L’OFFICIEL ST BARTH ISSUE 09 – WINTER 2023 / SUMMER 2024 – COVER FRANKIE BELLE STARK

ST BARTH

ISSUE 09 – WINTER 2023 / SUMMER 2024

A Green Heart

FRANKIE BELLE STARK

FRANKIE BELLE STARK Photographed by LAURIE LYNN STARK Swimsuit VILEBREQUIN Top RUI Boots VERSACE

ST BARTH

ISSUE 09 – WINTER 2023 / SUMMER 2024

A Green Heart

FRANKIE BELLE STARK

FRANKIE BELLE STARK Photographed by LAURIE LYNN STARK Look DIOR Jewelry CHROME HEARTS

ST BARTH

ISSUE 09 – WINTER 2023 / SUMMER 2024

A Green Heart

FRANKIE BELLE STARK

FRANKIE BELLE STARK Photographed by LAURIE LYNN STARK Look DIOR Jewelry CHROME HEARTS

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L’INSIDE

FRANKIE BELLE STARK PHOTOGRAPHED BY LAURIE LYNN STARK STYLED by Marissa Baklyan MAKEUP & HAIR by Daniel Kolaric

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Volume 09 | lofficielstbarth.com | L’OFFICIEL ST BARTH

L’INSIDE ISSUE 09 - WINTER 2023 / SUMMER 2024

EDITOR’S LETTER

BY Philippe Combres

19

Straight to the heart.

SO FRENCH SEASON

BY Katie Lister

22

Vilebrequin’s 2024 collection and French savoire faire.

THE SCENT OF PERFECTION Creed makes its way onto St Barth.

UNIVERSAL MYTHOLOGY Bulgari’s mythic sapphire snake pieces.

THE GREEN HEARTS GALA The fundraising gala for the green hearts on the island.

RAISE A FLAG FOR THE FUTURE Utöpia fuses sustainability with art.

WELCOME TO THE CLUB

BY Philippe Combres

23 24 27 29 31

Jarad McCaroll on the brand new Ocean Club St Barths.

GARDEN OF LOVE

BY Philippe Combres

Laurie Lynn Stark brings us into the garden of love.

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57

ISLAND SPIRIT

BY Philippe Combres

Jacques Zolty the brand as told by the men behind the brand, and himself.

61

WRITING A LOVE STORY IN WAVES

BY Skyler Williams

Robert Montgomery and Greta Bellamacina’s new wave love story.

79

RETURN TO NATURE

BY Antoine Verglas

Lolita Jaca’s resort fashions shot in classic old St Barth.

85

THE CINEMA OF POETRY

BY Jenny Mannerheim

Greta Bellamacina talks poetry and filmmaking at Eden Rock – St Barth.

BLESSED BY THE OCEANS

BY Agnes Fischer

101

Dive into the story behind Fisch Swimwear.

MAN OF OUR TIME

BY Rayan Ayash

105

Athlete and style star Achraf Hakimi.

SOMETHING ABOUT THE SEA

BY Gisele Lacoursiere

109

Tony Caramanico’s show on life, surf, and the sea at Summum Gallery.

113

IN BLOOM AND OBSESSED WITH WATER

BY Philippe Combres

Gilles Bensimon on his Space Gallery exhibition and obsessions.

117

THE RECONCILIATION OF OPPOSITES

BY Jenny Mannerheim

An interview with Jean-Michel Othoniel on the power of art.

REVOLUTIONARY ENERGY

BY Jenny Mannerheim

123

Robert Montgomery on his works and residency at Eden Rock – St Barths.

UNDERWATER PAVILIONS The art piece submerged in St Barth causes a wave of change.

127

ODP et Summum Architecture, l’alliance du savoir-faire et du raffinement au service de vos envies. / ODP & Summum Architecture, the alliance of exper tise and sophistication to serve your desires.

summum-architecture.com

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etter from the Editor

STRAIGHT TO

THE HEART Welcome to The GREEN HEARTS Issue. This year, after suffering a heart attack I came to the important realization that there was something missing from our beautiful island: the community of residents here lacked an emergency cardiology service.

Fortunately, Maison de la Santé has recently opened and it will soon be equipped with an electrocardiogram device. Through hosting our charity The GREEN HEARTS Gala, we aim to raise funds to enable Dr. Yves Journo, the renowned cardiologist from St Martin, to commute to the island regularly, providing early diagnoses and delivering the best possible cardiac care treatments to our community.

Similar to last year, the proceeds from the event will continue to support ATE, L’Agence Territoriale de l’Environnement, in its mission to protect the environment.

What could be more crucial than us islanders coming together for the island’s ecosystem and the health and well-being of its residents and visitors – the two things that keep us breathing, living, loving, and dreaming? Over 30 artists, creators, thinkers, and leaders have created a unified message of hope to help raise funds for the highlighted initiatives— The GREEN and The HEART—with 100% of all proceeds generously being donated to these causes.

We invite all dear readers to participate, donate, and to join our collective effort to transform St Barth into the paradise island of our dreams – one we all believe and breathe in.

EVERYONE CAN MAKE A DIFFERENCE AND SAVE LIVES! – Philippe Combres

MARTHE SOBCZAK MARTHE SOBCZAK

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L’CHARITY

The Green Hearts Raising funds for the cardiology program and the environment of St Barth.

St Barth Annual Benefit Gala is back, and this time raising funds for a double cause: THE GREEN and THE HEART. This can’t-miss highly anticipated fundraising event on the island of St Barth returns for another night of extraordinary programming and impactful fundraising with an auction in partnership with the world renown charity auctioneer Simon de Pury, organized by Art Saint Barth, co-hosted by Laurie Lynn and Kristian Stark. The Benefit Auction’s proceeds will support two associations: The Territorial Environment Agency, and its local associations, in their joint mission of environmental protection on the island, and Le Cœur de St Barth, which funds the medical needs of cardiology early diagnoses and

care in St Barth. Guests will immerse themselves in the culture of art and flags, irreverence and pop art, colors, and poetry, with the Flags For Future exhibition, and a curated Benefit auction with international artists works and rare items. The evening is set to be a noteworthy occasion, with cocktails, a culinary experience by Jarad McCarroll, and a live auction at the Ocean Club, all in full view of Gustavia’s sparkling marina.

The Green Hearts Gala Thegreenheartsgala.com

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Raise a flag for the FUTURE

Utöpia, the eco-hub championing the preservation and protection of the lush island of St Barth, and its Flags For Future project.

Utöpia’s mission fills a gap within St Barth’s cultural programming as it focuses on unifying the power of art and influence on the island towards environmental causes.

Working in tandem with other organizations, Utöpia stands for the wellbeing of the island and aims to aid in its ecological preservation in all aspects. On an island like St Barth, where the community is small but influential, this eco-hub serves as a unifying force to champion social good.

With a collection of the world’s most renowned artists’ participation, the Flags For Future project aims to represent the crossroads between art and activism, highlighting ways to recycle ocean waste.

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Artists like Daniel Arsham, Robert Montgomery, Julio Le Parc, Jean-Charles De Castelbajac and Tony Caramanico are just a few of the names participating in this project by creating one of a kind designs that are then turned into flags. The concept

of the flag is to signal the importance of eco-responsability in our world today. These are works that are meant to be waved high and float freely in the wind.

Each flag is made from 100% upcycled plastics collected from the ocean in an effort to promote awareness for marine pollution, the need to protect our oceans, and the ability to create beauty and art from materials of any origin. Being based in St Barth, an island of people who live closely with nature and the surrounding ocean, Utöpia’s mission of eco-responsibility is particularly poignant. The Flags For Future project was made to create something both beautiful and meaningful from waste, and to use the reach of artist’s to spread awareness for an environmentally friendly cause.

ABOVE— Jeppe Hein for Utöpia Flag x Parley, WE ARE ALL INTERCONNECTED, 2020.

OPPOSITE PAGE— Julio Le Parc for Utöpia Flag x Parley, ONDES 110 N°8, 2020.

Utöpia Eco Hub & Flags Editions @utopia_sbh Utopia-sbh.com

L’NEWS

L’OBSESSION

Universal

MYTHOLOGY Southern Radiance Radiance,, Roman Splendor, East Meets West—the Bulgari Mediterranea collection is an ode to the history of gemology gemology..

26

In the Mediterranean Sapphire Serpenti necklace, nine sapphires from Sri Lanka for a total of 40,81 carats evoking snake’s scales are set in a precise and sinuous platinum and pavé diamond body construction. The piece culminates in a dramatic pendant tassel including 80 oval-shaped sapphire beads totaling 116 carats. Injected with dynamism, this sumptuous creation combines the magnetism of the snake silhouette with references to the Mediterranean sea’s unique shades of blue. Two of Bulgari’s most signature elements, the snake shape and the use of stunning emeralds, meet in the incredible Baroque

Serpenti necklace. Creativity and craftsmanship; past and future; heritage and innovation: The Mediterranea high jewelry collection embodies Bulgari’s most sophisticated multifaceted spirit and universal language of beauty and excellence, while exalting the inestimable value of cultures, as well as the generosity and welcoming vibe of the populations that have flourished along its coastlines.

BVLGARI Cour Vendôme, Rue de la République, Gustavia 97133, St Barthélemy @bulgari Bulgari.com

L’DESIR The Scent of

PERFECTION A notable newcomer to St Barth is a beautiful Creed fragrance boutique in Gustavia.

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House of Creed is an authentic perfume house dedicated to the creation of highly original fragrances made from exquisite ingredients. The legend of the brand begins in 1760 when a pair of scented leather gloves was delivered to King George III by a new London tailoring company. Founded by James Henry Creed in the same year as the young king’s accession, the House of Creed has been creating luxury goods for a discerning clientele for more than 260 years. Queen Victoria – George III’s granddaughter – appointed Creed as an official supplier to the royal household.

Then, in 1854, under the patronage of Napoleon III and Empress Eugénie, the stylish leader of European fashion, the House of Creed moved its headquarters to Paris. Creed supplied most of the royalty of the time. In the newly rebuilt Second Empire Paris, Creed acquired a reputation for impeccable tailoring and craftsmanship. The tact and discretion with which a royal, aristocratic, and socially prominent clientele

were handled rapidly became part of the Creed legend.

Creed has continued to create a legacy of unrivalled scents. The Creed family has produced more than 200 perfumes, all testifying to a unique creative spirit that has been passed from father to son through seven generations.

Today, Creed travels extensively to source, research, inspect and commission the finest materials. these highquality natural raw ingredients are then weighed, mixed and macerated, in most cases by hand, in a small artisanal factory near Fontainebleau, France. The process is labourintensive but Creed is driven by artistry and perfection.

The house continues to be a must-have for the most notable tastemakers with musicians, designers and artists regularly seen in its worldwide flagships. From Mayfair to Madison Avenue, and now in St Barth, the Creed legacy is preserved.

Boutique Creed 12, rue de la République, Gustavia, 97133 St Barthélémy creedfragrance.com

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T H E R E I S A N O T H E R W AY T O F LY.

I T ’ S F LY I N G P E R S O N A L .

And once you’ve done it, you’ll never want to fly any other way.

NORTHEAST

|

SOUTHEAST

|

CARIBBEAN

|

F LY T R A D E W I N D . C O M

Photos © Vilebrequin

SCHEDULED SERVICE TO ST BARTHS FROM SAN JUAN, ANTIGUA, ANGUILLA, AND ST THOMAS

L’MODE So French

CRUISE

Vilebrequin is dedicating its 2024 Cruise Collection to the art and savoir faire of being French French..

As the bonafide French luxury swimwear house dressing beach lovers around the world for over five decades, Vilebrequin is flying its homeland’s flag proudly by sporting the red, white and blue colours from head to toe this season with elegant, timeless, fun and carefree creations.

sweaters and pants made in Italy will keep you warm and cosy while keeping it cool style-wise. With Vilebrequin’s beloved mascot being the Sea Turtle, there is no more apt a piece to add to the collection than a turtleneck that fits perfectly.

Zooming in and looking at the finer details across the collection you will find accents that give a nod to French culture: Le Coq – aka the national rooster – makes a loud and proud appearance. There is no print more quintessentially true to that culture than Toile de Jouy, which takes a trip to the French Riviera. All courtesy of Vilebrequin’s bespoke illustrative designs depicting the playful and seductive Côte d’Azur.

