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GALERIE N o 21 / SPRING 2021

Annabelle Selldorf Creates an Art-Filled Masterpiece for Avid Collectors Secrets to Designing the Perfect Outdoor Escape Private Getaways in Bordeaux, Umbria, and San Miguel de Allende

CREATIVE MINDS

SPRING 2021 ISSUE NO 21

30 Incredible Talents Using Their Genius to Change the World

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Features 90 BOOM BOX Art-world architect Annabelle Selldorf crafts a modern residence just outside New York for a couple’s extensive collection of contemporary works. By Vicky Lowry 102 LYRICAL STRANDS With several prestigious spring shows, Chilean artist Cecilia Vicuña garners international acclaim for her multilayered, large-scale pieces that blend history and heritage. By Ted Loos 106 IDYLL PURSUITS Gallerists Louisa Guinness and Ben Brown curate their own Provençal sanctuary animated by a deeply personal display of significant artists he represents. By Elena Bowes 118 OPEN SECRETS Sig Bergamin devises an exuberant beachfront home in Brazil that combines paintings by local talents and modernist furnishings by a Who’s Who of international designers. By Raul Barreneche

136 PERFECTLY SEASONED Architecture and design legend John Pawson and his wife, Catherine, share the beauty and flavors of their Cotswolds farmhouse and garden in a new cookbook. By Jacqueline Terrebonne 140 THE LONG VIEW A strikingly minimalist structure, conceived by Walker Warner Architects and decorated by designer Matthew Leverone, sits in absolute harmony with Maui’s remarkable coast. By Pilar Viladas 12

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To maximize its breathtaking setting, this Hawaii house features a scaled-back array of vintage and custom furnishings.

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128 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li

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00 90 Departments 18 EDITOR’S LETTER By Jacqueline Terrebonne 23 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel. 32 ARTISAN Fashion renegade Samuel Ross lends his thought-provoking style to a new collection of sculptural chairs on view at Friedman Benda. By Caroline Roux 36 ON OUR RADAR Three up-and-coming artists whose work speaks to the present while finding inspiration in the past. 14

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40 GALLERY TOUR A bastion for Brazilian talents, Galeria Nara Roesler debuts a new space, in New York’s Chelsea neighborhood. By Hilarie M. Sheets 42 MILESTONE Ahead of a monumental exhibition that offers a look inside Kara Walker’s personal archives, Galerie revisits some of her most groundbreaking installations. By Lucy Rees 44 ENTERTAINING Sisters Costanza Paravicini and Carla Sersale elevate setting the table to an art form with their individual ateliers specializing in artisanal plates and glassware. By Jacqueline Terrebonne

48 DESIGN Liaigre’s creative director, Frauke Meyer, builds on the house’s sophisticated legacy with contemporary influences of her own. By Jill Sieracki 50 THE ARTFUL HOME A vibrant portrait by Amoako Boafo sparks designer Brigette Romanek’s vision for a statement-making den. Produced by Jacqueline Terrebonne 52 BOOKS Putnam & Putnam explores the spectrum of colors featured in the duo’s fantastical floral arrangements with their new release. By Geoffrey Montes

FROM TOP: JASON SCHMIDT; COURTESY OF THE ARTIST, HELENA ANRATHER, NEW YORK AND THE THIRD LINE, DUBAI

From left: Katherine Bernhardt’s Pac Man, Tacos, Toilet Paper (2016) in the dining room of an Annabelle Selldorf–designed home. Woman on Phone (2019) by Farah Al Qasimi.

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64 From left: An outdoor area devised by Pamela Shamshiri. Our Creative Minds portfolio features Daniel Roseberry, who crafted this Schiaparelli 2021 look, and Claire Choisne, who designed this Boucheron ring.

Departments 54 POINT OF VIEW Kelly Wearstler reveals what shapes her distinct California aesthetic and what inspired her new palette of paints for Farrow & Ball. By Jacqueline Terrebonne 56 PASSPORT Classic Greek architecture and edgy Rick Owens furniture fashionably coexist at the new Mykonos resort Kalesma. By Jill Sieracki 58 AUCTIONS Estimate-smashing sales with interesting backstories from around the world. By Jeannie Rosenfeld 60 SHOPPING Bespoke haute parfumerie Henry Jacques opens its first U.S. location, a jewel-box boutique in Beverly Hills filled with covetable couture scents. By Daniel Cappello 62 REAL ESTATE On-the-market residences by Frank Lloyd Wright, 16

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Wallace Neff, and Richard Neutra allow discerning buyers to live in paradigms of architectural history. By Geoffrey Montes 64 CURATED Designers share their secrets for outdoor bliss with brilliant insight into relaxing and entertaining alfresco. By Jill Sieracki

COVER

Works by Lonnie Holley, Henry Taylor, and Elizabeth Peyton punctuate a collector couple’s living room in an Annabelle Selldorf residence in Westchester County, New York. Photography by Jason Schmidt. Styled by Lili Abir Regen.

71 CREATIVE MINDS These out-of-the-box thinkers transcend the traditional boundaries of art, architecture, fashion, and design with their incredible passion and remarkable vision. By Galerie Editors 150 SOURCES 152 IN FOCUS Daniel Boulud shares his Vik Muniz artwork, crafted using a technique befitting one of the world’s finest chefs. As told to Jill Sieracki

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CLOCKWISE FROM TOP: MELANIE DUNEA; CHRISTOPHER PRINZ; JASON SCHMIDT; COURTESY OF THE ARTIST AND KASMIN

Clockwise from top: Robert Polidori’s ‘A Basket of Figs’ Wall Detail, from Triclinium Wall, Oplontis Villa of Poppea—Torre Annunziata, Italia (2017). Christopher Prinz’s Wrinkled chair. Don’t Worry (2001) by Martin Creed.

ext-based artworks seem to have a strange power over me. I find that I listen to them, magically falling under their spell. So when I came across a Martin Creed neon in a home designed by Annabelle Selldorf (page 90), I took heed and embraced its message: Don’t Worry. That’s a challenging mantra considering the past year, but every day comes with more reasons to be positive. That’s why as the Galerie editors began to work on this spring issue, we decided to bring that same optimistic perspective to each and every story. One of the brightest moments of the issue comes as we shine a light on our annual list of Creative Minds (page 71). This group of 30 dreamers and doers proves that ingenuity can change people’s lives, addressing issues of equality, sustainability, and cultural recognition in innovative ways. For example, Robert Polidori reminds us with his photographs of Pompeii’s frescoes how fleeting time is and how civilizations can still find common ground millennia later. Gallerist Destinee Ross-Sutton demonstrates that a person can shake up the art-world model at any age. Also featured are artisans who create work that simply inspires joy. How can you look at a chair by Christopher Prinz and not smile? The same energizing spirit fills the residences in this issue as well. Located in regions we’re dreaming of visiting, each house has its own distinct personality that exudes a sense of place with both its art and design. In Provence, gallerists Louisa Guinness and Ben Brown dress up a dreamy farmhouse with a collection that embraces the area’s history of art while enlivening it with their own aesthetic (page 106). Meanwhile in Brazil, Sig Bergamin taps into the punchy colors and bold artwork of his country to create an invigorating beachfront getaway (page 118). It’s spaces like these that remind us that no matter where home is, having even just one work of art that speaks to you can change your entire outlook.

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THE ARTFUL LIFE CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

/ MUSEUMS /

MARC DOMAGE

Artistic Exchange

In a magnificent dialogue between the past and present, the Bourse de Commerce has reopened as a contemporary art museum for the collection of François Pinault. Award-winning architect Tadao Ando transformed the landmark, which once housed the Paris stock exchange, adding a cylindrical, three-tiered structure to the rotunda to create 73,200 square feet of modular gallery space. Many of the original features have been preserved, including the 19th-century ironwork, elaborate frescoes, and soaring glass cupola. Through a series of thematic and monographic exhibitions, art lovers will get just a glimpse of some of the 10,000 works the luxury and fashion magnate has amassed over the past 40 years. boursedecommerce.fr —LUCY REES GALERIEMAGA ZIN E .COM

/ EXHI B I TI ON S /

/ R E STAU R A N TS /

Eclectic Tastes Houston has evolved into one of the best food scenes in the country, and newcomer March continues that trend. Six- and nine-course menus pull from chef Felipe Riccio’s rich cultural upbringing as a Mexican native with an Italian father and Spanish mother. Curtis & Windham Architects worked with Studio Robert McKinley to create the stylish, art-filled atmosphere. Unexpected combinations include Faye Toogood’s Roly Poly dining chairs, a bold figurative painting by German artist Christoph Ruckhäberle, and Kelly Wearstler sconces. marchrestaurant.com —JACQUELINE TERREBONNE

When the renovated Allison and Roberto Mignone Halls of Gems and Minerals opens at the American Museum of Natural History this spring, visitors will once again be able to marvel at its world-renowned treasures such as the 563-carat Star of India, one of the world’s largest gem-quality sapphires, and the Subway Garnet, the most famous mineral specimen discovered in Manhattan. Inaugurating a new temporary exhibition space is “Beautiful Creatures,” featuring animal-inspired jewelry from Cartier, Van Cleef & Arpels (above), and more. amnh.org —L.R.

/ SHOPPI N G /

Creative Outlet

/ D ES IGN /

LOOKING GLASS

In its first collaboration with an outside company, New Ravenna has teamed up with Gracie to translate five of the heritage wallpaper atelier’s designs into glass mosaics. “We wanted to find a range of patterns, so we could have beautiful, intricate art pieces as well as ones that have a larger repeat,” says New Ravenna creative director Cean Irminger. The mosaic studio perfectly reproduces the lush blooms of Blythe Dunes (above), tropical French Deco, and expressive Waves out of jewel glass tiles, even matching the painterly quality of the brushstrokes, and also offers options for customizable colorways. newravenna.com —JILL SIERACKI 24

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A master of color, pattern, and fabric, Belgian designer Dries Van Noten has opened his first stand-alone U.S. location. Those who have set foot in his boutiques in Antwerp and Paris are familiar with his city-inspired interiors and fabulous florals, and the Los Angeles outpost is no exception. Van Noten has ingeniously made use of the site’s two separate buildings by displaying fashion in the Big House and a rotating schedule of exhibitions of artists and artisans in the Little House. Throughout both are other creative elements such as furnishings by Johan Viladrich, translucent photos by Japanese floral artist Azuma Makoto, and wall murals by L.A. talents Jan Gatewood and Adam Tullie. driesvannoten-la.com —J.T.

FROM TOP: DAVID ROSS PHOTOGRAPHY/AMNH; JULIE SOEFER PHOTOGRAPHY; JIM MANGAN, COURTESY OF DRIES VAN NOTEN; COURTESY OF NEW RAVENNA

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DO NOT DISTURB Total privacy has gained a newfound importance in the pandemic era, and leaders in the high-end hospitality field have taken note. From the scenic mountains of central Mexico to Bordeaux’s famed wine country, this trio of intimate new retreats provides enough room for social distancing along with modern luxuries that will make you never want to leave.

RESCHIO ESTATE | Umbria, Italy The newest addition to this sprawling, 3,700-acre compound in the picturesque Umbrian countryside is Castello di Reschio, a thousand-year-old castle that has been restored by owner Count Benedikt Bolza, who doubles as its architect. Debuting in April, the edifice’s 36 sumptuously appointed rooms join nine revamped villas that dot the complex and can also be rented out to guests desiring extra privacy. Plus, an on-site equestrian center allows visitors to explore the estate on horseback. reschio.com

This off-the-grid hideaway is perched on the slope of an extinct volcano near San Miguel de Allende, a UNESCO World Heritage site. Clad in mirrored panels and powered by the sun, the eco-chic dwelling—designed for two—is the brainchild of Singaporean writer and photographer Prashant Ashoka, who worked with interiors firm Namuh to deploy a serene palette of jute, leather, wood, and stone, as well as an attentiongrabbing copper tub ideal for de-stressing. casaeterea.com

CHÂTEAU TROPLONG MONDOT | Saint-Émilion, France Set on a 90-acre vineyard in the heart of one of France’s most prestigious wine-growing regions, this restored 18th-century château will open on April 1 with five understated suites devised by French design maestro Bruno Moinard. Among the hilltop estate’s perks are a daily menu crafted by Michelin-starred chef David Charrier, wine-blending sessions with vineyard president Aymeric de Gironde, and a stone-lined pool overlooking the rolling hills of Saint-Émilion. troplong-mondot .com —GEOFFREY MONTES

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FROM TOP: COURTESY OF RESCHIO ESTATE; COURTESY OF CASA ETÉREA (2); ROMAIN RICARD (2)

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/ EXHI B I TI ON S /

/ BO O KS /

Fitting Rooms Whereas years ago a perfectly executed interior would be best described as “decorated,” today’s masters of the craft conceive spaces that reflect individuality. To identify those who excel at executing these remarkable rooms, Phaidon reached out to a panel of international tastemakers; more than 100 of their selections are featured in By Design: The World’s Best Contemporary Interior Designers, out May 19. “In this post-postmodernist world, anything goes. But the production standards are very high,” says Phaidon’s William Norwich, who penned the introduction. “Do whatever you want, pursue any style, but do it very, very well.” phaidon.com —J.S.

For nearly ten years every May, hundreds of art aficionados spilled out of the Randall’s Island ferry and made their way into the bespoke white tent of Frieze New York in search of the next big thing. For the first time since it launched, the London transplant will set up shop in a dazzling new Manhattan location. From May 5 through May 9, Frieze New York will take place at the Shed, the Hudson Yards cultural center designed by Diller Scofidio + Renfro. Additionally, the fair is limiting its exhibitor list to about 60 galleries and doing away with most of its special thematic sections. “Frame,” however, which is dedicated to single-artist presentations, remains and is being led by two cutting-edge gallerists: Olivia Barrett of Château Shatto in Los Angeles and Sophie Mörner of Company Gallery in New York. frieze.com —L.R.

/ DESI GN /

Super Stars Crystal maker Waterford takes inspiration from Ireland’s history of stargazing for its new Stellar collection. The introductions include a series of 12 crystal tumblers, each depicting an astrological constellation; a limited-edition handblown globe; bowls with a celestial pattern; and a paperweight. Old-world techniques are utilized in the modern designs, allowing collectors to hold nearly 250 years of craftsmanship in the palm of their hand. waterford.com —J.T.

/ SHOPPING /

SMALL WONDERS

The Verrou Chaine mini-bag by Hermès is distinguished by its closure, designed to resemble a box-stall lock; hermes.com 28

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Introduced at the cruise 2021 show, Dior’s Caro bag has been reinvented in denim with the Tie & Dior motif; dior.com

These scaled-down bags pack a stylish punch this spring —J.T.

The geometric lines of Loewe’s distinctive Puzzle bag get incredibly downsized with the Nano version; loewe.com

This Chanel clutch sparkles with a shiny metal thread woven through raffia and jute; chanel.com

Bottega Veneta’s The Triangle bag receives a comforting yet superluxe makeover in knitted lambskin; bottegaveneta.com

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What’s On View Must-see spring exhibitions offer new works and antiquities from masters of their eras that reflect their unique viewpoints

David Hockney’s No. 88, an iPad painting from March 3, 2020.

David Hockney: The Arrival of Spring, Normandy, 2020 MARCH 27–AUGUST 22 While many artists found inspiration during lockdown, perhaps no one was more prolific than David Hockney, who created a whole new body of work while hunkered down at his home—a timbered, 17th-century house—and studio, surrounded by a four-acre field of fruit trees in Normandy. With his iPad, a tool he began using about a decade ago, he spent every day documenting the joyous progression of spring. “It is the most exciting thing nature has to offer in this part of the world,” Hockney wrote in July 2020. Exactly one year after they were made, 116 of these paintings are being presented chronologically at London’s Royal Academy of Arts, printed large scale on paper to magnify his brilliant palette and signature wavy, pulsating lines. The digital mimicry was perfected when Hockney had a mathematician make a new version of the Brushes drawing app to his specifications, complete with custom paintbrushes. royalacademy.org.uk 30

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THE DALLAS MUSEUM OF ART Cubism in Color: The Still Lifes of Juan Gris THROUGH JULY 25 Working alongside Pablo Picasso and Georges Braque in Paris during the early 20th century, the Madrid-born painter Juan Gris developed his own distinct style of Cubism, characterized by a bold sense of color, a rigorously geometric composition, and a playful use of trompe l’oeil. More than 40 paintings and collages, made between 1911 and 1926, trace his innovative approach to the still life genre and his key contributions to the movement. dma.org

THE VICTORIA AND ALBERT MUSEUM, LONDON Epic Iran THROUGH AUGUST 30 Iran was home to one of the greatest civilizations in history, yet its artistic achievements remain unknown to many. The V&A attempts to remedy that with an

exhibition of more than 300 objects exploring 5,000 years of art, design, and culture. Highlights include rare 16th-century illuminated manuscripts on loan from the Sarikhani Collection and a cache of contemporary Iranian art. vam.ac.uk

THE METROPOLITAN MUSEUM OF ART, NEW YORK Alice Neel: People Come First MARCH 22–AUGUST 1 “I have tried to assert the dignity and eternal importance of the human being,” the great American painter Alice Neel stated in 1950. That personal quality is felt in all of Neel’s portraits, depicting everyone from her neighbors in Spanish Harlem to queer artists and performers. This exhibit, her first at a New York institution in over 20 years, includes many of her most impactful paintings as well as rarely seen watercolors and drawings. metmuseum.org —LUCY REES

ROYAL ACADEMY OF ARTS, LONDON

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Samuel Ross in his East London home.

Thought-provoking fashion designer Samuel Ross crafts a series of sculptural chairs, on view at Friedman Benda

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n January 2019, on a cold winter’s day in London, Samuel Ross reached a pivotal point in the presentation of his fashion collections. The young UK designer was already known for chilling room temperatures down to freezing and playing eerie acoustic harmonies before sending models down the runway in clothing that hovered between streetwear and industrial workwear, often in uncompromising fabrics. This time, the looks were minimal and chic—a belted silvery trench coat, a quilted brilliant-orange gilet—while dancers floundered in pools of dark water and Rottweilers barked. “It’s been a process of implosion and explosion,” says Ross from his studio in central London, “excitement and experimentation.” In a short time and though only age 29, Ross has gone through an arc of development that would take most people decades. From studying graphic followed by product design to creating conceptual and then wearable fashion, he launched his label, A-Cold-Wall, in his bedroom in 2015, with a 2,000-word dissertation. “It was a think piece,” he says. “I wanted to communicate something intellectual and critical, to identify what needed to be said and then turn it into clothing.”

