’s

• The Beverly Wilshire—it’s a classic

single, “Family.” C SPOTs • Futbol Domingos, where I play every Sunday • Napa Valley • A sleepy cowboy bar in Santa Ynez

• Big Sur’s Henry Miller Memorial Library • The Ace Hotel & Swim Club in Palm Springs

WENDI and NICOLE ferreira: Stephanie Salvatore. tom FOLSOM: Mark Seliger

vintage shopping in Palm Springs

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what’s hot

written by kelsey mckinnon. Michael C. Dumler

Mark Wystrach on Abbot Kinney Boulevard wearing Marcos low sneakers, $85.

Man on a Mission

Fighting the war on plastic with stylish, recycled kicks

uring a trip to Bali in the summer of 2012, Mark Wystrach—an Arizona “cowboy” turned SoCal actor/ musician—witnessed the dark side of paradise: “So much waste there is comprised of single-use plastics that were designed to be used for less than one day…and they will never go away. Instead, they slowly break down into smaller and smaller pieces until they become part of our

water, soil and our entire food chain.” Back in L.A., he decided to fight back against single-use plastics by launching a footwear company, The People’s Movement, with his brother-in-law, Kevin Flanagan, and friend Chris Swortwood using natural, organic and upcycled plastic bags collected from Bali and around L.A. “I’m not a hippie,” says Wystrach, “I’m just a realist.” thepeoplesmovement.com. •

edited by kelsey mckinnon men’s spring 2013

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design

Field of Dreams

Monterey landscape designer Bernard Trainor creates inviting spaces out of the rugged California terrain BY DIANE DORRANS SAEKS

A typically tranquil Trainor garden in the Santa Lucia Preserve.

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design

FROM TOP LEFT In Monterey’s Santa Lucia Preserve, still water reflects clouds at dusk. A serpentine wall at a Los Altos Hills residence. A pool border of drought-tolerant plants.

and manzanita branches frame distant views of redwoods and ancient oaks. Ten of Trainor’s compelling designs, including a ridgetop property in the Santa Lucia Preserve and a rocky patio that clings to the Pacific coast, are presented in his first book, Landprints: The Landscape Designs of Bernard Trainor (Princeton Architectural Press) written by noted Los Angeles author Susan Heeger. Trainor finds that dramatic surroundings—mysterious fog, fragrant oaks and painterly clouds—encourage him to be creative, keep a low profile and let the native elements take center stage. “My goal is always to create and shape a new landscape that is entirely at home in its setting. I like to keep planting very simple and elegant, often using native grasses like Carex and Muhlenbergia that move gracefully in the wind.” bernardtrainor.com. •

I’m always working to highlight the seasonal foliage, the rocks and boulders and the handsome trees. —bernard trainor

Manzanita as ground cover.

GOING NATIVE Trainor’s picks for high-impact, low maintenance gardens: arctostaphylos (manzanita) Varieties range from ground cover to large trees. The deep red bark and underrated foliage enliven a landscape. rhamnus (coffeeberry) It’s the supporting cast to make the other features in the landscape shine. ceanothus (California lilac) Living close to Big Sur, I am exposed to these every day. This is their home. Once you see them, you will have to have some.

top (3): JASON LISKE/REDWOOD DESIGN. manzanita: Brewbooks/Flickr

ith the most subtle gestures and an often inconspicuous plan, designer Bernard Trainor’s plantings work seamlessly with the California wilds. “I love the natural hardscape here, and I’m always working to highlight the seasonal foliage, the rocks and boulders, and the handsome trees,” says the Central Californian, who grew up in Australia with similar rain-free summers and dramatic vistas. After studying horticulture in Melbourne, he moved to England, in 1989, to attend the prestigious English Gardening School, where he learned classic design and history. Then, in 1995, when he was offered a director’s spot at a landscape design firm in the Bay Area, he jumped at the chance. After hiking and driving along the Pacific Coast Highway, he says its beauty “liberated” him. Eventually, he settled in Monterey and opened his own firm in 2002. His work pays homage to the craggy Big Sur coast, the undulating silhouettes of Carmel Valley forests and the gradations of green in the Napa Valley hills. In his concepts for clients, almost exclusively residential properties in California and Australia, handcrafted indigenous stone walls enclose a terrace,

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CLOCKWISE FROM TOP

Russell Moore at Camino, Oakland. Hinoki and the Bird’s drunken duck with persimmon. Newly opened Hi Lo BBQ. A Grillworks system will be created for a live-fire concept by AQ. Saison’s stash of hardwoods are part of its hearth-centered design.

