Tq issue 33 by Oryx Group of Magazines

The fashion designer Section

Sub Section

Marc Jacobs in New York City’s West Village.

Women's Fashion September - October, 2015

Page 90

Features 84 On Edge Cate Blanchett is a master of poise both onscreen and off. Just don’t call her a Hollywood actress. By Christine Smallwood Photographs by Karim Sadli Styled by Joe McKenna

96 Remains of the Day From ’40s-era net hats to logo sweatshirts, the eclectic, decade-spanning look of today alludes to the past. Photographs by Glen Luchford

Styled by Jane How

90 Who Is Marc Jacobs? The trendsetting fashion designer finds himself at a crossroads. By Sarah Nicole Prickett

Portrait by Jason Schmidt

ON THE COVER Photograph by Karim Sadli. Styled by Joe McKenna. Hair by Anthony Turner. Makeup by Linda Cantello. Cate Blanchett in a Giorgio Armani coat, QR10,910, and shirt, QR2,095.

KARIM SADLI

Page 64 Boss dress, Hugo Boss, QR4,350, Brunello Cucinelli shirt. Bottom: the dining room console in Stefan Scholten and Carole Baijings’s Amsterdam home.

Lookout

20 S ign of the Times In popular culture, female BFFs have become the new power couples. Complications arise. 24 T his and That Louis Vuitton planter; the softer side of men’s fashion; pajamas for the street; and more. 30 Market Report Square-toed heels with broad appeal. 32 On Beauty The art of the sculpturally unfinished updo. 34 B y the Numbers Gloria Steinem marches on. 36 Take Two Laverne Cox and Imogen Poots try on a titillating tote, a grape-scented ring and a face mask made of gold. 50

Runway Report

Versatile white button-downs.

Quality

57 O n the Verge Fashion’s free-spirited moment, modeled by the new folk singer Flo Morrissey.

Arena 71

Home and Work

A husband-and-wife team is brightening up the sober Dutch design world.

62 The Thing Dior’s exquisite new bracelet. 64 In Fashion A softer take on tweed. Page 71

FROM TOP:MARK PECKMEZIAN; MIRJAM BLEEKER

68 Accessories Punk staples grow up.

Lookout Qatar 38 This and That A new collection of Apple Watch from Hermès; “The Temple” and what it represents; The Freya from Mulberry; Daniela Karnuts goes Elizabethan; Louis Vuitton’s changed look; Aigner has a Doha bag; and Montblanc’s e-Strap. 44 Market Report The region’s designers have gone off-kilter this fall with bright colors, unexpected materials and quirky inspirations. 46 Food Matters Indian celebrity chef Sanjeev Kapoor serves traditional dishes, and plays with our taste buds, at the Signature Meliá Doha. 48 On Heritage Pal Zileri gets new form of patronage, the preservation of a simple sentiment — that the Italians just cut suits better. 54 Art Matters The Frieze Art Fair aims to embrace a larger fan following, moving away from the niche group of wealthy foundations and private institutions.

Arena Qatar 74

MIDDLE EASTERN MIX Thomas Zipp's work will be at the Frieze Fair in London next month.

Page 54

On the Verge

Fire Station announces the names of 20 artists who have been selected for its maiden Artist in Residence program. What follows is a smorgasbord of media and messages.

80 On Art The British contemporary artist Anish Kapoor turns the very controlled gardens of the Château de Versailles upside down.

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Sign of the Times

The New Romantics Today’s power couples are female friends. Are we happy about that? BY EMILY WITT

friendship doesn’t force us into archaic gender roles or In recent movies, female friends have banded together complicate our professional or sexual independence. It’s to shoot guns from trucks (‘‘Mad Max: Fury Road’’) and now the boyfriends who are vestigial, appearing only in bit sing a cappella (‘‘Pitch Perfect’’). On TV, they have spooned parts like ‘‘timid suitor’’ or ‘‘obnoxious co-worker.’’ in Greenpoint (‘‘Girls’’) and found common ground in Running parallel to this artistic phenomenon, however, prison (‘‘Orange Is the New Black’’). Their stoner antics is an anthropological one. Lately, we’ve been inundated BEST FRIENDS (‘‘Broad City’’) have liberated us from the slob dads of with images of real-life best friends, triumphantly FOREVER The singer Taylor Swift onstage sitcoms. Once limited to sassy supporting roles, female displayed. It’s difficult to get through a day on the with her friends (from friends are now the primary source of romantic tension Internet without looking at photos of women flaunting left) Hailee Steinfeld, Gigi Hadid, Lily themselves: making passive-aggressive phone calls, the depth of their intimacy by posing over dinner or Aldridge and Lena taking baths together, serving as sugar daddies, lying to watching television together in matching pajamas. We Dunham during her ‘‘1989’’ world tour. each other, busting ghosts. Unlike traditional romance, now flick through images not of celebrity couples but of 26

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WHO COULD BE CYNICAL about the rise of friendship?

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Sign of the Times

celebrity friends: Beyoncé and know looking carefully hungover Nicki Minaj eating hamburgers in front of a perfectly composed brunch, or lying on a blanket in a in matching varsity jackets; park in crop tops, or posting screenshots of their exuberant text Taylor Swift with Karlie Kloss, messages, I’m reminded of something Marnie once said on ‘‘Girls’’: Lorde, Selena Gomez, Ellie ‘‘I thought that this would be a good opportunity to have fun Goulding, Lena Dunham, her together and prove to everyone via Instagram that we can still have cat Olivia, the entire runway fun as a group.’’ Mimicking the advertiser’s strategy, these pictures lineup of a Victoria’s Secret of delightful fun inevitably provoke a feeling of lack or longing in the show; the U.S. women’s soccer team. The meme factories have consumer of the image. responded to the popularity of pictures of best friends with When I think of depictions of friendships that have moved me, I maximum output, harvesting groups of women posing on beaches find myself thinking mostly of books — of those passages in novels and in limos from celebrity Instagram feeds and presenting them in that illuminate friendship by its moments of thorniness, by the slide shows (see: ‘‘16 of Taylor Swift’s heartbreak it can cause. Real friendship Best BFFs,’’ ‘‘Ranking Taylor Swift’s 25 is complex. It’s the sadness of Elizabeth Best Best Friends,’’ ‘‘Taylor Swift Has Bennet when her friend Charlotte Best Friends to Spare!’’ and ‘‘Taylor Lucas marries the odious Mr. Collins in Swift Has More Best Friends Than You Jane Austen’s ‘‘Pride and Prejudice.’’ Ever Will’’) and labeling these images as It’s Leah and Natalie’s complicated ‘‘#friendspiration’’ and ‘‘#squadgoals.’’ dance of haughtiness and need in Zadie Picture-perfect groups of friends on Smith’s ‘‘NW.’’ It’s the once-a-week Instagram make me wonder whether limit Vivian Gornick has with her friend Bridget Jones’s idea of ‘‘smug marrieds’’ Leonard in ‘‘The Odd Woman and the could also apply to ‘‘squads’’ and why City’’ (because men can be friends too). ‘‘The Stepford Wives’’ hasn’t been The best works of art about friendship re-envisioned with a friendship plot. The resonate by showing how our closest portraits seem to be asking a lot of friends have a way of ruining our impolite questions: Do you have as many attempts to present ourselves as friends as we do? How did you celebrate perfect; how those picturesque your birthday? Do you regularly drink moments are belied by other truths. prosecco over plates of fruit at Ralph That is why, when we read about the Lauren’s Polo Bar? Have you betrayed rivalrous love of the friendship your gender by preferring the company between Elena and Lila in Elena of men? You don’t have a friend with Ferrante’s Neapolitan trilogy, we are whom you publicly exchange kept company by the friendship photographs of your manicures? What’s depicted, not made to feel more alone. wrong with you? If female friendship is In the flaws of these characters, we see so uplifting, then why do these photos our own blind spots; we see how to SQUAD GOALS make us feel the opposite — unbalanced and unsure? become more compassionate friends. Clockwise from left: I used to think that friendship as performed for an Friendship stories might have replaced tales of supermodel buddies Kendall Jenner (left) audience would end with middle school, but the past romantic love, but the best ones stop themselves from and Cara Delevingne at 10 years of technology have changed that purveying easy clichés of their own — whether the British Fashion expectation. In social media, friendship gets fixed and clichés about feminist solidarity or about mean girls Awards in 2014; Ilana Glazer and Abbi mounted. It loses its dramatic tension. It becomes a (sometimes it’s hard to tell the difference between the Jacobson pose during presentation of happiness, an advertisement for two). Close friendships are worth celebrating — but it the photocall of 'Broad City' at MIPTV 2014. friendship rather than an actual portrayal of it. is how they look at their least photogenic moments Sometimes, scrolling through photos of women I that proves their veracity.

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How did you celebrate your birthday? Do you regularly drink prosecco over plates of fruit at Ralph Lauren’s Polo Bar? You don’t have a friend with whom you publicly exchange photographs of your manicures? What’s wrong with you?

This and That A Cultural Compendium

A Fancy Planter Boys in Pink The season’s men’s wear shows a softer side.

Louis Vuitton’s new collection of limited-edition accessories and furniture is inspired by luxury and travel. One of their collaborators, the French designer Damien LangloisMeurinne, created an object associated with neither: a plant stand. Inspired by the fashion house’s classic Noé bag, his elegant Totem Floral is wrapped in sumptuous leather, with five gold-plated brass brackets. Price upon request.

A NEW LINE

The Best of Old-World Beauty Last year, the artist and entrepreneur Ramdane Touhami and his stylish wife, Victoire de Taillac-Touhami, revived Buly 1803, a 19th-century perfumery that once provided French high society with signature scents. Their chic Rue Bonaparte boutique in the Sixth Arrondissement, with its cabinet-of-curiosities shelves, apothecary drawers and tiled turquoise floors, looks straight out of the Directoire era. It’s a nod to the brand’s history, which the couple — who have also been behind the success of Cire Trudon candles — invokes with their new line of exquisite all-natural beauty products. Nail polishes, for instance, are colored with chemical-free resins, while luxurious shaving cream is accompanied by a pamphlet from the 1800s on the art of grooming. Also new: an expanded line of sophisticated fragrances that includes Hinoki (a woodsy Japanese cypress) and rich, sweet Heliotrope, each wrapped in beautiful packaging that evokes the company’s Napoleonic roots. buly1803.com — SADIE STEIN 30

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CLOCKWISE FROM TOP RIGHT: LOUIS VUITTON MALLETIER; ALEXANDRE GUIRKENGER (2); PIERRE PIE (2). OPPOSITE, FROM TOP RIGHT: THE LUXURY COLLECTION; COURTESY THE ARTIST/METROPOLIS BOOKS (4)

— TOM DELAVAN

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This and That

SPA BREAK

Italian Pastoral Tucked away in the Siena region of central Tuscany, the idyllic Hotel Monteverdi has opened a heavenly new spa in partnership with Santa Maria Novella, the cult skin-care and fragrance label (and one of the most storied apothecaries in the world). Housed in a centuries-old granary, the space offers an extensive menu of treatments including olive- and grapeseedoil massages and outdoor mineral baths overlooking the rolling countryside. Rooms from about QR1,820, monteverdituscany.com

Own a Piece of Corbu’s Tree

— BROOKE BOBB

At Le Corbusier’s Villa Le Lac near Geneva — one of the architect’s first projects, which he designed for his parents in 1924 — a felled giant Paulownia tree has been turned into a series of collectible objects by the Spanish designer Jaime Hayon. In partnership with the Italian furniture manufacturer Cassina, Hayon has fashioned birds, birdhouses and swing-shaped shelves from the wood of the Clockwise from top: the tree at Villa ancient tree, whose branches once created a Lac in 1965; swing shelf, canopy over the property’s waterfront terrace. Le dresser caddy birdhouse and letter holder bird, QR4,860 apiece. hayonstudio.com — TOM DELAVAN

Silky, structured pantsuits take pajamas from the sheets to the streets.

From left: Michael Kors Collection shirt, QR16,370, and pants, QR18,190, michaelkors.com. Derek Lam shirt and pants, price on request, Lemaire shirt, QR2,490, and pants, QR2,550, lemaire.fr. Dries Van Noten jacket, QR5,610, and pants, QR4,935. 32

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FROM TOP LEFT: ERLING MANDELMANN; COURTESY OF CASSINA (3); BERNARD TOUILLON (2). ILLUSTRATION BY KONSTANTIN KAKANIAS

FASHION MEMO

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This and That

Nothing but Net The idea behind Internet Yami-ichi, a roving, online-themed flea market, is to make tangible the often intangible flotsam of cyberspace. The goods for sale have included love letters from Russian spambots and Edward Snowden globes, which contain a USB stick amid a flurry of flakes. Or you can hire a superheroesque character named Internet Dude to follow you around, loudly repeating phrases on cue, like performative retweets. In September, the artists Kensuke Sembo and Yae Akaiwa, who mounted the fair in Tokyo nearly three years ago, organized its largest event to date, at the Knockdown Center in Queens, N.Y., as part of a monthlong series of events in cities from São Paulo to Seoul. Among those planning to bridge the URL-IRL gap in Queens are the digital artists Cory Arcangel and Rafaël Rozendaal, and Internet Dude. yami-ichi.biz/nyc — HILARY MOSS

Aubry and Kale Walch; vegan smoky ribs on a kabob.

