Quest March 2015

$5.00 MARCH 2015

THE SPRING STYLE ISSUE

ELIZABETH KURPIS IN CAROLINA HERRERA CARRYING HARTMANN AT THE MARK HOTEL

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CONTENTS The S pring STyle i SSue 88

DRESS FOR TRAVEL

Elizabeth Kurpis (looking not unlike Grace Kelly) shows that

while others may have lowered their fashion standards when it comes to travel, there are still looks and luggage that can be glamorous yet comfortable. produced by elizabeTh Meigher and lily hoagland, phoTographed by brendan burke

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QUEST STYLE FILE

128

A trip through the years, looking at of some of the greatest style

and fashion moments from our favorite and most chic Quest besties.

110

BESPOKE AND BEGUILING

Men’s wear maestro Alan Flusser offers women a top-tier

bespoke experience with his new line, Flusser Femme. by lily hoagland

114

BEHIND THE BACALL LOOK

Lauren Bacall was nobody’s fool—least of all fashion’s—

but a new exhibit of her clothing at the Museum at FIT shows that the actress had a sense of style that never wavered from a studied restraint. by daniel cappello

120

THE RISE OF MISHA NONOO

A tale of passion, hard work, smarts, and serendipity:

Misha Nonoo talks about the beginnings of her fashion brand. by alex r. TraverS

128

THE POWER OF TWO

Photographer Rose Hartman shares her shots of famous pairs

from over the years in Incomparable Couples (ACC Editions). by daniel cappello

136

READY TO RUNWAY

Beauty, as inspired by Fashion Week. by elizabeTh Quinn brown

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CONTENTS c oluMnS 24

SOCIAL DIARY

62

HARRY BENSON

64

TAKI

66

CANTEENS

68

FRESH FINDS

72

PHILANTHROPY

76

SPORTING

80

E-COMMERCE

82

JEWELRY

84

OPEN HOUSE

86

SOCIAL CALENDAR

140

YOUNG & THE GUEST LIST

144

SNAPSHOT

Our columnist recalls his friendship with Lizabeth Scott. by david paTrick coluMbia Paris, 1977: Gorgeous models twirl to show off the couture of Pierre Cardin.

There are many difficult conflicts playing out in the Middle East. by Taki TheodoracopuloS Ralph Lauren’s new restaurant, The Polo Bar, is true preppy swank. by daniel cappello Bid adieu to the winter blues.

by

d aniel cappello

and

elizabeTh Meigher

Audrey Gruss and HDRF are helping people with depression. by lily hoagland

144

Pine Creek Sporting Club caters to members, age one to 100. by elizabeTh Quinn brown A newfound trust in the live-stream online-only auction.

by

alex r. TraverS

Bettteridge continues the tradition it started in the United States in 1897.

Douglas Elliman Real Estate delivers when it comes to the market in Palm Beach.

Our guide to the goings-on throughout the city as the snow starts to disappear.

On demonstrating an appreciation for culture. by elizabeTh Quinn brown

Designer Mary Quant—and her mini-skirt—continue to reign. by elizabeTh Quinn brown

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SPRING IS IN THE AIR WITH INNOVAIRE

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EDITOR’S LETTER

Clockwise from top left: Lauren Bacall, a beauty with a brain; André Leon Talley and Anna Wintour, two of fashion’s most valued bellwethers; Elizabeth Kurpis, our Grace Kelly-esque cover girl; the New York Fashion Week tents at Lincoln Center, which just retired as a venue.

LIKE CHARLIE CHAPLIN’S famous character, the Tramp, New York Fashion Week finds itself on the street and without a home. (Come to think of it, a few runway looks this season could have been inspired by Modern Times.) This February was the last time fashionistas will have had to trek over to Lincoln Center to see what their favorite designers have to offer. We could already see the future, with shows being held in the Meatpacking district, TriBeCa, or some remote tunnel under one of the bridges… you laugh, but there were invitations passed around that amounted to even worse than that: “Random Designer Wants You To Attend Their Show In A Seven-Story Walk-Up!” There are some serious growing pains happening with where the center of Fashion Week will now be.

Yet even during this tumultuous storm, the March issue of Quest will always be home to an impeccable taste of fashion and style. Starting with our cover story, the gorgeous Elizabeth Kurpis shows us how to travel in style. And if this successful lawyer (slash socialite, in the way of Amal Clooney) can jet set without having to compromise on her dress code, the rest of us have no excuse. Skipping around The Mark Hotel with Hartmann luggage, Elizabeth is really a woman who has both looks and brains.

Lauren Bacall was another such brilliant creature, seducing the toughest man’s man, Humphrey Bogart, at the tender age of 19. With a flick of an eyebrow, Humphrey—and America— 22 QUEST

were powerless. Her immaculate sense of style didn’t hurt either, and the Museum at FIT proves how timeless her choices are with a retrospective on some of her best pieces.

While we may be like Bedouins, waiting for the next place to pitch our (fashion) tents, we still know style when we see it. u

Lily Hoagland

ON THE COVER: Elizabeth Kurpis wears Carolina Herrera and carries a Hartmann handbag in one of The Mark Hotel’s bespoke pedicabs.

Part of this month’s cover story, “Dress for Travel,” produced by Elizabeth Meigher and Lily Hoagland. Photography

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D AV I D PAT R I C K C O L U M B I A

David Patrick Columbia

NEW YORK SO CIAL DIARY STYLE IN the neighborhood: I came upon a photo (below) while doing some research on a New York architect. This is the northeast corner of 79th Street and Fifth Avenue, circa 1915. The big house and the two adjoining French Renaissance–style townhouses behind it were known as the

Brokaw mansions. I remember them clearly because they were still standing when I first moved to New York after college in the early 1960s. And they were a wondrous site for this boy, raised in a small town in New England.

The house facing 79th Street was designed by the firm Rose

& Stone. It was completed in 1890 for Isaac Vail Brokaw, a fabric and clothing manufacturer who was born in 1835 in New Brunswick, New Jersey.

The Brokaws were Huguenots who immigrated to the United States when there were 13 Colonies. Some of them fought in the Revolutionary War.

In 1906, Brokaw built the two adjoining mansions (also in the French Renaissance style) at 984 Fifth Avenue and 985 Fifth Avenue for two of his sons: Howard Brokaw and Irving Brokaw. He also gave his only daughter $250,000 to build herself a very large townhouse, a very restrained and

The corner of 79th Street and Fifth Avenue, circa 1915: The French Renaissance–style mansion of Isaac Brokaw at One East 79th Street was constructed in 1890. His only neighbor was Isaac Fletcher, who lived across the street and behind the fence. Within 25 years, prominent New Yorkers would fill the land with palatial mansions. (To the north, at the corner of 80th Street and Fifth Avenue, 998 Fifth Avenue was completed in 1912, serving as New York’s first luxury apartment building.)

24 QUEST

L I B R A RY O F CO N G R E S S

THE UPPER EAST SIDE MANSION OF ISAAC BROKAW

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D AV I D PAT R I C K C O L U M B I A un-Loire Valley mansion on the lot next to her parents on 79th Street. You could build a massive mansion in the city for that sum in those days.

All four Brokaw houses were still standing, three quarters of a century later. That’s quite a record for any edifice in Manhattan real estate above 14th Street. This was hot property in the budding metropolis and, amazingly, it has remained so, though almost all of the real estate built then has long since been demolished and replaced.

The world of Fifth Avenue at the turn of the century was all brand new with palaces being erected on the wide boulevard, streaming with the most

fabulous new invention for the rich: the horseless carriage.

It was probably in the early springtime at the time the photo was taken. (I’m guessing as much because of the leafless trees on the west side of the avenue, the open roadster traveling south, and the woman on the corner with the young boy and the dog.) It was, indeed, early springtime for New York society in the early 20th century!

The great economic boom after the Civil War had raised the city’s population (which included the boroughs) to more than 4.5 million. Half had come from Eastern and Western Europe. The section of Fifth Avenue in this pho-

tograph had been newly developed out of barren, almost treeless land of occasional farmhouses and even shacks in the last quarter of the 19th century. Brokaw’s mansion was one of the first in the area. A year later, across the street from Brokaw and on the right side of the photo, Isaac and Mary Fletcher arrived to construct a mansion on the southern corner of 79th Street, which was completed in 1891.

The block across the street from Brokaw, where Fletchers built his mansion, was originally owned by a businessman named Henry H. Cook, who made his fortune in banking and (like many other millionaires of the day) in railroads.

Cook knew this was where the city’s rich were going to want to live—and how right he was. In 1880, he purchased the entire block between Madison and Fifth avenues and 78th and 79th streets. In 1883, he built himself a large five-story mansion on the corner of 78th Street and Fifth Avenue. He also had made up his mind that no commercial structures or apartment houses were going to occupy his block— ever. There was a codicil in the deeds he sold forbidding anything but the building of private-family houses—again, forever. Furthermore, Cook expected those houses to be mansions and nothing less. Because he was already wealthy

TOA ST I N G 2 0 YE A R S O F YO U N G N E W YO R K E R S FO R T H E P H I L H A R MO N I C

Lindsay Eisenkraft and Russell Grant 26 QUEST

Mallon Fitzpatrick and Tesha Karn

Margaret Pennoyer and Justin Kush

William Cooper and Sophie Oakley

Ashley-Brooke Sandall and Marc Lewinstein

L I N S LE Y L I N D E K E N S

Barbara Bispham and Graham Pearson

D AV I D PAT R I C K C O L U M B I A B R O N S O N VA N W YC K C E L E B R AT E D H I S 4 0 T H B I R T H D AY W I T H “ B A L D E S S AU VA G E S ”

Lucy Sykes Rellie

he could be choosy about whom he sold his lots to. And so it remains—architecturally, at least—as you may have noticed if you’ve ever been in the neighborhood. That said, many of those “private-family” houses are now occupied by commercial establishments: art galleries, restaurants, and non-profit organizations have moved into several of the original houses.

In 1902, Cook decided he was ready for something smaller and built another mansion right behind Fletcher’s house.

He hired Stanford White to design a house at 973 Fifth Avenue. Shortly thereafter, White was hired by Oliver Payne to design a bow-front, nearly matching mansion at 972 Fifth Avenue for Payne’s nephew, Payne Whitney, and his new wife, Helen Hay. Both houses are still standing. Cook, however, died be28 QUEST

Julia Koch

Lela Rose

fore his house was finished, and he never saw the plans for Whitney’s house. (As fate would have it, White also died before their completion, having been publicly assassinated in a Broadway nightclub by Harry Thaw, a wealthy and enraged psychopath who had married Evelyn Nesbit, one of White’s former inamoratas who was known as the “girl on the red velvet swing.”)