But not sure where to put all of these marvelous, stylish and fun pieces for your next whirlwind 72-hour trip to St Barth or St Tropez or wherever it may be? Well, you’re in luck: this season Vilebrequin is debuting its first range of luggage. With focus on impeccable, durable construction, the handles and finishes are made with ecru bonded leather from scraps salvaged from leather product manufacturers; and recycled canvas. The playful monogram print made from the sea turtle symbol comes in shades of blue. You will be travelling in style wherever you go.

– Katie Lister

For those cooler or breezier days, the House has you covered, literally: with luxury outerwear and clothes designed for layering. Jackets inspired by those worn by Breton fisherman are given a modern, chic upgrade thanks to the linen construction, contemporary colour palette and a little “ je ne sais quoi,” French touch. The nautical-inspired

Vilbrequin St Barth Rue de la République, 97133 St Barthélemy @vilebrequin vilebrequin.com

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Welcome to THE Club

Ocean Club St Barths’ arrival on the island brings a dinner spot serving exceptional dishes designed to stun stun.. An interview with Jarad McCarroll, the head chef at the buzzy new dinner club.

Could you please tell us a bit about your background and how you arrived in St Barth?

JARAD MCCARROLL: Born and raised in South Africa, I only got the opportunity to study to be a chef around the age of 20. I left South Africa and began my journey in Switzerland, I studied at DCT international Hotel and Business management School, where I graduated as Valedictorian. I then worked through some of London’s top Hotel and Restaurants, including the Ritz London, Chiltern Firehouse, Harwood Arms, Kitchen W8 and more. After almost a decade in London, Charlie Vere Nicoll found me at Restaurant Ours and brought me to St Barths to work at Hotel Le Toiny Hotel.

PHILIPPE COMBRES:

How was that?

It started off slightly difficult, as the Island was hit by Hurricane Irma. So for my first year on St Barth, there was no Hotel to work at. I talked with Charlie and I asked to stage abroad and work for free in Copenhagen. This was fascinating, as it is not often you get an opportunity to study under great chefs late in your career. So embarked on an 11 week journey, working at Relae, Amass and Geranium, all top 100 restaurants in the world at that point. I came back and more than ever I was motivated to create more than just a meal, I wanted to create an experience, to create beautiful memories for people to cherish.

Le Toiny and I went on to accomplish great things in our small amount of time together. Winning Best Chef of the year on St Barths and the highest rated restaurant in the Caribbean in 2020, by Gault and Millau. And after an excellent beginning, our progress was ended by Covid.

PC:

JM:

Then you decided to move here to Ocean Club, what is the story behind Ocean Club? We’ve heard a lot of stories about the club.

JM: I always dreamed about opening my own space, so as I was PC:

searching for a space on St Barth, we stumbled across the space that is now the Ocean Club, and immediately I fell in love.

Originally we wanted to open a members only club, to deliver a higher level of service, food, and hospitality in St Barth.

Realizing almost instantly that the concept would not work, as St Barth is too transient, to exclude people was the wrong call, we opened to everyone and immediately felt better about it.

Maybe “private” doesn’t mean anything in St Barth...

I discovered that if you’re in Miami, or New York, or London, in any of these big cities you join a private members club to surround yourself with like minded individuals. But if you’re on St Barth you’re already a part of a private club and you are already surrounded by like minded successful individuals, the island is pretty much one big private club. Our vision, and goals remained the same, to deliver a new dimension of hospitality on St Barth, we just have a wider audience now.

PC:

JM:

What is special about Ocean Club?

I am biased as I am completely in love with the Ocean Club and I feel like the space is so unique, so beautiful and so chic. It is honestly such an incredible space that deserves to be enjoyed and used and our team feels grateful to work here each day. Our goal is to create an offering which matches this space, to bring out its full potential. Elevated food, service and hospitality in a comfortable, warm and friendly environment. My goal is always to elevate our guests’ experience. I understand how important everyone’s time is, and if they are spending it at the Ocean Club St Barths, for that little bit of time to be memorable, delicious and unmatched on St Barths.

PC:

JM:

PC: JM:

Could you talk about your relation with the yachting world?

We have a deep love of the Yachting world, and we were

Interview PHILIPPE COMBRES Portrait JULIETTE REMI 30

L’FOOD

designed to be an extension of your yacht, or villa. Our location and view elevates this love of yachting and allows our yacht owners to look over their yacht while enjoying an exceptional experience at the Ocean Club. We have worked hard to form relationships with the yachting world, and have a partnership with Edmiston and Feadship, both world leaders in their respective fields. These partnerships inspire us to chase excellence and motivate us to keep pushing towards higher standards.

Could you talk a bit about the Club’s design?

The Ocean Club was designed by HBA Miami, which is an industry leading architecture and interior design firm. They did a fantastic job, and were very proud of the design. We love the design and feel like it matches perfectly with our affiliation to yachting and with our style of food and service.

PC:

JM:

PC: Let’s discuss the Green Hearts charity gala that will be taking place here in January, the community along with renown artists will be joining us here at the Ocean Club.

JM: We are very excited to be a part of the Green Hearts Gala and feel privileged to host the event here at the Ocean Club. Giving back to the community is always important for me and supporting a charitable cause holds a huge amount of value to me. Tony Caramanico is actually a long term friend of mine and will be one of the artists for the Gala. St Barth is our home and giving back to the place which has given us so much, is a great opportunity.

Culinary experience by Jarad McCarroll at the Ocean Club St Barths. Photography by Emily Lab.

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There is a rumor about another Ocean Club, can you tell us more?

I visited the Montauk Yacht Club this year, and I helped them slightly with the menu. They loved the small amount of work I did and loved what we created at the Ocean Club St Barths, so we decided to form a partnership. I am working on a refit of the current restaurant, and a redesign of the space, bringing the same attention to detail that is seen in St Barth, with the same love towards food, service and of course the guest. The Montauk Yacht Club is such an iconic and beautiful location and has so much history behind it, that creating a new Ocean Club there didn’t require any thought. It is a privilege and an honor to be expanding our beautiful concept and to have an opportunity to create more unique memories and experiences in New York.

PC:

JM:

Congrats! Are you ready for the new season in St Barth?

Definitely, Adrien, our team, and I want everyone to know that they are welcome at the Ocean Club St Barths, that we are excited to welcome them into our incredible space. If you are joining us for a sunset cocktail, an epic dinner or just a small moment with a friend, we are excited to see you. We would love nothing more than to share a moment of your time with you and our team is here, ready to create lasting memories. So if you are a lover of St Barth or just visiting for the first time make sure you come and see us.

PC:

JM:

Ocean Club St Barths 19 rue de la République, 97133, St Barthélemy @oceanclubstbarths oceanclubstbarths.com

Ocean Club St Barths overlooking Gustavia harbour, photographed by Emily Lab.

GARDEN Of Love Artist, entrepreneur, real estate magnate, and mom.

Laurie Lynn Stark is on top of the world and down to earth.

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

Rencontre with an icon, in the St Barth community’s secret garden where she shares her passion for nature with her loved ones.

Interview by PHILIPPE COMBRES Photography EMILY LAB

L’ECO

Sunglasses DIOR - ISLAND OPTIC Jewelry CHROME HEARTS Gardening Gloves CHROME HEARTS Dress ECKHAUS LATTA Shoes Y/PROJECT X MELISSA

You edited and published a magazine for Chrome Hearts, and you are a guest editor for L’Officiel St Barth. Tell us about your love for magazines and print.

LAURIE LYNN STARK: No matter how far the digital world comes, I’ll always have a deep love for printed magazines – I love something tangible, and I use them as references for my work all the time.

They’re like a time capsule. And of course, now working as the guest editor of L’Officiel St Barth year after year is like sharing a slice of our life. I find so much joy working on this with my kids and our friends on the island.

PHILIPPE COMBRES:

You are an accomplished photographer and artist. Who are your favorite subjects and muses?

LLS: My kids are my forever-muses, they are constantly inspiring me not just in my art but in life, being able to work side by side with them is one of my greatest gifts. And I love photographing other artists – I’ve shot some of the most influential musicians, chefs, sculptors, engineers – I find all expressions of art so inspiring and I love capturing them in my photography.

PC:

You are photographing Frankie Belle for this issue of L’Officiel St Barth for the collaboration between Dipped In Blue and Chrome Hearts. How is it to see your children grow into entrepreneurs?

LLS: I never pushed our kids into the world that we’re in – I exposed them to it, and I offered them a platform, but it was always their choice. So now, seeing them grow into incredible designers who have the incredible business minds to take this to another level is beautiful.

PC:

You and your family have a love for nature & conserving it for future generations. How have you managed to build both a fashion empire and a personal life where you are close to nature?

LLS: I think the key is that we have made space for both, we travel so much so it is important to us to make it feel like home wherever we go. And then we also understand that it is equally important to spend time in nature and ground ourselves there.

We embrace the culture from wherever we are and draw energy from both business & nature.

PC:

Tell us about your belief that it is your responsibility as business owners to nurture & support the communities where you have opened stores.

LLS: To me, there is nothing more important than community.

As the world changes from a technology standpoint or from a cultural standpoint, community is everything. None of our stores would have the success they have if we didn’t build a strong community internally among our employees – many of whom have been with us for years (unheard of in this industry) and externally with our neighbors, with the artists and the local crafts people. We spend an unbelievable amount of time researching local artisans in communities – builders, creators, craftsmen, architects – and we incorporate their skills into our Chrome Hearts world.

PC:

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PC: In your partnership with St Barth’s Annual Benefit Gala for the Environment and Wellness, you have married your passion for arts with your dedication to conserve natural resources and protect the existing environment in a place you consider home. How important is it to be an ambassador and raise funds for St Barth?

LLS: We take responsibility for where we are, here on the island

and wherever we call home – it’s so simple. We are only as healthy as the environment around us is and we have educated ourselves on the best practices. We strive to do better year after year. It’s one of my greatest challenges and most rewarding commitments. No one has all of the answers, but I honor anyone who has the right intentions.

PC: Your brand has achieved cult status, and you were recently awarded the Geoffrey Beene Lifetime Achievement Award at the 2022 CFDA Award Ceremony in New York City. How did that feel to receive such an honorable recognition?

LLS: It felt surreal to be among people who I wasn’t sure would ever recognize what Richard and I created and nurtured for decades, and to have them celebrate us so warmly. There are so many feelings we had that night but personally, for our family, it was a night for us to cherish each other and know that what we have built together is so strong & so special and to recall everyone who had helped us get here. It was a beautiful moment.

PC: Your inner circle includes talents like Drake, Lenny Kravitz, Kim Kardashian, Lewis Hamilton. What was the break- through moments and people for the Chrome Hearts brand?

LLS: It’s so amazing to count all these incredible humans as friends, take away their fame and they are some of the most authentic, beautiful people I’ve ever met. That is who they all are to me.

Of course they are world class talented and more importantly, they recognize the soul of Chrome Hearts in everything that we make and we share a joint appreciation for the arts.

What does a day in St Barth look like?

I always swim in the sea, I always meditate, I take life slowly – it’s a place where I ground myself and connect with nature. Filling my days with Pilates, yoga, long coffees at Joel Robuchon, picking up flowers at Bloomy, visiting the nursery La Main Verte and Kikuyu for gardening tools.

PC:

LLS:

What’s your dream project in St Barth?

I would love a sustainable hotel with farm-to-table dining.

I have a dream to build community gardens across the island where residents can raise bees, chickens, and native plants so that we can go back to the roots of the island. I started the first project with a friend of mine, he is a local, and he has a beautiful garden with his sister and their parents, buried in the hills of Gustavia, and all together with friends, we planted ginger, bananas, limes, papaya, mango, coconut, gardenias, herbs, and exotic Caribbean flowers. The plentiful array of fruit and vegetables that we were able to grow, and utilizing the droppings of the roosters and chickens, showed how it helped the soil. We also use the runoff from the house to repurpose the water. Everyone has been sharing their gardening techniques and pitching in, including locals who have lived here for three generations. The garden has been flourishing in such a short time, thanks to the love of our community. Hopefully, people will see the bees, butterflies, and lizards and be inspired to create their own gardens. Eventually, it will enhance the ecosystem of St Barth. Everyone can do it.

