April issue 2017 by Isabella Garrucho Fine Art

Spring 2017

Whatâ&#x20AC;&#x2122;s Inside! Best Highlighting shades according to skin tone Celebrate the Senses! Tips on Luxury Travel

Interviews with: David Yarrow James Fortune Paul Manes Lead Dancers From Martha Graham

Abdiel Jacobsen Kelsey Burns

Table Of Contents

Art David Yarrow Dallas Miami Paradigm Theatre James Fortune Paul Manes

Avalon Leather Brian Vieira

Fashion beauty DEX Cosmetics Scenterprise

Business

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Table Of Contents

Food

Kristie Caters Boutique Filicori Zecchini

Lifestyle

Cryotherapy Alpaca Farming Riva Rides

Home & Real Estate

Melanie Roy Roughen Interiors Anchors House Builders L.J Wilks Realtor Barbara Sweeney Homes Bow And Rose Patricia Lapierre

Entertainment

travel

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Roar Africa

Lois Robbins

the ART of … Perspective

By: Dale Howard

ance as an art is the expression of one’s self. A good dancer can convey feelings and truths within the grace of their movement. A good dancer can control their body to a technically impressive standard. A good dancer can create a basic understanding between them and the rest of the world. A good dancer conjures vague impressions. A great dancer will speak languages. Abdiel Jacobson is a dancer with the Martha Graham Dance Company in New York. Martha Graham started her school in the 1920s almost as a criticism of traditional dance and how unreal it was. “She wanted to express the reality of what we experience as humans. She danced in bare feet, her movements were very angular and sharp and powerful. She got a lot of backlash for that. But she pulled through because she was a heretic. She wanted to get down to the bare essence of our expression as humans.” Graham’s technique, which she developed after she started creating, is both physical and psychological. “It can’t just be about movement; the bod and mind must be connected as one in order to have power.” Such a technique can be rather polarizing since it involves a very specific mindset. Most dancers will either love it or hate it because “to do it you must commit your whole self and being to it. In our generation, a lot of people do not want to give anything that amount of time.” Whether one likes Graham’s technique, one thing which ca be said about the school is its ability to collect a diverse group of dancers who continuously push the boundaries of what dance can do. “When you integrate the physical, intellectual, and the cultural, you create something that is versatile and timeless. That’s one reason why [Graham’s] dances are still being performed ninety years later.” Abdiel himself has a diverse background: his mother is from the Ivory Coast and his father is from New Jersey. He started in dance at age fifteen and through his life into it. He started competing professionally in American Smooth and American Rhythm ballroom dancing at eighteen and competing all through college.

But once he found Martha Graham, it changed his perspective on the male/female relationship on stage. “When I went back, I was struck with how stuck the ballroom scene is in conservative traditions and aesthetics.” This is a sentiment his dance partner, Kelsey Burns, agrees with. “Every tradition has its own traditions and expectations,” Kelsey tells me. Abdiel and Kelsey started dancing together in salsa competition seven years ago. Since that time, both partners have felt dissatisfied with the competition scene because of its strict adherence to its moderately outdated expectations for each dancer. Competitive dancing, such as ballroom and salsa has become encapsulated its own bubble of tradition, making it difficult for innovation and diversity to affect it. “Race has definitely been an issue for both Abdiel and I,” Kelsey says. For Abdiel it was sometimes hard in ballroom to gain acceptance because of his dark skin, for Kelsey, her light skin was an issue in salsa. “Especially in ballroom, it has become financially inaccessible for anyone other than uppermiddle class white competitors,” says Kelsey. Such limitations have fossilized the competitive scene and has made diversity unwelcome in those dance halls.

Photo Credit: Hibbard Nash

Innovation comes from a shift in perspective. To wield dance like a poet wields words, you must be a master the rules of the language, then take those rules and bend them. In 2015, Abdiel decided to shift his perspective in a way both novel and painfully obvious: he began dancing in high heels. “I was teaching a student a step and she said to me, ‘Why don’t you try it in high heels!’ It just hit me at this moment and I thought, oh this is so true. Men don’t learn in heels or dance, but we’re the ones teaching women. If I really want to teach the students the best I can, I Photo Credit: Hibbard Nash should dance in heels.” When both partners wear heels, it changes the relationship between partners. “When Abdiel is in heels, it puts both of us on the same playing field, but on stilts,” Kelsey says. The male/female dynamic is very stuck in separated roles where the man is the leader and the woman is the follower. Wearing heels creates a more harmonious grace between partners because the power, balance, and weight is distributed evenly, especially in the beginning. “It’s so difficult!” Abdiel says. “It really takes a lot of strength. Your body has to work ten times extra when you’re wearing heels. There’s this dichotomy of strong and soft, power and lightness.” Kelsey also feels how her partner’s heels has shifted how they interact with each other on the dance floor. “Since Abdiel is new to heels, I am in the leader role just as much as he is. We rely on each other to give our weight to each other rather than just the woman giving her weight to the male. It empowers me in receiving and giving tangible feedback.” The balance of power is noticeable in their performance. The stiff barrier between partners, like a sheet of glass wedged into the negative space created by tradition, disappears. Movements are concise and fluid. The language of their bodies is no longer two people throwing rhetoric at each other, but a conversation; a blending of ideas and meaning. This is the apex of communication where both people truly understand one another because they are speaking the exact same language from a shared perspective.

Photo Credit: Hibbard Nash

When asked what’s next both partners have a desire to see more diversity in the ballroom dancing world. “If they could just open their doors to more people [by making it more financially and culturally accessible] it’ll be more creative,” Kelsey states. They are both working to bring this creativity to the competitive scene through their performances and instruction. They have recently showcased their piece “A Walk in Our Heels” for the fourth time in New York City at the Spring Movement Festival this April. They also teaching as many people as they can, Abdiel traveling back to the Ivory Coast to study and teach the Graham technique as a cultural exchange, and Kelsey flying Photo Credit: Hibbard Nash

to Taipei to teach their Rhythm Flow class. Their

ultimate goal is to bring as much awareness as possible to the ballroom world of the potential for creativity. “We haven’t really announced it yet, but it is our intention to go back to the ballroom competition and both dance in high heels and kind of see what happens!” The reaction of the judges could go either way, but regardless of the outcome, bold moves such as that could be the catalyst to get a stuck, fossilized world back to being a space of creativity and communication through brilliant performances of art. Abdiel and Kelsey are performing extensively, along with Abdiels performances with the Martha Graham school, their next big performance is at the Cape Dance Festival on July 29th, performing “A Walk in Our Heels” in Provincetown, MA.

For information on the Martha Graham Company and their performances, visit their website at www.marthagraham.org. Photo Credit: Hibbard Nash

David Yarrow

Photo Credit: David Yarrow

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Photo Credit: David Yarrow “All Our Yesterdays” 56”x68” Photograph

ildlife photographer David Yarrow spent the onset of the New Year trekking knee-deep through Japanese snow. While many tourists prefer to visit the island of Hokkaido during the summer, Yarrow believes that the winter best characterizes Northern Asia, where blizzards blow a deep, white serenity over the wilderness. Seeming to teeter on the edge of the world, Hokkaido has a tranquility which juxtaposes the chaos of urban life. The calmness exemplifies the Japanese esteem for zen. The snow, which simplifies the surroundings, is the ideal backdrop for photography. Yarrow sought to photograph the red crested cranes and swans, which live on Hokkaido during the winter. He utilized the elegance and mysticism of the surroundings to capture the majesty of the birds, emphasizing negative space through snow, ice, and feathers.

One month later, Yarrow completely changed scenes by venturing into the wilderness of the Congo, where he encountered his most elusive subject yet: the silverback gorilla. Powerful and imposing, the gorillas lurk under the lowslung canopies of the Congolese rainforests. “To face a fully grown gorilla in his or her natural habitat is one of the world’s great wild encounters,” says Yarrow. Before entering the Kahuzi Biega National Park, Yarrow had already photographed Rwandan gorillas four times. “To be candid,” admits Yarrow, “I have largely failed to do the gorilla’s enormity and strength much justice, [but] my approach has evolved and matured over the years.” Now, Yarrow has a complete comprehension of the technique required to portray the gorilla’s details and surroundings. Rife with violence and instability, the Congo feels detached from the rest of the world. With the loss of 5.4 million lives, the second Congo war, which ended in 2003, was the bloodiest conflict since World War II. However, the remoteness of the Congo is precisely what appeals to Yarrow.

“The DRC is not for those that like the easy street, which is why I have always wanted to go,” explains Yarrow. “The country’s name alone elicits foreboding imagery of strife and danger.”

”The greater the cocktail of whites, the greater the possibility of an image that could be ethereal as well as evocative,” says Yarrow. “My approach was to create a dream, not necessarily report on reality.” Photo Credit: David Yarrow

Guhonda 56”x82” Photograph

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Art With the help of TUSK and John Kaheyka, winner of the 2016 Prince William African Conservation Award, Yarrow’s adventure in the Congo was a collective operation. In fact, Kaheyka met his first gorillas over three decades ago with the guidance of the same local pygmy used by Yarrow. Yarrow “imposed” himself upon the rainforest, rather than letting the environment dictate his method of photography. This tactic allowed him to take the most effective photographs, while the short lens length required him to venture close to the gorilla. Focus, which “explains, frames and excludes,” is essential in photography.

Photo Credit: David Yarrow Swan Lake 37”x69” Photograph

Yarrow’s piece “The Silverback” features a gorilla with the appearance of perceptiveness and concentration. “I am proud of this photograph,” says Yarrow. “I have put my time in up this mountain, and I suspect that this was my reward.” Yarrow seeks to convey an important message through his photography, which both echoes with the “fragility of our planet” and celebrates its wonder. “Nevertheless,” adds Yarrow, “there is a dark message within the content of [the gorilla image]: the past has not been good to either man or beast, and my wish was that this picture should help conservation efforts.” In March, Yarrow returned to the cold, venturing into Wyoming to photograph the North

American animals that roam Yellowstone National Park. He sought to portray the essence of the park by incorporating its trademark geysers. However, the true masterpiece of the expedition was his portrait of a bison— a powerful symbol of the American West. “It will probably be my most impactful animal portrait for some time,” says Yarrow. The photograph exemplifies Yarrow’s ability to capture finite detail. He harnesses this skill to create photography with intimacy and soul, helping to define the region’s identity through art.

James Fortune Legends

Led Zepplin poster. 1977 from One Stop Posters, Los Angeles

ames Fortune was in the right place at the right time when he was thrown quite suddenly into the world of photographing the greatest rock n’ roll bands of the 20th century. I had the honor of being able to speak with

him about his experiences and what he has learned in his career spanning 44 years.

the ART of (TAO):

You started photo-

graphing bands at a very early stage in your career. What did these different bands and artists teach you during that time? In 1967, I was the photo editor of my college weekly newspaper “The Roundup.” Just for the hell of it I started calling a few record companies. So, I might get to interview and photograph some of my favorite bands and get free albums. To my surprise, Electra Records called back and asked me if I would like to photograph The Doors. Yes, was my answer. Jim Morrison and The Doors were my favorite new band. David Anderle from Electra said I could meet the band at Sunset Sound Recording Studio in Hollywood and spend a few hours watching the band lay down a few new tracks for their second album. It was due for release in late 1967. Learning to push my film speed and overdevelop the film in low light situations was the most important thing I learned in those early years of my photography career. That’s how I photographed The Doors using no flash and just photographing them as they worked on their new songs. You have a great picture of Paul McCartney just coming out of the pool and striking a pose. What was it like snapping photos sometimes during very intimate moments?