Meat Without Meat Kale and Aubry Walch launched the Herbivorous Butcher, a line of small-batch meat alternatives, last year, after recognizing a demand for vegan food that doesn’t taste like vegan food. When the brother-sister duo from Minneapolis, Minn., first brought their locally sourced, protein-rich products — smoky BBQ ribs, maple-glazed bacon, spicy chorizo, all made from creative blends of wheat gluten, beans and flavorings — to the local farmer’s market, they caused a small sensation. ‘‘One person said, ‘I’m a food scientist, and I swear I can taste fat marbling in that sausage,’ ’’ recalls Aubry. After appearing at a series of pop-ups across the Midwest, they’re now opening a brick-and-mortar location in their hometown. Says the aptly named Kale, ‘‘Our goal is to fool people into saving the planet.’’ theherbivorousbutcher.com — STEPHEN METCALF

SHORT LIST

Love to Hate In the new Hulu series ‘Difficult People,’ produced by Amy Poehler, Billy Eichner plays a struggling actor with a cynical streak. Here, the comedian famous for yelling at people on the street rounds up five misanthropic characters he adores abhorring.

DIANNE WIEST AS HELEN IN ‘BULLETS OVER BROADWAY’ What makes someone difficult? On one hand, they can be selfcentered, blunt, irritable and mad. But they’re usually also devoted to the few they deem worthy, just like this theatrical grande dame from one of Woody Allen’s 186,763 films.

CATHERINE KEENER AS KATE IN ‘PLEASE GIVE’ A compelling, acutely selfaware film about, among other things, how torn we are between being kind people and the narcissistic, spoiled brats we are. There’s also a subplot about flipping houses!

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JULIA ROBERTS AS JULIANNE IN ‘MY BEST FRIEND’S WEDDING’ It’s not exactly John Waters, but it is a big studio rom-com that asks us to root for a selfish, lethally jealous woman — and assumes we will simply because she’s Julia Roberts and, well, we’re not.

LISA KUDROW AS VALERIE IN ‘THE COMEBACK’ A second-rate actress hungry for work in modern-day Los Angeles — her desperation makes her difficult to watch for some, but I roll my eyes when people say she makes them uncomfortable. Then again, as Valerie herself says, ‘‘the gays get my nuances.’’

CHRISTINA RICCI AS WEDNESDAY IN ‘ADDAMS FAMILY VALUES’ Three of the five characters on this list are actresses, but only Wednesday Addams agrees to play Pocahontas in her Thanksgiving play at camp and ends up staging a coup and setting the entire thing on fire. Subtle, no, but very difficult — and incredibly irresistible.

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CLOCKWISE FROM BOTTOM RIGHT: COURTESY EVERETT COLLECTION; ©HBO/COURTESY EVERETT COLLECTION; WIKIPEDIA; PIOTR REDLINKSI/©SONY PICTURES CLASSICS/COURTESY EVERETT COLLECTION; WIKIPEDIA; MATT SAYLES; RYAN STRANDJORD; JONATHAN ARMSTRONG. ILLUSTRATION BY KONSTANTIN KAKANIAS

A traveling tech convention where memes become mementos.

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Market Report

Square Toes

The new daytime heel isn’t overtly sexy, but it is sharp enough to bring order to a midcalf skirt, cropped pants or even a flared mini. CLOCKWISE FROM TOP LEFT: BALLY SHOES, BALLY.COM. DEREK LAM SHOES. HERMÈS SHOES. DORATEYMUR SHOES, DORATEYMUR.COM. CALVIN KLEIN COLLECTION SHOES. CÉLINE SHOES. MAISON MARGIELA SHOES. MIU MIU SHOES. MIUMIU.COM

PHOTOGRAPHS BY JOANNA M C CLURE Clockwise from top left: Bally, QR2,730. Derek Lam, QR3,260. Hermès, QR3,605. Dorateymur, QR2,258. Calvin Klein Collection, QR3,260. Céline, QR3,315. Maison Margiela, QR6,900. Miu Miu, QR2,880.

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On Beauty

A Fine Old Mess On the fall runways, updos were sculptural and elaborate, but undone — like your grandmother’s hair, only crazier. BY EMILY COOKE

EXPERIENCE TELLS US it’s staying clean, not

getting dirty, that takes effort — and yet models on the runway this season wore complex hairstyles that were purposefully grimy, elaborately unfinished. Worn long in piecey, nearly immobile waves or sculpturally piled, these intricate looks appeared difficult without aspiring to tedious perfection. They were careful messes, undone updos. Guido Palau, who styled the hair at Miu Miu, described what he did as a 1980s take on the 1940s — a degraded version of a fancy coiffure, as if a teenage girl were making an intentionally bad copy of her grandmother’s look. For Missoni, Paul Hanlon swept hair back from the forehead, molding it into rosettes that resembled wood grain or the whorl of a shell. The associations are coastal: reeds, rippled coral, foam whipped into soft peaks. The effect isn’t ‘‘beachy’’ but like something washed up on the sand — French-twisted driftwood, a seaweed chignon. Key to these organic-looking shapes, of course, is their total artificialness. Well-washed hair, depending on your genes, tends either to slipperiness or to frizz. To get a properly malleable texture you need to 38

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spend a week swimming in salt water and avoiding shampoo or coat your strands with enough product that they act as if you did. Palau applies heavy mousse to a wet head, lets it dry naturally, then builds from there. The hair should feel coarse to the touch, like yarn or twine. On the Miu Miu models, he made a center part, shaping the two front wings into half rolls and securing them with bobby pins and lots of hairspray before gathering the back into a high, unkempt ponytail. Hanlon’s mermaid look required a few more steps. First, he wound a small bun at the crown of the head to act as a base. After curling the hair with an iron, he drenched it in mousse, pinned the twists up in sections and blow-dried them. The twists, when loosened, opened into large, crispy corkscrews. These he heaped up all over again, into an asymmetric tower, fixing the coils and ridges with hairspray and more pins. The styles are laborious, but impossible to get wrong. All you need, REFINED CHAOS Clockwise from top: for structure and flexibility, Redken Guts 10 Foam, QR65, redken.com; Palau said, is ‘‘a kind of for added lift, Tigi Bed Head Superstar Queen for a form.’’ Don’t feel the need Day thickening spray, QR73, ulta.com; to define strands, Sachajuan Finish Cream, QR105, b-glowing.com; for a to hide the barrettes — as tousled wave, R+Co Rockaway salt spray, QR90, randco with algebra, the point is to .com; for extra body and volume, Christophe Robin Instant Volumizing Mist, QR142, net-a-porter.com. show your work.

FROM TOP: AFP (3); MARKO METZINGER (7)

PILING IT ON From left: two models sport meticulously disheveled ponytails by the hairstylist Guido Palau for Miu Miu’s fall 2015 show; for Missoni’s fall 2015 presentation, Paul Hanlon formed a twisted bun.

Lookout By the Numbers

Gloria Steinem A journalist from Ohio who once went undercover at Hugh Hefner’s Playboy Club for a story, Gloria Steinem emerged in the ’70s as the aviator-shaded face — and de facto voice — of the women’s movement. Her magazine, Ms., which she co-founded in 1971, was notable for being owned and operated entirely by women, and was one of the first mainstream publications to directly address the issues of reproductive rights and domestic violence. And while many of her detractors (Richard Nixon, Rush Limbaugh) have fallen by the wayside, Steinem remains relevant. Her forthcoming memoir, ‘‘My Life on the Road,’’ documents her travels as an activist, and, at 81, she is an icon for a new wave of celebrity feminists that includes Lena Dunham and Emma Watson. Here, a front-line look at Steinem’s legacy. — CLARE MALONE

Favorite decade:

Percentage of women who favored fighting for equal rights:

‘‘It hasn’t come yet.’’

40%

7 Books Written

(including 1963’s ‘‘The Beach Book,’’ which came with a foil-lined flap to aid readers’ tanning)

Percentage of women who favored

gender equality: 2013

82%

(just 23% consider themselves ‘‘feminists’’)

1998

Lines of ‘‘For Me and My Gal’’ Barbara Walters sang while Steinem tap-danced during a 1983 TV interview

Years since Steinem advocated for same-sex marriage in a Time essay

1,762

Nebraska

Only state in which spousal rape was criminal in 1976 when Ms. published ‘‘The Truth About Battered Wives’’ (It is now illegal in all 50 states.)

1969

2015

108

MONTHS THE ABC NEWS ANCHOR HARRY REASONER PREDICTED MS. WOULD LAST BEFORE THEY ‘‘RUN OUT OF THINGS TO SAY’’

Number of women who signed the ‘‘We have had abortions’’ petition in Ms. in 1972 (including Nora Ephron, Billie Jean King and Steinem herself)

Alternate names considered for Ms. magazine:

Bimbo, Sojourner, Sisters

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Women in Congress:

Year both Steinem and Hugh Hefner were inducted into the Magazine Editors’ Hall of Fame

WORDS DEVOTED TO HER ROMANCE WITH BILLIONAIRE MORT ZUCKERMAN IN A 1992 VANITY FAIR PROFILE

$35.90 (The ad promised $200 to $300 a week.)

Holly Golightly

Age when she got married

1958 63 2013 78

Her first paycheck as a Playboy Bunny in 1963

Film character who inspired her signature streaked hair:

NUMBER OF STEPSONS WHO ARE CHRISTIAN BALE

Amount women made to every dollar earned by men:

1973

YEAR ‘‘MS.’’ WAS ADDED TO THE U.S. GOVERNMENT’S LIST OF ACCEPTABLE PREFIXES

513

CONSECUTIVE MONTHS MS. HAS BEEN IN PUBLICATION

ALL PRICES ARE INDICATIVE

1970

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Take Two

A dual review of what’s new

Laverne Cox

Imogen Poots

Emmy-nominated actress from ‘‘Orange Is the New Black,’’ transgender trailblazer and dance-floor ninja who appears opposite Lily Tomlin this month as a tattoo artist named Deathy in the indie drama ‘‘Grandma.’’

British ingénue and Miu Miu muse who plays a Brooklyn call girl in Peter Bogdanovich’s new comedy, ‘‘She’s Funny That Way.’’ She’ll next star with Christian Bale in the Terrence Malick drama ‘‘Knight of Cups.’’

Peaches is so major. She was the soundtrack for a time in my life when I was in a lot of pain and alleviated it in ways Peaches suggests in her most famous song. Now I listen to a lot of Verdi and Handel.

The more I look at it, the more it reminds me of a Matisse sculpture. It’s contemplative, which is a weird thing to say about a boob purse. You can’t wear anything too sexy with it — cleavage would be overkill.

I try to keep my skin regimen simple: moisturizer and sunblock. I’m not into face masks. I may seem like a girlie girl, but that’s one thing I don’t do.

He’s taken McQueen and Galliano’s place as fashion’s rebellious spirit. His stuff is really out there. When I was younger, I would have been all-day Jeremy. Now, I’m sometimes-Jeremy.

Scented Ring Resin and 18-karat gold, available in five fragrances: bubble gum, cotton candy, grape, licorice and spearmint (QR3,278, davidyurman.com).

Peaches Album “Rub,” the NSFW fifth studio release by the Canadian electro-punk performer (peachesrocks.com).

Buxom Bag Lemaire’s vegetal leather purse also comes in the shape of a woman’s behind (price on request, lemaire.fr).

Rubber Mask

As a big fan of scratch-and-sniff, I understand the draw. But how does it work? Are you constantly extending your fingers under people’s noses?

I love that she pushes the boundaries of sex in pop. It’s not exactly my thing, but then again, I’m a creature of habit: Leonard Cohen, Smashing Pumpkins, the Smiths. Oh god, I sound like such a melancholy Maude.

There’s something feminist and sort of defiant about it: Are you afraid of the breast? Nobody is strolling down the street, wearing this, just to carry their keys.

I was recently in Tokyo with my best friend, who made us search for placenta and snake venom masks, which I’m really dubious of. I have sensitive skin. Someone could sneeze next to me, and I’d get a rash.

Anti-aging treatment with gold gel and collagen powder ($98 for five, peachandlilycom).

Jeremy Scott Movie A documentary about the Moschino creative director (jeremyscottmovie.com).

I like fashion documentaries because they offer a look into an unknowable world. I was lucky enough to sit at his table at the Met Ball this year, and, like a creep, I waved at him way too long, until he had no option but to look away.

FROM TOP: AFP IMAGES(2).

The grape flavor took me back to my Alabama childhood, in a Pavlovian way: grape soda, bubble gum and Blow Pops. They should make a ring that smells like my favorite ex-boyfriend. And I don’t mean his cologne.