I love the misconception that we’re trying to char everything. We use a hint of smoke— a little bit here or there. —russell moore, camino

CAMINO: AYA BRACKETT. SAISON: BONJWING LEE. GRILLWORKS: COURTESY OF GRILLWORKS. HI LO BBQ: NADER KHOURI. HINOKI DRUNKEN DUCK BREAST: DYLAN + JENI

rilling has its nuances. Different woods and herbs, for instance, “spice” the flame: flavors imparted by hickory; please-all oak; mellow apple. One can use charcoal (but do so wisely). Russell Moore in Oakland prefers almond and cherry woods from nearby orchards for his daily-changing menu. His restaurant, five-year-old Camino (3917 Grand Ave., Oakland, 510-547-5035; cami norestaurant.com) marks a progression from his tenure at Chez Panisse. Here, instead of a stove, Moore manages the hearth. “I don’t like making food that’s very ‘restaurant,’ anyway. It’s a large learning curve to learn how to cook in that environment…We prep in the fireplace, maybe smoke the shoulder of an animal in the leftover heat. It’s crazily inefficient, and efficient.” You’ll find hanging ficelles of Sonoma lamb, herbed Dungeness crabs, local sardines, cazuelas and clay pots of mushrooms and eggs right in the fire. What’s more, he speaks of smoke as if it were butter. “I love the misconception that we’re trying to char everything. We use a hint of smoke—a little bit here or there.” David Myers of new Hinoki and The Bird (10 W. Century Dr., L.A., 310-552-1200; hinokiandthebird. com), on the other hand, favors Japanese white charcoal—chemical-free, virtually smoke-free, gets far hotter than American charcoal and burns longer. “Binchotan has a very subtle flavor that works well with our duck. It also renders the fat of the bird.” At equally elegant Saison (178 Townsend St., S.F., continued on page 120 415-828-7990; saisonsf.com),

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travel

Weekend Winos

Head to Santa Barbara, Berkeley or Lompoc for some wine-fueled R&R BY ALISA WOLFSON The newly opened Anacapa Vintners. 116 E. Yanonali St., S.B., 805-453-6768; anacapavintners.com.

edited by jenny murray

photographed by mor Weizman menâ&#x20AC;&#x2122;s spring 2013

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he coastal arts, business and industrial area known as the Funk Zone is home to the Santa Barbara Urban Wine Trail. Visit tasting rooms of 17 winery standouts, many known for small-lot production of Rhône-style wines, like Kunin, as well as newly opened Anacapa Vintners. DINE Anchor Woodfire Kitchen offers menus for breakfast, lunch and dinner. Come supper, dive into a wood-grilled New York steak, squid ink spaghettini or porchetta. 119 State St., S.B., 805-845-0989; anchorwoodfirekitchen. com. STAY Seek refuge on the riviera above downtown S.B. at the newly reopened El Encanto in a luxurious suite or bungalow with views stretching to the Channel Islands. From $375/night; 800 Alvarado Pl., S.B., 805-845-5800; elencanto.com. • If you prefer to from left Hotel remain on the beaten path, stay in the Zone at contempoIndigo. Chef Jason rary Hotel Indigo, a brand-new, 41-room property. $135/ Tuley runs the show at Anchor Woodfire night; 121 State St., S.B., 805-966-6586; hotelindigo.com. Kitchen. 2010 Fizz, $45, at Municipal Winemakers.

HOTEL INDIGO: Henry L. Fechtman. MUNICIPAL WINEMAKERS: MOR WEIZMAN. Donkey and Goat Winery: TOM HOOD. st. regis: JOE FLETCHER. FLATBREAD: Jeffrey Bloom Photography. WINEMAKING: JALAMA WINES. BOXES: JEREMY BALL

santa barbara | funk zone

berkeley | fourth street

ophisticated city-dwellers can let loose at one of four college-town wineries off Fourth Street: The Donkey and Goat Winery, Broc Cellars (bocce, anyone?), Eno and Urbano Cellars. (Keep an eye out for sour beer project The Rare Barrel, eventually.) DINE Find a spot on the secluded patio or covered beer garden with fire pit at Comal, an earthy, modern, Oaxacan-inspired hideaway. 2020 Shattuck Ave., Berkeley, 510-926-6300; comalberkeley. com. STAY The hip, four-star Hotel Durant is just steps from the UC campus. 2600 Durant Ave., Berkeley, 510-845-8981; hoteldurant berkeley.com. • If you want to head to the city for something more modern, it’s hard to beat the St. Regis San Francisco. 125 Third St., S.F., 415-284-4000; stregissanfrancisco.com. from left Look for the intriguing, like Carignane, at Broc Cellars. Donkey and Goat crafts single-vineyard syrahs, pinot noirs and an impressive late-harvest chardonnay. An extra indulgence: San Francisco’s posh St. Regis.

lompoc | wine ghetto

nside a bustling industrial park, you’ll find the Lompoc Wine Ghetto, a collection of 19 wineries, production facilities and tasting rooms. Highlights include Jalama Wines, Joseph Blair Wines and Fiddlehead Cellars. 200 N. 9th St., Lompoc; lompocghetto.com. DINE Top off an afternoon with all-natural pizza at Full of Life’s Flatbread restaurant in Los Alamos. It’s worth the trip alone and only open on the weekend. 225 Bell St., Los Alamos, 805-344-4400; fulloflifefoods.com. STAY Tuck in for the night at the nearby—and newly renovated—boutique Hotel Corque in Solvang. The Treetop Room overlooks the village’s quaint Dutch architecture. From $119/night; 400 Alisal Rd., Solvang, 805-688-8000; hotelcorque.com. • As an alternative, from left Flatbread’s mushroomtake the coast south to the luxurious Bacara Resort & Spa. 8301 onion namesake. Mark Cargasacchi Hollister Ave., S.B., 805-968-0100; bacararesort.com.

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of Jalama Wines. Sashi Moorman is behind Piedrasassi.