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Ross’s latest runway show—a digital presentation in January 2021—was a slick affair. And now he has also added sculptural pieces to his repertoire. A trio of chairs, developed from deep narratives around three centuries of the Black experience, will go on display at the New York design gallery Friedman Benda this spring. Recovery Chair, Signal-3, and Trauma Chair have a granular texture that Ross describes as “raw and exposed.” The extended form of the Recovery piece has been finished with an organic wax

Midlands, one of the last parts of the country where industry shakily lingers. “My background was weird,” he says. “My dad studied fine art at St. Martins, but there was no outlet for him—the social landscape didn’t allow it.” His mother is a teacher in Northampton. The town (once known for its shoe manufacturing) is 60 miles from London, and it is here that Ross is building a new studio. “That’s going to be the temple of contemplation,” he says. “A real lock-in where I can get right into the work.”

“

It’s been a process of implosion and explosion, excitement and experimentation” SAMUEL ROSS

“to give it freshness”; the Signal-3 has a rubberized finish; and the Trauma design is marked with signs of scars and healing, punctured with die-cut holes, then coated in a lacquer that’s been mixed with molasses. Not for the fainthearted, it weighs nearly 200 pounds. Across his oeuvre, the narrative revolves around the complexities of class, particularly the working one, in contemporary Britain; the significance of industrial jobs in a postindustrial world; and the difficulties inherent in the Black diaspora. Ross himself was born in London to first-generation British Black parents, before moving to the

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His work ethic is fearsome, not unlike that of his mentor, Virgil Abloh. Ross’s Terminal 1, a dazzling orange structure suspended with netting that addresses the need for shelter, helped him win the 2019 Hublot Design Prize. His clothing is marked by a precision and technicality that are now flowing freely into his art. “There will be more pieces by the end of the year, and I want to show them somewhere major, where as many people as possible get to experience them,” says Marc Benda of working with Ross, whom he met through Daniel Arsham. “This is just the beginning.” friedmanbenda.com —CAROLINE ROUX

COURTESY OF FRIEDMAN BENDA AND SAMUEL ROSS

Samuel Ross’s 2020 works (from left): Recovery Chair, Signal-3, and Trauma Chair.

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Fresh Takes

Farah Al Qasimi

Farah Al Qasimi is an acute observer of contemporary life, capturing quotidian moments using an artistic language that is distinctly her own. “I wasn’t initially drawn to photography,” says Al Qasimi, who was born and raised in Abu Dhabi before moving to the U.S. to attend Yale University. “I remember I was taking pictures of my family as part of a digital color class when I had the realization that photography has the power to transform the everyday.” Dividing her time between Dubai and New York, Al Qasimi has been generating buzz for her sumptuous, color-saturated

Farah Al Qasimi’s Woman in Leopard Print (2019). Below: The artist in her Brooklyn studio.

images, which shine a light on the often-unspoken social norms, invisible barriers, and value structures at play in different cultures—predominantly in the Persian Gulf. Represented by Helena Anrather in New York and the Third Line in Dubai, she has already been exhibited in two recent shows, at Cooper Cole in Toronto and Sfeir-Semler in Hamburg. Additionally, her second artist’s book, Hello Future, launches in April. Last year, thanks to a commission with the Public Art Fund, 17 of Al Qasimi’s vibrant photographs, many spotlighting small immigrant businesses, were illuminated on 100 New York bus shelters. “They were places I went to as a patron, places that mirrored my immediate experience,” she says. In the elegant portrait Woman in Leopard Print, a lady in a patterned hijab peers into a small compact mirror, which reflects one eye back at the viewer—a gaze within a gaze. Her singular aesthetic is marked by a riot of pigments and prints from her home country. “I grew up surrounded by those colors. It’s almost cultural in a way,” she says. “I think what interests me most about photography is that it is defined by the filter of the person making the image.” From her Brooklyn studio, she is currently preparing for her next project, based on “themes of escape and paradise,” and as a shortlisted artist for the Louis Roederer Discovery Award 2021, she will present new work at the photography festival Rencontres d’Arles in July. farahalqasimi.com —LUCY REES

FROM TOP: COURTESY OF THE ARTIST, HELENA ANRATHER, NEW YORK AND THE THIRD LINE, DUBAI; GABRIELA HERMAN

These three up-and-coming artists brave new ground in their mediums while drawing on inspiration set firmly in the past

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Kyle Dunn While Kyle Dunn may be most celebrated for his paintings, he began his unique practice by way of sculpture at the Maryland Institute College of Art. “Applying relief foam to surfaces needed some figuring out, but around 2016 my ideas started to click,” he says of the visual language he formed by building three-dimensional elements on resin or wooden panel. Amid the current boom of queer figurative painting, Dunn still looks to his sculptural roots for inspiration. In his solo exhibition “Into Open Air,” at P.P.O.W gallery in

New York last fall, he paid homage to architectural grandiosity and the expressive determination of Soviet-era forms. False Start, for example, showed a monumental man in his briefs surrounded by graceful drifts of snow, leaning on his porch with the elegance of a Roman statue while braving the cold. Contemporary culture also serves as a point of reference for Dunn, who combs through online images and Instagram photos for different poses and gestures. His upcoming summer solo show at Galerie Maria Bernheim in Zurich will feature an array of visual cues, including some drawn 38

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from live models. He believes his painting stems from both his outlook of the world and observations of a digital culture. “I am informed by my own emotions in the process,” he says, “but I don’t let my physical or inner likeness cloud the work.” His new paintings combine “a balance of stylizing and simplifying” with “looser finishes and less academic renditions.” In Pact, for instance, the painter orchestrates a humorously melodramatic mise-en-scène in which two poetically contorted lovers prepare for their demise, surrounded by lush fruits and a fiery-pink sky. Two light beams approach though a winding path and loom large above their heads, conjuring the illusion of halos. “I’ve always had basement studios and often miss those spectacular magenta-and-tangerine sunsets,” says Dunn from his Brooklyn work space, “but I come across them on social media.” ppowgallery.com —OSMAN CAN YEREBAKAN

CLOCKWISE FROM TOP: JUSTIN J. WEE, COURTESY OF THE ARTIST AND P·P·O·W, NEW YORK; COURTESY OF THE ARTIST AND P·P·O·W, NEW YORK; COURTESY OF THE ARTIST, GALERIE MARIA BERNHEIM, ZURICH AND P·P·O·W, NEW YORK. OPPOSITE, FROM TOP: COURTESY THE ARTIST, PARAFIN AND VICTORIA MIRO; ANDREE MARTIS, COURTESY PARAFIN AND VICTORIA MIRO

Kyle Dunn in his Brooklyn studio. Below: Two paintings crafted with acrylic on epoxy resin and foam panel (from left): Pact (2021) and Boy on Table (2020).

Flora Yukhnovich Eighteenth-century rococo has found new life in the dazzling contemporary paintings of Flora Yukhnovich. “To me, rococo feels like something I already know,” she says from her studio in South London. “I feel like the things I grew up surrounded by or that were advertised to me have a rococo feeling about them. The art history aspect was secondary.” Yukhnovich’s large-scale works are made up of an abstract assemblage of energetic brushstrokes, boasting a vibrant luminosity, dreamy color palette, and sense of elegant lightness. She was initially inspired by French rococo masters like Jean-Honoré Fragonard and François Boucher before embracing the Italians, particularly the works of Giovanni Battista Tiepolo. In 2019, Yukhnovich set off for Venice, the birthplace of Tiepolo, spending two months studying his work at a residency through Victoria Miro gallery. “I was so curious about his paintings, and I wanted to really understand them better,” she says. “His color use was extraordinary, putting hues together that aren’t necessarily beautiful in their own right and making them harmonious. Every time I looked at his work, I just thought, I wish I could do that.” The series that resulted, “The Venice Paintings,” caused a stir when they were exhibited at Victoria Miro in Venice last fall, and

A 2019 painting titled Fantasia. Below: Flora Yukhnovich in the Victoria Miro Venice residency studio.

the London gallery will host the artist’s solo debut in 2022. Yukhnovich uses these visual references as an anchor, but the paintings develop spontaneously, as she builds them up. “I have a sense of where I am going, but I want to be led there,” she says. “There is really a fine balance to get the dynamic areas to not feel claustrophobic, so everything has a chance to breathe. I want it to feel like your eye can sweep through it with ease.” The tongue-in-cheek titles, such as Warm, Wet N’ Wild or I’ll Have What She’s Having, often spring into her mind during the process. “Rococo is so playful and luxuriates in itself, and I think it would be a shame if it became too school-y,” she says. “I am trying to capture the mood, the feeling—that aspect you can’t quite articulate.” florayukhnovich.com —L.R.

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Galeria Nara Roesler debuts a dynamic New York space that celebrates the creative spirit of Brazil

An installation view of the recent exhibit “Cross-cuts” at Galeria Nara Roesler. Below, clockwise from left: Book Collage by Amelia Toledo (1959–63). The façade of the new gallery, in Chelsea. Paulo Bruscky’s Found and Appropriated Artists (1980/2017).

oving forward with a major expansion during the pandemic was a leap of faith for Galeria Nara Roesler, which opened its sleek outpost in New York’s Chelsea neighborhood in January. “It’s a bet on the strength of the cultural infrastructure in the city,” says Daniel Roesler, a partner whose mother founded the contemporary art gallery in São Paulo in 1989, and later expanded with locations in Rio de Janeiro and Manhattan. “We think that having a presence in New York is going to be a really important thing for the artists we work with.” Just steps away from Gagosian, Gladstone Gallery, and the future headquarters of David Zwirner, Nara Roesler’s 4,500-square-foot space kicked off with a series of rotating installations highlighting work by several mainstays of the gallery, including political artists Antonio Dias and Paul Ramírez Jonas, abstractionists Tomie Ohtake and Karin Lambrecht, and kinetic artists Julio Le Parc and Abraham Palatnik. Now on view through April 17 is an exhibition of Amelia Toledo, whose practice combines the legacy of concrete art in Brazil and her interest in nature and ecology. Many of the artworks in Toledo’s show will be exhibited for the first time in the U.S. “Amelia is maybe the last great lady of Brazilian art yet to be discovered by the American audience,” says Luis Pérez-Oramas,

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the gallery’s senior curatorial director and former curator of Latin American art at New York’s Museum of Modern Art as well as the organizer of the 2012 Bienal de São Paulo. Galeria Nara Roesler supports Brazilian creatives across the board, too. Rio de Janeiro– and São Paulo–based architect Miguel Pinto Guimarães designed the new location, his first project in the U.S. Additionally, the space is populated with furniture by Brazilian designers, including Sergio Rodrigues, Lina Bo Bardi, and Claudia Moreira Salles, who handcrafted a large communal table in one of the galleries also used for meetings. “It’s going against the grain of the art world,” says Pérez-Oramas, “where art is usually discussed not in front of the art but in the corners.” nararoesler.art —HILARIE M. SHEETS

CLOCKWISE FROM TOP: CHARLES ROUSSEL, COURTESY OF NARA ROESLER (3); ERIKA MAYUMI,COURTESY AMELIA TOLEDO ESTATE AND NARA ROESLER

Culture Club

Kara Walker

One of the most prolific American artists of her generation, the provocative talent will open her personal archives for the first time for a summer exhibition at the Kunstmuseum Basel. Here, we look back on her key works  Kara Walker in her studio Born in Stockton, California, Walker moved at age 13 to Atlanta, where the racial tensions of the South shocked her. With fierce determination, she has continued to blaze her own trail and not shy away from confronting uncomfortable subject matter, even when faced with criticism from other Black artists. She now works from a studio in Clinton Hill, Brooklyn.

Darkytown Rebellion, 2001  In the early 2000s, Walker began creating monumental color projections. A print of an anonymous landscape painting from around 1860 inspired this work. Using her signature silhouetted characters, she turned the scene into a psychedelic portrayal of mutiny.

Fons Americanus, 2019  For the Tate’s annual Hyundai commission, Walker fashioned a satirical twist on London’s Victoria Memorial with a monument presenting her own view of the intertwined histories of Europe, Africa, and America. Her 43-foot-tall, faux-marble sculpture featured roughly rendered figures, with water spouting from the central subject’s breasts and mouth. Walker wrote that the piece was a “gift to the heart of an Empire that redirected the fates of the world.” Works from “A Black Hole Is Everything a Star Longs to Be,” 2021  Over the past three decades, the artist’s practice has centered on the spontaneity of drawing on paper. More than 600 of these sketches, collages, studies, and writings from her private archive will go on display this summer and are included in a book that offers an exciting opportunity to delve into a lesser-known side of her creative practice. karawalkerstudio.com —LUCY REES 42

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 A Subtlety, or the Marvelous Sugar Baby, 2014 Walker transformed the former Domino Sugar plant in Brooklyn with a sphinxlike woman coated in sugar and surrounded by young blackamoors, many crafted with molasses-covered resin. Creative Time commissioned the installation as a tribute to the mistreated sugar workers of the past.

CLOCKWISE FROM TOP RIGHT: ARI MARCOPOULOS; COURTESY OF THE ARTIST, SIKKEMA JENKINS & CO. AND SPRÜTH MAGERS (6)

Gone: An Historical Romance of a Civil War as It Occurred B’tween the Dusky Thighs of One Young Negress and Her Heart, 1994  Created for Kara Walker’s New York debut, this panorama, depicting a scene of the antebellum South, became an instant hit. Three years later, at age 27, she would become one of the youngest people ever to receive a prestigious MacArthur Fellowship.

Sibling Revelry

In the Milan courtyard of the house where Labortorio Parvicini and Emporio Sireneuse have their ateliers, a table set with pieces from each of their collections: Bloom dinnerware and Aria glassware.

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MATTIA GREGHI. STYLED BY DANIELA DE VITO

Sisters Carla Sersale and Costanza Paravicini translate their passion for Italian hospitality into two collections of artisanal tableware

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talians are renowned for their hospitality, especially at mealtime, but for Milanese sisters Carla Sersale and Costanza Paravicini, gathering friends and family around the table also exists as a form of artful expression. Always ready to entertain, they developed a love for setting the table with their large brood during their childhoods; years later, that passion has grown into flourishing artisanal businesses. The hotelier behind the beloved Le Sirenuse in Positano, Sersale is now launching a line of tableware to join her fashion collection under the brand Emporio Sirenuse. Both embody the spirit of the hotel that she runs along with her husband, Antonio. Celebrated for its extraordinary design, the cliffside retreat overlooking the sparkling Tyrrhenian Sea also boasts an exceptional arts acquisition program with works by Martin Creed, Rita Ackermann, and Alex Israel on view. After two years of experimenting and tweaking the technique, Sersale finally perfected the look she wanted for her own

“

A spring-inspired table setting created by the sisters.

Conversations happen around the table. Life happens around the table”

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some of the most coveted and distinctive tableware. Located in Milan, her studio hand paints one-of-a-kind ceramic plates in a range of vivacious, colorful patterns, including signs of the zodiac, tropical birds, and Ottoman-inspired motifs. Her most recent collection, Bloom, features 12 different incredibly detailed and poetic flowers and brings a unique perspective to floral dinnerware. “We don’t follow trends,” says Sersale. “We’re both very independent in terms of taste.” Of course, the similarities go beyond that. The sisters have workshops in various areas of the house and grounds where they grew up, the courtyard of which serves as the ideal place for hosting intimate dinners. Together, they enjoy planning and executing details for gatherings—both casual and formal. “For the centerpiece, I prefer small, light ones,” says Paravicini. “Centerpieces should never be very tall, so you can speak with your guests.” But no matter how beautiful the place settings may be, guests remain the most important factor. “We’re Italian,” says Sersale. “Conversations happen around the table. Life happens around the table.” emporiosirenuse.com, paravicini.it —JACQUELINE TERREBONNE

MATTIA GREGHI. STYLED BY DANIELA DE VITO

masterpiece: the Aria collection. The stem glasses, bowls, pitchers, and tumblers that make it up are all handblown in Murano at Nason Moretti. “We might be slower than other people,” she says with a laugh, “but we weren’t going to compromise on the result.” The outcome is a clear glass with a frosted hue that gradually fades into a selection of six shades, including cobalt, turquoise, Sisters Carla Sersale (left) and Costanza Paravicini. soft green, and a deep pink. “I love color, and Positano is colorful,” says Sersale. “I knew I wanted a clear glass, because you need to see what you’re drinking.” That level of dedication and precision runs in the family: Paravicini, who works with two of her four daughters at her company, Laboratorio Paravicini, creates

CARLA SERSALE

Clockwise from left: Frauke Meyer. Liaigre’s new Arpège sofa. The atelier’s Archer armchair. A studiodesigned interior in Bavaria, Germany.

Leader of the House

ust like the storied fashion houses of Paris, the legendary design maison Liaigre has recently passed from founder to apprentice. Now in her fifth year at the helm, creative director Frauke Meyer has begun to fully realize her dynamic vision for the future of the atelier. But don’t expect a bold divergence from the past—after spending almost two decades as protégé to founder Christian Liaigre, Meyer has a firm grasp of the revered brand’s design ethos. Developing her own take on Liaigre’s venerable style, Meyer looks to influences such as artists Eduardo Chillida and Don Freeman as well as fashion designer Dries Van Noten, fusing the inspiration they spark into unexpected new forms accented with subtle details. First and foremost is the recent introduction of the Arpège sofa, which marks a notable variation on the house’s more bespoke offerings. This relaxed, low-slung sofa invites

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lounging and has the flexibility to change shape by incorporating additional forms. “It can really be a kind of island—where you can read on it, play on it,” she says. “The piece is very timeless in a way but also quite contemporary.” Following the sofa, Liaigre will present a console table, lamp, stools, and lacquer trays, the latter offered in colorways that, Meyer shares, “will be a bit surprising for Liaigre.” In keeping with the firm’s tightly edited selection, fewer than ten new designs will be launched this year. Those, as well as earlier debuts—including the Nagoya desk, with its upswept edges reflective of Japanese architecture, and the Archer chair with natural leather accents on the arms— take direct cues from the custom residential and hospitality projects the firm conceives around the world. The studio of almost 30 designers continues to conjure those types of inspiring spaces, currently finishing up an 11-suite boutique hotel in Israel, a couple of yachts in Italy, and even an architectural gem of a house carved into the side of a mountain near Zurich. “Something I’ve learned in these last 20 years is how you build a project,” Meyer says, “and how you can really create something tailor made for a person, for a family, then create a story around it.” And while the tale of this enduring aesthetic lives on under her careful watch, that’s not to say the future won’t be filled with more elegant surprises. liaigre.com —JILL SIERACKI

CLOCKWISE FROM TOP LEFT: FRANÇOIS ROTGER; PAUL ROUSTEAU; NICOLAS HERON; MARC SEELEN

Liaigre’s creative director, Frauke Meyer, continues the brand’s legacy while forging her own

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Brigette Romanek imagines statement pieces in a den designed around an Amoako Boafo painting PRODUCED BY JACQUELINE TERREBONNE

BRIGETTE ROMANEK Comfortable environments that sparkle with intelligence and wit seem to come naturally to the ever-talented, Los Angeles–based designer Brigette Romanek. Since founding her firm, Romanek Design Studio, in 2018, she’s conceived unstuffy, art-filled homes for creative elites, including Gwyneth Paltrow and ballet dancer Misty Copeland, as well as a retail space for floral genius Eric Buterbaugh and a revamped Petit Trois for chef Ludo Lefebvre. romanekdesignstudio.com

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It’s a dream of mine to own a portrait by Amoako Boafo. His use of color is sophisticated and fresh. I see this work hanging in a 1940s wood-paneled den, where you can be pulled in and enveloped by the experience” Artwork: Joy in Purple (2019) by Amoako Boafo, auctioned at Phillips in July 2020. Clockwise from top: 1461 ceiling light by Epoca Lampadari; 1stdibs.com. Homage to the Square rug by Josef Albers; christopherfarr.com. Split sofa by Emmanuelle Simon; theinvisiblecollection.com. Pacha lounge chair from Gubi; gubi.com. Eole floor lamp by Pierre Augustin Rose; theinvisiblecollection.com. Barth stool by Le Berre Vevaud; theinvisiblecollection.com. Adegio sculpture by Nicholas Shurey; gardeshop.com. 50

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ARTWORK: COURTESY OF PHILLIPS. PORTRAIT: YE RIN MOK. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF 1STDIBS; COURTESY OF CHRISTOPHER FARR; COURTESY OF THE INVISIBLE COLLECTION; COURTESY OF GUBI; COURTESY OF THE INVISIBLE COLLECTION (2); COURTESY OF GARDE

Portrait Perfect

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An arrangement featuring delphiniums, ranunculus, zinnias, goldenrods, and cornflowers. Below: A composition of pink, fuchsia, purple, and blue from the book.