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This and That

Search for Peace Going by first impressions, “The Temple” by Sandy Brown, exhibited on the famed Chatsworth grounds, has no reference to the Middle East. Its name, on the contrary, confronts the lack of religious tolerance in some Islamic countries. But for its creator, “The Temple” is a modern sacred space that draws on all that we know in our collective unconscious — a space for contemplation. a colorful large cube with a curved high dome clad inside and out with 5,200 ceramic tiles, each one with a painting on it. Around the temple are four tall, colorful columns two of which have finials on top. Stock notes Brown's use of a material other than bronze, the most prefered material for outside installations. “Ceramic is a much underrated material for sculpture,” says Stock. “The tiles have been fired in high temperatures and the glaze can be preserved even in high temperatures, making this ideal for outdoor sculptures.” The contemporary art installations are for sale and all the proceeds go to the Chatham House to maintain its museum pieces adds Stock. Prices range from $200,000 (QR730,000) to over $5 million (QR18.2 million). — SINDHU NAIR (Beyond Limits: The Landscape of British Sculpture 1950-2015 started September 14 and continues until October 25, 2015)

Sleek and Slouchy The Freya, from Mulberry’s Autumn Winter collection, embodies casual, contemporary elegance. It is designed for practical comfort with an equestrian-inspired top handle that fits easily over the shoulder or rests in the crook of the arm. The smaller size option also features a detachable easy-to-wear shoulder strap. Beautifully constructed to hang with an elegant slouch, the Freya is made from soft and supple calf leather in the season's new color palette. — SINDHU NAIR

CLOCKWISE FROM TOP RIGHT: MULBERRY (4); SOTHEBY'S (1)

The ideation was the result of Brown’s travel through Tehran, where she was taken to see the Blue Mosque, and later India, where she was mesmerized by the Taj Mahal, all of which augmented her love for columns, arches and finials. Nineteen-years-old and fully unsure of her later creative quests, Brown was struck by the beautiful curves of the arches, and the intense turquoise blues of the painted tiles inside the Blue Mosque. All this came to the fore when Brown met Simon Stock, co-curator of “Beyond Limits” at Sotheby’s, to chat about creating a work for Chatsworth, celebrating the works and achievements of British sculptors since mid-twentieth century. This year’s Chatham House public art exhibition, “Beyond Limits”, celebrates 10 years of Sotheby’s exhibitions and commemorates British sculpture. The exhibition was introduced to make art more accessible to the community. “The Temple” is

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This and That

Stately Silhouette Struck by the color palette consistency between her fall collection and the old-world furnishings of Burghley House, the designer Daniela Karnuts decided to shoot her latest campaign at the 16th-century Elizabethan abode. The fashion label Safiyaa, named after Karnut’s daughter, is a staple in Qatari wardrobes, favored for its lavish evening pieces.The latest collection’s bold jeweled tones are anchored with earthy textures and find symmetry with the artworks and antique furniture pieces that fill the halls of Burghley House. “Every piece in the house has its place and tells its own story and it gave meaning to what I wanted to present in this collection,” Karnuts says. Signature elements of long capes, dramatic jacquards and feather appliqués are contrasted with Karnuts’ new perspectives drawn from nature: sequins and stone laces. Silhouettes are sleek and edgy, featuring drop shoulders, cut-out backs and asymmetric lengths, while the bold capes are fit “to throw over anything,” she quips. The collection also marks the introduction of daywear to the usually evening-focused repertoire, all of which are still handcrafted in the label’s private atelier. “It has evolved into an ongoing dialogue with women who think as I do,” Karnuts says. — DEBRINA ALIYAH

The Horse and the Carriage It is a collaboration of two greats, one that merges Apple’s unparalleled product innovation with the heritage, iconography and craftsmanship of Hermès, creating a unique expression of Apple Watch. “Apple and Hermès make very different products, but they reflect the deep appreciation of quality design,” said Jonathan Ive, Apple’s chief design officer. “Both companies are motivated by a sincere pursuit of excellence and the desire to create something that is not compromised.” Pierre-Alexis Dumas, Hermès’ executive vice president in charge of artistic direction, sees this as the establishment of an alliance in excellence, “like horse and carriage, a perfect team.” — SINDHU NAIR T Qatar: The New York Times Style Magazine

CLOCKWISE FROM TOP : SAFIYA(3); AND HERMÈS (3)

A new collection of Apple Watch in stainless steel with finely crafted leather bands in distinctive styles from Hermès has hit the market, and will soon make its way to the Middle East.

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This and That

A Journey in History The window display of Louis Vuitton in Villaggio, uses the latest collections off the ramp in an artistic stone-like setting. It's not what one would normally associate with Louis Vuitton.But with the powerful vision of its current creative director, Nicholas Ghesquière, the new look seems to have hit the mark. When entering the store, visitors start a journey through the heritage and history of the maison, discovering leather goods, shoes, accessories, watches, and jewelry for both men and women, as well as the latest collection of refined travel products. The heritage of Louis Vuitton is highlighted in the first room with the presence of an antique trunk — a shoe trunk in natural cowhide leather dating back to 1913. Clients will discover the leather goods room, as a real journey through time, from the maison’s iconic Alma — first created in 1934 — right up to the modern-day Petite Malle, created by Ghesquière. The Totem Collection, inspired by Gaston-Louis Vuitton’s collection of African masks, with unique metal and enamel closures on stylized tribal motifs, are also available here as a pre-launch collection. Louis Vuitton's new “V” signature, a modern take on the Vuitton V, is also on dispaly, carried through in bags and clutches. — SINDHU NAIR

Going Forward

Aigner Takes a World Tour Tradition meets luxury with an ancient story told through the intricate designs of Aigner's Cybill Metropolitan Collection. The Qatar Bag reflects arabesque patterns that have been a part of Islamic tradition for centuries. Inspired by architecture, art, and books, this edition comes in warm berry tones and turns the signature bag into a chic must-have that reinterprets the flair of 1,001 Nights. On the occasion of its 50th anniversary, Aigner has dedicated a limited collection of the Cybill signature bag. — KEERTANA KODURU

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CLOCKWISE FROM TOP RIGHT: MONTBLANC (2), AIGNER (2); LOUIS VUITTON (2).

Arabic elegance: LV's new redesigned showroom at Villagio.

“It is a privilege to create amazing products that are highly regarded for precision and quality,” says Jérôme Lambert, the CEO of Montblanc. The marathon runner believes inspiration comes from around him and is proud to introduce the e-Strap TimeWalker Collection this season. “It is unfair to have to choose between two dimensions of technology and tradition. Creating e-strap now is a great opportunity to bring forward an additional experience to your traditional watch.” The e-Strap is an interchangeable strap, with an integrated technology device that offers an activity tracker, smart notifications, remote controls and Find-Me functions. The e-Strap device is available with three watch models from the Montblanc TimeWalker Collection and will be available in stores in December. — KEERTANA KODURU

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Market Report

Straight Out of Arabia The regionâ&#x20AC;&#x2122;s designers have gone off-kilter this fall with bright colors, unexpected materials and quirky inspirations.

Clockwise from top left: Arwa Al Banawi jacket, QR1,044. Belquis belt, QR600. Braided Tales bracelet, QR295. Dima Ayad dress, QR3,680. Deema ring, QR503. Ceecode bag, QR2,600.

CLOCKWISE FROM TOP LEFT: ARWA AL BANAWI; BELQUIS; BRAIDED TALES; DIMA AYAD; DEEMA; CEECODE

BY DEBRINA ALIYAH

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ALL PRICES ARE INDICATIVE

CLOCKWISE FROM TOP LEFT: DINA KHALIFÉ; ENDEMAGE; HOUSE OF NOMAD; L'AFSHAR; NATHALIE TRAD; MOCHI; MADIYAH AL SHARQI; KAMUSHKI

Clockwise from top left: Dina Khalifé dress, QR1,929, Endemage pants, QR2,461, House of Nomad crop top, QR1,004, , L’Afshar clutch, QR3,633, Nathalie Trad clutch, QR5,160, Mochi headband, QR100 , Madiyah Al Sharqi dress, QR9,222, Kamushki pendant, QR25,532

September - October 2015

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SIGNATURE STYLE Sanjeev Kapoor at his newly opened restaurant in Meliá Doha.

Food Matters

For Today and Tomorrow

Indian celebrity chef Sanjeev Kapoor tugs at memory strings and experiments on rudiments to serve food that is “not on your face” at Signature Meliá Doha. BY SINDHU NAIR

PHOTOGRAPHS BY ROBERT ALTAMIRANO

SANJEEV KAPOOR’S experimentation in Indian cuisine is

about discovering new elements to arrive at the inherent flavor of the original dish. Playing with memories, teasing out hidden flavors through combinations, yet finally never lacerating the essential core of the dish — that’s Kapoor’s forte. At a time when Indian cooking was nothing but homemakers testing traditional spices and recipes handed down through generations, Kapoor crossed the threshold to enter these sacred, private spaces and glamorized the art of cooking through his much popular TV show “Khana Khazana”. “Cooking has always been exciting; it just needed to be presented well and talked about with passion,” says Kapoor about the role he played in making food more gastronomic. As someone who was clear about the role he wanted to play, an artist whose medium was limited but not restricted by the

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rudiments of sustenance, Kapoor’s future took shape as he played on his passion for food. What followed were the fruits of hard work, clear thinking, and strong marketing, with innovation at every step. None of this had a defined game plan but was an extension of personal targets, according to Kapoor. “When I started cooking, I had to build my career. After which I set on improving every step I took,” he says. “But when you become the best executive chef of the country at 28, you start thinking beyond your career and look at new opportunities. Over a period of time all this begins to look like a well-defined plan.” In the 80’s, when television just started becoming popular among Indian households, Kapoor’s career took a natural course and he started to address the masses with a cookery show. The show has now completed more than 2,000 episodes, being telecast every week for 20 years, making it the

longest running show of its kind on Indian TV. Even though he shrugs off the numbers, saying, “In India, numbers are always big,” Kapoor took his role quite seriously (he still does, as he continues with the show). “I was teaching my viewers and this was a subject that would be put to use almost instantly, and hence my success depended on their success. I took utmost care, explained each process in a simple way, worked on every dish till I had them right and only then did I go ahead. Later I realized that every time my viewers succeeded, I had my personal win.” After this venture, Kapoor was asked to publish a recipe book. “I speculated on the readership when I was already doing the television show. But I still went ahead,” Kapoor says. “And it went on to become a national bestseller. My closest competitor was Arundhati Roy’s “The God of Small Things”, which I used to beat week after week.” A website of his own at a time when even Kapoor about the failed venture. But that doesn’t faze the creator much. He has more ideas to work on. “Signature is fine dining, experiential restaurant open within Meliá Hotel, Doha. Soon my other mid-range, casual dining restaurant chain, Yellow Chilly, will also open within the Pearl,” says the chef. He believes in understanding the market well before venturing into it. “For international markets, you need to understand who you are talking to. Indian food was always known to be exotic which made it slightly unreachable; people were wary of this exoticness. The moment you make food comfortable, add a bit of surprise through creativity, you have your audience.” And it is this comfort food that Kapoor celebrates, “Indian food of today which could also be the Indian food of tomorrow”. “We have always romanticized food and to put that in today’s perspective, define Indian cooking, respect it for its goodness and keep its integrity while adding our own variants to enrich the story, is the objective,” he says. A perfect illustration is the chicken tikka masala, also known as the butter chicken, one of the most popular of Kapoor’s dishes. “Butter chicken has been loved by all for over 50 years. In my restaurant, we did a lemongrass variant and it did extremely well (this is being served at Signature Dubai),” he says. “I continued my experimentation: I added sautéed green tomatoes and pureed it; this too worked very well. Now for Doha, we have another variation: mangoes, a combination of green and ripe yellow mangoes, to add to the sweet tangy, tarty flavor of the butter chicken.” As someone who has tried this variation of the butter chicken, I understand Kapoor’s philosophy: of taking memories and playing with them. A performance of gastronomic sensations, all coming together to deliver pure nirvana.

‘Indian food was always known to be exotic, which made it slightly unreachable,’ Kapoor says, ‘People were wary of this exoticness.’

EXOTIC FARE Clockwise from top right: Hyderabadi gosht biriyani, the quintessential Indian mutton biryani deconstructed; mango butter chicken,sweet and tangy served with Signature galouti naan; a prawn variation.

the national dailies did not have their own websites, a channel exclusively for food, a YouTube channel of his own with a larger subscriber base than any other personality in India — these are Kapoor’s achievements till date. But we are cautioned to be equipped for more food content on all platforms — both online as well as on real time. Health food, diet for cancer patients, working with a pharmacy major on face washes, are some of his latest ventures. “How do I do it?” he asks. “I do this because this is what I love and I have this innate need to better myself every step of the game. When success comes early you are constantly trying to better yourself.” But the moment the going gets monotonous for Kapoor will be when he will stop undertaking it. “That’s a promise I made to myself. I will only do things that excite me,” he says. So while the restaurant business is rife with risks and involves a lot of commitment, Kapoor goes ahead with new ventures for the challenge it gives both himself and his staff. His first restaurant venture in Doha with a local sponsor, Khana Khazana at the Souq, was not a successful venture. Though popular in its initial days, the restaurant closed recently as it lost its old-world charm and also because of the lackluster fare it served. “The owner had his personal reasons and I did not want to add to his worries,” says

September - October 2015

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On Heritage

The New Direction A new form of patronage is providing a lifeline to traditional craftsmanship.

