L’OFFICIEL ST BARTH ISSUE 08 – WINTER 2022 / SPRING 2023 – ALTA MODA

ALTA MODA

Dolce&Gabbana

GABRIELA, ERIKA & ROMEO Wearing DOLCE&GABBANA

Photographed by BYRON MOLLINEDO

carla_saint_barth_official Les Hauts du Carré D’Or, Gustavia, Saint Barthélemy

EVENT & FLORAL DESIGNER

THE ULTIMATE PASTRY EXPERIENCE RUE DU BORD DE MER GUSTAVIA

FINANCE AND ADMINISTRATION

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EDITOR’S LETTER

BY Philippe Combres

The future is blue.

VINTAGE CHANEL HITS THE BEACH

BY Katie Lister

Faby Jaca and her love affair with Coco Chanel.

DRINKING SOCIAL

BY Katie Lister

Sibarth proposes a biodegradable water bottle.

OH MY DOG

BY Joy Ghosn

From Animal Services to Dior’s new pet accessory line.

LIGHT FADANGO

BY Joy Ghosn

Dior choreographs their new Seville collection.

SUREEAL SURF

BY Katie Lister

Vilebrequin is the most beloved and coveted luxury swimwear brand.

VIRGIL’S WORLD

BY Joy Ghosn

Assouline and Louis Vuitton’s book celebrates the work of the visionary designer.

BY Joy Ghosn

A total declaration of love for beauty, and a tribute to the Italian craftsmanship.

NATURE IS THE FUTURE

BY Philippe Combres

Abel Guillaume and his studio Summum explore new sustainable ways.

A LESSON IN SIMPLICITY

BY Charles Stewart

Duan Zhang de Courrèges: a Sichuanese in St Barths.

JENAYE NOAH ROCKS EDEN

BY Skylar Williams

Meet the muse of L’Officiel and Eden Rock - St Barths. ON THE COVER—Top & shorts from Resort 2023 collection by LOUIS VUITTON

Camellia Menard

Beautiful, isn’t it?

Discover St. Barth’s natural side with Sibarth

St. Barth is an island overflowing with natural beauty. Pristine sandy beaches, towering palm trees and brilliant blue oceans provide a home to a breathtaking array of wildlife. At Sibarth, we do everything we can to care for this precious environment we call our home. From repurposing harmful marine algae into maps to creating

our very own garden ecosystem, preservation practices are at the core of our work. And there’s no better place to explore the beauty of the island from than one of our luxury villas. Find your perfect place right on the beachfront, hidden within the mountains, or at the centre of it all, and immerse yourself in the bountiful nature of St. Barth.

LA MAISON SUÉDOISE, 37 RUE SAMUEL FAHLBERG, GUSTAVIA 97133, ST. BARTHÉLEMY, FRENCH WEST INDIES

— DOUG AITKEN

Editor’s Letter

e ocean covers 70% of our planet’s surface, houses more than 99% of the biosphere, and plays a vital role in sustaining the health of all life—on land and in the seas. We all depend on the ocean, as without it we simply would not exist— Earth would be uninhabitable. Yet, nevertheless, humanity has impacted and damaged almost every part of this vast ecosystem— lling it with toxic waste and discarded plastics, killing the creatures that have lived here for millions of years, and emptying it of natural resources.

is season, we are collaborating with Art Saint Barth, Doug Aitken, and Parley for the Oceans, a new form of environmental organization that brings together creators, thinkers, and leaders across brands, governments, creative communities, and environmental groups to raise awareness of the beauty and fragility of the ocean.

Together, with the support of the Territorial Council of St Barth, e Wall House Museum, the nonpro t environmental local organizations, and not to forget our other amazing friends, donators, partners, and sponsors, we have created an ambitious program to raise awareness around the protection of the ocean, with the underwater installation of artist Doug Aitken’s Underwater Pavilions, a group exhibition at the e Wall House Museum in Gustavia, and a bene t gala with an auction of works by world-renowned artists to raise funding to help the environment and preservation in St Barth.

e future is blue!

–Philippe Combres

AN ISLAND FOR ME, is the smallest form of HUMAN ECOSYSTEM, and it’s also A CONFRONTATION of HUMANS WITH NATURE. YOU HAVE TO CO-EXIST there, YOU’RE SURROUNDED, you’re obviously a visitor. And that’s AN EXPERIENCE THAT YOU NORMALLY DON’T HAVE because WE LIVE ON THESE BIG STRETCHES OF LAND and we don’t see that THE OCEANS ARE BIGGER THAN US.

L’MODE

Vintage Chanel Hits the Beach

A love a air with Coco Chanel.

You can take the girl out of Paris, but you can’t ever take Paris out of the girl. Especially when it comes to her Parisian style and appreciation for that ultimate French look: Chanel.

Such is the case for Faby Jaca, founder and creative director of the quintessentially St Barth luxury fashion brand: Lolita Jaca. e Parisian designer has called St Barth her permanent home for decades. Her agship boutique in Gustavia is the go-to destination for discerning global travelers and fashion insiders wanting to infuse their wardobe with St Barth’s luxuriously e ortless style.

A lifelong investor in Chanel pieces, her love a air with the brand and the fantastical story of Coco Chanel grew into a passion of collecting treasured vintage pieces from the luxury house. It so happens that one of her best friends in Paris is one of the most well-established and respected luxury vintage dealers, through which Faby discovers and invests in coveted pieces. A few years back she had the idea of displaying and selling a few Chanel jewellery pieces in her Lolita Jaca store. e pearl and gold items—which exude strength, con dence, and classic elegance were the perfect embellishments for nishing o the looks of silky, feminine items in her latest

collections. e next thing she knew—knowing that her source for the rare authentic quality-controlled goods was trustworthy and in Paris—her clientele increasingly requested more Chanel items. Faby thought: “Ask and I shall certainly deliver.” She was on to something.

Faby has since expanded from jewellery into handbags. She does not simply discover and collect: she places emphasis on the curation of thoughtfully handpicked items of the highest quality ensuring that they intermix with the Lolita Jaca collections. All of the pieces her clientele nds in her boutique are rare items, statement pieces, conversation starters with stories behind them.

Faby’s heart has always followed the road that her passions have led her down. As the saying goes, “do what you love and you will never work a day in your life.” Well the road led Faby to this new hobby-turned-venture, and she is truly living and loving every moment. Now whatever you do in your life, make sure you are wearing a little touch of vintage Chanel in every moment. Visit the Lolita Jaca agship store or the Lolita Jaca night boutique at Bonito to nd your next treasure.

–Katie Lister

Lolita Jaca | Flagship store: Carré D’or, Gustavia | Nightshop: Bonito St Barth, Rue Lubin Brin, Gustavia | @lolitajaca lolitajaca.com

Sibarth represent an impressive collection of properties, and we appreciate their e orts to integrate sustainable practices into the small details of their business. Every small change collectively makes a big di erence overall. St Barth, our home and workplace, is a beautiful natural island that we all wish to conserve as best as possible. With this in mind, Sibarth has introduced new recyclable and land ll biodegradable water bottles, just one of the ways they are pushing to become more sustainable.

Stop by for a drink and a chat with an associate in their private garden at Sibarth’s head o ce based in the Swedish House, Gustavia. A member of the team will help you to nd your perfect villa rental. e building itself is worth a visit: originally built by the merchant John Hodge Bryan in 1841, its neoclassical in uences and Swedish stone set this building apart from others of the era. Sibarth also rents out apartments within the Swedish House. eir casa is literally tu casa

– Katie Lister

Swedish House | La Maison Suédoise, 37 rue Samuel Fahlberg | sibarth.com @sibarthvillas

16, RUE DE SAMUEL FAHLBERG, GUSTAVIA @LEBAZAARSTBARTH

ODP and Summum architecture, the alliance of expertise and sophistication to serve your desires.

L’CANINE

Oh my Dog!

Saint Barth is THE pet-friendly destination. Hotels like the Tropical St Barth will o er welcome kits, amenities and adapted services to treat your faithful companions. e public St Barth beaches do not allow pets, but within these hotels, you both can enjoy the complete island experience.

For tenyears, Guismo and Friends Animal Services has been devoted to taking care of pets in full safety. Canine trainer and veterinary nurse Marinka Burgos-Riaño is highly quali ed to provide all demands of the VID— “Very Important Dog.” e only pet service company on

the island also o ers dog training classes, educational walks, and dog-sitting.

Speaking of the latest in canine fashion, Dior is launching an exclusive line of pet accouterements and accessories to “add a touch of elegance to our faithful companions.” Comprising harnesses, leashes, and collars adorned with the Christian Dior signature and featuring the house’s most iconic prints—from the Dior Oblique motif to the CD Diamond canvas—the collection will soon be available for the most important friend in your life.

– Joy Ghosn

and Friends, Animal Services in St Barth since 2012 @guismo_and_friends Dior Saint Barthelemy | 25 rue de la République 97133 Gustavia | dior.com @dior

From animal services to Dior’s new pet accessory line, how to pamper your pooch in St Barth.

Guismo

LIGHT fandango

Dior choreographs their new Seville collection.

Maria Grazia Chiuri describes the new 2023 Dior cruise collection as a journey of inner and outer exploration. Showcasing Seville as its main theme and location, the collection is an ode to the house’s native country and history.

Entitled La Capitana , Carmen Amaya—an illustrious dancer who embodied the essence of Flamenco—serves as this collection’s chief inspiration. Born in 1913 in Barcelona, she was revolutionary in both her singular movements and in her choice to wear traditional male clothing during her performances.

e 2023 Spring/Summer Seville show frames the dual spirit of this collection’s muse : it begins with a beautiful sequence in which a man and a woman are tap-dancing. Dancers in red Dior costumes slowly make their choir-like entry, as if orchestrated by the tap-artists. Echoing back to Christian Dior’s 1956 “Ball à Seville” dress, the models le out under the jaw-dropping Plaza de España, built in 1929 for the Iberico-American Exposition.

e profusion of red and black earth tones, and the use of patterns such as traje de lunares polka-dots, echo back to the infamous amenco dress. Equestrian elements are also found in concord chaps, horsemen trousers, cavalier boots, bar jackets, and high-waisted suits.