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Brunello Cucinelli suit, $3,615. Dolce & Gabbana shirt, $375, and tie, $225. Ray-Ban sunglasses, $195. FASHION EDITORS: WENDI + NICOLE

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Gucci jacket, $2,100, shirt, $465, tie, $185, pants, $540, and loafers, $495. opposite Brunello Cucinelli suit, Dolce & Gabbana shirt, and tie, see p.82-83.

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But in real life, our modern-day Captain Kirk references German philosopher Immanuel Kant as freely as he uses words like modicum. It also doesn’t faze him to be grouped and even confused occasionally with two other very tall, very attractive movie stars with the same name: Chris Evans, 31, aka Captain America and Chris Hemsworth, 29, aka Thor. As Pine explains when we meet for breakfast at Café Stella in Silverlake, not far from his new Los Feliz home, he’s perfectly happy to be bundled with those other Chrises. Heck, he’ll even take a comparison to James Marsden, whom he slightly resembles today with his perfect crewcut and his well-tended facial hair. Blending in with the crowd allows him to be inconspicuous, to better fly under the radar of fans, of paparazzi, of the media’s staring eyes. “People say, ‘Oh look. Is that Chris Evans? Chris Pine? What’s your name?’” says Pine, dressed in jeans and a nondescript T-shirt. “I’m just Waspy enough. A six-foot-tall white man, you kind of blend in, and that’s fine with me.” “It helps,” he adds as he digs into a bowl of oatmeal, that “I don’t really seek anything out. Hopefully, I put the vibe out of ‘not looking for it.’” By “it,” he means fame and attention. “I’m very clear about my relationship to ‘it’ and I don’t like ‘it.’ I find ‘it’ very invasive, though I’m trying to welcome ‘it’ more in an effort to be more zen and not-angsty. But on the totem pole of people giving a shit about me, I’m pretty much in the middle, which is great.” Pine was born into Hollywood. He grew up in the Valley surrounded by a family of actors. His father, Robert Pine, appeared on “CHiPs.” By the time his mother, Gwynne Gilford, was pregnant with him, she had given up the craft and would move on to become a practicing psychotherapist. Higher education was the expected path. “In my family, that’s what you do,” says Pine, who studied English literature at UC Berkeley. “There was no question you weren’t going to college.” (Pine’s older sister, Katie, is a child counselor.)

At Oakwood School in North Hollywood, Pine was into sports. It wasn’t until his Berkeley matriculation that he started to explore acting. When he invited his parents up to see a production of the obscure Thomas Kilroy play Talbot’s Box in which he was starring, “I saw the look in my mom’s eye and she said, ‘Are you sure you don’t want to be a lawyer?’” Pine recalls, smiling. “She gave me a kiss on the cheek, and that was it.” Pine is one of the few major movie stars in Hollywood to stay true to his love of the stage. “There’s something romantic about it,” he says. In recent years, he has appeared in Martin McDonagh’s The Lieutenant of Inishmore at the Mark Taper Forum as an Irish terrorist and Beau Willimon’s Farragut North at the Geffen Playhouse, in a role Ryan Gosling eventually took to the big screen in The Ides of March. Though he has a Reese Witherspoon action comedy (This Means War) and a solid runaway train hit (Unstoppable) on his resume, when pressed, Pine admits that he wouldn’t mind getting the kinds of artsy movies Gosling gets, too. “Even the way you say it, it’s such the cliché of the actor,” explains Pine. “I’m not going to feed that, but it’s probably true.” It’s not unusual to want to experiment. “My friend’s a journalist in London and he’s dying for a fucking change. At our age, now’s the time to explore and figure out what you love.” Still, making a big film like Star Trek is “a delicate balance,” Pine says—one that especially involves no spoilers. “The responsibility you have is to the genre, but that’s a whole different challenge.” Should he spill any beans, “I have such Christian guilt syndrome that I’d have to email [director] J.J. [Abrams] right away and confess.” What Pine will say is in this new installment, Captain Kirk “has his legs swiped out from under him, and he’s on his knees and all the arrogance and confidence is replaced with fear and anxiety and humility.” Taking on another iconic role like Jack Ryan, played in the past by both Harrison Ford and Ben Affleck, was a concern, but to be defined by remakes is the way continued ON page 120

GROOMER: DAVID COX FOR CELESTINE AGENCY USING KEVIN MURPHY PRODUCTS. see shopping guide for more details, page 121

Chris Pine comes across as something of a Hollywood anomaly. This summer, the 32-year-old star returns to bigscreens with the sure-bet blockbuster Star Trek Into Darkness—the first grossed a stunning $257 million domestically—and as the title character of Jack Ryan, based on the Tom Clancy novels.

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Tom Ford suit, $4,670, shirt, $595, tie, $245, and pocket square, $145. OPPOSITE Prada suit, $2,970, and shirt, $490. Etro tie, $156. Petronius 1926 pocket square, similar styles available, Barneys New York.

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Ermenegildo Zegna suit, $2,895. Ralph Lauren Purple Label shirt, $425. Etro tie, $156.

