IRIS 02 THE ART ISSUE 2016 - LET'S GET LOST

LET'S GET LOST

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IRIS COVET BOOK

FROM THE PUBLISHER & EDITOR:

A CONVERSATION

WELCOME TO THE ART ISSUE. Irma : Hi Marc, I am so excited to see the final printed issue. Why

Irma : That sounds so exciting! As this is the art issue, what artists are

don’t you tell our readers what they can expect from this current issue of Iris Covet Book?

we going to be seeing and are there any great exhibitions coming up this summer that our readers should look out for?

Marc : Well, It feels like it has been such a long winter here in New

Marc : There are so many fantastic exhibitions going on currently

York, and it was sort of serendipitous because just as it began to warm up, we started working on this issue. Creative Director Louis Liu and I had the opportunity to work with two great photographers on both of the fashion editorials you see here and we are really eager to show our readers these captivating photos.

we want to spread the summer joy to the readers. Who can we look forward to seeing this issue? Any special surprises in store?

that we featured in this issue. One of them is close to you, in Dallas to be exact, the Irving Penn 20 Year Retrospective at Dallas Museum of Art. He was a true master of modern photography and our editor, Dustin Mansyur, interviewed Sue Canterbury the presenting curator of the show. Another captivating retrospective is in honor of Robert Mapplethorpe. This presentation is housed in two major museums in Los Angeles, one at The Getty Center, and the other at the LACMA. The simultaneous presentations are meant to highlight different aspects of Mapplethorpe's complex photography.

Marc : Yes! We had the opportunity to feature an up-and-coming

Irma : Hopefully I will be able to make it out to Los Angeles before the

actress on one of our covers which we are really thrilled about. Eve Hewson, from the television show The Knick, is a starlet on the rise with an impressive list of accolades already to her name.

shows end so I can see some of these famous photographs in the flesh.

I am most interested to learn that one of my favorite supermodels is working with us this issue. Can you share with the readers who it is?

Irma : I love The Knick, but if the photoshoot is anything like the show

Marc : We were so honored to be able to feature the legendary

it may be a little too gory for me!

supermodel, Pat Cleveland. I have always loved the energy and high spirited charisma that she gives the camera and runway, and after being offered a sneak peek into her new memoir Walking with the Muses, I knew we had to have her as our cover star.

Irma : I’m happy that we are in sunnier weather in Houston, and

Marc : Haha don’t worry. No blood was shed in the making of this photoshoot.

Irma : Well, great! I am sure the readers will love it. We had such

Irma : I think that I speak for everyone at Iris as well as our dedicated readers, that this issue will be a tour de force of fashion, art, music, and iconography. I am so excited to share this with the world.

tremendous feedback on the previous features, particularly on the “Emerging” section which featured Houston Ballet’s Rhys Kosakowski.

Who can we expect to see gracing that section this time around?

Marc : Well I know that you are going to really love what Creative

Marc : This issue, we will showcase singer/songwriter Teddy

Director Louis Liu and I, as well as our dedicated team, have so eagerly worked to bring you and we can not wait to share with our family and friends and you!

IRMA BRINDIS, Publisher MARC SIFUENTES, Editor-In-Chief

Sinclair, through the lens of Australian born photographer Luzena Adams. Teddy has recently written hit songs for Madonna, Alicia Keys, and Rihanna all in just this past year. She’s releasing her own EP in June and it is already creating quite a buzz on social media.

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FROM THE PUBLISHER & EDITOR

Fendi Peekaboo Mini Studded Leather Satchel Somewhere over the rainbow, Fendi purses are falling from the sky. However, until you get there, indulge in the fun of this charming bag adorned with colorful cone studs in every hue your heart could desire.

This bag would compliment a simple black dress as well as a quirky vintage look or a new gucci ensemble.

Indulge the senses with rainbow hues, gold, and Fendi.

Fendi Peekaboo Mini Studded Leather Satchel is $5,200, available at Saks.com

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PUBLISHER

Irma Brindis EDITOR-IN-CHIEF/FASHION DIRECTOR

Marc Sifuentes at xthestudio.com

CREATIVE DIRECTOR/PHOTOGRAPHY DIRECTOR

Louis Liu at xthestudio.com

ARTS CONTRIBUTOR

FEATURES EDITOR

ASSISTANT EDITOR

Mariana Valdes

Dustin Mansyur

Benjamin Price

DIRECTOR OF OPERATIONS

DIRECTOR OF BUSINESS DEVELOPMENT

MIAMI SALES DIRECTOR

Adora Galas

Luigi Santos

Gabriel Valenzuela

ASSISTANT TO THE PUBLISHER

INTERNATIONAL CORRESPONDENT

Christina Abay

Jing Shi

CONTRIBUTORS / SPECIAL THANKS WRITERS: ALEX CATARINELLA, LOUIS LIU, DUSTIN MANSYUR, BENJAMIN PRICE, BERNARDO SIAOTONG, MARC SIFUENTES PHOTOGRAPHERS: LUZENA ADAMS, CHAD DAVIS, KERRY HALLIHAN, DUSTIN MANSYUR, DAVID URBANKE, JOHNNY VICARI, ROSWITHA VOGLER, SONYA ABID, DANIEL ORTIZ, MORRIS MALAKOFF, CHRIS BROWN ADDITIONAL EDITORIAL CONTRIBUTORS: AKIRA, DANIEL AVILAN, ANDREA BARTLEY, ROLANDO BEAUCHAMP, JUNN BOLLMAN, ELLA CEPEDA, NARINA CHAN, JAMES CLARK, KYRK CORBIN, BRUCE DEAN, SACHA DI BONA AT ANGELA DE BONA, MICHAEL FERNANDEZ, ANTHONY JOSEPH HERNANDEZ, JUNKO, KAO CHENG KAI, KRYSTALLYNNE, MAKEUPBYDIEGO, MAKEUPBYLAURA, EFISIO MARRAS, YUKIE MIYAKAWA, MEGUMI ONISHI, ROBERT PEREZ, NICK PERRY, ELIZABETH RYAN, TAICHI SAITO, JOSH SQUATRITO, KANAKO TAKASE, YU TSAO, KRYSTY WILLIAMS. SPECIAL THANKS TO : RICHARDO ALVAREZ,RYAN ANDERSON AT FOUNDATIONS MGMT, JASON ARCEMONT AT BRIGHTBOX, FLORENT BELDA AT REP PR, JILL BERNSTEIN AT DMA, IVY BJORK AT WILHELMINA, JOSH BOSTWICK AT WILHELMINA, RACHEL BRENNER AT SIMON AND SCHUSTER, CRISTINA BOLIVAR AT DIORANNIE BUTTERFIELD AT ID PR, DEBORAH COLTON, TIM CUSH AT MAGUIRE STEEL, BOB DEBES, ADRIENNE DEGISI AT PRCONSULTING, IAN EDWARDS AT ALEXANDER WANG, LISA EMANUEL AT CANALI DEVON JACKSON AT COACH, MANNY FERNANDEZ AT BELLAK, BRYNNE FORMATO AT MAO PR, ARTHUR GARCIA, OSCAR GONZALEZ AT BELLAK, MAX GREDINGER AT FOUNDATIONS MGMT, MATT HABERMAN AT ID PR, BRIAN GLENN HUTSON AT BRIGHTBOX, LOREN KEGLER AT JOHN VARVATOS,REBEKAH KOHAN AT COACH, JULIAN LABAGH AT PRADA, ROMAN LARICHEV AT THE LIONS,LAINE LIEBERMAN AT MFAH, LISA LIU AT REEM ACRA, LIZ MAHONEY AT ID PR, SARA BLAIR MATTHEWS AT MFAH, DORIS MEADOWS, JOCELYN MEDLAND AT ZAC POSEN, WILLIAM MERRELL AT REP PR, MARIACRISTINA MODONESI AT TOD’S GROUP, WILLY MOON, PAUL OLSEWSKI AT ATRIA BOOKS, JAY PAAVONPERA AT DIOR, ROGER AND MAURICIO PADILHA OF MAO PR, SAMANTHA PAZ AT SAKS FIFTH AVENUE, BROOKE RADISH AT C&M MEDIA, PAUL VAN RAVENSTEIN, EVAN ROME AT KARLA OTTO, EUGENIA SANTAELLA AT THE MET, MATTHEW SCHEIER AT MAO PR, ALEXANDRIA SIVAK AT THE GETTY CENTER, CHRIS SMITH, MARK SMITH, MEGAN MAGUIRE STEEL, HILLARY STONGER AT NEIMAN MARCUS, MARK SULLIVAN OF ON THE MARK COMMUNICATIONS, WILKA TOPPINS, JACLYN ULMAN AT PRESS HERE PUBLICITY, IVAN DEL PUERTO-VONENBAYIS, KATHRYN WORSHAM AT ON THE MARK COMMUNICATIONS, JESSICA YOUN AT LACMA.

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SHOPPING

GIUSEPPE ZANOTTI

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IRIS COVET BOOK

72 LET'S GET LOST

From Montauk to Malibu, cast away and get lost on a seafaring journey where this summer’s attire converge with bi-coastal inspired style.

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CHILDREN OF SPRING An unexpected edge, mixed with the gentleness of this summer’s trends, leads to a harmonious reinvention of modern femininity.

COVERS EVE IRIS HEWSON Photography by Kerry Hallihan @ Angela de Bona Agency Jacket by Giorgio Armani

EVE HEWSON

LET'S GET LOST OUTTAKE: Photography by Chad Davis Clothing by Prada

DEPARTMENTS 08

FROM THE PUBLISHER & EDITOR

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MOST COVETED

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COVET BOOK FAVORITES

IRIS FAMILY

LEGENDARY SUPERMODEL PAT CLEVELAND Photography by Johnny Vicari Dress by Alexander Wang Ring and Bracelet by Sarina Suriano

FEATURES 38

EVE HEWSON Hollywood's newest "it" girl on her role as Lucy Elkins on the TV show, The Knick.

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ROBERT MAPPLETHORPE

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IRVING PENN: BEYOND BEAUTY

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LEGENDARY SUPERMODEL PAT CLEVELAND

LEGENDARY SUPERMODEL PAT CLEVELAND

BY THE SEA Photography by Chad Davis.

Model Adrian John Hurtado @ The Lions Sweater by Billy Reid

Provocative and groundbreaking, LA hosts a retrospective at LACMA and The Getty Center.

The iconic American photographers latest traveling retrospective in nearly two decades.

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IRIS MAN

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IRIS WOMAN

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IRIS EMERGING

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IRIS ICON

96

ART AND GALLERY

104

IRIS FITNESS

100

DINING

112

IRIS HOME

110

HOME GOODS

124

IRIS SOCIAL SPOTLIGHT

116

DESTINATION

128

LAST LOOK

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AUTOMOBILE

Out with a new memoir, her larger than life personality reveals behind the scenes stories from her career spanning over four decades.

LET'S GET LOST

CHILDREN OF SPRING Photography by David Urbanke Models: Evangeline Endres, Kristin Zakala, and Barbara Valente @ Wilhelmina All clothing by Coach 1941

CHILDREN OF SPRING

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MAGAZINES & PAPER GOODS www.tomomags.com

IRIS COVET BOOK

MOST COVETED

BY LOOKING THROUGH AN ARTISTIC LENS, WE AT IRIS COVET BOOK HAVE CURATED A LIST OF THE WORLD’S MOST FASCINATING PRODUCTS AND CULTURAL EVENTS TO GIVE YOU INSPIRATION AND FUEL YOUR CREATIVE DESIRES. FROM GOLDEN SHOELACE JEWELRY BY DAVID WEBB THAT PLAYS WITH TROMPE-L'ŒIL, SCULPTURAL FRAGRANCES FROM SWEDEN’S PREMIERE PERFUMING DUO, THE SURREALISTIC HEELS WITH HAND EMBROIDERED LIP DETAIL FROM GUCCI, OR THE NEWEST EXHIBITION AT THE METROPOLITAN MUSEUM’S COSTUME INSTITUTE WHICH EXPLORES FASHION MADE BY HAND VS. FASHION MADE BY MACHINE. AT IRIS, WE HOPE TO INSPIRE YOU TO LOOK AT LIFE AND STYLE THROUGH AN IMAGINATIVE PERSPECTIVE.

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MOST COVETED

WOMEN’S

SHOES

GUCCI RED MOLINA LIPS LEATHER PUMP These flirty heels, in red and gold foil leather with hand-embroidered lip details, are the perfect pair of pumps to kick start a summer fling. Alessandro Michele says that he starts every collection by designing the shoes first because they decide who the girl is, and we can see that with these heels the girl is vivacious, lighthearted, and a true fashion connoiseur. Indulge in your inner vamp and go out dancing on a hot summer night, drink some tequila with the girls, or wear them just to go shopping.

There'll never be a dull moment with shoes this fun! $895, available at neimanmarcus.com

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LAPERLA.COM

MOST COVETED

MEN’S

BAG

GUCCI GG CHEVRON NORTH-SOUTH TOTE

We have now entered an era where men care more about fashion then they have in decades. Men’s fashion weeks are popping up around the globe, and Gucci has made sure to make something special for both men and women. Painted with the iconic red, white, and green stripe in a new and inventive chevron pattern, this bag is a remix on an old classic– the shopping bag. For the Iris Man, style is not about peacocking or showing off, but creating an image that is the best and most handsome version of himself. From the office to weekend brunch, the Gucci GG Chevron tote will be a true companion for any man and will surely compliment all of his best features. $1,850, available at neimanmarcus.com

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MOST COVETED

WOMEN’S

BRACELET DAVID WEBB 18K GOLD BLOODWOOD SHOELACE CUFF From the famed jewelry designer’s newest collection entitled “Woodworks”, David Webb introduces a brilliant take on a classic piece from his repertoire. While still available in enamel and diamond, the Shoelace Cuff has been reinvented in exotic bloodwood and ebony. Shown here in Bloodwood and 18K gold, this cuff is sure to transport any woman to luxury and paradise. $19,500, available at neimanmarcus.com

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IRIS COVET BOOK

BOLD, GRAPHIC AND VISUALLY IMPACTFUL A DIVERSE GLIMPSE INTO THE WORLDS AND PERSONALITIES OF FASHION, BEAUTY, TRAVEL, CULTURE, AND ART.