Cook’s house enjoyed several residents over the course of the 20th century, including (briefly) Payne and, most recently, the late real estate speculator Victor Shafferman. It is now being refurbished for a new owner. Cook’s original mansion on 78th Street and Fifth Avenue was sold after his death to James Buchanan Duke, of the American Tobacco Company. Duke had the house demolished and hired the Philadelphia archi-

Bronson van Wyck and Mimi van Wyck

Mary Lynn and Bronson van Wyck, Sr.

tect Horace Trumbauer (who catered to the very rich) to design a mansion. Completed in 1912, it was occupied by Duke as well as his wife, Nanaline Duke, and his daughter, Doris Duke. In 1952, Doris (who was, along with Barbara Hutton, considered to be the richest girl in the world) donated the house to New York University, which converted it for its Institute of Fine Arts.

It was just a century ago, when the moneyed elite of New York had barely begun to move up the avenue in what had become a natural evolution from Washington Square.

One of the very last holdouts in this trend had been society’s aging empress, Caroline Astor (the Mrs. Astor), who finally abandoned her longtime brownstone mansion residence on the southwest corner of 34th Street and Fifth Avenue in 1896 after her house

Indre Rockefeller

had become surrounded by commerce. The last straw for her was her petulant nephew, Waldorf Astor.

Waldorf Astor found his aunt’s claim on social rank more than annoying. (Her husband was the second son, while his father had been the first son.) To exact revenge, he tore down his family’s brownstone on the block between 33rd and 34th streets and built the massive multi-storied Waldorf Hotel on it, moving his family to London.

This was not Lina Astor’s idea of de rigueur, although it was probably her son John Jacob Astor IV (Waldorf Astor’s cousin) who had the better idea. With mama’s approval, he built a much grander palace, a double mansion, on 65th Street and Fifth Avenue, replacing the old house with a matching grand hotel next door to the recently built Wal-

HANNAH THOMSON

Eleanor and Domenico de Sole

D AV I D PAT R I C K C O L U M B I A dorf Hotel. He called his the Astoria Hotel, which soon enough was merged by the two cousins into the first Waldorf=Astoria.

It was Caroline Astor’s move 30 blocks north, however—and not her son’s real estate vision—that was the ultimate nod of legitimacy of what came to be known as the Million Dollar Mile. This was what Cook had been waiting for. The move even checkmated Caroline Astor’s once competitors, the Vanderbilts, who had several palaces from 50th to 58th streets.

In the photo of the neighborhood, circa 1915, there is something very fresh about New York, not the least of which is the very few cars on what has become a daily gridlock. This was “traffic” to early 20th-century New Yorkers, which included horse-drawn

delivery as well as private transportation. The rich had become infatuated with the horseless carriages—then still a man’s racing sport (at 25 miles per hour) in their expensive, newly christened “automobiles” or “machines.”

There were so few cars that there were no traffic lights to control them or lines drawn to separate lanes. (Fifth Avenue was two-way street up until the mid-1960s.) When traffic lights were first installed in the middle of the avenue, they were manned by policemen in towers who operated them manually.

Brokaw’s house had been there for 25 years by the time this photo was taken. No longer was the neighborhood sparsely settled. On the north corner of the next block, at 80th Street, Frank W. Woolworth (the five-and-dime

tycoon—and the Sam Walton of his day) had built his mansion in 1901, designed

by C.P.H. Gilbert, one of the most prominent architects in New York. A few years later, when Brokaw was building houses for his sons and their families, Woolworth commissioned Cass Gilbert (who is of no relation to C.H.P. Gilbert) to build three adjoining mansions his three daughters. They were: 2 East 80th Street for Edna Woolworth (a.k.a. Mrs. Franklyn Hutton, mother of Barbara Hutton, America’s “poor little rich girl”), 4 East 80th Street for Helena Woolworth (a.k.a. Mrs. Charles McCann), and 6 East 80th Street for Jessie Woolworth (a.k.a.

Mrs. James Donahue).

In 1909, on one block north, at 81st Street and Fifth Avenue, two men named Charles R. Fleischmann and

James T. Lee bought the corner lot of August Belmont, the Rothschilds’ man in New York. Belmont had originally intended to build a mansion for himself, but Fleischmann and Lee had a better idea.

They hired the distinguished firm of McKim, Mead and White to build a 12-story luxury apartment building in the Italian Renaissance style: 998 Fifth Avenue.

One of the very first of its kind in New York, the marketing idea of an apartment for the rich was one of “convenience,” and it was considered foolish. There had been grand apartments built for the nouveaux riches, but developer Lee envisioned something for the grandees—the Astor crowd. Convenience, for them, meant that the worries of maintenance were left to the building management.

D E N N I S B A S S O P R E S E N T E D H I S C O L L EC T I O N AT N E W YO R K FA S H I O N W E E K

Barbara Tober and Fern Mallis 30 QUEST

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Mary J. Blige

Janice Becker, Fe Fendi and Alexa Escobar

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Hal Rubenstein and Robbie Myers

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The public (by which I mean the neighborhood) reaction to the project was negative. The cost, including land, was considered extravagant: $3 million (which would be hundreds of millions in today’s dollars). When a-building, the site was still considered “remote.” Society living in apartments? Who would do that?

The builders had the vision, however. When it was finished in 1912, there were 15 apartments, including two duplexes and a maisonette.

The single-floor apartments were 6,250 square feet with 15 rooms. The ninth and tenth floors contained single apartments of 8,750 square feet. The building was fireproof, built entirely of limestone, with walls that were 2 feet thick. It was being built to last. There were wall safes, 32 QUEST

Nelse Clark

Andrea and John Stark

storage rooms in the basement, many wood-burning fireplaces, fancy cornices, and excellent wood paneling. There were large public rooms, high ceilings, and sufficient space for the livein staff. There were options to rent, with prices ranging from $10,000 to $25,000 per month, depending on the size of the apartment.

As it neared completion, society’s attitude had already changed. The number “998” meant exactly what the developers had planned: exclusive and convenient luxury. Its first tenants including Elihu Root; Murry Guggenheim, of the mining family (who took the largest apartment); Watson Dickerman, president of the New York Stock Exchange; Levi P. Morton, who had been vice president of the

Suzanne Stoll and Daniela Di Lorenzo

Lars Bolander

United States under president Benjamin Harrison; and George Fearing, president of the Metropolitan Club. In its history, some of the prominent families who have also lived there include the Astors and the Vanderbilts.

The building’s broker, Douglas Elliman (the person), had his doubts in the beginning. But he found himself besieged with more than 100 offers from prospective tenants.

The developers’ vision was confirmed: In 1912, less than 5 percent of the rich lived in apartment houses. By the mid1920s, 90 percent of the rich were living in apartment houses. More than a century later, 998 is still regarded as one of the most desirable apartment houses in New York with its apartments now selling at prices upward of $20 to $30

million. In 1953, it went co-op.

I don’t know about Fleischmann’s history but Lee went on to distinguish himself by building several other luxury apartment houses in New York, including 740 Park Avenue and 580 Park Avenue. History, however, will remember him (if at all) as the maternal grandfather of Jacqueline Kennedy and her sister Lee Radziwill.

By the 1920s, apartment houses had begun to infiltrate the wealthy corridor. In 1926, George Brokaw was left the house built by Isaac Brokaw.

He didn’t want it. He wanted to tear it down and build an apartment house. His siblings objected, much to his chagrin, and insisted he wait until they agreed to sell. This caused a family squabble, predictably, but George Brokaw withdrew.

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D AV I D PAT R I C K C O L U M B I A

At the time George Brokaw was married to the writer Clare Boothe. They had a daughter named Ann Clare Brokaw. In 1929, Clare divorced George Brokaw, and married a budding magazine titan named Henry Luce. In 1931, George Brokaw married a beautiful young woman who named Frances Seymour with whom he had a second daughter, Frances de Villers Brokaw. Then, in 1935, George Brokaw died of a heart attack.

The following year, his wife remarried to an actor named Henry Fonda, with whom she had two children: Peter Fonda and Jane Fonda. Then, in 1950, Frances took her own life by slitting her throat with a razor while a patient in a sanitarium on her 42nd birthday.

Her husband had asked for a divorce just a few days before.

The big house remained empty for the decade after 34 QUEST

the death of George Brokaw.

In 1946, the family sold the mansion for $200,000 to the Institute of Radio Engineers.

A couple of decades later, having acquired the other three Brokaw houses over the years, the Institute of Radio Engineers sold the properties to a longtime Manhattan real estate developer named Anthony Campagna. On a Saturday in February 1965, after a great deal of public objection to the idea of an apartment house two blocks south of the Fleischmann and Lee project at 998, Campagna sent in a wrecking crew and began the job. There had been a draft law on the desk of the mayor to sign the Brokaw houses as landmarks, but it was too late. The law was signed on April 19, 1965, but the deed was done.

Personal memories of a Hollywood life. Lizabeth

Scott, one of the most famous actresses of American film noir in the 1940s and early 1950s, died on January 31, 2015, at Cedars-Sinai in Los Angeles. She was 92. She and I had a “friendship” when I lived in Los Angeles from the late 1970s to the early 1990s. (I use quotation marks around the word because it was a Hollywood friendship.)

Hermes Pan, the most prolific choreographer of movie musicals and Fred Astaire’s dance collaborator, used to refer to such relationships, saying: “I loved ya, honey, but the show closed.” He always laughed when he said it, and it did amuse him. It’s the nature of that business, and the personalities who are drawn to it and can manage to progress and even triumph in it. It’s a microcosm of itself.

Lizabeth was the first movie star I met when I moved to

Los Angeles in 1978. By “met” I mean “got to know.” She was a friend. We were introduced by our mutual friend Luis Estevez. He had invited us both to join him one evening at a cocktail party in Beverly Hills at the home of a local restaurateur named Marilyn Lewis.

It was a big party with a lot of Hollywood people.

The picture of the two of us was taken that night. I don’t know how I ended up with it, although I’ve had it for years.

I was unaware of the camera, as you can see, because I was full of enthusiasm about this move I’d made from East to a new world in the West. I was charmed by this famous face talking to me with the voice that I remembered from her movies.

She kind of took me under her wing that night, introducing me to people at the party, and telling me about them

CO U RTE S Y O F DAV I D PAT R I C K CO LU M B I A

From left to right: Our columnist David Patrick Columbia meeting Lizabeth Scott for the first time at a Beverly Hills cocktail party in 1979; the actress in The Strange Love of Martha Ivers (1946).