The couple behind Putnam & Putnam conjure fantastical floral creations that break the mold

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FROM TOP: COURTESY OF PUTNAM & PUTNAM; COURTESY OF PHAIDON PRESS (2)

True Colors

lowers are a language around the world,” says Darroch Putnam, one-half of floral arranging duo Putnam & Putnam. “We’ve traveled from South America to Europe to Asia, and going to flower markets is always such an opening to the culture that’s there.” In 2018, Darroch and husband Michael released their first book, Flower Color Guide, an encyclopedic volume encompassing some 400 species of blossoming plants broken down by availability, hue, and texture, among other attributes. Now the Putnams, who are based in Brooklyn but are riding out the pandemic in West Hollywood, are releasing a follow-up called Flower Color Theory (Phaidon), which builds on that baseline knowledge. “It’s not a how-to book,” says Darroch. “There are a ton of straightforward, frontal shots that play with compositions.” Indeed, the vivid tome is chockablock with artful vignettes that span the entire spectrum, with each creation helpfully accompanied by a corresponding color bar. The dazzling configurations feature not just familiar blooms like tulips, daffodils, and peonies but also unorthodox flora such as asparagus spears, stalks of wheat, and succulent kumquats. “I try to mimic nature in my compositions,” explains Michael. “Concentrations in the wild are not symmetric— they’re always in clusters.” Both agree that the chief goal of the new work is to encourage readers to drop their limited view of certain colors and specimens. “I’ve had people ask for ‘masculine’ arrangements,” recalls Michael. “But what does that mean? The world is moving past that old-school way of thinking. Why can’t men enjoy beautiful peonies?” phaidon.com —GEOFFREY MONTES

SECTION

Bright Outlook Known for her singular style and ceaseless innovation, designer Kelly Wearstler is filled with ideas, inspiration, and insight

From top: Kelly Wearstler in front of a mural created with her California collection for Farrow & Ball. Tom Ford Tallulah sunglasses. Staged in the soon-toopen Proper hotel in L.A., a vignette anchored by her color called Palm.

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hen it comes to pushing boundaries, Los Angeles– based designer Kelly Wearstler knows no limits. The residences, boutique hotels, and shops she realizes continue to inspire with their elegant irreverence and infectious pop sensibility, while her comprehensive product line, ranging from lighting to rugs, allows anyone to bring home some of her West Coast cool. Now she’s partnered with Farrow & Ball for the California collection, the first-ever collaboration for which someone outside the company has created colors in its 75-year history. Here, she shares the details behind her new project as well as her diverse array of influences. Color is a big part of my life and my design vocabulary. I’ve been using Farrow & Ball forever and appreciate their products’ depth and dimensionality. When I visited their factory in Dorset in the English countryside, I saw firsthand their thoughtfulness to how their paints are made, how the colors look in different light. Plus, how they don’t use any toxic chemicals was important to me. California is such an icon for design, so bringing that sunshine and optimism to the world through this palette is really special. When we envisioned the hues, I looked to the things around me here. The sand at the beach, the salt air, the tar from the freeway, the haze over the ocean in the morning. Sand and Salt are a particularly compelling pairing; I love how they’re able to bring such dimension in a room while providing an overall neutral tone. Together they have quiet power. Furniture, lighting, objects, and textiles account for a great deal of my studio’s practice. Our new products for spring have more color than our usual neutrals and metallics. We’re even doing marble pieces in a broader palette. It’s important that you can’t tell when a space was conceived. Designs that are all what’s-trending-now get dated. I love discovering new artists and artisans while things that are vintage have soul and

CLOCKWISE FROM TOP: COURTESY OF THE ARTIST AND SIKKEMA JENKINS & CO., NEW YORK; THE INGALLS; COURTESY OF KELLY WEARSTLER (2); ERIC PIASECKI. OPPOSITE, COUNTERCLOCKWISE FROM TOP: TREVOR TONDRO (2); COURTESY OF SAKS FIFTH AVENUE

can be given a fresh spirit. That combination results in a timeless quality because of the balance between new and old. When a client has a great art collection, we make sure the room showcases the art. From the very beginning, we’re planning for the right space and proper lighting. There are so many artists I admire. Sheila Hicks is a huge inspiration for me. Her large-scale works playing with texture, palette, and composition are among my favorites. Also, I find the forms in Louise Bourgeois’s sculptures and prints really striking. I’m fascinated by how she experimented with graphics, color, and techniques. I’m incredibly influenced by fashion. I make it a priority to track down local vintage stores whenever I travel and am a big fan of A Current Affair’s pop-ups around the world. A favorite look of mine combines a vintage Yves Saint Laurent leather trench and Celine gold-link chain with a Magda Butrym blouse, Re/Done denim, Tom Ford sunglasses, and Off-White boots. There’s something old and something new. It’s how I dress and how I design. I love working on kitchens. People are really cooking at home more, so it’s important to have a kitchen that’s completely dialed in with all the latest technology and enough space to be productive. I’m a crazy organizational person. This year, I’ve become more adventurous and experimental with cooking, but my family’s favorite meal is still a classic chicken and pasta dish. I use sun-dried tomatoes, pesto, and fresh herbs picked from my garden, which bring bursts of flavor to a traditional recipe. Nothing is more exciting than going to a hotel I’ve done and seeing people in the lobby having meetings, hanging out, and enjoying lunch. The Proper hotels are fiercely local in their concept. We work closely with nearby galleries, artisans, and fabricators, so it has that regional hand. I’ve been traveling within the U.S. I did a road trip with one of my sons this summer. We went to Utah and through the canyons. Everywhere you go there’s something to be inspired by that can evolve into an idea. kellywearstler.com —INTERVIEW BY JACQUELINE TERREBONNE

Clockwise from top: Linen Contained (2002) by Sheila Hicks. A room designed by Wearstler. The designer on a road trip in Utah. A glamorous kitchen she conceived. Onda side table from her collection.

Greek Revival

t’s often the landscape that presents the greatest inspiration to architects, but at Kalesma, a new boutique hotel on Mykonos, Greece, its location provided too much of a good thing. Situated on a plateau with sunrise views to the east and unobstructed vistas of the ancient landmark Delos to the west, the resort needed to transform a breathtaking setting into an even more remarkable one. “It’s a big responsibility— how can you make something already beautiful even more so?” says architect Dimitris Karampatakis, cofounder of K-Studio. “The site gave us so much easy decision-making—how to enter it, where to look, how to hierarchically place things. It was telling us on its own what to do.” Kalesma is so naturally sited, it seems as if the famed

Each of Kalesma’s suites and villas comes with its own heated plunge pool. Above: Rick Owens’s Curial chair (left), Double Bubble sofa, and Brazier tables displayed in the reception piazza. 56

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winds of Mykonos guide visitors directly to its front door, where a reception piazza has been artfully arranged with a selection of Rick Owens furnishings, making this the first hotel in the world to feature his pieces. Interior designer Vangelis Bonios, founder of Studio Bonarchi, sourced the Double Bubble sofa, Brazier tables, and Curial chair directly from Owens’s studio in Paris, working with his wife, Michèle Lamy, to select unique furnishings for Kalesma. “Rick Owens’s magnificent furniture expresses the same idea as the interiors themselves—brutal forms dressed up in rough, authentic materials,” says Bonios. The resort’s 25 suites and two villas are designed in a similar “primitive, Cycladic, chic” style, says Bonios. Furnishings are custom made by Greek craftsmen, while artwork by Serbian talent Aleksandar Vac completes the neutral living spaces, which provide a serene backdrop for the unparalleled views of the Aegean Sea. In a departure from the typical vivid white and cobalt blue found in Grecian resorts, the team chose a darker assortment of colors offset by creamy shades inspired by the distinctive hues of the country’s granite and traditional limewashing. Stone was pulled directly from the site to create the exterior, which is accented by wood pergolas and doors finished with the Japanese wood-burning technique yakisugi, which was customary in the production of Greek fishing boats. “We wanted to add a new kind of palette on our island,” says Bonios. “It’s a contrast between the Greek white and the dark-brown patinas that reflect an elegant refinement.” kalesmamykonos.com —JILL SIERACKI

COURTESY OF KALESMA

Kalesma, the newest resort on Mykonos, melds the sophisticated edge of Rick Owens with traditional local craftsmanship

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Michael Carson May 6-22 New York

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HERGÉ, LE LOTUS BLEU (1936) Sold at Artcurial Paris (January 14) A cover illustration by the Belgian cartoonist, famous for his Adventures of Tintin series, recently set a record for the most expensive comic book art when it commanded €3.2 million ($3.8 million). The unique rendering, in Indian ink, gouache, and watercolor on paper, was deemed too costly to reproduce so Georges Remi (Hergé was a pen name) reportedly gifted it to his publisher’s young son and created a simpler version for mass production.

On the Block BY JEANNIE ROSENFELD

VLADIMIR KAGAN, CONTOUR ROCKING CHAIR (CIRCA 1955) Sold at Phillips New York (December 9) This striking example of Vladimir Kagan’s iconic furniture design, in walnut and embroidered fabric, marks a rare collaboration with his wife, British-born needlepoint master Erica Wilson. Combining sculptural elements and an exuberant floral textile, the chair is an extraordinary piece of midcentury-modern craft, which helps explain the $132,300 it achieved against a $10,000 to $15,000 estimate.

AMY SHERALD, THE BATHERS (2015) Sold at Phillips New York (December 7) The Baltimore-based artist, who rose to fame with her 2018 portrait of Michelle Obama, is celebrated for documenting the modern-day Black experience with her nearly life-size stylized portraits of African Americans. Opening the contemporary art evening sale, this double portrait—only her second work to ever come to auction— soared to a record $4.3 million, shattering its estimate of $150,000 to $200,000, after 15 minutes of intense bidding.

MERCURY COUGAR CONVERTIBLE XR-7 (1969) Sold at Bonhams London (December 16) This seductively powerful muscle car was specially ordered for the James Bond film On Her Majesty’s Secret Service, in which Diana Rigg, who died last year at 82, played the vehicle’s owner, Contessa Teresa “Tracy” di Vicenzo. Fitted with a chrome ski rack for its leading lady’s trendy Kneissl skis, the automobile brought £356,500 ($487,900), more than double the expected £100,000 to £150,000.

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CLOCKWISE FROM TOP LEFT: COURTESY OF ARTCURIAL; COURTESY OF PHILLIPS; COURTESY OF BONHAMS; COURTESY OF PHILLIPS

Rare examples of art, furniture, and design netted noteworthy sales that far exceeded their estimates

MIKE VAN TASSELL

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Scents of Self

Clockwise from top: A Christophe Tollemer– designed flacon. The new Beverly Hills Henry Jacques boutique. A selection of the company’s scents. Anne-Lise Cremona.

Beloved by fragrance insiders, Henry Jacques opens its first U.S. atelier, filled with exclusive new parfums

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fragrances remains at the heart of the brand, but Cremona has broadened the scope by introducing Les Toupies, scent pairs created to harmonize with each other or stand on their own, which are housed in elaborate flacons conceived by Tollemer to embody their essences. Like other worldwide storefronts, the Beverly Hills boutique claims its own regional exclusives. Bonjour for Men—a fougère leather scent with aromatic notes of pine needle, clove, and tobacco—has an undeniably California-style brightness to its elegant formula. Meanwhile, Rain Lady, a woodsy floral with notes of freesia, orange blossom, jasmine, and sandalwood, has a misty, almost cinematic quality that conjures an allée after an afternoon rain shower. “As with a beautiful painting, you have this depth,” says Cremona, “and that’s exactly what we have in the composition of our perfumes.” parfumshenryjacques.com —DANIEL CAPPELLO

COURTESY OF HENRY JACQUES

here’s no art that’s as complicated as perfume,” says Anne-Lise Cremona, CEO of the French haute parfumerie Henry Jacques, “and there’s no art also that’s as intimate, as emotional, as perfume.” Cremona has accumulated a lifetime of expertise in the art of high-end scents, which she is now sharing with the world as she steadily opens the doors of a handful of remarkable boutiques. The latest retail debut, in Beverly Hills, marks the first location for Henry Jacques in the U.S. Designed by the brand’s artistic director, architect Christophe Tollemer, the atelier captures the spirit of a classical 19th-century French apartment, with solid old oak walls and chevron-pattern floors. A sculptural Bianca chandelier by Porta Romana dangles from the matte gold ceiling. An arresting display of flasks, beakers, and other containers pays homage to the company’s original laboratory in Grasse, France, where Cremona’s father, Henry Cremona, established the exclusive maison in the 1970s. Decorative recesses showcase handblown crystal bottles filled with fragrances from Les Classiques de HJ, a selection of 50 signature scents handpicked from a library of over 3,000 created throughout Henry Jacques’s history. Here, shopping is almost secondary; a visit is meant to be an act of exploration filled with hidden cabinets, secret drawers, and a double-sided leather display chest. “You enter another world, and you discover surprises,” says Cremona. A decade ago, Henry Jacques was more of an insider’s club, producing bespoke creations for private clients. The tradition of sur mesure

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Lost In Translation Louise Galea

The Other Art Fair Sydney Australia March 18 - 21

Living History

Buying an architectural landmark comes with its own unique checklist of considerations

urchasing a trophy residence masterminded by a major architect like Frank Lloyd Wright, Philip Johnson, or Paul Rudolph is far from a standard real estate transaction. “Architecturally significant properties increase in value more like a piece of art than a normal home,” says Gerard Bisignano of Vista Sotheby’s International Realty. He would know: Based in Southern California, Bisignano has sold iconic dwellings by Pierre Koenig, Thom Mayne, and Ray Kappe—and is currently marketing Richard Neutra’s stunning Kaufmann Desert House in Palm Springs for $25 million. “These landmarks are very special. They resonate deeply with people.” Built in 1946, the Kaufmann residence is an icon of midcentury modernism, famously immortalized by photographers Slim Aarons and Julius Shulman. By the time the current

owners bought the estate in the ’90s, however, the home was in disrepair. The couple enlisted architecture firm Marmol Radziner for a historically accurate overhaul. After a painstaking five-year process—which took the team to Missouri and Utah in search of original materials—the structure was awarded the highest historic classification by the city of Palm Springs, which considerably reduced the tax burden. “For that price in California, you would expect to pay hundreds of thousands a year in property taxes,” says Bisignano. “But because of the designation, it’s only around $9,000.” While the cost to revive one of these landmark properties can be significantly more, the investment can be financially beneficial in the long run, as architect Lee Ledbetter learned firsthand after acquiring and meticulously restoring a 1963 New Orleans home by Nathaniel C. “Buster” Curtis Jr. of Curtis and

Richard Neutra’s Kaufmann Desert House, on the market for $25 million with Gerard Bisignano of Vista Sotheby’s International Realty.

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CLOCKWISE FROM TOP: ANTHONY BARCELO; DAN MILSTEIN; COURTESY OF @PROPERTIES; PIETER ESTERSOHN. OPPOSITE: DANIEL SOLOMON

Davis Architects, which designed the city’s iconic Superdome. “It varies by state, but you can deduct a certain portion of your construction costs if the house is landmarked or in a landmark district,” he explains, noting that such designations also govern the extent to which a structure can be altered. “One of the most important things for someone to know before buying is what the restrictions are in terms of renovations.” This is especially crucial because each State Historic Preservation Office (SHPO) and local preservation body has a different process. “Every reviewing agency has a distinct culture,” says architect Ashley R. Wilson of the nonprofit National Trust for Historic Preservation. “The best advice is to work with the agency as soon as changes and designs are being discussed so they can guide the owner through the preplanning and design phases.” For his part, Ledbetter advocates a light touch. “I always encourage people to work with what’s there, respect what’s there, and celebrate that,” he says. “Otherwise, why buy the house?” —GEOFFREY MONTES

“

rchitecturally significant properties increase in value more like a piece of art than a normal home” GERARD BISIGNANO

Clockwise from top: A neoclassical manse by Wallace Neff in Los Angeles, listed for $13.7 million with Douglas Elliman. Julia B. Fee Sotheby’s International Realty recently sold this Marcel Breuer masterpiece on the Hudson River. Frank Lloyd Wright’s Heller House in Chicago is listed for $2.2 million with @Properties. The 1963 Nathaniel C. “Buster” Curtis Jr. home renovated by Lee Ledbetter.

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Earthly Delights

Tony Ingrao and Randy Kemper’s East Hampton home includes several outdoor areas designed for alfresco entertaining.

year-round outdoor oasis has quickly become one of the most in-demand areas for homes—and not just for vacation getaways. But cultivating these inspired spaces comes with a unique set of considerations. Beauty and comfort must take into account weather conditions, sun and shade, and a host of other hurdles that arise once outside a climate-controlled bubble. “If there’s one thing that we’ve learned from this year, it’s how much we appreciate being in our outdoor spaces,” says designer Tony Ingrao. “Clients are looking for outdoor furniture large enough for many. We are seeing more lighting powered by solar energy. Ultimately, we are all looking to maximize our space.”

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GENEVIEVE GARRUPPO

Designers share how to cultivate enchanting exterior spaces with welcoming seating areas, lush plantings, and evocative lighting

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Sawyer|Berson principal Brian Sawyer used a trellis on this Fifth Avenue terrace to offer privacy and provide an elegant way to filter the sunlight.