Art In April 1975, I received a call from Marsa Hightower with Salters and Roskin. I had photographed Led Zeppelin for them in early 1973 along with other artists in 1973 and 1974. Paul was in town for a week because he was up for an academy award for the soundtrack of the movie Live and Let Die. Marsa told me I was to meet Lee Salters of Salters and Roskin and Robert Hillburn, the music critic for the Los Angeles Times at the hotel swimming pool. As the other fellows sat down on the lounge chair, Paul emerged from the pool and grabbed a towel. Lee turned to Paul and said, “This is my photographer, ‘James Fortune.’” Just as I looked at Paul, he turned toward me and in a flash, held a white towel up to his body in a great imitation of Gypsy Rose Lee, the famous stripper. Without even thinking, I snapped the photo as our eyes met. This turned out to be one of my favorite exposures of a music star. I loved photographing live concerts but intimate photographs of stars off stage were my favorite. Most of the time I was the only photographer at offstage photography sessions and I could ask for a pose this way or that way. Keith Moon and Elton John were my favorites.

the ART of (TAO): How has photog-

raphy changed for you (and maybe in general) over the course of your career?

Digital photography is the big change for any photographer that has been doing it for over 20 years. In 1997 the US Army (whom I was working for at the time) changed to digital photography. I was not impressed with the first results, a Nikon camera body attached to a Kodak digital back. The capture size was not impressive. Digital photography has come a long way since then.

the ART of (TAO) Are there any proj-

ects you are working on now that you would like to talk about? I retired six years ago. Last year I started to publish my own photography books. To date I have published two ebooks, Celebration Day, shooting Led Zeppelin in America, 1973/1975 and 36 Rocks Per Roll, A Photographers Odyssey through the 60’s & 70’s. These two books are available now on Amazon.com. Soon I will publish a few hard cover editions of these books to be used in art galleries which sell my signed limited edition prints. I also plan to publish photo books on Paul McCartney, Elton John and The Rolling Stones. Plus, a Volume #2 of 36 Rocks Per Roll.

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clockwise, starting at upper left: Alice Cooper; Paul McCartney; The Who; Mick Jagger, performing with the Rolling Stones

For more information on James Fortune prints, please email info@igifa.com or Call (203) 622-0500. Check out his photo books on Amazon. com

By: Kristin Huffman

Theatre Today

fter three decades in the Entertainment industry, as a performer on Broadway, across the country and in Europe and as a teacher at the University of Hartford in the musical theatre division, my experience tells me that if we want the Arts, and specifically Theatre, to thrive, we must think of more “multiple use” approaches. Starting with how we involved youth. It is unclear what kind of funding will be available for arts groups going forward, so my nonprofit’s board and I have founded a different type of theatre company and we hope it can be a model for those who want to learn a new paradigm for theatre arts and education. A model that produces art, but in a more multi-tasking way by aligning with other local community non profits and bringing along youth for the “educational ride”. The real artistic value for a community and more importantly, for youth, is what being involved in theatre can teach. Stats about the importance of the arts for youth are well documented by Americans for the Arts ( http:// www.americansforthearts.org) as well as many others. At New Paradigm Theatre (NPT) (http://www.nptheatre.org) we produce shows that help to highlight a community need and teach youth at the same time. Last summer’s show, “Oliver-Reinvented” took this beloved musical and gave inner city and lower Fairfield youth the chance to work with Broadway stars, AND serve in a local soup kitchen. The theme of Oliver (hunger and homelessness to hope) was highlighted throughout this community-aligned approach and included Paul Bogaev (Grammy and Emmy winnner) (http://www.imdb.com/name/nm0091513/) as musical director and Scott Bryce (Emmy nominated actor) (http://www.imdb. com/name/nm0117302/ ) as director. It also helped to raise funding and awareness for another nonprofit, The Council of Churches of Greater Bridgeport, that serves the homeless and hungry. Classes and rehearsals for youth and adults revolved around serving the homeless, while also learning the songs and choreography for the show. It taught the youth in our show how to use their love of theatre to make a difference through theatre.

NPT is a non profit which has an adult board of directors and also a teen board of directors. Educating these teens to help run the theatre, participate in all volunteer work, fund raise and lead. They prove what numerous studies show about the arts teaching public speaking, problem solving, leadership, global thinking, and cooperation to name a few. “It’s such a great chance to reach out and help organizations that do want to see a change in the world.” says former youth board president, Nathan Clift from Trumbull. “The Youth Board gave me confidence in myself. It gave the reassurance that my voice mattered.” This summer NPT is producing Peter Pan-Reimagined and aligning with KEYS, a local non profit that provides free instrumental lessons to underserved youth. (http://www.keysmusic.org) While there will be many instrument playing “lost boys and girls” in our

Kristin Huffman (www.kristinhuffman.com)

show along with our Broadway stars, teaching these youth that they can create a better world using their imaginations, like in the musical Peter Pan, is one way that The Art of Theatre… will thrive in the future. Kristin Huffman (www.kristinhuffman.com) is the Artistic Director and founder of NPT. She played a leading role on Broadway in the Tony award winning musical, “Company”. She is a voice teacher at the University of Hartford and in Milford, and continues performing and producing around the country.

Paul Manes Art

Reality

By:Dale Howard

Arnheim 30” x 96” Oil On Canvas

Jammed 78” x 104” Oil On Canvas

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s I prepare for my interview with Paul Manes, I practicality reveals the foundation of get excited. Here is a man who has influenced his grasp of the outside the art world for over 30 years. Textbooks refer- success:

Manes’ world.

ence his work as perfect examples of aesthetic; of balance Not that he is not aware of the metaphors in his work. His between light and dark; of the use of space. I start with small talk. I bond with the common experience of living in Colorado. His studio lies 12 miles away from I-70, the interstate I took every summer to visit my Grandparents.

fascination with bowls, such as in his work Veronica, is the parallel between how the painter renders the circles on canvas and the presence of both dark and light in the human soul.

I give him my first question. It’s the one I ask every artist: you sit down to begin your next project. What is the first thing you do? Mostly, I get answers relating to their mindset, or how they envision what they are about to create. Sometimes, I get an answer which speaks to that ultimate truth art is always trying to uncover. Paul’s answer is much more pragmatic. “You get some paint and you start painting on [the canvas].” His answer takes me by surprise only because of its refreshing simplicity. I am expecting a more…philosophical answer mostly because of my past experience. But the

Wild Thing 60 x 78 Oil On Canvas

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Crooked Heart 60” x 66” Oil On Canvas

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Tropic 48” x 52” Oil On Canvas

Art They go to every edge [of the canvas], they don’t stop anywhere.” This matches how humans just keep continuing on like ants. But even so, Manes is more focused on the technique than the abstract meaning. “I’ve painted bowls for a long time. An orb is fun to paint. Then you cut it in half and make them hollow and it’s ten times more fun to paint. You can stack them up and make designs in any way you want to. It fulfills my need to paint” We talk about how his work has changed over time. When we talk about his aesthetic, he says it’s “a development…maybe the images devolve.” But no matter how he feels about it, his work moves forward. “They are a continuation. I add things to what I do. So, if there is an aesthetic development, that’s great. But if there’s not, it’s not going to affect what I do.” For Manes, the process of creating art is not an intellectual endeavor to be pondered in the moment. “The brain just gets in the way. When I work, thinking just gets in the way. Working interferes with thinking and vice versa.” Manes has the ability to separate his thoughts from his work. This allows him to move forward, to be proliferate like all successful artists, while being able to step away and allow ideas to come to him rather than struggling in the moment and wasting time.

“Ideas come to me at odd times when I’m driving or reading a book.” This method of separating thinking and working means current reality can seep into his art in a way that is unobtrusive yet obviously influential. Manes describes himself as one who doesn’t follow much politics, and yet in this current political climate, it is impossible not to be at least fascinated with recent developments. He likens the new administration “like an attraction to the bazaar.” Whether in support of the new administration or not, one cannot argue the melodramatic nature of the presidency. “The readership of the New York Times has gone up, and it’s gone up because all of this stuff is bizarre.” This fascination has bled into his latest works. “I did a painting and it’s an image that I’ve used before, it’s just a stack of logs, but the word clusterf___ comes to mind.” The images he has created is not of perfectly aligned logs organized into a controllable wall, but a disarray of wood piled haphazardly as if they were dropped from the sky, connoting chaos and asymmetry. The paintings are just another example of how Manes represents the world: an image pragmatically influenced by reality, manifested in the focus of the artist. “Any aesthetic endeavor is something that evolves, is something that adds to itself, it’s something that builds as it goes along. It’s just a human thing, and if you want to produce art, then it multiplies itself over time.”

For more information on Paul Manes, please email info@igifa.com or call (203) 622-0500

Brassolis 36” x 72” Oil On Canvas

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Siddhartha ll 66 x 60 Oil On Canvas

Veronica Mundi 72â&#x20AC;? x 66 Oil On Canvas

Dallas

Art

By:Kimberly Alise Aston

Art ans van de Bovenkamp works mostly from a bohemian chic 7-acre farm with a large studio in the Hamptons,

retreats to his home in Costa Rica when it gets too cold, and makes time to travel extensively for continual inspiration. In person, the worldrenowned sculptor emits barely contained energy—and it is contagious. He inhabits a world—both childlike and sage— that continues to amaze and engage him to keep producing his stunning works. Van de Bovenkamp is known primarily for his massive sculptures, many of which grace international commercial and public spaces, museums, and galleries. His pieces derive from spirituality, mythology, and psychology as the artist is influenced by his religious upbringing, his interest in mythology’s “lack of proof ” but continued ability to fascinate, and the unconscious and dreams.

His background is intriguing. From the Netherlands originally, he emigrated to Canada and then attended the University of Michigan to study architecture. He tells a story from his childhood in which he built a table for his bedroom that only had two legs. Others questioned the missing two legs but it was logical for the budding artist; he understood that it only needed two legs to be stable but that it was also much more interesting to viewers. An enterprising young man, he discovered that he could sell objects at street fairs and make a decent living. He started with candelabras and moved to wall hangings and then to small sculptures. Van de Bovenkamp then moved to New York City and occupied a small studio on the Lower East side and started making street fair objects again.

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He attracted the attention of the Tiffany & Co. jewelry store and was asked to create a fountain for one of their famous windows. He believed that his mission was to “sell permanence” to convey the significance and beauty of the jewelry. He created a magnificent fountain but his choice of metals rendered the water rusty. The sculptor admired the juxtaposition between the beautiful, valuable jewelry and the disintegration of the rusty flowing water, but Tiffany & Co. did not agree and he had to find a new metal – copper. During the project, Van de Bovenkamp had a crew of 18 assistants, including the soon-to-be famous jeweler David Yurman and his wife.

The Tiffany & Co. project awakened in the sculptor the desire to create sculpture with “no purpose except aesthetic” and he began on his journey to stardom. Of course, Van de Bovenkamp’s artworks transcend pure aesthetic, but this was an important turning point in the sculptor’s career as his attention turned to different metals, large-scale pieces, finishes, and colors.

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After the Tiffany & Co. project and others, Van de Bovenkamp relocated to the Hamptons for necessary space to start creating large-scale sculptures that are “very strong and very large.” He experimented with all metals that can sustain an outdoor environment. Van de Bovenkamp eloquently explains how form predicts metal and color. He has created works in black, white, green, and red, as well as finished and unfinished stainless steel and bronze. He works often with stainless steel as it is durable, structurally sound, and significantly, reflective. Bronze has a history that the artist respects, and it can be manipulated to emphasize different finishes and depths of color and patina. If the sculpture is to have a color, he considers many implications. Van de Bovenkamp has stated that there is a “fine line between color and form” and he leverages his knowledge to make his color decisions depending on the project: the space, the location, and the mission.

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Thus, his artistic

evolution started with ar-

chitecture, which contin-

ues to impact his work.

Part of his process in-

cludes paintings that are

rendered before, during, and after he creates a sculpture. But he paints as an architect, not as a painter. As he paints, he

envisions the object in 3D and asks himself “how do I make this?”. He refers to the paintings, or drawings, as “moving

work,” meaning they are dreamlike, forever incomplete, and full of infinite possibilities. Although he calls them “glori-

fied construction drawings,” they are fascinating and are often exhibited with his works, including recently in Dallas at

Samuel Lynne Galleries. Unsurprisingly, Van de Bovenkamp has very complicated processes and phases he must under-

take to create his massive works. For example, he draws on metal with a marker to show the shape he wishes to create.

He also uses cardboard to turn and twist the material to render it 3D. There is a lot of art happening here, but also some

trial and error due to the complexity of creating such works. The next phase is making paper templates before the metal

comes into play.