IN THE WORLD OF COUTURE, there’s an implicit

relationship between designers and a few selected clients. These are buyers who amass entire collections as gestures of appreciation toward the work, thus allowing designers to continue their creative pursuit. It is, of course, a borrowed practise from the world of art, where patronage is a familiar concept, albeit an archaic notion. But the rise in global wealth has extended a new form of patronage to the fashion industry, one that is less ornamental but more about giving old soul and culture a new frontier. In the case of Pal Zileri, it is the preservation of a simple sentiment: that the Italians just cut suits better. For his maiden meeting with the new investors who had taken a majority share in Pal Zileri last year, the brand’s creative director, Mauro Ravizza Krieger, and his team had prepared a presentation of financial information to impress. Mayhoola, CHANGE IS A CONSTANT From top: the Qatar-based investment vehicle, Mauro Ravizza Kreiger’s new vision at Pal made news in 2012 by acquiring Zileri is a fresh start for the brand; blue ponyskin blazer; the Messenger bag is Valentino and now with a stake in customizable with personal initials; red Pal Zileri, it was clearly a turtleneck sweater in lana-seta-mohair IS demonstration of the love for all inspired by Andy Warhol. 54

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things Italian. After a short glance at the numbers, the investors directed their attention to the intangible values that would shape the brand’s future. “We were taken by surprise. They wanted to hear about the aesthetics, the creative work, and how we would go about preserving the DNA of the brand, rather than the financial projection we had prepared,” Krieger recalls. The new stakeholder’s avidity on going back to the roots of the company and mapping a new direction that develops and preserves the brand’s strength. Relatively unfettered by financial expectations, the strategy allowed time to rebuild Pal Zileri in a direction that is solid and enduring. “Italian companies are increasingly outsourcing manufacturing processes at lower cost, but our investors are absolute on the principle of Italian craftsmanship, which is what our brand truly represents,” Krieger says. The idea to connect the future with the strongest skillset of the brand — the craft and know-how in menswear — came to life through the Avant Craft concept that relaunched Pal Zileri in January this year. Avant Craft was proposed to bridge the gap

ALL IMAGES COURTESY OF PAL ZILERI

BY DEBRINA ALIYAH

CONCEPT RELAUNCH Above: Paolo Roviera first interned at the brand 15 years ago, and now he rejoins as CEO; looks from the Fall 2015 collection.

between the old high-hand Italian tradition and the contemporary voice permeating the world of menswear. Starting from all the classic cuts, the brand moves into a high-fashion aesthetic by introducing new ways to wear jackets and suits. Silhouettes become less formal and new categories alluding to an urban lifestyle are introduced. “We start from the past, but with modern techniques like taping, bonding and laser cut. It’s utilizing the brand’s sartorial finesse to produce collections that are relevant to the modern man,” Krieger says. While there’s a rush for many European labels to define themselves as purveyors of traditional tailoring, the new Pal Zileri wants to bring the term “Made In Italy” to the next frontier. “This is a new chapter in which modern technologies respond to contemporary needs of the well-informed man, with sensibilities, proportions and techniques executed by the hands of Italian craftsmen,” says Paolo Roviera, the brand’s CEO. The fall collection hitting stores this season marks the debut of the new philosophy: a wardrobe with all the classic hits, but none of the rigid air. A traditional jacket is paired with stretch leather pants, wool sport jackets are constructed through taping with not a stitch or button in sight, leather is bonded with flannel on shirts, and suits that eschew ties paired with printed shirts. “That’s the new attitude in men’s dressing. A play between formal and informal, creating synergy between all the pieces in the wardrobe,” Krieger says. In true Italian manner, some decadent styles make appearances, but with a sense of tasteful restraint: a blue pony-hair blazer and a satin-collar smoking jacket are pared down with turtleneck tops and leather amphibious boots.

Butter-soft bags take the place of briefcases, while a small selection of accessories, including shoes, are made in Italy’s famed leather region, Veneto. Inside the jacket, the artisan touch that reminds the wearer of its origins is a special label carrying the name of the tailor who spent hours constructing the garment. Pal Zileri’s three decade of history also ascribe to quality, as its archive unearthed a comprehensive collection of fabrics dating back to the 1970s, when the brand came to life. When Krieger came on board in 2014, the company had narrowed its focus so closely to its manufacturing skills that the archive had become secondary. A curious incident led to the discovery of the archive book, which Krieger is basing the upcoming collection on. “Old motifs, materials and colors will be restructured and reinterpreted to suit our new discreet sensibility,” Roviera says. With the actualization of a solid creative vision, the brand has begun work on rejuvenating its boutiques worldwide, ten of which are located in this region. “The Middle East is a key market where Pal Zileri is very well-known for its heritage and craftsmanship,” Riviera says. One of the standalone boutiques in Dubai will be the first to see a new concept this fall, and it is a steamship initiative from here on to promote the dawn of Avant Craft. In the brand’s newly minted Milanese headquarters at Via Morimondo, an area familiar to the fashion collective, Krieger presented his second narrative for Spring 2016. The runway begins as a moving conveyor belt as the models presented before they walk the show. Exuding a futuristic vibe that is so sharp and yet still human, the new frontier for the modern man is looking bright.

September - October 2015

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Runway Report

A Blank Canvas The season’s ubiquitous and subtly versatile staple: the white button-down shirt. PHOTOGRAPHS BY COCO CAPITÁN STYLED BY MALINA JOSEPH GILCHRIST

Thomas Tait shirt, QR5,665, Susan of Burlingame. AG jeans, QR637, agjeans.com.

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ALL PRICES ARE INDICATIVE

Dior shirt, QR4,370, and harness, QR14,200. Left: Fendi shirt, QR4,735.

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Runway Report

Donna Karan New York shirt, QR3,460. Paco Rabanne pants, QR4,330, Barneys New York.

ALL PRICES ARE INDICATIVE

MODEL: JULITA FORMELLA AT D’MANAGEMENT GROUP. HAIR BY PIERPAOLO LAI AT JULIAN WATSON AGENCY. MAKEUP BY LUCY BURT AT D+V MANAGEMENT. MANICURE BY JENNI DRAPER AT PREMIERHAIRANDMAKEUP.COM. CASTING BY ARIANNA PRADARELLI. PHOTOGRAPHY ASSISTANTS: JULIEN BONNIN AND ANIA MOKRZYCKA. STYLIST’S ASSISTANT: ALICIJA APUTYTE. HAIR ASSISTANT: FLORIAN DOVILLEZ. SHOT AT LOFT STUDIOS

Undercover shirt, QR4,545, undercoverism .com. Left: Junya Watanabe Comme des Garçons shirt, QR2,585, and pants, QR1,620, Dover Street Market New York.

September - October 2015

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Art Matters

A Place of Discovery While museums have a greater responsiblity, art festivals like the Frieze Art Fair aim to embrace a larger following, moving away from the niche group of wealthy foundations and private institutions. BY SINDHU NAIR

GROWING REACH: Top: images from Frieze Fairs 2014; Above right: Jo Stella-Sawicka feels there is an increasing visibility of art.

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How have Frieze Fairs grown since their inception? What does the growth in popularity indicate? The very first Frieze Art Fair featured 124 galleries and this year that number is only about 30 percent higher. So alongside the contemporary fair, now called Frieze London, we have two more: Frieze Masters, which runs concurrently every October, a short walk away in The Regent’s Park, and is dedicated to historical art from 20th century masters to antiquity, and Frieze New York, which opens every May on its own island in Manhattan’s East River. In turn, we have also grown in terms of the size of audience — the very first Frieze attracted 27,000 visitors, whereas now it welcomes about twice that number. I am sure this is connected with a growing appetite for art in broader culture, and in particular the increasing visibility of art — and contemporary art in particular. We have also seen cross-collecting become increasingly common, as collectors of contemporary art look to the past to see what has influenced the art of the present. For instance, this year, we’ve asked the Blackstone Group’s Tom Hill to speak about his collection, which encompasses a range from Renaissance bronzes to Francis Bacon. We aim to promote discovery at all our fairs — visitors to Frieze Masters say they are often amazed at the accessibility and affordability of even expertly vetted historical and ancient art.

FROM TOP: IMAGES COURTESY OF FRIEZE(3).

IN DOHA, where art is served by the country’s museum authority and is educative in approach, a commercial art fair like those organized in London and New York is a novel experience. Jo Stella-Sawicka, the artistic director of the Frieze Art Fair, tells about us about the growing popularity of such events that bring in Middle East galleries and artists from the region.

Sub Section

Take us through the growth of Frieze as an art exhibition. The first Frieze took place in 2003 in a structure designed by David Adjaye, who Tony Salamé hired for the soon-to-open Aïshti Foundation in Beirut. The next year, Deutsche Bank joined as main sponsor, which — as both a global financial institution and a leading corporate art collector — sent a signal about our ambition and presence; we’re proud this partnership continues. Around this time, the London auction houses began to beefup their autumn sales to capitalize on the collectors drawn to the fair, and an annual week-long concentration of openings and major events around London began to crystallize around Frieze. Incorporating a steady influx of new galleries and growing global reach, we launched a special section for new talent, Frame, in 2009, which evolved into Focus,

‘Outside of gallery participation, we’ve presented projects by the likes of IranianGerman Anahita Razmi, and QatariAmerican Sophia Al Maria, who staged a sci-fi tour of the fair last year as part of our non-profit program,’ Stella-Sawicka says.

FROM TOP: IMAGES COURTESY OF NILBAR GURES; NEVIN ALADAG; GREY NOISE (2)

which now gathers the leading emerging artists and young galleries of the world. In our tenth year, we launched Frieze Masters in October and Frieze New York in May. Last year, Frieze London was completely redesigned by the architects

REGIONAL TOUCH From top: Nilbar Güres’s Snake: Queer Desire is Wild, 2015 from Gallery Rampa; Nevin Aladag’s Leaning Wall with 28 imprints of female and male body parts in various size cast in Meissen porcelain also from the Gallery Rampa; Zineb Sidera's Sugar Craters; and Güres’s Rose of Sapatão, all artists’ works represented by galleries from the Middle East.

Section

UDS, leading to one of the best visitor experiences in years, as well as premiering Live, the first section dedicated to performance and participatory art. Despite all of our changes and growth, Frieze remains committed to putting artists at the center of everything we do, and every fair has featured Frieze Projects, a non-commercial series of special artists’ commissions. What is the role of Middle Eastern galleries in the fair? How has the representation from the region grown? Galleries from the Middle East have been a steady and growing presence at the fair. Sfeir-Semler, whose founder is from Beirut and whose space there is recognized as the first “white cube” in the Middle East, has been showing at Frieze for almost a decade now. From the wider region, long-standing exhibitors include Rampa and Rodeo from Istanbul, and Sommer Contemporary Art, which is based in Tel Aviv. More recently, Dubai’s The Third Line made a presentation of octogenarian Iranian artist Monir Shahroudy Farmanfarmaian at Frieze New York earlier this year, and I am very excited that the gallery will be showing at Frieze London, alongside another Dubai gallery, Grey Noise, who will make their second Focus presentation with a curated display of three young Middle Eastern conceptual artists: Caline Aoun, Charbel-joseph H. Boutros, Stéphanie Saadé. Outside of gallery participation, we’ve presented projects by the likes of Iranian-German Anahita Razmi, and Qatari-American Sophia Al Maria, who staged a sci-fi tour of the fair last year as part of our non-profit program, exploring her aesthetic concept of ‘Gulf Futurism’. The educational, publishing and curatorial enterprise Bidoun, dedicated to new thinking from the Middle East, participated in Frieze New York, raising funds by auctioning artworld ephemera — like artist Shirin Neshat’s kohl. Having recently added Fiza Akram, based in Dubai, to Frieze’s team of 11 global VIP consultants, I’m keenly aware of the growth of collecting, curating and production of art throughout the region. We’re excited that Sultan Sooud AlQassemi’s UAE-based Barjeel Foundation will be showing its collection of Arab art at

September - October 2015

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Art Matters

How different will this year’s experience be? What are the highlights of the year? Both Frieze London and Frieze Masters open at the same time this year: we are embracing the fact that the two fairs together are a joint experience, and we are encouraging everyone to visit both. Frieze Masters boasts a new feature section this year, Collections, curated by Sir Norman Rosenthal and dedicated to highly desirable collections of historical art and objects — from mother of pearl Micronesian fishing hooks and colored Roman marbles, to rare portraits by photographer David Bailey.

‘Being a place to acquire and not just view art means the fairs have a distinct role, but we see this as being symbiotic with the activity of museums and public institutions,’ she says. Does Frieze manage to shock or stimulate the art community? What influence do art exhibitions have on museum spaces? With 160 galleries from all over the globe, one What role does innovation and day at Frieze London, say, lets you see the education play at the fairs? very newest, previously unseen work from We aim to make all visitors to the fairs, emerging artists, alongside iconic pieces by whether VIP collectors or general some of the most recognizable contemporary members of the public, have a names. Similarly, Frieze Masters presents a meaningful encounter with art. We carefully selected, expertly vetted insight into encourage innovative presentations by several thousand years, spanning world the galleries, and they respond cultures from exquisite Islamic objects at accordingly. As a result, the fair is a Amir Mohtashemi to Inuit masks once owned place of discovery, not by Parisian surrealists at Donald simply of commerce. Ellis. So there’s both more range Fortunately, as we take than any single exhibition could place in two of the world’s encompass, and a tighter, more best art cities, we have a manageable selection than very sophisticated trawling a whole museum. Of audience, who are already course, being a place to acquire in the habit of visiting and not just view art means the museums. We like to fairs have a distinct role, but we amplify the public’s see this as being symbiotic with experience through a the activity of museums and number of initiatives we’re public institutions. For example, able to commit to with our it was at Frieze in 2005 that Tate partners — like Frieze Modern acquired the first ever Education, which Deutsche performance work in its Bank supports in New York, permanent collection. At the and which connects the same time, at this year’s Frieze city’s school children New York, Dubai’s The Third directly in workshops with Line gallery presented a solo leading artists like Julie stand of Monir Shahroudy Mehretu and Urs Fischer. Farmanfarmaian, to coincide For those interested in learning about collecting, we have launched with her concurrent retrospective at the Guggenheim Museum. So Frieze Bespoke, a new service that pairs you could say influence flows both ways; we’re users with an independent art specialist, part of the same ecology. That said, with three who can help them identify their interests, Michelin starred restaurants hosting pop-ups at DISTORTED VIEW Clockwise from top left: Middle East artists displaying at Frieze: Caline Aoun’s “Blue locate work suitable for their budget, and the fairs in London this year, I like to think no Paper Plane”; Babak Golkar’s “Backyard Wars make introductions to leading dealers and museum can boast food as good as Frieze’s. Before”, diptych c-prints on metallic paper mounted on aluminum; Guy Zagursky’s “Nostos”; Stephanie artists; the service is available at both fairs Saade’s “Graceful Degradation” in welded iron, for as little as £350 (QR1,980). Frieze London will take place from 14-17 October stainless steel and brass; Thomas Zipp’s work in in the Regent’s Park, London acrylic oil, lacquer and aluminium on canvas.