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The Last Rebel

everett collection

Actor, artist, filmmaker, Dennis Hopper lived and died by his senses. Excerpted here, a bold new biography trails the prolific renegade By Tom Folsom

os Angeles is a city without principles. Mine were falling. So I left. What I mean is, movies are an art, or can be, but out there they make shoestrings. There’s no time for creating except around a swimming pool. So I came here and began studying with Lee Strasberg at the Actors Studio. I never studied before. It’s great working only from inspiration, but one day it’s not there. An actor has to learn his craft. I always wanted to come here, but with Warner’s I couldn’t. Out there you need permission to go to the bathroom.” Closing his remarks on a New York City talk show in 1959, a year freed from the studio’s shackles, 22-year-old Hopper had full liberty to go downtown to the Village and drink up with the abstract expressionists who lurked at Cedar Tavern, a dark-paneled hive of tortured artists haunted by its own Dean: Jackson Pollock, killed in a car accident not long after Jimmy. Plastered and driven by existential guilt over a recent sale of a painting while his friends were still broke, one artist threw fifty-dollar bills into the air, screaming, “I’m sorry! I’m sorry!” Alas, money could ruin the purity of art. Hopper knew it too well with an offer from MGM dangling before him, threatening to destroy his image of himself as the suffering blackballed artist. Luring him away from the sanctuary of the hallowed Actors Studio, the bitch dog of Hollywood nipped at his heels. In need of some cash, Hopper slapped a bumper sticker on his Plymouth, the only ism for me is abstract expressionism, and hit the road for the shoestring factory. The Actors Studio had taught Hopper simple sense memory exercises that allowed one to experience sensations from the past while performing. Looking up from his crinkled newspaper, Strasberg would fire his Svengali gaze and instruct students to wipe the slate clean by shaking off all tensions. Then they were to ask: What was I wearing? What was I touching? Can I see anything?

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“His only escape was to submerge himself in L.A.’s underground art scene at the Ferus Gallery, harkening to ferus humanus, the wild man.”

Back in Time

near the mother of all Strasberg’s exercises. Having seen actor after actor taken off the Studio stage in a straitjacket once they suddenly hit their emotional memory, Hopper finally dug what Jimmy meant. It could destroy him. Crash and burn. The thing was so dangerous it took years to build up to, years cut short by scurrying back to Hollywood. Dragging himself out of bed at ten o’clock in the morning to dip into the stark tracts of Nietzsche poolside, Hopper took a final stab at keeping the pulse of Manhattan alive by trudging through modern absurdist plays in the California sun. He covered canvases in thick black oil paint, but it was no use, the sunlight kept shining in. “Man, I felt like a fly killing myself on a window,” said Hopper. His only escape was to submerge himself in L.A.’s underground art scene at the Ferus Gallery, harkening to ferus humanus, the wild man. Introduced to an underground art world of strangers like Wallace Berman, a shaggy Topanga Canyon mystic who kept an American flag decal on his back door—support the American revolution—Hopper’s worlds converged. Landing his first leading role in Night Tide, a no-name, microbudget horror film directed by occult enthusiast Curtis Harrington and shot for $50,000 cash on the fringes of weird L.A., Hopper played a sailor who falls for a sideshow mermaid on their first date in her nautical-themed apartment atop the Santa Monica Pier carousel. After a hearty mackerel breakfast under draped nets and hanging starfish, it should’ve been smooth sailing had it not been for Marjorie Cameron.

[ Q &A [

Tom Folsom had an equally wild ride in crafting a glimpse of a man who followed no set path and emerged a Pop icon. Tom, you’ve written about the mafia in the 1960s in New York City, composed A&E documentaries about Ernest Hemingway and the Lost Generation. Why did you focus on Hopper for your latest project? I thought his story had a really terrific literary quality to it. Sort of like a Don Quixote going off boldly in search of his American dream. You know there’s going to be a story when you see whom he has these really intense associations with: James Dean, Andy Warhol, Orson Welles, even Charles Manson. I just knew that if you followed this guy’s journey through American Pop culture, you were going to get a pretty extraordinary tale. You ended up going to astonishing lengths to gather source material for this

unauthorized biography of the multitalented Hopper: crashing funerals, bopping around the L.A./Hollywood scene… It was sort of like storming the gates of Hopper’s world. I went to Taos, New Mexico, for three months to get a feel for what Hopper was doing out there in the ’70s; I got tossed from his funeral; I talked to Peter Fonda—we had a tequila sit-down at the Beverly Wilshire for a few hours. Fonda was extraordinarily honest. It’s a tragedy that two friends made this extraordinary film, Easy Rider, and that their relationship sort of fell apart. Harry Dean Stanton was nice enough to invite me to his pad, hanging out in his bathrobe, smoking cigarettes and searching his memory for Hopper tales. Irving Blum had me over at his place—he had these Warhol flowers

Q+A by elizabeth khuri chandler. REBEL WITHOUT A CAUSE: Archivio GBB/CONTRASTO/Redux. EASY RIDER: EVERETT COLLECTION. THE LAST MOVIE: CECIL BEATON/CAMERA PRESS/REDUX