LEGENDARY SUPERMODEL PAT CLEVELAND

LEGENDARY SUPERMODEL PAT CLEVELAND

AVAILABLE IN PRINT AND DIGITAL NEW YORK · MIAMI · HOUSTON · LOS ANGELES · MEXICO CITY · MADRID IRISCOVETBOOK.COM

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IRIS COVET BOOK

COVET BOOK

FAVORITES

LODOVICO ZORDANAZZO Adorned in a generous amount of silver fox fur, these heels will keep your feet warm, but more importantly looking fabulous. The Italian designer, known for his boundary-pushing, luxurious, and vivacious creations, has amazed us with these foxy heels. If you are a woman who loves to make a statement and adores the luxury of fur, these peep-toe heels would be the perfect fit at a formal event, or just sitting by the fire in a chalet at Vail.

Above: Brigitte, $1,600. Black suede and fox fur.

For more information visit lodovicozordanazzo.com

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C CO O VV EE TT BB O OO O KK FF A A VV O O RR II TT EE SS

SCULPTURAL FRAGRANCES BY AGONIST Founded in Sweden by the creative couple Christine and Niclas Lydeen in 2008, AGONIST has released this limited edition collection of crystal, glass, stone, and other mixed media perfumes. Christine studied at the prestigious design school Studio Bercot in Paris, and has a background in fashion. Later, Christine moved back to Sweden, where she met Art Director and fine artist named Niclas Lydeen.

Together they fused their love for art, fashion, and fragrance and started a company that uses aromas as art. AGONIST is regarded as one of the most sought after and unique brands in international perfumery. Distinct focus on details, interesting raw materials, and masterful artistry, AGONIST creates unisex fragrances in collaboration with world renowned perfumers based on natural and exotic ingredients.

The Infidels Sculpture (left) with beautiful scents such as pink peppercorn, turkish rose, burmese magnolia, and indian amber layered upon each other. These fragrances are not only the ethereal olfactory dreams of perfume addicts, but also stunning collector’s items that can be displayed and cherished through the generations.

Infidels Sculpure, $1,470, at neimanmarcus.com

BALENCIAGA BY DEMNA GVASALIA After his debut at the iconic and storied French couture atelier, Demna Gevaslia of Vetements fame, is taking the helm of Balenciaga from Alexander Wang and into a new era. Known for subverting often over-looked items, such as hoodies, socks, and jeans, Gevaslia has turned the fashion world on its head and reinvented the vetements, or “clothes” in French, into new and evolved forms. The Georgian fashion designer was a somewhat surprising pick for the traditional, tailor-focused haute couture house, but he has brought his avant garde views and unique perspective to add some much-needed youth to Balenciaga. He has not disappointed, and once again Demna has delivered with beautiful and unexpected slouchy neon knits, heavily branded furs, and silver slouch boots. While a far cry from the traditional cocoon shapes of the past, Balenciaga’s DNA is still intact and thriving with the new design direction. The same tropes and motifs are being carried into modernity, but just twisted with the elegance and quirk that we have come to love from Demna Gevaslia.

Images from Balenciaga Pre-fall 2016 See full collection at balenciaga.com

GUCCI DIONYSUS EMBROIDERED SHOULDER BAG Gucci, since its founding in 1921, has been known to be incredibly creative, inventive, and of the finest quality. This fun and campy bag is the synthesis of these design ethics, and will add just the right amount of whimsy for any girl. Crafted from fine hot pink suede skins and the signature GG logo on canvas, Gucci went a step further to maximize the impact of this accessory by adding rhinestone appliqué with colored stones and beads, Antiqued silvertone hardware, and the iconic tiger head buckle clasp. The Gucci Girl has become the talk of the sartorial zeitgeist, and with this purse she can be right in the palm of your hand. Literally. $3,600, available at neimanmarcus.com

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IRIS COVET BOOK

MANUS X MACHINA The Met Ball at The Metropolitan Museum of Art in New York City continues to be the world’s biggest party, and our yearly chance to see the creme de la creme of celebrity excess and the beautiful costume confections that most have so painstakingly decided to don. This year, the museum's Costume Institute debuted its Spring 2016 exhibition, entitled “Manus X Machina: Fashion in an Age of Technology”, taking us on a trip documenting how fashion designers have been reconciling the handmade craft traditions of haute couture with the rapidly developing technology of modernity. The specially curated collection illustrates over a century’s worth of designs from the advent of the sewing machine to laser-cutting, 3-D printing, and LED lights. With more than 170 ensembles, Manus X Machina draws the distinction between the hand (manus) and machine (machina) and how this distinction blurs and solidifies with each different garment and designer. It will question the relationship between haute couture and mass production and where these two seemingly discordant and distant tools come together and where they fight each other. Exhibition Dates: May 5–August 14, 2016. Exhibition Location: The Metropolitan Museum of Art, 1000 5th Ave, New York, NY 10028.

Above: Upper Level Gallery View: Artificial Flowers © The Metropolitan Museum of Art Opposite page: Ensemble, Iris van Herpen (Dutch, born 1984), spring/summer 2010 haute couture.

Courtesy of The Metropolitan Museum of Art, Photo © Nicholas Alan Cope

HILL HOUSE HOME “At Hill House Home, we believe a life well lived begins in bed.”

In a world with so many options of 1200 thread count egyptian cotton sheets, goose down pillows, and enough different qualities of linen, we introduce you to the premiere store for all of your bedding needs. Wake up with a feeling that starts in bed, but takes you to a place that is spirited, worldly, and personal.

From robes, pajamas, and their famous bedding sets, Hills House Home uses the finest Supima cotton, grown in the United States, which is woven in a world renowned mill in Milan. This fabric is then cut and sewn into designs inspired by global style: the hotels and bedrooms from around the world that intrigues owner Nell Diamond and her talented team. When it comes to your bed, never settle, but pamper and luxuriate.

For more information visit: hillhousehome.com

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COVET BOOK FAVORITES

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IRIS COVET BOOK

60 seconds with the

IRIS MAN DR. TED VOLOYIANNIS He pioneered the creation of innovative, minimally invasive surgical techniques, which are now widely practiced within his field. In addition to these academic accomplishments, he is an active supporter of the Human Rights Campaign.

We got to catch up with him to talk about his work and life.

Photography and Interview by Dustin Mansyur Styling by Marc Sifuentes | Art Direction by Louis Liu Grooming by MakeupByDiego

What made you decide to get into medicine and become a surgeon?

I always wanted to help people since I was a kid, but I needed to see the practical results right away. Also, I am very competitive. So, I decided to get into medicine when I was in middle school and to become a surgeon by my second year in medical school. I decided to immigrate when I was 25 from Greece and pursue my surgery training in the US at one of the most competitive programs in the country at Baylor College of Medicine.

You received criticism and scrutiny for the methods you proposed in the surgical procedures that you spearheaded and discovered. Was there a time that someone told you that you couldn’t accomplish all that you have accomplished today?

Yes, a few surgeons who were close to retirement. It still frustrates me because it delayed the innovation in our field.

Senior surgeons are often hesitant to adapt new ideas from their younger colleagues. I need to remember not to do the same when I get older!

You’re actually known for your personable and friendly disposition and relationship that you build with patients. How do you try to relate to or connect with your patients as a care provider? Does this practice naturally carry over into your personal life?

Don’t become a doctor if you don’t love listening to your patients. Surgery

can not be successful if you can not connect with your patient’s background problems. Being more personal helps alleviate the fear, anxiety of the anticipated surgery and builds trust.

I am usually “accused” of being too nice and trying to help everybody in my personal life even if sometimes this is not feasible.

You are an avid supporter of the Human Rights Campaign, devoting your free time for surgical services which benefit the LGBT community and patients with HIV in need for the greater Houston area. Would you consider yourself an activist?

I am an activist behind the scenes as well as in the operating room; I strongly support the LGBT community’s fight for Equal Rights in our society, the same way I fight daily for excellent surgical care for all my patients regardless of sex, race, religion or sexual orientation.

You and your husband Ivan are interior design enthusiasts, what are some of your favorite pieces that you have collected?

Our favorites are The Baccarat Crystal “Marie Coquine” Floor Lamp by designer Philippe Stark over our dinning table and the Jean Paul Gautier floating master bed!

Do you have a favorite design feature in your apartment?

The master bathroom! It features a unique design that incorporates Italian

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“Agape” fixtures, digitally printed tile, glass, ipe wood, and infinity views of Houston’s city and skylines!

Additionally, you and Ivan are avid travelers, what are some of your favorite trips you’ve taken & what are some upcoming trips you are excited about?

Other than Greece and Mexico? Israel, Egypt and Brazil were unique trips and now we are getting ready for our first cruise ever in Mediterranean Sea, to be followed by exploring Australia!

What is something you can’t live without when you travel?

I can’t lie: lots of shoes!

What advice would you give to your younger self or to young people in general?

Set great goals early in your life and work hard for them. It will pay off!

Don’t go to medical school! ( joking)

Words of advice that you live by and whom was it given by?

The first day I started my surgical training, my chief resident said, “Don’t let the demanding multi-year surgery residency training change who you are!”

IRIS MAN

Dr. Ted Voloyiannis photographed at his home in Houston, TX. Jacket by Bogosse, Shirt by Hugo Boss, Pants by Gucci, Watch by Rolex Submariner, Necklace: Ancient Roman coin mint in Jerusalem.

IRIS COVET BOOK

60 seconds with the

IRIS WOMAN MARIANA VALDES DEBES The vivacious art dealer, collector, consultant, and philanthropist knows how to wear many hats with an effortless and sensual bravado. We sat down with her to talk about her creative process and who’s on her radar.

Photography and Interview by Dustin Mansyur Styling by Marc Sifuentes | Art Direction by Louis Liu Hair and Makeup by MakeupByDiego

Who are your favorite up-and-coming artists on your radar at the moment?

I would say the Mexican multidisciplinary artist, Nacho Rodriguez Bach, and the international critically-acclaimed Danish artist, Olafur Eliasson. Rodriguez Bach is an artist I have been promoting and representing for several years. He is always reinventing himself.

What kind of art are you drawn to?

I am most drawn to art that is congruent within a historical context. The art that shows me other possibilities of reality, of feeling, of thinking, or being.

For you, is it an emotional / intuitive process or is it a more objective approach when you are deciding artists to collect?

Both. I am first attracted and seduced by an art piece or a body of work, then possessed by it. Before I make a final decision, I get to know the artist and establish a relationship with him or her. I believe this is the most important.

By doing this, I get to understand the artists' body of work from another perspective, and allow myself to make a connection with it.

Do you have a favorite piece that you have collected?

Yes, I acquired a painting 10 years ago called La Romeria by the Mexican artist Alfredo Gisholt. Like every painting, it has a beautiful story behind it. I love it because of it’s amazing power, but

also because it was included in the first exhibition I curated for the opening of my gallery in Mexico City. It tells a story from my country through the eyes of an artist who lives and works in Boston. At the same time it is a remarkable painting for the artist itself.

It’s just one of those paintings that takes your breath away!

Can you describe what your curatorial process is like when doing an exhibition? What helps you collaborate with the artist?

I always take into consideration that it needs to be eloquent within the context that we are living. Most of the time I don’t follow an established process or a rule since each project is different and is curated for a different audience.

I am very spontaneous in the way that I bring up an exhibition, and at the same time I am a perfectionist in every single detail. I prepare with as much information I can obtain and then I allow myself to create a bridge between the artwork and the public for which it is being created, like an alchemist.

Are you working on any upcoming projects to look out for?

The contemporary art world has been transforming rapidly over the past decade. It has expanded its boundaries, making it almost indescribable, yet understandable. There are more collectors and art fairs, but at the same time there is a gap between the art and the its audience. This is the reason that for the last few years, I have been providing art knowledge to a select

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group of collectors and art enthusiasts called Sensei: “Art Promotion Through Experience”. Through thematic and curated experiences that involve all of the senses, Sensei has as its mission to establish a connection between art and the person, that promotes the development and understanding of artistic values and self awareness.

Are you involved in any upcoming charity events or galas?

Yes, my husband and I have been involved with the gala for St Jude’s Children’s Hospital for the past several years. It is a fantastic organization with a beautiful mission.

What advice would you give to young women who are seeking a career in the arts?

To explore, investigate and renov ate constantly looking for their own artistic proposal.

Would you say that it’s important to invest in the arts?

Art enriches your life. It has the unique ability to evoke so many different emotions. A painting can make you happy or sad. It can make you introspective or thoughtful. For this reason alone, I believe that it is very important for our cities and our communities to invest in art. On an individual level, one needs to know that not every artist nor every piece of art will appreciate in value. But if it brings you joy, isn’t that the best investment of all?

IRIS WOMAN

Mariana Valdes Debes photographed with her dog at her home in Houston, TX. Dress by Helmut Lang, Shoes by Marni, Earrings by Cartier. Behind her, Painting

by Rodolfo Morales and Sculpture by Javier MarĂ­n

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IRIS COVET BOOK

Sunglasses by Karen Walker, 70s Vintage Beaded Dress

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EMERGING

Teddy Equipped with a chic bob haircut, an enviable vintage collection, and a killer voice–singer/ songwriter Teddy Sinclair is the emerging artist to watch. The bewitching vocalist tells us about her reinvention, working with other bad girl sirens, and what we can expect next from the talented vamp.

Photography by Luzena Adams @ Balloon Agency Styling by Marc Sifuentes Art Direction by Louis Liu Interview by Alex Catarinella

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Silver Velvet Slip Gown Custom Designed and Made for Teddy's Wedding

by Autie, Black Mesh Dress

by American Apparel, Vintage Rings, Bracelets and Necklaces from Cartier and Tiffany

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TEDDY SINCLAIR

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IRIS COVET BOOK

Blouse by Miu Miu, Vintage Hat from Hollywood Mirror in Chicago Hair by Anthony Joseph Hernandez @ Artmix using Oribe. Makeup by Daniel Avilan @ Wilhelmina.