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During the structural phase, beams and rods are connected and inserted into metal pieces to create the structural integrity required for large works. Welding is obviously very important and he and his team weld edge to edge and create compound curves to ensure rigidity and support during transportation. Many of his sculptures resemble portals, and Van de Bovenkamp delights in the interplay between his viewers and his works. This takes us back to the introductory comments about the artistâ&#x20AC;&#x2122;s background and motivations. He seems to still be drawn to the objects of worship of his childhood, the mythology that intrigued him, and the role of dreams and the unconscious. All these elements are at work as one interacts with a Van de Bovenkamp sculpture. The viewers become part of the sculptureâ&#x20AC;&#x2122;s narrative and convey their own stories. Thus, the works transform both the viewers and the environment.

Hans Van de Bovenkamp is an extraordinary and prolific sculptor whose works should be experienced both in gallery settings and the outdoors. He remains at the height of

his artistic powers and

continues to evolve. Many would envy this joyous visionary his unjaded perspective of the world.

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the ART of …

Miami’s Art Scene Outlook

By:Fatima Canovas

iami’s art scene, like that of every growing city, is changing to adjust to the rapid growth it has been experiencing for the past few years. Wyn-

wood’s aggressive gentrification has prompted the artists who traditionally worked, and many times lived, in this iconic neighborhood to seek new hubs in which to create and exhibit their work. Intent on establishing year-round communities that cement the city’s artistic landscape, many creatives, galleries and institutions are buying, rather than leasing, spaces in less developed areas like Little Haiti.

In spite of the instability created by re-location and

jacent neighbors: Brickell and the Design District, Art Basel Miami Week’s major art fairs will re-locate to Museum Park in Downtown Miami this December.

The move will facilitate travel between Miami and

Miami Beach fair venues, allow visitors access to a much greater variety of related cultural institutions, fine restaurants and shops, and the performing arts district. Another plus is the proximity to beautiful Biscayne Bay and historic Bayfront Park, both of which are major locals and tourists attractions.

the loss of art spaces in the globally recognized Wynwood

Art District, there are still many positive factors that make

porters of the arts provide a bridge between the art com-

the city quite relevant to the art world. The sheer num-

munity and the general public by way of helping to create

ber of art museums now thriving and expanding is a very

and attending events and exhibitions at different venues

strong indicator of its artistic maturity and stability; as well

throughout the city all year round. Wynwood, though

as the commitment of institutions like the Miami Founda-

downsized from its original number or galleries and artist

tion and the Knight Foundation. These amazing funders

studios, is still beaming with creatives and arts events; one

each year entice local artists to participate in art in public

of which is the world-famous Wynwood Walls courtyard,

places initiatives like the one open to all creative disciplines

visited by thousands of people from all over the world each

this spring. Artists of all genres are invited to submit their

month.

ideas for projects that enhance the city parks and open communal spaces. The public votes for their favorite proposals, and the most liked ones are scrutinized and pared down by organizations’ panel and awarded funding. The arts add substance, beauty, and color to these very vital shared community spaces. Art in public places exposes people all ages and races to the intrinsic value of this powerful universal artistic language that is understood equally by all cultures without the need of breaking down the language and cultural barriers that often separate us. As Downtown Miami continues to thrive, joined by its ad-

The growing number of local collectors and sup-

Art The Little Havana Art District holds a monthly art walk that consistently experiences large crowds. The area is also another major international tourist destination where Europeans love to acquire Latin American and Caribbean art. Little

River/Lemon

City/Little

Haiti,

neighborhoods that overlap the north side of the Design District and west of Miamiâ&#x20AC;&#x2122;s Upper Eastside, have become the new thriving hubs for young creatives. These once run-down areas are being transformed into new art neighborhoods that are rapidly growing and flourishing in unison. Miami Ironside, just west of Biscayne Boulevard offers a smorgasbord of creativity. An entire block of art and design studios, workspaces, fashion, event venues, and Ironside Pizza is a definite sign that creatives have invaded the area. Also located north of Wynwood, Fountainhead studios provide artists with another newfound heaven. The city of Hialeahâ&#x20AC;&#x2122;s artistic community is developing a very firm arts stronghold that is attracting visitors to new centers and special events that were not long ago unheard of in that area. Galleries are following in the artists footsteps, promising to show the Art Basel Week crowd and year-round tourists that the Miamiâ&#x20AC;&#x2122;s art scene continues to thrive and be as mobile as it needs to be in order to remain a strong and vital year-round component of our prospering city.

As the artistic rainbow

continues to color the cityâ&#x20AC;&#x2122;s skyline with the vibrancy and energy of the creative spirit, more and more institutions and private instructors offer young and old alike opportunities to learn painting, sculpture, pottery, digital art, and video production. Magnet schools that are part of the public school system are granted the privilege of implementing very robust art curriculums that start children as early as elementary on their way to be becoming the artists of the future. Paint and wine parties are often attended by corporate groups, and other social institutions that come together to create and better understand the mesmerizing power of shapes, colors, and the sense of joyful accomplishment of creating something that provides them with a new-found tool for selfexpression. Nonprofit organizations are, more and more, incorporating a strong visual arts component into their galas and functions.

The city of Miami and its neighboring hubs are committed to maintaining a strong yearround presence in the global art calendar and community; placing its creatives and their supporting exhibitors and institutions in top rung of priority scale for education, f u n d i n g, and tourism.

Fatima Canovas Art Daily News

Fashion

the ART of …

Style Blogging

1) How did you get started blogging in fashion and lifestyle? My passion for fashion has always run deep within me ever since I could remember, as cliché as it sounds. Even as a young teen, while many were saving for the latest gadgets or tormenting their parents for that moment’s hot video game, I would have my head buried in the latest issue of GQ , selecting items that quite frankly I had no business wanting at the time. What that did teach me though, was a personal sense of style and an urge to share it with others. Going through high school and college, I can’t tell you how many times my style changed. I sat back one day and said to myself “why do I have to define my style?” That was when The Visionary Gent came to be in 2014, with a desire to show others that personal style doesn’t have to be defined by a label. Illustrating how people can go from dressing refined and formal one day to streetwear and athleisure the next. My motivation for blogging has always been to show others that it’s okay to step out of the box on all levels of your life and never be limited by how people may perceive you. 2) What is your philosophy when it comes to looking good and dressing nicely? I get asked this question often and my most frequent response is that looking good and dressing should first and foremost always be about the way it makes you feel. Now, one may say that’s fine, but how do you actually accomplish that? For one, I think it’s great to pull inspiration from magazines and celebrities/ pop-culture. But what separates you from the rest is being able to take that look and morph it into our own, avoiding an exact replication. Remember inspiration is not replication… or flattering for that matter! I think it’s important to be aware of current trends but to not get caught up on a fad that in all likelihood will be gone a year or two from now. Most importantly, the best thing any man or woman can do to immediately elevate their style comes down to grooming. Keeping hair well-kept with a frequent cut, trim and style contributes to how your overall look comes together.

Fashion

3) How has living in New York City informed your sense of fashion? How has it influenced your lifestyle? I credit much of my personal confidence to New York City, as it has given me the determination to further expand on my style pallet. I never think now “is this too much” when I put a look together or what will people think. If New York has taught me one thing, it’s that other people’s opinion or perception play no factor when I get up in the morning and get dressed. Style has no limit in New York City and wherever I go, that mentality carries with me. I have seen some of the best and most obscure personal style and it always brings a smile to my face. Seeing people from across the globe, from diverse cultures illustrate their style in New York has given me the greatest satisfaction when I step foot onto the street every morning.

4) You are about to leave the house, what is the one article of clothing/accessory you cannot leave the house without? For me this changes based on the season, but the one thing I can absolutely not leave the house without is a watch. This may be more of a security blanket for me as I am so accustom to wearing one, but I find that a good timepiece always adds an edge up on my style. Watches are a great way to express your creativity and really can tell a story about a person. Now, I am not talking about buying or wearing the most expensive watch money can buy, but a tasteful timepiece that fits your style really goes a long way.

Fashion

5) What do you want to teach the world?

If I can continue to reach people around the world, across all walks of life and provide them with a sense of familiarity and confidence in everything that they do, I feel that is the greatest teaching I can give. Above and beyond style and lifestyle, taking away the material things, I hope to deliver a message of empowerment and unity. One of the best things about fashion is that it has no limits, and thatâ&#x20AC;&#x2122;s something I live by in all aspects of my life. We often find ourselves living within parameters others have set for us, itâ&#x20AC;&#x2122;s okay to take chances. Most importantly, being different is what sets you apart!

Fashion Art

the ART of … Leather Garment

many

buttery-soft

garments…yet

leather

little

and

suede

information

for

the luxury consumer as to their care.

In this article we’ll endeavor to change that. The

highest-quality

garments

are

produced

France, Italy, the U.K and Spain from leather native to these countries. Their price points will reflect this, but these garments are lifetime investments just as lux- label handbags from the same countries. “Bridge” lines are mainly manufactured in China. Quality varies greatly and depends on whether the company owns their own manufacturing plants or subcontracts, as well as where the hides originated…ideally from one of the aforementioned countries. Hides are only as good as the healthy animal they came from; the cost of raising healthy animals is passed along by their breeders. There’s good reason most leather garments were once offered only in darker hues…they hid stains and soil. There’s now a huge selection of leather jackets, skirts, dresses and shirts in paler shades which require additional thought as to their selection and care. Most fine garments available today are made from lamb, calf or kid for their light weight and velvety feel. The vast majority are aniline processed; meaning there is no protective coating or finish to prevent the absorption of fluids, hair products, skin oils etcetera. Some can withstand the application of a protectant without compromising the hand (feel) or color…others cannot. A specialist in leather garments can determine which, if any product is suitable. An easy way to determine if you have aniline leather is to test on a hidden area, such as inside a cuff or hem. Place just one drop of water on the leather; if it sinks in immediately, it’s aniline. If it sits a few minutes before penetrating completely, it’s semi-aniline…this has a bit of finish that helps slightly with protection, but will wear away with use over time.

Art

Fashion

The following practical advice can be put to use immediately to extend the useful life of your investments …resulting in considerable savings.

1. Sunscreen is a must for most of us, but if you’ve ever worn a new T-shirt with it… only to find the neck and sleeve areas have lost color shortly after…you’ve seen what SPF can do to textiles and leathers. If you must wear both, use one of the powdered mineral sunscreens on the market anywhere the skin meets a leather edge, especially the neck, chest and arms. 2. Speaking of sun, do not wear leather on spray-tanned skin until 48 hours have passed and you’ve performed a thorough body exfoliation to prevent excess tanner from transferring onto the leather, which will require a specialist’s attention. Should this happen, do NOT attempt to remedy this yourself ! 3. Always apply makeup, hair products and fragrance before getting dressed. If your foundation is a proper match, you’ll not need it on your neck and your jacket/shirt will thank you. Moisturizer should be well-absorbed to avoid oily stains. If in doubt, swipe your neck and/or other areas with a tissue prior to dressing. 4. Consider wearing a scarf or neckerchief between your neck and collar. It’s a timeless look and will greatly save on collar maintenance…especially suede. 5. Summertime jacket wearing? Wear a T-shirt underneath, not a tank…perspiration/deodorant residue can leach through to the jacket’s exterior and harm both the leather and col

When Bad Things Happen to Good Leathers! Accidents happen. A jacket is caught in a car door…or dropped on a freshly tarred street emerging from a cab…splashed by an errant glass of red wine or torn by a pet parrot…these are a few cases that we’ve seen. A leather specialist focused on garment repair can resolve the damage and match the color with excellent results ranging from invisible to a barely discernable mark resembling a natural flaw in the hide. Wise is the person who keeps the contact information of such a specialist on hand prior to an incident; because… it’s really not a matter of IF you’ll need their services…it’s just a matter of WHEN!