PC:

LLS:

OPPOSITE PAGE—Dress & Shoes DOLCE & GABBANA

Eyewear & Jewelry CHROME HEARTS

STYLIST: Marissa Baklayan MAKEUP: Daniel Kolaric ART DIRECTOR & EDITOR: Jenny Mannerheim PRODUCTION & STYLING ASSISTANT: Fanny Gogniat ASSISTANT ART DIRECTOR : Gisele Lacoursiere

Love like an Ocean

FRANKIE BELLE Trips to the beach, late night walks, real talks – friendship is full of love. love. With the support of her buddies Kono and Ama, model, designer and family gal, Frankie Belle has taken up her mother’s former passion for swimwear, creating a range of stylish swimwear and dazzling bikinis for the fashion-focused and eco-conscious next-gen.

Photography LAURIE LYNN STARK Stylist MARISSA BAKLYAN Interview PHILIPPE COMBRES

Bikini DIPPED IN BLUE Jewelry and Glasses CHROME HEARTS

“ST BARTH HOLDS a special PLACE IN my HEART. IT’S LIKE a SECOND HOME to me, A PLACE WHERE I FEEL HAPPIEST and FREEST.” L’OFFICIEL: At just fifteen years of age, you embarked on your journey by starting your own company, Dipped In Blue. How did you conceive of the idea of creating a swimsuit brand?

FRANKIE B. STARK: Well, it’s always been a dream of mine. I would say it’s been a natural process because of all the inspirational people I am surrounded by. Growing up, I was drawn to the water. I spent all my time at the beach in Malibu with my best friend, Kono, and we were always obsessed with bikinis and swimwear. I found inspiration in old magazines, my friends, and movies. For as long as I can remember I was naturally driven to design for myself and was always inspired by everything around me. I feel so blessed to be able to share such a passion for Dipped In Blue with my best friend, we made our dream come to life and have created a space where we can work alongside our other friends – like Flora, who we grew up with and who shoots most of our campaigns and videos.

Could you elucidate the concept of Dipped In Blue? Can you share a bit about its style?

FBS: Dipped In Blue represents femininity first and of course, it’s so much about the personal style of Kono and I – very young and free energy. Like me, it definitely has its moments of craziness while being super chic and minimal, too. I really appreciate the vibe of the 90s – it just symbolised a time when you could express yourself however you wanted, and I love that.

L’O:

Did your parents provide assistance, and does having the name ‘Stark’ confer advantages when entering the fashion world?

FBS: Since I grew up around my family’s factory – I was exposed to all aspects of design, production, and the business so I definitely had an advantage of understanding it all firsthand. My parents truly believed that all of us including myself and brother and sister should have an L’O:

opinion in the Chrome Hearts business. That gave me a very good foundation for starting my own line.

With California culture and 1990s-inspired fashion in your DNA, how has it influenced your design?

FBS: Well, I love the chic minimalism of the 90s and Californian culture, especially beach culture, was really all about freedom. I find a lot of inspiration from photos of my mom during that era and it shows up a lot in the designs we create – as well as in our photoshoots and creative output.

L’O:

How would you describe your unique style?

It’s so hard to put a label on it because I don’t overthink my style – I just wear what feels good to me. Sometimes that means being totally covered up and cozy. Sometimes it’s next to nothing. I think my sister, Jojo, influences my style a lot – she’s my fave and I love everything about her.

She’s taught me to just do what makes me feel beautiful. I love playing with patterns, textures, layers, and funky hats, especially in winter. I’ve been obsessed with this hat she gave me with lil’ cat ears – it makes me feel so cute!

L’O:

FBS:

What serves as your main inspiration?

My mom. Everyday there is something new that makes me inspired by her, she’s a powerful, beautiful, boss-ass woman. When she was younger, she had a bathing suit line of her own called Bet N Gav. I steal her clothes all the time. I remember looking in her bathing suit drawer and finding the cutest lil’ bottoms I have ever seen. When coming out with my own line I made a version of these 80s-styled bottoms and it became one of our best sellers.

When I started talking about Dipped In Blue, it never came up that she had her own line of bikinis! I only later found out the bottoms I stole from her drawer were the ones she made from her line, so she has always been my main inspiration before I even knew!

L’O:

FBS:

Dress VALENTINO Jewelry CHROME HEARTS

Jumpsuit ISSEY MIYAKE Sunglasses MAISON MARGIELA X GENTLE MONSTER All Jewelry BVLGARI

Top RUI Swimsuit VILEBREQUIN Shoes, Jewelry and Headband VERSACE

Bra, Skirt and Boots DIOR Jewelry CHROME HEARTS

“I am INSPIRED BY the BEAUTY IN EACH and EVERY CONVERSATION I HAVE, the BEAUTY in the TREES, in MY FRIENDS, my BOYFRIEND RYLAND n the BEAUTY IN EVERYDAY LIFE.” Is love a significant source of inspiration for your creative process?

FBS: Love is definitely a significant source of inspiration. I love my people and my people are the ones that inspire me forever & always. I am inspired by the beauty in each and every conversation I have, the beauty in the trees, the beauty in my friends, my boyfriend Ryland n the beauty in everyday life. Love is all around and I don’t think I would be as creative without it. I LOVE LOVE.

Now that supermodels and celebrities such as Kim Kardashian and Dua Lipa are wearing your creations, how does this resonate with you as a designer?

FBS: Seeing supermodels and celebrities like Kim Kardashian and Dua Lipa wearing my creations is an incredible feeling.

I’m proud to have these beautiful women appreciate my designs, it’s truly amazing and a dream come true. I want all women to feel as sexy and confident as I do when wearing Dipped in Blue.

L’O: Do you have a favourite love story, novel, film, or song? If so, what makes it special to you?

FBS: One of my favourite love stories is that of my grandparents.

Their young love turned into forever love. They met when they were both just sixteen. They fell in love with each other every day, and their relationship taught me the true meaning of love. They were not just my grandparents, they were my best friends.

L’O: As a swimwear brand, do you think about ocean preservation and plastic pollution as an important mission? Your family have been involved in raising funds for the environment and the oceans in St Barth. Tell us a bit more?

FBS: Ocean preservation and minimizing plastic pollution are essential missions for us as a swimwear brand. My family has been involved in activations to raise funds for the environment and the oceans in St. Barth. We are committed to making a positive impact and contributing to the preservation of our beautiful natural surroundings. Sustainability and doing things in way that has very low impact on the environment is part of our conversation at Dipped in Blue every day whether it’s in the materials we use or the packaging for shipping or props for shoots – everything needs to be reusable and friendly to the environment.

L’O:

L’O: What is the nature of your relationship with your twin brother, Kristian? Do you have the opportunity to see each other daily?

FBS: KJ is my best friend. I really don’t know what I would do without him. We’re so different but so similar at the same time. He just gets me. We were inseparable when we were younger. We live in different places now, but it feels like we’re always connected no matter what.

Like your family, do you share a special affection for St Barth?

What draws you to the island? What are your favourite places and activities here?

FBS: St Barth holds a special place in my heart. It’s like a second home to me, a place where I feel happiest and freest. I love watching the sunset at the beach at Gouverneur, sitting on the dock at Corossol, and having a poke bowl. My favourite spot is behind the rocks at Shell Beach where I like to read, have a glass of wine, and design. It’s where I feel the most creative, inspired, and calm in my lil’ spot.

L’O:

L’O:

What are your aspirations for the future?

As for my aspirations for the future, they revolve around creating and designing. I want to continue evolving as a designer, exploring new ideas, and expanding the reach of Dipped in Blue. I’m studying design in school right now.

Studying has also been such a dream; it’s helped me meet other creative forces and has given me so much knowledge in the business world. I am an owner of Chrome Hearts alongside my fam, and I’ve designed with Chrome for as long as I can remember. I will forever continue to work beside my family and create on my own and with them.

L’O:

FBS:

Dipped In Blue @dippedinbluebikinis dippedinbluebikinis.com

Bra, Skirt and Boots DIOR Jewelry CHROME HEARTS

Jumpsuit ISSEY MIYAKE All Jewelry BVLGARI OPPOSITE PAGE—Top RUI Shorts VILEBREQUIN Shoes VERSACE Jewelry and Headband VERSACE

Top TANKAIR Knitwear ALEXANDRA TURSI OPPOSITE PAGE—Tank top, pants and Jewelry CHROME HEARTS

Bathing suit GUCCI ARCHIVE Sunglasses GUCCI - ISLAND OPTIC Jewelry and Towel CHROME HEARTS OPPOSITE PAGE— Towel DIPPED IN BLUE

Earrings AMINA MUADDI - CARLA ST. BARTH Bloomers and Tights MARC JACOBS Bag CHROME HEARTS

Top FIDAN NOVRUZOVA Bloomers, Tights and Skirt MARC JACOBS Shoes AMINA MUADDI - CARLA ST. BARTH Jewelry BVLGARI

Top ISA BOULDER Leggings ISABEL MARANT Heels DOLCE&GABBANA Jewelry CHROME HEARTS

HAIR & MAKEUP: Daniel Kolaric ART DIRECTOR & CASTING: Jenny Mannerheim PHOTO ASSISTANT & VIDEOGRAPHER: Pablo Gonzalez PRODUCTION & STYLING ASSISTANT: Fanny Gogniat PRODUCTION ASSISTANT: Melina Scordia

Jacket, Skirt and Jewelry CHROME HEARTS Top ISA BOULDER Heels DOLCE&GABBANA

the ISLAND spirit

J

Luxurious fabrics, quality materials, and a unique reverence for the island of St Barth are all fundamental to the Jacques Zolty brand. Discover the past, present, and future of the timeless brand in an interview with Zolty himself, and Paolo Nicola Rossini and Francesco Giliberti, Giliberti, the men behind the brand.

Interview By PHILIPPE COMBRES Photography MARCO GLAVIANO 56

PHILIPPE COMBRES: In your book “Carnet Intime de St Barth,” we learn that you were a model for the greatest masters of fashion photography like Guy Bourdin, Peter Lindbergh, and Patrick Demarchelier. What do you remember from that period?

JACQUES ZOLTY: Ah, what a lovely question! Initially, I took it as an extended vacation; I never took this job seriously. I did it for fun and, I admit, to mingle with the fascinating world of fashion. Then, I became interested in what was happening around me, as I always do. It allowed me to learn the photographer’s craft by observing their methods, how they played with light and characters, and I met a multitude of incredible people, famous people. When you’re among the top ten models on the planet, all doors are open to you.

Can you tell us what life was like in St Barth in the 1980s?

What a delight! I still remember my arrival at that tiny airport; there were no passport controls, by the way. I had no plans; I had a few friends already living there, but I preferred to arrive fresh without talking to anyone. Upon arriving at the port, a hand tapped my back; it was a friend of mine from Paris. By the late afternoon, the whole island gathered at the Select. It was like a movie with all these characters that could be in a film—Vietnam veterans, big tough guys with beards whom I later learned were involved in a bit of smuggling, artists, everyone was there, and there was immense joy. At that time, it was truly what one can imagine as beauty. There wasn’t even a telephone, only two phone booths on the dock. There was no concept of time; nobody was really working. I think only 20% of the population had to work in small hotels or in food. It was a delight, no time, no stress.

PC: JZ:

By the way, since everyone talks about luxury here in St Barth, the real luxury was to come and walk barefoot.

Because all these wealthy and often famous people were looking for an island where they were safe, where they could be left alone, and where they could come for a picnic, meaning eating barefoot and having a sardine at the Select.

There was a small hut in the middle; every evening there were big pots with pieces of chicken and ribs, rice, and everyone came to eat around. Everyone was there; Bob Dylan, everyone mingled and, above all, had a lot of fun.

How did the idea of creating your first perfume come about?

I was tired of buying everyone else’s perfume, so I decided to create my own essences. At the time, my fragrance

PC: JZ:

“ST BARTH will ALWAYS be ST BARTH, paradise EXISTS HERE, you JUST HAVE to RECOGNIZE it. it.””

58

wasn’t mixed with alcohol; I just put a drop, and it would envelop me. I worked a lot with Patrick Demarchelier, who was under contract with Vogue. One evening, at dinner, all the big names in fashion and artistic directors were at the table. There was Fabien Baron, the immense artistic director of Harper’s Bazaar, Laetitia Casta’s first husband, who I believe was a film producer at the time. There was the designer Christian Liaigre, and they all asked why I wouldn’t commercialize my perfume.

Fabien Baron then offered to design the bottle and packaging, Patrick Demarchelier said he would take the photo, and they kept their word. Fabien Baron came back from vacation with a huge box with three different projects.