On the set of Key Witness, MGM’s low-budget thriller, Hopper played a switchblade killer, Cowboy, who wreaks havoc throughout East L.A. on his Harley-Davidson V-Twin Knucklehead. In addition to movie motorcycle lessons, he practiced his craft on a Vespa, racing Steve McQueen along the dirt firebreaks from Coldwater Canyon to the Pacific. “We had so many wrecks my Vespa looked like a crushed beer can with wheels,” bragged Hopper, acquiring the fashionable Italian scooter after getting his wheels taken away for too many speeding tickets. The techniques of the Method were at his fingertips for his big love scene with a clingy sex fiend, perky in her bullet bra under a tight turtleneck. Action! She ran her fingers through Cowboy’s hair. Cowboy reared back and smacked her. He’d just come back from a “bop,” a battle, and no sharp fancy nails were gonna get stuck in his slick hair when he was all shook up. In a flash, Cowboy split, screeching off in his Chrysler with the fins, going so fast out of his bad boy garage headquarters—“Muggles, open the door!”—the fat man who played the LAPD detective had to leap out of the way to keep from becoming roadkill. “You have to keep your touch, smell, taste, sight, and hearing really acute,” Hopper explained of his method. “Which makes you totally bananas.” The proof was on film. Hopper definitely swung, bossing around his kooky hophead henchmen, but he wasn’t anywhere

on his wall—but you know it was fun to have these guys go back to a time when they were really just starting out. The timing was right, too. I’d been working on the book before Hopper passed away, but it turned out that my duties were really about memorializing Hopper. It was almost like these guys were giving me confessionals. What is it about him that gets the art world in such a tizzy? I think the people in the circle really respected his eye. Did he deserve the retrospective at MOCA? I’m not an art critic, but he had an extraordinarily good eye. You see it in Easy Rider. Whether it’s Pop music or Pop art, he gets it. He’s a Pop savant. Hopper accomplished so much in life and in so many different areas. Was it ever overwhelming to document all this? He’s very, very enigmatic; there are a lot of mysteries to Hopper. •

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written by Jenny Murray. Photographed by Rob Machado. portrait: Todd glaser/A-FRAME

â&#x20AC;&#x153;The weather was absolutely flawless, 80 degrees, no wind. We drove up to Hollister Ranch, passed through Santa Cruz to the Bay Area.â&#x20AC;?

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written by Jenny Murray. Photographed by Rob Machado. portrait: Todd glaser/A-FRAME

swell time The unspoiled California coast through the lens of Rob Machado

ne of the world’s greatest surfers, Rob Machado is admired for his laid-back style both in and out of the water. Growing up in Encinitas, he learned to ride at Swami’s, a local break he still lives near and surfs regularly. “It’s such a great wave and kind of a spiritual little place,” says the 12-time ASP World Championship Tour winner. The beach is so important that it inspired his newest T-shirt benefitting the Rob Machado Foundation, which funds water awareness programs (see p.121).

“Surfing dominates [my life], and in between is when I fill in the blanks.” Not wasting a moment, the 39-year-old pro athlete is also an accomplished musician, filmmaker (Drifting Productions) and photographer. “I’ve been shooting for years and years. When I started going on tour at 17 or 18, I would take a different camera every year because I’d go to the same places. I’d take a film camera, then a Polaroid, then a Super 8; I just tried to mix up and be inspired.” Here, he hits the road to San Francisco from his hometown and shares some pit stops along the way.

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When youâ&#x20AC;&#x2122;re traveling and youâ&#x20AC;&#x2122;re in new places, it just seems

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lik

like everything’s interesting, and new, and fresh and exciting.

“We visited the Malloys at Hollister Ranch, above Santa Barbara. This was our own private surf spot for the day.”

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MACHADO, left and right: Todd Glaser/A-Frame; center: MARK CHOINIERE

“We cruised around the city, rolled up on the Golden Gate Bridge, and it was just amazing.” LEFT “I shot about three frames that day, and this one—with the tree in the foreground and a guy on a wave. It was nothing special—just an average, really fun day at Swami’s—reminds me of a lot of childhood memories.” TOP LEFT “This is at Black’s Beach. Todd [Glaser] is a local photographer who works for Surfer Magazine, and we’re good friends. We try and take advantage of good light and good waves.” ABOVE “Seaside Reefs is pretty much where I hang out every day. My morning ritual is to wake up, drive my van down there, park in the same spot, check the waves and figure when I’m going to surf.”

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MACHADO, left and right: Todd Glaser/A-Frame; center: MARK CHOINIERE

“I am fortunate enough to have been sponsored by Channel Islands Surfboards since I was 15 years old. Al Merrick, arguably one of the best shapers in the world, made all my boards. I got to work with him closely and personally. I watched him shape and he inspired me. Now under the umbrella of Channel Islands, they have given me the opportunity to shape my own boards, experiment, try new things and go in all these different directions.” THIS PAGE, ADDITIONAL (4) IMAGES “This was in that area a little north of Santa Cruz. We stopped and crossed the train tracks and then we got to the beach with its beautiful cliffs, big packs of birds flying around, fun waves and blue water.”

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“ c “ T in C p s t m s

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“The road to San Francisco using cross-processed film.” OPPOSITE “The front yard at my friend Thomas Campbell’s house in the mountains above Santa Cruz. A big sequoia had died, probably 8 or 10 feet in diameter, so they built a deck over the trunk. Now you just lie in the middle and look up and you see these giant, beautiful trees.”