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D AV I D PAT R I C K C O L U M B I A afterward. She spent much of the evening with me at her side, so that we fell into conversation. She was a curious person. The questions were perfunctory but always related to the business, the industry, like so many other conversations among the industry and the hoi polloi. I was flattered by her attention because I knew no one; everything was new, and I was green.

I was taken by what seemed like her extreme mid-Atlantic accent that movie stars in her youth were schooledin. The talkies were a little more than a decade old when she arrived in Hollywood in 1944 and many of the female stars came to Hollywood via

Broadway. They were already equipped with the “class” actress personality, along with the accent. This was a mark of success, and Lizabeth was bound for that. That was what she wanted.

In her low, husky voice she always called me—in a clearly discernible whisper: Dyyy-vid.

And because of that accent, I was curious that night to know her background. I asked her where she was from. “Scraahnin!” she retorted out of the side of her mouth, out of character, as if calling up a local Scranton, Pennsylvania, accent.

Aha! humor… (She’d been born Emma Matzo, daughter of a prosperous grocery store owner in Scranton. She took

the name Elizabeth Scott for a stage career, later dropping the “E” when she moved to New York in her late teens to pursue acting.)

I was still a young kid when she was at the top of her game in the movies, in her late twenties. Like a lot of children of the 1950s, I was obsessed with movies and movie stars. I knew about her from the plethora of movie magazines that were very popular in those years, so it was a very curious experience just knowing her—a privilege, really.

She was known—publicity-wise, in the movie magazines—to be the girlfriend of a movie mogul named Hal Wallis. I didn’t know what

that meant in adult-talk. I wasn’t aware that Wallis was married at the time to a former star named Louise Fazenda nor that he had “discovered” Lizabeth and had been very much a part of her career and her success.

In those days, we all went to the movies every Saturday for the matinee, which was always a double feature: the A picture followed by the B picture (which was usually a Western). Lizabeth was, in this little boy’s eyes, a real movie beauty. She wasn’t like any girl I knew. It was a dramatic beauty, an edgy sort of femininity that was fascinating to the boy. And her voice had a mystery.

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And it was a mystery. One that Lizabeth fastidiously kept and maintained all her life. By the time we met, her career had been over for almost 20 years, although she was still had name recognition as well as that face. Our relationship had some of the basic hallmarks of the Sunset Boulevard syndrome—although never as intense as Billy Wilder’s script.

An older, washed-up movie star meets young writer worried about where his next meal was coming from. He’s vulnerable and it’s her show.

It wasn’t quite that bad for me (although there were moments) and I never considered her “washed-up,” a term that had left the parlance by the time I had moved out there. Her last picture, Pulp starring Michael Caine, in which she had a small but memorable role, had been released in 1972, six years before we met. But I was fascinated; it was like moving into a novel and living there every now and then.

I referred to Sunset Boulevard, the allegory about Hollywood life, because it accurately and cinematically describes the phenomenon of film stardom of that

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era. Movie stars held such an influential position in our culture and national psyche. Yet, despite that great power, almost all female stars encountered its dilemma at some point in their careers: age. Age was usually the career killer, with 35 or 40 being considered old. Few women ever made it beyond a career of a decade or so without losing their rank.

Many female stars survived the transitions through matrimony. Others did not fare so well. Others left town and took up being a star elsewhere, like in New York.

Lizabeth didn’t do that. Also, Lizabeth never married. But she had one thing: money. When her earning power was excellent, she saved and she bought stock.

(This was back when the stock market was still at its lows from the Great Depression.) And she never wanted to leave L.A. I don’t recall how our friendship came to pass after meeting that night. It was in her hands. She was, after all, still in charge of the role of movie star and had a remote quality, despite her warmth and politeness. She must have invited me to join her at some event where she needed an escort.

Naturally, I was happy to fill the role. It

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D AV I D PAT R I C K C O L U M B I A might have been a cocktail party given by Ellen and Ian Graham, a popular non-industry, social couple who often entertained at their home in Beverly Hills.

She lived in a smart A-framed, yellow and white two-story bungalow on Hollywood Boulevard, up in the hills above the Chateau Marmont. It was not an Italianate mansion like Gloria Swanson’s in Sunset Boulevard. It was a pristine, immaculately maintained cottage with that classic 180-degree view from her front door of the Los Angeles basin, all framed and mainly hidden from the road by her manicured gardens and hedges. Behind the house was a large swimming pool and inside was a cheerful, faux-rustic interior of bleached white beams, white brick fireplace,

and 1950s modern furniture.

It was ample in space and impeccably maintained—and devoid of anything personal such as photographs.

She’d lived in that house from the late 1940s or early 1950s until the end of her life. I remembered seeing it first in the movie magazines I looked at back then. Set on a hillock above the boulevard, semi-hidden behind greenery and white, wooden gates that opened to a 30- or 40foot driveway, it looked like a movie star lived there. Over the years, I’d go there many times. It was always remained immaculately maintained and perfectly set.

When first getting to know her, I’d see her when she called to ask me if I’d like to go with her to an event. It was always interesting to be

a combination of escort, fan, and writer. It was at Lizabeth’s invitation that I met the Dalai Llama at a private reception at the Los Angeles County Museum of Art, where she was an important donor. Despite her faded star, she had retired (though I never heard her use that word) a wealthy woman.

She lived comfortably, drove a shiny black Jaguar (which she loved and kept in mint condition), and kept herself in sumptuous furs and dazzling jewels. She wore expensive designer clothes that looked like they were made for her by Oscar de la Renta, Bill Blass, and Chanel as well as her friend Estevez.

She was a very private person. As curious as I am, I rarely asked her anything personal about her life unless she opened the door for

question. There had been a long time boyfriend named Bill Dugger, a wealthy, handsome oilman from San Antonio. She always referred to him with great lingering regret in her voice, as if to suggest that she was ill fated in that department. In 1969, they were planning to marry after spending a lot of time together over the previous two years, when he died suddenly. He’d remembered her generously in his will, but his sister contested it and, in 1971, the judge ruled in favor of the sister.

But long before that, back in the early 1940s, Wallis (head of production at Warner Brothers) had seen her in a show on Broadway and was taken by her. Film people in those days saw all the Broadway shows because they were

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PAT R I C K M C M U LL A N

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always searching for new talent for their burgeoning industry—all kinds of talent from writing, directing, and composing to acting, singing, and dancing.

Wallis was a major force in the industry, right up there with the moguls like Louis B. Mayer, David O. Selznick, and Richard D. Zanuck when he spotted the beautiful young 22-year-old Lizabeth. From 1931 up through the mid-1970s, he was the producing talent behind scores of some of the most famous films of those decades. After he’d seen Lizabeth on stage, he asked to meet her. The first meetings did not gel.

Nevertheless, fate brought them together again and Wallis became the young girl’s mentor and, perhaps, a kind of Svengali.

He was 20 years her senior and already married to his wife of 15 years when they met. (He would remain married until her death in 1962.) Lizabeth was at least his protégé. She was groomed to be a girl of

the moment in wartime America. There were three: Lauren Bacall, Veronica Lake, and Lizabeth Scott. They resembled each other. It was a new look, a fresh look. Forty years later, Lizabeth was shopping in Ralphs on Sunset Boulevard when a woman came up to her and asked if she were Lauren Bacall. “Yes!” she answered smiling, and moved on.

She never mentioned her relationship with Willis except to refer to him when recounting a professional moment, specifically indicating that his word was the wise one—and the one she tended to follow almost religiously. Publicly, their relationship never became more than a mentoring. Wallis died in 1986. A couple of weeks after his death, I went with Lizabeth to a reception and dinner at the museum. During the cocktail hour, we sat down so Lizabeth could have a cigarette.

Sitting there, no one nearby, she began: “I

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got a letter from Hal’s lawyers today...”

That was pretty personal for a private person to say to a friend who is just a friend on her terms. But I knew if she’d volunteer that much, she was in the mood to tell me more.

So I asked, “Did he leave you anything?” (Their relationship had effectively ended almost 30 years before.)

“Yes!” she said in her lowest, sexiest, husky, enthusiastic tones.

I asked, “Will it make you rich?”

“Richer!” she stated proudly, not unlike that character she played in so many roles where the girl gets what she wants but has worked for it.

In that brief exchange, she had told me quite a bit about herself. I never asked for details, knowing that they would come only if she want44 QUEST

Mitch Rosenthal and Erik Sevin

Michael Stone, Monique Richards and Tom Edelman

ed to. She never volunteered. I wasn’t surprised.

Over the years that followed, I began to make a professional life for myself, and my own social horizons continued to widen. There was an occasion when I had accepted an invitation of hers but, later, had had to withdraw. I didn’t hear from her for a few months after that. I knew I had disappointed her. Then, I saw her for the first time in months at a poolside cocktail party. I apologized and tried to explain. She wouldn’t hear it.

She was furious.

“David,” she said that quiet yet powerfully deliberate tone, “I’m finished with you—finito!”

I felt very bad about that because I liked her and respected her. I got her. I always watched my words with her.

That wasn’t hypocrisy on my

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part. It was my understanding of her role in life. She was an actress. A movie star, in the old days of the studios when the studios catered to their stars and the fans adored them.

Lizabeth was a serious actress, and a serious businesswoman, with acting being her business. She was committed to it not unlike a great chief executive. It was her life. When it faded away from her, she kept her hand in it for as long as it was possible. And when it wasn’t, she remained attached to her world of industry people. It was still her town.

None of this could have been easy, although I never heard a word about it. When we’d go to a screening and there were photographers present to catch the famous faces, she was always ready. I could see she enjoyed it, as if part of a perfect performance.

There were the inevitable moments when the photographer she thought was about to take her picture would really be getting ready for someone like Jane Fonda, who just happened to be behind us in the entrance line.

Lizabeth took those moments flawlessly, never divulging disappointment for a millisecond, and just moved on. But I could see the bare truth as she was seeing it. It was over. She knew it, but still—this was her life, this was her town. This was what the young girl back in Scranton had dreamed of, and it was a life she achieved. And then it evolved into this.

Our friendship wasn’t finite, however. I can’t remember why, but she called me again after telling me we were finito and invited me to join her for a big dinner honoring

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D AV I D PAT R I C K C O L U M B I A Rock Hudson, who was being given an award by Elizabeth Taylor. It appeared that Lizabeth led a solitary life, but she was quite sociable and she liked the company of people.

She obviously loved California life. I could understand that. I liked it too. She had a younger sister who used to come from the East Coast to visit and stay a couple of weeks.