Borea garden sofa by Piero Lissoni for B&B Italia; bebitalia.com

FURNITURE

Laurel Canyon rug by Shore Rugs from The Future Perfect; thefutureperfect.com

When it comes to selecting the furnishings, flexibility is paramount. “I don’t get a set of furniture that matches,” says Martyn Lawrence Bullard. “I like to find individual pieces, which give you the ability to move things around, change things up, and really make it your own. You can go from casual dining, like plates on a coffee table, to a formal dinner to a barbecue cocktail hour with the use of furniture that’s more movable, pliable, and a bit more interesting.” In a poolside setting, Celerie Kemble advises having more chaises than you need to capture the sun at different times of the day; otherwise, your guests will be lugging seating from here to there. “That much symmetry can look beleaguered inside a house, but outside there’s a really good purpose for it,” she says. Weather is a driving force in choosing items that will live in the elements. For a retreat in the Dominican Republic, Juan Montoya combined a built-in concrete bench dressed up with ample cushions alongside rattan chairs and pillows that can swiftly be packed away. “If it’s a tropical environment, you should be able to really connect with the outside in a way so that you’re able to forget about formality and yet be elegant and really live a fantasy,” says Montoya, who featured the property in his new book, Designing Paradise (Rizzoli). 66

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Lodge cabana by Gloster; gloster.com

Alacran chaise by Luteca; luteca.com

CLOCKWISE FROM TOP LEFT: COURTESY OF DEDON; COURTESY OF PAVILION FURNITURE; COURTESY OF M C KINNON AND HARRIS; FRANCIS AMIAND; COURTESY OF ROCHE BOBOIS. OPPOSITE, CLOCKWISE FROM TOP: WILLIAM WALDRON; COURTESY OF GLOSTER; COURTESY OF LUTECA; COURTESY OF B&B ITALIA; COURTESY OF THE FUTURE PERFECT

“I like to find individual pieces, which give you the ability to move things around, change things up, and really make it your own. MARTYN LAWRENCE BULLARD

Swingrest hanging lounger by Daniel Pouzet for Dedon; dedon.de

Marina armchair by Richard Frinier for Pavilion; pavilion-furniture.com

Couper backless bench by McKinnon and Harris; mckinnonharris.com

Monaco-based design firm Humbert & Poyet created this beachside bungalow complete with a retractable rattan curtain and an outdoor piano.

Informel armchair by Roche Bobois; roche-bobois.com

Urban environments have their own set of challenges, as lightweight furniture can easily become airborne in a wind gust. For a city terrace, Sawyer|Berson principal Brian Sawyer advises against most wood furniture, which will absorb soot and require constant upkeep. Instead, he suggests heavy-duty McKinnon and Harris aluminum pieces, while RH and Weatherend Estate Furniture are also pioneering durable finishes that can withstand anything. However, people shouldn’t be so concerned about function that they overlook the fun. “One of the things people forget is the option to think as a collector and an antiquarian when they’re outside,” says Kemble, whose new book, Island Whimsy: Designing a Paradise by the Sea (Rizzoli), features a variety of playful settings around her tropical property, Playa Grande. At the resort, she combines refurbished Victorian wicker and vintage spun-resin furniture with antiques like colorful garden stools that do double duty as seating and impromptu cocktail tables. “Often people are so focused on new and technical that they miss the opportunity for something that has soul and spirit.” GALERIEMAGA ZIN E .COM

Dine Out terrazzo table by Rodolfo Dordoni for Cassina; cassina.com

Chopstix side chair by Paola Navone for Janus et Cie; janusetcie.com

Sonoran side table by Holly Hunt; hollyhunt.com

Martyn Lawrence Bullard conceived this Bali-inspired home in Malibu, which features large doors for a seamless flow between the indoors and out.

OUTDOOR DINING In the COVID era, creating more niches for outdoor entertainment has been on almost every client’s wish list. Bullard has seen an uptick in requests for dining cabanas, Brooke and Steve Giannetti are building more outdoor screening spaces with radiant floor heating, and Montoya is currently at work on a Hudson Valley home’s firepit that seamlessly blends with nature. “A big request is to have diversity in the outdoors,” says Emil Humbert, whose Monaco-based firm, Humbert & Poyet, has even gone so far as to install a piano outside a beachside cabin. “Now people are asking for a reading corner or a place for meditation. We are doing a house near Provence, and they asked for five different dining areas.” “We have two areas we like for dining outside,” says Ingrao of the East Hampton estate he shares with Randy Kemper. “One is under an antique dome; the other is in our lily pad garden, where we have a pergola and a dining table that seats 14.” At her Hamptons home, Charlotte Moss used a mix of flora and furniture to define moments Lorem ipsum caption tk in throughout her three acres. “I have benches everywhere, but you can’t see them because they’re auf de crescis nunc different parts of the garden,” says Moss, whose latest book, Charlottecrecis Moss Flowers (Rizzoli), is out this obdurat ipsum semper spring. “There’s a Regency bench in my obelisk garden and a bench nearcrescis my husband’s putting auf dei cres tempore brumal nunc area, at the end of my allée, and in the kitchen garden. It’s really about hospitality, inviting people to obdurat uncurate nobilis those places and just giving them a place to pause or go hide.” pacem. Novus domice hir 68

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Desmond occasional chair by Palecek; palecek.com

Lawrence dining table by FBC London; fbc-london.com

FROM TOP: COURTESY OF FISHER WEISMAN; COURTESY OF MADE GOODS; COURTESY OF RH; COURTESY OF KINDRED OUTDOORS & SURROUNDS; MIGUEL FLORES-VIANNA. OPPOSITE, FROM TOP: ROGER DAVIES/OTTO; COURTESY OF CASSINA; COURTESY OF JANUS ET CIE; COURTESY OF HOLLY HUNT; COURTESY OF PALECEK; COURTESY OF FBC LONDON

LIGHTING While every designer has their own sense of exterior style, one thing they universally agree upon is that you should never see the source of lighting. Bullard frequently utilizes small hanging fixtures called moonlighting to illuminate trees from within. Steve Giannetti, too, uses a combination of lanterns and concealed ground-level lighting to spotlight the canopy of a tree to ethereal effect. “It looks like the light is coming from this natural source. Plus, when it’s dark outside, you don’t need very much light to make it work,” he says. Candlelight gets high marks for an evening dinner table; fireplaces can also create a romantic glow. Pamela Shamshiri often sources materials found in nature for an authenticlooking fire area. “We never want our design to look forced,” says the Studio Shamshiri design principal. “We carefully consider the surrounding landscape and choose our finishes in keeping with the environment and what will patina well.” No matter where you’re creating an outdoor space—at the beach or high above the city, in the Palm Springs desert or hidden in a Pacific Northwest woods—the magic is in the mix. “There is something lovely about the juxtaposition of rustic and refined; they complement each other really nicely,” says Brooke Giannetti. “We’re all searching for some sort of connection to nature. The goal is to walk outside and just feel at peace.” —JILL SIERACKI In this open-air entertaining area, Juan Montoya mixed resilient materials with cushions that can be packed away in bad weather.

Crown lantern by Fisher Weisman; fisherweisman.com Evander pendant by Made Goods; madegoods.com

Heatsail by Studio Piet Boon for RH; rh.com

Infinite fire bowl by Kindred Outdoors & Surrounds; mykindredliving.com

Kenneth Noland, Sand Glass, 1983. Est. $100,000-200,000. The Estate of Violet Werner, Palm Beach. Auction March 17.

We Invite You to Auction! Discover the advantages of buying and selling at Doyle Visit Doyle.com or call 212-427-2730

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Creative MINDS

We salute today’s creative luminaries, the trailblazers who dare to dream big and push the boundaries of their respective fields to new heights. From architecture to jewelry, cuisine to design, this diverse group of exceptional talents from around the world has risen to the challenges of the past year to make a positive impact. Their inspiring work reveals what it takes to shake up the status quo, while often tackling meaningful issues such as equality, sustainability, and cultural recognition. BY GALERIE EDITORS

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Creative MINDS

SHAUN LEANE

The daring yet elegant designs of British avant-garde jewelry designer Shaun Leane are memorable and unmistakable. “I design with an intention to tap into human emotion,” says Leane, who introduced a new monograph and an online selling exhibition with Phillips auction house in the fall. “When somebody sees or wears my work, I hope for it to trigger a part of them. For me, that is the beauty of jewelry; it’s a constant memory of the journey.” Trained as a traditional goldsmith, Leane started out restoring antique pieces, but it was his nearly two-decade-long collaboration with the late fashion designer Alexander McQueen that produced some of his most radical creations of wearable art, including a corset with 97 aluminum coils and a Swarovski crystal–studded yashmak inspired by the traditional Muslim veil, versions of which are now in the collections of the Metropolitan Museum of Art and the Victoria and Albert Museum. PROUDEST CREATION: The Contra Mundum (Against the World), an 18K-white-gold glove with diamonds that Leane conceived for Daphne Guinness in 2010. He worked with three craftsmen for four years to complete the piece, which bridges the gap between couture fashion and high jewelry. “Portraying both an evening glove and armor, it balanced something so formidable and so delicate,” Leane says. The piece sold at Sotheby’s in 2017 for $312,500. shaunleane.com —LUCY REES

JOHNNY ORTIZ

Can a gourmet meal transcend its ingredients to become a work of art? In the hands of Johnny Ortiz, the answer is yes. Blending his culinary skills, developed at Saison in San Francisco and Alinea in Chicago, with an intense desire to share his family’s cultural history on the Taos Pueblo, he launched /Shed, a 14-course dining experience that truly is more performance art than restaurant. Ortiz produces every element himself, including raising and harvesting the ingredients. Additionally, he crafts all the tableware and even carved the table from a fallen redwood tree. PLATING TECHNIQUE: “Each pueblo has its own pottery culture; micaceous clay is what Taos is about. I cook in that clay and make all the service ware from it, too. When COVID started, I shifted into making ceramics and now sell them online.” UP NEXT: From March 17 through April 10, Ortiz has a residency at the Stone Barns Center in New York. Plus, he’s moving /Shed from a dance hall to his farm about an hour outside the city, where he restored a 100-year-old adobe by hand during the pandemic. shed-project.com —JACQUELINE TERREBONNE

From left: Foraging for New Mexico chanterelles. A dish of native flowers, fresh honey, piñon nuts, and white corn in one of Johnny Ortiz’s micaceous clay bowls. The chef on the property he farms.

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CLOCKWISE FROM TOP: COURTESY OF SHAUN LEANE; EDWIN S FREYER; DOUGLAS MERRIAM; JOHNNY ORTIZ; DOUGLAS MERRIAM. OPPOSITE, CLOCKWISE FROM TOP LEFT: WILLIAM WALDRON; TREVOR TONDRO; COURTESY OF ATELIER MASŌMĪ; JAMES WANG; MAURICE ASCANI

Yellow sapphire and cognac and white diamond Thorned Branch necklace with detachable pendant by Shaun Leane (right).

Märchen wallpaper by Nicole Fuller (right) for Fromental.

NICOLE FULLER

There’s no stopping Nicole Fuller. Known for her ability to mix art and interiors, the designer continues to build her roster of fabulous clients, which includes Steven Klein and Questlove. Additionally, she’s taken on some very high-profile hotel projects. “We’re reimagining the Bryant Park Hotel, which hasn’t been renovated in 20 years,” she says. “Being a New Yorker, it’s a dream come true to work on such an iconic building.” Fuller also has signed on to design locations for the Arts District Hotel brand, the first of which will open in Los Angeles followed by Shanghai. Each property is based around art, history, and the cultural community, and will be enlivened by an artist-in-residence program. COLLABORATIVE EFFORT: Fuller applies her energetic creativity to a wide range of collaborations. Most recently, she launched her first wallpaper collection, an homage to Cy Twombly, with Fromental. In February, she introduced her second set of styles with the Rug Company, inspired by Lamu Island in Kenya. She’s also working on her first outdoor furniture collection with Sutherland along with fabrics for Perennials for late 2021 and has existing lines with Ann Sacks for terrazzo tile and stationery with Dempsey & Carroll. nicolefullerinteriors.com —J.T.

“What I do in my work is not so much reinterpret traditional architecture but rather learn from it”

MARIAM KAMARA

Hailing from Niger, fast-rising architect Mariam Kamara mines the West African nation’s rich architectural legacy for inspiration, focusing on the Sahel region. “What I do in my work is not so much reinterpret traditional architecture but rather learn from it and see which of those lessons still apply today,” says Kamara, who founded her firm, Atelier Masōmī, in 2014. BUILDING BLOCKS: Kamara aims to address the country’s housing shortage in an eco-friendly way. The first model dedicated to that purpose was completed in 2016 and features passive cooling elements and bricks made of local earth.

PHOTO CREDIT TK

MODEL MENTOR: Kamara was paired with David Adjaye as part of the Rolex Mentor and Protégé Arts Initiative. “Spending time with Sir David has made me appreciate the generosity and humility that it takes to lead as well as the importance of working toward a higher ideal,” she says. UP NEXT: Among Atelier Masōmī’s latest projects is Artisans Valley, a public promenade in Niamey, Niger, that prioritizes local makers. Kamara also recently revealed renderings for an innovative cultural center in Niamey. “I wanted a place where the community would feel seen, where they could enjoy the arts without feeling too intimidated to engage with a typology that often comes off as elitist.” ateliermasomi.com —GEOFFREY MONTES

Mariam Kamara. Left: Projects in Dandaji, Niger: a regional market (top) and community center.

MINDS

Villa dei Misteri #1, Pompeii, Italia (2017) by Robert Polidori (below).

ROBERT POLIDORI

Robert Polidori can capture the passage of both millennia and moments with just a click of his camera. Most widely recognized for his Versailles series, which has documented four decades of restoration of the famed palace, the Canadian American photographer has a gift for finding hidden stories in stillness such as in the decaying buildings of Havana and the haunting destruction in New Orleans after Hurricane Katrina. He chooses his far-flung subjects “by falling in love with them for various reasons,” he says. Having “spent the better part of 40 years on the road,” Polidori has used this time during COVID-19 for “reviewing and putting order through my work and by this process attempting to understand what it was that I lived through and trying to understand some unity of it all.” This spring, Kasmin gallery hosts the North American debut of his latest series: a study of the ancient frescoes of Pompeii. In his signature form, each image leaps off the wall, begging for exploration and examination far beyond its striking beauty. HERE TO ETERNITY: “I was taken by the fact that for paintings done nearly 2,000 years ago, the iconographic representational style in Pompeii seems so modern. The mythic subject matter is foreign to us, but the painterly style has an Art Deco look to it. Strangely enough, the faces of the figures look like people I could have seen somewhere last week.” ARTIST’S VIEWPOINT: “These frescoes have faded somewhat in 2,000 years. Seeing their images represented on film differed from what they looked like in my memory of them. I felt compelled to digitally restore them somewhat in order to make them be perceived correctly by a viewer.” kasmingallery.com —J.T.

MARC FISH

Furniture designer Marc Fish has a way with nature. His latest series, crafted from paper-thin sycamore veneers and poured resin, transcends weight and materiality. Aptly called the Ethereal collection and recently named one of the top contemporary designs at Design Miami/, it combines two ingredients not frequently mixed to produce a new material that defies explanation. “We wanted something that was clean, stripped back and simple, slightly minimal, elegant, sophisticated—all of those adjectives in one piece of work,” says Fish. “It’s always organic. It’s always very fluid and has energy to it.”

Ethereal drinks cabinet by Marc Fish (left).

LEARNING CURVE: “I saw the work of John Makepeace about 20 years ago, and I really liked what he was doing,” says Fish, who wrote to the artisan to see where he might learn his technique, only to find Makepeace had closed his school years prior. Now Fish runs the Robinson House Studio, a roughly yearlong program for 15 students from around the globe who study traditional cabinetmaking and metalcraft as well as contemporary techniques like 3D printing and laser cutting. RAISING THE BAR: “We joke that we pick the hardest project to make, and it’s almost a challenge to think of the hardest thing,” says Fish of the studio’s new curvilinear Ethereal drinks cabinet and bar. “You do one thing, and it leads to something else. Now we’re doing a new series of Ethereal lights.” marcfish.com, toddmerrillstudio.com —JILL SIERACKI 74

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FROM TOP: COURTESY OF THE ARTIST AND KASMIN; PETER KEYSER, COURTESY OF THE ARTIST AND KASMIN; COURTESY OF TODD MERRILL STUDIO, NYC (2). OPPOSITE: NIGEL SWANN, COURTESY OF NIAMH BARRY.

Creative

“A part of that process I went through was really exploring color in a way that I never have before” NIAMH BARRY

Lighting designer Niamh Barry with one of her recent works, Hanging Hull.

NIAMH BARRY

An early adopter of LED technology, lighting designer Niamh Barry makes fixtures that re-create the warm, golden glow of fire. “I work at a color temperature of 2,700 Kelvin, which is the same color as an open flame,” says Barry from her studio in Ireland. Three decades after creating her first light sculpture—a piece that utilized actual candlelight— Barry is continuing to reinterpret her more recent Artist’s Hand design, which translates a free-form sketch into a sinuous, three-dimensional bronze chandelier that appears to dance in midair. Meanwhile, she’s also experimenting with new geometric designs crafted with a visual heft. WEIGHTY MATTERS: Two years in development, Barry’s new series of fixtures is an evolution of her earlier works, Vessel Scape and Underneath. “It is about gravity, weight, and connectivity to the earth,” she says of the meticulously engineered pieces that will debut at Maison Gerard in March. “The forms are not absolutely, never before seen in my work. Everything is an evolvement. I’m constantly exploring, examining again and again, moving forward.” WHAT’S NEW: Works like Hull and Vertical Stacked represent Barry’s first forays into color. “A part of that process I went through was really exploring color in a way that I never have before,” says the artist. “I was working with neon. I was working with spray paint. I completely went for it; I didn’t hold back.” niamhbarry.com, maisongerard.com —J.S. GALERIEMAGA ZIN E .COM

Creative

ERICK WILLIAMS

Restaurants may have been one of the hardest-hit industries over the past year, but that hasn’t sent chef Erick Williams off course. If anything, these extraordinary times have made his commitment to the principles on which he founded his Chicago establishment, Virtue, even deeper. “From the beginning we’ve been about the humanity in people, and that’s extended to us staying open during the pandemic,” he says. “We launched a campaign to feed first responders. When we opened, we never imagined that we’d be feeding people in the ways we have.”

From left: Southern-influenced pork chop. Chef Erick Williams. The dining room at Virtue, designed by Steve Rugo.

NEW CLASSICS: “The menu is through the lens of a Black kid who grew up in the North but had a family from the South and then had culinary training in the world of fine dining.” DESIGN PLANS: Collaborating with architect Steve Rugo, Williams built a restaurant that reflects his design concept of a plain white box with an undercurrent of Southern heritage. Art also plays an integral part in creating the atmosphere with works by Theaster Gates and Amanda Williams on view. “It becomes a place that houses not just art on the walls but art on the plates. Food is the medium. It’s all interwoven.” virtuerestaurant.com —J.T.