Art 1. Spills- blot with a paper towel until the towel comes up dry…do not rub…then allow to air dry. Don’t use that blow dryer! 2. For food grease, oily stains, red wine and dark liquids- after blotting until the paper towel comes up dry, place a thick layer (a ¼ - 1/3 inch) of dry CORN

Lastly, Some Sage Advice for General Care 1. After purchasing your jacket, consider having a leather garment specialist apply a protectant before you wear it… resist the urge to “wear it just once”!

STARCH over the entire area and allow it to absorb They can give you valuable feedback on what/what the remaining liquid/oil for 8 hours or overnight. not to do to care for your investment going forward. This is the only safe home method. Never use salt!

The dollars you’ll save in the long run will greatly out-

Salt disrupts dyes and can contract the leather. In the weigh this prudent step. Consider purchasing a darker morning, clear off the starch into a sink and lightly color for your everyday “go-to”, saving light colored wipe with a dry paper towel to remove any residue. garments for rotation. Lighter colors will show soil Repeat once more if desired, then you’ve done all you quicker and will require more attention. Like a white can before taking to the pro. This also works well with grease on the suede side of shearling when brushed shirt, white and cream leathers will start to yellow over out afterward with a suede brush and may save you a time due to natural oxidation. A specialist can perioditrip to the specialist until the end of the season. 3. Ink remover products are a crap-shoot at best; call the specialist! Do-it-yourself usually makes a mole-hill into a mountain! 4. Do not wear the garment after it’s been torn or ripped before having it repaired. Wearing will stretch the edges that need to be rejoined and can affect the quality of a repair’s outcome. The capable specialist can fill in missing pieces with a patch and/or flexible filler, replicate the “grain” or pores of the leather and finish with matched color applied with an airbrush resulting in little if any demarcation. This is artisan-level work. They can even replace an entire panel or sleeve if needed after sourcing a matching hide. If you think it’s ruined…contact them first!

cally remedy this.

Fashion Art 2. Invest in a shoulder harness cover in shearling or foam for your car; shoulder belts are murder on finer leathers and damage occurs quickly! And clean your shoulder bag handles frequently, as they transfer and grind soil into your leather garment! 3. Never store leathers and suedes in plastic… even vinyl garments bags. Use cotton canvas or muslin bags without plastic windows. Plastic slowly release gases that can affect dyes on all of your clothing. An old pillowcase with a small hole to slip over a shaped hanger makes an excellent single jacket cover. 4. The best dry cleaning…no matter the solutions used…removes oils from the leather over time. Fine thin leathers may require wet-cleaning by a specialist astute in this technique, or only by hand. The exception is shearlings and some suedes of which nourishing oils and dyes are replaced following the dry cleaning process. 5. Clean the back inside of your collars at least twice a year…more if worn in warmer months …with an approved product. Skin oils get rubbed into this area, turn rancid over time and can deteriorate the hide within a few years. 6. Save this article as a resource to refer to…of course!

Now armed with this new-found knowledge, you and your luxury leather clothing should enjoy many stylish years together! Cynthia Clark Owner/Senior Artisan of Avalon Fine Leather Services focusing on Fashion/Furnishings & Interior installations www.fineleatherservices.com

â&#x20AC;Ś f o T R A e w a l th S The a

r u a L hef

By: C

For the Peanut Sauce

For The Miso Ginger Tahini Dressing

1 lb smooth peanut butter 1 cup soy oil 1/2 tbs sesame oil 1 cup low salt gluten free tamari 1 cup darjaling tea steeped in cup 1 1/2 tbs sambel olek 1 cup light or dark brown sugar (or coconut sugar)

1 cup Rice Wine vinegar 1 inch piece of ginger peeled

Directions

1 tbs sweet white miso

2 cups safflower oil 1 large peeled shallot 1 tbs dijon mustard 2 garlic cloves 1/2 cup tahini

In a stand up mixer with paddle attachment add the peanut butter and the oils to incorporate. Change paddle to whip attachment. Add in on low speed the tamari and brown sugar. Pour in the cooled tea while the machine is on low speed. Toss with Warm noodles. Udon or rice noodles both great!

Extra Peanut Sauce can be frozen.

splash of maple syrup just to taste to sweeten Directions Add all ingredients to a Blender or vita mixer Blend until emulsified , few minutes. Can be stored in ball jars in the fridge for up to 2 weeks.

For The Slaw 2 cups shredded napa cabbage 1 cups shredded carrots 2 cups shredded purple cabbage 2 green apples peeled and sliced into thin matchsticks handful of fresh mint julienned When ready to serve place all ingredients in a bowl and toss with miso dressing. Its ok to dress this slaw an hour in

Christie Caters Chef Laura

the ART of …

How Filicori Zecchini Selects Its Teas

ilicori Zecchini is renown in Europe and the United States as a high-quality coffee company and

we’ve been roasting coffee for almost 100 years. Italy is recognized around the world as a leading coffee and espresso culture, and more particularly, for its café culture. We use great care in

selecting our green coffee beans, followed by the roasting and the blending, to ensure our coffee and its quality is consistent over time. About six years ago, we discovered a movement afoot in Italy to explore beverages beyond the coffee world and most particularly, the worlds of fine teas and infusions. We were intrigued and excited to explore new avenues of taste, while still reaching for the best quality.

We offer over 100 different varieties of single-estate, blended and scented teas and infusions and discovering the best of each of these was a journey, one which continues today. For our single-estate teas, it began with one of many trips to Southeastern Asia and stops in China, Taiwan, Japan, Sri Lanka, South Korea, India, and Nepal. We met many local producers and tasted many types of teas, whether white, yellow, green, oolong or black, and selected the varieties and gardens that we found most interesting and unique, in terms of flavor and aroma.

Food suring that our long-term relationships remain in place. Our visits contribute to our ability to source and provide you with rare and unusual teas from the best gardens. On one of our many trips to Sri Lanka, we met a tea group that specializes in blended and flavored teas, as well as dried fruit, flower & herbal infusions. Realizing that this would

While our selection of Chinese teas cov-

er the major colors of tea, weâ&#x20AC;&#x2122;ve come to love some unique examples from Yunnan, especially our PuEhr Mini Tuo Cha 15-year (a fermented black tea in individual dried cakes) and our Imperial Yunnan Feng Queng (originally intended as tribute to the Chinese Emperor). We celebrate our Chinese green teas with the selection of Lincang Silver Needle and Silver Dragon Pearls, both elegant and flavorful in the cup.

We have a special fondness for Dar-

jeeling and the first flush (spring) harvest, which is known as the Champagne of Teas. Our Darjeeling Seeyok is a limited edition, rare tea with a soft and velvety mouthfeel.

We continue to visit our produc-

ers and their gardens on a regular basis, en-

be the best way to offer naturally flavored teas and caffeine-free infusions, we sat down to taste and select the first group of blends that we now offer, including Earl Grey & Cream, Jasmine Kiwi Strawberry, and Chocolate Chai. We work closely with our dedicated team there to develop new flavors and explore new tastes as we move through the seasons.

Food Ultimately, just as we always work to produce the best quality coffees, we do the same when selecting our fine teas and infusions. Developing and maintaining the long-term relationships we have with local growers and our colleagues in Sri Lanka, allows us to offer you the best, both in taste and aroma, while providing a glimpse into a world of beverages most rare and beautiful.

Boutique Filicori Zecchini

Cryotherapy

Lifestyle

hole Body Cryotherapy uses vaporized liquid nitrogen to lower your skin surface temperatures penetrating about 1mm deep (external tempera-

tures to -250 degrees Fahrenheit). This then acts as a stimulant to your regulatory system causing vasoconstriction or your body’s defensive mode. Your blood quickly travels to your core organs that are then enriched with oxygenated molecules. When stepping outside of the machine, the reperfusion starts and supplies areas of your body needing repair. This process also burns hundreds of calories and boosts your metabolism. Now, let’s look at the history and science behind cryotherapy.

History Applying something cold to an injury or ache has been an accepted medical treatment for centuries. In fact, localized Cryotherapy dates back to the 1600s, with the Greek term “cryo” meaning “cold,” and “therapy” meaning “cure.” However, it wasn’t until the 1970s that Whole Body Cryotherapy was introduced in Japan, primarily as a way to treat rheumatoid arthritis, Multiple Sclerosis, and Lupus. Doctors noticed that by rapidly cooling the surface of the skin (through the use of vaporized liquid nitrogen in a Cryotherapy machine), joint pain and soreness decreased. From Japan, the holistic treatment method of Cryotherapy moved to Europe, where it became an accepted form of physical therapy, post-surgical recovery and part of the training regimens for many professional athletes. Cryotherapy came to the United States in 2009, and we’re proud to be one of the few centers in the country to offer this unique form of treatment.

Lifestyle

Science behind Cryotherapy Low doses of physical stress from a cold plunge can elicit an adaptive response and strengthen your immune system by increasing white blood cells and immune cells; your bolstered immune system can then kill viruses and fight off tumor factors. Short bursts of cold therapy may also increase the antioxidants glutathione and superoxide dismutase, which help support liver and immune function, optimize cellular function, and protect against oxidative stress. Collagen, the protein behind strong cartilage, joints, skin and hair, also ramps up production after cryotherapy, and collagenase, an enzyme responsible for rapid collagen breakdown, slows down. While cold therapy is boosting collagen production, itâ&#x20AC;&#x2122;s also inhibiting the stress hormone cortisol, which works to break down collagen and can disrupt your healthy blood sugar and sleep patterns.

Lifestyle

The idea behind cryotherapy and increased fat

is a hormone and neurotransmitter involved in your

burning is simple: the body responds to extreme cold by

sleep-wake cycle and has profound effects on energy,

increasing your metabolism to heat up your body, which

focus, mood and sleep patterns. This is because of nor-

in turn burns fat through a process called cold thermo-

epinephrine’s role in neurogenesis – the production of

genesis. Cryotherapy can increase your metabolic rate by

new neurons in the brain – which links to improved

up to 350%.

mood and memory. The rise in norepinephrine along

Long-term mild cold exposure can also increase brown

with a decrease in cortisol supports a healthy sleep-wake

adipose tissue (BAT), a type of fat that is beneficial to

cycle. Cold water immersion at 57°F (14°C) for 1 hour

humans. Unlike other types of fat, brown fat increases

increased norepinephrine 530% and dopamine, another

metabolism, burning energy and glucose to generate heat.

feel-good neurotransmitter, by 250%. By doing cryothera-

Cold exposure produces feel-good endorphins and in-

py 2-3/week, you can get similar effects from our sessions

creases production of norepinephrine. Norepinephrine

at -250 degrees F.

Lifestyle

the ART of â&#x20AC;Ś Alpaca Farming By: Diana Bellissimo

hen people think of Dutchess County, NY they often think of scenic views with lush fields, deep woods, and babbling streams as well as its delicious restaurants and delightful specialty stores. Few realize that Dutchess County also has alpaca farms where residents can interact with alpacas and buy goods made from their fiber. Alpacas are adorable, friendly animals that resemble llamas. They are fiber animals â&#x20AC;&#x201C; their fiber is used to create a variety of products, including hats, blankets, sweaters, purses, socks and boot inserts. Only a limited number of farms raise alpacas in New York. Since fiber is particularly important, farmers need to be very selective when choosing alpacas to breed. They attend shows all over the country to identify alpacas with the highest quality of fiber. Alpacas come in 22 official colors although specialty colors, such as champagne and maroon, are also possible.

Lifestyle

This allows for a variety of color op- erage alpaca produces 5-10 pounds of fiber.

tions for products without having to dye the Alpaca’s generally give birth to one baby, called fiber. The fiber from alpacas is hypoaller- a cria. Gestation takes 11.5 months. Pregnancy genic, warmer than wool, and odor resistant. is confirmed with a spit test. When a female isn’t Alpaca’s have their fiber shorn once a year usuinterested in breeding because she is already pregally in the Spring. The fiber is then sorted into nant, she spits at the male to tell him to go away. categories and cleaned of all debris. The fiWhile they are not 100% accurate, they are a very ber can then be used in a variety of ways - often to produce yarn and /or clothing. The good indicator if an alpaca is pregnant. Cria usublankets (the fiber on the midsection) are used ally weigh between 10- 20 pounds. In the Northin knitwear whereas thirds are used in items east, cria are usually born between May-Septemsuch as boot inserts or purses. Typically, an av- ber. Ours are due between May-July this year.