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wenty years ago, when Dr. David Agus, the innovative Los Angeles oncologist and best-selling author of last year’s The End of Illness, was completing his residency at Johns Hopkins, he informed the hospital’s clinical leaders that he was going to take a fellowship at Sloan-Kettering—only to be told that going into cancer was “career suicide.” “‘Cancer is just giving poisons to people,’” the Hopkins doctors said. “‘Go into something that’s intellectual, like heart disease or pulmonary.’” Agus, 48, was telling this story not to point fingers but rather explain how attitudes about cancer have shifted. Having since founded resource site Oncology.com, he now runs USC’s Westside Cancer Center as well as its Center for Applied Molecular Medicine, where he works with physicists and software engineers to create new ways to prevent and treat disease. For Agus, a passionate young doctor’s son with a Bachelor’s degree in Molecular Biology from Princeton University and a medical degree from the University of Pennsylvania, it was important to choose a specialty that would perpetually change. “I wanted a field where we didn’t know what to do, where they needed me,” says Agus from his Beverly Hills clinic. He takes calls on a headset as he paces around the office—that is, when he’s not emailing and walking on a treadmill-desk. He equates the dangers of sedentary living with smoking cigarettes. When Agus discusses the perception of infirmity on America’s top talk shows—he’s been on “Charlie Rose” and “The Daily Show,” given TED talks and appeared on the national news—he speaks energetically but slows down to emphasize and explain his medical philosophies. He thinks of diseases “as verbs.” One does not have cancer; one is “cancering.” Thus, such a diagnosis can be delayed, or even reversed. “In cancer, the research needs to be applied right away,” he says. “We have no choice but to take risks.” Agus explains that almost every disease is a form of inflammation—take one baby aspirin each day, and the dirt-cheap, 2,400-year-old pill will reduce your risks for myriad illnesses. Vitamins are largely a waste of money and may instigate new problems. The doctor literally considers “moderation” a “health rule” and supports eating and sleeping on a regular schedule. He warns against random snacking and champions eating a good-fat (not lowfat) diet and cold-water fish a minimum of three times per week (although “it’s better to avoid any fish not recommended by Seafoodwatch.org”—a running record of safe, ocean-friendly seafood); choosing a multi-colored diet; drinking red wine (one glass a night, five nights per week)—unless you’re at high risk for breast cancer; “junk[ing] the juicer;” and reading Michael Pollan’s In Defense of Food. Also: in the right patient,

statins (cholesterol lowering drugs) do dramatically more good than harm because they reduce inflammation. Cancers, for their part, need to be addressed as infections, which we treat with antibiotics that target specific bugs. And a singular type of cancer is not just one thing. It’s always different as it interacts with unique bodies. In that spirit, we must think of diseases as systems, too, and that’s where technology enters the picture. The goal is personalized medicine: to determine what’s going on in the body, what one is at risk of, and how one might prevent, or delay, dangerous medical scenarios. Having partnered with Danny Hillis, the man who built the first supercomputer and made Disney more technologically innovative in the 1990s, to create Applied Proteomics. Agus is a pioneer in this practice semantically modeled on genomics (genomics is the study of genes; proteomics, the study of proteins). Proteomics allows one to examine every protein in a drop of a patient’s blood at one moment in time. (Outside of a research setting, only some individual proteomic tests such as the preg-

Every disease is part-genetic and part-environment...You’re largely in control of your environment. So everything you’re tested for, you can work to delay. —dr. david agus

nancy test or the PSA test for men are currently available for specific analysis.) “Every disease is part-genetic and partenvironment; normally it’s half-and-half,” Agus says. “You’re largely in control of your environment. So everything you’re tested for, you can work to delay.” It takes guts to learn, for instance, that one’s bound for Alzheimer’s. However, there are now strategies to prevent diseases that were once considered death sentences. Agus maintains that studies show people are less stressed about their health blueprints when they know what they’re in for and can take action. “We’re now able to reverse Alzheimer’s in mice,” he explains. “In a decade, that’s going to start to happen for us. I want us to be in Delay Mode as long as possible.”

n his website, Agus presents his genetic profile on his biography page—something of a personal narrative: He’s in the 75th-100th percentile for brain and abdominal aneurisms; the 56th-72nd percentile for restless leg syndrome; and the good doctor is as lactose intolerant as they come. He has been on faculty at UCLA and at Cedars-Sinai, where he created the Spielberg Family Center for Applied Proteomics as well as led the hospital’s Louis Warschaw Prostate Cancer Center. He’s not just optimistic about the future of medicine; he’s determined to enact change. This attitude comes in part from heeding

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A collection of antique light fixtures, a reclaimed mantel and coffered ceilings give the new construction an appealing patina.

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portrait: laura hull photography

The flat finish of muted gray walls and pale limestone floors honors the clientsâ&#x20AC;&#x2122; desire to avoid Creflective 00 surfaces.