“I think there is a calling in design about being of service” YVES BÉHAR Ocean Cleanup sunglasses by Fuseproject CEO Yves Béhar (right).

YVES BÉHAR

“I always believed that design should be diversified,” says Yves Béhar, whose San Francisco–based company, Fuseproject, concepted the Forme Life home gym and The Frame television, which doubles as an art platform. “I’m usually more interested in partnering on things that can be surprising. Often in these strange moments, I find you discover the bigger design opportunities that tend to be more game-changing.” TRASH TO TREASURE: “I think there is a calling in design about being of service,” says Béhar, whose Ocean Cleanup sunglasses are made entirely from recycled plastics; each sale helps fund removal of refuse from the Great Pacific Garbage Patch. “Rather than creating a distraction for us, I’m interested in technology becoming life supporting.” TELL THE TALE: In his debut monograph, Yves Béhar: Designing Ideas—Twenty Years of Fuseproject (Thames & Hudson), out May 25, Béhar shares insight into more than 60 of his creations, including the Sayl chair, which he pitched to Herman Miller’s head of design straight through an earthquake. “The storytelling within each project is really more a story of the meanderings,” he says. “I think it’ll be a good resource for somebody that wants to understand how designs are born.” fuseproject.com —J.S.

CLOCKWISE FROM TOP LEFT: COURTESY OF VIRTUE; NOLIS ANDERSON; BARRY BREICHSEN; JUSTIN BUELL; COURTESY OF THE OCEAN CLEANUP. OPPOSITE, FROM TOP: NICK GARCIA, COURTESY OF NATIONAL YOUNGARTS FOUNDATION; GENEVIEVE LUTKIN (2)

MINDS

Sarah Arison with $wagfuture 2812 by David Correa and Alberto Checa, both 2017 YoungArts winners in Visual Arts. The installation was part of the exhibition “IMAGINATIONLAND: Fantastical Narrative,” curated by Derrick Adams for Miami Art Week 2017.

SARAH ARISON

As the board chair of the National YoungArts Foundation, established by her grandparents Lin and Ted Arison in 1981, Sarah Arison represents the new wave of philanthropists who are using their position to address the issues of today. “The focus on the individual, not just institutions, is important to me,” says Arison, who took over as board chair of MoMA PS1 last year and became president of the American Ballet Theatre, in addition to serving on the boards of the Museum of Modern Art and Americans for the Arts. ON THE RISE: “I just bought a piece by Adam Amram, who received the Daniel Arsham Fellowship through YoungArts. Daniel was also a YoungArts winner, and now he’s a mentor. Watching the growth of these incredible people excites me, and then they become mentors to the next generation.” BUILDING COMMUNITY: “MoMA PS1 is focused on being artist-centric. We’re nimble and a smaller institution, so we can pivot quickly and take risks.” youngarts.org, moma.org —J.T.

LUCAS CANTÚ AND CARLOS H. MATOS

Lucas Cantú (left) and Carlos H. Matos in their Mexico City studio, which is filled with architectural models and maquettes (right).

The origin story of art and architecture studio Tezontle has roots in the mystical jungle of central Mexico, where the poet and Surrealist Edward James conjured a fantastical sculpture garden called Las Pozas. “We both grew up visiting this place when it used to be almost abandoned,” recalls Tezontle cofounder Lucas Cantú, who started the Mexico City practice with Carlos H. Matos in 2014. As adults, they returned to the site and formed a workshop with other architecture graduates to study James’s organic-inspired designs. “We were amazed by the low-tech craft and the roughness with which everything there was made.” DIGGING IT: Named after the reddish volcanic stone found in Mexico, Tezontle regularly plumbs the country’s archaeological sites to gather ideas for sculptural follies and maquettes. “Mexico’s pre-Hispanic history is quite unknown and mysterious,” says Matos. UP NEXT: Site-specific sculpture commissions and proposals for gallery and museum exhibitions, as well as a residence on the coast of Oaxaca and a temescal, or sweat lodge, in upstate New York. —G.M.

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Creative MINDS

ANDILE DYALVANE Andile Dyalvane with one of his creations.

“Visuals come to me in a dream state,” says South African ceramic artist Andile Dyalvane. “Not when I’m sleeping—but when I’m walking or talking.” This phenomenon is known in the Xhosa community as iThongo, which roughly translates to “ancestral dreamscape” and refers to the belief that messages are being transmitted from the forebearers. “They channel these symbols to me as a vessel to realize and bring others into the fold.” MEANINGFUL PROCESS: Using traditional coiling techniques, Dyalvane creates clay sculptural seats that are spherical or rounded at the base and then shapes the backrests into an array of symbols from his dreams. But even those unfamiliar with Xhosa culture can discover solace in the pieces. “You will find your own message that helps take you to the next level of your journey.” ON VIEW: The imagery from Dyalvane’s most recent set of visions—which occurred in the early days of the pandemic—has figured into his latest collection of stools, chairs, and benches, handcrafted in his Cape Town studio and on display from April 29 to May 22 at Friedman Benda in New York. The exhibition, appropriately titled “iThongo,” was first shown in Dyalvane’s rural village of Ngobozana, in the province of Eastern Cape. “The ancestors were telling me I needed to go pay homage to my community,” he says. Southern Guild, which represents the artist in South Africa, also hosted the show. friedmanbenda.com —G.M.

Clockwise from left: Brassica pendant ear clips with white and pink diamonds. Kephi padparadscha sapphire ring in 18K white gold. Neha Dani in her workshop.

NEHA DANI

For New Delhi–based designer Neha Dani, jewelry has the power to uplift. Launched late last year, her Kephi collection was inspired by the ancient Greek word kefi, a term used to describe joyfulness. “I strongly believe feeling and projecting positive energy helps one find internal strength and joy, and I bring this into my work and creations,” says Dani, who began by imagining what the notion of kefi might look like in material form before realizing the sculptures. Since launching her namesake brand in 2014, she has become one of the most acclaimed young talents, celebrated for her showstopping bijoux that masterfully blend the rich heritage of Indian culture and craftsmanship with an innovative, contemporary flair. UNIQUE PROCESS: Producing no more than 20 pieces a year, Dani crafts each one-of-a-kind jewel using painstaking, old-world techniques rarely seen today. “Wax carving grants complete freedom to transform abstract ideas into realized form,” says the artist, whose works take six months to a year to make. STANDOUT CREATION: The Amarante cuff, which was exhibited at Sotheby’s “In Bloom” exhibition in 2019, depicts 18 blossoming flowers wrapping around the wrist with 68 individually carved petals set with incredibly rare natural fancy pink diamonds. nehadani.com —L.R.

FROM TOP: BRICE CHATENOUD; CASTEL (3). OPPOSITE, FROM TOP: ADRIAAN LOUW, COURTESY OF FRIEDMAN BENDA, SOUTHERN GUILD, AND ANDILE DYALVANE; COURTESY OF NEHA DANI (3)

ARTURO ARITA

Floral designer Arturo Arita’s vibrant arrangements have adorned fashionable events at the Musée des Arts Décoratifs (displayed in a towering giraffe pedestal made by Vincent Darré, no less) and the Palais de la Porte Dorée. At the latter, Arita created head-turning centerpieces for a celebration toasting his rue Jean-Jacques Rousseau neighbor Christian Louboutin, whose Paris stores also showcase the florist’s bright blooms. Born in Honduras, he lived in New York before relocating to the City of Light. “Paris is a place that really allows you to express yourself artistically,” says Arita, who launched his own atelier in September 2019 in a Sophie Dries– designed space featuring plaster niches made for an ever-changing exhibition of plants, such as palm leaves and anthurium with feathers, fiery heliconia, or bulbous protea. BREAKOUT MOMENT: “The Palais de la Porte Dorée is really an Art Deco masterpiece. My work is structural, very linear, and exotic in a way, so it went really well with the surroundings. When you visit that place, it makes you travel, and with my creations, you also travel.” IN BLOOM: “I take pleasure in finding the vase, especially Murano glass,” says Arita, who launched an e-shop in February and is designing his own collection of vessels. “When it comes to my creations, I love something that’s structural, pure, with movement, while also following lines, so that in the end, it’s in harmony.” arturoarita.com —J.S.

Paris-based floral designer Arturo Arita. Below: An array of his expressive arrangements.

“I love something that’s structural, pure, with movement, while also following lines, so that in the end, it’s in harmony”

ARTURO ARITA

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Creative MINDS

Christopher Prinz with one of his floor lamps in a fabrication studio in Omaha. Below: A wrinkled chair in rainbow iridescence.

CHRISTOPHER PRINZ

Iridescent sheets of metal in attention-grabbing hues of blue, pink, and yellow are hallmarks of Christopher Prinz’s inventive work. A graduate of the Rhode Island School of Design, Prinz decided to return to Omaha after a brief stint in New York. While working in a fabrication shop in his hometown, he began experimenting with folding and bending techniques, initiating what would become his signature look. “I was really intrigued by how a thin piece of sheet metal can become rigid,” he says. “Working it with a hammer, wrench, or vice hardens it.” Building on his early iterations, Prinz began electroplating the surfaces with zinc, copper, and nickel, developing the metallic rainbow forms that caught the eye of Tribeca design dealer Patrick Parrish, who now offers his stools, tables, wall works, and lamps. DESIGNER DARLING: Prinz recently finished a console commission for Kelly Wearstler, Peter Marino has used several of his pieces in Louis Vuitton boutiques abroad, and Oliver Furth just installed a stainless-steel cocktail table in a California beach house. ALL IN THE FAMILY: “My dad, Thomas, was an artist and an architect, so I got exposure to the art and design worlds at a young age. Beyond that, I’ve always been interested in how things are made and manufacturing. I feel like I’ve settled right in the middle.” UP NEXT: “I’m at an interesting intersection and may do a 180—it would be fun to work with softer materials.” patrickparrish.com —J.T.

JOHN POMP

“Learning craftsmanship and to build useful things with your hands was all around me,” says glassblower and furniture designer John Pomp of his upbringing in Johnstown, Pennsylvania, where his father, a steelworker and carpenter, frequently made toys and other goods for their home. Passionate about fine arts from an early age, Pomp discovered glassblowing at the Columbus College of Art & Design. “I touched molten glass and I was like, Boom—this is what I’m going to do the rest of my life. It felt like all of my favorite things piled into one action, so I devoted my life to it.” NEW DEVELOPMENT: Just before the pandemic, Pomp purchased a 100,000-squarefoot building in Philadelphia that’s allowed him to artisanally produce every one of his designs, including his recent large-scale Tidal table; experiment with one-off art series; host a ceramics studio for his wife; and have an indoor skate park—all under one roof.

Radiant cascading pendants by John Pomp (right).

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LIGHT THE WAY: Contrasting with the volume of Tidal, Pomp’s debut LED collection, Radiant, consists of “small, illuminated cosmic puddles.” Modular and customizable, the pieces combine layers of tint and a reflective iridescent coating for a unique effect. “It’s starting to get me closer to my liquid-furniture dreams, coming back to my love for molten glass and reimagining the future all in one with that piece.” johnpomp.com —J.S.

CLAIRE CHOISNE

Clockwise from left: Plastron Émeraudes earrings. Chevalière Émeraude ring. Claire Choisne.

FROM TOP: COURTESY OF BOUCHERON (3); JEFF M C LANE. OPPOSITE, FROM TOP: ANNIE ALICE SCHENZEL; CHRISTOPHER PRINZ; MARTIN CROOK (2)

Boucheron may be the oldest high-jewelry maison on the prestigious Place Vendôme in Paris, but its latest collections are also the most avant-garde. That is all thanks to Claire Choisne, creative director since 2011. Last summer, she launched a 67-piece Contemplation collection, which sought to capture the ephemeral beauty of the sky. For the Goutte de Ciel (Drop of Sky) necklace, she worked with a scientist to encase aerogel, a material used by NASA to catch stardust. The inspiration came from lying beneath a James Turrell “Skyspace” on the Japanese art island of Naoshima. RESPECTING TRADITION: For Histoire de Style, launched in January, Choisne delved into Boucheron’s extensive archives from the Art Deco period. “I hope that no one will be able to tell which is old and which is new,” she says. “Couture is about creating something that is forever. It should be timeless—and that doesn’t mean not modern.” HER FAVORITE CREATION: Seeking to redefine what makes jewelry precious, Choisne included a series of Fleurs Éternelles rings, which feature real, preserved petals, in her 2018 Nature Triomphante collection. “For me, flowers are more precious than diamonds.” boucheron.com —L.R.

“I feel a beautiful burden to make sure this story is told well during this time” ARTHUR LEWIS

ARTHUR LEWIS

When he was named creative director of United Talent Agency’s Fine Arts and Artist Space in 2019, Arthur Lewis, a voracious collector with a background in corporate branding, immediately tapped into the relationships he’d built serving on the boards of the Hammer Museum and The Studio Museum in Harlem. “I really wanted to use this opportunity to give a voice to some artists that don’t necessarily get to shine and introduce some very young, strong emerging artists to the Hollywood community,” says Lewis. “Having that level of access and connectivity for artists and bridging that gap is the best thing in the world.” CULTURAL SHIFT: In light of events, including the Black Lives Matter movement, Lewis aims to mount works that ignite conversations. “It has pushed me to be a stronger advocate for finding people who are boundaryless in how they think about telling these stories,” he says. “I feel a beautiful burden to make sure that this story is told well during this time.” ON VIEW: Essence Harden curated “Sites of Memory,” on view through March 6, while Yashua Klos debuts his first big show at UTA in March. Plus, a digital presentation by Osaze Akil Stigler, who was discovered on social media and now has fans in Beyoncé and Rihanna. utaartistspace.com —J.S.

Arthur Lewis at home, surrounded by his collection including a work by Titus Kaphar.

Creative MINDS

ELLIOTT BARNES

An American living in Paris with ties to Japan, architect Elliott Barnes combines all of his international influences in the sophisticated interiors he conceives for private and corporate clients such as Tai Ping and Champagne Billecart-Salmon. Next up, a residence in the 16th arrondissement for a family of classical pianists and a collection of sterling-silver Champagne accessories for Christofle. BUILDING BLOCKS: “My thing about materials is what you see is not necessarily what you get,” says Barnes, whose furniture designs for the Invisible Collection include the striking Endless Summer bench, made from a tight coil of undulating waves of leather. “By flipping standard readings on materials, it opens new paths to objects and furniture and finishes.”

An art-filled apartment Elliott Barnes (above) conceived for a fashionable client in Paris.

LIGHT THE WAY: Barnes’s new Iqanda collection for Tisserant Art & Style transforms ostrich eggshells into textural lampshades, with more styles coming this summer. “As designers we’re always trained to solve the problem and design the chair or light; what I’m doing here is designing the possibility.” ebinteriors.com —J.S.

SARAH SZE

“My work has always been based on the idea of being nimble, transformative, and responsive,” says MacArthur Fellowship winner Sarah Sze, who is celebrated for her dazzling multimedia installations that explore notions of space, time, and memory. Her new permanent site-specific sculpture, Shorter Than the Day, features some 1,200 photographs of the sky above New York suspended in an ethereal cluster at LaGuardia Airport’s Terminal B. She and her team also installed a major piece entitled Night into Day in Paris at the Fondation Cartier, which combines an immersive, illuminated planetlike structure of colorful video projections and a giant mirrored form set beneath a pendulum.

UP NEXT: On May 22, her site-specific commission Fallen Sky, ten years in the making, will debut at Storm King Art Center in upstate New York. “There is a big open sky above it, and I had the idea to harness that sky and bring it down to earth.” sarahsze.com —L.R.

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Sarah Sze and her installation Twice Twilight at the Fondation Cartier.

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ORGANIC PROCESS: “It is the growth over time that is interesting to me, not the idea of starting a work. When I am in the process of making something, I am always thinking ahead to what comes next.”

Fernando Laposse with a gang of his sisal creatures from Pink Beasts. Right: His Totomoxtle veneer panels applied to a wall.

CLOCKWISE FROM TOP LEFT: PEPE MOLINA; FERNANDO LAPOSSE; MICHAEL AVEDON. OPPOSITE, FROM TOP: JULIEN DRACH (2); ED ALCOCK

FERNANDO LAPOSSE

Mexican designer Fernando Laposse aims to make a positive social and environmental impact with his London-based practice, which produces kicky design pieces and irreverent works of art from the humblest of materials. Take, for instance, his Totomoxtle veneer, a sustainable type of marquetry created using the discarded husks of heirloom corn. “Totomoxtle is about protecting and preserving our ancestral grains and fostering economic stability for the indigenous communities that are the last guardians of these agricultural traditions,” he says. SOURCE MATERIAL: Laposse has conjured eco-friendly furnishings from loofah as well. Sisal, which comes from the agave plant, also figures into his work, most notably Pink Beasts, which he created with Angela Damman for 2019’s Design Miami/. “I believe reactivating plant-based industries that were the norm a century ago is the way forward,” he adds. UP NEXT: On the horizon is a group exhibition at the Tripostal arts center in Lille, France. “My installation will deal with the history of cochineal, the red dye that is created by crushing small bugs called cochineals, which grow on the prickly pear cactus.” fernandolaposse.com —G.M.

“I believe reactivating plant-based industries that were the norm a century ago is the way forward”

Gabriela Hearst.

FERNANDO LAPOSSE

GABRIELA HEARST

In a world dominated by fast fashion and excess, sustainability has never been more urgent. And while the concept tends to be thrown around loosely, it is something that the Uruguayan-born, New York–based designer Gabriela Hearst has championed since she launched her namesake fashion and accessories brand in 2015. Masterfully blending craftsmanship with quality materials, she has garnered a cultlike following for her distinctive minimalist tailoring and effortless style. Hearst now brings her honest approach to Chloé, where she was recently appointed artistic director; her first collection for the French house makes its appearance in March. FAMILY VALUES: Hearst grew up on her family’s 17,000-acre sheep and cattle ranch in Uruguay, a property she still manages. Today, she uses the luxury-grade merino wool from the estate in her collections, as well as other natural fibers, such as linen or recycled cashmere and silk. ON A MISSION: In August 2019, a Gabriela Hearst boutique designed by Norman Foster opened in London; sustainably built, it is completely carbon-neutral. Next, she plans to eliminate the use of virgin materials by 2022. ACCOLADES: Hearst won the 2016/17 International Woolmark Prize for women’s wear. Last year, she received the coveted CFDA Womenswear Designer of the Year award. gabrielahearst.com —L.R. GALERIEMAGA ZIN E .COM

Creative MINDS

LINA GHOTMEH

Stone Garden, a 13-story, mixed-use structure in Beirut by architect Lina Ghotmeh (left).