Manicure by Narina Chan @ Wilhelmina. Photographer's assistant: Robert Perez.

Booking and Shoot Production by XTheStudio

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TEDDY SINCLAIR

T

Oh really? But what happened?

eddy Sinclair is the British born front-woman of Cruel Youth, a threepiece girl band tipped to be one of the hottest new sounds of 2016. Their first single, Mr. Watson, has already racked up over half a million plays, and with their "The Ronettes on Oxycodone" narcotic noise, it's hard not to get hooked. Cruel Youth, whose debut EP is set for a summer release, is the creation of both Teddy and her husband, artist/producer Willy Moon. Already a successful solo artist (formerly known as Natalia Kills), she has recently penned songs for the likes of Madonna, Alicia Keys and Courtney Love. And by co-writing Rihanna’s forthcoming single, “Kiss It Better”, from the smash album, ANTI, it's no surprise that Teddy is becoming one of the most in-demand songwriters of today.

I’d have to ask my attorney, but their contracts are air tight so I don’t think I’ll ever be able to tell the truth about what happened.

Too many people would get in trouble or lose their jobs. The whole thing was messed up… I mean, the whole thing was a mess. What’s weird is, after the show, we all hugged. It was all high-fives. No one expected the public to react the way they did, and I guess everyone had to cover their own asses. The thing I found most bizarre about it all was that for a minute there, the whole world suddenly forgot what “reality tv” really is. It’s amusing... it’s confusing…

Unfortunately, a lot of people believe reality tv is complete reality.

Did you always want to be a singer/songwriter?

What were the following few months like? Was there an "oh f **k!" moment? Most people would be scared after becoming so infamous.

Not exactly. When I was about twelve, my ad was in Wormwood Scrubs prison in London and I'd write to him in between visits… letters, poems, stories… whatever, really. I wrote all the time, even though I didn’t mail everything. I think that’s how I learned to write songs.

A couple of weeks later I was with Rihanna in LA working on her album. Bad girls stick together.

How did you and Willy meet?

Your single 'Mr. Watson' is a love song to Oxycodone.

How did that all start?

Willy and I were both signed to Universal Music Group and my manager took me to see him play a show in New York. Less than forty five minutes after he got off stage, we were horizontal in his hotel room. The first twenty of those minutes I spent stalling in the bathroom. I mean, I was covered in post-cosmetic surgery bandages from the knee all the way up to the chin, and I still had sutures in. I remember thinking what a cute white boy he was as he kept trying to put his hands through my hair not knowing it was weave. I saved my number in his phone as “Baby Mama” and a few months later we got married.

Back when I lived in West Hollywood and I was about to go on tour for the first time, I was doing the dishes and a cheap Ikea glass broke and sliced my thumb, clean, through the bone, nerve, tendon.

Blood everywhere, spattered on the ceiling, sprayed on the fridge, dog drinking it off the tiles. I ran out of money and had no medical insurance so couldn’t afford general anesthesia. I did the surgery awake. They had to go into the elbow to retrieve the nerve and tendon, pull it down, stitch it back together, all on the joint of the knuckle of my thumb. It was like being in a scene from Saw.

How did you guys start Cruel Youth?

They sent me home with a bottle of 30 x 5mg Roxicet. I took off the hospital gown, put two in my mouth and threw back a shot of water from the paper cup... Fifteen minutes later, in the car ride home, I suddenly for the first time in my life felt like myself.

It was beautiful.

I met Willy right as my second album was coming out. It seemed as though the people working around me had forgotten who I was, where I came from and that my record even existed… And it seemed as though everything that everyone else was trying to change about me were all of the things that Willy liked about me the most. He liked that I always played live with an all-female band, that I look like Ronnie Spector on a bad day, that my voice was whiny and my lyrics were direct, sometimes to the point of degenerate. He wasn’t trying to make me whiter, prettier, Walmartfriendly, or more approachable. And Cruel Youth is a cocktail of all of those truest bits about me.

When you work with artists like Rihanna, Madonna, Alicia Keys and Courtney Love, what is it like?

Madonna was the first artist I wrote with on an album that wasn't my own. She said she was a fan, we wrote about eight songs, talked about boys, sex and God, and ate cookies. You either make a connection or you don’t. It’s like dating. Then you write the songs.

That’s the sex.

You’ve dropped the stage name ‘Natalia Kills’ and are about to release the Cruel Youth EP on your own label. When you were making Cruel Youth, was it just you and Willy?

What are your best and worst moments whilst writing with other people?

Yeah, pretty much. We hardly left the studio [where we live] for almost six months. You gotta understand that before I met him I had people I worked with trying to say shit to me like “Okay, go kill it in this interview but remember, don’t be so English, don’t be so black. You’re gonna seem aloof and unapproachable… no one likes that. You gotta be more likable, smile, act happy.” And I wasn’t having any of that.

Best: – Seeing 17,000 people sing along to the Rihanna song I co-wrote at her LA concert.

– Going on a blind date with just me and Alicia Keys.

– Sharing a birthday party in Cannes and performing “La Vie En Rose” with Madonna.

Worst: – Attempting to sing “La Vie En Rose” live in broken French, with absolutely no rehearsals... with Madonna.

Now, writing songs with Willy… I write what I want, say what I want, do it big and have a proper laugh. It’s not beautiful, it’s not aspirational, it might not get played on the pre-school bus ride… but it’s real and it’s what I wanna hear, and that’s all I care about.

In early 2015, you and Willy were the center of a viral media storm that seemed like a publicity stunt gone wrong. Let’s set the X-Factor record straight once and for f **king all.

I am still not allowed to talk about it.

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Above: Carolina, New York, 1976 Opposite page: Slave to the Rhythm, New York, 1986

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Photo Courtesy of Jean-Paul Goude and Padiglione D'Arte Contemporanea ©Jean-Paul Goude

ICON

JEAN-PAUL GOUDE Legendary “artisan”, as he likes to describe himself, Jean-Paul Goude is also an artist, film director, graphic designer, and photographer. Born in France, the artisan has spent his entire life painstakingly working over every detail in his art and craft in order to create iconic forms and images.

J ean-Paul Goude worked for Esquire Magazine as art director for

culture and style in its own right. Goude’s language and imagination teleport us into a world of color, vibrancy, light, and surrealism that can only be described as magical. Each of Goude’s images are cloaked in a mystery, sensuality, and emotion that resonates with the viewer and marks his art undeniably modern, even futuristic. So Far So Goude: An Exhibition by Jean Paul Goude is on view now at Milan’s Padiglione di Arte Contemporanea and is presented by Tod's group.

– Benjamin Price

7 years, collaborated with the muse Grace Jones who later become the mother of his son, Paulo, and most recently has been credited with the infamous spread and cover for Paper Magazine’s story on Kim Kardashian titled “Break the Internet”. Goude’s work has become synonymous with an extreme attention to detail, drama, and art and has been influential to countless famous photographers and designers today. Culture and style has always been at the forefront of his artistic philosophy, and it is clear that his work has become a whole niche of

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Photography by Kerry Hallihan @ Angela de Bona | Styling by Marc Sifuentes Art Direction by Louis Liu | Interview by Dustin Mansyur

With her alabaster skin, raven hair, soulful eyes, and a face which is reminiscent of old Hollywood royalty, Eve Hewson, is every bit the part of a blossoming actress.

Born from fashion and music stardom, Hewson was destined to become a talented woman to watch.

Opposite Page: Dress by Calvin Klein Collection

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F E AT U R E

Eve Hewson

IRIS COVET BOOK

E

ve is in LA when I phone in with her for the interview. I can hear the soft overlays of her Irish accent, though it’s almost a whisper since she transplanted to Brooklyn, after studying acting at NYU—advice she did not take from her parents (U2 front-man, Bono & fashion designer, Ali Hewson). Eve’s drive was stronger, and she pushed forward in pursuit of her dream.

Poised to play Maid Marian in the upcoming 2017 Otto Bathurst-directed production of Robin Hood: Origins, Eve currently costars alongside Clive Owen in the Steven Soderbergh-directed drama series, The Knick and her last film project, Bridge of Spies was directed by Steven Speilberg. Prior to that she co-starred with Sean Penn in Paolo Sorrentino’s film, This Must Be the Place.

Skepticism aside, Eve Hewson, has inarguably amassed an impressively selective resume of evocative, blue chip film projects and directors with whom she’s already worked.

She reminisces some advice she’s followed to land these roles and work with some of Hollywood’s greatest, “You have to find a way of making this a career, not just a moment.” In an exclusive interview, I caught up with the ingénue actress to discuss her creative process and the trajectory she has set for herself.

When did you know you first wanted to become an actor?

The first time I realized I wanted to be an actor was when I went away to shoot my first film when I was fifteen years old. It was my tutor who had wrote this part for me, and I knew that I liked acting a lot but I didn’t know if I was going to do that or if I was going to do music instead. So I went away and shot the film and kind of fell in love with the whole idea of making movies and the process of it. That was when I got hooked.

So is music something you still dabble in as a hobby?

When I was younger I played the piano, drums, bass, guitar etc, but I don’t play like I used to anymore. When I moved to New York it was harder to get access to a piano or a drum set and I kind of replaced that hobby with acting.

You’re currently starring in The Knick, as Nurse Lucy Elkins. In comparison to working in film, what is the process like when you’re doing a series? Do you find that you get closer to your character?

I really think it forces you to sort of think of your character with the understanding that you never really know what your character is going to do on TV. You have to just go with it. You learn more about that

character as you go on. Whereas in film, you have your script. You have a set out storyline of where your character is going and what they would or wouldn’t do, but in TV you have to say okay, this is who she is. No matter what scene comes up or gets written into the storyline, I have to incorporate and work that into my idea of her. You can never say, “my character would never do that.”

When you’re filming The Knick, has there ever been a scene that you found challenging due to the gory nature of the content?

Sometimes things are pretty gross. I’m terrified of needles and I hate getting blood drawn and I usually end up fainting!

On set, we did it for 20 episodes – you get really used to it, it’s quite like the way nurses and doctors treat actual bodies.

You get really comfortable with looking at blood and intestines. We’re all pretty used to it now, but it took us a moment.

I love the way movies are made, to see everything that goes on behind the scenes and to see how the makeup department, the special effects team and Steven (Soderbergh) all work together to make it look real. Then when my friends or my family see me on the screen, they say, “I can’t watch. I can’t watch it, I’m so sorry, it’s just too gory!” Well then great, we did our job. It’s not real. That’s what I say to everyone, “It’s not real!” How amazing is that?

In regards to your character on The Knick, what has been the biggest surprise or challenge in playing nurse Lucy Elkins? Was it difficult to relate to her?

The biggest challenge playing Lucy was probably the corset. Doing any accent is challenging, but not being able to breathe at the same time made it harder. I’m really nothing like Lucy at all, but that’s what I enjoyed the most about playing her. Learning about someone that you wouldn’t normally relate to in real life is what acting is all about. I’m not interested in playing someone like me, I know who I am. Acting is like being someone’s therapist. And Lucy is full of surprises.

She is so quiet in what she says, but incredibly bold in what she does, and that interested me.

Though in the early stages of your career, you’ve already worked with some amazing directors. Are there any directors you would like to work with in the future?

Yeah there’s like a lot actually. I have a hit list of my favorite directors that I would jump at the chance to work with.

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I love Joe Swanberg, he did Drinking Buddies. Have you seen that movie?

It's on my list of movies to watch!

You gotta see that movie! It’s amazing!

His whole process and how there is this element of improv – it’s a really cool way of making films. Who else do I love? I love, Khalif Brown, he’s a fairly new director. He did parts of Beyonce’s Lemonade. He’s pretty sick. The part where she’s drowning and her bed is underwater, I love how he did that.

Of course, I am obsessed with Tim Burton.

I really want to play a ghost and haunt someone in a movie and I feel like Tim Burton could help me do that. Another director would be Ang Lee. Oh, and I love Katherine Bigelow.

Are there any genres that you would like to explore on future projects?

All of them! I don’t really limit myself in terms of characters and genres.

I would love to do a creepy scary movie, like Orphan. I love that movie. I also would love to do a romantic comedy, you know. Being a voice actor in an animated children’s film would be so fun because I really love to do accents.

Do you work with a vocal coach on accents?

Yeah I have an amazing vocal coach, her name is Coley Calhoun, she actually lives in Brooklyn as well. She lives in Park Slope. She’s kinda THE woman and she helps me with everything that I do.

You are also an experienced traveler, do you have any place in the world you like to retreat to when you need to recharge?

If I’m going to somewhere to recharge, I’m going to go home to Dublin. It’s lovely to escape New York and just be at home in Dublin with my family and read a book or watch movies. It is always green so there are a lot of scenic walks and beautiful trails and sites around the city.

When you’re away from Brooklyn is there any place that you miss now that it’s also home?

Definitely my home! I live in Williamsburg, and I walk along the water every day and I have my little coffee shop that I love, Toby’s Estate.

Have your parents ever given you advice that you didn’t follow and were you glad you listened to your own intuition?

Sometimes, but occasionally parents know best. They’ve always been really

EVE HEWSON

Dress by Céline, Earrings by Proenza Schouler

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IRIS COVET BOOK

This page: Dress by Giorgio Armani Opposite page: Jacket by Giorgio Armani Hair by Rolando Beauchamp @ The Wall Group. Makeup by Junko @ Joe Management.

Manicure by Yukie Miyakawa @ Kate Ryan. Custom Headpiece

by Elizabeth Ryan Floral.

Production by Sacha di Bona @ Angela de Bona. Photographer's 1st Assistant James Clark, 2nd Assistant Krystallynne, Digital Tech Andrea Bartley. Stylist Assistant Yu Tsao. Production Assistant Kyrk Corbin. Celebrity Booking by XTheStudio

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EVE HEWSON

encouraging of anything that I wanted to do, they were skeptical of me going into the film industry just because it is so difficult. Now they’re very supportive and have always encouraged me to not just be an actor, but to write, direct, and produce.

You really have to find a way of making this a career, not just a moment.

And you’re really embracing the process?

Yes! I had to fight to get my parents to let me go to NYU and study acting. Going to New York to learn more about acting and film was not something they thought was a good idea, which I felt was strange.