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CLOCKWISE FROM TOP LEFT: COURTESY OF GREY NOISE; COURTESY OF THE SOMMER CONTEMPORARY GUY (2) AND THIRD LINE

Whitechapel Art Gallery in London, concurrently with Frieze this year.

On the Verge

Light as the Wind Upon the release of her poetic debut album, the folk singer Flo Morrissey pauses to enjoy the tender subtlety of fashionâ&#x20AC;&#x2122;s new bohemianism.

PHOTOGRAPHS BY MATTHEW KRISTALL STYLED BY JASON RIDER

Valentino dress, QR32,740. Repossi rings (worn throughout), QR44,122 each, barneys.com.

ALL PRICES ARE INDICATIVE

September - October 2015

Quality

On the Verge

Chloé dress, QR16,935. Morrissey’s own necklaces.

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Akris turtleneck, QR4,335, akris.ch. Dolce & Gabbana skirt, QR16,915. Veronika Borchers for Pearl Collective earrings, QR3,460, pearlcollective. com.

September - October 2015

Quality

On the Verge

Dolce & Gabbana dress, QR32,760, bra, QR1,000, and underwear, QR1,075. Veronika Borchers for Pearl Collective earrings.

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ALL PRICES ARE INDICATIVE

HAIR BY NEIL GRUPP AT THE WALL GROUP USING AQUAGE. MAKEUP BY JUNKO KIOKA AT JOE MANAGEMENT USING CHANEL LES BEIGES. MANICURE BY YUKO TSUCHIHASHI AT SUSAN PRICE NYC. PHOTOGRAPHY ASSISTANTS: CARLOS MONINO, GRAYSON VAUGHAN AND DUCK FEENEY. STYLIST’S ASSISTANTS: KELLY HARRIS AND RAYNER REYES. LOCATION BY ON THE MARK LOCATIONS LTD.

Lanvin dress, QR26,170, net-aporter.com. Morrissey’s debut album is entitled ‘‘Tomorrow Will Be Beautiful.’’

September - October 2015

Quality

The Thing The very idea of a cuff can seem constraining, but Victoire de Castellane, the iconoclastic designer of Dior Fine Jewelry since 1998, has spun an exquisitely supple one. De Castellane spent her childhood admiring the sumptuous plissés and chiffons of her grandmother’s evening gowns, and this bracelet, from the Soie Dior collection — a play on the French for silk as well as on the words ‘‘be Dior’’ — captures the fluidity of fabric falling in folds. Platinum, pink and yellow gold and five sorts of precious stones undulate like silken ribbons; threads of gems cinch and bunch, loosen and flow; and stitches of baguettes give way to dazzling purple and pink sapphires that unfurl from the cushion-cut Mozambique ruby centerpiece, which clasps the strands. In the hands of the fearlessly quirky de Castellane, who has in the past riffed extravagantly on themes from Disney to Bollywood, something hard looks soft, something inert looks alive — a cuff deep with pleats and creases, as delicate as a charm bracelet in motion. Dior Fine Jewelry Tresse Rubis bracelet, price upon request, 1-800-929-3467. — GEMMA SIEFF

PHOTOGRAPH BY SOPHIE TAJAN

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Quality

In Fashion

A Woman’s Tweed

The traditional men’s wear fabric has been nipped and tucked to new feminine proportions. PHOTOGRAPHS BY MARK PECKMEZIAN STYLED BY ELODIE DAVID-TOUBOUL

Moncler Gamme Rouge sweater and skirt, price on request, moncler.com. Brunello Cucinelli shirt, QR5,880.

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ALL PRICES ARE INDICATIVE

Michael Kors Collection cape, QR12,730, and sweater, QR4,715, michaelkors.com. Dior shirt,QR4,370.

September - October 2015

Quality

In Fashion

Max Mara dress, QR3,260, and sweater, QR2,165. Dior shirt. Charvet shirt (collar visible), about QR1,468, mrporter.com. Comme des Garรงons vintage shoes, Resurrection Archives.

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ALL PRICES ARE INDICATIVE

MODEL: LAMEKA FOX AT IMG PARIS. HAIR BY TOMOHIRO OHASHI AT MANAGEMENT+ARTISTS USING BUMBLE AND BUMBLE. MAKEUP BY AUDE GILL AT STUDIO 57. MANICURE BY LAURA FORGET AT ARTLIST PARIS. PRODUCTION BY WHITE DOT PARIS

Boss dress, QR4,350, Hugo Boss. Brunello Cucinelli shirt.

September - October 2015

Quality Accessories

Post Punk

The subculture’s calling cards — studs, leather, mesh — once broadcast gritty rebellion; now, they convey wry, refined edge. PHOTOGRAPHS BY CARLOTTA MANAIGO STYLED BY HAIDEE FINDLAY-LEVIN

Left: Altuzarra boots, altuzarra.com. Fendi backpack, QR13,110. Prada sweater, QR2,150, prada.com. Coach pants, QR4,715. Right: Stuart Weitzman shoes, QR1,695. Diesel Black Gold sweater, QR2,220. Marc Jacobs skirt, QR1,275, marcjacobs.com. Falke socks, QR87.

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Todâ&#x20AC;&#x2122;s boots, QR3,075, and bag, QR6,720, tods.com. Balenciaga coat, QR24,220, and gloves, QR10,800.

September - October 2015

Accessories

MODELS: MADI AT NEW YORK MODEL MANAGEMENT, EKATERINA PYLOVA AND JOLINE TOWERS AT PARTS MODELS. MAKEUP BY TORU SAKANISHI USING GIORGIO ARMANI. MANICURE BY YUKO TSUCHIHASHI AT SUSAN PRICE NYC. PHOTOGRAPHY ASSISTANT: EVGENY POPOV. DIGITAL TECH: ABBY AT STUDIO KSM. STYLIST’S ASSISTANTS: ARYEH LAPPIN AND ALLEGRA LEVY

Quality

Left: Giuseppe Zanotti Design shoes, QR3,550. Jimmy Choo bag, QR8,225, jimmychoo.com. Proenza Schouler dress, QR12,110, and tights, QR910. Right: Dior boots, QR6,445, top, QR15,295, and skirt, QR13,110. Balenciaga bag, QR11,910.

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ALL PRICES ARE INDICATIVE

Home and Work

Bright Ideas Scholten & Baijings are shaking up the world of Dutch design with candy colors and, even more shocking, a belief in mass production. BY STEPHEN HEYMAN PHOTOGRAPHS BY MIRJAM BLEEKER

ON A DREARY, RAINY DAY in Amsterdam, the design

MIXED MATCH Stefan Scholten and Carole Baijings in their Amsterdam studio with their Colour Porcelain collection, available at Thomas Eyck.

studio of Stefan Scholten and Carole Baijings stands out like a fluorescent beacon. The ground floor of their two-story office overlooking the Ij lake is divided by swiveling textile panels in wild color pairings that shouldn’t harmonize — hot pink and olive green — yet somehow do. Tables are set with flowers in matte porcelain vases; shelves are laden with globes of tinted glass, test swatches and bright foam molds. Michael Maharam, for whom Scholten & Baijings have made a series of gridded textiles, called this space a ‘‘candy shop for the curious eye.’’ The firm has designed everything from clocks for Ikea to components for a

Mini One car to dishwasher-safe Japanese porcelain that resembles recycled paper. The husband-and-wife team’s fluency with color sets them apart in the relatively muted Dutch design scene, as does their conviction that conceptual design can be married to industrial production. Scholten studied at the prestigious Design Academy Eindhoven around the time one of his professors started Droog, the influential design collective that emphasized a wry, postmodern, handmade approach to furniture and housewares — one that was openly hostile to the pragmatic concerns of industry and manufacturing. Droog prototypes — like Tejo Remy’s iconic 1991 dresser of mismatched drawers September - October 2015

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Home and Work

bound together by a belt — had an appealingly comic, D.I.Y. quality, but were often too costly, or too outlandish, to produce in anything but the smallest editions. Nevertheless, many of the most famous designers to come out of the Netherlands in the last two decades, from Marcel Wanders to Hella Jongerius, are associated in some way with the movement. ‘‘At school you had two options: Become a Droog designer or become a Droog designer,’’ Scholten jokes. ‘‘It was sort of frustrating. Somehow people thought that a creative process couldn’t be linked to an industrial process. Well, Eames did it. All the greats did. Why couldn’t we try?’’ In 1999, he met Baijings through a mutual friend, and the connection between them — aesthetic, romantic, dialectic — was instant. ‘‘Our method is the atelier way of working, one that emphasizes constructive thinking,’’ Baijings says. ‘‘It means making your own materials, your own colors, your own models, and looking at what’s happening under your hands. Is your idea really working? Or is it more suitable for another design?’’ Today the pair works in their studio but sketches in a light-filled home office off their bedroom. The design critic Louise Schouwenberg termed Scholten & Baijings’s hyper-elegant attention to detail ‘‘almost un-Dutch.’’ But their three-bedroom 1920s house on the south side of the city seems the very picture of lowlands good living. There is an antique wooden bruidskist, or wedding chest (a gift from Baijings’s parents, made in Indonesia), fresh flowers and an original marble-lined entryway, which Scholten says is ‘‘classic Amsterdam. You put all the money in the places people can see, and then forget about what’s inside.’’ Baijings’s grandmother lived in the house for 65 years

ARTS AND CRAFT Clockwise from left: the main workspace in Scholten & Baijings’s studio, with textile panels in their signature color combination and their new Light Ball lamps atop a vitrine displaying recent prototypes; the couple’s Amsterdam Armoire with handblown glass feet and screen prints on the door’s interiors; the duo’s Colour Wood pink table, Flower vase and Colour platter.

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before the couple moved in, and together they restored some parts, and gut-renovated others — like the ash-green kitchen, where they added custom aluminum cabinets and a matching wall made of textured Pandomo, a washable stuccolike surface. Arrayed on the kitchen counter is a deceptively random mix of design objects and everyday things (a bag of pasta, a few artichokes and a clove of garlic sitting on a papier-mâché and willow wood centerpiece they created for the Dutch design collector and retailer Thomas Eyck). You can find these groupings all over the house: in the room of their 20-month-old son, Rem — whose clothes are displayed on open shelves like museum pieces — and again in the living room, where timeless objects (a Josef Hoffmann tea set) mingle with family ephemera (Baijings’s hospital wristband, souvenirs from their travels, successful prototypes, failed prototypes). ‘‘Everything has a story,’’ Scholten says. Next year, they will unveil a furniture collection with Herman Miller and curate a show on Japanese porcelain at the Rijksmuseum in Amsterdam. It seems that the more they refine their style, the wider the possibilities become. ‘‘We want to make a chair, but maybe it could be a water jar, too,’’ Scholten says. ‘‘If you have a design process that just goes from A to B, how creative is that? It’s only by trying new routes at the same time that you arrive at something new.’’

In the living room, timeless objects (a Josef Hoffmann tea set) mingle with family ephemera (Baijings’s hospital wristband, souvenirs from travels). ‘Everything has a story,’ Scholten says.

LIGHT MOTIF Clockwise from left: the Agape tub in the couple’s bathroom at home gets its green tint from fluorescent yellow curtains, and the neon orange showerhead is made of silicon rubber; the living room is furnished with Scholten & Baijings designs, including a coffee table from their Colour Wood series and a rug for Scandinavian retailer Hay; the custom kitchen cabinets are made of aluminum.

September - October 2015

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On the Verge

The Many Languages of Art

With the Fire Station announcing the names of the 20 artists selected for its maiden Artist in Residence program, we try to gauge what kinds of projects and collaborations we can expect over the next nine months. BY AYSWARYA MURTHY

NOT ALL THOSE WHO WANDER ARE LOST

ADRIFT: Preliminary sketches of the raft Betancur-Montoya is building for his future project.