Accessories are placed back at the forefront, with short jackets festooned with Chinese branderbourg closures, wide-brimmed hats, and belts—even the emblematic Dior saddle bag is revisited accordingly. Ponchos, boleros, and the Manilla shawl are also reconceptualized with a sharper edge and tailoring.

“

e looks embody the passionate dialogue between the excellence of Dior’s ateliers and the wealth of Andalusian craftsmanship” stated the luxury brand. Paying homage to Andalusian savoir-faire, Dior collaborated with Javier Menacho Guisado, Fernandez y Roche, Jesús Rosado, Abanicos Carbonell, and María José Sachez Espinar, alongside many Andalusian artisans.

– Joy Ghosn

‘Street Of Sevilla’ Photography by Angela Suarez for Dior

Surreal SURF

e very thought of Vilebrequin, let alone the wearing of a pair of shorts or a swimsuit, immediately transports you to a free-spirited, playful, seductively tropézienne beach lifestyle infused with California surf culture. e brand’s DNA was founded on a free-spirited, playful mood that embraces the art of living in the sun.

In recent years, Vilerequin has taken its philosophy and evolved into something more: more than a brand, more than a spirit, it has grown its own cultural ecosystem surrounding art, impact, and other pursuits. Driven by innovation, Vilebrequin is on a mission to expand its reach and purpose by engaging the global community through creative endeavors beyond its apparel, by contributing to doing good for the oceans and the world.

On the art front, Vilebrequin has collaborated with artists to create special edition artworks and apparel with the likes of Kenny Scharf, Sylvie Fleury, A Bathing Ape, Derrick Adams, John Armleder, Deux Femmes Noire, Alex Israel, Donald Sultan, Massimo Vitali, Jean-Charles de Castelbajac, and Virgil Abloh. e collaborations blend the concept of apparel as art, and art as apparel.

With a strong sense of social responsibility, Vilebrequin continues on its journey toward the most sustainable future possible through partnerships, initiatives, and improving its practices. e brand has used its physical presence in 62 countries, its global in uence, and its digital platform to raise awareness about how vital the oceans are to life on earth, their integral role in the environmental ecosystem, and the urgency to protect them. With the Sea Turtle as its mascot and logo, and the oceans inspiring the brand’s

existence, Vilebrequin feels a deep-rooted responsibility to safeguard them.

Vilebrequin is well on its way to meeting its goal for 88% of its collections to use recycled, recyclable and environmentalfriendly processed fabrics by 2023. At present, in 2022, it has reached 73% and has only a short way to go to ful l this ultimate achievement. From 2018 to 2022, Vilebrequin went from having 4% to 99% of all men’s swimwear collections made from sustainable materials. Driven by innovation, Vilebrequin is focused on developing and implementing sustainable solutions, fabrics, and processes that make an impact on vacation, not on the oceans. Last year Vilebrequin Foundation was launched for a better marine heritage.

Vilebrequin’s two new collections demonstrate its everexpanding creative pursuits and its sustainability e orts. e Cruise 2023 collection is a nod to the Surrealist art movement, and a response to the desperate need for the world to feel a sense of uninhibited freedom, limitless self-expression, and colorful playfulness after the prevailing grey-mood of a pandemic that left the world feeling mentally and physically fatigued. e collection was designed to make us feel high on life, taking us on a visually surrealistic voyage: its “anything goes” designs are bursting with colour, lightness, and dreamy illustrations born from the unconscious imagination. e collection reworks and modernizes some of its best heritage prints, evoking the blurred line between reality and the virtual. e positive spirit infused into this collection reminds us that there is not such a thing as “impossible,” that anything is possible if you can dream it up. A message that is wellneeded in the wake of the health crisis as the world is once again exploding with new opportunities and possibilities.

By KATIE LISTER

Vilebrequin is not only the most beloved and coveted luxury swimwear brand for sunshine lovers and surf-seekers, it is a spirit, a feeling, an energy, a culture.

L’MODE

L’MODE

e second collection takes 1960s surf pop music and fast-forwards it into the present day. e Good Vibrations collection is a collaboration with none other than the legendary band beloved by millions worldwide for nearly eight decades now: e Beach Boys. Sur n’ St Tropez sums up the collection: synonymous with the sound of summer, the Californian band produced iconic hit after iconic hit: “Sur n’ U.S.A.”, “Good Vibrations,” “California Girls,” “Fun, Fun, Fun,” and “Kokomo.” As a St Tropez-born brand inspired by West Coast surf style—originating after founder Fred Prysquel went on a trip to California—it only made sense to create a capsule collection that gives the Sunshine Coast a nod. With sunset guests and feel-good tropical prints the Good Vibrations collection fuses Cali culture and St Tropez’s golden age into a singular aesthetic. From swimsuits splashed with sea turtles, surfboards, and swaying palms; to plaid print shirts and retro-type hoodies as irresistible as a Beach Boys harmony; to seainspired shades of blue made for catching eyes and waves, the collection of shorts, hoodies, beachwear, and other essentials bring good vibrations the whole year round.

Products in both collections are infused with Vilebrequin’s latest sustainability-driven practices. Now you have done enough reading, it’s time to play in the sun here in St Barth. So go out and grab these Vilebrequin shorts if you want the most imaginatively surreal, Cali cool-meets-St Tropez chic, and sustainable out t on the beach.

Photos

©

VIRGIL’S world

Assouline and Louis Vuitton’s new book celebrates the work of the late, visionary designer Virgil Abloh, casting new light on his myriad infuences and featuring refections from those closest to him.

By JOY GHOSN

L’SAGA

When Virgil Abloh designed and showcased his rst collection for Louis Vuitton in June 2018, he was celebrated as a true visionary. His appointment as Men’s Artistic Director for the brand de ned a new baseline for luxury in terms of diversity, vision, and empowerment. e sudden news of his passing on November 28, 2021 was a great loss for the industry.

Louis Vuitton: Virgil Abloh is the rst book written since his passing, as a tribute to a relationship (and collaboration) that altered/made fashion history. Anders Christian Madsen, Abloh’s close collaborator, o ers/transcribes an intimate portrait of a/the man destined to break boundaries (“both on and o the runway”). It’s a testament to Abloh’s personal and professional relationships during his tenure at Louis Vuitton from 2018 to 2021.

e book comprises eight chapters—one for each of his menswear collections—and shows orchestrated/conceived by the late designer (or Virgil Abloh), plus a complete catalogue of his emblematic sneakers. It is a rich and colorful account lled with many di erent (or diverse) narratives and references, ranging from the Wizard of Oz to 1990s hip-hop style. It also features 320 pictures and re ections from his close entourage, including Naomi Campbell, Luka Sabbat, Nigo, Kid Cudi, and Kendall Jenner (among many others), who attest to how his pioneering gaze rede ned the standards and lexicon of fashion, as we know it. As Madsen puts it “Abloh saw himself as an in ltrator in high fashion: a true outsider who would become a groundbreaking gure.”

Assouline and Louis Vuitton are publishing Louis Vuitton: Virgil Abloh with two collectible covers within the Assouline Classic Collections. e rst is issued from Louis Vuitton’s Spring/Summer 2022 spino show in Miami, while the second is an illustration commissioned by the seminal cartoon artist Reggieknow, who previously collaborated with Abloh for his Spring/Summer 2021 show. A third version from the Ultimate Collection will include a collectible box, as well as an insert with the complete collection of the sneakers he designed for the luxury brand.

Louis Vuitton: Virgil Abloh, Text by Anders Christian Madsen, published by Assouline louisvuitton.com

Portrait of Virgil Abloh by Bogdan Chilldays Plakov, Images © Courtesy of Louis_Vuitton

Dolce&Gabbana CASA

Dolce&Gabbana celebrates the art of the home with the inauguration of their latest homeware collection. e luxury brand inaugurated their store in St Barth on 19 Rue de la Republique with their Casa Collection. e duo decided to undertake a new challenge and present a furniture collection with the aim of “putting back elegance on the table.”

e collection features the brand’s emblematic Leopard print, a graphic Zebra pattern, the Blu Mediteraneo print, and the Carretto Siciliano. Ranging across furniture, table accessories, fabric, and various decorative objects, the collection truly encapsulates the brand’s DNA while also transposing it into home. In it, we nd objects such as Murano mouthblown glasses, colorful and folkloric ceramics, printed quilts, duchess cushions, lacquered wooden bar stools, and sofas.

Eclectic and re ned, the Casa Collection condenses the ner elements of Italian artistry. Dolce&Gabbana sought to celebrate “ fatto a mano”—Italian for favoring handmade over the use of machinery—enabling them to collaborate with local artisans. It features artistic carpentry, straw weaving, woodcarving, and intarsia, an ancient glassware technique. eir unique designs are in contrast with the current trends of interior lines, which tend to privilege even and neutral tones. “Just caress a fabric, or gaze at one of our pieces of furniture, and you will immediately understand their basic values: the love of ne crafts, respect for tradition, and the pursuit of innovation.”

While Dolce&Gabbana initially released their rst home collection back in 1994, they later discontinued it in 1999.

In 2017 and 2019 Dolce&Gabbana launched a line of electronics appliances with Smeg, comprising juicers, blenders, and kitchen-aid assistants. e imperative of staying home during con nement led them to channel their inspiration into furniture once again.

Shot by Mert Alaş & Marcus Piggott the Casa campaign su uses us in a dreamlike atmosphere. e images echo the timeless character of this collection’s main themes. Protagonists write letters to past lovers, asking if “magic exists,” surrounded by Dolce&Gabbana furnishings.

e agship store will include many of the colorful and vibrant objects of the Casa Collection. Domenico Dolce and Stefano Gabbana a rmed they “wanted the St Barth store to have a relaxing atmosphere, for it to be a meeting place to enjoy a moment of tranquility at the water’s edge”.