She had the social life where I was sometimes invited to join.

Otherwise, I knew little about her private life. And she knew little about mine.

Privacy was an obvious issue for her, aside from her name. There had been a terrible, famous moment in the late 1950s when Confidential

magazine (a true, cheap scandal sheet, famous for its stories about the sex lives of movie stars, socialites, and politicians) printed a story about a client list from a call girl service. It had Lizabeth’s name and numbers, implying that she hired call girls. If anything could destroy a film career in those days it was revelations of homosexuality, male or female. The matter is entirely ironic in retrospect and from the vantage point of 2015, but this was another time and another crime, be it moral or legal. It was later proven that the so-called Lizabeth Scott numbers were not hers. It was fake. She hired the most famous Hollywood lawyer, Jerry

Giesler. There was a lawsuit, and it was settled out of court.

She never spoke of it to me and I never asked her about it.

But the damage was done.

One night driving her home from a party we’d been to, she remarked—apropos of nothing we’d been talking about: “…and you know, David, I am not a lesbian.”

More than 30 years have passed since that scandal and her remark. Stories of people’s sex lives are, or used to be, rampant in Hollywood. But there was a certain discretion maintained, even demanded, by the studios. This was a great wound that she put behind her valiantly, but it must have been very difficult.

I lost touch with Lizabeth about 10 years ago. Her place was on the Hollywood firmament, and I had relocated to New York. As well as being a serious, committed professional, hardworking, diligent woman about her business, she liked the whole world of Hollywood.

This often happens to movie people—at least those from the studio days. It’s like working in your hometown and, in many ways, the place they call Hollywood is someone’s hometown. She’s got a star on the Hollywood Walk of Fame that affirms it. It was a long life, carefully and meticulously lived among the savages. u

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Suzanne Cochran and Susan Calhoun 50 QUEST

Hana Bitton and Nicole Sexton

Amy Tarr

Paige Hardy and Elisabeth Hennesey

Jill Ross and Karen May

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PAT R I C K M C M U LL A N

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D AV I D PAT R I C K C O L U M B I A “ E S C A D A M E E TS T H I L O W E ST E R M A N N ” AT I S O L A AT T H E MO N D R I A N S O H O

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James Conran 52 QUEST

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THE GIVING BACK FOUNDATION We are excited to announce that

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The Top Doctor Is In

by Castle Connolly Top Doctors速 Q: I have a labral tear in my shoulder. Do I need surgery?

D AV I D PAT R I C K C O L U M B I A THE SOCIET Y OF MEMORIAL SLOAN KETTERING C A N C E R C E N T E R D I N E D AT D A N I E L

A: A labral tear is a tear of the labrum in the shoulder, a band of connective tissue that surrounds the socket and is torn usually from overhead trauma such as weightlifting or degenerative wear and tear. The need for surgery depends on the patient.

The best approach is to see a board certified orthopedic surgeon that sub-specializes in sports medicine and arthroscopic surgery of the shoulder. Spending enough time with the patient to determine the proper diagnosis prior to an imaging test is critical. The surgeon's clinical judgement is by far the most important factor in the final decision for surgery.

Gillian Hearst Simonds, Jamee Gregory, Emilia Fanjul Pfeifler, Caryn Zucker, Gretchen Gunlocke Fenton and Amanda Taylor

Ines de la Fressange and Anya Ziourova

Karen LeFrak

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Libby Fitzgerald and Karen Glover

Allison Aston and Jenny Galluzzo

Armin Tehrany, M.D. Manhattan Orthopedic Care 515 Madison Ave, Suite 1102 New York NY 10022 212-729-9200 www.mocnyc.com Also in Staten Island Board Certified in Orthopaedic Surgery

Top Doctors Make a Difference www.castleconnolly.com

00 QUEST

Jamie Tisch, Jessica Joffe and Perri Peltz

Tory Burch

Virginia Tomenson

B FA NYC . CO M

When one suffers a labral tear, the problem is micro-instability.

Younger patients who are active, especially with overhead activity, will do much better with an arthroscopic repair. Older patients who do not use their arms for overhead activity should try physical therapy first to see how they do. In some cases, those patients do well temporarily, but then fail after they go back to overhead activity. I have found that older patients that enjoy weightlifting have difficulty living with most labral tears.

America’s Top Doctors at Your Fingertips

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New Individual Premium Membership plan users receive a 30% discount on all Castle Connolly consumer guides. The plan also allows users to access information on Castle Connolly’s Partnership for Excellence Hospitals.

Connect with us on: Physicians do not and cannot pay to be included as a Castle Connolly Top Doctor.

D AV I D PAT R I C K C O L U M B I A T H E N O R TO N MU S E U M O F A R T G A L A I N PA L M B E AC H

George Farias with Laura and Harry Slatkin

Shiela Ratazi and Nick Calloway

Darian Zahedi and Firooz Zahedi 56 QUEST

Debbie Stapleton and Anne Harrison

Jackie Weld Drake and Mercedes Bograd

Spring Dautel

Mike DePaola and Jane Holzer

Mark Gibbel, Randy Polumbo and David Van Sant

Beth Rudin DeWoody

Patrick McMullan and Rachel Ward

PAT R I C K M C M U LL A N

Leonard Lauder and Judy Glickman

Look for “Leta Austin Foster: Traditional Interiors” by Brian Coleman, photography by Erik Kvalsvik this fall in your bookstore.

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D AV I D PAT R I C K C O L U M B I A YO U N G C O L L EC TO R S N I G H T TO B E N E F I T E A ST S I D E H O U S E S E T T L E M E N T

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Caroline Wamsler and Susan Matelich

Maureen Chilton with Susan and George Matelich 60 QUEST

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62 QUEST

H A R RY B E N S O N

Models swirling in Pierre Cardin, Paris, 1977.

IT SEEMS LIKE YESTERDAY IT WAS 1977 and I was in Paris to cover the collections for French Vogue. Pierre Cardin was the first on the list (if I recall correctly) as he was showing early in the week. I was absolutely delighted to meet him as I had worn his navy blue blazers for years. The cut and fit were perfect.

We initially went to the Tuileries for some portraits and then had a pleasant lunch at his atelier with an editor from French Vogue. He seemed a rather shy man and opened up when I mentioned football, or “soccer.” From then on, it’s all he wanted to talk about. That suited me just fine since I had always envisioned playing goal for Scotland (only a few weeks ago I finally conceded it wasn’t going to happen).

There were dozens of photographs taken that day and only a few exist today—after all, it was 38 years ago. But somehow I found the photograph shown here, which was taken later that afternoon at the rehearsal for Cardin’s couture presentation.

He oversaw every last detail and instead of having the models walk stone-faced down the runway, he insisted they twirl to the music, giving the presentation an unexpected lively twist.

Over the next few days, I photographed other couturiers— Madame Grès, Saint Laurent, Givenchy, and Courreges (who, along with Cardin, were the elusive stars). I followed them to their big workrooms with seamstresses busily working, frantically getting everything ready for the presentations. Perfection is what the couturiers demanded, and they were very serious about it.

Luckily, I found everyone helpful—they wanted me to get good photographs for the magazine. And backstage on the big day, I rushed from place to place, eager to get the action as it happened from backstage. It was fun. And believe you me, it seems just like yesterday. u MARCH 2015 63

TA K I

BOOKS AND COVERS

This page: Saudi Arabia, the largest Arab state in Western Asia, has become the setting of many complex international affairs.

THE CIVILIZED WORLD remains strangely quiet while the Islamic State (ISIS) plumbs the depths of barbarism and medieval cruelty: burning a captive pilot alive, throwing a middle-aged homosexual off a five-story building, and chopping off heads of journalist hostages with dull knives. A couple of days after the 64 QUEST

Jordanian pilot was burned alive—having been given plenty of time to know what was coming—the newspaper that only prints what fits its agenda, the New York Times, ran an editorial titled “Alarming Outcome in France.” The alarm was over the National Front’s political gains from the terrorist attacks in Paris. The N.F. is

anti-immigration, and with more than six million Muslim immigrants in a country of fifty million people, its position makes sense to many French people…but not the politically correct Times.

Using adjectives like alarming to describe the will of 30 percent of the French electorate seems perverse, espe-

This page: The National Front, France’s right wing political party led by Marine LePen, has seen an uptick in membership since the terror attacks in Paris (left); a picture of the Jordanian pilot whose torture and death were recorded and released online (right).

cially in view of the murderous chaos Muslim extremists are causing all over the continent. But such are the joys of liberalism, as enjoyed by the sheltered world of gated communities far away from the chaos of the Middle East.

As everyone knows, the current Islamic State came into being only because the neo-cons in Washington convinced George W. Bush to topple Saddam Hussein following 9/11—something Saddam had absolutely nothing to do with. (Go figure, as they say in “Noo Yawk”.) The very same neo-cons, in cahoots with the Israeli lobby, also banged the war drums against Bashar al-Assad of Syria, a dictator who had protected minorities such as Christians, Druze, and Yazidis.

In Syria’s case we must add the real mover behind the anti-Assad lobby: Saudi Arabia. The Saudi ruling clique— only people unfamiliar with history refer to them as royal, since they just seized power from the Hashemite royal family in 1932—is allowed to stay in power by the hard line Wahhabi clergy. The clergy imposes a condition, however: Syria must continue to wage war by proxy against the Shiite government of Iran and other Shiite minorities spread throughout the Arab world. Assad is Alawite, a branch of Shia Islam, which made him a target from the beginning.

Hence, ISIS could be seen as an arm of the Saudi rulers, an arm that deliberately foments sectarian tensions in the

Middle East between Sunni and their mortal enemies, the Shiites. Terrorist organizations sometimes use anti-Shia propaganda as a recruitment tool, particularly by presenting itself as the only opposition to Assad and the mullahs in Iran. Needless to say, the Saudi rulers deny any involvement with ISIS, but the evidence against them is strong. Bandar Bin Sultan, the Saudi ambassador to Washington, might have given money to the families of the 16 terrorists who flew the planes into the World Trade Center.

Now it emerges that Bandar, former Saudi intelligence director Turki bin Faisal Al Saud, and billionaire investor Waleed Bin Talal were on a list of Al Qaeda donors.