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IMAGES COURTESY OF SEBASTIAN BETANCUR-MONTOYA

OU FEEL A CERTAIN ENVY AS YOU LISTEN to Sebastian Betancur-Montoya talk about discovering connections in a country so far removed from his home in Colombia. Could one ever feel truly alone, when, despite being displaced from one’s origin, that comforting sense of belonging is a mere sketch away? Betancur-Montoya explores these concepts in his as-of-yet unrealized endurance performance piece, Drift & Divorce. He means to set off from the western coast of Qatar on a rudderless, compass-shaped raft, thus eliminating any possible directional preference, and drift along an uncertain course for 20 hours and 40 minutes (Google’s estimated time for an non-existent direct commercial flight from Doha to Medellín, his hometown). While the waters are calm, the land around Qatar isn’t and the region’s sensitive geopolitical situation is holding him back, even as he builds a prototype of the raft. It’s of singular construction; a faux home, walls, and roof and all, is set in its center, but the floor is a gaping hole that opens into the sea. Betancur-Montoya says it is reminiscent of the courtyard and patio designs that were once common both in Colombian and Qatari homes, but are no longer in use, abandoned to memory and art.

THE DISAPPEARING DIVIDE

N THIS AS YET UNNAMED INSTALLATION tentatively called “The Border Project”, Waqas Farid presses into action a nuanced and technical aspect of photography, to flesh out the concepts of the human toll of disputed borders and the healing nature of time and fresh perspective. He plans to start with the border close to his home and heart, the one that separates India and Pakistan. The heavily contested outline will be scaled down to about six-millionths of its original length and recreated on a platform smaller than one square meter. The 'six million' signifies the number of lives lost on both sides of the border during the partition, he says. A computerized cutting machine will be used to etch the pattern of the border out of wood (he has specifically chosen rosewood, the fragrant and richly hued timber, cherished by craftsmen and artists in both countries), which can only be seen through a custom-designed lens. As the viewer steps back, the border disappears. For Farid, this is indicative of how, while this border represents nothing but pain and loss for those who lived through those trubulent times, and thus often goes undiscussed, the next generation can look at and address it without the baggage of the past. We don’t ask him which side of the divide he is from and he doesn’t volunteer the information. Perhaps it really doesn’t matter anymore.

IMAGES COURTESY OF WAQAS FARID

DELICATE LINES: As part of this project, Farid plans to work on other sensitive borders like that separating Sudan and South Sudan.

September - October 2015

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On the Verge

AN OLD WORLD IN A VIRTUAL REALM

T FIRST GLANCE, technology is far removed from art and design. One is temporal, almost obscenely so, bent on reducing the world to 1s and 0s, while the other is famously emotional and of unsaid things. But Maryam Al Homaid brings these two discordant worlds together in her augmented reality project, “In Memory of the Roundabouts”. As Qatar shakes off the dust and sprints into a bold, new era, the demolition of iconic roundabouts is just one of many sacrifices Doha has had to make in the pursuit of larger, faster highways. According to Al Homaid, while the skyscrapers of the world, including those in Doha, are mundane and interchangeable, these roundabouts are quintessentially Qatari, each carrying the weight of memories; not monumental ones but just snatches of an everyday life when they were navigational markers and an integral part of the daily commute. Pins on the city map. This project takes 3D rendering of roundabouts that no longer exist and uses augmented reality technology to project them into real spaces. This gives the user the opportunity to create an empathetic relationship with the missing structures. The roundabouts are depicted as angels, wings, and halos to emphasize their nonexistent state.

IMAGES COURTESY OF MARYAM AL HOMAID

ART GOES HIGH-TECH: A lot of Al Homaid's works focuses on incorporating technology into art and design. “Attempt” juxtaposes everday objects with their highly pixelated, 3D-printed counterparts.

RUBBLE, RUBBISH AND REASSIGNMENT

IMAGES COURTESY OF KELLEY LOWE

CITY IN A STATE OF CONSTANT FLUX, Doha is home to many vacant, demolished lots, stuck in limbo between the old and the new. In Kelley Lowe’s eyes, these empty squares, walled on three sides, are “a perfect stage for a performance, a work to exist, if only temporarily. ” And so “Over Oxer” was moved from the pristine confines of a gallery to sit amidst the heat, dust and harsh realities of a construction site. Inspired by different methods of wrapping and using construction tape, here the installation was truly at home. “The work had been a response to sculptures that exist naturally, constructed for the purpose of signaling a designated work space, an area of caution. This piece used that same language to signal a new kind of space,” says Lowe. And while public art has additional challenges pertaining to legal issues and cultural norms, Lowe considers them very important; in fact, it was during this second iteration that “Over Oxer” evolved, she feels, adding a rich, new dynamic that demanded further exploration. For those passing by, stranger than the installation was the presence of a woman, busy at work among the debris. An effort, theatrical though it may be, to leap across obstacles that make women feel like aliens in certain surroundings.

GOING PUBLIC WITH ART: Lowe hopes to work more extensively on public art during her residency at the Fire Station.

September - October 2015

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On the Verge

THE LENS AND ME

OMMISSIONED BY QATAR MUSEUMS to capture Turkey through Qatari eyes, Sara Al Obaidly’s pictures of the country are now on display at a Qatar Museums exhibition. But in parallel, she is also working on a personal project — a series of photographs that depict how Turks connect with their land. And while these pictures have yet to see the light of day, Al Obaidly obliges is giving a sneak peak. “Reflections” was taken at Lake Tuz where families would drive by, waddle across the salty, white sand and shallow waters, to take pictures. Much of her upcoming work in the Fire Station however, will, focus on portraits, Al Obaidly’s forte (last year, her “Old Hearts, New World” was picked by TIME LightBox as one of the best portrait photographs of 2014). In her studio space at the residency, she will work towards honing her skills and practicing photography lighting techniques. Among her fellow residents, Al Obaidly hopes to find other artists who can help her create stunning sets for her portraits. It is exactly these kinds of collaborations that the team behind the Artist in Residence program is hoping to inspire.

IMAGES COURTESY OF SARA AL OBAIDLY

FRAMED: The artist in Al Obaidly constantly searches for stories that she can tell through her camera.

A BLEAK ETERNITY IN PERPETUAL MOTION

IMAGES COURTESY OF HANA AL SAADI, ROBERT ALTAMIRANO

ANA AL SAADI shies away from over-explaining her projects. When you put forth your interpretation, her response is a simple “yes” — encouraging yet noncommittal. The video of her installation, “Endless Game, Unless the Power is Out”, is a twominute film, silent except for the whirling of two fans and the continual tap-tap-tap of a tiny ball bouncing against the edges of the miniature football field suspended in space and its motionless “players”, cruelly glued down inside the closed box. All of them — the hapless players, the mechanical prime movers and the swaying playing field — are condemned to mindlessly participate in an endless game that no one can win. On and on and on, until the flick of a switch brings the whole charade to a merciful end. A concurrent project, “Endless Game, Unless the Power is Out”, also makes a similar statement with a sewing machine on autopilot that creates random patterns on a looping fabric. Hana shot into the national limelight last year when Damien Hirst, impressed with her submission, “Snail Print Factory“, invited her to visit him in his studio in the UK. One can see why he likes her work; while not as overtly morbid as Hirst's, Hana's installations conjure up feelings of dreadful eventuality that are as subtle as they are insidious.

A SPACE TO THINK: Al Saadi, a deeply contemplative artist, is looking forward to her own Fortress of Solitude at the Fire Station.

September - October 2015

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On Art

Flaying the Order

The British contemporary artist Anish Kapoor turns the very controlled landscapes of the gardens of the Château de Versailles upside down.

IT IS ALWAYS WITH GREAT TREPIDATION that artists

ARTIST IN PROFILE: The artist Kapoor invites viewers to delve into the hidden aspects of his work.

take on the 17th-century Château de Versailles. Perhaps it is the sheer scale and majesty of both the palace and its grounds, designed by André Le Nôtre and the immense power of Louis XIV, the Sun King, which instill fear in the hearts of those who dare to leave their imprint. However, when Catherine Pégard, president of the Château de Versailles, invited Anish Kapoor to exhibit site-specific sculptures in the palace’s gardens, the artist looked upon the task not with apprehension, but with excitement and contemplation, joining the ranks of other contemporary artists before him who have shown their work here, such as Jeff Koons, Lee Ufan and Takashi Murakami. After all, T Qatar: The New York Times Style Magazine

Kapoor is already known for his monumental installations that embody boundless creativity, immense beauty and technical prowess, and are mysterious and disturbing, occupying the grandest of sites. The enormous bright red sculpture Taratantara in Naples in 2000; the colossal Marsyas at the Tate Modern in London in 2003, that challenged the height and length of the museum’s Turbine hall; public outdoor stainless steel work, Cloud Gate in Chicago in 2006; and the mammoth inflatable dark membrane structure known as “Leviathan” into which visitors could step inside, at the Grand Palais in Paris in 2011, are all works that contest the space or materials he has worked with.

IMAGES COURTESY OF CHÂTEAU DE VERSAILLES

BY NINA STARR

Kapoor was entirely at ease in his relationship with the royal setting measuring 800 hectares, which he says “needs no decoration.” It was an undeniably demanding project, and as he uncovered the many secrets of the gardens he considered to be the very picture of perfection. The result is an exhibition, which opened last June and runs until November 1, 2015, developed for the dialogues it has with the legendary surroundings and their unique historical qualities. The exhibition curator, Alfred Pacquement, notes, “Kapoor is an artist of monumentality; his approach in Versailles is ambitious and clear, he revives through the chosen sculptures some of the themes which have fed the imagination of the centuries which unfolded here: the magic of ruins, the energy of flowing waters, the symbolic strength of the sun, the secret of the groves, the reflection of mirrors, the conquest of freedom.” The works are all shown in the gardens, except for one in the historical Jeu de Paume, Royal Tennis Court. Some are brand-new creations made for the occasion, but all dialogue with Versailles and address the weight of history that permeates the setting. The exhibition had to reflect all aspects of the site’s past: both Le Nôtre’s genius and the events that transpired on this prominent site. Kapoor was inspired by the symmetry of the garden views and the presence of water in the form of canals, ponds and fountains, as much as by the upheaval caused by the French Revolution. In Shooting into the Corner, shown for

‘I do not want to make sculpture about form — I wish to make sculpture about belief, or about passion, about experience,’ Kapoor says. the first time in France, a cannon shoots thick red wax into a corner of Royal Tennis Court. Color explodes violently, as if blood and entrails are spilling out with carnage everywhere. “Like the state and the citizen, or the lover and the beloved, there is a symbolic act of penetration that makes both sides potent. This is undeclared war,” Kapoor says. “Red is its own poetic entity, mysterious as a sustainer of life and what we associate death with. Color is never passive. I have always looked for color that is a ‘condition’, not a surface. I want an immersion in color much as one might want to be immersed in water.” C-Curve, on the château’s terrace is composed of mirrors, which form an essential component of Versailles but now distorts it and flips our perceptions. Situated in front of the Water Parterre, the large, curved mirrors of Sky Mirror focus on the sky, reflecting and deconstructing the heavens and depicting an elusive, unstable and shifting world. Descension on Apollo’s Chariot is a fountain, now a lawn, is a water vortex that creates a centrifugal force, like a dark spinning pit leading down to the center of the universe. Here, stable ground begins to move and swirl. “Descension on Apollo’s Chariot creates an almost perfect form,” Kapoor remarks. “It does so through natural geometry. I like that, hidden in here, is a geometric object made of water.” Interested in all that involves the body, Kapoor delves into the hidden aspect of objects, the negatives of shapes. Viewers are sometimes invited to penetrate into his sculptures, like experiencing the interior of a building, and to discover the surprising spaces concealed from those

ART OF DECEPTION Kapoor's sculptures on the gardens of Château de Versailles. Top: C-Curve on the château’s terrace flips images; left: Dirty Corner on the Green Carpet lays open the green order to reveal what's beneath.

September - October 2015

On Art

outside. And to the imposed order of Le Nôtre’s Versailles, where all that is untidy is hidden and the topography of the land conquered, Kapoor brings a certain chaos. From the exterior, Sectional Body Preparing for Monadic Singularity in the Star Grove, located in the garden’s labyrinths, resembles a cube with numerous openings. Once inside, viewers will perceive exposed interior orifices. According to Kapoor, Le Nôtre’s rational order refuses the romantic. His installation Dirty Corner on the Green Carpet intends to flay this very order. “There is no picturesque and there is no nostalgia. Le Nôtre gives us instead rational geometry. He is showing us a mind object where the mess of nature is obscured or hidden by straight lines crossing in serene perspectives,” he says. “I will flay the green, lay it open like a dismembered body, remove its skin. Like a body lying on the ground with its legs open, unclear as to whether it’s a male object or a female object. A construction site being built or arrested in decay, we are unclear. I want confusion. The very opposite of all that the garden sets up for us.” Born in 1954 in Bombay, Kapoor moved to London, where he is currently based. He studied at the Hornsey

College of Art and the Chelsea School of Art, held his first solo show in 1980 in Paris, won the Turner Prize in 1991 and today is considered one of the UK’s major artists. In his early works in the 1980s, he used colorful powdered pigments, where intense reds, yellows and blues covered unusual organic shapes, suggesting imaginary architecture or plants. Rather rare among sculptors, color still continues to play an important role in his art pieces. At its heart, his sculptures have always been about the tension between polar opposites: order and disorder, certainty and uncertainty, rationality and irrationality, the expected and the unexpected, the visible and the invisible, presence and absence, light and shadow, the polished and the rough. His creations, characterised by voids, contrasts and the testing of new materials, are often fascinating yet destabilising. He once said, “I do not want to make sculpture about form — I wish to make sculpture about belief, or about passion, about experience.” And he has succeeded in doing just that with the unique canvas that is the Château de Versailles.