Overlooking the ocean and dubbed “the treasure chest of the Caribbean,” American architect Steven Harris designed it with the intent of merging St Barth’s Caribbean air with a distinctly Mediterranean atmosphere.

e boutique’s marble oor references the 1950s Italian interiors, and incorporates elements inspired by Casa Malaparte in Capri as well as Gio Ponti’s Villa Plancharts. A hidden martini bar will also be available on the ground oor, enclosed by palm trees. e Dolce&Gabbana St Barths store is meant as an exclusive oasis within paradise.

– Joy Ghosn

A total declaration of love for beauty, and a tribute to the craftsmanship of Italian artisans, Dolce&Gabbana’s Casa Collection is the perfect expression of a vision with an unmistakable aesthetic signature.

Dolce&Gabbana | 19 Rue de la republique, Saint-Barthélemy | dolcegabbana.com @dolcegabbana

Nature is the FUTURE

Could you tell us about your background?

ABEL GUILLAUME: I’m from the south of France, I studied rst in France and then in the US for my MA. I discovered St Barth in 2013 for the rst time, on holiday, and I immediately fell in love with the island. Once I was done with my studies, I decided to look for an internship in St Barth. I started as an intern at ODP, a well-known design o ce in St Barth, directed by Olivier Dain. After a year designing villas in St Barth, I realized that I needed to diversify and to work on a wider spectrum of projects. I came back to France, working for two years at A+ Architecture, a big architecture company where I progressed to become an architect project manager, designing hospitals, restaurants, shops, housing projects, theaters, hotels. I participated in many di erent kinds of project. But during all this time, I was still working from France on my own on projects in St Barth with Olivier Dain, I never really totally left St Barth behind. Two years later, I decided to start my own design studio in Paris, specializing in the luxury market, but drawing on my background of being able to work on villas, hotels, restaurants, shops, and pretty much any other kind of project. After a year of practicing in Paris, we have decided to partner with Olivier Dain to create Summum St Barth.

PC: Can you explain the genesis of Summum?

AG: Summum was born with the idea of o ering the best to my clients. Summum means “summit” in Old Latin, and it de nes the highest degree you can achieve in a eld. A really ambitious name, not so easy to carry, yet this is what our clients expect from us. Every project is a really important project for our clients, a life project, a business investment, a dream, no matter the reason, each project is unique and means a lot to our clients. ey trust us with their project and we have the duty to propose them the best. is is the very essence of Summum.

PC: How does Summum di er from other agencies?

AG: Summum di ers in many ways from the other architectural

agencies in St Barth. Far from any futile abstraction, our design focuses on the dreams and inspirations of our clients to give life and materiality to their expectations. Summum acts across multiple scales of intervention, housing, hotels, real estate development, shops, public buildings, o ces. Our expertise in the eld of luxury guarantees excellent knowhow at each stage of the project. e spaces are unique, tailormade, from the facade to the interior ttings, from dream to reality.

Precision and detail are the key words. e materials, used in their most noble and raw form, de ne the atmosphere of each project. Coming from a vernacular heritage, the materials used are part of a local identity, with the greatest respect for their environment.

Summum is also very connected with the rest of the world. With an o ce in the very heart of Paris and one coming in Miami, Summum is always in touch with culture, art, fashion, always looking for the new trends… We design not only for and in St Barth, but also in the French Riviera, in Miami, in the French Alps, in Paris… We draw our inspiration from the most beautiful cities in the world, the most exclusive brands, and the most talented designers and artists from all walks of life.

We are also very deeply concerned by environmental issues and truly think that smart solutions can be found and used to retain everything that de ne the luxury of a space.

PC: You collaborate with a large number of famous designers and suppliers, could you name a few?

AG: Of course. We are architects and building managers. But we’re not only this. We often work as interior designers, art directors, product designers. We want to highlight the “French know-how” and the excellence of its craftsmanship. is is why we collaborate with really iconic French brands to o er the best for our clients. We, for exemple, work in close collaboration with the house Lelièvre Paris to

By PHILIPPE COMBRES Photos by MARTHE SOBCZAK

Developing alternative architecture models and eco-innovative products, Abel Guillaume and his studio Summum explore the new ways towards a sustainable living.

PHILIPPE COMBRES:

L’ARCHI

L’ARCHI

source the nest fabrics, with THG Paris for high-end bathroom ttings and accessories, with Red Edition for furniture and millworks, with the saddlers, upholsterers, patternmakers, and seamstresses with inimitable know-how, Gordon&Gaia… We have also undertaken collaborations with famous designers on some projects. With Olivier, we collaborated with Tristan Auer, Charles Zana, Jean-Michel Wilmotte and most recently with Oscar Lucien from Maison Numéro 20 and with Sam Baron when we redesigned the restaurant Bagatelle St Barth.

We are also working on new collaborations with artists, as we truly believe that art and architecture are one.

PC: You seems worried by climate change. Is it more apparent when you live on a small island?

AG: Yes, absolutely. Climate change is concerning everywhere. But on a small island like St Barth, it is really visible. St Barth is a Caribbean pearl, but it is also a really fragile ecosystem. We live alongside the ocean and nature. Climate change a ects all of us in a way and it is our responsibility to proposes to our clients the most advanced technologies as well as the most sustainable solutions to reduce the carbon footprint of their projects. We have become specialists in green energy production, upcycling, in the reduction of electricity consumption, the reuse and use of rain water. We also put a lot of e ort into founding and sourcing new materials, new suppliers, and sustainable construction processes.

We are the only ones in St Barth designing projects with LEED certi cation (an international third-party certi cation program), as we did for the new Cartier boutique in Gustavia.

PC: What has changed in your way of building, do you use new ways of making houses?

Sustainable solutions should not drive the design process itself, but we keep them in mind all the way through the

conception of every project. We know from the very rst sketches that we need to integrate some systems, which have technical constraints, but we do it in a way that does not impact the design and architecture of the projects. Simple solutions can be used to reduce the need for air conditioning for example, just by paying attention to the orientation and how the prevailing winds behave. New materials and technologies allow us to design new shapes, such as with 3D printing. e use of the ocean’s plastic pollution is one of the areas of new research and development we are exploring. Upcycling and the reuse of plastic ocean trash allow us endless possibilities to design furnitures but also partition screens, windows coverings, oors, wall panels. With Summum, we are convinced that luxury design can perfectly work with sustainable development.

PC: How do you see your job in 10 years, what are yours dreams?

AG: I think that all the e ort we put into Summum works in the same direction. To o er the best for our clients, the nest luxury design, but also the most sustainable solutions for their projects. In 10 years, I hope to be able to develop totally self-su cient luxury projects, but also to collaborate with well-known artists from all around the world to produce incredible designs. I am also very interested by the rise of the digital world, the metaverse, and NFTs, which are all a new world to be explored. One of my dreams would be to bring back together art and architecture, from the very beginning of the conception process, as was the case before modernism through the “beaux arts.” We are truly convinced that this will be one of the next big evolutions in architecture. It has to be.

A LESSON IN SIMPLICITY

Duan Zhang de Courrèges: a Sichuanese in St Barths

Duan Zhang de Courrèges was born in Chengdu (Sichuan, China). He studied fashion and design for nearly ten years in China, New York, and Paris. As a result, his style melds the wisdom and restraint of the Chinese scholar with a solid culture of contemporary Western design. For the past ve years, design houses Saint Laurent and later Jacquemus have entrusted him with developing their home and décor lines.

Duan arrived in France in 2013. at summer, he joined his French adoptive family on their vacation and discovered St Barth. He has returned to the island every year since. Two years later, his family asked Duan for decorative suggestions for BelAmour, a luxury one bedroom suite they were building atop a vertiginous cli . His rst recommendation was to go for an innovative range of mineral furniture by Paola Lenti.

Duan’s most impactful idea was to commission French designer Jean-Charles de Castelbajac to create a large fresco on the back wall of the villa. Castelbajac was on the island at the time, exhibiting his works at the legendary hotel Eden Rock - St Barths. Duan approached him and convinced him to come and see the construction site. e French designer loved the location and accepted the challenge. He returned to the nished villa the following December, becoming its rst guest and creating a sparkling décor of colors and life.

In 2019, when his family decided to rebuild their 30-year-old St Barth house from the ground up, Duan was tasked with designing the new villa. So, in collaboration with the architects

Johannes Zingerle and Mario Bélair, he chiseled for two years all the interior and exterior details of what is - after his Parisian apartment - his second complete realization: Maison Domingue.

St Barth’s new zoning code demands that new constructions look like rectangular pavilions topped with four-sloped roofs in the style of traditional Caribbean houses. Duan subtly worked on asymmetry and o set so that the buildings t naturally into the slope of the land. Inspired by Feng Shui principles, he developed a system of protective walls to tame the wind that sweeps over Pointe Milou and transform it into a gentle breeze that constantly refreshes the living areas. Duan opted for pieces that would blend into the environment and wouldn’t attract attention except for the simplicity of their lines.

In St Barth, constraints exist for exterior and interior designs. Materials must have perfect resistance to corrosion, which is aggressive on the island. Duan selected furniture as if he was destining it to adorn the deck of a yacht. Wood, aluminum, and carbon were essential; stainless steel had to be of boat quality; all ordinary metals were prohibited.

Above all, natural patterns and rhythms guided his selection. us, Duan opted for pieces that would blend into the environment and wouldn’t attract attention except for the simplicity of their lines. He therefore created a comfortable and functional universe that does not obfuscate the true stars of the location: e views, the sea, and the light.

By CHARLES STEWART Photography JEAN-FRANCOIS JAUSSAUD

Duan Zhang de Courreges photogrqohed by Jean-Francois Jaussaud @jeanfrancoisjaussaud / @duan_zhang. Maison Domingue & BelAmour villaPointe Milou / @maisondomingue

He paid particular attention to coverings from woods such as ash, spruce, walnut, and oak on the walls and movable panels to large slabs of light sandstone on the oor. Duan also used a palette of Carrara and Marquinia marbles in the bathrooms, mixing polished and matte nishes. A few marble panels are engraved with vertical streaks.