And it started; I found a factory that could make the bottle he designed. After that, I had to find the conditioner, the person who would mix the perfume with alcohol, bottle it, and make labels. I started this story all by myself in my cabin like that, as a small craftsman. Then I started finding some clients, some shops, but the most dazzling was my meeting with Colette in Paris, especially her daughter, Sarah, who immediately took the perfume exclusively.

PC: While the Jacques Zolty perfume range is developing and exporting around the world, you have decided to also launch a collection of fashion and accessories for men and women, mixing cultures and references. How did you give birth to the Jacques Zolty collections?

PAOLO NICOLA ROSSINI: We considered perfumes as the starting point to develop a full lifestyle concept – our inspiration is our vision of the St Barth lifestyle. In the last 40 years St Barth has become a top resort destination, known all over the world, and still it retains a simple, natural and elegant spirit. It is a place where you are as free to live as you like.

FRANCESCO GILIBERTI: Jacques Zolty is a universe of emotions and feelings that represents the simplicity of the nature in the island of St Barth. Since the very beginning we felt the perfume was the link for a larger product line that aims to tell the story of the island life style. Enlarging the line was a natural development for the brand.

PC: What is amusing is that usually, a fashion brand becomes known for its clothes, runway shows, etc., and then launches its perfume. But you did the opposite?

JZ: Yes, the clothing came about because the associates proposed to accessorize the perfume with a range of timeless pieces inspired by my white shirts, very relaxed, very casual, but I like beautiful fabric. I have always dressed in cotton, twill, and linen.

You have chosen to use exclusively natural materials. Could you explain to us how and where the different pieces in your collection are made?

PNR: The spirit of our collection is built on high quality product. Based on natural materials, we work as team to develop the thought of the product, its design, the choice of materials and our signature prints firmly connected to our identity. All the elements of the collection are manufactured mostly in Europe, choosing only suppliers that guarantee the level of quality we demand.

PC:

FG: Everything starts from the island and the willingness to create a lifestyle brand that reflects its pure DNA. Nature is essential to the Jacques Zolty universe, from the selection of the fabrics and suppliers, to the store concept that uses only natural components.

What are the best-sellers of the season, the essential items to bring back from St Barth?

PNR: Our brand is proudly based in St Barth – meaning that all our pieces are elated to warm climates. Light and soft linen shirts, bermudas, and trous ers have been the backbone of our collection since the beginning. Printed pattern products, including shirts, swimsuits and accessories, are in high demand from our clients and we plan to add new variations each season This season we have collaborated with Borsscino on a selection of classic hats and a special edition for Jacques Zolty.

PC:

PC: Do you feel connected to initiatives aimed at protecting the environment and the oceans of St Barth?

PNR: Protection of the ocean and nature preservation is a true priority, and the initiatives to protect the environment are very important. Even if this theme is getting well deserved global attention, the local initiatives are extremely important to bring tangible improvements, as the sum of local initiatives can bring real results and increased awareness. Some of our products, like our men swimsuit line, use recycled materials and our goal is to move forward in this direction.

FG: At this moment in time there is a growing consensus on sustainability and environment protection. All of us are part of nature and the environment and every single action matters. Jacques Zolty is fully committed to respecting the island, surrounding oceans and nature as a whole. It has to be this way, Jacques Zolty does not compromise with these values.

PC: You have a Flagship store in Gustavia. Tell us about your retail concept .

PNR: Our brand is from St Barth so our flagship store in Gustavia is of central importance to us. Our concept of retail is to open other signature boutiques in major resort destinations in Europe and the Caribbean. In St Barth we are very happy to be working with the boutique of Hotel Cheval Blanc and starting this season we are opening a signature boutique at Hotel Sereno. Working with high end boutiques in beautiful resort hotels is an important part of our present and future retail policy. To further promote the brand on international markets we just opened a showroom in the center of the Milan fashion district and we have an online boutique that delivers worldwide.

How do you see the future of the Jacques Zolty brand?

We want to extend our collection of clothing and accessories while remaining firmly connected to our principles and identity. Our perfume collection, that is getting more success in international markets, will be integrated by a new thematic line of scented candles and bath products. The future of the brand is to keep its roots PC:

PNR:

“Initially, I TOOK it as an

EXTENDED VACATION; I NEVER took THIS JOB SERIOUSLY. I DID IT FOR FUN AND, I ADMIT, to MINGLE with the FASCINATING WORLD

of FASHION.”

in St Barth and exporting its spirit in selected global destinations.

To us, Jacques Zolty is a lifestyle brand. It involves all parts of people’s daily life. This starts with fragrances when you wake up and continues with clothing, leather, but it also includes books, framed pictures, the brand wants to expand in candles, body care and other lifestyle essentials to accompany our brand lover throughout their day.

FG:

What is your dream for St Barth?

I was fortunate to have known that time, the begining of St Barth; I am very happy, and I am fortunate to still be there now. It’s different, maybe more comfortable, but in comfort, there is good and there is bad. St Barth is a lady who has been very elegant, who has given a lot of happiness to many people, and I still respect her, even if today she is adorned with perhaps too much expensive jewelry. When I get off the plane, even if it’s full of cars and construction trucks, there is still joy. People come here to have fun, to dance, and swim. Despite progress and its drawbacks, St Barth will always be the paradise that exists here.

PC: JZ:

St Barth is a unique island. I’ve had the chance to travel to many Caribbean islands and to other major resorts but St Barth remains unique. It is not just the beauty of nature, the sea, the climate; these are elements you can find in many other beautiful places. It is a particular feel that very few places have. You cannot build a place like this on paper, it is something that grows with time, on the base of a chain of conditions and events that are totally unpredictable. My dream is that it remains the very special place it has become in the last few decades, maintaining its unique charm for the years to come.

PNR:

The keep St Barth as it is. Jacques Zolty is 100% engaged in St Barth’s unique footprint!

FG:

Jacques Zolty Rue de la République, Gustavia 97133, St Barthélemy @jacqueszolty jacqueszolty.com

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WRITING a LOVE STORYin STORY in WAVES Artist Robert Montgomery and actress Greta Bellamacina seaside in the St Barth heritage brand Jacques Zolty. Timeless silhouettes and luxury pieces meet in our new wave love story...

With ROBERT MONTGOMERY & GRETA BELLAMACINA Photography SKYLAR WILLIAMS

Leon Green Pique Polo, Trillionnaire bag in SBH Blue Toile JACQUES ZOLTY OPENING PAGE AND ABOVE— Paul Royal Blue Polo Long Sleeve JACQUES ZOLTY

GRETA Private Session One Piece Swimsuit JACQUES ZOLTY ROBERT Jacques Royal Blue Linen Chemise, Normal Yellow Linen Pant JACQUES ZOLTY

GRETA Private Session One Piece Swimsuit JACQUES ZOLTY ROBERT Jacques Royal Blue Linen Chemise, Normal Yellow Linen Pant JACQUES ZOLTY

GRETA Soupir One Piece Swimsuit in Clandestine Orange, Shopping bag in Angela Orange Leather JACQUES ZOLTY ROBERT Paul Royal Blue Long Sleeve Polo, Norman White Linen Pant JACQUES ZOLTY

GRETA Cindy White Kaftan JACQUES ZOLTY ROBERT Jacques Royal Blue Linen Chemise, Arthur JZ Print Blue Shorts JACQUES ZOLTY

GRETA Pink Print Jacques Chemise, Coconut Love One Piece Swimsuit JACQUES ZOLTY ROBERT Blue Print Jacques Chemise, Arthur Blue JZ Print Shorts JACQUES ZOLTY

GRETA Coconut Love One Piece Swimsuit JACQUES ZOLTY ROBERT Jacques White Linen Chemise, Normal Royal Blue Linen Pant JACQUES ZOLTY

HAIR: Sophie MacCorquodale at Sloane Salon, London.

ART DIRECTOR & CASTING: Jenny Mannerheim PRODUCTION: Marinka Burgos-Riaño ASSISTANT ART DIRECTOR: Gisele Lacoursiere

Robert Montgomery is represented by MTArt Agency & Viva Talent Management Greta Bellamacina is represented by Viva Model Management & Tavistock Wood

RETURN

to nature The newest collection from Lolita Jaca, shot with the nostalgia of old St Barth.

Photography ANTOINE VERGLAS Styled by FABY JACA Model CHARLOTTE COQUELIN

OPENING PAGE—Fabiana Kimono in gold embroidered chiffon silk LOLITA JACA

Renee pant in gold embroidered chiffon silk, Stella pyjama in Empire Sun print silk satin LOLITA JACA OPPOSITE PAGE—Romy dress in Empire Sun print silk satin, Renee pant in Empire Sun print silk satin LOLITA JACA

Itemtk BRANDTK Itemtk BRANDTK OPPOSITE PAGE—Itemtk BRANDTK Itemtk BRANDTK PREVIOUS PAGE—Itemtk BRANDTK Itemtk BRANDTK

Maud long dress in Black Seahorse print silk satin, Manolita skirt in Empire Sun print silk satin, Aglae dress in gold embroidered chiffon silk LOLITA JACA OPPOSITE PAGE—Lilirose dress in Empire Sun print silk satin LOLITA JACA

HAIR & MAKEUP: Idalmi Perez STYLING ASSISTANT: Nanou Jaca ART DIRECTOR: Jenny Mannerheim PRODUCTION ASSISTANT: Fanny Gogniat ASSISTANT ART DIRECTOR: Gisele Lacoursiere

Itemtk BRANDTK Itemtk BRANDTK OPPOSITE PAGE—Itemtk BRANDTK Itemtk BRANDTK PREVIOUS PAGE—Itemtk BRANDTK Itemtk BRANDTK

Poet, actress, model – the multitalented Greta Bellamacina spent some time in St Barth, as she vacationed away from England with her family.

Rendez-Vous with Greta Bellamacina at Eden Rock, we discussed her latest collection of poetry, the publishing house New River Press that she runs with her husband, the poet and conceptual artist Robert Montgomery, and her latest film projects, including with the Italian director Riccardo Vannuccini, and a feature she co-wrote.

JENNY MANNERHEIM: Much of the work in your new collection of poetry, Who Will Make The Fire, uses nature as a reference. Could you describe your connection to nature and use of it within your poems?

GRETA BELLAMACINA: The poems are about what it is to live, to really live well, with nature. To watch the future garden die, again and again, like a wild bird shedding its unimaginable feathers. There is a melancholy to it all, starting again, dreaming up the colours, the softness, the love, then watching it disappear overnight and missing what you barely had. There is a line in the title poem ‘Who Will Make The Fire’ which reads “To live, to Live in the scaffolding of the cathedral,” in a certain way we are all living in the scaffolding of the cathedral. Nature is a reminder of that.

“The blooded flowers in the apple,” how the flowers live in the light, that lives inside of you. There is not an escape in the end, it gets you eventually.

JM: You came to St Barth for a stay at the mythical Eden Rock – St Barths, could you talk a bit about the experience?

GB: Travelling to St Barth from London was a beautiful odyssey, three aeroplanes, three future timezones. In that time your mind wanders and dreams a whole book. By the time you finally arrive in St Barth, the place feels like a true refuge, a place away from the heaviness. A resting heaven. And Eden Rock is a reminder of that very duality of time, because of its position, so close to the airport. You are floating in the sea, and then you see the small aeroplanes land in the near distance: low

planes, so close to the sea. I love the surreal positioning of it. I love feeling like I am on the edge of a place – never truly inside of it, but close enough to stay for a while.

There is something so special about the Caribbean atmosphere, and being in St Barth offers you the opportunity to live with the elements.

Did you feel this connection with the natural world during your stay?

GB: I saw the sunrise every day. I had to do very early morning acting rehearsals on the phone because of the time difference.

My routine was to quickly grab my script and phone, so as to not wake the sleeping family, and walk along the beach where the black seaweed had been dragged in from the night’s sea.

Then I would sit at a little table at the Eden Rock restaurant and watch the light change from pink to grey to blue. I loved watching the hotel come to life before the working of the day.

The chairs being dragged out, the beach waiting to decide the course of the day, the seaweed collected.

JM:

JM: You work frequently with your husband Robert Montgomery, having co-founded New River Press together in 2017, tell us about your family founded publishing house?