Lifestyle

Lifestyle Alpaca farmers provide their herds with grain, hay and plenty of fresh water. They live in barns or run-in sheds and they enjoy spending time outdoors. They generally prefer winter to summer â&#x20AC;&#x201C; they need fans to keep cool in the summer. Typically farmers have at least an acre for every 10 alpaca so they have room to graze. Alpacas are naturally pack animals and enjoy being around other alpacas. You should never have just one alpaca. Alpacas are naturally docile and curious. They can be skittish if startled upon encountering a large group or an unknown circumstance.

However, if they

are worked with at an early age, most are very friendly and will even let people walk them on leads. They seem to recognize repeat visitors and often come to greet them. On Lilymoore Farm in Pleasant Valley, New York, visitors can interact with their herd of sixteen alpacas. They offer an Alpaca Buddy program where visitors can learn about the alpacas and be taught how to walk them. They have also teamed with PLTphotography to offer visitors the option to have their pictures professionally taken with alpacas. They hold special events such as the Teddy Bear Picnic and Alpaca Days which are free to the public.

Lilymoore Farm www.lilymoorefarm.com (845)605-4002

Lifestyle

the ART of … Of a Date

By Sylvia Beckerman

ost new to the world of dating would ing. No generalizations made here for gender say that the ‘Art’ of a date is an oxymo- tendencies, but there is the one note text meets

ron. For most beginning anew, whether it be the 200 word count text. In between is the ‘lost through an introduction, a chance meeting, an in translation’, as therapist’s put it, projecting old friend who comes a ‘knockin, or online sites, the meaning of dinner or a drink. the common sigh is that they are quite inartfully Taking two cars or being picked up, going dutch executed. Reason for this is that many dates or double trouble of double speak. are not balanced. Said differently, one person is typically either more experienced, looking for Après Divorce recently hosted an event where a one trick pony, or often just largely interested the topic of dating was forthright and center. It in something cool, less committed and casual.

seems I’m becoming a guru on the frontier of

Then there is the manner by which the date is these and other topics facing women who are made.

in various stages of preparedness to take on the

There is frequent texting taking place over talk- ‘Art’ of a date.

Lifestyle

the ART of (TAO):

How often does the subject of dating after a hiatus come up from the members who attend your functions?

Sylvia:

Quite often. It’s one of the top five topics after money, children, housing, and legal.

the ART of (TAO): In

the amount of research, and any personal experience, what suggestions or words of advice have you provided to someone who is spending too much time alone and wants to venture out?

Sylvia: Take that step. Open the door and see what’s behind it. As scary as the prospect

of venturing out is, life can pass you by too quickly. Take a deep breadth and start small. Coffee with a friend, a movie. You’d be surprised how it starts to come together.

the ART of (TAO):

Coming back to the ‘Art’ of the date…is there such a thing, and how would you describe it? Are there elements that enhance the artfulness of a first, second or even 50th date? Sylva: There definitely is an ‘Art’. The first is easier than the second in many ways. We all know that you make your first impression within the first 10 seconds. You can’t be seen as trying too hard and so the game begins. A little understated in dress while at the same time showing effort. Remember, your date is probably just as anxious or curious. Then there are the questions of where, when and how much do you talk about your previous spouse. Most first dates last an average of 1 ½ hours. Some you want to plan an earlier getaway. After many first dates, you become an expert at the artistry. Second dates can be harder because, wow, you’ve made it to the 2nd, wonder what we need to do to get to number 3 or, did I make a mistake and should I have stopped at number 1?

the ART of (TAO): What comes to mind are things that can be finessed, such as bringing flowers, opening a car door, making the decision or leaving that open for discussion? What is artfull maybe the communication itself ?

Sylvia:

Communica-

tion is the truest form of art. Being able to intuitively keep the conversation going while not being intrusive. For those of us getting back into the world of dating, how much do we ask about the other person, how much do we talk about ourselves? It’s a balanc-

i n g

act and like everything else, it’s an art.

the ART of (TAO): Lets say that the ‘Art’ of the date is met, that is, nearly everything meets expectations, there is a sense that it was by all standards a ‘great date’, but there is no follow up? Do you, or your dating experts have a clue to what might have happened? How does a person process this? Isn’t it hard not to take it so personally that is hard to want to ‘dip one’s toe’ back in the water again?

Sylvia: It’s always hard not to know the answer to that one. Experts and those of

us who have gone through the dating ritual have a variety of answers to choose from. Depending on the person, they may do the follow up themselves to close the loop. For others, they can take it in stride. And for a lot of people, they start to ask themselves why? The answer really is…’they’re just not that into you’ We don’t always get it right the first time out of the gate. Whatever it is, move on to the next. Sylvia Beckerman Founder & CEO of Après Divorce www.apresdivorce.com

Lifestyle

the ART of … An Important Ride

hen a medical emergency happens to someone you love – your Mom, your Dad, one of your children – it makes you wish you had a 911 line to God. That was exactly the feeling that hit me in 1991. My Mom was recovering from back surgery in a tristate area hospital when a registered nurse demanded that Mom get out of her hospital bed and stand up with a walker so this nurse could change her bed sheets. There was no doctor’s order for Mom to start standing or walking with a walker. After some shaming from the nurse, Mom complied. Almost immediately, Mom collapsed to the floor, fell to her knees, breaking both of her femurs. Mom was never able to stand up or walk again. It was the beginning of the last 7 years of her life. And, unknown to me at the time, it was the beginning of my journey to becoming the brainchild, or more accurately, the brainparent of Riva’s Rides, a premium wheelchair van service.

or home for holidays and special occasions; I rode in the back of ambulettes with her. Ambulettes were, and in many towns still are, the only mode of non-emergency transportation available to people living with mobility disabilities. Some of the ambulette rides went okay, some did not. Sometimes the ambulette driver reeked of marijuana (buzzed driving is, of course, still impaired driving,) or had bad hygiene altogether. Sometimes they arrived late when we needed to get to an important medical appointment. Sometimes they didn’t handle Mom with care in her wheelchair. That’s why I would take time off from work to accompany her every time. As a family member, I could insist that I help get my Mom on and off the ambulette. In New York state, it does not affect an ambulette company’s liability if a family member wishes to physically assist their loved one onto the ambulette.

After Mom’s accident, I became her primary family But after annoying my boss with so much time off, caregiver in a very hands-on way. Anytime she had losing compensation and chancing the loss of my to go anywhere, whether out for cataract surgeries job, the question became obvious: why should I have

Lifestyle It is a sad, and all too often a reality, that people in wheelchairs get treated like sides of beef in a shopping cart. I watched while medical personnel and ambulette drivers, people who you would think are compassionate by profession, would get behind someone in a wheelchair and roll them off somewhere without warning. Didn’t they ever consider how they would like it if they were sitting in a chair and someone walked up behind them and without sight, sound or warning, started pushing them around? When I demonstrate my Riva’s Rides van to administrators of health care facilities or people in advisory positions to local politicians, I bring along a wheelchair and ask them to sit in it while I get them onto the van, just like any wheelchair user. I get them situated into the center rear of the van, the same as I do for all of my clients. I secure the wheelchair to the floor and put a seatbelt around them. Then, I start to drive around the block. Just enough to give them an idea, both about what it feels like to be a wheelchair user and what I call “The Riva’s Rides Difference.” I drive slower so that bumps in the road feel less sharp. I avoid potholes as best I can. Not for the benefit of the van, but for the benefit of my client who is already in a lot of pain and doesn’t need to be jostled around. While the van has all of the features needed to pass the Connecticut Department of Transportation inspection, it is black in color with tinted windows to give the look and the feel of riding in a limousine. There is dual cabin ventilation so my clients can have it as warm or as cool as they want it to be. If they like, they can listen to any style of music, news or sports on satellite radio while they’re travelling to their destination in total comfort and style. With all of today’s technological advances that keeps updating and upgrading every day, there is no reason for anyone in a wheelchair to feel shut in or left out from any place they want to go, anywhere in any state, any time of day, any day of the week. THAT is the Riva’s Rides Difference.

Rivas Rides Danbury CT, 06810

Beauty

the ART of …

By Dex Phillip of DEX New York Cosmetics, Inc.

Contour and Highlight For A Well-Balanced Facial Aesthetic

ontouring an highlighting is an essential make- Here are the best highlighting shades accordup technique mostly used by makeup pros, and

ing to skin tone:

highly in-demand by beauty fanatics for achiev-

ing a well-balanced facial aesthetic - whether any occasion.

Fair Skin - use champagne tones Light-Medium Skin - use

It’s very black and white, and at the same time compliment pink champagne tones Olive Skin - use golden tones Dark one another.

Skin - use terra-cotta tones

Contour - to shade areas you’d like to define or reshape, For a well-balanced facial aesthetic,choose the contourlike your nose, forehead, chin, and cheekbones. The rule of

ing and highlighting guide that is best-suited to

thumb is to use a matte powder or cream product that’s at

your face shape. And if you’re a blush wearing kind

least two shades darker than your skin tone.

of gal, take note of the featured placement for your

Highlight - to accentuate areas of your face that you blush color to enhance your beauty. would like featured, off-setting the contoured area. To prop- Here are the best blush color shades according to erly highlight, use a concealer that’s two shades lighter than

skin tone:

your skin tone or a highlighter (shimmery cream or pow- Fair Skin - use a soft pale pink tone Light-Medium der) that’s flattering to your complexion, and emphasizes Skin - use a shimmering peach tone Olive Skin - use the high-planes of your face (bridge-of-the-nose, top-line of

a soft orangey apricot or soft berry tone Dark Skin

cheekbones, apples of the cheeks, bow of the upper lip line,

- use a deep raisin color pigment, warm terra-cotta

and temples) that naturally catch the light.

brick or bright tangerine tone

DEX Cosmetics

DIAMOND FACE SHAPE

Facial Analysis • Your hairline is more narrow than your cheeks.

• Your chin is slightly pointed. • Your face is longer than it is wide. Where to contour: • Along the top of your forehead, blending softly toward the center of the forehead and temples to create balance between the narrow upper and lower half of your face. • The area below your cheekbones starting from your ears and ending in the middle of your cheeks. Where to highlight: • Above the high plain of your cheekbones, angled toward the bottom corner of your nose.   • In the middle of your forehead and the middle of your chin to help broaden these naturally  narrow areas.   • As well, along your brow bone to brighten your eyes if needed. (not illustrated here)  Where to blush: • On the apple of your cheeks along the cheekbones blending softly outwards, but not pass the  out corner of your eyes.

HEART FACE SHAPE

Facial Analysis • Your cheeks are wider than your hairline. • Your chin is narrow and pointed.  • A true heart-shaped face also has a widow’s peak.  Where to contour:  • Along the sides of your forehead and temples to create balance between the wider upper half  of your face and the more narrow lower half.   • The area below your cheekbones starting from your ears and ending in the middle of your  cheeks.   • The small area right below your chin to soften the point.  Where to highlight:   • Above the high plain of your cheekbones, angled toward the bottom corner of your nose.   • In the middle of your forehead, and the middle of your chin and center above the upper-lip  line to help broaden these naturally narrow areas.  Where to blush:  • On the apple of your cheeks along the cheekbones blending softly outwards, but not pass the  out corner of your eyes.

Beauty OBLONG FACE SHAPE

Facial Analysis • Your face is almost twice as long as it is wide. • You have no major points along your jaw, chin, or hairline.

Where to contour: • Center of hairline and temples toward forehead to create the illusion of a lower hairline • The area below your cheekbones starting from your ears, blending towards your jawline.  Where to highlight: • Above the high plain of your cheekbones, angled toward the corner of your lips to brighten  your eyes.   • In the middle of your forehead, and the bottom of your chin to make your face to appear broader. Where to blush: • On the apple of your cheeks along the cheekbones blending softly outwards, but not pass the out corner of your eyes.

OVAL FACE SHAPE

Facial Analysis: • Your face is 1.5 times longer than it is wide.