‘I want an immersion in color much as one might want to be immersed in water,’ Kapoor says.

ABOUT OPPOSITES Clockwise from top left: Descension is a water vortex that creates a centrifugal force; Sectional Body Preparing for Monadic Singularity is all about discovering new forms and sights; Shooting into the Corner shoots red wax, “a symbolic act of penetration,” according to the creator; Sky Heaven makes you want to reach for the skies.

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IMAGES COURTESY OF CHÂTEAU DE VERSAILLES

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September â&#x20AC;&#x201C; October, 2015

FROM LEFT: GLEN LUCHFORD; KARIM SADLI

AGAINST ThE GrAIN Climbing High With Cate Blanchett 84 The Evolution of Marc Jacobs 90 A Look That Layers Decades 96

September - October 2015

Cate Blanchett is known for playing women who are just barely holding it together. In life, she’s firmly in control.

ON EDGE IT WAS CATE BLANCHETT’S second time climbing the

BY CHRISTINE SMALLWOOD PHOTOGRAPHS BY KARIM SADLI STYLED BY JOE M C KENNA 90

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Sydney Harbour Bridge. She couldn’t really say why she wanted to do it, or what it is about heights that appeals to her. She has no interest in skydiving or bungee jumping or parachuting. She’s not especially sporty or athletic. It’s not thrills she likes; it’s control. She once drove her children to the edge of Mount Yasur, an active volcano on the island of Tanna. ‘‘It was fantastic to be able to say, I’m deciding to do this,’’ she said. ‘‘I’m deciding the level of safety for my children without someone telling me what to do.’’ She was wearing a baggy blue and gray flight suit — baggy enough to slip over a pair of loose leather pants and leave room to spare. It wasn’t that she looked good in the suit so much as she made the suit irrelevant. A strap hanging off the belt connected to a cable that ran inside the thousand feet of stairs, catwalks and steel beams of the bridge. ‘‘I love to climb high things,’’ she said. We were standing on the midpoint of the exterior archway, with a sniper’s vantage on the opera house. She wanted to go even higher, up a short ladder that led to a rotating red light, but Nick, the climb guide, said it wasn’t allowed. Nick had seen a fur seal in the harbor on his morning run, and Blanchett wanted to know all about it: how big it was, and if it was furry. She had questions about Shark Island. She pointed to Cockatoo Island. ‘‘It was a prison for convicts and then it was a reform school for wayward girls, so you can imagine what goes on there.’’ She pointed and pointed — to ports, to mountains, to secluded spots of green. To mangrove beaches where you can wander and never meet another soul. ‘‘People go to the usual places,’’ she lamented. Then she laughed and her voice dropped into sarcasm. ‘‘Like this, for instance. It’s the insider’s Sydney you’re experiencing today.’’ Blanchett had descended to the interior archway and was deploring the gentrification of Brooklyn when a line of identically blue and gray flight-suited figures above

CĂŠline dress, QR10,745, and earrings, QR1,545, Barneys. September - October 2015

Blanchett was shouting about Chekhov. She especially likes the way he does silences. Chekhov’s silences, she said, ‘‘The Present’’ at the Sydney Theatre Company. She and moved home to Australia in 2008 to take over the are like the moments at Upton company as co-artistic directors. (Her first-ever acting job was at the Sydney Theatre, as an a dinner party when professional understudy in Caryl Churchill’s ‘‘Top Girls.’’) They live everyone stops talking. with their four children — biological sons Roman, Dash began clamoring for attention. They were leaning over the bars, whooping and clapping. ‘‘They’re waving at you,’’ I said. ‘‘I don’t know,’’ she said. ‘‘It’s like when you’re on a boat,’’ Nick said helpfully. Blanchett agreed that this situation was like when you’re on a boat. She half-waved at the admirers, a motion at once friendly and plausibly deniable, and continued the descent. She paused on a slip of the bridge that sits between two sets of train tracks to remember when Kevin Spacey pushed somebody — she couldn’t remember who — in front of a train on ‘‘House of Cards.’’ She wished that a train would pass us — better, that two trains would pass us, in opposite directions, at the same time. ‘‘What if it went, ‘Choom! Choom!’ ’’ she said. ‘‘We could have the double action!’’ Then she laughed. ‘‘Oh my god, I’m getting hysterical.’’ Through the open steps the water of the harbor glittered green and jewel-like below. ‘‘Transport!’’ she yelled giddily and threw her arms in the air. A train sped by, granting half her wish. ‘‘It’s amazing.’’ The vibrations from the train faded into the noise of automobile traffic as we proceeded single-file toward the climb base. Blanchett was shouting about Chekhov. She especially likes the way he does silences. Chekhov’s silences, she said, are like the moments at a dinner party when everyone stops talking — ‘‘stupid silences,’’ the Hungarian director Tamas Ascher calls them. It’s not that people are thinking of something to say, or motivated by some particular desire. They’re just — there. Just — between. Blanchett, who is 46, is currently starring in her husband Andrew Upton’s adaptation of Chekhov’s 92

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and Iggy, and newly adopted baby Edith, from America — in a suburb of Sydney. Blanchett officially stepped down as co-director of the theater in 2013, but Upton will run the company through the end of the year, and in practice she remains involved; as she put it, ‘‘We do everything together.’’

ACK AT THE BASE, Blanchett signed photos

for the Sydney Harbour Bridge Climb’s celebrity wall and we walked to a nearby restaurant for dumplings and salad. She sat with her back to the window and removed the sunglasses that had obscured half her face all morning. A fine wrinkle cut a shallow line into the side of her jaw, which somehow made her look younger. She explained that running the theater company had been transformative. It wasn’t only that she shepherded productions she was proud of, including ‘‘The Secret River,’’ based on a novel about Australia’s racial history; ‘‘The Long Way Home,’’ which was performed by servicemen returned from Iraq and Afghanistan; and Botho Strauss’s forgotten ‘‘Gross und Klein,’’ which afforded her the ‘‘personally liberating’’ experience of working with director Benedict Andrews. She also became an advocate for the theater community as a whole. She had to think bigger than just her own company: A healthy ‘‘theatrical ecology’’ means that lots of companies are thriving and everyone’s audiences are growing. This required her to take the microphone, come out of her shell a bit. ‘‘I learned to not feel responsible to other people’s perceptions of who you are,’’ she said. ‘‘I suppose I’ve gone through a process of maturation, in a way, because running the company is a public position.’’ I said that I would have thought that being a Hollywood actress would have felt like a public position. Blanchett has appeared in 48 feature films. My in-flight entertainment system had offered seven of them.

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Her performances grant refinement to the most degraded She frowned, and her eyes clouded. She did not like the phrase ‘‘Hollywood actress.’’ ‘‘That’s what they say about or distressing situations. you when they want to insult you,’’ she said. She ignores the trappings of celebrity as best she can, Her characters and advises younger actresses not to go on social media, are never ‘ordinary.’ which “creates a culture of self-consciousness.” She is drawn to figures who ‘‘have utterly shedded self-consciousness but are completely masters of their technique, like Louise Bourgeois and Georgia O’Keeffe. They’ve got that raw, wrought intelligence.’’ She also admires Pina Bausch. ‘‘If I had my time over, I would have loved to have been in her company,’’ she said. ‘‘She was an incredible, incredible creature — fierce.’’ She ran her hand across her hair smoothly, turning in profile with her chin slightly angled down. It’s a gesture she makes repeatedly in ‘‘Blue Jasmine’’ — a moment of putting yourself back together, preparing to meet another.

ONSIDER HOW MANY of Blanchett’s most

notable characters have struggled with these very issues — the burdens of recognition and fame, or the shame of being watched or hunted. Bob Dylan, Katharine Hepburn, Jasmine, Queen Elizabeth, even the art teacher who sleeps with the high school student in ‘‘Notes on a Scandal’’ — they are all tortured by their awareness of other people’s perceptions, and, in the process, lose their composure. Blanchett is especially good at performing this state of just-barely-holdingit-together, that veneer that cracks to reveal an unhinged or demented person inside. Yet her performances grant refinement to the most degraded or distressing situations. She telegraphs something regal and elite; even when her characters are not financially well-to-do, they are never ‘‘ordinary.’’ This winter she will add another elegant woman under surveillance to her repertoire of roles, playing the title part in Todd Haynes’s beautiful new film ‘‘Carol.’’ (She is also starring in ‘‘Truth,’’ as the CBS producer who approved the ‘‘Sixty Minutes’’ investigation into George W. Bush’s National Guard service.) ‘‘Carol’’ is adapted from ‘‘The Price of Salt,’’ the 1952 Patricia Highsmith novel widely regarded as the first lesbian novel with a happy ending (i.e., nobody dies). The plot concerns an affair between young, unsophisticated ingénue Therese (Rooney Mara) and Carol, a glamorous older woman. Readers of the novel will know the famous road trip sequence — it’s said that Nabokov copied it for

‘‘Lolita’’ — in which the lovers are pursued by a private detective hired by Carol’s ex-husband to build a child custody case against her. Blanchett has admired Haynes since they first worked together on ‘‘I’m Not There.’’ She compares him to Klausner, a character in the Roald Dahl story ‘‘The Sound Machine,’’ who can hear the clouds moving in the sky and the grass screaming under the blades of a lawnmower. ‘‘Todd is a good person, and a wild person, and a responsible person,’’ she said. ‘‘You could probably tell him anything.’’ As for Highsmith, she first discovered her novels in the late 1990s, when she was cast in ‘‘The Talented Mr. Ripley.’’ ‘‘She writes so fearlessly — and often ambiguously, but often ferociously — about human relationships and the human heart,’’ Blanchett said. ‘‘I always have this terrible sense of foreboding, like a thrilling sense of foreboding, like something terrible is going to unfold. Like you never feel safe.’’ The key to suspense, of course, is control. The knowledge that someone is in control makes danger pleasurable. So much of Blanchett’s life and work revolves around a very careful calibration of control and chaos. Control is what makes ferocity effective rather than only cruel. Control is what makes it fun to visit a volcano. As for her occasional, well-documented eruptions — her facetious comment to a reporter who queried her sexuality, her punch-drunk interview on a ‘‘Cinderella’’ junket in the spring — they would mean something different were it not for their divergence from her usual poise. The conversation returned to the peculiar problem of theater acting: how to be in and out of the flow of the moment, how to practice and prepare and bind together all the ‘‘Eureka moments’’ that recapture the spark of a first reading. The way she explained it, when a scene is working, the actors are equally aware of the person unwrapping a snack in row G and the other bodies on the stage. She hates monologue. For her, everything interesting is in collaboration. ‘‘That’s the dangerous side,’’ she said. ‘‘You really don’t know where you’re going to go.’’ September - October 2015

Who Is Marc Jacobs?

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BRAND IDENTITY Marc Jacobs in New York’s West Village, where he lives and where he has built a mini-empire.

BY SARAH NICOLE PRICKETT PORTRAIT BY JASON SCHMIDT September - October 2015

I, I’M MARC,” says a smiling, shortish, muscular

man in a very white shirt and black trousers with even whiter socks. He has a housekeeper (“This is Reisa”) and a personal chef (“This is Lauren”), but he answers the door of his West Village townhouse himself, at least when reporters come over. He looks 38 or 39 and is definitely Jewish, but maybe he could also be Greek. “I thought it was so strange this morning,” says Marc, who is not going to say anything stranger than the fact that he’s actually 52, “but Nick said, ‘I left you a folder with Sarah, a picture of Sarah,’ and I was like, ‘Why, so I wouldn’t let someone else in the building?’ But no, the press office just did it. They put a picture of you, and like, who you wrote for. Like, as if that would change anything.” Marc prefers not to use last names. In fact, he is bored with most ways of being identified. “I think it was after the Caitlyn Jenner thing,” he says, folding himself into a snail-colored sofa, “and I just said, like, can we just start calling people by their name? You know, not what they do for a living, not what their sexual preference is, not their age, not who they’re related to. It’s 2015. Just say, ‘Hi, I’m Caitlyn.’ ‘Hi, I’m Marc.’ It’s not like, ‘I’m Marc, homosexual Jew from New York.’ ” He laughs. “You know, ‘fashion designer.’ ” If Marc isn’t a fan of the full introduction, it’s partly because he hasn’t needed one since at least 2008, when Page Six made him a fixture and the New Yorker profiled him for a second time. Twenty-four years before that, in 1984, a 21-year-old Marc met a 30-year-old Robert, who became his business partner and best friend for life. This past February, Marc entered his fourth decade on the runway with a fall collection of after-eight wear in every available shade of “deep,”littered with minks and sequins and inspired by Diana Vreeland’s memos. (Imagine her now: “Don’t you think it would be a good idea if we did away with last names altogether?”) To industry observers, the show was both a dramaturgic triumph and a commercial departure from his on-trend yet offbeat sensibility: an announcement that “Marc Jacobs” means serious business. The company is allegedly, finally, going public within the next several months, which means the designer famous for changing his mind with the seasons may soon be bound by expectations not for newness but for quarterly earnings. “I was terrified last week,”he says when I ask how he’s sleeping. “I went to my shrink — it was a Wednesday morning — and I felt like I was having such a panic attack. I’d had one of my nightmares. It’s a recurring theme: I’m up against something uncomfortable or difficult, and just as I feel like I’m making some progress, there’s an end to the dream that says no, you’re not getting anywhere, you have to start over. This time, the nightmare was so bad that it felt like I was awake thinking about it, rather than asleep and dreaming. Which is another recurring thing, when I can’t differentiate between creating a scenario and