GB: I guess we both lived in the same house surrounded by other poets. Inside this house we all spoke different languages, but all the languages were poetry. Outside the house, these languages seem mad and useless. Even though these poets were heroes of ours there seemed to be no place for them. It was really about making a poet-led publishing house, started by poets, publishing contemporary poetry and hopefully pushing the canon a small way forward. We just launched our latest poetry anthology Albion an Island On The Verge of Madness at The Shakespeare & Company bookshop in Paris. It was their first event in the bookshop since the pandemic, so it felt very special to be reading poetry again with an audience in such an important

Interview By JENNY MANNERHEIM Photography SKYLAR WILLIAMS Styled by RACHEL BAKEWELL 84

Jacket, top, shorts, jewelry and shoes CHANEL

Dress VIVIETTA Hat VINTAGE

Dress ZIMMERMANN Shoes CHANEL Hat RUSLAN BAGINSKIY Shoes VIVIETTA Headscarf VINTAGE

OPPOSITE PAGE—Dress ALESSANDRA RICH

Full Look SIMONE ROCHA OPPOSITE PAGE—Dress VAMPIRES WIFE Shoes VIVIETTA Sunglasses VINTAGE

Itemtk BRANDTK Itemtk BRANDTK OPPOSITE PAGE—Itemtk BRANDTK Itemtk BRANDTK PREVIOUS PAGE—Itemtk BRANDTK Itemtk BRANDTK

Dress VALENTINO Bracelet VINTAGE CHANEL OPPOSITE PAGE—Swimsuit, Bag, Necklace & Ring DIOR

Swimsuit ZIMMERMANN Hat VINTAGE OPPOSITE PAGE— Sweater ERDEM Swimsuit VIVIETTA Cap and Earrings VINTAGE

Dress LOLITA JACA, bracelet VINTAGE CHANEL - LOLITA JACA OPPOSITE PAGE—Full Look DIOR

historical place. The book features poets that we admire such as Niall McDevitt, Sarah Crewe, Deanna Rodger, Raymond Antrobus and others. It traces the emotional, cultural and political life in Britain in our current moment, living in the shadow of Brexit, and in an increasingly polarised society.

Asking the question what Albion means in today’s Britain?

JM: You’re currently filming Things And Other Things, directed

by Riccardo Vannuccini, the sequel to Commedia, where you’re reprising your role as Irene. How does it feel coming back to this character a second time?

GB: Yes, I am currently filming in Italy, in the Tuscan countryside in winter. The film is set in a post-industrial world, where my character Irene wanders through this strange and empty land. We don’t quite know what is real or in her imagination. Or maybe she is already dead. A lot of the locations are abandoned places, hotels, hospitals, a theme park. It feels very special to make a second film with Riccardo Vannuccini. I greatly admire his work in the theatre. And it feels very important to create cinema that has his world of physical-theatre inside of it. It feels like we are making something unique that has been taken out of logic. All we are left with is the silent language of our bodies and minds.

JM: Poetry is an emotionally connected exercise. Do you find that film offers you a similar emotional outlet?

GB: Yes, I think it’s about moving closer to one another. Poetry is about saying the indescribable – to god knows who and god knows when. But it is there like an emergency code whenever you need it. It’s the same with acting. The films I like to make are the ones that are portraits of people. Films where the camera sits in a room with someone and watches them slowly revealing themselves to you. When the camera stays beyond the drama, and the viewer is left with the quiet language of the room and the person inside of it. This is when you feel like you understand someone, the stranger is suddenly someone you know, someone familiar.

JM: You seem to bring a lot of poetry not only to your movies but to your life in general. All your films, projects, your house decor and your own personal style seem to have a theme or core idea that is unique to your taste.

GB: I enjoy having a creative dialogue with whatever I am making. It’s not about any one thing being more important than the other. It’s all important because in the end. It’s the small ceremonies you build around yourself that become your life. Day by day, the way you pull the curtains becomes just as important as the way you make a film, or write a poem. These rituals are all a part of the same sacred language.

JM: Tell us about your relationship to beauty and how you make your life magic?

GB: I think it all comes from the garden. The garden with its secret circle sewn in it. Because the garden is a place where weather and life and death meet again and again, but it remains beautiful and mythical. It survives and it’s alive.

Also, Robert remains my morning star and my night star.

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JM: With your family you bought a big old house in the outskirts of London, in Kent, with a dreamlike British countryside garden.

Tell us about this project.

GB: Yes, we bought a very old house, a little bit outside of London. We have slowly been restoring it. The garden had been untouched for many years. This year we spent the winter dreaming up a new life for the place, building a kitchen garden and restoring an old Victorian greenhouse. It has been magic harvesting the vegetables. Pulling out the radishes and the onions. Strangely the process seemed to slow time down a bit. I can see through the children’s eyes. They yearn for the plants to grow quicker. But what you learn is that everything has its own timing.

JM: Next, you’ll be starring in the film Tell That To The Winter Sea, which you co-wrote. How did you find this experience of writing for film?

GB: The film is in collaboration with Emmy Award winning director Jaclyn Bethany. We became friends a decade ago.

I was in some of Jaclyn’s early movies. These films were important for both of us. We were learning how to build a language together. How to tell stories in film economically.

We wrote Tell That To The Winter Sea over two different time zones, Jacyln in Mississippi and me in England. I would start my day writing ten pages while Jaclyn was sleeping and then Jacyln would read them and write another ten while I was sleeping. Then we would get on long calls and talk about these characters. Eventually we had the script. The film is about female friendship and a reflection of first love, but a decade later set over a hen party weekend. There is a melancholy to the film, because ultimately time casts its own ideas. I play Jo alongside Amber Anderson, who plays Scarlet. The film also has a dance element to it. These dances become a sort of song book to the characters’ emotional lives.

JM: You could be described as a shapeshifter in terms of expressing yourself through different artistic mediums. How do you go about choosing the projects you take part in?

GB: Usually it starts with an idea or a conversation. But mostly it’s a battle of time. Poetry is urgent to me most days. It’s like that Charles Bukowski poem: ‘We have everything and we have nothing’, that’s how I feel about the way I navigate my projects. Each time I look at a new script or poem I feel like a child, relearning the alphabet.

JM: Is there any artistic media recently that has particularly inspired you?

GB: I have fallen in love with Paula Rego’s series of paintings from when she became a carer to her late husband. The Dog Women series inspired one of my poems in the new collection, the first line says: “I wonder how many women I have to be in this body of a dog”. I am deeply interested in this subject of care and have just finished writing a new script with Jacyln called ‘All Five Eyes’, which is set in rural England in the sixties. The film is told through the relationship between two sisters. Together, they have to care for their younger sister. I think Paula’s paintings really sum up the obedience, sacrifice and love you need to be a carer. A role beyond what it is to be human, where all wishes drown and rise back like flames.

The New River Press www.thenewriverpress.com

HAIR: Sophie MacCorquodale at Sloane Salon, London.

ART DIRECTOR & CASTING: Jenny Mannerheim ASSISTANT ART DIRECTOR: Gisele Lacoursiere PRODUCTION: Marinka Burgos-Riaño LOCATION: Eden Rock - St Barths

Greta Bellamacina is represented by Viva Model Management & Tavistock Wood

Dress & Bag LOUIS VUITTON

BLESSED by the OCEANS Align your breath with the sea’s rhythms and escape to a treasure trove of Caribbean secrets secrets.. A rejuvenation at Hotel Manapany with Fisch.

By AGNES FISCHER Photography LOUISA HAGSTRÖMER Model BRITT BERGMEISTER

CLOCKWISE—

Coquillage Top & Flamands Bottom in Sylvia Blue Tracino Shirt in Blue Gustavia, Gadir Shorts in Antique White Conchiglia Top, Flamands Bottom in Blue Gustavia, Sesi Halter Top and Gadir Shorts in Painted Leo Regatta Maillot in Oregano All looks by FISCH All swimwear made with Econyl® fishing nets and nylon waste.

I did my first press interview with a famous American Fashion editor at Hotel Manapany. It was in the early phases of creating FISCH, at a time when social media was free from difficult algorithms, and sustainability was not yet a corporate buzzword. It was also a time when Manapany was the only place to go. Hurricane Irma had destroyed every beachfront on the island, but somehow the Anse de Cayes boutique hotel had been spared. While the rest of the island (including my family home) remained in an apocalyptic state for months - the newly renovated Caribbean chic eco-resort designed by Francois Champsaur was the only beach resort that was up and running. The rest of our island was a construction site with no internet. Tourists were naturally still scarce after the hurricane, and sometimes I was the only visitor.

I loved the place. Manapany truly offered a fresh aesthetic to the hotel-scene on the island, with its vintage-inspired design and bold colors. I would sit with my laptop on their Klein blue corner sofa for hours, order a beautiful lunch, and during my short breaks let my eyes rest on the warm wood interiors, terrazzo floors, and energizing color palette of blue and green. I did the interview over the phone. I was walking by the pool, overlooking Anse de Cayes. Everything was so blue. The Americans wanted to interview me partially because FISCH was one of the first brands to use ECONYL® (recycled nylon from fishing nets and ocean waste). I remember I was very nervous because I felt that this interview was going to make or break my career. I was also slightly insecure about my Swedish accent.

The article was finally published and was translated into five languages! Elsa Hosk, the supermodel, wore my bikinis, and FISCH became popular. I'm still in business, five years later, with a new Toile Print inspired by the Swedish heritage of St.Barthelemy. We shot it at Manapany - the hotel that inspired me to become a designer.

-

Agnes Fischer

CLOCKWISE—

Italia Top in Oregano Siba Shirt in Painted Leo, Lorien Bottom Jet Black Regatta Maillot in Sand, Regatta Maillot in Cousteau Red Cimilla Skirt in Cousteau Red All looks by FISCH All swimwear made with Econyl® fishing nets and nylon waste.

Fisch @fisch.swim Fischswim.com Hotel Manapany, Anse des Cayes 97133 St Barthélemy @hotelmanapany hotelmanapany.com

“I did MY FIRST PRESS INTERVIEW with A FAMOUS AMERICAN FASHION EDITOR at HOTEL MANAPANY. It WAS IN the EARLY PHASES of CREATING FISCH.”

MANof

ourTIME

At 25, Achraf Hakimi, PSG’s new sensation and the figurehead of the Moroccan team, embodies youth, strength, and style. Making history as the leader of the first African Team in the World Cup semi-finals in 2022, he seamlessly balances his on-field prowess with a passion for fashion. Beyond the game, Achraf’s sartorial flair positions him as a prime contender for the coveted role of a fashion icon, a testament to a career meticulously orchestrated by his inner circle.

Celebrated both on the pitch and by renowned designers, Hakimi is the epitome of a skillful athlete and a style aficionado aficionado..

Photography RAYAN AYASH Styled by MICKAEL CARPIN

LSTAR

Suit DIOR MEN OPPOSITE PAGE— Top FENDI

Bracelets CHROME HEARTS

PREVIOUS PAGE—Top & Cardigan MIU MIU Jeans BALMAIN Watch AUDEMARS PIGUET ART DIRECTOR: Bruno Danto GROOMING: Claudio Belizario PHOTO ASSISTANT: Nicolas Sukhoon

Something About

THE SEA

A deep dive into the world of surf, art and record keeping. keeping. We sit down with Tony Caramanico as he takes us through his journey as an artist, and preparation for his solo show at Summum Gallery St Barth.

GISELE LACOURSIERE: Tell us about your exhibition in St Barth and the works that you are presenting.

TONY CARAMANICO: The works to be featured in this show are going to be some new works on foam and fibreglass, new surfboards, framed prints, several canvases and original collages. These are all made from prints from my journals that I’ve turned into collages.

Tell us about this craft of collage that you have developed? Can you remember the first journal entry collage you made?

TC: In 1978, I started keeping journals. It began as just a small daily record of the waves, what was happening each day, the different seasons, a specific event. It was all about surfing, what I was into, and the people I was around.

I moved in with Peter Beard in 1978. The next year I moved GL:

up to a larger format for my journals. By 1980 I started learning the way that Peter did his journal pages and that took me to the next level. It’s what you’ll see in my work now.

Peter Beard’s mentoring really changed how I journal. Since then, it’s been something I’ve done daily for forty-five years now.

There is something to be treasured in this process of keeping records for decades.

TC: Looking back at a journal page from decades ago it’s like looking back at a movie or a picture. I can visualise each little statement, each little picture, why I put it there and who I was with. That’s been interesting, everything comes back. It’s very vivid and it’s a way of looking back and preserving this surfing lifestyle I’ve developed over these years.

GL:

Interview by GISELE LACOURSIERE Photo MIKEY DETEMPLE 108

L’SURF

“IT WAS A VERY GOOD artistic RELEASE. I FELT LIKE I WAS DOCUMENTING A lifestyle THAT few PEOPLE CARED ABOUT FROM THE 70S TO THE 90S.” Could you describe your creative process?