“Architecture must be an enchantment of the senses, of emotions, drawn from a close narration of its place and its nature.” Such is the philosophy of Lebanese-born, Paris-based architect Lina Ghotmeh, who got her start under the tutelage of Pritzker Architecture Prize–winning luminaries Jean Nouvel and Norman Foster. Ghotmeh’s big break came in 2006, when she was part of the competition-winning team selected to create the Estonian National Museum. “I have a special attachment to that project,” she says of the structure, which opened in 2016. Her most recent edifice is the Stone Garden tower in her native Beirut, completed shortly before the city was rocked by a devastating explosion in August. ROCK SOLID: Punctuated with irregular apertures and deep-set balconies, Stone Garden became a potent symbol of resilience after surviving the blast with only minor damage. “The project embodies a lived experience of Beirut, not only mine but also that of many Lebanese who were raised in the 1970s and ’80s.” UP NEXT: In Normandy, Ghotmeh is working on a low-carbon saddlery-atelier for Hermès. “It will be the first high-end manufacturer in France that will have a positive impact on its environment.” linaghotmeh.com —G.M.

“Architecture must be an enchantment of the senses, drawn from a close narration of its place and its nature” LINA GHOTMEH

NICOLAS BELLAVANCELECOMPTE

Nicolas BellavanceLecompte. Right: Works by Omer Arbel installed at Carwan Gallery in Athens.

Nicolas Bellavance-Lecompte is an architect, gallerist, and fair director, but it is a passion for championing collectible design that drives all his interests. “I would say that creative curating is what I do,” explains BellavanceLecompte from Milan, where he is the artistic director of the Fonderia Artistica Battaglia, a bronze foundry dating back more than a century. His many creative endeavors include the newly opened Athens location of Carwan Gallery, an influential contemporary design gallery he helped to launch ten years ago, originally in Beirut.

UP NEXT: His latest project is the revitalization of an archaeological site in western Egypt’s Siwa Oasis, renovating the mud dwellings of an old Shali village to establish an exciting twice-yearly multidisciplinary residency program for writers, scientists, artists, and designers. nb-lecompte.com —L.R. 84

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FAIR GAME: In 2017, he cofounded, with Giorgio Pace, Nomad, a roving design fair that brings various galleries together in a different historic building each season. “I wanted to create a personal experience in a domestic context,” says Bellavance-Lecompte, “and I think travel opens your mind to new conversations.”

DESTINEE ROSS-SUTTON

In December, Destinee Ross-Sutton launched her nomadic gallery’s first installation in New York’s SoHo neighborhood. Devoted to showing and promoting Black artists, Ross-Sutton Gallery embodies the 25-year-old talent’s mission to protect their artworks from the kind of wild speculation that can turn a newcomer’s career on its head. In a model similar to the one she utilized in “Say It Loud (I’m Black and I’m Proud),” a summer online show with Christie’s to benefit artists, buyers are asked to sign a contract promising that they won’t resell for three to five years and if they do, the artist gets 15 percent of the profits. “It’s been quite the leap, but I really think that the gallery stems from a place of wanting to create a little bit of change,” she says. EARLY INFLUENCE: “Growing up in Harlem, I was immersed in culture through art, music, and dance. I found refuge in Black art and art in general. As I learned about the art world, I saw that the people who wanted to create had to arm themselves to have the career they deserve.”

FROM TOP: KHARI TURNER, COURTESY OF DESTINEE ROSS-SUTTON; COURTESY OF SCHIAPARELLI; ROB NORTHWAY. OPPOSITE, CLOCKWISE FROM TOP LEFT: GILBERT HAGE; IWAN BAAN; GIORGOS SFAKIANAKIS; FILIPPO BAMBERGHI

UP NEXT: “I’m working on a show with two Nigerian artists, Johnson Eziefula and Adegboyega Adesina, to open in April. In June, I’m planning a solo show with the Afro-Brazilian artist Zéh Palito in the Hamptons.” In August, she’ll present the second edition of “Say It Loud” with Christie’s. ross-sutton.com —J.T.

DANIEL ROSEBERRY

It’s been only two years since Daniel Roseberry was appointed the artistic director of Schiaparelli, but he has already made an indelible mark on the storied French brand. The Texas native presented one of the most headline-garnering collections during Paris Couture Week in January. Balancing the past with the present, it was a tribute to the experimental spirit of Elsa Schiaparelli.

THE NEW GUARD: Head-turning creations included a hooded black silk dress with a metallic gold resin Madonna and Child breastplate and a molded-leather minidress complete with defined abs. “Who says what couture has to be?” wrote Roseberry in his collection notes. “I want to make an alternative couture house: Here, the fantasy isn’t princess dresses or polite garments; here, the fantasy is within.” TECHNICAL KNOW-HOW: Respecting the savoir faire that is haute couture, Roseberry highlights the skill of the artisan, particularly with intricate embroidery and embellishments. “The word magic is often used when discussing couture, and it is magical. But behind the magic is a human hand and a human dedication.” FAMOUS FAN: Lady Gaga wore a custom-designed silk ball skirt, cashmere jacket, and golden dove brooch from the brand to this year’s presidential inauguration. schiaparelli.com —L.R.

A look by Daniel Roseberry (left) for Schiaparelli’s spring 2021 haute couture collection.

Destinee Ross-Sutton at the Harlem studio of Khari Turner, one of the artists she represents at her gallery.

Creative MINDS

STELLA JEAN

With bold prints and exuberant colors that explore cultural identity, the fashion line Stella Jean invokes visions of carefree days in sunny locales. But there’s much more at play than stylish silhouettes and exotic prints. The eponymous designer, who was born to a Roman father and a Haitian mother, spreads a message of beauty beyond borders. Through her annual mission trips, facilitated by the United Nations, Jean highlights the artisanship of remote and dwindling societies and brings attention to their intricate handiworks, then showcases their talents on the runway and other platforms. Most recently she featured the unique embroidery techniques of the Kalash people from the Pakistan-Afghanistan border. TRENDSETTER: Jean is a powerful voice in bringing attention to Black people working in fashion, especially in Italy. In September, she, along with Edward Buchanan and Michelle Ngonmo, debuted We Are Made in Italy, the first Milan fashion week slot devoted to young Black Italian designers. GLOBAL VIEW: “My mission is to figure out ways to create work that allows people to use their own skills. That’s the power of fashion. It can be a cultural activity that provides significant opportunity.” WEARABLE ART: In October, Jean partnered with artist Michael Armitage on two sweater designs as part of ArtColLab, which raised money for the Nairobi Contemporary Art Institute and Italy’s Fondazione Sandretto Re Rebaudengo. “I consider him a witness of this time,” she says of Armitage. “Our work is similar; we both try to apply multiculturism—me with fashion, him with art.” stellajean.it —J.T.

LEO ORTA AND VICTOR MIKLOS

Known professionally as OrtaMiklos, Leo Orta and Victor Miklos conjure functional works of art through a Surrealist lens, recalling the fantastical creations of design luminaries such as Gaetano Pesce and Maarten Baas. Intensely colorful and organically shaped, the daring furnishings by the Franco-Danish pair made a splash when they took over New York’s Friedman Benda gallery during the summer in a Dogville-inspired solo exhibition that was made entirely in quarantine. The lustrous works also caught the eye of prominent collector Beth Redmond, who commissioned a Seussian suite of dining chairs and table lacquered in vivid hues of fuchsia and violet. LOCKDOWN MODE: When the COVID-19 crisis started in France, the designers invited their team to isolate with them in their cavernous workshop, located in a former mill in Boissy-le-Châtel. “We used what we had in house,” recalls Orta. “Nothing was outsourced.” Among the materials available were polished iron blocks, discarded wood, cardboard, and fiberglass. “We got to dive deep into developing our own techniques and experimented in a lot of new directions,” adds Miklos. OPEN INTERPRETATION: With imaginative pieces ranging from TV stands to cocktail tables and even lamps, the duo seeks to introduce an abstracted language into the design scene, particularly during the pandemic. friedmanbenda.com —G.M.

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FROM TOP: COURTESY OF STELLA JEAN (2); COURTESY OF FRIEDMAN BENDA AND ORTAMIKLOS (2)

Leo Orta and Victor Miklos play on their Doggy Caddy chair. Right: Sunset Phenomena dining table and chairs.

A look from Stella Jean’s spring 2021 ready-to-wear collection. The designer.

PROMOTION

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MIDCENTURY VAN TEAL  LUCITE PENDANTS

A rare Van Teal original and classic pair of 1970s Modernist Lucite pendants, these vintage light fixtures feature large geometric colored Lucite components. Each shape is separated by layers of twisted gilded metal accents. Size: 44" X 17". bevolo.com

 HICKORY CHAIR INTRODUCES EVERETT BY SKIP RUMLEY A vintage European daybed inspired our new Suzanne Divan. The American Ash base features an exposed rim around the sleek upholstered top and has distinctive X-stretchers that join the six hand-tapered legs that terminate with Antique Bronze finish ferrules. The comfortable blind biscuit tufted top is accentuated by a round bolster. hickorychair.com/everettbyskiprumley

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Interior designer Matthew Leverone grouped a Hiroshi Sugimoto photograph with a custom sofa, Kaspar Hamacher tables, and a Pierre Jeanneret Kangaroo chair in a Maui home conceived by Walker Warner Architects.

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BY VICKY LOWRY PHOTOGRAPHY BY JASON SCHMIDT STYLED BY LILI ABIR REGEN A Jonas Wood painting hangs above the fireplace next to a large work by Laura Owens in the living room of an art-packed Westchester County home designed and decorated by Selldorf Architects. Annabelle Selldorf conceived the sofas, square cocktail tables, and slipper chair, which is paired with a 1950s Seguso table by the fireplace. For details see Sources.

Outside New York City, architect Annabelle Selldorf crafts a crisp,

elegantly modern machine for living with a diverse trove of dynamite art

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Midcentury pendants by Kamenicky Senov hang in the entrance hall, where a colorful Mary Weatherford canvas shares a corner with works by Mark Grotjahn. Opposite: The home’s exterior is clad in cedar planks charred by Delta Millworks using a traditional Japanese process.

For the past three decades, Annabelle Selldorf has created memorably refined architecture for cultural spaces around the world.

Earlier in her career, she transformed a historic Manhattan mansion into the Neue Galerie, a jewel-box museum of German and Austrian modern art and design. Spectacularly austere commercial galleries followed for such powerhouse dealers as David Zwirner, Gladstone Gallery, and Hauser & Wirth. In Arles, France, Selldorf converted a derelict industrial site into a gleaming art complex for the Luma Foundation. Recently, she was tasked with overseeing expansions at the Museum of Contemporary Art San Diego and New York’s Frick Collection—projects that promise to reinvigorate both institutions. The German-born, New York City–based architect is equally in demand as a designer of private residences, often for collectors who admire her vision of elegant restraint, in which perfectly proportioned, calm-inducing interiors let the art make all the noise. “I’m not showy,” Selldorf says in her typically precise and understated manner. Six years ago, a couple who loved the renovation Selldorf had previously done on their Manhattan apartment approached her to design a new house on a wooded, 13-acre property in Westchester County, north of the city. Passionate collectors of contemporary art, the couple had raised three children in a nearby 1930s home packed with works hung salon-style on every wall. Now they GALERIEMAGA ZIN E .COM

desired a residence with dedicated spaces for displaying their voluminous and diverse collection, including sculptures, ceramics, and paintings by such luminaries as Carol Bove, Mark Grotjahn, Laura Owens, and Elizabeth Peyton. “We wanted to live with it,” the wife explains. “We basically designed galleries for the home.” The exterior of the 12,000-square-foot house sets a composed tone. Selldorf clad the rectilinear structure in cedar planks charred using the Japanese shou sugi ban technique, giving the wood a distinctive dusky hue. “There’s something in that char that makes the house feel more compact and tactile,” Selldorf notes. The wife concurs: “It melts into the landscape.” Her husband, however, needed convincing. “I was hesitant about black. I thought it was going to be severe,” he recalls. “Because of the burnt technique you see the wood grain coming through. It’s not harsh. I’ve learned to love it.” Selldorf ’s design scheme features a light-filled, open-air central courtyard from which the main living spaces flow. There are also three distinct galleries (not counting the foyer and corridors brimming with art), the largest of which is illuminated by a skylight. “It’s our version of ‘the grand gallery,’ ” says the husband. The primary bedroom, occupying one corner of the ground floor, overlooks a moss garden and pond. The architect situated three other bedrooms, as well as a gym, upstairs. Even when the couple is alone, they use the entire house, which functions equally well when their children visit, as all of them did during the onset of the COVID-19 pandemic last spring. “We had a real WeWork situation,” jokes the wife. “Seven people in all, five working from computers. But everyone found their space. We have doors, which is good.” Like the clean-lined rooms, the furnishings—a mix of vintage and contemporary pieces—perform quietly. The living room, for example, is outfitted with velvet-upholstered sofas from Selldorf ’s European-inspired Vica collection, which →

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“Calm, tranquil, organized spaces become a background for all that boisterous life epitomized in the art,” says Annabelle Selldorf

A Mary Weatherford painting with neon and a work by Laura Owens occupy one end of the dining room, where a 1950s Stilnovo chandelier is installed over the custom-made table and Mart Stam chairs. A John Outterbridge wall sculpture is mounted above a work by David Hammons in the doorway, and the large painting at right is by Jacqueline Humphries.

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The screened porch, paved with granite by ABC Stone and outfitted with RH sofas and a Richard Schultz table for Knoll, hosts a totemlike sculpture by Leilah Babirye. Opposite: In one of the galleries, a wall of works on paper hung salon-style makes a kaleidoscopic backdrop for Rob Pruitt’s strikingly upholstered love seat.

Loll Designs Adirondack chairs for Design Within Reach surround a Paloform firepit on a terrace paved with ABC Stone granite. Opposite, from top: The home’s entrance. A skylighted gallery displays works by (from left): Dana Schutz, Henry Taylor, Walter Price, Jana Euler, Mark Grotjahn, Calvin Marcus, Lauren Halsey, and Avery Singer.

“The clients are courageous with art,” Selldorf says. “They let themselves be provoked, shaken, rattled”

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Flanking a nearly floor-to-ceiling door in the primary bedroom are nudes by Marlene Dumas (left) and Nate Lowman, which hang above floor pieces by Sonia Gomes and Katy Schimert. Installed over the custom-made TV cabinet are a Henry Taylor portrait, a John Outterbridge wall sculpture, and a large abstraction by Laura Owens. Below: Another Henry Taylor portrait surmounts the bedroom’s Selldorf-designed tiered table, displaying ceramics.

she paired with vintage armchairs by the modernist Brazilian designer Sergio Rodrigues. Mart Stam tubular metal chairs reproduced by Thonet and a 1950s Italian circular chandelier add subtle curves to the dining room. “Calm, tranquil, organized spaces do not translate into boredom,” Selldorf says, “but instead become a background for all that boisterous life epitomized in the art.” Amassed over decades, the couple’s collection holds surprises in every room. The main gallery displays a dozen or so paintings—including works by Dana Schutz, Jana Euler, and Avery Singer—that find harmony in their disparateness. Vivid portraits by Henry Taylor energize the living room and the couple’s bedroom, where the adventurous mix features nudes by Marlene Dumas and Nate Lowman. “The clients are courageous with art,” Selldorf says. “They let themselves be provoked, shaken, rattled. It’s part of their understanding of the here and now. I’ve always admired how curious they are. It’s very contagious.” The screened porch, with serene views of the surrounding woods as a backdrop, plays host to a powerful sculpture created with found objects by the young Uganda-born artist Leilah Babirye. “We made a very peaceful house,” Selldorf says, summing up the project, “where not-so-peaceful art can do its thing.” 100

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In the primary bath, lined with marble from ABC Stone, an MTI tub offers scenic soaks beneath a Gabriel Orozco light sculpture.

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For decades, Cecilia Vicuña has been weaving painting, sculpture, performance, and poetry into a creative practice committed to social and environmental justice and celebrating her indigenous Chilean heritage

BY TED LOOS PHOTOGRAPHY BY JASON SCHMIDT

lyrical strands

Cecilia Vicuña is pictured with a hanging piece titled The Wuitoto Dance of Death (2020), made by painting on gauze, at her former studio in Sunset Park, Brooklyn.

The artist with La Comegente (The People Eater), a re-creation of a 1971 painting that was lost. Opposite, from top: Her 2017 installation Quipu Viscera. A 2018 painting titled El Paro (The Strike).

he acclaimed Chilean artist and poet Cecilia Vicuña knows the value of a little artful withholding. She’s working on a painting in her home studio in New York City’s Tribeca neighborhood, but she won’t say what it looks like or what it’s about. She’s not being coy—it’s just that such revelations would be premature and might spoil the spell the piece casts. “The paintings don’t like that,” says the artist, anthropomorphizing for effect. “We wait until it’s ready to come out.” Until a few years ago, you could say that Vicuña, 72, too, had been waiting for her moment. Despite the fact that she’d been painting and sculpting for half a century while at the same time authoring more than 20 volumes of poetry, she had never been fully recognized by the international art world. Things began to change in 2017, with her inclusion in the prestigious contemporary art show Documenta in Kassel, Germany, and the exhibition “Cecilia

Vicuña: About to Happen,” which opened at the Contemporary Arts Center in New Orleans, before traveling to four more U.S. cities. In 2018, a special commission she created for the Brooklyn Museum further boosted her profile and influence. “She’s one of the women artists who have struggled for decades to find a place in the art world,” says Catherine Morris, the Brooklyn Museum curator who worked on the exhibition. “She wants to be seen as herself.” Today, Vicuña’s star continues to rise, including in Asia, a continent she has never visited. In addition to appearing in the latest edition of the Gwangju Biennale in South Korea (through May 9), she has a solo show at the Seoul outpost of Lehmann Maupin (through April 24). The artist is also having a retrospective at the Dos de Mayo Art Center in Madrid this spring, and the Guggenheim Museum recently announced a major exhibition of her work for the summer of 2022. While Vicuña’s distinctive art has become more familiar, it’s never repetitive. “Every work of mine seems to be made by a different person, but they are also completely coherent,” she says, emphasizing both her versatility and her independence.

COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK, HONG KONG, SEOUL, AND LONDON

She is best known for her signature “Quipus,” sculptural hangings made from dyed and knotted wool threads, which are inspired by the quipus ancient Inca used for record-keeping and storytelling. Vicuña’s colorful interpretations of these traditional objects—often stretching floor to ceiling, sometimes incorporated into room-size installations or used in performances —are her way of reviving a cultural practice from her indigenous heritage and then giving it her own stamp. They also tap into universal concepts. “All women know knots, because women are makers, especially older women,” Vicuña says. And because the quipu is a system of writing, it is an empowering and endlessly malleable tool of expression. “It’s a script, and a script can be used for anything: politics, music, history,” she adds. Recalling the installation of Vicuña’s Brooklyn Museum project, a monumental textile hanging with video projections titled Disappeared Quipu, Morris says the artist told her that “the reason the wool stays together is because the fibers want to stay together.” Continuity, especially between past and present, is a key theme for Vicuña. As Morris puts it, “She has a live link to history.” Born in Santiago into a family that included several sculptors, Vicuña was raised in the Maipo Valley and studied architecture before switching to fine art. She rocketed to early fame in 1971 with two shows at the National Museum of Fine Arts in Santiago. It was quite an achievement for a 23-year-old, except that one of the exhibitions never opened to visitors due to the political violence that ended with General Augusto Pinochet’s 1973 coup. After that, Vicuña left Chile and went into exile—first in London; then Bogotá, Colombia; and finally, in 1980, New York City, where she has built her life and career. Vicuña never wavered from making art, despite being “miserable,” she says, meaning poor, for most of her life. Until the pandemic, she had a separate studio in Brooklyn where she made her paintings, figurative works defined by a naïve, almost folk art–like quality whose subjects blend history, mythology, and politics. One fantastical and colorful recent painting, La Comegente (The People Eater), depicts a goddess ingesting humans so that she may “fertilize the earth for new people to come out,” explains Vicuña. It’s her way of addressing environmental issues—a topic she has focused on for decades. “We are the mythological destroyers of this planet,” she says. Not being able to travel during the COVID crisis hasn’t changed Vicuña’s life too much, though she regrets not being able to see her family in Chile. “I get up early and work all day long,” she says, “and I will until I drop dead.” Asked about how best to approach the work in her many exhibitions, Vicuña invokes the connectedness she put into the art in the first place. “Try to see it without thought,” she suggests. “Just be with it.”

“Every work of mine seems to be made by a different person, but they are also completely coherent,” says Cecilia Vicuña

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Louisa Guinness and Ben Brown’s home, located outside Saint-Rémy-de-Provence, features sun-dappled terraces and lush gardens. The house was originally renovated by local architect Bruno Lafourcade, and his son, Alexandre, further updated it to suit the family of five, while Guinness oversaw the furnishings. For details see Sources.

For London gallerists Louisa Guinness and Ben Brown, a Provençal farmhouse is the perfect refuge for relaxing with family, friends, and some of their favorite art BY ELENA BOWES

PHOTOGRAPHY BY TIM BEDDOW

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FIVE YEARS AGO, London contemporary art dealer Ben Brown and his wife, Louisa Guinness, a collector and gallerist herself specializing in artists’ jewelry, decided it would be fun to look for a house in Provence. They had several friends with homes near Arles, Saint-Rémy-deProvence, and Avignon, a region famous for its seductive light, which attracted artists like Vincent van Gogh, Paul Gauguin, and Pablo Picasso, as well as for its standout cuisine and culture. “You come to this area because you either want good food, good wine, or good art,” says Guinness. “We happen to like all three.” The couple thought their search would take years, but in fact, it took only a few days. Love is like that. They fell for the second property they saw, a Provençal farmhouse known as a mas, just a ten-minute drive from Saint-Rémy. “It has really good bones,” Guinness says of the structure, which sits on 15 acres surrounded by old stone walls, with mature cypress and plane trees, cobblestone paths, a fountain, a rose garden, a vegetable garden, and an olive grove the couple uses to make their own olive oil. “There’s something incredibly magical about the house,” says Brown. The mas was first restored in 2002 by the esteemed late Provençal architect Bruno Lafourcade, whose wife, Dominique, was the mastermind behind the majestic gardens. The home’s well-proportioned rooms, offering plenty of wall space for Guinness and Brown to hang their art, had been smartly decorated and maintained by a fashion-designing Belgian couple. This was a big plus for Guinness, who oversaw the interiors. “We had just done up our places in London and the country,” she recounts. “I didn’t want another big project.” There was one hitch: The house had only a single large bedroom for the couple and their three children; the rest of the upper level was occupied by a laundry room and a fashion studio. When Brown first saw the studio space, with its soaring ceilings, he imagined an amazing gallery for displaying art. But that would have required the family of five to sleep in the same bedroom and reason prevailed. The couple hired Alexandre Lafourcade, who had taken over the family firm after his father’s death, to divide the studio and laundry room into four additional bedrooms and baths. When it came to selecting the art, Guinness suggested focusing on works by young, less-established artists. “Yeah, that would be a good idea,” she recalls her husband saying. →

A table draped with a Summerill & Bishop tablecloth and set with Pichon d’Uzès plates and John Jenkins glassware overlooks the pool area and gardens. Opposite: An Alexander Calder work on paper and a bar in the form of a grasshopper by François-Xavier Lalanne enliven the main staircase. GALERIEMAGA ZIN E .COM

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In the living room, which retains its original fireplace, Guinness grouped a cream-colored Liaigre sofa with a bluish gray sofa, armchairs, and an ottoman by Gervasoni; the sculpture in the corner is by Gavin Turk, the painting is by Miquel Barceló, and the table lamps are by Vaughan.

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“And then he completely ignored me and filled the house with works by his favorite artists.” Most of them are represented by or have been exhibited at his Mayfair gallery, Ben Brown Fine Arts, including Miquel Barceló, Ena Swansea, Gavin Turk, Thomas Struth, Les Lalanne, and Alighiero Boetti. In the dining room, Brown commissioned a mural from Swansea, whose husband works for Maja Hoffmann’s Luma Foundation in nearby Arles. The artist painted the mural in her studio there, even including in the wintry landscape an image of Brown and his daughter, Tatiana, walking the family cocker spaniel, Oakey. Brown brought in some of his best pieces by Barceló, a Majorcan artist who has a strong affinity for the area and had a big show in Avignon 11 years ago that Brown loved. Claude and François-Xavier Lalanne, the late French couple Brown first met in the early 1990s, when they made a bed for his mother, are represented by Claude’s sculpture of a cabbage with chicken feet and a grasshopper-shaped bar by François-Xavier—both at the foot of the staircase. (The bar is one of two made, the other residing in the collection

of the Queen of England, a present from French president Georges Pompidou.) The house is imbued with an eclectic, sophisticated spirit that radiates from diverse acquisitions assembled over the years. A Ron Arad chaise longue in the drawing room was a wedding present from Brown’s parents. An Alexander Calder work on paper that hangs above the staircase, originally a gift from Brown to his parents, was returned to him upon the death of his father, an architect who designed the sofa in the hallway. To fill out the furnishings Guinness—who understatedly says, “I love finding little things”—scoured local markets in France, country auctions in England, and small London design boutiques. “It gave me an excuse to shop,” she says. “I’m slightly obsessed with plates, glasses, tablecloths, and baskets.” The charismatic couple loves to entertain, but Guinness and Brown also relish relaxing at home, enjoying informal lunches and dinners with family and friends on the terrace. Shaded by a leafy plane tree, surrounded by the idyllic gardens, it’s a magical spot to savor the long, lazy days of the Provençal summer.

“I LOVE FINDING THINGS,” says Louisa Guinness, who scoured markets in France, country auctions in England, and small London design galleries to furnish the house. “IT GAVE ME AN EXCUSE TO SHOP”

Brown commissioned one of his gallery artists, Ena Swansea, who has a studio in nearby Arles, to paint a mural around the fireplace in the dining room, where vintage chairs by Børge Mogensen surround a dining table by Guillerme et Chambron, who also designed the 1970s chairs and table next to the fireplace. Opposite: Cypress trees punctuate the gardens bordering the swimming pool.

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When it came to selecting the art, Guinness recounts how her husband “COMPLETELY IGNORED” her idea of focusing on less-established artists “AND FILLED THE HOUSE WITH WORKS BY HIS FAVORITES”

A 2008 work by Dutch painter Jan Worst overlooks the tub in the en suite bath. Below: The serene guest room features a chromogenic color print by Thomas Ruff. Opposite: A painting by Ena Swansea creates a snowy backdrop for a corner rocker by Ron Arad that is accompanied by a lounge chair and an ottoman by Charles and Ray Eames.

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1 A dynamic canvas by American abstractionist Caio Fonseca animates the primary bedroom. “This is one of my favorite small Fonseca paintings,” says Ben Brown. “It’s so delicious and contains all of the musical forms and harmonious tones that one associates with his work.” caiofonseca.com 2 In addition to the commissioned dining room mural and the painting of a snowy scene in a living area by artist Ena Swansea, who is on Brown’s gallery roster, the couple owns this 2019 piece, entitled Child in the Ocean. “It’s colorful, lyrical, exquisite Ena Swansea at her best,” says Brown. benbrownfinearts.com 3 “Given that I cannot own the original masterpiece by Ed Ruscha, I must be

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content with Vik Muniz’s amusing remake,” says Brown of this 2008 digital chromogenic print by the Brazilian artist. “It’s pure California.” Earlier this year Brown also displayed a selection of Muniz’s most iconic works at his gallery’s Hong Kong outpost in an exhibition called “Grand Tour.” vikmuniz.net 4 “This necklace reminds me of my long friendship and working relationship with Claude Lalanne, as well as all of the great jewelry we have sold through my gallery,” says Louisa Guinness, who hosted Lalanne’s first-ever solo jewelry show in London, in 2016. Lalanne’s imaginative pieces are renowned for incorporating actual flora into the design process. louisaguinnessgallery.com

(1, 5) TIM BEDDOW; (2, 3, 6) COURTESY BEN BROWN FINE ARTS, LONDON; (4) COURTESY LOUISA GUINNESS GALLERY

“This Caio Fonseca painting contains all of the MUSICAL FORMS and HARMONIOUS TONES that one associates with his work,” says Ben Brown 5

5 Surmounting a writing desk in the guest room is a small grid by Alighiero Boetti, a leading figure in the Arte Povera movement. “It’s a perfect gem of a Boetti, who was one of the greatest postwar Italian artists,” says Brown. Although Boetti utilized a variety of mediums, he became famous for his mosaiclike embroideries crafted by Afghan weavers. Many of those multicolored works, like the one shown, consist of individual letters that

the viewer must decipher and arrange into words. 6 The couple also has a radiant mixed-media canvas by Spanish artist Miquel Barceló, whose oeuvre includes works on paper, ceramics, and sculptures. “This piece exemplifies Barceló’s Majorcan origins and use of color while depending on the simple forms of his subject matter,” says Brown. “Plus, it’s ideal for a warm climate!”

In the living area of a Brazilian beachfront home originally designed by Marcio Kogan of Studio MK27, with recently updated interiors by architect Sig Bergamin, a large Luiz Áquila abstraction mounted above the fireplace is flanked by a Mariana Palma painting and a group of four works by Julio Le Parc. Bergamin anchored the room with a pair of Patrick E. Naggar sofas, their curves echoed in cocktail tables by Vladimir Kagan, who also conceived the angled floor lamps. For details see Sources.

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OPEN SECRETS

Designer Sig Bergamin brings an easygoing panache to an avid art collector’s breezy modernist hideaway on the Brazilian coast BY RAUL BARRENECHE PHOTOGRAPHY BY BJÖRN WALLANDER

The pool terrace has enviable views overlooking Iporanga Beach. Opposite, from top: Beneath the floating staircase, a vivid abstraction and a parrot painting, both by Claudio Tozzi, are displayed next to works by Emiliano Di Cavalcanti and Cícero Dias. Also in the stair hall, a Tomie Ohtake canvas hangs above a console that hosts a Murano glass vessel by Fabio Maria Micucci.

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rchitect and decorator Sig Bergamin, a favorite of Brazilian high society, is celebrated for interiors that combine color, pattern, and provenance in ways that are joyful, sometimes unexpected, and always chic. His mantra, after all, is “mix, mix, mix.” For Bergamin, an acquisitive collector, art is particularly important to his signature approach, as the dozen interiors showcased in his recently published monograph, Art Life (Assouline), attest. The homes he shares with his partner, architect Murilo Lomas, in São Paulo, New York, Paris, and Miami are filled with collections ranging from midcentury Scandinavian ceramics to blue-chip contemporary sculptures and paintings. The couple has a special affinity for contemporary Brazilian artists, including Vik Muniz and Beatriz Milhazes, friends whose works grace Bergamin’s own residences as well as those that he and Lomas create (occasionally as collaborators) for the prominent bankers, industrialists, fashion editors, and socialites who make up their roster. “Murilo and I are always exploring and looking for art,” says Bergamin, who often recommends artists and gallerists to his clients. That wasn’t necessary in the case of a São Paulo banking executive and avid collector who tasked Bergamin with decorating his beachfront retreat near Guarujá, a popular weekend getaway for well-heeled Paulistanos about a 90-minute drive from the city. The client already owned an extensive collection of 20th-century and contemporary art, much of it Brazilian. “The artworks had to be the protagonists of the interior,” Bergamin says, “a composition fusing architecture, decoration, and art in a spectacular beachfront setting.” →

Oty Light pendants descend above the dining table, which is surrounded by a suite of caned chairs by Claudia Moreira Salles.

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“THE ARTWORKS HAD TO BE THE PROTAGONISTS OF THE INTERIOR,” SIG BERGAMIN SAYS, “A COMPOSITION FUSING ARCHITECTURE, DECORATION, AND ART”

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A kaleidoscopic Sarah Morris painting makes a spirited statement at the base of the staircase. Opposite, from left: An Alfredo Ceschiatti bronze nude reclines on the pool terrace. In the primary bedroom, Henri Matisse–inspired works by Vik Muniz hang next to a Seguso lamp and armchairs by Claudia Moreira Salles.

“BEAUTY AND GOOD TASTE DON’T HAVE A NATIONALITY,” SAYS BERGAMIN

The modernist house, designed for a previous owner by noted São Paulo architect Marcio Kogan of Studio MK27, overlooks Iporanga Beach, nestled at the edge of the richly biodiverse Atlantic Forest. At the heart of the multistory house is an open living-dining room framed by lush hillsides at one end and sweeping vistas of the ocean and distant mountains at the other. When the long walls of telescoping glass on both sides are slid completely open, the space becomes a breezy beachside veranda, albeit one as polished and well appointed as any art-filled urban sitting room. While Bergamin typically looks to boldly patterned wallpapers, fabrics, and rugs to animate his luxurious interiors, here he allows the tropical greenery and the cerulean surf—as well as the client’s art—to play that role. On the pale stone wall surrounding the main living area’s fireplace, a quartet of prismatic works by Argentine-born Op Art and Kinetic artist Julio Le Parc joins a sprawling, colorful abstraction by Luiz Áquila and a baroquely patterned canvas by Mariana Palma, both contemporary Brazilian painters. The primary bedroom showcases six of Muniz’s archival inkjet prints, based on Henri Matisse’s cutouts, GALERIEMAGA ZIN E .COM

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Centered over the bed in the primary bedroom is a painting by Alfredo Volpi, while the work on the nightstand at right is by Clóvis Graciano. Opposite: A bronze figure by Sonia Ebling sits in a shady spot near the pool.

as well as a graphic canvas by Alfredo Volpi, one of Brazil’s most important 20th-century painters, featuring his iconic abstract bandeirinhas (festival flags) motif. Throughout the home, eye-catching abstractions (including standout examples by Sarah Morris, Daniel Senise, and Tomie Ohtake) mingle with figurative and overtly tropical works, such as Brazilian artist Claudio Tozzi’s colorful closeup of a parrot beneath the floating main staircase. “Individually the works are beautiful,” says Bergamin, “but as an overall composition, they’re extraordinary. I think a collection gains strength and beauty when we can appreciate it as a whole.” Works by noted Brazilian artists populate the property’s outdoor spaces, too. Perched on the pool terrace, alongside a stacked-stone wall, is a reclining bronze nude by Alfredo Ceschiatti, who collaborated with the legendary architect 126

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Oscar Niemeyer as chief sculptor for the capital complex at Brasília in the late 1950s. Niemeyer also displayed several Ceschiatti busts and figures outside his own home in Rio de Janeiro, linking this casual beachside retreat to touchstones of Brazil’s modernist architectural history. The house’s furnishings are refined but low-key, especially for Bergamin. Vintage and contemporary Brazilian designs by Sergio Rodrigues, Claudia Moreira Salles, and Swiss-born John Graz join pieces by Vladimir Kagan, Gilles Caffier, and Patrick E. Naggar. “This mix between Brazilian and notable international designers is precisely the kind of unexpected touch I love to add to my projects,” says Bergamin. “Beauty and good taste don’t have a nationality.” At this exquisite home, as inviting as it is elegant, there is an undeniable abundance of both.

LifeImitates Art BY S T E FA N I E L I

For The Brueghel Series (A Vanitas of Style) (1982–84), Pat Steir’s reinterpretation of a lush still life by the 17th-century master Jan Brueghel the Elder, the contemporary artist used a variety of styles to create a towering tapestry of 64 richly painted panels; levygorvy.com. Opposite: Celebrating fatto a mano (“handmade”) and the spirit of Sicily, Dolce & Gabbana’s spring 2021 women’s collection showcases anumber of one-of-a-kind patchwork creations, handcrafted using upcycled remnants of vibrant textiles; dolcegabbana.com. 128

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COURTESY OF DOLCE & GABBANA. OPPOSITE: COURTESY OF LÉVY GORVY

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COURTESY OF HUDSON VALLEY LIGHTING GROUP. OPPOSITE: CHRIS STORB

Layers of gold leaf give the black petals of the Ginger chandelier by Corbett Lighting a warm, radiant glow; hvlgroup.com. Opposite: A dazzling display of fire and light shrouded the façade of the Philadelphia Museum of Art in this site-specific work, Fallen Blossoms: Explosion Project (2009–10), by groundbreaking Chinese artist Cai Guo-Qiang; caiguoqiang.com.

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COURTESY OF MARK CROSS. OPPOSITE: ATTILIO MARANZANO, COURTESY OF THE ARTIST AND PERROTIN

The Susanna cross-body bag features a festive array of gemstone embellishments evocative of Tommi Parzinger’s designs from the Mark Cross archive; markcross.com. Opposite: Mixed-media artist Paola Pivi’s feathered wheels brightened the walls of the Bass Museum of Art in Miami Beach as part of her 2018 exhibition “Art with a View.” Pivi’s fantastical polar bears will be on display at the Kunsthal Rotterdam through May; paolapivi.com.

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COURTESY OF TIFFANY & CO. OPPOSITE: CAROL M. HIGHSMITH/DIGITAL ART: DANIEL HAGERMAN

With a palette of over 81 carats of spinels that took more than a year to collect, this exquisite necklace from Colors of Nature, Tiffany & Co.’s 2021 high-jewelry collection, cascades downward while a double ribbon of diamonds and purple sapphires drapes around half of the neck; tiffany.com. Opposite: A master of stained glass, Gabriel Loire created Glory Window (1976) as a helix of jewel colors that become warmer and brighter as the panels spiral upward toward its golden yellow center 60 feet above the floor of the Chapel of Thanksgiving in Dallas; thanksgiving.org.