I really just wanted to learn my craft and hone my skills.

Have you experienced any personal challenges that you’ve had to overcome and that have made you stronger in your career and craft?

I think experiencing rejection has changed me as an actor, because every time you get rejected you have to fight harder and you have to work harder.

Any challenge I have come up against has only helped me to be a better actor.

Whenever I go in for an audition, I think “Oh my God, this is so hard, I don’t think I can do this.” I work really hard to believe that I can do it. However, I think being in a career that pushes you to continuously be better is amazing. I love that Hollywood is so cutthroat and when you get that job, you have really earned it because you’re competing with the best!

It’s so difficult but also very rewarding.

Every time you get rejected you have to fight harder and you have to work harder.

Any challenge I have come up against has only helped me to be a better actor.

Are you working with any charities or involved in community activism? Your father (U2 front-man, Bono) is known for his work with the underprivileged, did you get that gene from him?

I’m a member of the ONE campaign (Bono’s campaigning organization that fights extreme poverty and preventable disease, particularly in Africa, by raising awareness), and I support the RED products (a licensed brand that seeks to engage the private sector in raising awareness and funds to help eliminate HIV/AIDS in Africa). I definitely want to get more involved with women’s issues in particular. For example, abortion is illegal in Ireland, and a lot of people are not aware of that. It has to change. I want to help. I grew up in a house where we were told, “If you have a voice, you better use it.” So I’ve never been embarrassed to say what’s on my mind. I think I could use that trait for something bigger than my own ego.

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How do you feel about your new role as Maid Marian? What are you most eager about for this new project?

All I can say about the Robin Hood part is that we are going to shoot next year.

I’m excited because I’m so obsessed with the director Otto Bathurst. He’s one of the most interesting directors out there right now. I’ve been told I have to learn how to ride a horse which might be worse than my bike riding on The Knick, but I’m staying optimistic. I read with Taron (Egerton) for my screen test and it was just synchronistic. I’ve ALWAYS said I wanted to work with Jamie Foxx. It is such a good crew of talent, and I’m so fortunate to be a part of it.

IRIS COVET BOOK

Robert Mapplethorpe

Opposite page: Self Portrait, 1980. Gelatin silver print Š Robert Mapplethorpe Foundation

F E AT U R E

The J. Paul Getty Museum and the Los Angeles County Museum of Art (LACMA) spotlight the iconic work of photographer Robert Mapplethorpe in two concurrent retrospectives, Robert Mapplethorpe: The Perfect Medium.

by Bernardo Siaotong 47

IRIS COVET BOOK

This page: Patti Smith, 1978 Gelatin silver print © Robert Mapplethorpe Foundation Opposite page: Robert Mapplethorpe: The Perfect Medium Installation photograph Photo © 2016 Museum Associates / LACMA Artwork © Robert Mapplethorpe Foundation

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ROBERT MAPPLETHORPE

T

he groundbreaking photographer Robert Mapplethorpe continued to push the limits of contemporary photography until his untimely death in 1989 at the age of 43.

This summer, thanks to a joint exhibit held at two venerable museums in LA until July 31st, even those most familiar with Mapplethorpe’s provocative images may see his work in a new light.

Titled Robert Mapplethorpe: The Perfect Medium, it’s a detailed and thorough retrospective set in the City of Angels: West of the 405, the Getty Center presents the story of Robert Mapplethorpe exclusively through a finely curated selection of black and white prints taken from the 1970s and 1980s, including his controversial “X Portfolio”.

To the east, the LACMA presents additional photographs from the artist’s oeuvre, in addition to seldom-seen work including colorful drawings, small to large scale sculptures, and even behind-the-scenes video footage. Collectively, it’s an important exhibit that showcases the breadth of Mapplethorpe’s diverse work made possible when both institutions acquired a significant portion of the artist’s art and archives in 2011. Following its launch in Los Angeles, the exhibit will travel internationally to the Montreal Museum of Fine Arts in Montreal, Canada later this year, followed by the the Art Gallery of New South Wales in Sydney, Australia.

The LACMA opens its exhibit with a quote from Mapplethorpe in 1988, one year before his death. It says “Perfection means you don’t

question anything about the photograph.”

The collection of photographs shown in the opening gallery highlight Mapplethorpe’s male-centric figure studies in the 1970s – some depicting friends, others of lovers.

Unapologetically focused, his early pictures document the gay community found in the New York, San Francisco, London, and Paris leather bars. One gets a more intimate look at Mapplethorpe’s childhood influences and through his education at the Pratt Institute of Brooklyn in the next collection of works in the “Art/Identity” portion of the exhibit.

Here, rarely-seen drawings, collages, and sculptures from 1965 to 1975 are exhibited which touch upon Mapplethorpe’s fascination with Catholic iconography. “I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child.

It still shows in how I arrange things. It’s always little altars.”

The exhibit then focuses on Mapplethorpe’s experimentations with Polaroid photography in the 1970s, covers his important and influential relationship with Samuel J. Wagstaff Jr., and his entrée into the innermost circles of the art world in the “Camera/ Career” segment of the exhibit. Here, you’ll find iconic portraits of Patti Smith, Andrew Warhol, and Deborah Harry. Perhaps the most challenging part of the exhibit, “Sex/ Success” outlines the span between 1973 and 1980 when Mapplethorpe created his “sex pictures.” This series of images presents Mapplethorpe at his most raw. Mapplethorpe

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Perfection means you don’t question anything about the photograph.

–Mapplethorpe is quoted as saying, “For me, S&M means sex and magic, not sadomasochism. It was all about Trust.” Wrapping up the exhibit is a study of female bodybuilder Lisa Lyon and an entire wall featuring Mapplethorpe’s beautiful floral still life prints – a poignant way to end an exhibit that sought to embody perfection in every form and technique.

Taking a more exclusive look into Robert Mapplethorpe’s black and white photography, The Getty surveys the artist’s most iconic prints in the second venue of the exhibit.

The exhibit introduces Mapplethorpe as “the third of six children in a middle-class, Roman Catholic family. He is best known for his elegant, flawlessly balanced figure studies that explore gender, race, and sexuality…

Mapplethorpe’s influence is pervasive, and almost three decades after his death, his work remains necessary to any serious discussion of late twentieth-century art.” <continues on page 50>

Top Left: Poppy, 1988. Dye imbibition print Top Right: Lucinda's Hand, 1985. Gelatin silver print Bottom left: Two Men Dancing, 1984. Gelatin silver print Bottom Right: Keso Dekker, 1979. Gelatin silver print Š Robert Mapplethorpe Foundation

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Top Left: Phillip Prioleau, 1980. Gelatin silver print Top Right: Melody Danielson, 1987. Gelatin silver print Bottom left: Kathy Acker, 1983. Gelatin silver print Bottom Right: Parrot Tulips, 1988. Dye imbibition print Š Robert Mapplethorpe Foundation 51

IRIS COVET BOOK

The exhibit opens with a self-portrait taken in 1980 of the artist sporting a pompadour and a black leather jacket. A description on the placard reads: “One of the strongest motivations in Mapplethorpe’s life was his desire for fame. As a visual artist, he understood the importance of creating a dynamic public identity and purposefully adjusted his image to suit his needs.”

Studies of male models including Jamie, David Croland, and Nigel Waymouth follow, as well as candid portraits of Sam Wagstaff, Marianne Faithfull, and Patti Smith. Here, too, does the exhibit celebrate Mapplethorpe’s fascination with the human body. In 1987, the artist is quoted as saying: “If I had been born one hundred or two hundred years ago, I might have been a sculptor.” In the first series of images depicting both the male and female form, comparisons to classical themes are made,

particularly to the nineteenth century Italian sculptor Antonio Canova to the French painter Jean-Hippolyte Flandarin.

An exhibit highlighting Sam Wagstaff and his prized collection of photographs are also part of the program.

Throughout their relationship, Mapplethorpe emphasized the importance of photography as an art form to Wagstaff.

In the end, Wagstaff ultimately acquired nearly 27,000 objects in his collection from artists around the world spanning from the mid nineteenth century to contemporary figures at the time. The exhibit also presents bold and sexually charged imagery from Mapplethorpe’s “X Portfolio” from 1978, in addition to select interior and still life imagery as well as his collaboration with Lisa Lyon that lasted until the mid 1980s. “I’d never seen anybody that looked like that before. Once she took her clothes

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off, it was like seeing something from another planet.” One of the latter works in the exhibit is a self-portrait of the artist taken in 1988, one year prior to his death. In it, the artist confronts the AIDS epidemic head on. Mapplethorpe, showing signs of the illness, poses with his had gripping a skull-topped cane. It’s a powerful image that represents the strength and fragility of Mapplethorpe and what he stood for as a revolutionary artist.

This Page: Lisa Lyon, 1982 Gelatin silver print Opposite Page: Self-Portrait, 1988.

Platinum print © Robert Mapplethorpe Foundation

ROBERT MAPPLETHORPE

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Opposite page: Bee, New York, 1995, printed 2001. Chromogenic print. Overall: 21 1/2 x 24 in. (54.6 x 61.0 cm). Smithsonian American Art Museum, Promised gift of Irving Penn Foundation. Copyright Š The Irving Penn Foundation

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A discussion with Sue Canterbury of the Dallas Museum of Art on the iconic American photographers latest traveling retrospective in nearly two decades.

Interview by Dustin Mansyur

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F E AT U R E

Irving Penn: Beyond Beauty 55

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IRIVING PENN: BEYOND BEAUTY

F

or the first time in almost twenty years, a retrospective of iconic American photographer, Irving Penn, will be on display at the Dallas Museum of Art for it's initial stop organized by the Smithsonian American Art Museum.

While known and beloved by the fashion and beauty industry for decades, the exhibition delves Penn’s work, exploring the full range of his career. Often overlooked early periods of the 1930’s street scenes and his study of the American South in the 1940’s, these earlier works were crucial in the development of Penn’s approach surrounding his lifelong endeavor to experience and create beauty in all subject matter. The exhibition, now on display through August 14, 2016, debuts onehundred photographs recently donated by The Irving Penn Foundation with over forty more additional images drawn exclusively from the Smithsonian’s holdings.

“While Irving Penn was one of the key photographers of the 20th century, this will be the first retrospective of his work in twenty years. His mastery of lighting and composition, and his technical prowess in the darkroom, reveal him as a true master of modern photography,” said Sue Canterbury, the presenting curator in Dallas for the exhibition and the Pauline Gill Sullivan Associate Curator of American Art at the Dallas Museum of Art. Perhaps more notable is that all one-hundred images donated to SAAM were printed during the artist’s lifetime and approved

by Irving Penn personally, sixty of which Penn himself donated to the Smithsonian in 1988 and which span his career from 1944 to 1986. The photographs donated by Penn’s foundation, and now on display at The Dallas Museum of Art, include unpublished early works of postwar Europe and a host of color photographs produced by Penn for his editorial and advertising work, and some of his most highly recognizable fashion imagery, celebrity portraits which include Salvador Dali, Leontyne Price & Truman Capote, and a selection of still-lifes.

“Penn’s role as an innovator in the medium of photography is a compelling story, and the DMA is pleased to reveal, and celebrate, his artistic legacy,” Canterbury explains. Here we spend time with Sue Canterbury to discuss the iconic photographers career, life’s work and the exhibition Irving Penn: Beyond Beauty.

What foremost qualities stands out to you about Irving Penn’s work and his creative process?

In some of his early works he had this real attraction towards surrealism. His earliest photographs of shop windows, or storefronts with cut-out signs have a surrealistic quality to them. This sort of approach continues throughout.

Sometimes it's not as obvious as others,

but it's there. Another thing that stands out is his idea of beauty as an absolute value, and his interest in how people present themselves. All cultures have their way of self-adornment, which is part of what makes them beautiful. It's how that culture sees and appreciates beauty.

He had, I think, a fascination with that beauty. While on assignment in San Francisco, you see it in the way he photographs the Hell's Angels and the hippies. It didn't really matter if you were a model from Manhattan or a woman from New Guinea. It's just part of a continuum within his work.

Do you think that his approach to beauty, and how he understood it, helped him to become an innovator in the world of photography?

I think one way he was really an innovator was his approach to fashion.

In the '40s, fashion photos shoots had become tableau-like. A model would wear a particular dress, and a contextual situation would be created around her to basically give her the excuse for her wearing the dress. It was a lot of work to put it all together, but another aspect of it, it really abstracted the eye from the main event, which was the piece of clothing.

In contrast, Penn deviated from that aesthetic and pushed a very stripped down background, which would have been considered minimal for the time.

That's something we also see with his portraiture, for example the Warner portraits, in how he stripped things down.

The result is, there's this wonderful emphasis on silhouette, light, and composition. And for his commercial clients, the designers and editors, this approach emphasized the costume itself.

Because of its simplicity and elegance, other photographers began imitating.

Were there any photographs in the exhibition that surprised you or that you were particularly drawn to?

I think in particular, the lead image which is on the cover of the catalog, Head in Ice. This image is unlike everything else that's in the exhibition and it demonstrates his unusual approach to subject matter.

After submerging a mannequin’s head in water and freezing it, Penn proceeded to photograph the head through the fractured block of ice and it’s incredibly surrealistic. He was always thinking outside of the box in his approach to his subject matter which is why he was such

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Head in Ice, New York, 2002, printed 2003. Chromogenic print Overall: 30 x 24 1/4 in. (76.2 x 61.6 cm). Smithsonian American Art Museum, Gift of The Irving Penn Foundation.

Copyright © Condé Nast

an exemplar in the advertising industry.

He made images that were memorable.

Yeah, it almost appears as if it is a painting, the part where it's fractured. As if it could almost be like texture from brush strokes.

There's a very painterly quality about it.

Yes, that's very true. It's interesting you bring that up because, when he was starting out, painting was what he wanted to do. So there are particular aspects of that in his work, and in the approach of it.

For a long time, photography wasn't really respected as a viable art-form the way that painting was. Much of Penn’s work was geared towards publications, but what about his work as an artist?