There’s always been something about journaling, it hasn’t been a chore or arduous. It’s always been fun, especially decades ago when I wasn’t doing much and didn’t have the internet to distract me. I was just documenting my travels. It was a very good artistic release. I felt like I was documenting a lifestyle that few people cared about from the 70s to the 90s.

A boom of interest swept through the late 90s. It was always kind of popular but it never went global like it is now. More opportunities have opened up but it was different back then.

GL: TC:

GL: Could you discuss a bit about your relationship with St Barth?

How did you first end up on the island?

TC: Some friends in Montauk said we had to come to vacation in St Barth, so my wife and I booked a 5 night stay on our way to our home in Tobago. We stayed in Lorient, surfed, did the touristy things. I thought it was lovely and moved on.

Then in 2008 Christiane Celle, whose sons I taught to surf, purchased a piece of mine. The same year she gave me my first show at her gallery, Clic, here in St Barth. That opened up a whole different area of life for me. My wife and I started going back every year, and that was fifteen years ago. For seven or eight seasons, Christiane and I sold a lot of artwork.

St Barth is very welcoming, I’ve had a lot of people come down and surf with me over the years, and we’ve developed great friendships on the island. We know lots of the business people, all the surfers, the restauranteurs, it’s a lot of fun, and at this stage in my life I can really appreciate the quality of life, the safety. And there’s enough surf to keep me happy.

At this stage of the game it’s more about expressing myself through my artwork instead of surfing.

Tony Caramanico, LIGTNING BOLT, 2023. Photos courtesy of the artist.

OPPOSITE PAGE—Portrait of Tony Caramanico by MIkey DeTemple.

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Tony Caramanico, Collage and ‘Something About The Sea’ flag artwork, 2023. Photos courtesy of the artist.

GL: You use boards, journals, prints and canvases among other mediums to create your pieces. How do you find the differences in working with different mediums affect your work?

TC: It’s more interesting for me, and for the people interested in my art, that I do it in different ways. Everything revolves around my surfing lifestyle, and I’ve put my art on surfboards, which I’ve been making now for over twenty years.

GL: Surfboards are both your passion and your art. Could you describe this process to transform the surfboard into art?

TC: It’s just another way of presenting my artwork and having it be part of what I collect and I enjoy. This is my newest way of presenting the artwork, this is different for me and I’ve always wanted to put them on surfboards, the recent ones are some of my best so far. You’ll see in the show.

You’re in the process of creating a monograph book?

I’ve been meaning to do a book for at least a decade, luckily this young man Zach Raffin who I taught how to surf when he was four years old, approached me and said he wanted to do my book. He had already authored a book and had been working in the surf industry for around 6 years, so he and an Art Director, Dany Schutt, are actually constructing the book.

We’ve been in the process of working on it, we’ve shot around three thousand images of my journals and narrowed it down to about two hundred. We did a lot of interviews to convey what’s on the pages, the little stories behind them, and this crazy lifestyle I’ve created and documented. I’m really excited to see how it turns out. It’s coming out in Spring 2024 along with an art show of mine and print images that have never been seen. Out of all the images I’ve done I’ve only printed about seventy-five, I have well over sixteen-thousand images so we’re going to show a lot of new work with the stories behind them GL: TC:

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in the book. In making this I’ve realised how much content I have and how little can actually be put into the book, it’s about only a small percent of the stories I’ve documented.

You’ve made a flag for this exhibition and Flags For Future, could you discuss what the concept of a flag means to you?

TC: It’s something I’ve never done before. A flag is to fly the message and the colours of what you’re trying to state, mine will be about my world which is ocean awareness. It’s a different way of presenting a message, and for me I would have never thought of doing a flag. It’s neat, I hope you like them.

GL:

GL: Your art and surfing are intrinsically connected to the ocean.

How has this bond influenced your perspective on environmental conservation and the urgent call to protect our oceans?

TC: Well, I’ve noticed times changing. Back when I started travelling in the early 70s I would go to pristine places, there weren’t all the crowds, especially around surf breaks, because they were usually off the beaten path and around river mouths and in exotic locations. As those surf breaks became popular, towns grew around them and pollution started. I noticed that early on. Surfers are a good barometer for the water quality because they get ear infections. A real defining moment for me was when I first when to Bali in the 80s to surf, it was pristine and had this sort of mystical vibe. There was no fast food and no plastic, no high rise hotels even, it was really like going back in time. Later in the 90s I went back to Bali as a sponsored surfer, and I remember surfing one day off Kuta beach and as I was paddling my hands were filling up with bits of plastic. It was so bad that as I got out of the water I was quite disgusted. They just didn’t have the waste management there in a fast growing place like Bali, the mecca of surfing now, it was hard to control.

Everything got thrown into rivers. They went from wrapping

everything in palm leaves, natural biodegradable products, to using plastics and Styrofoam. It didn’t take very long for that to dominate everything that got sold there. The waste all ended up on the beach. They would rake it but they would bury the trash on the shoreline. The tide would go up and it would all go back out to sea. Over the years they have developed programs to address that but still it’s about educating the people. That’s the moment that really got me, these exotic remote locations getting polluted. Not to mention more industrial worlds, like in California where they shut the beaches when it rains.

That’s heightened my awareness, and I do like to get involved in different surfing events and foundations, like Surfrider, and donate to that. I find that’s kind of my area of expertise.

GL: You’ve had a surfing career that has spanned decades. Is there a moment that stands out to you as pivotal?

TC: Yes there were a couple moments. The first time I caught a wave it felt magical. No surprises that it became my life’s path. It was exciting and there was a sense of adventure to it.

It was still unknown, globally there were only a few surf areas and there wasn’t even professional surfing. There were a few surf contests in California and Hawaii that you could see on TV, but that wasn’t the real lifestyle. Another moment for me was when I won Greg Noll’s Da Bull Surf Legends Classic in Costa Rica in 1991 and the year after. After winning the contest Greg, a legendary pioneer in big wave surfing, gave me my own surfboard model. That changed everything for me. It put me on the path of professional surfing and travelling.

Was there a moment where you knew this hobby would become a lifestyle for you?

TC: The real lifestyle was actually surfing, travelling, and discovering waves around the world. Early on that was all part GL:

of it, that was a big part of it, that’s what I brought into my journals in the late 70s and 80s, because I had the opportunity to go to these great places, be a sponsored surfer and even help create an award winning TV show for ABC sports. It was still wide open then.

GL: Jimmy Buffett, who unfortunately passed recently, was a fixture on St Barth and did a lot for the island, funding reconstruction after Irma. Could you describe Buffett’s impact on your life?

TC: Jimmy knew how to surf. When he showed up in Montauk around 20 years ago, we fast became surfing buddies. Over the years he’d been very gracious with me. He had bought a lot of my art work and surfboards, and when I had a show in Key West he let me stay at his place. We went on surfing trips several times, so I got to spend a lot of quality time with him, especially in St Barth over the holidays each year when he would be on the island with his family. We surfed together for pretty much the last decade or so during every birthday and New Year’s day, it was something I really looked forward to.

It’s been tough.

You’ve participated in the St Barth annual Benefit Gala for the environment for the 2nd year where you have donated an artwork.

Is it important for you to give back to charitable causes?

TC: It’s good for the environment and it’s good to give back to the island. St Barth has given us so much over the years, so everything about these benefits is important. I was very happy to be involved last year, and this year well do it again. I’m donating one of the artboards, and I’m looking forward to it. I think this year will be even better than the last.

GL:

Tony Caramanico ‘Something About The Sea’ Exhibition: December 2023 - April 2024 Curated by Jenny Mannerheim for Summum

Summum Gallery Les Sables, Saint Jean, 97 133, St Barthélemy summumarchitecture.com @summumarchi

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In bloom and OBSESSSED with water Gilles Bensimon, a renowned figure in photography, has enjoyed a distinguished career. After solidifying his reputation at Elle in Paris in 1969, he made a bold move to the United States and became the International Creative Director for American Elle, reaching an astonishing 20 million readers worldwide.

For nearly three decades, Gilles Bensimon has captured captivating images that celebrate women of all ages in empowering ways. We spoke with the artist to discuss his recent obsession, his Flowers in Water series, a breathtaking fusion of colours, movement, and reflections, exhibited in Space Gallery St Barth in both Gustavia and Soho.

PHILIPPE COMBRES: So you are a regular visitor of St Barth. How long have you been coming to the island?

A little over twenty years. I moved to the USA to participate in the creation of North American Elle. I mostly went to the Bahamas, and I discovered St Barth later. When I arrived, I discovered the magic of the people of the island.

I made friends and found different interesting places. After a while, I started to take my family here for a Christmas vacation. I have lots of people I know here, Larry Gagosian, all these people. I practically never go out, strangely, except for when I was in my 40s in Paris. Some people who live here

GILLES BENSIMON:

Interview by PHILIPPE COMBRES 112

have never even seen the other side of the island; they’ve never even been to the sea. For these people, life was difficult, and they still run the island.

Is there a moment when you think that the island of St Barth changed a bit?

GB: I was afraid that suddenly the place would become a resort destination. But I think the island changed for the better. The roads are better, the island is safe; you can leave your house unlocked here. When I saw all of St Tropez coming here and opening restaurants, I was worried. There is nowhere in the world that compares to St Barth, so I hope that people who come here respect the island and its beaches. I don’t know if I told you, but I think Laurie Lynn mentioned it, I was renting Rudolf Noureev’s house for three weeks. It was a shack. I told them to come, they told me, “Gilles, we’re in Los Angeles, we could go anywhere,” and after three weeks, they came.

They arrived, and Richard (Stark) fell in love. Before I was on a trip with him, I was shooting in Iceland. At this time, I was shooting in Iceland. And I was taking pictures of Jesse Jo when she was 14 or 15, with another girl. I said, I need a chaperone. I said “Richard you have to come, Richard come as a chaperone”. And he fell in love with Iceland as well. Iceland is so beautiful, untouched. People build tiny houses. I discover places in the best way. I never bought a house because before I got divorced, I built a house in the Hamptons, but after you divorce it’s a tsunami. But it’s ok, I have two daughters.

PC:

Let’s talk about your work. You start your exhibition, In Bloom, with the Flower series. Tell me about that decision.

GB: I’ve always been obsessed with water, even in the fashion pictures I’ve done. I swim every day. I spend so much time in the water, some days four or five hours. And I’ve also always been passionate about flowers. I love gardens. So the combination just seemed natural for me. I started the work when my contract with Elle was ending. The contract was more than generous, and I was in the process of getting a divorce. Suddenly, nobody wanted to work with me because, as a photographer, when you find yourself at the head of the magazine, nobody likes that. I understood that, and I was not bitter. This was more than twenty years ago.

PC:

PC: Do you think it was also about your images being heavily focused on the nudity of women?

GB: I think they decided that my contract was too big. When you work for a magazine, ethically you can’t work for the clients of the magazine. I learned a lot then. After, I started with the flowers in water, and it took me three years. Every summer, I played around with these ideas. As time went on, I started to do shows in galleries. But I need a special swimming pool; I can never find the perfect swimming pool to shoot these images.

What sort of swimming pool?

It needs to be close to a place where I can get fine flowers, and you need this mix of sun and shadow, and also a deep pool

PC:

GB:

Gilles Bensimon SELF PORTRAIT. OPPOSITE PAGE—Gilles Bensimon, FLEUR 1841, Edition of 3, 2012.

but not too deep because I have to be in the pool to take the picture. And I need the time because at that point I spent two or three months doing it every day. Perhaps I’ll do another series one day. But I think the project might be finished. You know when you’re done with something.

Can you tell us about the mythical meaning?

This may sound depressing, but everything is about death.

I have an obsession with death. It’s because I know that when you see death in movies, it’s so different from a painting representing this feeling of death. With music, it is different because if I listen to Pablo Casals, for example, the spirit is still there. The movies get old. Even if you love a movie, when you look at it again it’s not the same.

PC:

GB:

When I was a kid, I gifted my mother flowers, and she told me not to cut them for her because they are dead, as a kid I couldn’t understand what she meant.

GB: It’s that same idea. When you put those cut flowers in water, they are alive again. I could recreate something through this. And you know I destroy a lot of cameras; I spend hours taking the images. I can’t always find the flowers I want to use, but it’s still so magical. I have tried to recreate some of them, and I can’t do it. It’s too bad I can’t show the images bigger.