The Saudis (and the Qataris too, but the latter far more openly) finance terror against poor Muslims who just happen to have been born Shia or Kurds. The Yazidis are a case in point. It is a very old religion, close to 7,000 years, and its disciples are poor farmers in northeast Syria and northwest Iraq. More than 100,000 of them have been driven from their villages

by ISIS. Close to 7,000 of Yazidi women have been abducted and either sold as sex slaves to ISIS troops or forced into prostitution. Girls as young as 9-years-old are regularly raped or forced into marriage with jihadists. Only the Kurd and American air strikes managed to save the lives of the majority of refugees who fled, with Turkey standing by and doing nothing to help. (Turkey is a Sunni country,

hence the blind eye.)

Yet the Saudi “princes” go smiling, Iago-like, through the endless conferences arranged by diplomats, and when the Saudi King died a few weeks ago, Prince Charles, the British prime minister, and even President Obama himself paid homage. So, here we are, with ISIS beheading people, stoning gay men, and holding public beheadings, while we greet Saudis in our best hotels, offer them our best wines and liquors, and allow the Qataris—who are at least open about their support of ISIS—to sponsor Ascot racecourse in merry old England.

In the meantime, misguided but well-meaning senators like John McCain keep asking for more arms for those who oppose Assad. And Benjamin “Bibi” Netanyahu keeps banging the war drums against Iran. Yet the more threatening enemies of the west in general (and the U.S. in particular) might be the Saudis, Qataris, Kuwaitis and those I see as their proxies, ISIS and Al Qaeda. At least Senator McCain has an excuse, locked up and tortured for years in the Hanoi Hilton. The rest of the Congress does not. It has overseen the disintegration of Syria and Iraq (Uncle Sam playing a major part in the latter, and a lesser one in the former.) The future looks very bleak for the Middle East. I predict a Thirty-Year War between Sunni and Shia, and if we’re smart for once, we’ll stay away. u For more Taki, visit takimag.com.

MARCH 2015 65

CANTEENS

FIFTH AVENUE FASHION PLATE

RALPH LAUREN HAS a thing—and a knack—for a good staircase. Amble into his uptown men’s wear mainstay on Madison Avenue, otherwise known as “the mansion,” and you can’t help but notice the majestic mahogany staircase, a handsome homage and near-replica of the stately staircase that sweeps down London’s inimitably old-school Connaught hotel. Across the street, in his Paris-style women’s flagship at 888 Madison Avenue, a sense of sophisticated grandeur is governed by a cool, stark white limestone staircase punctuated by wrought-iron railings. And now, in his recently opened Polo Bar restaurant, tucked just off Fifth Avenue on 55th Street, there’s yet another dashing interpretation, this time perfected to match the old, 66 QUEST

polished Alabama-wood paneling that envelopes the clubby eatery both above stairs and below. With brass railings for a finish and a backdrop of equestrian-themed art against walls of deep hunter green billiard cloth, this staircase is one you can’t miss even if you try—it’s also the only way of getting to your table in the formal dining room downstairs.

Ralph Lauren’s fashion sense has always been informed by a certain lifestyle—the sophisticated charm of American classicism, rooted in a spirit of British refinement (think everything from Downton Abbey to downtown preppy)—and today his lifestyle brand is coming full circle in the form of The Polo Bar, around the corner from the first-ever Polo flagship store on Fifth

CO U RTE S Y O F R A LP H L AU R E N

BY DANIEL CAPPELLO

CANTEENS Avenue. A nod to the formal yet sporty notion of the polo player, which launched the brand over forty years ago, The Polo Bar has a casualness and an elegance to it—the kind that, according to Lauren, “defined the sport of polo so many years ago.”

Indeed, from the Henry Koehler polo mural on the exterior to the fireplaces, saddle leather, and green plaid pillows inside, The Polo Bar has the feel of a local private club in high horse country. From an authenticity standpoint, it feels like the kind of place you might stumble upon in Aiken County, South Carolina, or Bernardsville, New Jersey, albeit polished up enough to signal that you are, in fact, in urbane Manhattan. The artwork

ture Polo Bar Burger, prepared with beef from Lauren’s Double RL ranch in Colorado, and also Ralph’s Corned Beef Sandwich (no doubt about it, Lauren is a New York City homeboy). If corned beef isn’t quite your style but clubby classics are a draw, there’s the Polo Bar Crab Cake, the BLT Salad, and all grades of steaks to settle any culinary crisis. Sides are no small matter, especially when the mushrooms aren’t your run-of-the-mill variety: we all scream for hen-of-the-woods!

As with any club, your return to The Polo Bar won’t be a question of how soon, but how frequently (if, that is, you can amply charm one of the reservationists). Whether it’s for a drink

is equine and includes original works by painters and photographers like Frances Mabel Hollams and Allen F. Brewer, Jr. On a recent night, Cornelia Guest, the daughter of C. Z. and Winston Frederick Churchill Guest, exclaimed to the world via Instagram that she had spotted a family member on the wall: “Lovely pic of my father (on the right) @ralphlauren new yummy resto #thepolobar.” It doesn’t get more authentic than that.

As for the yummy appeal, Guest was right on target. The menu offers American classics inspired by Mr. Lauren’s personal favorites. “I’m drawn to the kind of food that people truly enjoy,” Lauren explains. “Vibrant food that people want to return to time and again.” That would have to include the signa-

at the brass-topped bar upstairs, a round of oysters by the fire in the semi-private room at the back, or to finish it all off with the Charleston Bourbon Pecan Pie at the end of a long meal in the downstairs dining room, chances are you’ll be putting that oldschool navy blazer to good use quite soon—and quite often. u This page, from left: The Polo Bar Old Fashioned in an etched Polo glass; the brass-topped bar greets guests upon arrival at street level. Opposite page: The distinguished dining room, downstairs. The Polo Bar: 1 East 55th Street (between Fifth and Madison avenues), open daily for dinner at 5 p.m. for guests with reservations (required); bar seating subject to availability; 212.207.8562 or polobarralphlauren.com.

MARCH 2015 67

QUEST

Fresh Finds

BY DA N I E L C A P P E L LO A N D E L I Z A B E T H M E I G H E R

“IT WAS ONE OF THOSE March days when the sun

shines hot and the wind blows cold: when it is summer in the light, and winter in the shade.”

So mused Charles Dickens, and after our comically long (dare we say, Dickensian?) winter, nothing sounds cheerier than the thought of summer light. To help usher in brighter days, we’ve found some colorful spring fashions for both him and her, and are setting our sights on some sunny escapes by the sea.

This month, we’re all for leaving the winter shade behind.

Make her sing for joy with de Grisogono’s Melody of Color ring, featuring fancy-shaped mixed stones and brown diamonds, all set in pink gold. $41,000. de Grisogono: 824 Madison Ave., 212.439.4220.

Giorgio Armani offers the perfect accessory for a true lady: this striped crinoline hat. $375. Giorgio Armani: In select Giorgio Armani stores and at armani.com/us.

Go for sophistotechno in Carolina Herrera’s Techno jersey dress. $2,990.

With a four-inch heel and metallic leather laces that wrap around the ankle, Ralph Lauren’s Blaine sandal is our choice for open-toe season. $750. Ralph Lauren Collection: In select Ralph Lauren stores and at ralphlauren.com.

68 QUEST

Carolina Herrera: 954 Madison Ave., 212.249.6552.

Each suite at WestHouse comes with a $500 Net-A-Porter gift card and dedicated access to personal shoppers, making this New York’s most fashionable luxury

Dress up your

boutique hotel. To book your stay, visit

home with an

westhousehotelnewyork.com.

artful addition like Olga de Amaral’s “Media Luna III” in linen, gesso, acrylic, and palladium. $138,000 at Galerie Agnès Monplaisir, Paris: agnesmonplaisir.com.

There’s nothing quite like a pair of large-frame circles to channel your inner Jackie O, and Prada has just the perfect pair, the PR06RS. $300. Prada: Available at Sunglass Hut.

Showcasing some of Gabrielle Chanel’s most cherished symbols, the Mademoiselle Privé Coromandel Dial timepiece is a new work of high art. Chanel: At chanel.com.

The brigade de cuisine at La Rocca di Castelfalfi, the Tuscan bistro at Toscana Resort Castelfalfi, is headed

by Michelin-starred chef Michele Rinaldi, making your stay in Tuscany even more of a dream. To book a stay, visit castelfalfi.it.

No, you’re not dreaming: that is La Perla’s Tribal Dream thong bodysuit, available now for $694 at laperla.com.

Wempe’s BY KIM Voyage rings in 18-kt. yellow, rose, or white gold, with brilliant-cut diamonds, are worth taking along for life’s journey. Starting at $725.

Wempe: 700 Fifth Ave., 212.397.9000, or wempe.com.

MARCH 2015 69

Fresh Finds Dazzle them even in the rain by stepping out in Hunter’s Original Short Dazzle Wellington boots, in either bright watermelon or sky blue. For details, visit

Skin’s the thing with this bright and beautiful

us.hunterboots.com.

snake clutch from Dennis Basso. $2,900. Dennis Basso: 825 Madison Ave., 212.794.4500.

Christofle’s silver-plated Jardin d’Eden set of demitasse spoons are designed by Marcel Wanders and decorated entirely by single engraving. $160. Christofle: 846 Madison Ave., 212.308.9390.

For a truly memorable new home design in Palm Beach or New York, call on Leta Austin Foster, who has always stayed true to her mantra to “never do the same job twice.” For more information, visit letaaustinfoster.com or call 561.655.5489.

Katherine Jetter’s 18-kt. white gold Lily ring dazzles with an oval fancy intense yellowgreen center diamond and fancy light pink, fancy vivid pink, and white diamond melées. Price upon request; visit katherinejetter.com.

Give your favorite room an overhaul with Sara Story Design’s Bora Bora wallpaper in the “summer” colorway (available in four colors).

For more, visit sarastorydesign.com.

70 QUEST

Stay on trend and in soft, subtly colored prints this season with a look from Jason Wu’s Spring 2015 collection. For more styles, visit Saks Fifth Avenue or saks.com.

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retailers.

Hamilton Shirts: 713.780.8222 or hamiltonshirts.com.

Master footwear maker Stubbs & Wootton is known for both whimsy and high style, perfected in these Spectator Wing shoes in English calf and French grosgrain. $495 at stubbsandwootton.com.

Protect your finest threads from the trials of travel with J.Crew’s fashionable garment bag in nylon and leather, offering interior pockets and a 3-inch handle drop. $198. J.Crew: Available at jcrew.com.

Nothing’s cooler than this cotton blazer from L.B.M. 1911—the perfect staple for warmweather months. $750. L.B.M. 1911: Available at Ziani New York, 212.302.3661.

Plan a much-deserved spring break at the Dominican Republic’s Casa de Campo resort and treat yourself to some of the most beautiful—and challenging—of golf courses. Visit casadecampo.com.do for more information.