Picking the right plants for the garden that runs along the patio’s oating staircase was also a challenge. ese plants must acclimatize to the salt and the wind while creating a soothing and resilient environment despite adverse conditions. e climate does not allow any unsuitable fantasy.

e result is a clean, bright home, open to the ocean with its string of islets sketching out a Zen garden when the sea takes on silvery and then leaden hues in the evening. It gives o an impression of space, luminous perspectives, and transparencies. Luxury, but a luxury of in nite simplicity.

OPPOSITE PAGE—1. Floating staircase designed by DUAN ZHANG DE COURREGES Farole tealight holders by GANDIABLASCO.

Basins by Angelo Mangiarotti for AGAPE .

front of the fresco by J-C DE CASTELBAJAC , two candle holders by CHRISTIAN LIAIGRE on a table designed by PIERO LISSONI for CASSINA.

Chairs by PIERO LISSONI for PORRO Table by PIERGIORGIO CAZZANIGA & MICHELE CAZZANIGA for MDF SUSPENSION by DAVIDE GROPPI.

St Barth is a naturally dry island. But behind the high walls that protect them from the gusts of the trade winds, the residential volumes are submerged in omnipresent vegetation mixing multiple species and local flowers.

The STARK Wave

Richard and Laurie Lynn Stark, the founders of the Los Angeles-based rebellious luxury brand Chrome Hearts— together with their three children also known as the “Starks”—have just won one of the most honorary titles in US fashion, the Geo rey Beene Lifetime Achievement Award at the CFDA 2022 Fashion Awards.

It is a great chance for us to have the Starks here in St Barth, as new residents, with a climate-conscious approach to their lifestyle.

For this issue of L’O ciel St Barth, Laurie Lynn has agreed to play the game of “guest editor.” She tells us about her commitments, and her family—the foundation of her life. She performs at the portrait session with her rockstar daughter Jessie Jo, and her prodigy son Kristian, who opened the St Barths agship store.

We spent many long hours together discussing our passion for the Island of St Barth and how we can bring something more for the community here.

So expect some more waves coming soon...

CHROME GREEN is the new

Artist, entrepreneur, real estate magnate, and mom. Laurie Lynn Stark is on top of the world.

She’s blazing new trails, and improving the planet along the way.

By PHILIPPE COMBRES Photography by PABLO GONZALEZ

From Florence to Hollywood, and back again to St Barth, Chrome Hearts cofounder Laurie Lynn Stark is determined to create a zero-waste fashion empire. She’s planting community gardens, rebuilding the coral, and photographing everything en route. L’O ciel Magazine sat down with her to nd out how she does it all.

PHILIPPE COMBRES: When did you rst fall in love with St Barth?

LAURIE LYNN STARK: e rst time I came was fteen years ago with Gilles Bensimon and Diana Picasso, and they took me to Rudolph Nureyev’s house. I barely saw the island the whole time. Gilles said, “We don’t want to go into town. We just want to go to Gouverneur, Saline, and Flamands.” So, I didn’t see much of the island, but it was one of the most romantic weeks. Diana is very artistic, so we were just making art, drinking co ee, drinking wine. It was crazy. A beautiful time. And I fell in love with the island. I decided, I have to buy something here. Now, with my son’s vision, we have opened a store and invested in the island.

PC: Did you always plan to open a Chrome Hearts on St Barth?

LLS: Not really. On my rst trip Gilles said, “You should open a store. People are going to come here.” But we couldn’t open a store then. I wish we could have opened a store, but it wasn’t the time. We were concentrating on other markets. We were opening in London, Paris, Asia. It was in 2019 that we opened Chrome Hearts in St Barth.

PC: How is the St Barth location of Chrome Hearts performing?

LLS: Instantly it was one of the best stores. Ridiculous. We were packed and so successful right away. I gured we might sell some bikinis, but we are selling everything; jewelry, leather, everything. In the two weeks after the opening, we were sold out. We’re always sold out.

PC: Has being a resident and business owner changed your outlook on St Barth?

LLS: Absolutely. My perception is I don’t want to take from the island and not give back. I teach my kids that, in addition to recognizing the business opportunity, it’s equally important to look after the island, hire locally, and protect the environment. It’s important to be aware of the problems on the island caused by tourism, while at the same time feeding the tourism, because it’s a tourist island. So how do you balance that? What can I bring to the island that the island doesn’t have already? I’m a beekeeper. I’m an avid gardener, and I make canned vegetables from my gardens. e owers in my homes are from my gardens. I don’t like importing things. I like living o the land. So, when I met the locals, they taught me that there are only bees in certain spots. ere’s not a lot of vegetation you can eat. ere are not a lot of opportunities for fresh produce here, except for what is imported. ere aren’t a lot of resources for water ltration systems, which I think should be legally mandated in all the villas.I want to get involved and help change that. I’m championing e orts to rebuild the coral. When I dive, I see the coral desperately trying to replenish itself, but we need help. We need marine biologists to volunteer their time. I think people settle when things are hard, but I ask myself, “Why can’t we x the coral?”

PC: I understand you are working on a special garden project for St Barth?

LLS: Yes, we’re doing a garden with a friend of mine, Xavier. He is a local, and he has a beautiful garden that’s in the middle of town (La Pointe, Gustavia). e idea is to bring local friends into the project, all pitching in and making this garden beautiful, whether it be the landscape architect, the plant guy, the construction man. ere will be vegetables, herbs, owers, native plants, everything, and a beautiful showcase of collected rainwater nourishing the garden. When people see this project, they’ll realize they only need a small space to create something beautiful. Hopefully people will see the bees, the butter ies, the lizards, and be inspired to create their own gardens, and eventually, it will enhance the ecosystem of St Barth. Everyone can do it. is project will showcase ways that locals can create their own garden in whatever space they have available.

PC: At Chrome Hearts, are you transitioning to a more sustainable manufacturing model?

LLS: Yes. I’m working with a factory in Portugal, which is focused on sustainable and conscious manufacturing. I just invested in 2 factories in Italy where we not only use sustainable fabrication, but we focus on ecological ways to make, cut, color, and wash the fabrics. We question everything; how we dispose of waste, packaging, our shipping methods. Europe has very strict Certi cation Stamping in manufacturing, and it’s great. e entire production cycle had to be analyzed and modi ed. It is very di cult to change your business models after thirty years, but we have been implementing these modi cations for two years now. So, every division is changing subtly. We had to reteach everyone. For example, we started doing eyewear in recycled plastics, but that isn’t enough. We changed the way we polish the product and

I don’t WANT TO TAKE FROM THE ISLAND AND NOT GIVE BACK. IT’S important TO LOOK AFTER THE ISLAND, HIRE locally, AND protect THE ENVIRONMENT.

overhauled the runo systems. We changed the plastic packaging to eco-friendly recycled plastic, the bags are made from scrap materials, the shipping ll is biodegradable, an on and on it goes. It’s a ght every step of the way, but I don’t care. I want to know there’s no waste.

PC: In addition to being a revered business woman, you are a celebrated artist as well.

LLS: I do ne art photography. I also paint, and I’m starting to make sculpture as well. But with my photography, I have exhibited all over the world. I worked with Reiner Opoku (co-founder of Parley) in St. Moritz. He’s wonderful, and he pushed me as an artist. He was one of the rst art agents that told me I have to show and sell my art. It was really hard for me. I was like, “I don’t think I’m good enough for this.” I was very insecure, but he was behind me, pushing me. I got chills because I was a young artist and I had to put up these huge pictures in St. Moritz. I had no idea what I was doing. And we did an entire hotel. It was a gorgeous exhibition. Now, the money I make selling art notes back to environmental causes. Everything goes to charity.

PC: How do you encourage and support the next generation of artists?

LLS: I work with a gallery in Miami that has an artist-inresidence program. Some of these kids have gone on to become big artists. One of my art directors started as an artist-in-residence. I found a woman from Ukraine, whose art I really loved, and we brought her over. She had never been to America, and she sold every painting. Shortly after, the war broke out, we held a second show at the Venice Biennale to raise money and bring awareness to young artists from Ukraine. I like to empower young artists. A lot of young artists can’t a ord a camera, a canvas, paint, nothing. ey can’t a ord to just get started.

PC: What philosophy keeps you going?

KS: You can’t stop living. If I worried every day about the future, I wouldn’t get anything done, and nothing would change. And I wouldn’t be part of the future. I think people have a way of operating on fear rather than optimism or hope. But I like to live in an optimistic, hopeful way. It perpetuates the natural cycle. ere will be negative things, but when re happens, it cracks a seed, and a tree grows; a tree that wouldn’t have grown without the pressure of the re. I don’t really ever feed into the negative. If you give out good energy, it will change things. Everything to me is energy and love. Energy and love. Energy and love.

Laurie Lynn Stark shooting Jesse Jo Stark for L’OFFICIEL.

CHROME Stark

Heir apparent of the Chrome Hearts dynasty, Kristian Stark, isn’t coasting on the leather coattails of his parents.

He’s determined to take over the family business, and he’s starting from the ground up.

By PHILIPPE COMBRES Photography by LAURIE LYNN STARK & PABLO GONZALEZ

Photos by Pablo Gonzalez for L’Officiel St Barth

At only nineteen years old, Kristian Stark is already a powerful force in the fashion business. He may not have thought the Chrome Hearts brand was “cool” when he was a tween, but as a teenager, everything clicked. Now, he’s determined to ful ll his father’s vision of making Chrome Hearts a business that lasts for 150 years. Kristian sat down with L’O ciel Magazine in St Barth for a heart to heart.

PHILIPPE COMBRES: How did you start at Chrome Hearts?