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PERFECTLY SEASONED

In a new cookbook inspired by life at their English countryside retreat, minimalist master John Pawson and his wife, Catherine, prove that simple can be delicious BY JACQUELINE TERREBONNE

PHOTOGRAPHY BY GILBERT MCCARRAGHER

Clockwise from top: A view of Catherine and John Pawson’s Cotswolds retreat, Home Farm, from across the carp pond. Walnut and praline ice cream, one of the recipes in the couple’s new book, Home Farm Cooking. Piedmontese peppers, based on a recipe from Elizabeth David, using wild garlic for pesto. Opposite: The couple prepares a table in the barn, where the glass wall can be raised to create an open-air dining space. GALERIEMAGA ZIN E .COM

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ime spent cloistered at home during the pandemic has for many people served to heighten awareness of their surroundings. John Pawson, the British architectural designer celebrated for his exquisitely refined minimalist spaces, and his wife, Catherine, are no exception. “You get a very different feel for the place watching the seasons unfold,” Catherine says of Home Farm, the couple’s residence in the Cotswolds, roughly two hours west of London. “There’s always something to do in the garden.” They purchased the 1610 farmhouse, along with its outbuildings, as a retreat from the city and a gathering place for family. In their renovation, John’s well-known reverence for space, light, and materials played into every decision. He joined together different structures, stripping them down to their material essence—though he describes the results as less austere than the couple’s London home. It was all by design for the food-focused couple, who collaborated on the new book Home Farm Cooking (Phaidon), which features 100 recipes and is filled with photographs depicting the property in every season. A follow-up to John’s beloved, out-of-print Living and Eating, published in 2001, the book demonstrates how the couple puts their three separate kitchens and multiple dining spaces to excellent use throughout the year. That certainly goes for these past months, when the Pawsons spent lockdown at Home Farm with two of their three children— one a vegan and the other a meat lover—living out their cookbook day by day. “We’re very informal. We don’t do fancy dining,” says

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Catherine, who has her own interiors practice and previously worked at Colefax and Fowler. “We use the barn in the warmer months, because the large window opens up and you feel like you’re outside. Then, in the winter, we move into the smaller spaces, where we build fires with the curtains drawn.” To the idea of curtains, John charmingly shrugs. “Life is compromise. Some people like curtains, though I can’t imagine why,” he says. “But they are an undyed boiled wool, so they’re as close to a monk’s habit as you can get.” His spartan preferences extend to setting the table. “For our table we have very basic things,” says Catherine. “John genuinely hates stuff.” While the options are pared down, everything is meticulously designed by John and draws from his array of collaborations: bowls and cutlery he did for When Objects Work, oven-to-table cookware for Demeyere, candlesticks for Swarovski, marble serving vessels for Salvatori. When it comes to the menu, Catherine and John are in complete agreement: “We try to eat as seasonal as possible,” says Catherine. In spring, that means asparagus, broad beans, herbs, baby artichokes, and other produce grown in the couple’s garden or fetched from down the road at Daylesford Organic Farm. “The less intervention the better when you have great ingredients,” says Catherine. “I prefer recipes that are quick and easy, but maybe also because I’m quite lazy.” As any gardener will tell you, there’s no such thing as a lazy gardener. And this spring promises to reveal rewards from Catherine’s hard work last fall. “She’s buried several hundred bulbs, so it will look like Holland,” says John, who admits to being more of an observer. “My father would always go out to the garden and tell someone else what to do,” he recounts, laughing. “I like that side of things. Catherine prefers to do it herself.” Whatever the division of duties is at Home Farm, it’s clearly working for the Pawsons. Not only have they created a country refuge as inviting as it is architecturally arresting—they’ve also got a delightful, must-have cookbook to prove it.

Clockwise from top left: Blood orange sorbet with a citrus salad. A marble table John designed for Salvatori overlooks gardens and rolling fields beyond. The interior of the barn. Catherine tends to the flower beds. Opposite, from left: A salad of Jersey Royal potatoes with asparagus and pancetta. Another view of the farm’s buildings.

Walker Warner Architects topped the LEED Silver– certified house with a slanting, cypress-and-steel roof that features deep overhangs to provide shade. Custom copper-mesh rain curtains by Cascade Coil Drapery descend from the roof’s edge on either side of the pool terrace, which is furnished with James Perse chaise longues. Matthew Leverone oversaw the decor, and the gardens were designed by Ron Lutsko Jr. For details see Sources.

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the

Overlooking the spectacular coastline of Maui, where they first met, a couple build their dream retreat, courtesy of Walker Warner Architects and interior designer Matthew Leverone BY PILAR VILADAS PHOTOGRAPHY BY MATTHEW MILLMAN

he San Francisco–based firm Walker Warner Architects is well-known for creating elegantly spare residences that are thoroughly and thoughtfully integrated into their settings. “Much of what we do is what I call contextual architecture,” says cofounder Greg Warner. “It has a lot to do with the natural surroundings.” The company’s respectful approach, including an emphasis on environmental responsibility, has made it a favorite among clients looking to build houses in Hawaii, where, Warner estimates, they have completed around 30 projects. A striking recent example is a house designed for a couple on Maui, perched on a spectacular oceanfront site along the island’s western coast. The owners, now empty nesters, first met on Maui, and they wanted to build a getaway in a place rich with personal meaning. In addition to hiring Walker Warner, they enlisted interior designer Matthew Leverone and landscape designer Ron Lutsko Jr. (both based in San Francisco as well) to round out the collaborative design team. From the entry gate at the front of the property, the house appears to be a single-story modernist structure composed of glass, steel, and warm-toned concrete. But as you approach—walking along a reclaimed-teak path shaded by a perforated brass canopy that casts pixel-like shadows—the home’s scale and sweeping views gradually unfold. The heart of the house is a large, open space containing the kitchen and the living and dining areas, which are separated from the entrance gallery by a wall of louvers that can be opened to maximize light and views or closed for shade and privacy. Off to the sides are the primary suite and the husband’s office, all of which are wrapped in floor-to-ceiling glass for unimpeded vistas. →

The denlike space that serves as the wife’s office is outfitted with wraparound banquettes devised by Leverone, a pair of Kaspar Hamacher tables, and a vintage Pierre Jeanneret caned lounge chair; the rug at left is by FJ Hakimian, and the one at right is a custom design by Leverone. Opposite: A painting by Callum Innes hangs at the end of the entrance gallery, which features a cypress ceiling and wall of louvers than can be opened and closed; the bench is by Hamacher, the rug is by Fort Street Studio, and a vintage Willy Guhl concrete Loop chair stands on the terrace.

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In the living area, a curvy sectional sofa by Coup Studio and a pair of Yabu Pushelberg armchairs are arrayed around a Liaigre cocktail table atop a shaggy Stark carpet. A wall of bleached and wire-brushed bald cypress serves as the backdrop for a Young-Il Ahn painting, the room’s reclaimed teak floors extend out onto the terrace, and glass walls by Vitrocsa can be opened to maximize ventilation.

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PHOTO CREDIT TK

“The clients didn’t want anything to take away from the setting, so the house is not overfurnished,” designer Matthew Leverone says

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A twilight view from the pool deck. Left: In the husband’s office, a Jørgen Kastholm chair is paired with a Vladimir Kagan desk; the floor lamp is by David Weeks Studio, and the custom mohair carpet is by Tibetano.

Because the property drops off as it slopes toward the beach, the architects were able to tuck an entire lower floor beneath the main level. The downstairs contains two guest bedrooms, a family room, and a den that doubles as an office for the wife. Outside, an expansive terrace and swimming pool overlook the ocean. Capping the entire structure is a gently sloping roof, with a deep overhang that Warner likens to a visor, shading the home’s west side from direct sunlight and reducing heat gain. To help with cooling, the architects designed the house—which is LEED Silver certified—to maximize cross-ventilation and natural light, making the glass doors and windows as tall as possible. Visually, the dark-metal-framed windows contrast with the soft colors of the concrete and weathered cypress used throughout. Both materials were chosen for their durability, given the corrosive salty air, as was the reclaimed teak that was selected for floors and decks, creating a “fusion” between textures inside and out, says Warner, who grew up on the Big Island.

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PHOTO CREDIT TK

The grounds, landscape designer Ron Lutsko Jr. notes, go from “being quiet and introspective in the front to opening up to the dramatic view”

And texture, Leverone explains, is “super important” in the home’s interiors. Neutral-toned upholsteries—alpaca bouclé, linen—and handwoven pillow fabrics help create a richly understated backdrop. “The clients didn’t want anything to take away from the setting, so the house is not overfurnished,” Leverone says. “A sense of craftsmanship was important.” There are vintage pieces like the concrete chairs by Willy Guhl on the entry terrace and the elegantly angular Pierre Jeanneret chair in the den. The husband’s office is anchored by a new production of Vladimir Kagan’s 1970 Wing desk. Complementing these modern classics are contemporary pieces by Kaspar Hamacher, Eric Schmitt, Yabu Pushelberg, and James Perse, among others. The owners also collect art, and Leverone and the couple worked closely with art consultant Tom O’Connor. They went to fairs such as Art Basel in Miami Beach, Frieze, and TEFAF, acquiring works like the lushly textured painting by Young-Il Ahn that hangs in the living area, the large Callum Innes painting in the entry, and the color etchings by Anish Kapoor in a guest bath. When it came to the grounds, Lutsko says his aim was to “elevate the qualities of the existing landscape but not imitate them,” explaining, “I don’t believe in mimicking nature.” The walls of stacked lava strips that define the front courtyard and the sides of the property are “how we acknowledge the place,” he explains. Native taros, with their large leaves, are placed around the house, while kiawe trees—originally from Colombia but now found “all over Hawaii,” Lutsko says—were planted. Outside a lower-floor bedroom, four heliotrope trees will grow to shade the courtyard in which they’re planted. The grounds, Lutsko notes, go from “being quiet and introspective in the front to opening up to the dramatic view” in back. It’s a pretty decent summation of this serene sanctuary, which adds up to an utterly harmonic whole.

The materials used on the home’s exterior—cypress, teak, concrete—were chosen for their durability in the salty ocean air. Opposite: Anish Kapoor etchings Breathing Blue 1 and Breathing Blue 4 add a splash of color above an Andrianna Shamaris bench in a guest bath, where the Boffi tub overlooks a courtyard; Lindsey Adelman Studio pendants hang above the Calacatta Delicato marble vanity created by CoorItalia, the sink and tub fittings are by Watermark Designs, and the rug is by Nasiri Carpets.

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Items pictured but not mentioned are from private collections. (T) means item is available only to the trade. All of the following images are © Artists Rights Society (ARS). COVER, PAGE 16: 2021 Lonnie Holley/ARS, New York. PAGE 18: 2021 ARS, New York/DACS, London. PAGE 63: 2021 Frank Lloyd Wright Foundation. All Rights Reserved. Licensed by ARS. PAGE 108: 2021 Calder Foundation, New York/ARS, New York. PAGE 108: 2021 ARS, New York/ADAGP, Paris. PAGE 117: 2021 ARS, New York/ ADAGP, Paris. PAGE 117: 2021 ARS, New York/ADAGP, Paris. PAGE 117: 2021 ARS, New York/ SIAE, Rome. PAGES 118–19, 123: 2021 ARS, New York/ADAGP, Paris. PAGES 125–126: 2021 Vik Muniz/Licensed by VAGA at ARS, NY. PAGE 126: 2021 Clóvis Graciano/ARS, New York/ AUTVIS, São Paulo. PAGE 143: 2021 ARS, New York/ADAGP, Paris. PAGE 148: Anish Kapoor. All Rights Reserved, DACS, London/ARS, NY 2021. PAGE 152: 2021 Vik Muniz/Licensed by VAGA at ARS, NY. BOOM BOX

PAGES 90–101: Architecture,

interiors, and select furnishings by Selldorf Architects; selldorf.com. PAGES 90–91: In living room, sofas, slipper chair, and cocktail tables by Vica; vicadesign.com. Slipper chair upholstered in Brodie fabric by Nina Campbell for Osborne & Little; osborneandlittle.com. Cocktail table by Seguso; seguso .com. PAGE 93: Exterior cladding by Delta Millworks; deltamillworks .com. PAGES 94–95: In dining room,

chandelier by Stilnovo (T); stilnovousa.com. Custom dining table by Vica. Custom wood windows by Duratherm Window Company; durathermwindow.com. PAGE 97: In screened porch, pillows in Raffia fabric by Perennials (T); perennialsfabrics.com. Aegean Aluminum outdoor sofas by RH; rh.com. Vintage collection table by Richard Schultz for Knoll; knoll .com. Granite flooring by ABC Stone; abcworldwidestone.com. PAGE 98: On terrace, Loll Designs Adirondack chairs from Design Within Reach; dwr.com. Firepit by Paloform; paloform.com. Terrace paved with granite by ABC Stone. PAGE 100: In primary bedroom, bed by Vica. Bed upholstered in fabric by Gretchen Bellinger; gretchenbellinger.com, and Claremont Furnishing Fabrics Company; claremontfurnishing.com. PAGE 101: In primary bath, Elise tub by MTI; mtibaths.com. Lilac marble flooring by ABC Stone. IDYLL PURSUITS

PAGES 106–17: Architecture

by Alexandre Lafourcade of Lafourcade Architecture; architecture-lafourcade.com. Select artworks from Ben Brown Fine Arts; benbrownfinearts.com. PAGE 109: On terrace, tablecloth by Summerill & Bishop; summerillandbishop.com. Glassware by John Jenkins (T); johnjenkins.co.uk. PAGES 110–11: In living room, sofa by Liaigre; liaigre .com. Bluish gray sofa, armchairs, and ottoman by Gervasoni; gervasoni1882.it. Table lamps by Vaughan; vaughandesigns.com. PAGE 114: In living room, corner rocker by Ron Arad; ronarad.co.uk. Lounge chair and ottoman by Charles and Ray Eames; eamesoffice.com.

GALERIE (ISSN 2470-9964), Volume 6, Issue 1, is published quarterly by Hudson One Media LLC, 888 Seventh Avenue, 19th Floor, New York, NY 10106 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman; Steven Mandel, President/ CEO. Principal office: Hudson One Media LLC, 888 Seventh Avenue, 19th Floor, New York, NY 10106. Editorial and advertising offices: GALERIE, 888 Seventh Avenue, 19th Floor, New York, NY 10106. Subscriptions: Visit galeriemagazine.com, or call 833-231-7763. Subscription prices: United States,

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OPEN SECRETS PAGES 118–27: Interiors and select furnishings by Sig Bergamin; sigbergamin.com.br. PAGES 118–19: In living area, 3 Apoios chairs by John Graz; dpot.com.br. Mosaic Boomerang tables and Cygnet floor lamp by Vladimir Kagan; hollyhunt.com. Sophia armchairs by Munna; munnadesign.com. Side table by Gilles Caffier (T); gillescaffier .com. Lounge chairs by Sergio Rodrigues; dpot.com.br. Gávea lamp by Fahrer; fahrer.com.br. Fagiolo side tables by Ceccotti Collezioni; casualmoveis.com.br. Curve sofas by Patrick E. Naggar from Ralph Pucci; ralphpucci.com. PAGE 120: On pool terrace, stool, pillows, and upholstery from Casual Moveis Grupo; casualmoveis.com.br. PAGE 121: In stair hall, Fabio Maria Micucci vase by from Ralph Pucci. PAGES 122–23: In dining room, Oty Light pendants from FAS Iluminação; fasiluminacao.com .br. Triz chairs by Claudia Moreira Salles; etel.design. AGE 125: In primary bedroom, chairs by Claudia Moreira Salles. Lamp by Seguso; seguso.com. PAGE 126: In primary bedroom, bed and bedding by Victoria Mill; victoriamill.com.br. Nightstands by Casapronta Quartos; casaprontaquartos .com.br. PAGE 127: Outside, chairs from Casual Moveis Grupo. Tables by Paola Lenti; paolalenti.it. THE LONG VIEW PAGES 140–49: Architecture by Walker Warner Architects; walkerwarner.com. Interiors and select furnishings by

$29.95 for one year (outside the U.S., $39.95 for Canada and $49.95 for international); $12.95 per single copy. For customer service and changes of address, write to GALERIE Magazine, P.O. Box 3000, Denville, NJ 07834-9933. Allow 4–6 weeks to receive first copy. Editorial inquiries: Write to GALERIE, 888 Seventh Avenue, 19th Floor, New York, NY 10106, or to editor@galeriemagazine.com. GALERIE is not responsible for unsolicited manuscripts

Leverone Design; leveronedesign .com. Landscape architecture by Lutsko Associates; lutskoassociates.com. Exterior siding by Arc Wood & Timbers; arcwoodandtimbers.com. PAGES 140–41: On terrace, chaise longues by James Perse; jamesperse.com. Fabric by C&C Milano; cec-milano.us. Copper mesh rain curtain by Cascade Coil Drapery; cascadecoil.com. PAGE 142: In entrance gallery, bench by Kaspar Hamacher; almondandcompanysf.com. Rug by Fort Street Studio; fortstreetstudio.com. PAGE 143: In den, pendant by Global Lighting; globallighting.com. Wood vessel by Friedemann Buehler; buehler. studio. Rug by FJ Hakimian; fjhakimian.com. Cocktail tables by Kaspar Hamacher. PAGES 144–45: In living room, sofa by Coup Studio; coupdetatsf.com. Chairs by Yabu Pushelberg; yabupushelberg.com. Cocktail table by Liaigre; liaigre .com. Rug by Stark; starkcarpet .com. Side table by Thierry Lemaire; thierry-lemaire.fr. Glass doors by Vitrocsa; vitrocsausa.com. PAGE 146: In husband’s office, desk by Vladimir Kagan; hollyhunt.com. Rug by Tibetano; tibetano.com. Vase by Henry Dean; providehome.com. PAGE 148: In bath, pendants by Lindsey Adelman Studio; lindseyadelman.com. Sink and tub fittings by Watermark; watermark-designs.com. Custom vanity by Cooritalia; cooritalia.com. Tub by Boffi; boffi.com. Bench by Andrianna Shamaris;andriannashamarisinc .com. Rug by Nasiri Carpets; nasiricarpets.com.

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Chef Daniel Boulud with his portrait, painted in chocolate and photographed by Vik Muniz, which hangs in the entryway of his New York apartment.

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I first met Brazilian artist Vik Muniz when I wanted to commission a work for Bar Boulud in New York that combined food and wine. He said he would do the artwork, but first we had to have a party. He invited David Byrne, Cindy Sherman, and several others to dinner at his Brooklyn studio, and I cooked. Vik said you can always tell how good a party was by the stains on the table. So after we ate, we went into his photo studio and poured the leftover red wine onto plain white napkins. He photographed his favorites, and 25 of those now hang in Bar Boulud. At another dinner party, Vik wanted to take portraits of his guests, so he snapped one of me. He reproduced that picture in chocolate, then took a photo of it. I have it displayed in the entry hall of my New York apartment, which Stephanie Goto designed. My children pass it every day and play in front of it all the time. I love to explain to them, “Oh, this is Daddy! Daddy in chocolate.” —AS TOLD TO JILL SIERACKI

MELANIE DUNEA

Michelin-starred chef DANIEL BOULUD is captured in chocolate by his friend Vik Muniz

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GEM DIOR COLLECTION

Yellow gold, white gold, diamonds and ornamental stones.

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