• You have no major points along your jaw, chin, or hairline. • Your face resembles an upside-down egg.

Where to contour: • Top and sides of your forehead just slightly to make your hairline appear a little more narrow. • The area below your cheekbones starting from your ears and ending at the middle of your cheeks. • The bottom of your chin, and slightly below to soften the point. Where to highlight: • Above the high plain of your cheekbones, angled toward the bottom corner of your nose. • In the middle of your forehead and center above the upper-lip line. • Under your eyes and along your brow bone to brighten your eye area. (not illustrated here) Where to blush: • From the center of your cheeks along the cheekbones, blending softly on an angle towards your ears.

RECTANGLE FACE SHAPE

Facial Analysis: • The width of your hairline and jawline are about even. • Your face is longer than it is wide.

Where to contour: • On the sides toward the center of your forehead to make your hairline appear more narrow. • The area below your cheekbones starting from your ears and ending in the middle of your cheeks. • Along the jawline and slightly under to make your jawline appear more narrow. Where to highlight: • Above the high plain of your cheekbones, angled toward the bottom corner of your nose. • At the top-middle of your hairline, as well center of the forehead. • In the middle of your chin, and center above the upper-lip line. Where to blush: • On the apple of your cheeks along the cheekbones blending softly outwards, but not pass the out corner of your eyes.

Beauty ROUND FACE SHAPE Facial Analysis: • Your face is about as wide as it is long. • You have no major points along your jaw, chin, or hairline. Where to contour: • On the sides of your forehead and along your temples to make this wider area appear more  narrow.   • The area below your cheekbones starting from your ears to in the middle of your cheeks, and  then curving down to your jawline to lengthen your face.  Where to highlight: • Above the high plain of your cheekbones, angled toward the bottom corner of your nose. • In the middle of your forehead, chin, and center above the upperlip line.  Where to blush: • From the center of your cheeks along the cheekbones, blending softly on an angle towards  your ears.

SQUARE FACE SHAPE

Facial Analysis: • Your face is about as long as it is wide.  • The width of your hairline and jawline are about even.   Where to contour:  • On the sides towards the center of your forehead to make your hairline appear more narrow.   • Along the jawline and slightly under to make your jawline appear more narrow.   • The area below your cheekbones starting from your ears and ending in the middle of your  cheeks.  Where to highlight: • Above the high plain of your cheekbones, angled toward the corner of your lips. • In the middle of your forehead, chin, and center above the upper-lip line.  Where to blush: • Softly blended on the apples of your cheeks.

Dex Phillip of DEX New York Cosmetics, Inc.

Beauty

Spring Celebration Of The Senses

ave you noticed how suddenly vi-

brant and â&#x20AC;&#x2DC;aliveâ&#x20AC;&#x2122; we feel when the first hint of yellow daffodils peek through green buds? How glorious it is to witness the new colors of Spring and to smell the change in the air. The wonderful aspect about living in the North East is that the seasons are very pronounced and each season promises joys of its own, but

certainly

Spring

is a welcome respite after the dark snowy dreary days of winter. I have always marveled at the exquisite colors and aromas of Spring in New York. Growing up in South Africa, which is a sub-tropical region, surrounded by ocean on two sides of the triangle-shaped country, it has a lovely temperate climate with plenty of sunny, dry days, so popular with foreign visitors. The seasons merge into one another and are not as noticeable as they are here in the North East.

Beauty

Beauty Spring showcases bright garden hues. Gorgeous colors of various shades of pinks, oranges, corals, and different tones of green trees herald the delicious aromas of a new season. The smell of wet rain and warming air and soil are the perfect combination to plant new buds to set down roots. The smell of flowers and barbecuing meat will be along soon enough but early Spring is dominated by the earthy fragrance after rain and the evocative odor of new-mown grass. Green leaves, green grass and invigorating green leaves with lemon and green treesâ&#x20AC;Ś crisp, natural, and earthy.

Spring is a perfect time to celebrate the senses! See how many different colors of flowers you can spot, and when you look into the sky, watch for multi-colored kites and shiny tails bobbing in the air. Baby animals taking their first hesitant moves is a lovely sight. The sounds of birds singing and male frogs croaking is a special sound of Spring. But there is nothing more symbolic of the sound of Spring than children playing and laughter outside with the whirling brrrr sound of lawn mowers.

Beauty

Beauty Ice Cream is traditionally more of a summer treat, but the first taste of ice cream is a welcome sign of Spring with sprinkles of colors and the taste of jelly beans to top off the cone. For me the best part of Spring are the delicious aromas - the garden soil after a downpour of rain; the beautiful scent of redolent flowers and the crisp smell of the air after a rainfall, and of course the smell of newly mown grass. The first tantalizing aromas of barbecues as people start to cook outdoorsâ&#x20AC;Ś.Mmmm People donâ&#x20AC;&#x2122;t really think too much of touch and texture of Spring, but the feeling of rain falling on your face, or the velvety touch of a flower petal or the feel of the wind pushing against you are reminders that Mother Nature is powerful and not to be toyed with!

Beauty As you take spring walks and inhale the heady mixture of damp soil and new-mown grass, the luminous colors of plants, beautiful multi-colored butterfly wings, insects and other creatures will be sniffing the air as well and the miraculous transformation of the Season begins. Spring - truly a celebration of the senses! And for those who would like to bottle the smell of Spring, it is possible to create your very own Spring Scent with aromatic and heady perfume ingredients created especially with the notes of Spring just for you at The Scentarium.

Sue Phillips, Fragrance Designer, President & CEO of Scenterprises. @scentfullysue @thescentarium @scenterprises www.Suephillips.com

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By: Christina Roughan

A Completed Interior

finished room is art to the soul and should reflect the individual or family who resides there. Whether you’re a novice or a professional in the world of interior design, everybody loves a fully completed space. It’s the impression you get upon entering a room that is styled well, it leaves

you thinking about the design and wanting to recreate something of your own. As a designer, there is nothing more bothersome then entering a beautiful room and it not being finished. It exudes the feeling of “I’m not yet there, please help” or “I’m naked”. The success of a room is all in the details as they create the final stage. When I speak with Clients I describe our process and let them know how critical accessories and art are as they reflect the lifestyle they lead. Curated art and selections of accessories need to be placed on visible surfaces and areas of a room to give it life. Some are family heirlooms such as sculptures, crystal or silver, others more modern pieces that are not as old yet work together to complete the area. The completed room is what an olive is to a martini, the filling to a macaroon and the right accessory to the little black dress. Most people overlook these details until they are brought to their attention by the eye of a designer.

Photo Credit: Jane Beiles

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Photo Credit: Willie Cole

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Photo Credit: Jane Beiles

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Home To create a completed room having one of a kind sources is key. Finding the right piece in an obscure place is a story in itself. However while sourcing is fun it is also very times consuming so it must be completed in a very organized fashion. My team sources online through Photo Credit: Jane Beiles

antique websites as well as on

foot to antique dealers on the east/west coast. We also attend shows in Milan, Miami, NYC and Paris to gather the “right” accessories for each project. We then have a rooster of places to look, some are antiques others not. Selected accessories can range from an antique bistro chair from the Paris Flea to a lucite bowl from the eponymous Alexandra Von Furstenberg shop in LA. The job dictates the accessory and each job is curated differently. We like to mix old and new to create a lifestyle that fits each project. Some may have more modern, some more traditional but all work together effortlessly. The last decorative piece that we choose is the palm, whether a kentia or a fiddleleaf fig, the height and size makes all the difference as it’s all about scale and proportion.

Along with the plant

you must source the right pot as well. They range from new Asian fishbowls, modern containers or antiques with colPhoto Credit: C.S Roughan

ors that enhance the interior.

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Photo Credit: Jane Beiles

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Photo Credit: Jane Beiles

Once the architect and contractor have completed their work to make a home beautiful and structurally sound is when the decorative layering begins.

When the designer orders all merchandise and the

furniture has been placed, throw pillows delivered, sconces & hardware installed, drapery up, touchups completed and blue tape off the walls is the time we bring art and decorative accessories in to create design moments. spatial aspects of

Each area has to look as if it was always there, nothing should look to new. All

the interior should flow naturally into the other yet each area a very distinguish-

able design. Some room may have more of a wow factor and others a feeling of ease. Each design has a purpose and function which dictates everything. What is luxury without function ? It doesnâ&#x20AC;&#x2122;t exist.

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Photo Credit: Jessica Klewicki Glynn

The art of a completed interior is through professional styling which bring a room to life. The tiers of curated art and accessories make each space special and tell a story. Some may be minimal like a Donald Judd sculpture on a wall or some may be layers and layers of curiosities. Completed Interiors create memories that are filled with love, passion, happiness and a deep vison of the past and a peek into the future. Winston Churchill said it best, “We shape our homes……, and then our homes shape us.”

Roughan Interiors Christina Sullivan Roughan 78 Godfrey Road West Weston, CT 06883 (203) 769-1150 P (203) 769-1151 www.roughaninteriors.com info@roughaninteriors.com

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the ART of …

You and the General Contractor By: Ian McAuley Six rules to smooth construction and reno- I have built a successful contracting business and have narvation projects

rowed my experience to the following 6 steps to achieve a

Sipping on green tea that my friend brought back from his 8-year stint in Japan, we sat on my deck and discussed his experiences. Naturally, the conversation turned to the construction and contractor culture he encountered overseas. He was impressed with the professional relationship and mutual respect between the clients and general contractors throughout the project.

Later, I mulled over our conversation: “What does it take for me, as a general contractor, to offer the best results to my clients? What do I do to make my clients truly content with construction projects?”

positive relationship between my client, and me, your general contractor. The best work is not merely financially driven.

It’s All About the Relationship! Oftentimes, the working relationship between a contractor and client is overlooked. Yet, it is one of the most critical factors to a successful project. The key is quite simple: Treat your contractor like a professional and less like a hired hand. Be personable and respectful and the contractor will undoubtedly reciprocate, moreover translating positive rapport into meticulous craftsmanship.

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Make Your Expectations Known and Clear Both client and contractor benefit when expectations are clear from the very start. For example, discuss the project time frame, the working hours, and for larger projects, keep to regular meetings. Maintain open and clear communication channels. There is no issue that could not be resolved through calm communication. The client (and homeowner) should keep to their own to-do list to prevent delays; for example, allowing smooth access to job sites, selecting finish materials in a timely manner such as flooring, trim, light fixtures, or appliances. These mutually agreed upon expectations can and should be entered into the master contract.

The Contract

The contract is what ultimately and legally binds each party to the terms agreed upon, including expectations, scope of work, budget, and time frames. In my business, for all projects, be they large or small, contracts are written and respected. Both the client and the contractor should draft a solid contract, such as an industry standard American Institute of Architects (AIA) contract, found online. A solid contract incentivizes both parties to respect and adhere to the contract.

Be Realistic!

Both the contractor and the client should determine a realistic scope of work and desired outcomes, such as completing projects within specific time frames, a contractorâ&#x20AC;&#x2122;s regular presence on the job site, and delineation of additional work or changes. Keep in mind that additional work and changes typically impact the bottom line.

Feel Empowered!

Share your ideas with your contractor and ask for his input! Your contractor has a lot of experience and can offer you good advice, moreover, can cut costs in the process! Work in tandem with your contractor. Feel empowered, not intimidated, by a project.

Have Fun!

Now that we untangled the knot between a client and me, your general contractor, relax and enjoy! Surely, home renovation projects can create an inconvenience, but keep your eye on the prize. Respect and work with your contractor. After all, I am building your castle and I wouldnâ&#x20AC;&#x2122;t mind having green tea with you either!