KRISTIAN STARK: My parents never pushed me to work for Chrome Hearts. ey never put that on me. But one day, it clicked, and I just started loving it and wanting learn more and more about the business. I wanted to get involved. I designed a leather hoodie when I was 14, because I would ride on the back of my dad’s motorcycle, and I didn’t like leather jackets. I wanted something comfortable. So, I designed this hoodie, and it was radical. We put it in the stores, and it sold! I began spending more time developing and designing pieces that I personally loved, and really got to understand the process. More recently, I designed the Chrome Hearts Five Pocket leather pants, and they were a hit. From there, I started dabbling in everything. I love it. I want to continue my parent’s legacy.

PC: You were 16 or 17 years old when you created the St. Barth Chrome Hearts boutique. How did you do that?

KS: (Laughs) Yeah, it was crazy. It was so hard. ere was a lot to do, and I was there for every step. I knew Chrome Hearts would t in here. Our vibe matched with the vibe of St Barth. It just felt like home. I found the location, and I established a good relationship with the owner, who my dad also loved, so that helped. Dad and I saw this location, and we said, “We have to call Mom.” We just had an immediate feeling that this was a good move. We like weird shit, and this spot was perfect; a little separate, a destination.

PC: And you were instantly successful, right?

KS: Pretty much. I mean, people loved it. Everyone thought it was cool to have a new and di erent type of boutique on the island. And there were people that lived here that were super stoked because they were already customers at our other Chrome Hearts locations.

PC: What’s next for you and Chrome Hearts?

KS: Every December, I design an exclusive collection for St Barth. I just completed my rst line of sunglasses called Lord’n Frames, based on vintage eyewear. I love designing, but I also love the business side. I love sitting in the big meetings and analyzing the numbers. I want to be a major part of Chrome Hearts. I don’t know when, but one day my parents will stop working as much and as hard as they do now. And I’m going to have to step up and take care of shit. But what’s next? I don’t know. We’ll see…

PC: Do you think about how Chrome Hearts can move to the Metaverse?

KS: De nitely. I think about it every day, because it’s super

interesting, but it’s not a huge priority right now. ere are other priorities for Chrome Hearts.

PC: Tell us about your relationship with St Barth.

KS: St Barth is gnarly. I grew up in Malibu, and to me it’s similar. It’s a local, small, beach town. And it’s chill. I mean, everyone that comes to this island falls in love with it. If you don’t, something’s wrong with you. ere are so many good restaurants here. I love Shellona for lunch and Kinugawa for sushi. Every beach is great here, but Flamands is my favorite. I don’t know. ere’s something about it, I just love it there.

PC: You grew up sur ng. Do you see how the oceans are changing, and do you want to get involved to help curb human impact on the environment?

KS: Yes, absolutely. I think my generation is de nitely concerned with the world and how the climate is a ecting everything and wondering what we can do to help. At Chrome Hearts we are changing a lot of our business models to become more environmentally friendly and to do our part.

PC: How does sustainability in uence your design process?

KS: It is a major part of the process for sure. My mom and I discuss the environmental impacts of my designs, and if a design isn’t environmentally friendly, at the end of the day, we don’t make it.

PC: Who are your heroes?

KS: In the design world, I really look up to Matt [Digiacomo], the creative director of Chrome Hearts. He’s a big inspiration for everything I do—even the way I dress is in uenced by him. He’s so authentic, and I love his whole vibe. But my hero is my dad. I mean, he’s the best. He’s THE guy. He’s so chill, and I don’t know, he’s just a good dad, and I’m so grateful for him.

MY MOM & I DISCUSS the ENVIRONMENTAL IMPACT OF MY DESIGNS ALL the TIME — we won’t GET IT RIGHT EVERY TIME BUT it’s IMPORTANT to me to CREATE IN THE MOST SUSTAINABLE WAY POSSIBLE.

Kristian Stark photographed by Laurie Lynn Stark at Shell Beach, St Barth

A doomed CHROME heart

A chrome heart with a metallic, angelic voice. Jesse Jo Stark unveils her debut album, Doomed.

Photography LAURIE

LYNN

STARK Fashion Director JENNIFER EYMÈRE Styling MYSSIA GHOSN Interview PHILIPPE COMBRES

Nuisette JOHN GALLIANO VINTAGE ROM BIÇAK ARCHIVES

Underwear CHROME HEARTS Cap and gloves GUCCI X ADIDAS High boots LOUIS VUITTON Necklace CHROME HEARTS

PHILIPPE COMBRES:Tell us about your new album Doomed, your long-awaited debut LP, and how this music project was born? You are both a singer and a ongwriter, can you tell us about the writing and what’s the story behind Doomed?

JESSE JO STARK: Doomed touches on the duality of life: love and pain, light and dark, glamor and horror. I don’t think we are all just one thing—I feel like Doomed has been inside of me a while now and it’s come at the perfect time.

PC: roughout the album, there are a variety of lyrics that show a sort of con ict between two people. In making this album, did you nd it hard to write these lyrics from an emotional standpoint?

JJS: No, not at all because everything I do is emotional. I overthink everything and i’d like to believe that there’s meaning behind it all. e con ict goes deeper than just the two people on the album. With the whole album I wanted to create a story where I’m weaving through the bullshit and killing o the main characters, like men, insecurities, and sycophants.

PC: What are your musical references? You have said you grew up with country music and rock n’roll like e Ramones?

JJS: I’ve always been fascinated by e Cramps—there’s a feeling of danger and guts that come with punk & rockabilly.

PC: e cover art seems to be quite important to the album as a whole. What would you say is the narrative of the cover? What meaning does it hold for you?

JJS: I’m completely obsessed with horror and comics and pulp art. I’m a very visual person and I am always keen on creating a world around my lyrics/ songs. I’ve dreamt of working with an artist like Greg[ory Hildebrant]. When we initially spoke, I explained that I wanted to represent duality and showcase the two sides that I believe I have. Representing light and dark I wanted the cover to express the extremes we hold within ourselves.

PC: e visuals and music videos for Doomed draw inspiration from old movies like Breakfast at Ti any’s with Audrey Hepburn, and mix nostalgia with graphics and typography from pulp, pinups, comic art, and old Italian illustrations. Can you tell us about the creative process of working on the image for the rst big release?

JJS: I really wanted this album to be unexpected—some of my visuals are very elevated and some of them are very lo. I knew I wanted to reference angels and demons—even something as simple as carrying the smoky eye throughout the entirety of Doomed.

PC: In your musical work and life, there seems to be a lot of religious imagery. For example, in your video “Lipstick” and on the cover of the album itself. Is this intentional? How does this religious imagery inform your work, what story are you trying to tell through it?

JJS: It is not intentional but I’m just very spiritual—visually, I have always been drawn to religious symbolism, silhouettes and motifs.

PC: You have started a tour for the album and given concerts in London, Paris, Los Angeles and New York. How did you prepare for your album tour?

JJS: We’ve been rehearsing like crazy and being back in the room with my band has been incredible—we have the connection I’ve been craving. I’ve also begun dancing again to get reacquainted with my body. I wanted to really get inside of Doomed and work out how we wanted it to sound live.

PC: We just shot a Cover & Fashion story in St Barth for L’O ciel with Laurie Lynn Stark, your mother. How was it to work with your mother on the shoot?

JJS: My mother is a genius. It’s hard to remember that sometimes because I came from her. but her art always amazes me. She’s truly herself which is why I think being a muse of hers is so much fun—you kinda watch this evil (SWEETEST EVER) scientist in the lab creating! She’s just fun on set and I believe she deserves more credit for always hitting the nail on the head long before it’s in… she’s a bad ass boss woman.

PC: Fashion is at the center of your life. How do you use fashion to express yourself?

JJS: My family is the center of my life—fashion is just another word, expression is unidenti ed. Leaves on the oor in Fall could inspire an entire album—it just depends how you soak it all up.

PC: In the shoot, we mixed Chrome Hearts looks with luxury Maison brands like Prada, Fendi, Louis Vuitton. What are your other favorite designers of the moment, you told me about emerging brands?

JJS: I love Tigra Tigra, Di Petsa, Dilara. . . and vintage always, Vivienne Westwood forever.

PC: You have a close relationship with St Barth. Tell us about your connection with the island – do you have a favorite memory?

JJS: St Barth is a dream. ere’s so much heart here. When I think of the island, I think of my brother—it’s as if he lived another life here before. I see my mom cartwheeling on the beach, my dad sleeping in the sun, my grandparents swimming in the pool with Billie (my dog), my sister dancing on the beach. My favorite memory is spending six hours in the water drinking wine and watching the sunset with no real plans. Life really lives there and the people make the island. I love to call it another home.

PC: What are your favorite places and your favorite activities in St Barth?

JJS: My favorite thing to do is watch the sunset and eat these insane olives I buy every time I am there—I’m really not so much about the nightlife, as I grew up by the beach and that’s what feeds me when I am there.

PC: In this era, we ask ourselves more questions about the future. What’re yours and what do you dream of /wanna change?

JJS: I just want to see people show more compassion towards Earth—you don’t have to be an expert in sustainability to do your part and be respectful of the land, the animals, the people—everything living around us we have to share. I believe that is how change happens, so that’s what I try to encourage within the world and around me.

Total Look GUCCI X ADIDAS Sunglasses CHROME HEARTS Earcuff REPOSSI Earrings STYLIST’S OWN Rings REPOSSI, VINTAGE CARTIER STYLISTS OWN Belt VINTAGE GUCCI BY TOM FORD FROM BIÇAK ARCHIVES

CASTING & ART DIRECTOR: Jenny Mannerheim PHOTO ASSISTANT AND VIDEOGRAPHER: Pablo Gonzalez

HAIR AND MAKEUP: Daniel Kolaric Using: Dr. Barbara Sturm Skincare and Pat McGrath Labs Makeup STYLING ASSISTANT AND PRODUCER: Marinka Burgos Riano FLORAL ARRANGEMENT: Bloomy et B.Floral Saint Barth

Jenaye NOAH Rocks

EDEN

Meet Jenaye Noah, the muse of L’Ofciel and Eden Rock - St Barths. Daughter of tennis champion Yannick Noah and the English model Heather Stewart-Whyte, she is the true St Barth girl with her personal sense of style and a natural yet radiant beauty.