He had already began working in that vein to some degree in the '40s. You see it in his early shots from Philadelphia or New York, and also the ones he did in Mexico in 1941, some of which he submitted to a surrealist magazine at that time. So he was already thinking of photography as an art form early on. It isn’t until 1942, when he returns from Mexico that he is hired by Vogue. That’s when Penn became very oriented towards mass-publication magazines. A lot of photographers leading up to mid-century were picking up the greatest exposure through printed matter. In the late '50s and early '60s, when magazines quality began to suffer due to poor paper qualities and printing techniques, Penn turned away from that.

It's in the '60s when he starts his research

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Truman Capote, New York, 1979, printed 1983. Silver print.

Overall: 10 3/8 x 10 3/8 in. (26.4 x 26.4 cm). Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation

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IRIVING PENN: BEYOND BEAUTY

Issey Miyake Fashion: White and Black, New York, 1990, printed 1992. Gelatin silver print.

Overall: 15 x 14 3/4 in. (38.1 x 37.47 cm). Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation

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Salvador Dali, New York, 1947. Gelatin silver print.

Overall: 9 7/8 x 7 7/8 in. (25.1 x 20.1 cm) Smithsonian American Art Museum, Gift of the artist. Copyright © The Irving Penn Foundation

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IRIVING PENN: BEYOND BEAUTY

I don't want things that are interesting. I want things that can be made interesting through photography.

– Irving Penn did not have to enlarge it. It was a direct contact print. So the resolution was really wonderful. Then he would go on to take that same camera in the '90s and use it for his experiments with moving the light.

What are you hoping people will garner from the exhibition?

Irving Penn: In a Cracked Mirror (A), New York, 1986, printed 1990. Platinum print Overall: 20 1/2 x 19 3/4 in. (52.1 x 50.2 cm). Smithsonian American Art Museum, Promised gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation

and began working with the platinum printing process. Still throughout the entire body of work, both commercial and art, his approach is always an unusual one.

With the accessibility and the popularity that has happened with photography, how do you think that society's view of photography as art is going to continue to evolve over time?

It definitely becomes more democratized, not just because of digital, but because of smartphones actually. That has been one of the challenges for this exhibition because we realize we are speaking to a generation that may have never seen a piece of film negative.

They don't understand the concept of shutter speeds or apertures. So we've been trying to do some other educational things on the side to inform them about what that process is because it's difficult for them to realize what Penn accomplished and how he accomplished it.

Especially because the printing techniques and the technology was so different then.

Today everything is inkjet. Unless you're still working with film creatively, and doing those types of printing processes.

Very true. His processes were so evolved.

He had to be a bit of a scientist and alchemist in the dark room, not just an artist. I think another aspect of his work that people don't realize is how he altered cameras to suit his needs. An example of this is in the Underfoot series. Penn used a 35 millimeter that he had modified by attaching a tube to the body. At the end of the tube he put a macro-lens. So essentially, he could sit in a chair in the street and have the macro lens hovering as close as possible over the chewing gum. The detail, of course, is really quite amazing. He makes grains of grit and dirt sparkle like crystals. It has this wonderful tone and richness. Another example of how he altered cameras, was in the '70s.

He purchased a Folmer & Schwing wide format, banquet-view camera, which had a 12 by 20 plate on it. That's a camera that was manufactured in about 1910. So he reaches way back in technology, pulls it forward to '79 and does these really great still-lifes. The wide format still-lifes in the show were shot with that banquetview camera. What it meant was that he

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One of the things that I want them to take away is that Penn's work encompassed so much more than just fashion. There was the public commercial areas where he had his own clients, but also his personal work that he did on the side, and how innovative he was with his eye – to understand how he saw beauty. Penn felt that he could pull beauty from any object, given the right circumstances, proven by his street trash, for instance.

One assistant recounted many years later how he would go out to find things for Penn to photograph. He would bring back things he thought were interesting. Penn said to him, "I don't want things that are interesting. I want things that can be made interesting through photography." It's a subtle difference, but it's a big one.

And that's something that he brings to all of his work. That beauty extends far outside the fashion body of his work to encompass all of it, really. Everything is done with such intention, such precision, such perfection because he was a perfectionist. It's incredible to see these really wonderful works and to realize what went into them.

Dallas Museum of Art 1717 N Harwood St, Dallas, TX 75201 For more information visit dma.org

IRIS COVET BOOK

Pat Cleveland

F E AT U R E

Dress by Reem Acra Earrings and Bracelet by Sarina Suriano

Photography by Johnny Vicari Styling by Marc Sifuentes Art Direction by Louis Liu Interview by Marc Sifuentes

Out with a new memoir, legendary supermodel Pat Cleveland reveals larger-than-life stories about her career as one of the first African-American supermodels, her famous friends and her fascinating eras of glamour and high fashion.

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Dress by Joanna Mastroianni Fur by Georgine Earrings by Sarina Suriano

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he is a woman who has danced with Dietrich and Warhol, was a muse to the genius Yves Saint Laurent, became a favorite to photographers Irving Penn and Richard Avedon, and was one of the first African American models to walk the runways in Paris.

Pat Cleveland is an icon that still today has the same vivacious, exuberant spirit that helped build her career which has spanned over five decades.

To call her simply a model would not do her justice. She is a star. Former Vogue editor-atlarge Andre Leon Talley once called her “The first black supermodel, the Josephine Baker of the international runways!”. Even with all the fame, traveling the world, dancing on tables, and living the glamorous life with an eccentric crew of famous friends. A tour through the South modeling for Ebony Fashion Fair, exposed her to the nation’s racial divide on a first hand account. Confrontations with the Ku Klux Klan, and later with the American fashion industry’s incessant bigotry, led Pat to flee to Paris where she soon became the house model for Karl Lagerfeld. Since then, she has traveled the world, shot with some of the biggest names in history, was a fit model at the atelier of Christian Dior, and immortalized the colorful characters of her life via her new memoir, Walking with the Muses.

What is it about the fashion industry and modeling that inspires you and gives you passion for the work?

Fashion gives you an open runway, like a runway for an airplane. You get ready to take off and go to another world with all these people that you meet. The designers and all the visionaries, like the photographers who are so technically talented, they make you look better than you could ever imagine.

Fashion gives you an open runway, like a runway for an airplane.

You get ready to take off and go to another world with all these people that you meet.

With Yves Saint Laurent backstage after his show, 1972.Afterward, we went to the top of the Effel Tower.

Courtsey of Roxanne Lowit.

Can you tell us how you first started working for big designers like Halston?

Halston was one of the first designers to see me in a fashion show in Chicago, and I did not know who he was at the time..

He was introduced to me by Stephen Burrows, the designer, and he told me, “That’s someone you should know and work for.” But who knew he would become what he became. It was the green part of his career, the early beginnings and luckily enough I was there.

He was so gorgeous, so confident, and such a gentleman. To be with him in a room he would give you confidence about yourself by just being in his presence. And there I was, right off the Fashion Fair, and Stephen Burrows introduced me to Halston. Jump to sitting there with the other ladies in his New York salon on 68th street, the Getty’s and the Berenson’s and all these amazing people like Naomi Sims and Elsa Peretti and Anjelica Huston.

What part did the late Yves Saint Laurent play in your career?

He was so important and so young and so beautiful and such a free spirit and untouchable by many. He was so playful, and to my career he was everything an artist should be because he could teach you how to totally evaporate yourself and be in that space of being in love with something other than yourself. He was friends with my friends, like Antonio Lopez, and it was like a big love fest and we would go out and dance all night.

Everybody was young and gorgeous and free. It was like a big flirtation, and I was just thrown in there like a sandwich with the boys floating along with the rest of the swans.

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What was it like to be a fit model for the legendary couturiers of Paris?

Being pinned into couture...what an honor! Now there is a whole new way of producing things, with everything done by computers. But the draping! If you can see a couturier drape a dress, then you have gotten to the art of fashion. It’s like a dance you can see them throw the fabric and I remember seeing Halston doing that and Karl Lagerfeld and Yves Saint Laurent. Like one time I saw Halston taking a bolt of fabric and just throwing across the floor and just start cutting into it rapidly. He just worked out of faith, he just knew it was going to be good. The confidence they had was important.

Tell us what were those first fashion shows like for you?

It was a different time. We used to walk down the salon with cards with numbers in our hands so clients would know what dress to order. He had jazz bands play music, but it wasn’t like the big shows they have now; it was the beginning. I mean, the big show was the Fashion Fair and we had commentary like, “This is a sensuous woman walking down, imagine having this outfit from Dior” or something like, “Imagine yourself in this Valentino, wearing this to your debutante ball”.

Do you remember the change in the production value of the runway shows from what you described back then to what they have become today?

Well, I think Hollywood had a lot to do with it. The director Busby Berkeley, putting on a show, being in America, the funky sounds and music and dancing, and <continues on page 66>

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Dress by Alexander Wang Ring and Earrings by Sarina Suriano

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this crazy time started exploding in every culture. I remember going to Paris and it was just a small room full of socialites and countesses and princes sitting in a beautiful salon having tea and looking at us models in the dresses and touching the fabrics. Back then the music was setting the pace and they got the black girls to move to the music and then you HAD to move. I started dancing like a dancer on the runway and then the audience would feel good and it was contagious.

In your book you describe your first big fashion experience with the Ebony Fashion Fair and you talk about the traumatic experiences with racism in the South. How did that affect you?

Thank you for asking that question.

I think it’s just a divide of narrow mindedness when people are not well educated. I think that was a time when people had a lot of fear because social things were changing. There were some very well educated black people who were coming up and getting these wonderful jobs and they were the audience of the Fashion Fair. Doctors, judges, professors and other affluent black people who were donating money to send black youth to college. That was the whole reason for the Fashion Fair. Mrs. Johnson (cofounder of Ebony magazine) would go off to Europe and, being a black woman, she was not even allowed to come in and buy the couture! She spent large, large amounts of money in these design houses and they finally had to let her in, and she brought all that fashion back from Europe.

She introduced the masses to the type of high quality garment that would just knock your eyes out! Paris was couture; that’s where real fashion started.

We were the wild, up-and-coming couturiers of America.

of the time it was a small, old venue that we showed in with all of those elegant clothes. And the ladies that came dressed so beautifully with their fur stoles and their gloves and their church hats.

They were marvelous people it was a wonderful experience.

How did you first get the inspiration to get on that Fashion Fair bus and start modeling at 15?

My mother and I were just going along on that bus like a band. I was just happy to get out of the house! It was so astonishing, like an answered calling. My mom said “you can be a model” and I loved Colleen Corby, Donyale Luna, Veruschka. The big models. I just thought, “who, me?” I just wanted to be a designer or a painter.

I used to walk around with my hair sticking out and no makeup on, and my mom used to say, “If you don’t put on any eyeliner you’re going to die an old maid!” and boy did I rush to put that eyeliner on.

The first time I did, I got discovered in the subway. I had my homemade clothes

All of the young designers no longer had to sit there and dream about one day being in Paris because Paris came to them! I was wearing Yves Saint Laurent, Givenchy, Christian Dior, Balmain all the french designers and I wore those clothes for the nineteen city Fashion Fair tour, on a bus, hungry, at night, being chased by the Ku Klux Klan. Watching my beautiful innocent self grow thorns, because of the behavior of the people that I thought were stars. I saw a lot, but all of it helped me toughen up. That’s where I learned to walk the runway, by doing those Fashion Fair shows. We had this wonderful jazz musician and in between shows we would dance while he played the piano and that’s how I started developing my walk. A lot

on and I was looking good and someone saw it. I must have been like a lighthouse or something reaching out for help like “HELP! I DON’T WANT TO DIE AN OLD MAID!!” (laughs)

Before you were a model you were designing your own clothes and it was partly for that reason you were discovered on the subway in New York. Who was the person that discovered your designs?

It was Carrie Donovan’s (Editor at Vogue) assistant at the time, she was from London. I guess she had a different kind of eye. It was Vogue’s own boutique and they discovered me, and I started designing for them, Henri Bendel and Tiger Moss. I started making clothes when I went back to school and selling them and I did very well. I got my first picture in Vogue as a designer. A double page spread thanks to Carrie Donovan.

Who would you accredit your success to?

It’s not you by yourself, it’s the people that love you that put you there. It’s those

This Spread: Both photos by Antonio lopez c/o Antonio Lopez : Fashion, Art, Sex & Disco book, Rizzoli

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time was good friends with him so he would invite us to his home. Then I moved to Paris and I didn’t see him that often. So many people didn’t like me or told me I couldnt model for certain magazines but that was ok because if you don’t have the challenge you’re not going to be the best horse in the race.

You have a quote that says, “That flaw is your best feature”, can you tell us more about what that means to you?

It’s always that you have to find a some kind of something, for me I guess it was my bow legs and fuzzy hair that gave me that walk and gave me something to flit around with like butterfly wings. It may not work now, but back then people were intrigued like “oh what’s that? Let’s fix it up!” I was like an ostrich with no feathers and then they glued them on me.

love stories of what their vision is and when you arrive that’s the story. I was blessed to arrive at the right time for who I am and what I am. (whispers) Actually I think it all happened for me because I looked just like this boy that used to be a drag queen and since they couldn’t use him for Vogue, they used me instead.

But nowadays I wouldn’t stand a chance because they would actually just use the boy! (laughs) So that was my good fortune.

How did you get your first meeting with Avedon? What was it like to work with him?

I remember I tried to get a meeting with him and I couldn’t so I just went straight into his studio. I was met by a secretary that said, “LEAVE right now, who sent you up here?”. That’s when I first started going around and trying to get meetings.

Then by chance I started working with him through editors who booked me as a model for just simple things like stockings.

Then he took notice and he asked if he could photograph me, and he did photograph me for Vogue. Oh, one time he even invited me into the darkroom to watch him develop and process film! I was in school taking photography classes and I got to experience him working in the dark room, and I saw the magic that he did when he was developing and processing.

I wasn’t the girl next door; I was too exotic. But he would still use me as much as he could and we would travel to far locations like TV commercials in Japan where they wouldn’t need the typical girl next door, but someone more like me. So we became friends and my agent at the

In this issue of Iris Covet Book we also have a feature on photographer Irving Penn.

Could you tell us about your first experience working with him?