PHILANTHROPY

SHEDDING LIGHT ON THE MIND B Y L I LY H O A G L A N D

This page: Richard Dreyfuss, Audrey Gruss, and Chuck Scarborough at the 2013 Hope for Depression Research Foundation’s HOPE seminar.

Dreyfuss spoke about his experience living with bipolar disorder (left); Gruss and Evelyn Lauder at the 2010 HDRF Annual Palm Beach Scientific Seminar (right). Opposite page: With a background in science, Gruss seeks to delve into solutions for the treatment of depression.

AUDREY GRUSS WANTS to change minds, figuratively and literally, when it comes to depression. In 2006, she founded the Hope for Depression Research Foundation (HDRF) named for her mother, Hope, who had suffered from the mood disorder and died the year before. HDRF’s mission is to fund cutting-edge scientific research into the diagnosis and treatment of depression. Five years ago, they launched the Depression Task Force, a collaboration of leading scientists who have developed a joint research plan, each executing a part of it and sharing results in real time on depression amongst themselves—a unprecedented approach. I sat down with Audrey to talk about her story and HDRF. 72 QUEST

LILY HOAGLAND: What was your experience with your mother’s depression?

AUDREY GRUSS: My mother had serious clinical depression. She was in her late 30s when she started having problems. It was very difficult years ago. This was something people kept hidden or didn’t talk about—we were afraid and embarrassed, we didn’t know what was going on, doctors didn’t tell us much. She endured years of misdiagnosis and medication by trial and error. Often I would take her to the doctor to see how she was doing; I wanted to know as much as I could. But the doctors never said, “There’s no real medical diagnosis for depression. There’s no blood test, no

CO U RTE S Y O F H O P E F O R D E P R E S S I O N R E S E A R C H F O U N DAT I O N

“I hope everyone that I’ve touched has come away thinking differently about what it is to have an emotional imbalance.

It’s OK! You didn’t cause it. It’s a physical change in the brain, the way it is if you break your leg—but you can’t see it.”

This page: Brooke Shields and Gruss. Shields was honored by the HDRF for her efforts to erase the negative stigma that surrounds

MRI, that will tell us exactly what your mother has and what medication she needs.”

desire to let people know that this is something that we need, that nothing’s happening out there.

LH: What did you discover when you started researching?

AG: All the existing medications are the same out there: they are all variations of SSRIs and SNRIs. As I discovered more, I learned that all the medications only help 50 percent of people who have depression and need some kind of help. I was aghast. With my mother, every few months they’d try some new medications, and they’d give the impression that these medications were different. But in reality, these medications were simply versions of existing antidepressants, based on the same principle of serotonin and norepinephrine.

LH: Why do you think depression hasn’t gotten more attention and support?

AG: This fear of anything to do with the mind or mental illness. Psychotic people—those whose touch with reality is broken—represent only one percent of mental illness. And that one percent vision of crazy people dominates how people view mind-brain disorders. Depression and its related mood disorders, such as bipolar disorder and anxiety disorder, represent 99 percent of all psychiatric illness. Depression is so prevalent—as common as the common cold but far more serious—and yet still so misunderstood. I hope everyone that I’ve touched has come away thinking differently about what it is to have an emotional imbalance. It’s OK! You didn’t cause it. It’s a physical change in the brain, the way it is if you break your leg—but you can’t see it.

LH: So how did you think of the idea to start HDRF? AG: After my mother passed away, I was stunned. I was very close to her. As I started digging further and further, I went to see other psychiatrists, other psychopharmacologists, and I was astounded to learn that there were no new medications since the advent of Prozac 27 years ago. At one point this light bulb went off in my head and I thought, “I can make a difference.” I thought that this was an area where maybe I could do some good, with my knowledge of science and a Bachelor of Science degree from Tufts. I have a tremendous 74 Q U E S T

LH: What change in people’s attitudes have you seen since you started?

AG: Eight years ago, I don’t think people mentioned the word depression. I don’t think it was top of our minds because nobody put it there. This is humanity’s illness. This is now going to be the number one reason for disability by the next decade.

CO U RTE S Y O F H O P E F O R D E P R E S S I O N R E S E A R C H F O U N DAT I O N

depression and using her influence to redirect biased thinking about the treatment of what is a medical illness.

PHILANTHROPY

This page: Gruss and Dominick Dunne, who several times shared his struggle with depression and described his feelings of failure and even thoughts of suicide at times in his life at HDRF events. One of his sons also struggled with depression and finally sought help.

CO U RTE S Y O F H O P E F O R D E P R E S S I O N R E S E A R C H F O U N DAT I O N

Nobody was really talking about it—it was still in the closet, it was still in the shadows. If there’s anything I really know that we’ve done, we’ve put it front and foremost in a lot of people’s minds. Now, we can speak openly about depression, where we would have been embarrassed or a little afraid to do that. There’s so much less misinformation, so much more knowledge. Even the familiarity with the word and the ability to say it is a starting point on getting more and more info out there, correcting the fears of anything to do with the brain and mind.

LH: How did the Depression Task Force start?

AG: When I first incorporated HDRF, we started doing research with many neuroscientists. As we evolved, we founded the Depression Task Force in 2010. This group of seven leading researchers, each a renowned pioneer in their field, came up with a mutual research roadmap based on what they thought was missing in the field. What wasn’t the government funding? What could we do to move this along? Each is executing a piece of the research strategy in their own labs. What is unprecedented is the fact that they are sharing results in real time at a new HDRF Data Center. They have found areas of convergence that are leading to new genes and new antidepressant molecules. This model of working together will have an impact on the entire field of neuroscience.

LH: What are some of the statistics we should know about depression?

AG: Most don’t know that in the United States, depression is the number one cause of disability in ages 14-54. This is a debilitating illness that cuts people down in their prime. It knows no bounds—depression affects everyone, regardless of age, race, religion, education, or socioeconomic position. It is predicted to be the leading global health burden by 2030.

Yet, while depression ranks as one of the top three worldwide health issues, it ranks 68th (out of 235) in the amount of federal funding it receives. HDRF’s work is vital to make a difference.

LH: What’s next for HDRF? AG: At a time when government funding is shrinking and many of the large drug companies are withdrawing from brain research, HDRF answers and urgent need for leadership in the field. We are growing rapidly, and we look forward to engaging corporate leaders, in particular because the workforce is so significantly affected. We are the leading non-profit organization focusing solely on depression research and finding new treatments to bring hope to millions. We’re striving to find out what causes depression and develop precision treatments so that these days of medication by trial and error are a thing of the past. u MARCH 2015 75

SPORTING This page: A father goes hunting with his son and their dog at Pine Creek Sporting Club. Opposite page: Stephen Myers, a founder of Pine Creek Sporting Club,

PINE CREEK SPORTING CLUB—nestled on 2,500 acres in Okeechobee, Florida—is the destination for sporting enthusiasts, and their families. The club has evolved to cater to a variety of generations, with activities and offerings for everyone, from grandchildren to grandparents.

Pine Creek Sporting Club offers membership with the purchase of a property, of which there are 70, including: 20 cabins in the woods; 23 cabins by the lake; and 24 compounds, each on 40+ acres and priced at $2.5–$5 million. Memberships are structured to extend across generations, welcoming the member’s parents and children to the club—an heirloom, of sorts.

And, because of the emphasis on family, Pine Creek Sporting Club has continued to evolve into a destination for everyone.

“The mission from the onset was to have a world-class sporting club,” says John Reynolds, a founder and the director of sales and marketing at Pine Creek Sporting Club. “But it has evolved into more than that. It has evolved into a family plantation.

People from five years old to 85 years old have a great time and there are things for them to do.”

Of course, there’s hunting, from guided quail hunting to feral hog hunting to walk-up pheasant hunting. And there’s shooting, from a sporting clay course to a rifle and pistol range to a high tower pheasant release. But that’s just the beginning...

“In addition to the sorts of things that Pine Creek

FUN FOR THE FAMILY At Pine Creek Sporting Club in Okeechobee, Florida, activities for everyone—from grandchildren to grandparents—enrich the experience for families.

CO U RTE S Y O F PI N E C R E E K S P O RT I N G C LU B

with grandaughter Sophia Myers.

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Sporting Club was born on, we are a family-friendly place,” says John Reynolds. “There’s a zipline for the kids. There’s an outdoor pursuit center, which we refer to as the OPC, where they organize youth activities. There’s a pool and a fitness center as well as a playground. We have a really nice equestrian center with eight horses and 12 miles of trails.

Wranglers teach beginners to ride in the ring and if people want to go for a leisurely ride, that’s available to them too.

Plus, we have trails for mountain bikes.”

On weekends, there are “drive-in” movies at the OPC, where members can watch from their buggies, as well as bonfires to roast marshmallows for s’mores. Plus, Pine Creek Sporting Club has introduced a camp with tents, which are outfitted with eight bunks and provisions prepared by the chefs. Families can escape to experience nature, or children can go for a couple of days with a counselor.

Pine Creek Sporting Club has excelled at adding amenities that appeal to everyone. “We have some families that have never hunted before but they love that escape, that private cabin in the woods,” says John Reynolds. “They love to have that lifestyle that Pine Creek affords them. u For more information about Pine Creek Sporting Club, call John Reynolds at 561.346.9365 or visit pinecreeksportingclub.com.

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SPORTING This page, clockwise from top left: Among the offerings at Pine Creek Sporting Club, kayaking on the water; Sophia Myers leads a Shetland pony; Katherine Teuubner and Olivia Myers fishing on the 5-acre lake.

Opposite page, clockwise from top left: The Weisberg Family, enjoying their ranch; generations of the Lang Family, going shooting; the camp is outfitted with tents, encouraging members to experience nature; children playing by the treehouse—which is so big it could host a cocktail party

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for 50; John Reynolds with Katherine Teubner and Chandler Reynolds.

AUCTIONS GO ONLINE

BY ALEX R. TRAVERS WARHOLS, LICHTENSTEINS, Patek Philippes, haute couture, antique furniture, collectible teddy bears—are people going to buy these online without physically inspecting them first?

Are people going to buy unique items online? wondered collector Alexander Zacke as he and his wife put together Auctionata’s first online live-stream auction in Berlin in 2012.

And then: Do they feel confident about it? Can they trust it?

“Sixteen hundred dollars is the opening bid right now, eighteen hundred dollars—Cocteau always generates a lot of excitement,” announces the auctioneer. Jean Cocteau’s “The Kiss VI” (1951) makes an appearance onscreen. Then the camera cuts back to the auctioneer. “Going once, going twice—SOLD to Adam in the United Kingdom for thirty-two hundred dollars.