Ian McAuley Managing Partner Anchor House Builders, LLC www.anchorhousebuilders.com

By: LJ Wilks, Realtor ® & Barbara Sweeney, Realtor®

The Millennial generation has emerged as a dominant force in the housing market. According to the National Association of Realtors’ 2016 study of generational housing trends, Millennials (GenY) comprise the largest segment of the buyer market (35%). This generation is expected to utilize their buying power to instigate change. The widespread belief that Millennials will never work or live in the suburbs is incorrect. Millennials are approaching the average marital age of thirty, which is also the average approximate age of a homebuyer. Talk of a newly begun “resuburbanization trend” that will continue over the next several years is sweeping the markets; millennials have started to purchase homes, 50% of which are suburban. It is estimated that by 2020, over three million people will reach the prime age for home-buying. According to the National Association of Realtors, 87% of Millennials use an agent, mobile, and/or tablet application in order to find the perfect home. What Millennials Seek in a Home Purchase Millennials generally view their home less as a status symbol or long-term investment than as an environment in which to sleep, work, and live. The perfect home, they believe, is an essential purchase for living now and enjoying life.

Millennials Sleep, Live, Work 1. Location, Location, Location – Location is, as always, top priority. Close proximity or walkability to services, restaurants and other necessities continues to be the central component of purchasing a home. 2. Style – Open floor plans remain a major trend. Homebuyers desire a cozy yet sophisticated appearance, often created through a combination of unique industrial materials, for example: natural woods and metals. 3. Maintenance Free – The Millennials are diverging from the footsteps of their parents, who spent weekends with honey-do lists, by creating their own sets of values and priorities. 4. Technology and Green –The days of homeowners satisfied with mediocre television, telephone, and audio systems are over. The young Millennial generation wants high-tech services that give them access to ever-changing gadget upgrading. In addition, environmentally responsible Millennials understand the benefits of investing in a “green” home and seek sustainable, energy-efficient housing. 5. Move-In-Ready – A home that shows well attracts excited buyers. As in the past, newly renovated kitchens and baths are the utmost priority. However, Millennials prefer smaller properties… a deck or patio with potted plants is a plus. Filled with boundless energy, Millenials are constantly on-the-go, dedicate their time to the pleasures of life rather than the upkeep of their new home.

©2016 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Operated by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Previews International, the Coldwell Banker Previews International logo and “Dedicated to Luxury Real Estate” are registered and unregistered service marks owned by Coldwell Banker Real Estate LLC.

LJ Wilks, Realtor ® 917.670.5575 LJWilksHomes.com Barbara Sweeney, Realtor® 203.451.6522 BarbaraSweeneyHomes.com

the ART of …

The Art of Family-Friendly Design By: Melanie Roy

When a couple brings home that bundle of joy for the first time, it doesn’t take long for them to realize life as they knew it will never be the same. Their home—once only for the two of them—takes on new meaning. Raising two boys in a Manhattan apartment and a beach house in the Hamptons, fine-tuned my creativity for transforming our homes into a safe haven. My passion and depth of knowledge in creating family homes—from inception to completion—gave birth to my second career as an interior designer. Family homes can be truly functional and comfortable while also being beautiful and stylish. But these aesthetics are always unique to every family. When designing the perfect family home, these basic but essential questions are always at the forefront. “How do you live? Do you have a casual lifestyle or prefer a more formal home?” Most of our clients are families who want a sophisticated home which is also family friendly. These environments must deliver functional and comfortable homes without sacrificing design aesthetics.

Photographed by Anastassio’s Mentis

Photographed by Anastassioâ&#x20AC;&#x2122;s Mentis Designed by Melanie Roy Design

Home The most important element in interior design for an active family is understanding their needs and desires and bringing together all of the elements into a cohesive package which reflects their lifestyle on every level. Furnishings, fabrics, paint, lighting, accessories and more must work cohesively to tell their story. Once we decide on a color palette, we begin each project often with a rug. Outdoor rugs, wool rugs, car- Designed by Melanie Roy Design

Photographed by Anastassioâ&#x20AC;&#x2122;s Mentis

pet tiles, and sisal are all very durable and can be treated for stain resistance, while easily adding elegance and beauty. The walls in a family home take a real beating so it is best to use wipeable paint or vinyl wall coverings. There are also fun options for kids rooms like chalk board paint, corkboards, and magnetic picture frames which enable artwork to be displayed and easily changed out regularly. Remember, a successful design tells the story of the one who inhabits that space. Consequently, working directly with the children when designing their rooms is just as important as working with the parents. It makes the children feel as though they are part of the process and personalizes their spaces.

Photographed by Anastassioâ&#x20AC;&#x2122;s Mentis

Photographed by Anastassio’s Mentis

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Stain resistant fabrics are also essential for the furniture in an active family home and are even a blessing if an adult should spill food on a dining room chair at a dinner party. Today, there are so many colors, textures and styles for these durable fabrics, the design options are endless for those experienced in the art. In addition to the materials, organization is key in a well-designed family home. There are many ways to create practical storage, such as designing built-ins, creating cubbies, or using crates and baskets to organize games, art supplies, and toys. The most important aspect is to design an organized, stress-free environment for our clients to enjoy with their family while simultaneously radiating an inviting atmosphere when friends visit. As children grow and family needs change, the most important part to designing a home is creating a space where the family can enjoy being together creating memories!

Photographed by Anastassioâ&#x20AC;&#x2122;s Mentis

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Photographed by Anastassioâ&#x20AC;&#x2122;s Mentis

Photographed by Anastassioâ&#x20AC;&#x2122;s Mentis Melanie Roy Melanie Roy Design 646-858-6321 Melanie@melanieroydesign.com

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A Vertical Garden By: Karen Denise Gomez

vertical garden of color, texture, and scent. Frameless like the beginning and end of Spring. I study the stems form, analyzing each blooms individual character, piecing an organic collage.

Fluid movement present in hands. Some flowers compete with one another, others submissive by nature, like us. The idea behind the vertical garden was to create my representation of Spring. I treat my design as a painting, I pick a spot to begin on my canvas, planting my dark colors first. I started with layers of lush seasonal greens, Papoose, Huck and Plumosa Fern. After hours of arranging, rearranging, and more arranging, I step back and began to think of Springs tone and feel. I thought of adjectives like grace, magical, sprouting, and airy. I didn’t plan on what flowers I would use. I made it my goal to arrive at the Floral Market free minded and just pick what caught my eye. Endless protagonists, Plum Anemones, Butterfly Ranunculus, Bells of Ireland, Sweet Stock, Ecuadorian Roses, and Queen Anne’s Lace. I then began with placing my blooms where ever most suiting their personality, creating graceful moments. Butterfly Ranunculus dance with its shiny, waxy surface, reflecting bright tangerine tones and golden veins. Its stem is wild and free. Queen Anne’s Lace is a firework of texture. Plum Anemones steal the show with its dark center and clusters of Purple stock sweep the canvas with sweet scents. Together they create a kaleidoscope of color. A distressed white barn door backdrops this 4’×4’ floral portrait. The mechanics to my floating vertical garden is a secret just like spring arrival.

Photo Credit: Rosmarie Elizabeth Photography

Photo Credit: Rosemarie Elizabeth Photography

Karen Denise Gomez Bow & Rose

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Finding Balance Between Classic And Modern Design

By: Jaclyn Mulé

nterior designer Patricia Lapierre of New York Architects Designers has mastered the delicate balance of classic and modern, which brings a unique touch

to her design process. Born in France but currently living in Connecticut, Patricia has an array of cultural and artistic experiences that have shaped her artistic vision.

For Patricia, interior design is more than just a ca-

reer—it is her life passion. In early childhood, practicing ballet introduced her to the “magical touch” of staging and lighting, which profoundly influenced her later work. “When I went back to France to help my mother move, I discovered a very charming book from when I was ten years old, that contained space planning and furniture floor plans in my dream apartment,” reminisces Patricia.

“The title was: ‘When I Become an Adult, My Dream is to Become an Interior Designer.” Decades later, Patricia has fulfilled her childhood dream, and a day without creativity is a frustrated one. She loves to create special “ambiance” with a soul; a warm, comfortable, and stylish home contributes to the sentiment described by the French expression “se sentir bien dans sa peau,” meaning “to feel good in your skin.” Home should be a sanctuary, especially nowadays, in this increasingly competitive and challenging world. To Patricia, the most interesting rooms are either primarily classical with modern references or modern with classical references. As reflected in her early drawings, she thrives on the challenges of space and furniture floor planning. “I feel like I’m playing puzzle,” she explains.

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Patricia’s diverse experiences give her an authentic understanding of how to piece together aspects of different cultures. Originally from France, Patricia has lived in Paris, Geneva, London, Los Angeles, and New York City, where she has absorbed the specific culture and aesthetics that shape each place. The French emphasis on architecture and design surrounded Patricia from birth, while living abroad expanded her artistic horizons. “It forced me to think outside the box,” explains Patricia. “Living abroad gives you an appreciation for how eclectic pieces can give a space a soul.” Throughout her travels, the correlation between natural surroundings and interior design has molded Patricia’s personal style. Color scheme, texture, and light all reflect the outside world. For example, in Sweden, where night falls early, the interiors tend to be gray or white, while the houses of southern Europe generally have brighter colors.

“When people want a French interior in Vermont, it just doesn’t work,” says Patricia. “I do it, but it needs the right touch; you can’t just transport it.” However, Patricia has found fundamental differences between the cultures of European and American design. Influenced heavily by the media, Americans are exposed to hundreds of thousands of interior design images that can distort their own personal styles and detract from their originality. Patricia likes to call it “dysfunctional design.” On the other hand, the French tend to embrace their individuality. “In general, people in the US are very insecure and shy about being themselves,” explains Patricia. “When I came here, I was shocked by the level of stress of women trying to decorate houses. Design is something beautiful, and should be relaxing; the client should enjoy the process.”

Home As the ex-owner of a prestigious women’s ac- of Patricia’s specialties is approaching interior cessories boutique in Greenwich, with a back- design like fashion; for example, accessories ground in luxury retail with Ralph Lauren Home, Patricia has a unique understanding of accessorial design. She relates interior design to fashion; both begin with the foundation of a “base” before the addition of accessories, and good basics in turn provide an in-temporal touch. Accessories add a special twist—ce je ne

change the ambiance of a room by breathing new life into the season. Art and light fixtures in interior design are the equivalent of shoes and a handbag in fashion. In both fields, it is essential to focus key colors and fabrics and to identify influences and trends. For this reason,

sais quoi. Especially in New England, where seminars, trade shows, and art shows are key the seasons change distinctly, fashion shares to developing interior design expertise. Any the seasonal character of interior design. One kind of art can give the room a “fresh touch.”

Home Lapierre identifies communication as another central aspect of interior design. She initiates the process by asking the client to make a ‘love or hate’ list that clarifies their artistic preferences. However, it is “people skills” that ultimately serve as the most unexpected facet of interior design. “What I learned with this job is that you need to have a PHD in social psychology,” says Patricia. “You need to listen to people.” Often, clients are in the midst of a difficult phase in their lives that impacts their artistic vision, and Lapierre helps them through her passion for interior design. Most of Patricia’s recent projects have involved embracing the changes of her client’s life as they transition through an emotional—and sometimes painful—phase in their life. To see their joyful reaction to the wow factor is the ultimate reward for an interior designer. Patricia Lapierre New York Architect Designers Newyorkarchitectdesigners.com Instagram:patricialapierredesign Cell#:203:247-1122

you’re going to start acting, the best gig you could get right out of school is on a soap opera. At least that was the experience for Lois Robbins. “[Being on a soap opera] definitely exceeded my expectations. I was so young and bright-eyed, but I think the thing I loved

about it the most was that it was like one big family.” Ms. Robbins appeared in several shows in her early career including One Life to Live, Ryan’s Hope, and All My Children. “I think it was the best training for everything that I do, because you do have to learn things quickly and think on your feet.” Lois Robbin’s© career is one of movement and flux. Not one to stay content in one spot, Ms. Robbins has starred in several different television shows, including spots on Sex in the City, Law and Order, and Blue Bloods. She has also starred in movies such as Blowtorch, opposite Billy Baldwin, and acted in stage productions like the revival of Cactus Flower. As her life has progressed, so has her career, winding and adapting as each new chapter begins and ends. She was very picky about her roles so that she could give her full attention to raising her children. “There were a few years in there where I was really torn because I wanted to be there for my kids, but I also desperately wanted to work. I had to make a few sacrifices on both ends. But it worked out just fine.” But, when she decided to give her full attention back to acting, it was easy to incorporate her experiences into developing better, more believable characters. Many current roles involve mothers who must cope with tragedy. “There are certain things you can imagine, but the depth of understanding what you go through as a parent has to make you a better actor.” Like most successful actors, Ms. Robbins can draw on her own experiences to create sympathy for the character and make them the most realistic.