My first big time picture in Vogue was with Irving Penn. I wasn’t exactly sure of who he was but I knew he was a Vogue photographer and I came into the studio and they told me to go downstairs and wait. So I went downstairs and there was a big room with a big white block in the middle of the floor. He came into the room and he says “go sit on the block” and so I sat on the block and I started fidgeting like crazy and he says “Can you sit still please?” because you know I move a lot.

But he taught me a lot with just sitting still. He said ok now I just want you to use your eyes and look over there and look at something. I was watching a bug crawl down the wall and he screams “That’s it! That’s it! You got it!” and I was like, well I’m just looking at this bug on the wall. We worked a lot together, he photographed me a lot. I guess it’s because I learned how to sit still. (laughs)

Throughout your long career as a model, can you tell us about one of your most memorable shoots?

One time with Guy Bourdin, I was in England out in the middle of the North Sea in January, nude and painted blue.

He had me balancing on this little stand in the water in the freezing cold and I had to do a physical thing where I stretched out like a swimmer while balancing on my stomach on a little thing the size of an iPad so you wouldn't see it. The entire team was on the beach and I was the only one out in the water freezing and

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waiting and where was he? He was the only one not there.

He was known for showing up late on set and just taking one photograph, but he would show up SO late and you would be there waiting and waiting. I think the only reason I was able to hold that stretching pose for so long is because I was frozen in that position! That was for Max Factor and they ended up never using the picture.

Andy Warhol was also a fixture in your career and in New York City at the time, what was it like to be friends with such an interesting and famous man and his Factory group?

My god he came out of that world where he took things and just made it his own. I asked him once, “How come you always draw those soup cans?” and he said, “Because my mom abandoned me once in the grocery store and I was hungry and I just remember seeing soup cans.” So I guess it had meaning for him. And then pop, there you go! Pop goes the weasel and the weasel goes pop!

He took everyone along with him for the ride and all of these people were hungry to be stars and he’d say “Let’s make art!” No one really knew us at the time.

Then we started growing and everybody started getting famous and then we were SUPERSTARS!

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It’s not you by yourself, it’s the people that love you that put you there. It’s those love stories of what their vision is and when you arrive that’s the story.

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Dress by BreeLayne

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We even had Marlene Dietrich in the mix. Going over to her house to give her clothes. Oh, and Karl (Lagerfeld) made her lingerie and he decided to give it to me so I wore it out to go dancing one night. When we walked into the club, everyone stood up to look at us and my dress got caught on something, and I put my arms up to get loose, and then I was nude just wearing a feathered g-string and the champagne was popping, and we were in Paris, and we were stars! We were a gang; we had the latin beat. We were Americans!

With so many great stories to tell, why did you choose to write your memoirs now?

Because everybody is torturing me “When are you doing that book? You’ve been writing it since you began a hundred years ago!” I said, “Well you know I’m a turtle.”

I always thought, “It’s not ready.” Writing became nice and juicy and greasy and I didn’t have time to draw because drawing takes time so I started scribbling words.

Then the words turned into sound which became like poetry which was my first book. I started writing these stories about myself from my diaries, and I took all my information and I had like fifteen boxes with thousands of pages of writing which is not in the book. Would you take a giant piece of marble from southern Italy and just put it up there as art? No, you gotta chisel away at it! So I kept on chiseling away until finally I realized I needed some help to chisel. Then everything came into place thanks to the universe and I got an agent and a publisher, Simon and Schuster, which I felt so comfortable with.

Can you describe to us how editing down all of your memories and giving voice to your life experiences was for you?

It’s like a dream come true God says “just do it!” and you start doing it. You're up at night and you’re writing and you ask yourself “Why am I doing this? Who even cares?” and then you know what you start to care about? The people you write about in your own stories. I was like, “hey wait a minute. That person really meant something to me and they are not on this planet anymore; I better leave something about them!” You know it’s not always just about the most famous people, it’s also about the people who definitely did step into your life even if it was for a moment but made you realize something. So I heard voices and I wrote it down because that’s what you do when you write. You listen and you allow it to happen and that’s why I did it. For the experience.

The process of writing in that way has been quite a gift to me because now I know how to do it. I didn’t know before; it’s like learning to walk.

So now do you feel you’ve told your whole story?

That one is done, but now I have the fever and I’ve got a lot more to give. I don’t know what direction it’s going to go in yet, but I like to try new things out. Oooooh, what I’m going to do next! Ooooooh, I can’t even tell you!

What do you think is the key to your longevity?

Health. Your friends, they give you a lift up. I guess sometimes this kind of

longevity thing is so strange. I guess it’s just the time. People want to live longer and they feel that your stories are important. They want to know “How do you do this? How should I do that?”, and I’m a storyteller right now. Hey, if I can survive the wear and tear, YOU can do it too! I don’t know everything, but I’m still finding out.

What was one of your favorite things about writing this book?

Words are very precious, and reading stimulates you because you get to see things maybe nobody can imagine. When you read something you’ll see it your way and hopefully you’ll see it my way too. So I hope people enjoy my words. Everyone has been so supportive of me writing this book. I think it’s just like the good o’days when we would jump up and have some fun and show off and do stuff. I’m still the same person, you know. I just want to recreate a little bit of NOW. (laughs) Recreate now. Isn’t that kind of what we all are doing? Recreating now?

What part did you play in your daughter Anna becoming a model?

It’s not like she didn’t do it when she was 10 days old. When she was 10 days old she had the duchess of windsors pearls in her mouth that I was wearing around my neck during a photoshoot. The editor said, “Let her swallow those pearls and let’s go to Brazil” I said, “No way this baby is 10 days old!” She traveled with me and my son and husband and she got to see the innerworkings of the industry from early on.

What is some of the best advice you would give anyone entering the fashion industry?

On the way up, is on the way dow (laughs) This industry is like a trampoline. Who do you think you are bouncing up? You’re going to bounce down too, you know!

Do you feel the same now as you did in your 20’s?

Oh yeah, just a different kind of horny! (laughs) On The Left: The artist Richard Bernstein created this cover for Andy Warhol's interview magazine July 1972 issue from a photograph taken by Berry Berenson.

Courtesy of BMP Holdings, LLC Opposite Page: Dress by Zach Posen. Earrings by Sarina Suriano Hair by Taichi Saito. Makeup by Kanako Takase @ Tim Howard Management Using Giorgio Armani Beauty. Manicure by Krysty Williams. BTS Video by Kao Cheng Kai. Photographer's Assistants: Efisio Marras and Nick Perry. Stylist Assistant Benjamin Price. Hair Assistant Akira. Makeup Assistant Megumi Onishi. Booking and Production by XTheStudio

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MEN'S FASHION

LET’S GET LOST FROM MONTAUK TO MALIBU, CAST AWAY AND GET LOST ON A SEAFARING JOURNEY WHERE THIS SUMMER’S ATTIRE CONVERGE WITH BI-COASTAL INSPIRED STYLE.

Photography by Chad Davis Styling by Marc Sifuentes | Art Direction by Louis Liu | Grooming by Bruce Dean @ Wilhelmina using Mac Cosmetics on Skin and Aquage for Hair | Casting and Production by XTheStudio | Model Adrian John Hurtado @ The Lions 75

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Previous Spread: Shirt and Jacket by Missoni.

Opposite Page: Jacket, Sweater, Pants and Shoes by Billy Ried.

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LET'S GET LOST

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Opposite Page: Turtle Neck, Dress Shirt, Pants and Shoes by Prada. This Page: Turtle Neck, Dress Shirt, and Jacket by Prada.

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Opposite Page: Jacket, T-Shirt, Pants, and Sandals

by Coach 1941. This Page: Sweater by Billy Reid.

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Opposite Page: Jacket, Shirt and Pants by Canali, Sneakers by Billy Ried .

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Photographer's assistant: Junn Bollman. Fashion Assistants : Josh Squatrito and Benjamin Price.

LET'S GET LOST

Opposite Page: Jacket, Tank Top, Pants, and Boots by John Varvatos. This Page: Jacket and Shirt by Dior Homme.

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CHILDREN OF SPRING An unexpected edge, mixed with the gentleness of this summerâ&#x20AC;&#x2122;s trends, leads to a harmonious reinvention of modern femininity.

Photography by David Urbanke Styling by Marc Sifuentes Art Direction by Louis Liu Makeup by Bruce Dean @ Wilhelmina Using Mac Cosmetics Hair by Michael Fernandez @ Wilhelmina Using Evo Hair Product Models : Evangeline Endres, Kristin Zakala and Barbara Valente @ Wilhelmina Casting and Production by XTheStudio

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Previous Spread: All by Coach.

Opposite Page: Dress by DKNY. This Page: Left - Top, Jacket, Trousers, and Fanny Pack by Balenciaga. Right Sweater and Dress by Dior.

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This Page: Jacket and Dress by Saint Laurent. Opposite page: Dress by BCBG Max Mara, Belt

by Alexander Wang.

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Opposite page: Top by Versace. This Page: Top, Trousers and Sneakers by Calvin Klein Collection.

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This Page: Top and Skirt by Michael Kors.

Opposite page: Dress and Blouse by Soonil.

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Fashion Assistants : Ella Cepeda and Josh Squatrito

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ART

Yayoi Kusama AT MUSEUM OF FINE ART HOUSTON

The exhibition Kusama: At the End of the Universe brings to Houston two of the artist’s signature infinity rooms—Aftermath of Obliteration of Eternity (2009) and Love Is Calling (2013). For the first time, this vital aspect of artist Yayoi Kusama's work will be seen in Texas.

B orn in 1929 in Matsumoto, Japan, and coming of age during the dev-

cal environment. Love Is Calling greets viewers who pass through the room with glowing, tentacle-like forms that shoot up from the floor and hang down from the ceiling, covered in the artist’s signature polka dots, these soft sculptures constantly change color. Further amplifying the experience is a sound recording of Kusama’s voice as she recites a love poem in Japanese, which echoes through the installation. The exhibition is also supplemented by one of Kusama’s monumental yellow and black polka-dotted fiberglass pumpkins, which will welcome visitors at the entrance to the gallery.

“We’re especially thrilled to welcome Aftermath of Obliteration of Eternity to its permanent home so swiftly following its acquisition this spring,” said MFAH director Gary Tinterow. “This exhibition will offer visitors to the Museum this summer a chance to experience its magic for the first time, in contemplative counterpoint to the exuber-

astation of World War II, Yayoi Kusama began her formal training in traditional Japanese-style painting (nihonga) at the Kyoto Municipal School of Arts and Crafts in 1948. Feeling constrained by the conservatism of mainstream art in Japan, she departed for New York City in 1957, where she became amongst the foremost innovators of her generation. Often associated by critics with both Pop and Minimalist currents in the 1960s, she broke down boundaries between traditional studio practices, performance, and installation art through her radical command of space and her direct engagement with her audiences.

Kusama returned to Japan in 1973. While choosing to live in seclusion, Kusama maintains her studio in Tokyo, where she continues to write and make art.

Recently named one of TIME magazine’s “100 Most Influential People,” Kusama has worked in an expansive array of media since the 1950s, including painting, drawing, sculpture, film, performance art, and design. Her infinity rooms—environments lined with mirrors that confound viewers' perception of spatial limits—are among her most beloved works, and are the focus of the exhibition, Kusama: At the End of the Universe. Aftermath of Obliteration of Eternity, is an intimate space illuminated by an array of golden lights that ignite and then fade into darkness. Viewers enter and stand in the center of the room, finding themselves enveloped by a seemingly infinite horizon and then confronted by an equally infinite void. This newly acquired piece by the MFAH, reflects the artist's fascination with the intangible, while Love Is Calling demonstrates Kusama's engagement with our physi-

ance of Kusama’s Love Is Calling.”

–Louis Liu On view from June 12 to September 18 Museum of Fine Arts, Houston 1001 Bissonnet St, Houston, TX 77005 (713) 639-7300 Opposite page: Love Is Calling, 2013, wood, metal, glass mirrors, tile, acrylic panel, rubber, blowers, lighting element, speakers, and sound, courtesy of David Zwirner, New York.

Following spread: Aftermath of Obliteration of Eternity, 2009, wood, metal, glass mirrors, plastic, acrylic paint, LED lighting system, and water, the Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund.

Image © Yayoi Kusama. Courtesy of David Zwirner, New York.

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DINING

Omar Pereney PESKA SEAFOOD CULTURE

As a culinary wunderkind, 21-year-old Omar Pereney is making a big splash as the Executive Chef of Houston’s trendy Galleria-area eatery Peska Seafood Culture. With his refined, rebellious nature, which results in delectable and unexpected haute cuisine, Pereney’s savory creations even have the most bon vivant patrons craving more.

Photography by Dustin Mansyur | Styling by Marc Sifuentes Art Direction by Louis Liu | Grooming by MakeupByLaura Interview by Marc Sifuentes

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fter a short stint as an instructor at Le Cordon Bleu Mexico, Pereney soon left teaching and gained celebrity acclaim when he was featured in three seasons of the hugely popular El Gourmet (Venezuela’s version of Top Chef ). However, his brush with fame never wavered his passion towards the quality of ingredients or the sheer exuberance of the preparations. These high standards for cooking are reflected in the delicious modern interpretations he creates.

The ultra-chic restaurant that Pereney will be crafting cuisine for, Peska Seafood Culture, is an experience of world travel to the finest restaurants and their respective traditional seafood preparations. It is the fifth restaurant – and first in the United States – for La Trainera group, a family-owned operator of acclaimed eateries based in Mexico. With unique and classic preparations from coastal areas around the globe, Chef Omar Pereney brings the heart of the Mediterranean Sea, Spain and the Iberian Peninsula plus Mexico, Central and South America to the axis of The Galleria.

While the culture and fare may vary from one region to another, what never changes is the celebration of freshness. We sat down with the young chef to find out more about his background and his love of food.

The restaurant is approaching seafood and dining in such a new and exciting way, what

will be your biggest challenges with this new way of eating and food preparation?

My main goal is finding a way to understand and explain to other people how every fish is so different but yet delicious in its own way. We serve such a wide variety of fish in so many different styles, that showcasing all of these unique fish and their flavors is very difficult but you know, when it works out it is really something special.