Photography SKYLAR WILLIAMS

Dress MISSONI

OPPOSITE PAGE— Top, shorts ALANUI, bag and shoes OFF-WHITE

Natasja at l’Arapède

Time is like suspended at L’Arapède... Let yourself be lulled by the gentle sea breeze, admire the endless view of the sky and the sea in an intimate refuge, overlooking the caribbean ocean.

Photography CAMELLIA MENARD Styled by ETIENNE JEANSON

Tropical Pause

At the brand new Tropical Hotel, in the powder pink garden, on the edge of your private swimming pool, or next to the wall painting by the artist Raphael Schmitt, you can feel the vibes of the nature, and a lot of sensuality.

CAMELLIA MENARD Styled by ETIENNE JEANSON

Photography

ALTA Moda

PASSION & Myth

Mysterious legends linked to centuries-old lost treasures inspire the Dolce&Gabbana, Alta Moda, & Alta Gioielleria collections. Unique and unrepeatable, the splendid creations meticulously handcrafted by the fashion house’s skilled artisans become symbols and testament to legendary splendor.

Photography BYRON MOLLINEDO

ERIKA Georgette corset dress , GABRIELA Illusion tulle corset dress entirely embroidered with crystals, ROMEO Black tuxedo DOLCE&GABBANA

PREVIOUS PAGE, FROM LEFT— GABRIELA Illusion tulle dress embroidered with Lurex lace, Lurex macramé, mirrors, plexiglass elements engraved by hand, and cabochons, ERIKA Sequined corset dress entirely embroidered with crystal fringe, ROMEO Double-breasted 4+2-button jacket in duchesse with peaked lapels, printed with a view of Naples and embroidered with crystals, Tuxedo shirt in white poplin with soft plastron. Classic trousers in white Mikado with pressed crease DOLCE&GABBANA

GABRIELA Illusion tulle dress embroidered with Lurex lace, Lurex macramé, mirrors, plexiglass elements engraved by hand and cabochons DOLCE&GABBANA OPPOSITE PAGE, FROM LEFT— ROMEO 3-piece tuxedo in grey silk shantung Mikado with buttons in grey mother-of-pearl and grey silk detailing, finished with a matching half-stitch, Single-breasted 2-button jacket with notched inlaid lapels; 5-button waistcoat; Tuxedo trousers with pressed crease, Shirt in Habutai silk and cotton printed with graphic motifs, with platinum-plated guilloche and onyx buttons, finished with a matching half-stitch, ERIKA Crochet lace dress with crystal ribbons, GABRIELA Organza dress with elaborate jewel embellishment DOLCE&GABBANA

ERIKA Crochet lace dress with crystal ribbons, GABRIELA Organza dress with elaborate jewel embellishment DOLCE&GABBANA

OPPOSITE PAGE— ROMEO 3-piece tuxedo in grey silk shantung Mikado with buttons in grey with mother-of-pearl and grey silk detailing, finished with a matching half-stitch, Single-breasted 2-button jacket with notched inlaid lapels; 5-button waistcoat; Tuxedo trousers with pressed crease, Shirt in Habutai silk and cotton printed with graphic motifs, with platinum-plated guilloche and onyx buttons, finished with a matching half-stitch DOLCE&GABBANA ERIKA Crochet lace dress with crystal ribbons, GABRIELA Organza dress with elaborate jewel embellishment DOLCE&GABBANA

ERIKA Hand painted mikado silk dress DOLCE&GABBANA

OPPOSITE PAGE — ROMEO Single-breasted, two-piece suit in silk moiré gilded with 24-carat white gold, Shirt in white silk crêpe gilded with 24-carat white gold, GABRIELA Illusion tulle corset dress entirely embroidered with crystals and resin DOLCE&GABBANA

ART DIRECTOR AND STYLING: Jenny Mannerheim MODELS: Erika Laba, Gabriela Rodrigues, and Romeo Solia HAIR STYLIST: Carlo Ruggio MAKEUP: Giuly Valent

DIGITAL ASSISTANT: Alessandro Gamba FASHION ASSISTANT: Noemi Nebuloni MAKEUP ASSISTANT: Ervisa Micukaj HAIR ASSISTANT: Giovanni Ameduri

SPECIAL THANKS: Barbara Pedrini, Patricia Romano, David Maza, Johanna Persson Aura Photo Agency, Martini Bar Milano.

Making the META Verse

From the physical and metaphysical to the Metaverse, artist Suki Mehr is making big moves and big art.

Photography CAMELLIA MENARD Styled by ETIENNE

JEANSON

Artist Suki Mehr explains her work in the Metaverse in a conversation with L’O ciel St Barth magazine.

PHILIPPE COMBRES: Tell us a little bit about yourself, Suki.

SUKI MEHR: I’m from all over, and I moved to Puerto Rico from San Francisco during COVID. I studied 3D Modeling at the Rhode Island School of Design, and I had a startup to teach kids, girls speci cally, about how to use mechanical engineering software. I did that for about ve years in San Francisco. At the same time, I became very passionate about creating my own artwork and about doing projects on a larger scale.

I did my rst large-scale piece in 2019, after my art studio burned down during the res in Malibu. It was crazy and somewhat awe-inspiring that things were just… gone. It was a fresh, brand-new start for me. I used scrap-metal from houses that had burned down and created an 80-foot phoenix LED installation.

PC: What is your relationship with St Barth?

SM: e rst time I came here was in 2020, I was pregnant with my daughter, and I just fell in love. It’s beautiful. e people are so beautiful, kind, polite. e food, the energy - it’s a magical place. en my husband and I had our wedding here. I invited all of my artist friends, and we did a communal painting at our wedding. One of my best friends, who’s a painter, found purple crystals in the St Barth hillside. I was like, “What? ere are purple crystals here?” ere’s always something more to discover. is is my fth trip here in the past two years, and I don’t want to leave. I’m hopefully coming back next week (laughs).

PC: Your family moved to Puerto Rico, which is now a popular destination for entrepreneurs. Are the new residents enhancing the island?

SM: ere are a lot of DeFi and Crypto founders and companies in Puerto Rico. ere are no federal income or capital gains taxes in Puerto Rico, so for founders of companies, it’s a smart move. My husband (Zoosk founder, Alex Mehr) is teaching an Introduction to Cryptocurrency and Blockchain Technology at the University of Puerto Rico. I am very inspired by people who have moved to Puerto Rico and are really integrating themselves into the community and not just living in a bubble. I am in the process of hosting a TEDx with the University of Puerto Rico. e whole idea of the tax incentives was to bring wealth to Puerto Rico. And I think what ultimately helps creates wealth is education. So, it’s not just that Puerto Ricans are getting jobs in the service industry because of mainland Americans moving to Puerto Rico, it’s because

they’re getting jobs at tech companies and being taught by entrepreneurs. at’s the crossover that that creates lasting change. I wish people were required to prove that they are giving back in a meaningful way, actively being part of the community, whether it’s art, teaching, or hiring. But that’s sort of a tension I see that hasn’t been fully resolved yet.

PC: Talk to us about your work in the Metaverse.

SM: Because of my 3D background, I was very interested in NFTs before NFTs really had a name. I’ll make my NFTs or my 3D renders in a way that is not feasible in this dimension. at’s where I nd my inspiration, and that’s the initial stepping o point. I then push it into something I can create in the physical, material world. I’m interested in pushing the boundaries of what’s technically or technologically feasible. When I was at RISD using the 3D modeling and 3D printing programs, I would always try to print the most intricate designs—just to the point before they would break and see how intricate or big I could create a piece. Now, after I make my NFT designs that are not feasible to bring into reality, I end up pushing myself farther than I would have before. It’s pretty liberating when you don’t have to be tied to the physical world. I’m so inspired by NFT architects and what they’re making. For me, it’s been really exciting to dream and build things, and everything can be part of the metaverse. Physical sculptures can be digitally authenticated, which is a crossover that merges digital art with physical art. It’s really interesting to see.

PC: Do you use recycled plastics and sustainable materials for your 3D printing?

SM: I’m starting to work with recycled materials. ere are manufacturers in the US and in Italy, and they use recycled marble, recycled stone. And I’ve been playing with lots of di erent recycled materials, seeing what’s sustainable. Unfortunately, 3D printing is not yet mainstream, but I do think eventually we’ll all have 3D printers in our homes. We’re not at that tipping point yet, but the dream is that every home will have a 3D printer. When you need a dishwasher wheel or you need something for your home, you can look in a library of les and print and use it. en when you no longer need it, you melt it, recycle it into new lament, and create a new object.

PC: Are you inspired by the art on St Barth?

SM: Absolutely! I’m captivated by e Constellation of Pegasus by Jean-Michel Othoniel at Cheval Blanc—the way it moves. I can’t wait to have my daughter move it. It’s very inspiring. After seeing it, I started thinking about making a kinetic sculpture. It kind of reminds me of Dali’s Galatea of the Spheres. It’s really beautiful.

CASTING & ART DIRECTION: Jenny Mannerheim

PRODUCTION: Marinka Burgos-Riaño

HAIR AND MAKEUP: Idalmi Perez Roy

ASSISTANT STYLIST: Ryme Alnocta

Art for Our Oceans

Every second breath you take is generated by the oceans. We all depend on the oceans—they play a vital role in sustaining the health of all life—on land and in the seas and without them, we simply would not exist. And at this moment nine out of ten pieces of trash in the ocean are plastic.

As the climate crisis accelerates, and countries are feeling rst-hand the warm temperatures at the peak of winter, we as a society are faced with questions of what can we do to help?

Art Saint Barth, the cultural association founded by Philippe Combres and Jenny Mannerheim, joined forces with Parley for the Oceans, the nonpro t environmental organization, to present a one-of-a-kind Art for Our Oceans program this winter in St Barth to raise Global awareness for the climate crisis, and to highlight the beauty and fragility of this blue planet.