Growth

By:Dale Howard

Photo Credit: Taylor Jewell

Entertainment

Photo Credit: Taylor Jewell

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Entertainment But while Ms. Robbins has developed an extensive resume on screen, her passion for acting always brings her back to theater. “The thing about theater is that it is so immediate. You get an indulgence of rehearsal time. And then there is an audience there and you get to perform in a different way every night because the audience is reacting differently every night.” Within this context, Ms. Robbins is exploring a new way of expressing herself, one that is both obvious and deviously surprising: writing. “I found the thing that I love more than anything; I’ve found my new passion.” Her new one-act play L.O.V.E.R. is not just a memoir of past romance portrayed on stage, but a comic exploration of what it means to look back on your love life and see it from a new perspective. “My goal was to write something that was not just funny and poignant and entertaining, but I wanted to tap into a conversation that I don’t think women are comfortable having. Originally it was all about sex, but now it is sex being used as a metaphor for life. The best part of who are is when we are our most naked self and we are our most vulnerable and honest. When you become that person, you can be better for other people. It ends up being, yes, having great sex is wonderful, but the best relationship you ultimately have is a relationship you have with yourself.” Photo Credit: Taylor Jewell Lois Robbins’ play L.O.V.E.R. – Tales of Love and Lust from a #grownupwomans POV is playing at the Schoolhouse Theater in Croton Falls, New York, beginning June 8th. She is also starring in an adaptation of the Aspern Papers by Henry James, coming out next year. For tickets to her show visit http://www.schoolhousetheater.org/lover. For more information about Lois Robbins and her upcoming movie the Aspern Papers, visit her website at Lois Robbins.com

Business

the ART of … Opportunity

By: Cindi Melkerson

he definition of opportunity

position and to earn a substantial and consultant, I become a prod-

is “A set of circumstances that

monthly income.. Today, I hold the uct of the product and begin shar-

makes it POSSIBLE to do something

key to possibilities. I pay it forward by

and a chance for employment or pro-

introducing others to this opportunity. I create a personal network of clients

motion.” One of my favorite quotes is

Network marketing is a possible solu- who purchase from my online store

by Richard Branson:

tion. A network marketing company of- and I receive a commission every time

“If someone offers you an opportunity and you’re not sure you can do it, say Yes- then learn how to do it later.”

fers a different and natural way to earn

ing these products in my network.

they shop. I also teach others how to

I decided to accept an opportunity 4 years ago to become a Network Marketing Professional. The art behind this decision was simply an open heart and open mind to take a look at an opportunity. Today, I am thrilled to be

money. We recommend things every do what I do. As a thank you, I receive

part of a world-class company in an

day. When we read a good book, dis- a commission. We all have networks

industry that generated global sales cover a great restaurant, or find a fabu- and our networks have networks. The of $180 billion in 2015. Joining them lous lip color, we want to share this. We idea of time leveraging and residual has given me a greater sense of pur- probably don’t get paid by the compa- income is worth consideration. Many pose and meaning in my life. It’s al- ny or service for recommending them. lowing me to step in to a leadership As

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Arbonne

business

people are trading time for money and

owner are becoming sick and stressed out.

Business

We work in community. The Arbonne business opportunity is a turn-key system. • Low entry fee • Personal website for me and my customers • Research and development center • Manufacturing and distribution • Customer service • Marketing and sales training I am in business for myself but not by myself. It’s said the best copycat wins - follow your sponsor to the top! Follow the proven system for success. Give it time and grow yourself personally. I have fallen in love with my journey and

the person I am becoming. There is no better feeling then helping people to believe in themselves.

My life as a network marketing artist is priceless! It is definitely WORK, not a get rich quick scheme. You are able to surround yourself with amazing people. You are part of something BIG that helps you to elevate your life. If someone asks you to have a look at an opportunity it is because they think highly of you. They see something special in you. Instead of saying no to something you don’t know about or might have a misconception let your self learn more about the opportunity. You have nothing to lose and everything to gain! Are you ready to begin dreaming again? Don’t worry you’ll get used to it. This opportunity makes dreams a reality.

Cindi Melkerson Arbonne Independent Lifestyle Consultant 203-817-1881 cindimelkerson@gmail.com www.CynthiaMelkerson.arbonne.com

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Business

VIP Shopping by Dale Howard

ow does one ensure their town, especially a small one, thrives? A town is only as strong as its economy, making the small businesses which are the bulk of commerce the most important factor in keeping towns like Greenwich, Connecticut prospering. According to Christine Georgopulo, a partner with GrennwichVIP, the answer is simple: “be in your community, know what’s in your community and keep the money in your community.” Keeping money within the community can be tough for small towns, especially ones within a stone’s throw of New York City. But the key, says Christine, is knowing what is available. A possible consumer’s first impulse in the 21st century is to immediately check Google or Apps like Yelp to investigate new stores. However, reliance on such overly general apps do not have the local specificity to always introduce you to what you need. Small websites, such as GreenwichVIP, can fill the gaps broad apps leave behind. “My partner, Andre Leftwich, came up with the idea when he

and his wife were in Georgetown. They decided to get a bottle of wine and return to the hotel. He put his phone liquor stores and the closest result was six miles away. He heard a noise that made him turn around, and he was standing in front of a liquor store.” That disconnect between what one finds in search results and what is actually available means a lot of potential revenue disappears. Dedicated websites which consolidate everything a town has to offer in a single space allow both residents and tourists an intimate experience with the community introducing people to both familiar and pleasantly new venues to explore. “It’s all about convenience. The town is coming to you in your hands.” Merchants, businesses, and even organizations such as houses of worship and schools have information on the site so that every resident, whether new, old, or visiting has a chance to get to know the community better.

Business

Connecting with consumers directly is, of course, very important. However, what also keeps a small-town economy strong is the relationships which are built between the merchants themselves. The easiest way to keep money within the community is to network with other small businesses, connecting services and ensuring business stays in the local. Again, dedicated websites, such as GreenwichVIP.com, powered by everymerchant.com, can provide a space where local vendors and merchants can communicate with each other, organizing partnerships in various ways to boost engagement. Businesses can work together in more traditional ways such as hosting and catering events, to participating in a digital points system, much like the points one can get from using their credit card. “The point system can act as “Greenwich currency,” incentivizing consumers to shop and be local. “Lets say you go to Polpo for lunch, and you accrue 100 points, you can then go to the local coffee shop and get a free coffee, all lending itself to the ecosystem. It rewards you for shopping local and encourages you to shop local.” The biggest problem small towns face is keeping money and interest rooted in the the local area. In the 21st century it is the digital space that engages a community. If a small town can tap into that fascination and convenience, the community as a whole will better connect to where they live, created by a desire to remain in the town and help it prosper. For more information or to check out all Greenwich has to offer, visit GreenwichVIP.com, powered by everymerchant.com, or contact them at 1-800-247-3976.

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Travel

Luxury Travel

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Roar Africa

Travel

hen planning a luxury trip in a foreign country, it is critical to enlist the help of local experts. This is especially true of Africa, whose hundreds of languages, varied infrastructures, fluctuating currencies, and unreliable operators make it a relative minefield to navigate. At ROAR AFRICA, our deep-rooted connections to the continent and long-established network allows our guests to view Africa through our eyes - the way we know it and love it. A journey that celebrates the sheer beauty and wonder of the culture, landscape, and wildlife. When someone travels with ROAR AFRICA, they return home a changed person.

Travel

Searching the Internet, reading travel blogs, childhood riding horses, running barefoot on Af-

or speaking to friends for tips and tricks can give a rican beaches, and playing with her pet lioness. potential traveler only the basics.

Our breadth of

knowledge and understanding distinguishes us from

A shifting political scene later forced Deborah to move

other agents, who have likely only visited the con- to South Africa and New York, where she was unsettled tinent several times. ROAR AFRICA comes from

by mediocre African travel itineraries. Clearly designed

generations steeped in history and attachment to by those unfamiliar with Africa, they failed to do justice the land. We are African; the land is in our DNA.

for the cultural wonders of Deborah’s homeland. Her desire to share the continent she knew and loved ulti-

We share Africa from its roots, a culmination of over 300 mately led to the formation of ROAR AFRICA, which years of family traversing the land—our French Hugue- provides explorations of the spirit that reshape the travnot ancestors settled in South Africa in 1688. We are the eler’s perspective of the world, enlightening them in a neurosurgeon of African travel rather than the general way that benefits both our planet and its wildlife. “Deeppractitioner. We do not design ‘evening wear;’ we de- ly embedded in my work is an intuitive knowledge built liver the haute couture of experiences based on curated up over a lifetime of growing up on the continent,” said craftsmanship that dates back over eleven generations.

Deborah. “I understand the opportunities and chal-

Raised on a farm in Zimbabwe, ROAR AFRICA lenges of Africa [because] I have lived through them.” Founder and CEO Deborah Calmeyer spent her

Travel

109

Travel

Searching

the

Internet, the general practitioner. We do not of Deborah’s homeland. Her desire

reading travel blogs, or speaking to design ‘evening wear;’ we deliver to share the continent she knew and friends for tips and tricks can give the haute couture of experiences loved ultimately led to the formaa potential traveler only the basics.

based on curated craftsmanship that

Our breadth of knowledge and un- dates back over eleven generations. derstanding distinguishes us from

Raised on a farm in Zimbabwe,

other agents, who have likely only

ROAR

AFRICA

Founder

and

tion of ROAR AFRICA, which provides explorations of the spirit that reshape the traveler’s perspective

visited the continent several times. CEO Deborah Calmeyer spent of the world, enlightening them in ROAR AFRICA comes from gen- her childhood riding horses, run- a way that benefits both our planet erations steeped in history and at- ning barefoot on African beaches,

and its wildlife. “Deeply embedded

tachment to the land.

We are and playing with her pet lioness. in my work is an intuitive knowledge African; the land is in our DNA. A shifting political scene later forced built up over a lifetime of growing We share Africa from its roots, a cul- Deborah to move to South Africa up on the continent,” said Debomination of over 300 years of fam- and New York, where she was unrah. “I understand the opportuniily traversing the land—our French settled by mediocre African travel Huguenot ancestors settled in South itineraries. Clearly designed by those ties and challenges of Africa [beAfrica in 1688. We are the neurosur- unfamiliar with Africa, they failed to cause] I have lived through them.” geon of African travel rather than

do justice for the cultural wonders

Travel

Being based in both New York and Cape Town has afforded us an acute comprehension of American culture and

travel requirements, as well as keeping up-to-date on southern and East Africa., thereby building a bridge of confidence. Constructing the trip of a lifetime to an unfamiliar destination in the style of ROAR AFRICA requires intense attention to detail during both the planning and delivery stages. Any detail missed can create a domino effect in the traveler’s vacation. Devoted to preventing this, we have our own team on the ground in Africa who works exclusively for us and are available 24/7 in the same time zone, rather than at the end of a 1-800 number. They provide flexibility, safety and efficiency in the event that guests wish to alter their plans. A luxury when things go according to plan, this is absolutely vital when they do not. For example, a flight was canceled over the December holidays and there was only one daily flight to the Madikwe area, meaning that a honeymoon couple from New York would miss a night of their 3-day safari. Although it was Christmas Eve and Africa “shuts down,” we rallied our resources and contacts to find our guests a pilot and private aircraft so they did not lose a night.

“Every visit to Africa is an experience that not only is memorable but changes your life – the way you see, the way you think, the way you feel. Come to Africa with ROAR AFRICA, and you come home a different person.” – Pat Mitchell, Former CEO of CNN and President of PBS Television [shortened]

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Travel

Caroline Hunt VP Sales & Marketing Phone number: 1 855 666 7627 Website: www.roarafrica.com

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