Congratulations.”

Adam in the United Kingdom won this Cocteau at a recent live-stream Auctionata auction in New York in January, titled “Modern Masters.” According to Auctionata’s YouTube channel, there were 287 registered bidders from 26 countries for that sale. With that kind of global audience and a new, entertaining way of conducting auctions, it seems that Auctionata has quickly become the default middle-market auction house (although they once sold an Egon Schiele for $2.418 million), proving that consumers are confident in the online-only auction model.

“We’ve successfully introduced online-only auctions and spe80 QUEST

cialty retail boutiques like The Watch Shop and The Handbag Shop because our clients have grown increasingly comfortable purchasing art and other luxury goods online,” Christie’s international managing director of e-commerce John Auerbach said over email. Auctionata’s international managing director Ben Hartley agreed: “People trust the online platform. They like to hear our experts talk about art.”

It was really the technology that needed to be perfected. For an auction at Auctionata to be conduced solely online, there could be no computer latency. That wouldn’t be fair to the buyers and consigners. “Getting that live broadcast right was extremely important,” Hartley pointed out.

What’s been important to all auction houses looking to take advantage of the online market, however, is monitoring consumer behavior. What can they do to make a viewer into a consigner? or a registered bidder into a buyer?

Simply getting people to the sites helps. So does social media.

“We had a new client who saw a $195,000 Patek Philippe watch on his Instagram feed posted by @ChristiesInc then come to us through that photo to purchase the watch,” said Auerbach.

Perhaps instances like that can help explain Sotheby’s partnership with eBay, who now broadcasts most of its auctions. “Even if we only reach 1 percent of eBay users,” noted Sotheby’s COO Bruno Vinciguerra, “that’s huge for us.” u

E-COMMERCE

This page: Sotheby’s showcases paintings before they head to the auction block (above); Ben Hartley, Auctionata’s international managing director (left); Bruno Vinciguerra, Sotheby’s chief operating officer (center); Christie’s international managing director of e-commerce; John Auerbach (right); online live-stream auctions at Auctionata (below). Opposite page, from left: A watch auction at Sotheby’s, which was broadcasted on EBay.com as well; Mel Bochner’s “Blah Blah Blah” (2009), oil on velvet, sold for $22,800 at Auctionata.

J E W E L RY

BETTERIDGE OPENED its doors in the United States in 1897, and Greenleaf & Crosby in 1868. When Terry Betteridge purchased Greenleaf & Crosby on Worth Avenue in Palm Beach nine years ago, it was the marriage of two great histories in jewelry. Long renowned for expertise in estate jewelry and watches, the store has expanded to include contemporary designers as well. It’s a marriage not just of two premier jewelers, but a marriage of offerings and styles that works extraordinarily well.

The Betteridge name has long been associated with jewelry, dating back to the 1700s in Birmingham, England.

Today, under fourth-generation jeweler and owner Terry Betteridge, the now U.S.-based presence boasts five locations: in Greenwich, Southampton, Palm Beach, Aspen, and Vail. Now housed in the historically preserved Greenleaf & Crosby boutique—a Worth Avenue 82 QUEST

landmark since the 1920s—Betteridge Palm Beach is regarded as the preeminent jeweler of the island, set amid cases and wall units from the days of Henry Flagler.

Understanding that there is no “typical” customer today, Betteridge strives to suit the needs of the modern-day shopper. The range of fine products spans antique and estate jewelry to more modern designers and names.

Whether long-established or up-and-coming, the designers represented are all the epitome of high quality, from Verdura, Mark Davis, Nicholas Varney, Bielka, and Paul Morelli to Paolo Costagli, Peggy S. Guinness, Dorota, and Goshwara. A jeweler is always on the premises, and you can rely on other in-store services like appraisals and repairs. For the most discerning of clients, there is no other shop in Palm Beach with the variety of merchandise or the range of services offered by Betteridge at Greenleaf & Crosby. u

CO U RTE S Y O F B E T TE R I D G E ; J A M E S K AT T P H OTO G R A P H Y

BETTER AT BETTERIDGE

J E W E L RY

From top left: Oval link bracelet by Dorota in gold and pearls, $5,750; “Juniper” blue Bakelite bangle by Mark Davis, $3,440; fire opal drop earrings by Dorota, $17,850; Nicholas Varney “Portonuovo” gold wide cuff, $76,200; Red Branch Coral Necklace by Peggy Stephaich Guinness, $2,650; “Garden Gate” gold and diamond crest drop earrings by Paul Morelli, $7,000; rubellite and diamond “wrapped” ear clips

by Verdura, $52,500; multi-strand peridot necklace by Peggy Stephaich Guinness, $36,650; Estate Betteridge Collection emerald and diamond ring, $45,000; peridot and pink tourmaline earrings by Peggy Stephaich Guinness, $8,600. Opposite page: The entrance and interior of Betteridge at Greenleaf &

P H OTO C R E D I T G O E S H E R E

Crosby, at 236 Worth Avenue, Palm Beach, Fla., 561.655.5850.

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OPEN HOUSE

REAL ESTATE IN PALM BEACH

Q: What is the state of the market in Palm Beach?

DL: We have tremendous momentum going into 2015. The economics have shifted into a “sellers” market, as we’ve moved from a period with a 10 percent supply of luxury homes to a period with a 4 percent turnover of luxury homes. This shift in supply has had a very positive impact on price and the listing time periods have been cut in half.

JPP: We continue to see historic lows in inventory and a

decrease in days on market in Palm Beach. Finally, the town has fully recovered from the recession and is presenting itself as a unique market with few units available. And I predict that Palm Beach will experience a rebirth once this market settles down.

Q: Why is Douglas Elliman suited for clients in Palm Beach?

DL: Our company has experienced tremendous growth in the past year by strategically adding over 20 of the top associates in the area to our team. Our market share representing both buyers and sellers has quadrupled in the past year, and our referral network—both domestic and internationally—is unsurpassed.

JPP: We recognize that New York is playing a role in all of South Florida real estate. Having the continuity and connection to New York puts us in a very relevant position. Also, each quarter we release market reports that are extremely detailed and technical. We employ our technology and resources to help our customers make educated decisions.

Q: Who is the Douglas Elliman client? What are his needs?

JPP: Our customers are really anybody who wants or craves a higher quality of service. We have positioned ourselves like an investment bank, and our job is to educate our customers so as to give them the ammunition they need to make important decisions and come back to us for their next move. They’re intelligtent, sophisticated decision-makers. u For more information on Douglas Elliman Real Estate, contact Don Langdon (561.655.8600) and Jay Phillip Parker (305.733.8387) or visit elliman.com.

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D O U G L A S E LL I M A N P H OTO G R A P H Y

DOUGLAS ELLIMAN Real Estate continues to evolve, catering to the area of Palm Beach, with agents boasting the tools— and networks—for success. At a time when the market is as hot as ever, we chat with Don Langdon (Managing Broker for Palm Beach) and Jay Phillip Parker (C.E.O. of Florida Brokerage) about Douglas Elliman Real Estate’s services in Florida:

OPEN HOUSE

This page: 377 North Lake Way in Palm Beach, Florida, is listed for $15.5 million (above); exteriors and interiors from a variety of properties, including 389 South Lake Drive and 2295 South Ocean Boulevard #924 (below). Opposite page, clockwise from above: 125 Casa Bendita in Palm Beach, Florida, is listed for $9.995 million (above); Jay Phillip Parker, C.E.O. of Florida Brokerage

D O U G L A S E LL I M A N P H OTO G R A P H Y

at Douglas Elliman; Don Langdon, Managing Broker for Palm Beach at Douglas Elliman.

MARCH 2015 85

CALENDAR

MARCH

On March 9, the School of American Ballet will host its Winter Ball at Lincoln Center’s David H. Koch Theater. The evening will feature a performance by the advanced students of the School of American Ballet, created specifically for the event. For more information, call 212.769.6636.

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5

“A Colorful Folk: Pennsylvania Germans and the Art of Everyday Life”—an exhibition that includes folk art, textiles, and pottery—will open at Winterthur Museum, Garden, and Library, in Winterthur, DE. For more information, call 800.448.3883.

The associates committee of Fountain House will hold its Spring Breakfast at 122 East 66th Street at 9 a.m. For more information, call 212.874.5457.

The New York School of Interior Design will toast the opening of its Spring 2015 gallery exhibition, “Rescued, Restored, Reimagined: New York’s Landmark Interiors”

AN EXQUISITE SPACE

REGAINING CONFIDENCE

SCHOOL STANDARDS

at 161 East 69th Street from 6–8 p.m. For more information, call 212.472.1500.

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TALK OF THE TOWN

The Preservation Foundation of Palm Beach will host its gala at The Breakers at 7:30 p.m. For more information, call 561.832.0731.

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7

Careers through Culinary Arts Program (C-CAP) will celebrate its 25th anniversary with a tasting event at Pier Sixty at Chelsea Piers, beginning at 6:30 p.m. For more information, call 212.829.0002.

The Southampton Animal Shelter Foundation will hold a reception at Sequin in Palm Beach. For more information, call 631.728.7387.

HELPING HOSPITALIT Y

UNCONDITIONAL LOVE

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BLACK TRUFFLES

Citymeals-on-Wheels will celebrate its Sunday Supper at Daniel at 5:30 p.m. For more information, call 212.821.0802.

DESIGN ELEGANCE

The San Francisco Garden Club will host its benefit luncheon and silent auction at Alexandra’s at The Westin St. Francis, where renowned interior designer Suzanne Tucker will give a presentation about the role of flowers in contemporary interior design. For more information, call 415.771.0282.

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9

A SPECIAL PERFORMANCE

On March 6, the Preservation Foundation of Palm Beach will hold its 2015 dinner dance benefit and gala at The Breakers at 7:30 p.m.

For more information, call 561.832.0731.

The School of American Ballet will host its 2015 Winter Ball at Lincoln Center’s David H. Koch

E R I N B A I A N O ; CO U RT E S Y O F T H E P R E S E RVAT I O N F O U N DAT I O N O F PA L M B E AC H

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CALENDAR

MARCH APRIL 1

HAIL TO THE CHIEF

The Kips Bay President’s Dinner Gala will take place at Cipriani 42nd Street at 7 p.m. For more information, call 212.957.3005.

2

LET’S GET LOUD

Featuring lively music from Laos and Cambodia, the Friends Gala will take place at the Lighthouse at Chelsea Piers at 6 p.m. Silent and live auctions will also take place throughout the evening.