Art Saint Barth x Parley will unveil American artist and lmmaker Doug Aitken’s new edition of the Underwater Pavilions in St Barth, to highlight the ecology of the island, along with a curated contemporary art exhibition at the historical Wall House Museum in Gustavia.

e program has been created with the support of e Territorial Council (la Collectivité de Saint-Barthélemy) and in partnership with e Territorial Environment Agency (L’Agence Territoriale de l’Environnement). e Art for Our Oceans bene t auction of contemporary art at the end of December 2022 will raise funds for the collaborating environmental organizations for their work with the environment and ocean preservation in St Barth.

Doug Aitken, Underwater Pavilions,

Photographer: Patrick Fallon, Courtesy of the artist and Parley.

Underwater Pavilions

Dive into an artwork, made to exist underwater.

A collaboration between American artist Doug Aitken and Cyrill Gutsch, Parley’s founder & CEO, and fabricated by Rossinavi, the Underwater Pavilions are both aesthetic and scienti c and put the local marine environment and the global challenges around ocean conservation into dialogue with the history of art, inviting the viewer to write a contemporary narrative of the ocean and to participate in its protection.

As the artist and lmmaker Doug Aitken says, “We’re at a crossroads as a society right now. And we’re straddling the space between the physical world and the digital world, and how much time we spend on screens absorbing images and information. And the counterpoint to that is looking outside at the physical world, taking a walk, touching the soil, walking through a forest. In many ways, the Underwater Pavilions are an o ering to return to the real.”

Underwater Pavilions consists of three temporary sculptures that are moored to the ocean oor. Geometric in design, the sculptures create environments that re ect and refract

light, opening a portal that physically connects the viewer to the expanse of the ocean while simultaneously disrupting preconceived visual ideas of the aquatic world. By merging the language of contemporary architecture, land art, and ocean research, the Underwater Pavilions are a living artwork within a vibrant ecosystem.

As Aitken a rms, “It’s really asking the viewer to step into a space which is a physical and natural ecosystem, and to make this your own experience. When I dove into the ocean to experience this work, and swam into the work, what I saw was more unreal than anything I could ever imagine in the digital world. It felt so heightened and strange. My senses were activated and there’s a sense that you’re completely in the present. You’re engaged only in what is in front of you. I think that that’s a very, very valuable quality to have in today’s world.”

In contrast to areas of the sculpture that have a rough and rock-like surface, mirrored sections re ect the seascape and, when approached, activate to become a kaleidoscopic

–DOUG AITKEN

observatory. e environments created by the sculptures change and adjust with the currents and time of day, focusing the viewer’s attention on the rhythm of the ocean and its life cycles. e artwork creates a variety of converging perceptual encounters that play with the uidity of time and space, resulting in a heightened awareness of the physical world.

e work operates as an observatory for ocean life, creating a variety of converging perceptual encounters. e sculptures will continuously change due to the natural and manmade conditions of the ocean, creating a living presence and unique relationship with the viewer.

e new edition of the Underwater Pavilions was fabricated by the Italian superyacht company, Rossinavi.

In December 2022, the new Underwater Pavilions will be installed in the Baie de St Jean, close to Eden Rock - St Barths and open for public to visit.

WHEN I DOVE INTO THE OCEAN to EXPERIENCE this work, and SWAM INTO THE WORK, what I SAW WAS MORE UNREAL THAN ANYTHING I COULD EVER IMAGINE IN THE DIGITAL WORLD

Doug Aitken, Underwater Pavilions, Photographer: Patrick Fallon, Courtesy of the artist and Parley. Portrait of Doug Aitken and Cyrill Gutsch by Ami Sioux.

The future isBLUE

To coincide with the Underwater Pavilions installation in St Barth, Art St Barth and Parley curated a mixed-media art exhibition at the historical Wall House Museum, set along the sea at La Pointe de Gustavia, in St Barths.

On view is the video installation Underwater Pavilions by the artist Doug Aitken. e lm explores three remarkable sculptures and distils an otherworldly experience by immersing viewers in an underwater realm. Chronicling the artworks—from installation to their encounters with divers and aquatic life—the installation tunes viewers into the rhythm of the ocean and its lifecycles, as the structures adjust with the currents and time of day. Viewers experience a variety of converging perceptual encounters that play with the uidity of time and space, where the language of contemporary architecture, land art, and ocean research begins to merge.

Select artworks from the Parley collection were brought together in the museum show—including the Parley surfboard collaborations by the artists Katharina Grosse, Jenny Holzer, Ed Ruscha, Kenny Scharf, and Rosemarie Trockel. Limited-edition prints by Tatiana Trouvé and Nigel Cooke, along with Cooke’s unique work on paper and a large scale work by Ji ř í Georg Dokoupil. Artist ags made from Parley Ocean Plastic® by artists Julio Le Parc and Jeppe Hein will be on view.

Parley for the Oceans was founded in the heart of the art community, with early supporters including Julian Schnabel, who created the Parley logo and hosted the rst Parley talk at his home, Palazzo Chupi. Parley has since expanded its art program across the globe and collaborated on projects ranging from artists’ unique

works and site-speci c installations—like Doug Aitken’s Underwater Pavilions— to eco-innovative surfboards with the aformentioned leading contemporary artists such as: Katharina Grosse, all to raise funds for its global “Cleanup Network” that operates in over 30 countries.

As Parley’s Art Program curator Sara Jaurequi clari es, “Art for Our Ocean s in St Barths has been more than three years in the making. We are extremely grateful for the support of our partners at Art Saint Barth for bringing this opportunity to Parley. We think of St Barths as an epicenter, a place where we can all come together for the cause—to create long lasting impact, reminding us of what we need to protect and to inspire change for the future and future generations.”

Likewise, her colleague and fellow curator Charlotte Desaga a rms that: “Saving the Oceans means holding on to their beauty—this conviction has been our guideline for this extraordinary project. e Wall House Museum is the perfect place to present an accrochage of works by Parley’s closest artist friends, not least by Doug Aitken whose spectacular Underwater Pavilions make our mission tangible. We are tremendously thankful to join St Barth in our mission of saving the oceans.”

Charlotte and Sara together run Parley’s Art Program alongside Parley’s founder & CEO, Cyrill Gutsch, and cofounder, Reiner Opoku.

SPACE

TONY CRAGG

GALLERY ST BARTH

Showing a selection of leading international artists since 2011. Follow us @spacegallerystbarth St Barth | New York spacegallerystbarth.com

PREVIOUS PAGE—Jenny Holzer, THIS ECSTASY , 2022, Photographs by Tom Wagner

e Wall House Museum is also an idyllic location to showcase the artworks by artists who have supported Parley’s mission. ese works represent a symbol for change. e art collaborations directly support our e orts to reduce and eliminate plastic waste in the oceans and beaches by facilitating clean-up programs and infrastructure around the globe.

e artist surfboards unite the worlds of art and sur ng as a messenger for the cause. Each is a symbol and a call for the eco-innovation, creativity, and collaboration that can protect our oceans. e surf community is equally vital to the Parley mission as the artists, as they know the oceans like no others.

Collaboration partner Firewire is at the forefront of innovation in the surf industry. Using their Timbertech Ecoboardcerti ed construction for this artwork is a symbol for change as this surfboard is made with sustainably-sourced wood and bio-resin, which reduces its carbon footprint by over 30% compared with traditionally built surfboards.

A special limited edition swimsuit with Parley x Doug Aitken, produced by Vilebrequin, in recycled fabric with embroidery, will be released for the occasion with the sole purpose of raising funds for the protection of the oceans in St Barth. e special collaboration piece will be sold at the Vilebrequin shop in Gustavia and at the Eden Rock - St Barths Boutique.

Parley limited-edition artist bags are made with Ocean Plastic®—a premium material created from upcycled plastic waste recovered from remote islands, waters and coastlines by its global cleanup network. Each bag is made from approximately ve intercepted plastic bottles. e Parley Ocean Bag artist series forms part of an on-going collaboration between Parley and world-renowned contemporary artists.

Utöpia and Parley developed a series of new artist ags with artists: Doug Aitken, Jeppe Hein, Julio LeParc. Each ag is also made from Parley Ocean Plastic.

e bags and ags can be purchased at Eden Rock - St Barths or online at Parley.tv

rough the partnerships and artist collaborations, e Art for Our Oceans program will collect funding, with the support of the Territorial Council and e Wall House Museum, for the local organizations that are working daily to protect our island. e idea is to create a global movement of change-makers, and to protect the marine environments. Ocean education events, including talks, workshops and more will take place during the exhibition.

Exposition ART FOR OUR OCEANS (ART POUR NOS OCÉANS),

Wall House Museum, La Pointe de Gustavia, St Barth December 16, 2022 - February 11. 2023

Curated by Art Saint Barth @artsaintbarth & Parley for the Oceans @parley.tv

For more info: Artforouroceans.com @artforouroceans

FROM TOP TO BOTTOM—Kenny Scharf in his studio with his individually painted surfboards.

Ed Ruscha, THE AMAZING EARTH , 2017. Resin and surfboard. .

Jeppe Hein, WE ARE ALL INTERCONNECTED , Ocean Plastic® flag, 2020. Produced by Utöpia.

L’Arapède

A paean to the beauty of St Barth

e impressive avant-garde architecture of L’Arapède emerges from the rocky and wild coasts as a belvedere overlooking the shimmering waters of the Caribbean Sea. Designed by a renowned architect, o ering radical perspectives, integrated into nature, and suspended over the ocean, L’Arapède is a sanctuary with a breathtaking atmosphere and views. Here you will enjoy the untouched majesty of the elements with a sprawling terrace and large bay windows opening to the sea, yet in total privacy.

e home sits at the end of the peninsula neighborhood of Pointe Milou, a location known for its outstanding sun, sea breezes, and magni cent panoramas. Located on 1.4 acres of oceanfront land, L’Arapède is “an aerie, perched up above the world below.”

Here you will immerse yourself in the rhythms of the natural world, but also experience the luxury and charm of a bygone St Barth era. Designed as the architect’s home in the 1990s, with exposed concrete walls, wooden ceilings, and tiling, it is a gem o ering unparalleled design aesthetics. It’s complemented with beautiful modernist interiors and rare vintage furnishings that echo the one-of-kind character of this spectacular retreat.