PC:

“THERE IS nowhere IN THE WORLD THAT compares TO ST BARTH.”

Do you mean the size?

Yes, because when you use bigger images, images that cover the walls, it creates the feeling that the room is submerged in the water as well.

PC:

GB:

So it’s a question of the size of the wall?

It’s about size and proportion. For this current show I’m very happy with the outcome.

PC:

GB:

It took a lot of time to have an exhibition of yours here in St Barth. Why did you wait so long?

GB: I never push myself. If people don’t ask, I will not do something. I love when people see and like my passion, but I’m very bad at selling myself. Either I’m too pretentious or people don’t like it. I have another big show coming up, an exhibition in Paris, with Workonpapers at Larock-Granoff. It starts in September. But I’m afraid it won’t get much recognition.

PC:

Yeah. I think every artist is a bit afraid when they meet their audience.

GB: Yes, people judge.

PC:

PC: The show will continue until August 25th, giving visitors the opportunity to access your beautiful creations. What do you hope viewers will take away from the exhibition? How do you want it to impact them emotionally?

GB: I would like it if people became absorbed in the bigger images, and maybe some people even ordered them; the bigger images really give you a feeling. I don’t want to show more pictures of naked women. I’m not against nudity, but it makes me uncomfortable to take nude pictures. My whole life, I have been uncomfortable taking nude pictures.

You mean now?

All my life. When I worked for Maxim, we never showed anything. Our models always had something on. It’s not about voyeurism; it’s an image of a woman as an object, and I have daughters.

PC:

GB:

Have the times changed maybe?

Whether they have or not, I’m not comfortable with it; there are plenty of other things to take images of. It’s funny because men are almost never naked, except in certain types of magazines.

PC:

GB:

It seems that you are passionate about water and the ocean. Do you feel concerned about the alarming environmental issues and especially the protection of the ocean?

GB: I am obsessed with water. I mean, I do my part to pick up any plastic I see when I’m walking along the beach.

PC:

PC: Every winter, we do a charity gala raising money for environmental causes here in St Barth.

GB: I would be happy to donate to that.

Gilles Bensimon ‘Flowers in Water’ Series Space Gallery St Barth @spacegallerystbarth info@spacestbarth.com

FROM TOP TO BOTTOM— Gilles Bensimon, FLEUR 6095, Edition of 6, 2012.

FLEUR 7644, Edition of 3, 2012. FLEUR 6663, Edition of 3, 2012.

HUNT SLONEM

SPACE GALLERY ST BARTH ST BARTH | NEW YORK Space Gallery offers bespoke art services to both our new and legacy collectors sourcing and building collections of prestige with important works by world renowned artists spacegallerystbarth.com Follow us @spacegallerystbarth

OPPOSITES For his exhibition at Perrotin gallery, The Reconciliation of Opposites, Opposites, Jean-Michel Othoniel uses painting and sculpture to explore contradictions that reside within himself and his work.

Drawing inspiration from natural forms, Othoniel grapples with the juxtapositions between minimalism and sensuality, and contemplates various aspects of his own.

Interview JENNY MANNERHEIM Portrait GUILLAUME ZICCARELLI

©Jean-Michel Othoniel / ADAGP, Paris & ARS, New York, 2023. Courtesy of the artist and Perrotin.

The Reconciliation of

L’ART

JENNY MANNERHEIM: In this work for Brooklyn Botanic Garden, you’re using this idea of emotional geometry. How would you translate that into French?

J-M O: In French, I titled an exhibition at the Louvre Cour Puget in Paris “Géométrie Amoureuse.” It’s a geometry that is somewhat disrupted by emotion and embraces the idea of sensuality and beauty, which I consider very important today, to bring beauty, hope, and wonder back into the world. Given all the disasters that surround us, it’s evident how essential it is today, I believe, to bring hope. It’s somewhat my mission as an artist to reintroduce this notion of re-enchantment.

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JM: To help people reconnect with their spirituality, to potentially feel something profound?

J-M O: Yes, and that’s precisely what happened with my exhibition at the Brooklyn Botanic Garden this summer. I truly viewed that space as a dreamlike place: the garden is a space where one can escape the world, surrounded by the beauty of flowers and nature, and reconnect with oneself and the world, finding the energy to face the world again.

It’s not about retreating into a fairytale or virtual world. On the contrary, it’s about re-establishing contact with reality through the beauty of the artworks.

You mention Monet and Giverny, but there’s also some influence from east Asia reflected in your work, like a Buddhist temple or Lotus flowers. I imagine your art speaks to people from all cultures and countries?

J-M O: Yes, I am lucky. I experienced this when I had my major exhibition at the Centre Pompidou in Paris, which traveled across multiple continents and countries, including China, Korea, Japan, and New York, at the Brooklyn Museum. It allowed me to see how my work was open enough to connect with different spiritualities and perspectives across the world, and different perspectives. I really consider myself lucky to create artwork where the idea of contemplation and beauty speaks to people around the world. Thanks to this, I have a strong presence in Asia. The relationship with beauty that exists throughout Asia helped me accept and embrace the concept of beauty, which in my Judeo-Christian culture is often burdened with guilt. This idea that beauty is synonymous with lightness and a lack of radicality, while in many Asian cultures, beauty is a step towards spirituality.

This has truly opened up my work and liberated me. When you look at the paintings exhibited at Perrotin, you are fully immersed in these backgrounds of white gold leaf JM:

©Jean-Michel Othoniel / ADAGP, Paris & ARS, New York, 2023. Courtesy of the artist and Perrotin.Photographer: Claire Dorn.

It’s been three years since I’ve had an exhibition in New York. I’m happy about this dual exhibition because, as I mention in the title, it’s about reconciling opposites, such as between sculpture and painting. The second floor of the gallery primarily features sculptures, while on the top floor, there’s a whole new series of paintings that I’ve never shown in the United States, which are paintings in color. These paintings were initially inspired by natural patterns. I’m a very contemplative person; I enjoy observing nature and drawing inspiration from it. That’s one of the reasons I have always loved visiting St Barth, as nature here is so beautiful, present, and uplifting. I looked at flowers and used their architecture as the basis for these paintings. Created in the last two years, they are very large canvases on white gold leaf with abstract images inspired by nature. Paradoxically, my work is very close to both the baroque and the sensual. But at the same time, I love minimalism, I admire conceptual art, and it’s true that my artistic influences are people like Donald Judd and Ellsworth Kelly. In Ellsworth Kelly’s work, there is precisely that focus on nature to derive abstract forms.

JEAN-MICHEL OTHONIEL:

that reflect light through the painting. It creates a genuine emotion where you are embraced by beauty. That’s why I mentioned Monet. When we see ‘Water Lilies’, we find ourselves in this idea of something so vast that envelops us, welcomes us, and at the same time comforts us.

JM: Yes, and in your paintings, it seems that there is also a sense of movement through light and reflections (which is different from the sculptures; they are almost static).

J-M O: Yes, with light, but also with the changing of seasons and the reflections of trees in the pearls. Some of the artworks are even kinetic, like the one in St Barth. It moves, it’s an artwork in motion. But I believe there’s something related to calligraphy in this relationship with movement, especially in painting. So, it’s true that this calligraphic relationship might recall the influence of Asia on my work, and it’s a way to involve the body in a different manner. Painting is something very personal. I enjoy doing it because it allows me to reconnect directly with the material. I’m alone facing the canvas, and my mind can truly wander and reconstruct itself. When I create sculptures, they are often monumental, site-specific, or commissioned public or private sculptures.

In those instances, I have control over a team, engineers, and craftsmen, which I love doing. However, I also love being alone with the material. Perhaps that’s also what the title of the show, The Reconciliation of Opposites, signifies; it’s about the two facets of myself, the collaborative side, and the side in direct dialogue with the material, both of which are equally important parts of myself.

JM: Let’s talk a bit about your relationship with painting. When did you start?

J-M O: I’ve always drawn. All my artworks, even the sculptures, start as watercolors. Every morning I make watercolours; it’s like a diary. I draw every day, too. Some of these drawings will become sculptures, while others remain in the archives and never see the light of day. But at some point, about ten years ago, I felt the urge to confront the medium of painting, which I had experimented with before. In the 1990s, for instance, I created paintings using phosphorus, the material used for matchboxes, then exhibited in New York, at Nicole Klagsbrun’s gallery. This connection to painting has always been there, albeit somewhat in the background. Ten years ago, I truly decided to confront this history of painting, which is a history in its own right. I started working on paintings that at the beginning were black, representing shadows of my sculptures. Little by little, over the past ten years, I’ve continued. I had a major exhibition of six paintings at the Louvre, now part of the permanent collection displayed in the Puget à Paris courtyard. That was another moment that pushed me to assert my desire for painting. Now, here in New York, this is the first time I’m really showcasing the paintings on their own, without my sculptures. To me it’s my first major painting exhibition.

ABOVE—Jean-Michel Othoniel PRECIOUS STONE WALL, 2023, Powder pink and light green Indian mirrored glass, wood. RIGHT—PRECIOUS STONE WALL, 2023, Ice blue and champagne Indian mirrored glass, wood. OPPOSITE PAGE—Jean-Michel Othoniel. PLUM BLOSSOM, 2023.Paint on canvas, colored inks on white gold leaf. PREVIOUS PAGE—Jean-Michel Othoniel, POPPY, 2023. Paint on canvas, colored inks on white gold leaf.

“I’M ALONE FACING THE canvas,, AND canvas MY MIND CAN TRULY wander AND RECONSTRUCT”

J-M O: The art world is a very intimate world. There are very accomplished artists who may not necessarily be known to the general public. Creating an artwork in a public space, in Paris, in such a prestigious location, allowed me to connect with the city, the public who may not know me but will discover my work thanks to this exceptional location. It’s my calling card. It’s truly the thing that has made people aware of me.

JM: Do you feel the need now, after all this success at Versailles, the Brooklyn Botanical Garden, Perrotin, and all over the world, to have more autonomy over your work?

J-M O: No, but there is a desire for intimacy, an almost loving connection with the work. I’ve recently created a large space near Paris, in Montreuil, where I have a studio that serves as a platform for collaboration with other artists, creating a kind of cocoon in which I can present my work differently. I recently established a foundation with Johan Creten, which bears both our names, to bring to life this space which is more intimate. However, this doesn’t prevent me from having several exciting projects on the horizon, including an exhibition in Brazil and another in Shanghai. Many projects have emerged from the Botanic Garden exhibition.

Is the Foundation open to the public?

We will receive visitors, but it will be by appointment, very intimate. I also believe that what’s important is to create a new dialogue around the artworks, one that is autonomous, not tied to museums, galleries, nor the market.

Rather, a direct dialogue between human beings. To have that human connection, which for me is very important today. At the foundation we are creating, there will also be artist residencies where artists can stay for a week or more to work with the archives and engage with our teams. It’s really about establishing a space for reflection and creation with other artists.

JM:

J-M O:

Tell us more about the foundation.

The location is La Solfatara, named after an active volcano near Naples where you can find glass, sulphur, and earth. These are all elements that are part of our work with Johan. It’s also a symbol of energy, a mysterious place where people used to go to listen to an oracle who provided images of the future. It was one of the major sites visited during a grand tour that Johan and I undertook near Naples. After discovering it some time ago, we wanted to create our own volcano near Paris.

JM:

J-M O:

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JM: Speaking of Paris, your sculpture, ‘Kiosk of the Nightwalkers’, placed at the Palais-Royal metro station, is highly regarded. Is that the first artwork that made you famous?

JM: Do you think it’s important, as an artist, to create public artworks?

J-M O: Yes, it’s important for artists to take their work to the streets. If we want the artwork to have the power of reconciliation, of humanity, of wonder, we need to make the effort to bring it to the public. Creating works in public spaces demands a lot of energy and effort, and I don’t do it frequently because it’s time-consuming, but I enjoy: to inspire people, to bring a bit of dreams, emotion, and humanity. That’s what’s important.

And this precious artwork has never been vandalized?

No, I’ve been very fortunate. But I believe that when I created it, I made a bet on beauty. I thought that if we provide beautiful materials, if we show people that we respect them and trust them, and if we offer them the opportunity to make this artwork come alive in the city, they will respect it.

And that’s what happened.

JM:

J-M O:

JM: That’s what I found exceptional after 23 years. People ultimately respect beauty.