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They wanted it to have an unfinished quality…The brass fixtures are unlacquered. It’s deliberately under-furnished. —William Hefner

portrait: laura hull photography

os Angeles-based architect William Hefner modestly delineates this stately home he designed for a lawyer and his wife (an artist) and the couple’s two sons, in the hills of Rustic Canyon: “It’s tall and slender, and doesn’t have a roof, so it reminds me of those Department of Water and Power buildings you see all over California that were built in the ’30s,” he says. “That’s the closest thing I can think of to describe it.” Hefner is not one for hyperbole. While complimenting the DWP, he dramatically under-sells the three-bedroom home’s light-filled rooms and graceful touches. Much like his work, the title of the new book celebrating his oeuvre, California Homes (Images Publishing) feels understated, direct and dignified. This property is featured alongside eight other single-family homes, all built within the last five of his 20-odd year career working exclusively in Southern California. The Sacramento native attended architecture school at UCLA and never left. “In my heart of hearts, I thought I would go back up north to the Bay Area after school,” he says, “but I love it down here. There’s an open-mindedness. People are a little idiosyncratic, but it makes them more adventurous, more creative with their choices and more willing to take risks. The landscape is also so appealing. Everything grows.”

In fact, in the tight-knit Santa Monica enclave where this home was built by Stephen Bloom Construction two years ago, the vegetation was so rambling and overgrown Hefner feared its classic style would seem out of place. He enlisted Venice-based landscape architect Jay Griffith to help integrate the pale-gray stucco building into its environment with symmetrical plantings of unstructured grasses and native plants. “Plus, the old sycamore in the front makes the home feel like it has been there forever,” adds Hefner. Honed French limestone floors on the main floor, galvanized steel windows with a black patina and raw oak floors that are minimally protected help to create the old European atmosphere. “The owners didn’t want anything to have a sheen or a reflective surface,” Hefner explains, noting the family patriarch’s architectural ambitions; he submitted endless sketches during the design process. “The mantels are antique. The brass fixtures are unlacquered. It’s deliberately under-furnished. They wanted it to have an unfinished quality and for the architecture to stand on its own.” Hefner’s favorite feature is the rooftop art studio. “They wanted a place where they felt free to be creative, that was really separate from the rest of the home,” he says. “The light up there is always amazing. I’m so jealous of that studio. I wish I were there right now.” •

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THIS PAGE, CLOCKWISE FROM TOP LEFT All of the rooms feel

unified by cadet-blue satin finish paint and brass fixturesâ&#x20AC;&#x201D;including the master bath. The owners decorated the space themselves, relying heavily on antique carpets and neutral linen upholstery in shades of cream and gray. The third floor art studio showcases galvanized steel windows, which were painted black, and lush surroundings. French cement tile brightens the childrenâ&#x20AC;&#x2122;s shared bathroom.

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THIS PAGE, CLOCKWISE FROM TOP LEFT The dining

table was found at a salvage yard, and the leather club chairs are vintage. Rooms are intentionally spartan, inspired by old European flats with spare but elegant furnishings. The oak floors and cabinetry are minimally protected, as “close to raw as you can get,” says Hefner. A child’s room is elevated with an antique ceiling-mounted fixture. The kitchen island is wrapped in unlacquered, corrugated brass, which will age naturally. Industrial Tolix stools offset a more formal marble counter.

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Landscape architect Jay Griffith integrated the grand home into its rustic environment with symmetrical beds of informal, unmanicured plants.

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It’s tall and slender, and doesn’t have a roof, so it reminds me of those Department of Water and Power buildings you see all over California that were built in the ’30s.

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the ties that bind

firing squad

continued from page 40

continued from page 70

the 2011 Grenache and tends to his wineries, and farm-to-milkshake locations in S.F.’s Ferry Building, on St. Helena’s Main Street, Oxbow Public Market and this

In 1987, my brother packed and moved

wood piles fill entire walls at its new

summer, Palo Alto. He dreams of opening

to Los Angeles, where, with my father’s fi-

SoMa location. The open floor plan’s focal

a Los Angeles hamburger joint. As far as

nancial backing, he bought a house in Hol-

points are copper pots overhead and an

expanded oenological horizons, perhaps

lywood and began working on the lowest

eight-station

the Rhône, he says, will be next.

rung of the ladder: in the mailroom/train-

Miwe bread-baking deck. Also in San

So what’s Gott’s favorite pairing for an

ing program at Creative Artists Agency.

Francisco, AQ is working on a spinoff,

intense, dry Grenache that weighs in at

hearth

with

wood-fired

Ari loved the work from the very first

set for this year and limited to wood-fire

15.9% alcohol? Paprika-rubbed skirt steak?

day and managed to perform even the most

cooking. Says owner/manager Matt Sem-

Wild boar sausage?

menial tasks—like washing a superior’s

melhack, “The concept is there: the primal

“French fries. At the Chandelier Bar in

car—without grumbling. He was so deter-

means of cooking over fire can be elevated

Vegas, there’s this fricking incredible, ba-

mined to do well that despite his dyslexia,

with some innovation, patience and our

dass sommelier guy, Bretton Lammi. He

which made reading almost physically

access to ingredients.”

sent out this big pile of fries. The ultimate,

painful, he committed himself to reading

Semmelhack and chef Mark Liberman

as many scripts as he could get his hands

have called upon the best. Double the size

on. During one family vacation in Costa

of what was custom-constructed for Blue

Rica he actually spent part of each day

Hill at Stone Barns and Ox in Portland,

plowing through a stack of bound manu-

their Grillworks (grillery.com) system is

scripts while the rest of us went swimming

vertically adjustable by crank, so chefs

and explored the countryside.

control heat by height. There’s a V-shaped

ultimate over the top.” shatterwine.com. •

well suited continued from page 90

In the mid-to-late 1980s, we three

channel for fats and juices to collect and

of the contemporary movie star, circa 2013.

brothers were all pursing very distinct ca-

run down into a basting pan. The D.C.-

“I was offered it and I jumped at it without

reers, as far apart as was possible. From the

based company is also installing at the new

really looking at what I was doing,” he

moment he moved west, Ari would never

Farmshop in Marin and Michael Chiarel-

says. “It’s a different character than Captain

live anywhere else but Los Angeles. I was

lo’s soon-to-open S.F. spot.