What excites you about working with different cultural styles of cooking?

It really changes the way I see the world, working in Houston made me want to travel and eat and cook throughout the world so I can learn more. I want to cook and learn from as many cultures as I can so I will be able to decide what my style is and combine different flavors and cultures into something unique to me.

What’s distinctive about your cooking technique and how do you think it differs from other chefs?

Some chefs think too much about technique and for me it’s more about the flavor. My technique focuses more on getting the right flavors.

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Houston is a foodie town and there are so many amazing restaurants. What makes Peske stand out from the rest?

The concept of a fish market at the front of the restaurant is one thing. You can see all the seafood that comes into the restaurant and our fish come from all over the world–Chile, Alaska, Japan to name a few. Most seafood restaurants offer you a few fish options but we handle almost 40 different options daily. The owners started out in a small location off the beach in Acapulco and we are bringing that fresh authentic tradition to Houston.

Do you feel you have an added pressure from others in your profession because you are so successful at the age of 21?

I don’t think so. Restaurant owners and customers really just expect for any chef to run a delicious and profitable kitchen.

We all have the same goal in mind. I don’t feel that people’s expectations are different just because I’m 21. Cooking and working in a restaurant is all I know.

Can you describe a big challenge you've had to overcome as a young chef ?

Training a team to work as one unit.

Sounds easy, but you would be surprised!

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Do you feel that luck and determination played big factors in your young success, or was it something more?

It is a combination of being presented with really fantastic opportunities, being ready for them, and being disciplined enough to excel and impress my peers and mentors, as well as the patrons of the establishments I was cooking for.

Have you had mentors help guide you to where you are now? Who are they?

Of course, I am here only because of a lot of mentors. Hector Romero (Instituto de Culinario de Caracas), Sumito Estevez (Mondeque Restaurant), and Wendoly Lopez (Instituto Europeo del Pan), these are the people that I respect and care about. These are the people that helped me become the chef that I am today.

Can you remember your most formative moment with cuisine?

I would say it would have to be either opening Dalai Restaurant in 2010 or Peska in 2015. Restaurant openings are always a beautiful and huge adventure, and I am always excited to put my stamp on a new restaurant.

Tell us a bit about how did you find yourself to be a star on El Gourmet?

My dad sent an email to El Gourmet when I was 14 years old, and sometime later I was in Buenos Aires shooting my first season. It was a real whirlwind, but I am so thankful that he took the liberty to send that email or I would not be in Houston working as an executive chef today.

In what ways has being a culinary celebrity in Latin America affected your life?

The show and TV success changed my life in every way. Because of the show I traveled to a lot of places in South America, met amazing people and was given the possibility to deliver a positive message to all of my fans and the entire culinary world of Latin America.

Why did you decide to move from Latin America?

Letâ&#x20AC;&#x2122;s just say that I have a big plan, but I also know that there are different ways to make it happen. I am going where life takes me, but I have my eyes set on something more major regardless of how winding my path gets. I just really love the adventure. I did not decide to move from Latin America, it just

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happened organically and it just was the right time for me.

What advice would you give young chefs?

There are two things that come to mind for me when thinking about what it takes to be successful in the culinary world, one, be disciplined and focused and two, once a week, do something that scares you a lot.

I believe it is important to push yourself and go out of your comfort zone, or else you can never grow in your profession.

What is the next step in your career?

Opening your own restaurant?

The next step is to keep cooking and working at Peska Seafood Culture.

Everything else we will see...

Can you give us one trade secret every seafood connoisseur should know?

Yes! I just want to let people know that every fish has a tale. Â&#x2021; For reservation or information about Peska Seafood Culture, call 713-961-9229 or visit peska.us

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Opposite Page: T-Shirt by J. Crew, Jeans

by Levis, Underwear by Versace Next Spread: Jeans by Levi's, Underwear by Versace

Andrew Speer CELEBRITY TRAINER

Celebrity trainer and co-founder of Soho Strength Lab in NYC, Andrew Speer is the workout master we are all eager to learn some pro-tips from. We spent some time with Andrew to find out what enticed him into the field of personal training, his diet tips for beginners, and his personalized training facility: Soho Strength Lab.

Photography by Luzena Adams @ Balloon Agency | Styling by Marc Sifuentes Creative Direction Louis Liu | Grooming by Anthony Joseph Hernandez @ Artmix Using V76 Interview by Benjamin Price

In 2013, Speers along with his business partners

Ryan Hopkins and Albert Matheny, opened Soho Strength Lab in order to help others find their inner Olympian. Since then the facility has become the headquarters for Manhattan’s elite to train and strengthen. Speers now spends his time training his private clients, running Soho Strength Lab, and is one of New York’s top fitness models with Wilhelmina Models working for brands such as Adidas, Under Armour, and Saks Fifth Avenue.

We caught up with Andrew in-between sessions to discuss training and fitness.

Tell us what is your favorite part about training others?

Being able to coach, guide, and motivate someone to reach their goals, overcome barriers, and have an “aha!” moment.

Clients have different goals whether it’s a rope climb, a marathon, or reaching a

certain body fat percentage. The common ground is achieving something you once thought out of reach. When I see the look of “I did it!” or “Ohhhh, that’s how you do it!” on someone’s face, THAT is my favorite part!

Did you have this athleticism from birth, or was it not until later that you discovered your passion?

I was a competitive gymnast from age 6 to 16. I wrestled and ran track in high school, and then went on to compete for University of Miami in the pole vault, so I've been involved in sports my whole life.

Throughout my athletic career I always loved being the leader and motivator on the team. I may not have been the best athlete, but I always found a way to push myself and my teammates during practice.

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That attitude carried over into life as I was training friends and family members just because I loved it, then I began my journey as a personal trainer. I was a skinny, awkward looking kid growing up and I found solace and belonging in sports. I wasn't the football quarterback by any means, but I excelled in unique sports which gave me the confidence I needed growing up. I definitely looked up to my gymnastics coaches as well as Olympic gymnasts and later Olympic track athletes like Sergei Bubka and Micheal Johnson.

How would you help a client who has very little athletic experience? What's a good way to get started?

The best was to get started is to get help from a professional. A good trainer can

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Photographer's Assistant: Robert Perez | Casting and Shoot Production: XTheStudio

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of my clients has run several marathons, to raise awareness for her non-profit, improving race after race. I've trained models for huge photoshoots with great success. Many male clients have dropped to single digit body fat percentages while maintaining lean muscle and great physiques. My DVD The Anarchy Workout has many great success stories, I am incredibly proud of those people who self motivate and workout at home and see these amazing results. I'll tell you that the small successes you make every day are the best. Success isn't made overnight.

Watching someone day after day putting in the work, the small steps towards the end goal is the biggest success for me.

assess you and identify imbalances and weaknesses and outline a strategy or program to reach your goals. Having a plan is crucial for getting a healthy, fit body as soon as possible.

If a trainer is not an option for you, then find a friend to begin your journey with.

Accountability is key. And set achievable goals. Going from working out zero days a week to five days a week leaves a huge margin for failure to meet that goal. Start with one or two days at the gym. Do this for a month or two, then add more once it's part of your routine.

What are three areas of focus that a trainee should know in their journey to a perfect body?

1) Movement quality–This means adequate mobility, flexibility, and coordination to move in life and the gym with confidence and without pain.

2) Strength–This is a relative term for each individual. Getting stronger in a few basic movements (squatting, pull ups/ row, push ups) will be able to carryover to every other aspect of health and fitness.

3) Aerobic base / Conditioning– Challenging your cardiovascular system at varying durations and intensities is crucial for a well balanced body. Don't over do it with the cardio, do at least one strength or movement workout for every cardio session.

Obviously, getting a body you are proud of is more than just exercise, what dieting advice do you give to your clients?

I'll keep this simple: –Drink more water - 2 liters a day.

A good trainer can assess you and identify imbalances and weaknesses and outline a strategy or program to reach your goals.

What do you have in store for the future of Soho Strength Lab?

–Eat more vegetables - about 5-6 handful size servings.

–Eat more protein - about 3-4 handful size servings.

–Eat more healthy fats - Coconut, avocado, olive oil, fish oil.

–Eat 1- 3 servings of clean carbohydrates ( potatoes, rice, whole grain).

–Eat less (or no) processed sugars and wheats foods.

–Avoid processed carbohydrates, added sugars, and drinks with sugar.

This includes fruit juices, even the fancy organic ones, it's still liquid sugar!

This is a good place to start. Again, keep it simple. Focus on what you CAN eat, not what you cannot.

What is it about training and working out that gets you excited, inspires you, and keeps you coming to SSL everyday?

Any type of physical challenge inspires me. Physical expression is a huge part of my life. As a kid I climbed trees, went cliff jumping into rivers and lakes and found every opportunity to be active. This desire has stayed with me my whole life.

Being active and challenging physical barriers builds my confidence. As I get older I am more conservative with how I challenge myself, as overall health and well being are my priority.

Have you had any great success stories in training?

Sure, I've had a client lose over 30lbs of fat and gain 15lbs of muscle during our time together. One client smash hit a personal record in an Iron Man Triathalon. One

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SSL is growing and will have a new larger space in 2017. Our training team is second to none and our elite client list is growing daily. We look forward to continuing our mission to provide the best physical training experience possible.

How does Soho Strength Lab differ from any other gym?

SSL is a unique space in downtown Manhattan with the highest quality personal training in a fun and dynamic atmosphere. We curate every program specifically to each client. We have room to move, jump, climb and run. We have an excellent Olympic lifting area where you can drop big weights if that's your thing. SSL can handle any situation from post surgery to high performance. Every member of our teams loves coaching, motivating and lives the embodies the physical lifestyle.

For more information visit sohostrengthlab.com

Announcing the New CASADESUS Showroom at RAIL 71 Miami OPENING JUNE 2016

5046 Biscayne Boulevard, Miami FL 33137 Ph. 305 576 0620 | info@arravanti.com

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HOME GOODS

Minotti THE MODERN FURNITURE MAKER FROM MILAN

With a focus on technology, tradition, and superior craftsmanship, the Italian artisan furniture company has created beautiful furniture that mixes the precision of high-grade, high-performance machinery with the emotional sensitivity of the manus. Since the 1950â&#x20AC;&#x2122;s Minotti has prided itself on timeless design, a focus on function and comfort, and a transcendent element of chic.

The WINSTON armchair below, designed by the master Rodolfo Dordoni, is a perfect example of blending top of the line mechanical construction utilizing heat moulded polyurethane structures with the traditional elements of capitonne tufting in exquisite black calf skin. On the left, the hexagonal AERON tables were inspired by the many light-reflecting surfaces of the shape and provide different options in sizes and finishes.

For more information visit: minotti.com

Opposite Page: AERON coffee tables are $1,500-3,600 depending on finish and materials This Page: WINSTON armchair in tufted black leather is $9,00010,000 depending on quality of leather.

Both available at select Minotti boutiques.

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Lester Marks A LEAGUE OF HIS OWN

Lester Marks is well known in the art community as one of the biggest private art collectors in the nation. By accruing works that span across multiple mediums, decades, and genres, Marks has amassed a massive collection, and has invited us to have an insider’s look into his eclectic and whimsical 6,000 square foot Texas home.

Photography by Dustin Mansyur | Styling by Marc Sifuentes Art Direction by Louis Liu | Grooming by MakeupByDiego

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ester Marks is a fascinating –some may say eccentric – individual who is exceedingly enthusiastic and generous with sharing his love of art. Lester Marks has created an emporium of creativity and emotion which he has personally scoured from every corner of the art world, looking high and low for whatever piece speaks to him. He has purchased works from famous and highly celebrated artists such as Chuck Close, Richard Tuttle, Jean-Michel

Basquiat, Andy Warhol, Yayoi Kusama, Bill Viola and Louise Bourgeois, and even a subterranean room that houses an installation of work

by Tony Oursler, while also purchasing works from lesser known artists. It is refreshing to see a collector appreciate talent and creativity above all else, and Marks has made it clear that he is most interested in talented artists that speak to him on an emotional level. Walking into his home, it is easy to become over-

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whelmed with the cacophony of texture, color, light, and movement, but it is clear to see that this tornado of artistry is where Marks is most comfortable. An artist in his own right, Marks' work embodies this same mix of emotion by using photography and digital manipulations to play with light and color in new and stimulating ways. We visited Marks to learn more about his fascinating home and his beliefs in art, creativity, and emotion.

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Opposite Page: The mannequin by Nick Cave, behind, a Robert Rauschenberg's screen print on metal.

Wall sized feature on right, Anselm Kiefer. Wall installation in the far back dining area, Donald Judd.

Above: Lester pictured with his art. Mannequin by Yayoi Kusama, painting by Mel Bochner, light sculpture by Adela Andea, red figure by Hans Molzberger.

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Polaroids of Lester and his art. Painting by John Wesley, Mannequin by Yayoi Kusama, painting by Alex Katz, and pumpkin sculpture by Yayoi Kusama

We’re standing outside the Marks manse a 6600 square foot mini museum. Not even inside yet and already we can see that this is no ordinary collection. Perhaps one reason why Marks has been included in ArtNews magazines coveted top 200 collector in the world list. Lester and his beautiful physician wife Penelope greet us at the door. Standing between them is what we later learn to be the most precious work in the collection, their four year old daughter Alana. Greeting us in spanish, her first language, we are surprised and charmed by this blond haired, blue eyed Spanish speaking little art angel. Lester tells us his little girls hobby is, you guessed it, art.

Still in the entrance foyer we are already surrounded by a cornucopia of world class art we are greeted by two 1964 painted mannequins from Yayoi Kusama’s first ever United States exhibition at the MoMA. Lester is very much a people person so it’s no surprise that some of his favorite works are in fact people, in the form of mannequins. We are barely in

the foyer of the home and already staggering under the sensory overload of over 700 works of art. This collection was lovingly built piece by piece over a lifetime. Marks bristles when I bring up the word ‘eclectic’ when applied to his collection. No, he says, it is not an eclectic collection. Every piece is here for a reason, first and foremost, like life itself, the work has to be thoughtful. When asked how he chooses what he takes into account before making an art purchase, Lester answers “There are five motifs that guide what I acquire. I like to collect artists who are able to turn the simple into the sublime, the ordinary into extraordinary, the weird into the wonderful, artists who through the sheer use of color are able to bring about a visceral experience.