J-M O: Yes, it was a gamble, and I think we’ve won it now because the artwork has become a part of the city’s heritage.

Today, I meet people who were born in the year 2000 and are 23 years old, and they don’t believe the artist is still alive.

They think it’s an artist from the last century, which is true.

Someone asked me, “Are you the artist’s son?” I said, “No, I am the artist!”

JM: I wanted to come back to St Barth. How did you design this kinetic piece at the entrance of the Cheval Blanc Hotel?

J-M O: It’s a constellation. In this sculpture all the pink pearls create The Constellation of Pegasus, which is the winged White Horse. What struck me when I first went to St Barth was

the night sky on the beach. It’s so exceptional, so beautiful, so natural, and unpolluted by light. It’s magical. I wanted that constellation to be depicted, and that’s why it moves, to mirror how constellations move with the seasons in the sky.

So, it was a kind of poetic dialogue with the idea of the horse, which is very prominent in this hotel. But when you see it, it’s also like a giant exotic flower, which has its own energy.

There’s the idea of the infinite knot, of this world that always renews itself. It’s an artwork that I really love, and I’d love to come and see it more often.

Did you have the time to visit St Barth?

Yes, I explored the entire island, from the various coasts to the different bays. I haven’t experienced St Barth during the very festive moments; I visited it during the off-season, and it was truly so beautiful, so poetic, and the nature is exceptional. It’s a small island, but everything is very different. That’s what’s beautiful. I would love to have an exhibition in St Barth.

JM:

J-M O:

Yes, it would be incredible to organize an exhibition in St Barth. On a related note, since you paint and create sculptures related to nature, and today, there’s a lot of talk about the environment and how to take action. How do you feel about these discussions and actions, are you invested in them?

J-M O: The biggest work I’ve created is a sculpture called The Big Wave that I made five years ago. I made it after the tsunami, while I was in Japan at the time I realised that we needed to freeze this catastrophe to commemorate it, so I created this wave that looked like it had been stopped, to create a sort of “stop, no more” statement. So, I made this large wave as if it were frozen. I made it with bricks, with JM:

the idea that bricks also represent rebuilding, starting over.

You find bricks in every country on earth, which makes it really a universal language. Perhaps the power of artists is to capture a moment and try to say, “That’s enough. It’s time to stop. Stop this image of catastrophe and let’s rebuild.” It’s currently in my studio in Montreuil.

That must have been an impactful moment.

It was impactful because all my artworks were made of glass. We made the decision to say, we’ll set up the exhibition to show the earth’s fragility. Throughout the entire duration of the exhibition, there was never an earthquake. It was almost a mystical gamble on my part. Holding this exhibition was like praying for Japan. At the end, the Imperial Princess thanked me because many people were leaving Japan or wanted to leave. I said, on the contrary, we have to stay, the artworks have to stay. We have to make an offering to nature. It was one of the most beautiful and moving moments of my career.

JM:

J-M O:

JM: In St Barth, we live with nature. Last week, there was a hurricane alert. The residents are used to rebuilding all the time.

J-M O: Yes, it’s important to evoke this idea of rebuilding the world. And this is very present at Perrotin gallery. There’s a whole series there, Precious Stonewalls – they are like small hotels hanging on the wall in the exhibition. They are like altars. But they’re not places of prayer. They’re places of hope.

ABOVE— Jean-Michel Othoniel THE CONSTELLATION OF PEGASUS, 2020, Photograph by Rafael Luhrs. OPPOSITE PAGE—Jean-Michel Othoniel, PLUM BLOSSOM, 2023. Photograph by Claire Dorn.

Installation view of Jean-Michel Othoniel: ‘The Flowers of Hypnosis’ at Brooklyn Botanic Garden, 2023. Photographer: Guillaume Ziccarelli.

Perrotin Gallery @perrotin Perrotin.com

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REVOLUTIONARY

ENERGY Robert Montgomery’s art at Eden Rock celebrates the iconic hotel’s 70th anniversary.

In honor of the Eden Rock hotel turning 70, a slew of exciting events have been taking place this season, one of the most eagerly awaited has been the artist Robert Montgomery’s works on view throughout the hotel, presented by Art Saint Barth. Having done a show at Eden Rock – St Barths ten years prior, this year’s residency was a return to the island for the artist and a chance to re-install his ‘All Palaces’ (2018) piece which was destroyed by Hurricane Irma. The artist’s stay, which included the performance of the fire poem ‘Love Is The Revolutionary Energy’, is a moment for the hotel to celebrate creativity and inspiration, and a chance to showcase the powerful nature of art in the beautiful oasis that is St Barth. The artist has also created an exclusive limited edition flag with Utöpia Flags and Istanbul74.

Other editions and works of the artists will also be available at Eden Rock – St Barths.

How do you define your art?

Everything I do is an investigation of where art and poetry might meet, and how to make poetry physical, how to make it concrete. So I’m trying to make paintings that are poems, light works that are poems, billboards that are poems. I’m always trying to hit the magic point where something is an art object and a poem at the same time, where there is no separation between those two things. For me poetry is almost my religion.

Poetry isn’t just a language of reflection, it’s a place we can go for solace, a place to heal. The languages that dominate our world are the languages of the news media and the

JENNY MANNERHEIM:

ROBERT MONTGOMERY:

language of advertising, and what they share is that they are entirely materialist languages. They treat us only as a demographic, as a voter, as a consumer, or as our exterior identity, just as a number really. As a relief from that type of language poetry treats us as whole beings. Poetry can speak to the child inside of us, and it can reconcile our fragile hearts with a brutal world.

JM: Your art brings a lot of comfort to people, especially in times of loss. Can words heal sadness?

RM: Well some of my pieces like, ‘The People You Love Become Ghosts Inside of You and Like this You Keep Them Alive’, are about grief. They are things I have written to help myself work through my own grief, so maybe they are helpful to other people. Can words heal sadness? I don’t know. I actually think we are in a kind of collective trauma at the moment because of the assault digital media has made on our psyche. And that poetry is the place we can go to heal from that, and to rediscover the actual magic of the world.

The real world actually has lots of magic and kindness in it. It is magical to still be alive on this hurtling blue-skied planet, but we are too often blind to that and we seem to have lost a spiritual connection to the world. Poetry, which can reconcile the material and the immaterial, can reconnect us to the earth and recover the magic hidden in the mundane.

A word to define Eden Rock – St Barths?

Well maybe a few words: a graceful promontory in the warm gentle sea.

JM:

RM:

By JENNY MANNERHEIM 122

L’POETRY

ABOVE—Robert Montgomery, LOVE IS THE REVOLUTIONARY ENERGY, limited edition flag for Eden Rock - St Barths, 2023. Photography by Skylar Williams TO THE LEFT—Robert Montgomery, MONEY IS A SUPERSTITION, 2019. RIGHT—Robert Montgomery, SALVAGE PAINTING, 2021. Photographs courtesy of the artist

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Tell us about your ‘Love Is The Revolutionary Energy’ poem.

It’s from ‘Love Letters’, a series of texts on love that I’ve working with this year, writing about the dramatic, forceful, transformative power of love. Especially in times of global conflict like we are in today I think we all need to re-focus on love.

JM:

RM:

Tell us about your permanent public outdoor art piece at Eden Rock. The work reads “All palaces are temporary palaces.”

RM: The art historian Fabio Barry recently said that ‘All Palaces’ is a vanitas, like the genre of 16th Century Dutch and Spanish paintings, still lifes with rotting fruit juxtaposed with precious things that are designed to remind us of the transience of wealth. I think it’s important to remember that our wealth and possessions are transient and that only our human relationships are real.

JM:

JM: Much of your art is made with recycled light, powered by solar panels, and a lot of your sculptures talk about the environment.

What’s your perspective on environmental issues?

RM: Well, I think we all know we are in a period of environmental crisis and we quickly need to change our behaviour if we want to save the earth. I was proud to work with the solar power charity Little Sun on our collaboration for the COP26 in Glasgow.

You made a special edition flag for St Barth and Eden Rock, as part of the Utöpia project ‘Flags For Future’ raising money for environment causes in St Barth, together with Istanbul74.

Is it important for you to partake in charities and give back?

RM: Yes it’s great to be involved with Flags For Future, I JM:

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think it’s important for artists to do what we can. I also work with Greenpeace and Choose Love in the UK, which are two charities that I think are immensely important and I encourage everyone to support.

You are photographed in the fashion pages of this magazine with your wife. What’s your definition of style?

RM: I like to keep clothes for a long time and wear them again and again. I buy a lot of second hand classic tailoring and vintage silk scarves. I like old things and a sense of time. You should wear something for a decade not just for a season.

JM:

ABOVE—Robert Montgomery, ALL PALACES, Recycled light sculpture, 2013.

BELOW—Robert Montgomery, THE SEA HAS NO NAME FOR AMERICA,

Fire Poem; 2018. Photographs courtesy of the artist

Robert Montgomery’s artworks on view at Eden Rock - St Barths Baie de Saint Jean, 97133, St Barthélemy @er_stbarths oetkercollection.com

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Underwater Pavilions 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 scientific and put the local marine environment and the global challenges around ocean conservation into dialogue with the history of art, inviting the viewer into a contemporary narrative of the ocean and to participate in its protection.

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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 the artist and filmmaker 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 offering to return to the real.”

As Aitken affirms, “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.”

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

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

Doug Aitken, Underwater Pavilions, Photographer: Patrick Fallon, Courtesy of the artist and Parley.

Dive into an artwork, made to exist underwater.

L’OCEAN

observatory. The 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. The artwork creates a variety of converging perceptual encounters that play with the fluidity of time and space, resulting in a heightened awareness of the physical world.The work operates as an observatory for ocean life, creating a variety of converging perceptual encounters. The sculptures will continuously change due to the natural and manmade conditions of the ocean, creating a living presence and unique relationship with the viewer. The new edition of the Underwater Pavilions was fabricated by the Italian super yacht company, Rossinavi.

The new Underwater Pavilions were expected to be installed in the Baie de St Jean, close to Eden Rock – St Barths and open to the public for the winter season. The anticipated installation, along with the mixed media exhibition and gala hosted at the Wall House Museum, Art For Our Oceans, has created a movement in environmental conservation on St Barth since.

In the wake of Art Saint Barth and Parley For The Ocean’s fundraising efforts at last year’s gala at the Wall House Museum, the ATE, L’Agence Territorial de L’Environnement, is calling for projects with the aim of preserving marine life in and around St Barth.

Art Saint Barth and Parley teamed up to auction off art from several renown artists at the Wall House Museum, fusing together the aims of both organizations to promote the protection of the environment in St Barth. Art Saint Barth, a cultural association founded in 2011, has the main objective of promoting contemporary art through organizing artist residencies, exhibitions, and events on the island.

While Parley, an international organization based in New York, targets ocean plastic pollution and protection of the sea through innovations in technology. Together the two associations have created a wave of awareness on St Barth about what we can do to protect the integrity of the nature that surrounds us.

In the ‘call for projects’ published by ATE, the organization called for the preservation of coral reefs, mangroves, seagrass beds, and marine species of all kinds on the island of St Barth. The agency, created in 2013, has the specific goal of monitoring the ecology and improving knowledge on environments and species on the environment. It also works to manage nature reserves, invasive species, and resources on the island.

ATE, L’Agence Territorial de L’Environnement: agencedelenvironnement.fr Art Saint Barth: Artsaintbarth.com @art_saint_barth Parley for the Oceans: @parley.tv Parley.tv ABOVE & OPPOSITE PAGE —Doug Aitken, Underwater Pavilions, Photographer: Patrick Fallon, Courtesy of the

artist and Parley. TO THE LEFT—Image of marine research, L’Agence Territoriale de L’Environnement.

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Hearts

of St Barth

By ROGER MOREAU Photo MARTHE SOBCZAK Artist Roger Moreau is a part of St Barth’s identity with his Coeur St Barth, where he sculpts hearts out of stone found in nature. Then he molds them into bronze sculptures. Bronze is elegant, timeless, and resistant to corrosion. The nobility of the material corresponds to the stone.

Roger Moreau CŒUR ST BARTH, Bronze sculpture, available at Space Gallery St Barth & New York @spacegallerystbarth spacegallerystbarth.com

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THE ANNUAL BENEFIT GALA TO SUPPORT THE GREEN & THE HEART ON THE ISLAND OF ST BARTH RAISING FUNDS F O R T H E C AR D IO L O G Y PR O G R AM AND T H E EN VIR O N M EN T

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