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dreaming it.” Marc has been seeing shrinks since he was 7. From 11 or 12 to 19, he was raised in the Majestic, an acropolitan co-op on Central Park West, by his grandmother, Helen, who went around telling shop owners that her son’s son would be “the next Calvin.” She was right: Like Calvin, his name would become synonymous with youthful American sportswear, provocatively advertised. Unlike Calvin, who eventually settled into a repertoire of whistleclean minimalism on the catwalk and heritage logowear on the street, Marc has kept his rangy mind on “next.” “If I think about the future,” he says, “I just become afraid.” His fear is at odds with his reputation for effortlessly setting trends, yet his reputation belies his real talent: setting a trend on its head. In 1992 he showed his infamous “grunge collection” for Perry Ellis, perennially cited as the reason he was fired four months later and, since being fired made him sound like a rebel, as a groundbreaking moment in fashion. “I had no idea I’d be fired,” Marc tells me. He laughs. “I’d never had any idea I’d be fired. But it’s still my favorite collection, because it marked a time when I went with my instincts against instructions, and I turned out to be right. It came out of a genuine feeling for what I saw on the streets and all around me.” Indeed, grunge was already everywhere, from the streets to the malls to the collections of two other New York designers that very same season, but only Marc’s dream of the zeitgeist was so lucid, so precisely appropriated from what he saw, that the zeitgeist came to look like his creation. By taking $2 flannels from St. Marks Place and copying them in silk — a trick akin to his parents’ switching a “c” for “k” in his name — Marc made the familiar uncommon. For lunch today, Lauren serves three courses, each essentially a deconstructed smoothie in a shallow bowl. We eat in Marc’s fragrant backyard, from which you can hear neither the dogs and their walkers on the street (his own dogs Neville and Daisy are at the office) nor the cars on the West Side Highway. He gives me one of his Marlboro Lights, since Lauren mistook my pack for an extra one of Marc’s and tidied it away. “I love smokers,” he murmurs appreciatively. An addict from his late teens on, Marc says he gave up drugs — heroin, cocaine — for good in 2007 after a second stint in rehab. In 2006, after being diagnosed with the ulcerative colitis that killed his father, he hired a nutritionist and began working out with a personal trainer, a man who changed his legal name to Easy and is now one of Marc’s closest friends. We agree that smoking is

JUERGEN TELLER/COURTESY OF MARC JACOBS.

IN CHARACTER Right: Helena Bonham Carter in the Marc Jacobs fall 2011 campaign, shot by Juergen Teller.

FROM TOP: JUERGEN TELLER/COURTESY OF MARC JACOBS; COURTESY OF MARC JACOBS (2); AFP IMAGES (2).

Marc’s favorite work of art is Marcel Duchamp’s ‘L.H.O.O.Q.,’ the Mona Lisa with a mustache, because anything is more interesting next to something that doesn’t seem to match.

“decadent,” and Marc tells me that Decadence, the name of his upcoming fragrance, is about “an irreverent, self-indulgent taking of pleasure and luxury.” He elaborates: “If somebody is eating cherries and drinking champagne on a street corner in an expensive dress, it’s a decadent sort of behavior, but it’s kind of playing at something. You know what I mean.” From 1998 to 2013, the clothes at Marc Jacobs could be delightfully unpredictable, and the ideas behind them occasionally unclear, but the branding was crystal. Juergen shot the print ads, which starred Sofia, Harmony, Chloë, Posh, Dakota, Winona and so on. The ads were all Juergen in their whitewashed debauchery and charm, but because Marc lent him a trust and a creative freedom that Juergen describes as unparalleled in fashion photography, they were also definitively Marc. In contrast, the print ads for Decadence star Adriana, the veteran Victoria’s Secret supermodel and the kind of unmysteriously sexy woman who was always a foil to the scatty-go-lucky “Marc Jacobs girl.” There’s hardly a trace of what Sofia describes as a hallmark of Marc’s personality: “a sly smile, which shows his sense of humor.” In the fall of 2013, Marc left his 16-year tenure as the creative director at Louis Vuitton. LVMH, the parent company and a majority owner of Marc Jacobs International as well as a one-third stakeholder in the trademark, announced that Marc Jacobs International would spend the next three years preparing for an IPO. A new beauty line was launched. A new C.E.O. was installed. New designers were hired, most prominently Katie and Luella, to reinvent Marc by Marc Jacobs, which Robert had established in 2001 as a less expensive, dearly beloved kid sister to the women’s wear line. (“It was supposed to be just ‘Marc Jacobs’ — like, we tried to gray out the ‘Jacobs’ on the label, but it just didn’t photograph,” says Marc.) Katie and Luella did by all accounts a stellar job, but last March, it was confirmed that Marc by Marc Jacobs was folding. The next day, Marc joined Instagram, a month after saying he was appalled by the whole social media thing. (“It’s very addictive,” he says now.) Today, Marc is not only the head designer of Marc Jacobs, which he and Robert say will absorb the range of items and price points formerly available at Marc by Marc Jacobs, but also the creative director of Marc Jacobs International as a whole. He has never had more control over himself, his body, the way he lives or — ostensibly — his brand. Marc himself says he doesn’t have a signature: There is no one silhouette, style or technique you can point to and say “that’s Marc.” There is, however, a recognizable Marc Jacobs woman. She’s the guest at the party who everyone looks at like they know her but can’t think from where, and who looks around like she’s never known anyone.

CREATIVE THREADS From top: the artist Cindy Sherman with Teller in Jacobs’s spring 2005 campaign; two bejeweled looks from resort 2016; British Supermodel Naomi Campbell and another model showing Marc Jacobs's ready-to-wear Fall/Winter 1998/99 collection for Louis Vuitton.

September - October 2015

IX DAYS AFTER OUR LUNCH, he accidentally leaks a picture of his naked butt to the 191,000 followers he has amassed in his first month on Instagram — a picture he meant to send to a potential lover via the app’s direct messaging feature — after which he responds to Tweets with a calm “Yeah… I’m a gay man. I flirt and chat with guys online.” Meanwhile, Marc Jacobs International changes its Twitter bio to the photo’s caption: “It’s yours to try.” It is a ready-made slogan, and the entire nonissue is yet another example of Marc and his team’s historical ingenuity, like the time in 2012 they turned an image of their vandalized Paris storefront into a series of $686 T-shirts. It’s a conflict to be both romantic and famous, and Marc has never seemed very romantic. But he does strike me as sentimental. The fall ad campaign features many women who have been close to him for decades, including Sofia and Winona. The captions accompanying his own “leaked” Instagrams of the images are long and sweet. Marc says the dresses he designed for the season are not meant to be dry-cleaned and preserved in garment bags, but worn out all night — a sign he is still more interested in bringing the party to American fashion in a way no designer has since Yves. When something makes Marc feel good, he wants more of it, whether it’s drugs or food or sex or exercise or making clothes or getting tattooed. One of his tattoos is an all-caps “perfect” on his wrist, reminding him that he’s exactly who and where he’s supposed to be at that moment, and that everything is good because it’s there. It’s really about acceptance, not perfection. He wants to make precious things that people aren’t precious about. His favorite work of art is Marcel Duchamp’s “L.H.O.O.Q.,” the Mona Lisa with a mustache, because anything is more interesting next to something that doesn’t seem to match. That day at lunch, 18 cigarettes or 90-some minutes into our conversation, he tells me that he often gets déjà vu, an experience he relates to the alternate realities of “The Matrix” (1999). This in turn reminds him that he’s a big fan of Lana, who directed the movie with her brother. During the 2000s, when Marc was trading his schlubby, bespectacled exterior for that of a tattooed and blue-haired gym rat, Lana was practically a recluse. She was also transitioning from Larry. In 2012, she appeared for the first time as a woman in a trailer for one of her co-productions. “Hi,” she said. “I’m Lana.” Later that year, she gave a reluctant, generous and self-baring speech in acceptance of the Human Rights Campaign Visibility Award. She talked about her family, about the time she almost killed herself and about love. She didn’t have to talk about identity. Since Marc first saw it several months ago, he has watched it almost every week. I ask him to tell me one of her lines, and he does it verbatim: “There are some things that we have to do for ourselves, but there are other things that we do for other people.” A beat or two passes. He seems to be thinking about what it means. Then Lauren comes to clear the second course, and it’s time for dessert.

Marc himself says he doesn’t have a signature: There is no one silhouette, style or technique you can point to and say, ‘that’s Marc.’

PRESENT TENSE From top: Cher and Winona Ryder in the Marc Jacobs fall 2015 campaign, shot by David Sims.

She appears more out of time than out of place: Her skirt is calf-length and conservative with unsexy heels, but her T-shirt is sequined and see-through. Or she’s wearing polka dots with broderie anglaise and dirty sneakers, or she’s dressed like a disco queen in Daria glasses. She has an arsenal of Peter Pan collars and colored furs and brooches, but her hair looks like it was cut in the dark and her handbag matches nothing exactly. If you had to pick a decade, you’d go with the ’70s. If you had to pick a name, you’d go with something supremely uncool and therefore chic, like Judith, which is a name that Marc doesn’t say because it belonged to his mother, who died in 2011 but to whom he hadn’t spoken in almost 20 years. Judith, or Judy, was the kind of woman who looked in the mirror after getting dressed and put one more thing on. Her fashion idol was Jane Fonda in 1971’s “Klute.” Her taste has been described by Marc as “bad.” It is a strange coincidence that the Marc by Marc Jacobs design team has made silver knee-high boots named Judith and a striped bomber named Judy, and that the Marc Jacobs Beauty designer made a freckle-brown nail polish named Klute, but the feeling remains that Judith is the ghost in Marc’s clothes. The problem of Judith, of a tacky, manic glamour shedding all over a depressive cotton housedress, is the problem we can’t help missing when Marc makes one of his technically perfect returns to the airtight decadence of the Majestic.

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REMAINS OF THE DAY

The coolest look this season references the layered eclecticism of all that came before, from ’70s floral-print suits to ’40s-era net hats, from oversize shearlings to logo sweatshirts. PHOTOGRAPHS BY GLEN LUCHFORD STYLED BY JANE HOW

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Gucci jacket, QR10,560, blouse, QR4,005, and pants, QR5,100, gucci.com. Vintage earrings, Spectrum at Grays.

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Bottega Veneta shirt, QR4,550, and pants, QR4,550. Stephen Jones Millinery veil, QR1,625, stephenjonesmillinery.com. Opposite: Coach coat, QR7,265, coach.com. Jonathan Aston tights, QR80, mytights.com.

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Versace sweatshirt, QR3,460, and turtleneck, price on request. Vintage jeans, rokit.co.uk. Vintage earrings, Spectrum at Grays. Opposite: Tom Ford jacket, QR21,840. Vintage jeans, rokit.co.uk.

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Prada coat, QR13,730, prada.com. Maison Margiela dress, QR10,380. Jonathan Aston tights. Vintage earrings, Spectrum at Grays. Vintage boots, stylist’s own. Opposite: Louis Vuitton coat, QR14,020, blouse, QR10,345, and skirt, QR13,660, louisvuitton.com. Model: Binx/Next. Hair by Anthony Turner at Art Partner. Makeup by Lucia Pieroni for Clé de Peau Beauté. Set design by Andy Hillman at Streeters.

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PRODUCTION: RAGI DHOLAKIA PRODUCTIONS. MANICURE BY JENNY LONGWORTH AT CLM HAIR & MAKEUP USING M.A.C. LIGHTING TECH: JACK WEBB. DIGITAL TECH: JAX HARNEY. PHOTO ASSISTANTS: JAMES DEACON AND MICHEL BEWLEY-BIENVENU. STYLIST’S ASSISTANTS: ELIZA CONLON, EMILY ATTRILL AND KATE IORGA. HAIR ASSISTANT: DAVID HARBOROW. MAKEUP ASSISTANT: NEIL YOUNG. SET ASSISTANT: SAM OVERS

The Illustrated Interview

What did you have for breakfast today?

What did you want to be when you grew up? Nurse or nun. Basically anything with an obligatory uniform plus a hat plus it seemed like a musical.

Any hobbies? Card games, all kinds!

What makes you cry? That one Google commercial about falling in love and getting married and having a baby with a French lady.

What scares you? Water bugs.

What would be your final meal? Baked macaroni and cheese (made by my friend Sarah) and Ample Hills’ the Raw Deal — full casserole dish and full pint.

What don’t you eat? Capers. I hate capers.

What are you never without? A couple of 3-by-5 cards and a retractable pen.

What makes you smile? My five best girlfriends from Barnard College.

Fried eggs and coffee (in my ‘‘The View’’ mug).

The film ‘‘Mistress America,’’ was co-written by the actress and the director Noah Baumbach.

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EDITOR: GABÉ DOPPELT

Greta Gerwig