Kirk. Jack is a blanker slate. He’s quieter.

in the midst of my medical and bioethics

So why such excitement in the Golden

training—and raising two daughters—in

State? Grillworks’ Ben Eisendrath has a hy-

Boston, more than 2,600 miles away. And

pothesis: “California has wine country.

Also more palatable; it was directed

Rahm lived in Chicago while taking tem-

There are some out there using broken

by Shakespearean actor Kenneth Branagh,

porary assignments in Washington, D.C.

wine staves, which is about the sexiest

with whom he found a kinship. “I’m

We would keep in touch by phone but in

thing you can talk about at a party. It’s the

always impressed by people who have

the coming few years we would spend very

outdoor lifestyle, the local movement. You

great stage credits. But I also love big

little actual time together.

can have a piece of wood that has fallen

films, I love films in every shape and

near your property and cook it for dinner.

size,” says Pine, who has certainly grown

Chefs are really digging that.” •

in stature since he played dreamy, if

But just as I think it was no accident that we chose three radically different career

paths—academics,

politics

and

tween us. Although Rahm and Ari might

Days of the Condor.”

somewhat

business—I think that there were good reasons for us to put so many miles be-

It’s very All the Presidents Men and Three

milquetoast

love

interests

to Anne Hathaway in 2004’s Princess

he’s gott it continued from page 76

disagree, I am certain we needed time and

Diaries 2: Royal Engagement, and to Lindsay Lohan two years later in Just My Luck.

space to develop and succeed as indepen-

Had those been the kind of roles Pine

dent adults. Each of us needed to find our

building a winery. “When there was a

remained in, perhaps eventually graduat-

own careers and not compete with the

land grab, you didn’t want everybody to

ing to a hot dad on a CW soap opera, “I

others. Rahm needed to get out of my shad-

know,” explains Gott. “Dave told me about

think I probably would have been grateful

ow, and Ari needed to prove, to himself

it with the goal of working together. He

to be working, but, like anyone, I would

as much as anybody, that he could succeed

said, ‘Hey, dude, don’t tell anyone. We

have hit a wall and probably preferred

despite his disability. Besides, I don’t

could make Grenache from here.’”

doing dinner theater somewhere or gone

think there’s a city big enough to accom-

As co-winemakers, they visited in 2010;

modate more than one Emanuel at a time.

Gott continues to return six to eight times

Our force fields would have collided

annually. In joining forces, Shatter balances

For now, Pine is more than content.

and God only knows how many casualties

two oft-disparate New World styles. “Dave

“I’m a hard worker. I’m organized. I have a

such an event might produce. Once we

is a true artist. He gets the power, and I’m

modicum of this and that. But why me

all began getting recognition in our indi-

more classic California, a little more fi-

versus anybody else?” He pauses for a mo-

vidual spheres, we could then begin to

nesse and high-acid structure.”

ment. “I don’t quite understand how I got

reapproach one another as equals. •

Back stateside, Gott has now uncorked

back to school. But no, I would not have been happy.”

here. But I’m excited about where I am.” •

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matthew porter, Downtown, 2008 Artist Matthew Porter owns more than 10 vintage muscle cars. With his prized ’67 Ford Mustang Shelby GT 500, Porter found the same San Francisco street that Steve McQueen careened over in Bullitt (1968) and photographed the ride getting some incredible hangtime. Fortunately, when it landed, no one was injured and the Shelby remained in showroom condition. That’s because the car is a miniature model just 11 inches long. The hot-wheeling stunt is part of Porter’s intensely collected flying car series. Wait times can reach up to two years for images of hovering hunks of metal imposed above city streets, staged burnouts in parking lots and coupes floating off of cliffs. Part fantasy, part nightmare, Porter’s images toy with the engine of American machismo.

Photograph by matthew porter

text by kelseY mckinnon

california

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Mandarin Oriental.indd 1

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In 1839, Vacheron Constantin created the famous pantograph, a mechanical device allowing for principal watchmaking components to be reproduced with total precision. Elevating the quality of its timepieces even further, this invention, which also revolutionized Swiss watchmaking, would propel the brand into the future.

Faithful to the history upon which its reputation is built, Vacheron Constantin endeavours to maintain, repair and restore all watches it has produced since its founding: a sign of excellence and confidence, which continues to elevate the brandâ&#x20AC;&#x2122;s name and stature.

Patrimony Contemporaine Perpetual Calendar Hallmark of Geneva, pink-gold case, ultra-slim mechanical movement with automatic winding, calibre 1120 QP, moon phases. Reference: 43175/000R -9687

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