L’Arapède is a place where inspiration ows unhindered. It is a place for gathering with friends and family, having long dinners and conversations into the evening, getting lost in a book, or simply contemplating the magni cence of life, while observing the ocean’s waves.

e large open-plan living room ows seamlessly into the kitchen, with furnishings that complement the organic environment. One bedroom shares the same building as the common areas and the second bedroom occupies its own independent bungalow. Perfect for those looking to share an experience, but still have plenty of private space. Every room in the house, including the two bathrooms, has a wide-angle view of the ocean.

Perched on a rock, bathed in sunlight, L’Arapède is a lookout to the endless beauty of the natural world. A gentle sea breeze lulls you into deep relaxation and the epic vistas of sky and sea unfurl before you. At this intimate refuge, time is suspended as you contemplate the unfettered soul of St Barth’s splendor. L’Arapède is a rare and wild beauty much like the dramatic terrain she inhabits. She awaits your discovering her.

L’Arapède St Barth | Pointe Milou, 97133 Saint Barthelemy | @larapede_stbarth

By ANDREA GOLDMAN Photography PABLO GONZALEZ & HUGO ALLARD

Idalmi St Barth

The eco-friendly tropical chic cosmetics line by Idalmi Perez

is strong-minded Puerto Rican always knew what she wanted to do. She started playing with makeup as a young child, and after putting lipstick and eye shadow on her dolls, Idalmi became a makeup artist and professional stylist with a stellar reputation in the fashion world. Since moving to St Barth, she has continued to provide professional advice, while wielding her brushes to make women look beautiful. While desperately seeking products rich in antioxidants and other ingredients essential to facial beauty and wellbeing, yet adapted to life in the Caribbean, Ida founded the ecofriendly cosmetics line, IDALMI ST BARTH Tropical Beauty Chic. is collection of beauty products and makeup was designed for women who visit or live in Saint Barth. is season we recommend the new product Glow Tan Mousse & Mitt to achieve a natural tan. is formula is fast-drying, odorless, and streak free, leaving you with the perfect St Barth glow.

Take Care

A new house of beauty using conscious skin science

Facials, body treatments, waxing, nails, manicure and pedicure.. Me and Care, the House of Beauty by Marion Eustachi that just opened in Sint Maarten. e new spa is using the products from Comfort zone, by Davines. A conscious skin science line with high-end products that are not only good for your skin but also good for our planet. In 2016 the Davines group joined the B Corp family. Do our best for the world, creating good life for all, through beauty, ethics and sustainability.

Idalmi St Barth | Centre Vaval 1 Floor St. Jean, 97133, Saint-Barth | idalmistbarth.com @idalmistbarth Me and Care, House of Beauty by Marion Eustachi | 166 Rhine, Road Lowland, Porto Cupecoy, Sint Maarten | meandcare.com @me.and.care

Photo Camellia Menard

THERE IS ANOTHER WAY TO FLY.

IT’S FLYING PERSONAL.

L’FOOD

A Journey into Zion

The ultimate destination for discerning foodies.

Discretely tucked into Centre Vaval, St. Jean, lies Zion Restaurant—a hidden gem that boasts the nest in modern French cuisine. e setting is romantic, quiet, and elegantly whispers of chef/owner Jean Baptiste Piard’s experiences in French Polynesia. Glossy Balinesian wood tables, muted fabrics, and lush foliage provide a serene backdrop, subtly hoisting the modern cuisine into its rightful place as the shining star. I don’t come to Zion for a party, or exceptionally attentive service, or particularly fancy wine (although there are a handful of unique, boutique vintages to be found). I come for the food. I come to see what Chef Piard, once voted the Best New Chef in French Polynesia, has created. ere are only a handful of chefs that get me REALLY excited about food—and Chef Jean Baptiste Piard is one of them.

ere are three ways to dine at Zion—an À la Carte Menu, a Five Course Tasting Menu, and the ultimate experience: the Chef’s Table, a seven-course culinary extravaganza. e Tasting Menu is a great introduction to Zion. I, however, recommend the Chef’s Table without hesitation. In addition to the extra courses, the Chef’s Table comes with the bonus of watching Chef Piard run his brigade. He has stunning good looks and a megawatt smile (saved for only the rarest of moments) and commands his team with the steely silence of a symphony conductor, his dark eyebrows acting as the baton. You won’t hear a cacophony of “Oui Chef!” throughout your

experience, but you will watch a silent ballet, as the kitchen works seamlessly to produce dish after masterful dish.

Whilst there will perhaps be a course that makes you wish Chef had signed the painting a little earlier (I credit my friend Geo rey Zakarian for that line), I promise there will certainly be a dish that you remember for years to come. For me, it is the Squid and Green Curry with Wasabi Ice Cream, and luckily for all of us, it’s a mainstay on the menu. Beneath the squid is a bed of crunchy julienned celery root, lightly spiced green curry oil and a cilantro aioli crème. Everything is topped with toasted cashews, savory wasabi ice cream, and a crispy squid ink tuile. e contrast of temperatures between the cold wasabi ice cream and the searing hot squid, the surprising mix of textures, and the delicate dance of heat and acid is a mastery of balance. e dish is decidedly French and a loving ode to Polynesia.

e French technique of Jean Baptiste’s food is awless, bien sûr, but more importantly, it is modern and exciting. Piard doesn’t lazily rely on the passé usage of dots and foam. He’s constantly innovating, learning, creating, and it shows. From duck tartare with beet sorbet to Jack Daniels caramel, Jean Baptiste is leading a three-ring circus of culinary creativity.

–By E. Désirée Asher

L’FOOD

Take Flight at Le Papillon Ivre

From exceptional wine flights to comforting French classics, Le Papillon Ivre is the perfect place to unwind with friends.

When locals want a quiet evening with classic French wares and outstanding wines, we head to Le Papillon Ivre in St. Jean. Translating as “ e Drunken Butter y,” Le Papillon Ivre, is a charming and traditional French bistro and wine bar. e wine is an eclectic collection of hundreds of unique labels, the food is classic and comforting, and the setting is casually cozy. Le Papillon Ivre is one of those restaurants for which it is hard to write a proper food review. ere’s nothing especially modern or innovative on which to report, but that is exactly the point. Chef/owner Julie Campion isn’t trying to reinvent the wheel. She’s simply trying to have her friends over for dinner.

Female-owned and operated, Le Papillon Ivre is a awless mix of Parisian bistro, a grand-mères’ kitchen in Toulouse, and a quiet night at home. Most diners opt for patio seating, although there are enchanting indoor tables amongst the bottles and open kitchen.

Couples on rst dates, best friends, and vacationers looking to escape the reworks of the trendier establishments all have a welcome place at Papillon.

e sta is uncannily knowledgeable about wines. Simply o er a few directives, such as “white, dry, minerality,” and

three di erent bottles will materialize, all tting the brief. Taste and choose between the three, and opt for a glass or the bottle. ere is no formal wine list, as the inventory continously evolves, but rest assured the bottles range from independent labels to Grand Crus.

Everything is served as small portions “tapas style” and designed to share, which is fortunate—every option is tempting. e chalkboard menu changes frequently, but classics like gooey, baked cheese and garlicky escargot are staples. e petite sardines are creamy, briny, and packed with umami. I like to eat them atop a piece of toasted baguette slathered with French butter and covered with aky lemon seasalt. e crisp and sinfully buttery croque monsieur is laced with tru es (I recommend ordering two). Lusciously smooth foie gras sits atop a juicy gastrique. And, if the beef stew is on special, I enjoin you to order it—think beef bourguignon with an extra splash (read: bottle) of red wine simmered in the sauce.

Le Papillon Ivre is delightful, casual, and unassuming. It is also one of the few places on the island open on Sundays, when you will most likely nd me at a corner table eating sardines.

–By E. Désirée Asher

Founded in Paris in 1994 by Prosper and Martine Assouline, Assouline is the rst luxury brand on culture. It began with the desire to create a new, contemporary style of book, using the couple’s eye for visually rich stories and compelling narratives.

If the sands of St Barth could talk, they would speak of historic legends, wild evenings, and celebrity guests. Equal parts luxury and simplicity, St Barth is a haven for all of life’s pleasures. From sailboats to superyachts, Gustavia Harbor is the beating heart of the island, welcoming international visitors to this unmatched paradise. If traveling by air, the adrenaline-pumping landing is just a taste of the excitement to come in St Barth. An extravagant atmosphere awaits, bolstered

by the wealthy, recreation-seeking visitors, who often host can’t-miss New Year’s Eve parties and fabled events. Whether enjoying a casual lunch at Le Select or indulging in a meal at Cheval Blanc St-Barth Isle de France’s La Cabane, St Barth is a culinary treasure trove. rough the pages of St. Barths Freedom, experience a stay at the Eden Rock, lounge at Le Toiny’s Beach Club, and party in the Caribbean with the jet set—it will be impossible to leave!

– Vassi Chamberlain

Vassi Chamberlain is an award-winning journalist whose work has appeared in newspapers and magazines globally. Vassi has been traveling to St Barths for over two decades.

St.Barths Freedom, Text by Vassi Chamberlain, 10 x 13 in – 25 x 33 cm | 280 pages

ABOVE–St. Barths Bucket Regatta, 2016. © Michaelgramm, Sea turtle spotted in the Caribbean. © Éléonore Musa & Anthony Beaucé, A sailing holiday in St. Barths, circa 1973. © Slim Aarons/Stringer/Getty Images, Karen Joigny wearing Charo Ruiz Ibiza. Photographed by Emily Lab at Toiny Beach. © Emily Lab, St Barths Freedom bookcover, Signs indicating the main attractions of St. Barths © Antoine Verglas

When I really can’t sing anymore, I’ll go to my house in St Barth. I’ll take my guitar, and I’ll look at the sea. —Johnny Hallyday

Doug Aitken, Underwater Pavilion. Courtesy of the artist.