When asked which piece is THE piece, Lester says it’s not about that. He is far more proud of his decades long role as an “Art Activist.” Lester says his collection differs from most all other ‘blue chip’ collections because of his love, and this acquisition and integration, of

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local emerging and mid career local and regional artists. Marks buys local emerging artists and hangs them side by side to artist who have become world class through the test of time. My favorite thing to do, Lester says, is to work with emerging artists and serve as their mentor and often as their first collector. Lester has or is serving on virtually every visual arts board or committee in the soon to be third largest city in the country, not to mention he and his wife bring thousands of art patrons through their home each and every year.

Lester considers himself a curator of his own collection first and foremost. Each work has to sing in harmony with the piece it is next to. It is like a symphony he says, where the whole is greater than the sum of it’s parts.

LESTER MARKS

Dollar sign and flower painting by Andy Warhol, followed by Sadamasa Motonaga, bottom painting

by Tom Wesselmann.

A Julian Schnabel painting pictured behind Lester, next to a piece by Robert Pruitt

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Capella Xtapa

THE LUXURY ZIHAUANTANEJO RESORT IS MEXICOâ&#x20AC;&#x2122;S HIDDEN GEM

The cliffside resort with striking views is a sophisticated blend of modern and traditional Mexican design.

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TRAVEL

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etween Mexico’s Sierra Madre Mountains and the Pacific Ocean, and surrounded by lush, tropical forests lies Capella Ixtapa, a secluded, romantic and exclusive resort whose location is so private it’s like sharing a well-kept secret. Set alongside a stunning rock cliff with endless views of the breathtaking azure blue ocean, Capella Ixtapa offers its guests a hideaway setting that belies the wealth of attractions just minutes away.

Ixtapa-Zihuatanejo is nestled on the Pacific Coast 140 miles north of Acapulco and is part of the “triangulo del sol,” or triangle of the sun, of the Guerrero state in the southern meridional region of Mexico. The Nahauatl dialect word ‘Ixtapa’ means “the white place” in reference to the pristine white sands of the area. Once a coconut plantation close to the quaint fishing village of Zihuatanejo, Ixtapa is now an intimately modern, environmentally-friendly resort area ideal for travelers who prefer small, secluded destinations to bustling cities and major destinations. Ixtapa-Zihuatanejo continues to impress with its natural attributes – from sandy beaches and rugged mountains to exuberant vegetation – setting the stage for some of the finest sport fishing, golf and eco-sports available anywhere. Additionally, the protected waters surrounding Capella Ixtapa are home to a variety of sea life and vegetation. From the moment you arrive

at this luxury Zihuatanejo resort, you will be immersed in the Capella experience. An openair reception area and soothing, warm Pacific breezes welcome you as you transition into your extraordinary, adventure-filled vacation at Capella Ixtapa.

The resort’s design celebrates Mexican culture with a sophisticated blend of modern and traditional design elements. The wonderful intermingling of modern and traditional Mexican touches of textured handmade clay and stone meeting sleek marble and polished

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hardwoods are seen throughout the resort.

This method of construction, honoring the vast heritage of our locale in a cosmopolitan way, has become a Capella Resort trademark.

Capella Ixtapa extends over Don Juan beach, a small stretch of the Pacific coastline, and offers guests the utmost privacy in a stunning environment. Each of the 59 guestrooms and suites cascade down a cliff towards the sea, boasting breathtaking views of the Pacific Ocean, where stunning rock cliff landscapes meet crashing waves. Each guestroom and

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suite features a large, private outdoor terrace and an individual plunge pool thoughtfully positioned out of sight from other suites to ensure privacy. The moment they arrive, guests will feel enveloped in luxury and care, as if they have been warmly welcomed to the estate of a close friend. The Capella experience transcends that of the most luxurious hotel available today, with an array of well-thought-out amenities and intuitive services.

The Spa at Capella Ixtapa, which is the region’s only spa, wellness and fitness facil-

ity, featuring 6,000-square-feet of interior space overlooking the Pacific Ocean. In addition, peaceful, exotic outside treatment environments provide the ultimate in pampering and rejuvenation. Each guest is treated to a traditional foot cleanse after being escorted to one of six indoor treatment rooms or the outdoor massage area. In addition to a wide selection of beauty treatments, massages and therapies, a yoga and Pilates deck and fitness area is located at the top of the resort, providing spectacular Pacific Ocean

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views. Guests may also choose to dine in the privacy of their own private terrace through the resort’s 24-hour room service, or arrange for a special romantic dinner experience at a unique location on the hotel’s grounds.

This private world of splendor is paired with unparalleled luxury, where crowds are left miles away. The luxury five-star retreat of Capella Ixtapa allows guests to get away from it all while revealing a bounty of unsurpassed beauty.

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© 2016 Bugatti Automobiles S.A.S.

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Bugatti Chiron THE NEW QUINTESSENTIAL SUPER SPORTS CAR HAS ARRIVED

The World’s most powerful and luxurious sports car is significantly more “beast” combined with a high level of “beauty”

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© 2016 Bugatti Automobiles S.A.S.

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B U G AT T I C H I R O N

B ugatti celebrated it's world premiere at the Geneva International Motor Show this past February: the French luxury brand is unveiling the Bugatti Chiron, the most powerful, fastest, most luxurious and most exclusive production super sports car in the world.

When Volkswagen revived the historic brand, Bugatti, in 1988, it had became undoubtedly the most exclusive automaker in the world. For 10 years it had just one model, the Veyron, sold at a price well over 1 million dollars. Now the Veyron's successor, the Bugatti Chiron had most definitely reaffirms the company's exclusive nature. The Chiron is the latest generation of the ultimate super sports car and is a completely new development. The sports car manufacturer from Molsheim, with its long tradition, has taken the unique features of a modern Bugatti to a new level and developed a high-performance machine that has become significantly better in every respect.

The Bugatti Chiron is the world’s first super sports car to bring 1,500 HP onto the road with a torque of 1.600 Nm at 2,000 to 6,000 rpm with tremendous effectiveness, extremely high safety levels and unprecedented comfort. The Chiron is therefore very well positioned to become the next world speed record holder and reach a maximum speed significantly above the record currently held by Bugatti. The manufacturer has limited the maximum speed of the new car to 260 mph for road use. The Chiron is to be built at the company’s headquarters in Molsheim. Only 500 of these exceptional cars are to be produced. The basic price is over 2 million dollars. Currently, advance orders have been received for one third of the total production run. The first vehicle is due to be delivered to a customer this autumn.

“It is part of human nature to cross boundaries and set new records – to run 100 m faster than ever before, to fly even further into space and to enter new realms. This striving is also our driving force at Bugatti,” said Wolfgang Dürheimer, President of Bugatti Automobiles S.A.S., at the presentation of the Chiron. “The Chiron is the result of our efforts to make the best even bet-

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ter.” This is the result of the legendary and unique eight-litre W16 engine that has been newly developed by Bugatti.

In combination with the four new, larger turbochargers that are controlled by the Bugatti two-stage turbocharging, an innovation that Bugatti is introducing, and a large number of other technical refinements and innovations, maximum performance is available constantly and can be easily controlled at all speeds. In its Top Speed mode, the car reaches the maximum speed of 260 mph, limited for road use – however, this is by no means the end of the road for the Bugatti Chiron.

The design of the Chiron combines significantly more “beast” with a very high level of “beauty”. The design language introduced by Bugatti with the Chiron has a significantly more aggressive tone and does justice to the character of the new super sports car.

The designers have succeeded in reinterpreting Bugatti’s DNA with its distinctive features in a modern manifestation at the same time as adding new features resulting from the technical demands of even higher performance.

The Chiron remains unmistakably a Bugatti. “The Chiron is the quintessential ultimate super sports car: ultra-modern, incredibly fast, agile and powerful with a stylistically demanding design and the highest possible levels of comfort,” says Wolfgang Dürheimer. “This combination is not offered by any other market player and gives Bugatti its unique market position.”

Customers’ reactions show that Bugatti has hit the mark. Advance orders have already been received for one third of the production series. “Those who have already considered Bugatti and its unique features in connection with the purchase of a Veyron will find there is no way they can ignore the Chiron,” according to Wolfgang Dürheimer.

“With the Chiron we will not only be providing a key emotional element for the image of the Volkswagen Group but will also be making a positive contribution to Group results,” says Wolfgang Dürheimer.

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Social SPOTLIGHTING

OPERATION SMILEâ&#x20AC;&#x2122;S 3RD ANNUAL HOUSTON SMILE GALA Friday, April 29th at Hotel Zaza, event Chairs Viet Hoang and Duyen Huynh Nguyen and Master of Ceremonies Chau Nguyen welcomed more than 250 guests for the evening. Operation Smile is an international medical charity that has provided hundreds of thousands of free surgeries for children and young adults in developing countries who are born with cleft lip, cleft palate or other facial deformities. It is one of the oldest and largest volunteer-based organizations dedicated to improving the health and lives of children worldwide through access to surgical care.

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Photography by Sonya Abid 1/ Tammie Anne and Charles Johnson 2/ Habiba Dhanani, Mohammed Ali Dhanani 3/ Marc and Duyen Huynh Nguyen, Sneha and Nick Merchant 4/ Aline Tran, Hiet Dinh, Diep Dinh 5/ Tatiana Sorkin, Duyen Nguyen, Svetlana Selby, Tatiana Massey 6/ Ajay and Sippi Khurana, Brigitte and Bashar Kalai 7/ Irma Brindis 8/ Layla Asgari and Laith Mahmood 9/ Lauren Nguyen, Robyn Elefane, Anais, Chloe and Misha Nguyen 3

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HEART OF FASHION MYSTERY SHOW Photography Roswitha Vogler 1/ Beth Muecke and Diane Lokey Farb 2/ Sal Montes, Kate Prueher and Joseph Nguyen 3/ Fady Armanious and Bill Baldwin 4/ James and Maryam Khreibani 5/ Abby and Chris Venegas 6/ Marie and Bill Wise with Vivian Wise 7/ Anika Jackson and Blake Segura

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LCA HOUSTON PRESENTS 4TH ANNUAL INTERNATIONAL MOTHERS DAY SOIREE

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LCA Houston International Society News Magazine hosted its 4th Annual International Mothers Day Soiree with fashion and style on May 5, 2016 at Saks Fifth Avenue with award presenter Kilian Hennessy. This was the first event hosted, as its first event since their grand opening, The charity highlight for the event was TUTS The River: Performing and visual arts center serving individuals with disabilities. Soiree founder and LCAHouston online international magazine editor took the opportunity to also launch their first print edition. An ambitious 80 page publication based on Ms. Mukherjee's 15 years as an award winning international journalist, it features a variety of stories from the diverse Houston social scene. KPRC Channel 2 Anchor Dominique Sachse and her husband graced the front cover of the inaugural edition. On the cover Dominique is wearing a sari exemplifying that we are all citizens of the world.

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World renowned perfumer Kilian Hennessy, heir to the Hennessy Cognac fortune, and the "H" in the LVMH global luxury brand, was on hand as the special guest to present awards the 2016 Mothers Day Honorees. KHOU 11 Anchor Rekha Muddaraj was the emcee for the evening. The soiree represents powerful women in their own right contributing to the community and spotlighting women.

Photography by Quy Tran 1/ Award Presenter Kilian Hennessy and Host Ruchi Mukherjee 2016 Honorees 2/ Rekha Muddaraj and Sue Habib 3/ Fatimeh Mehdi and Dr. Monira Kundi 4/ Toni and Howard Tate 5/ From Left to Right: Casey Curry, Donatella Benckenstein, Dr. Neelofur Ahmad, Dr. Sippi Khurana, Irma Brindis, Dr. Terri Alani, Ruchi Muhkerjee the Host/ Founder of the International Mothers Day Soiree, Deepi Sidhu, Staci Henderson, Nicole O'Brian Lassiter, Deneice P Leigh, Melinda Spaulding, Simran Rihal

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SOCIAL

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HEART OF FASHION MYSTERY SHOW

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1/ Josh Bell, Blair Beal and George Lancaster, photo by Daniel Ortiz 2/ Mark Sullivan and Lynn Wyatt, photo by Morris Malakoff 3/ Wendi Koletar and John Pecore, photo by Chris Brown 4/ Denis and Karen Boulle, Colin Moussa, photo by Daniel Ortiz 5/ Scott Butler, Derek Rosales, Jessica Rosales and Jen Quinn, photo by Chris Brown

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JUVENILE DIABETES RESEARCH FOUNDATION GALA Photography Daniel Ortiz 1/ Andrea and Michael Soper 2/ Melissa Morgan, Amy Haskell, Anna Autin, Mandy McCamy 3/ Fielding and Meredith Cocke 4/ Chris Leyendecker, Haley McCann 5/ Diane Lokey Farb and Ceron 1 2

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IRIS COVET BOOK

LastLook

Emerging with the New York City graffiti and street art movement of the 1980s, Kenny Scharf is known for his vibrantly colorful largescale paintings and exuberantly playful installations. His imagery draws upon pop icons, media advertising and consumer culture of the 1960s. The exhibition is curated by NCMA Director Dr. Karl E. Willers and the Museum's staff, Kenny Scharf showcases major paintings and sculptures from throughout the artist's career. In speaking about his art, Kenny Scharf commented: "I believe the artist has a social responsibility to engage others in a thought process that ultimately brings the creative process into everyday life thereby enhancing the quality of our experience."

KENNY SCHARF

at Nassau County Museum of Art, NY

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Pop Renaissance, 2013 Oil on canvas. 77 X 119 inches.

Variable dimensions (17 panels) Pop Renaissance4, detail (Dixan) Oil, acrylic, enamel, silkscreen on canvas Collection of the artist Courtesy Honor Fraser Gallery

Kenny Scharf at Nassau County Museum of Art now through July 10, 2016 For more information: nassaumuseum.org/exhibits_tahari