For more information, call 212.691.0909.

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RED CARPET TREATMENT

On March 3, the Associates Committee of the Society of Memorial Sloan Kettering Cancer Center will host the 24th Annual Bunny Hop at 583 Park Avenue at 5 p.m. Entertainment will include a live animal show, a petting zoo, photo booths, and spin art. For more information, please call 212.639.2103.

Theater. A special performance

by S.A.B.’s advanced students will also take place during the event. For more information, call 212.769.6636.

MIRACLES IN MEDICINE

Weill Cornell Medical College will host a health symposium at the Four Seasons Resort in Palm Beach at 8:30 a.m. For more information, call 646.317.7396.

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A SPIRITED EVENING

CO U RTE S Y O F M E M O R I A L S LO A N K E T TE R I N G C A N C E R C E N TE R

The Love Heals gala will take place at the Four Seasons Restaurant at 6:30 p.m. For more information, call 212.867.1117.

HELP FROM MY FRIENDS

American Friends of the Israel Philharmonic Orchestra will host their Palm Beach benefit at the home of Michelle and Joseph Jacobs at 6:30 p.m. For more information, call 917.292.9527.

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FUN IN THE SUN

The Boys and Girls Club of Palm Beach County will celebrate its Spring Fling party at The Breakers.

For more information, call 561.683.3287.

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PROMISE AND POTABLES

The H.O.P.E. Foundation for a Better Tomorrow will host its wine tasting event at St. Paul of the Cross in Palm Beach at 6 p.m. For more information, call 203.206.4801.

The Palm Beach Junior Assembly/ Junior League of the Palm Beaches will celebrate their Red Carpet Ball at the Mar-a-Lago Club. For more information, call 212.752.4840.

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A TOAST TO THE CIT Y TO THE RESCUE

The Peggy Adams National Rescue League will celebrate its dinner dance at Club Colette.

Chairwomen include: Nellie Benoit, Laurie Raber Gottlieb, and Joanie Van der Grift. For more information, call 561.472.8845.

Honoring New York City teachers, students, and principals, Teach For America’s benefit dance and gala will take place at the Waldorf=Astoria. Cocktails will begin at 6:30 p.m., followed by the dinner at 7:30 p.m. For more information, call 212.821.0802.

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OPTIMISTS

Hope for Depression Research Foundation will hold a dinner at the home of Audrey Gruss. For more information, call 561.515.6454.

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PEOPLE OF LETTERS

Poets and Writers, a non-profit literary organization, will host a special evening honoring Margaret Atwood at Pier Sixty at Chelsea Piers. For more information, call 212.226.3586.

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BIRDS OF NIGHT

The National Audobon Society will hold its gala and award ceremony at The Plaza at 6 p.m. The event will honor Jack and Laura Dangremond and Spencer B. Beebe. For more information, call 561.515.6454.

On March 7, the Southampton Animal Shelter Foundation will hold a reception at Sequin in Palm Beach (219 Worth Avenue).

For more information, call 631.728.7387.

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Opposite page: Elizabeth Kurpis wears Carolina Herrera’s Big Ladybugs grasscloth dress, Verdura’s Criss Cross Cuff in 18-kt. yellow gold, Verdura 18-kt. yellow gold earrings and rings of her own. She carries Hartmann’s signature Noviana handbag in blue. Style assistants: Elizabeth Quinn Brown and Alex Travers. Hair and makeup: Dalia Ismoilova for Valery Joseph.

DRESS FOR TRAVEL P R O D U C E D B Y E L I Z A B E T H M E I G H E R A N D L I LY H O A G L A N D PHOTOGRAPHED BY BRENDAN BURKE

Before the invention of the Boeing 747 in the 1980s, when air transportation became an affordable, mainstream means of transit, dressing for travel was considered standard etiquette. Today, that ethos has returned. Nothing expresses this sentiment better than a spring trip to New York City, arguably the world’s central hub for art, culture, and design. Dressed in today’s most coveted fashion and carrying the latest line of Hartmann luggage—the company that has been crafting stylish bags and accessories since 1877—Elizabeth Kurpis checks in to the Upper East Side’s polished Mark Hotel. Elizabeth first takes a ride in one of the Mark’s bespoke pedicabs, which echoes the hotel’s iconic black-and-white striped lobby, crafted by acclaimed French interior designer Jacques Grange.

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This page: Elizabeth wears Michael Kors’ Camellia Print silk-georgette cap-sleeve blouse and matching skirt, a vintage Tiffany “X” bracelet in 18-kt. yellow gold, Verdura’s Criss Cross Cuff in 18-kt. yellow gold and rings of her own.

She carries Hartmann’s leather Noviana handbag in white.

Opposite page: Hartmann’s latest line of lightweight, metallic spinners and leather, double-compartment brief.

This spread: Elizabeth wears Zuhair Murad’s Spring 2015 yellow, two-piece ballgown with jewelry by Fabergé and Ivanka Trump in the Mark Hotel’s signature lobby. The art deco, black and white lobby hails from Parisian visionary Jacques Grange’s personal design philosophy, melding glamour, artistry and intimacy.

Originally built in 1927, the Mark Hotel underwent a complete facelift in 2009. The lobby’s whimsical use of color and neo-Deco style is a throwback to 1920s Paris.

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Opposite page: Wearing Ralph Lauren’s sporty Nairobi shirtdress and sparkling jewelry with Hartmann luggage in tow, Elizabeth makes every entrance grand.

This page: Ascending the staircase in a silk, ice blue gown by Katie Ermilio and radiant Fabergé pavé diamond bracelet, earrings, and necklace.

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This page: Shimmering in Dennis Basso, Elizabeth dons Verdura’s signature Maltese Cuff and Byzantine drop earrings, diamond rings by Fabergé and her own, and Jimmy Choo slingbacks. She reclines in a windowsill of the Mark Hotel’s Premier Suite next to Hartmann’s metallic spinner and taupe Voviana handbag (above); the Mark Hotel’s multi-mirrored elevator makes a beautiful gilded cage for Elizabeth, seen here in a feather dress by Oscar de la Renta (below). Opposite page: Elizabeth wears a Dennis Basso floral organza dress, pavé diamond and platinum earrings from Jerry Cohen, and Oscar de la Renta’s Crystal Firework necklace.

WHITE-GLOVED Grace Kelly waves as she ascends an airplane ramp in a polished, two-piece suit and pearls…

Jean Shrimpton traipses through Heathrow in a mod shift and matching swing coat, hard-sided carrier in tow… Ursula Andress packs suitcases into the back of her BMW roadster wearing head to toe Courrèges before jetting off to some wildly chic locale… these are the images that helped coin the term “jet set.”

I remember reading a travel article that Derek Blasberg wrote for Teen Vogue a while back, detailing his first interview with Tom Ford. Ford found “all the sloppy, schlubby young women” who put no effort into their travel appearance very upsetting. Apparently, Ford once found himself on the same flight as Victoria Beckham, who is always über chic. When she wanted to change into something “more comfortable” during the flight, Ford forbade her to do it!

He didn’t want to ruin the illusion.

As the daughter of a father who prefers a sportscoat at Yankee games (for his guests as well—try that on for size as a teenager in the 1990s), I must admit I still harbor relatively old-school views when it comes to travel attire. I am not suggesting white gloves and your best dress, but please pass on the pajamas and exposed undergarments, and please remember to brush your hair (and your teeth). In the words of Tom Ford, “Dressing well is a form of good manners.”

Founded in 1877, Hartmann luggage was a pioneer in providing the public with stylish, infallible travel bags and accessories: Babe Ruth carried Hartmann’s cushion top wardrobe trunk when traveling oversees to promote baseball in the 1930s; dashing agent 007 (a.k.a. “James Bond”), carried a Hartmann’s skymate suitcase in Live and Let Die in the 1950s; and in the 1980s, Halston and Gloria Vanderbilt designed Hartmann collections for true fashion devotees.

Today, Hartmann remains committed to its heritage of true craftsmanship, always viewing luggage as a veritable fashion accessory. “Inspired luxury since 1877” (the company’s tagline), Hartmann opened its first flagship store in New York City at 520 Madison Avenue in the fall of 2014.

—Elizabeth Meigher

This page: Elizabeth is a ray of sunshine in this orange ADEAM dress and matching Hartmann Noviana handbag, with double Verdura signature cuffs adorning her wrists. Opposite page: In a Badgley Mischka sheer lace gown and Oscar de la Renta’s Swarovski crystal necklace, Elizabeth peruses the latest issue of Q magazine.

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Quest

STYLE FILE

“Style reflects the times and the times are always sociopolitical.

It gets redefined with each generation, reflecting the zeitgeist of the time, and the artist in one’s soul.” —David Patrick Columbia STYLE IS A SENSIBILITY. It is the artist in the self. All true artists have it. It can also be found in fashion, in physical activity (or sports), or in personality and behavior.

People with style know what they want. It doesn’t mean they’re nice, incidentally, although ultimate style requires that quality, because it conveys one’s inner harmony. Years ago, I spotted Cary Grant shopping in the dairy section of the local Safeway in West Hollywood, just outside of Beverly Hills.

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There were few people in the market at that midday hour, and I happened to be walking by as I noticed a man looking over the eggs and yogurt. Nothing unusual there, except he happened to be casually and informally albeit perfectly (classically) dressed.

In a split second, I realized it was Cary Grant.

After passing him and stepping into a nearby aisle, I turned and watched for a moment to see if anyone else recognized him while he considered his purchases. Several people passed by with

This page, clockwise from top left: Chuck Pfeifer, Richard Johnson, and Taki Theodoracopulos; “Kings of Hollywood” by Slim Aarons: Clark Gable, Van Heflin, Gary Cooper, and James Stewart enjoy a joke at a New Year’s Eve party at Romanoff ’s in Beverly Hills, 1957; Charles Fagan, David Lauren, and Nacho Figueras in East Hampton; Winston Lapham at The Player’s Club in New York City; Harold Stirling Vanderbilt behind the wheel of Ranger, the legendary J-boat and America’s Cup defender. Vanderbilt won the won the America’s Cup race three times in the 1930s, and also invented the card game “contract bridge.” Opposite page: Lee Radziwill and Jackie Kennedy

T H I S PA G E : E D W I N LE V I C K / H U LTO N A R C H I V E / G E T T Y; PAT R I C K M C M UA LL N . O P P O S I T E PA G E : RO N G A LE LL A / W I R E I M A G E / G E T T Y.

Onassis at the Alvin Theatre in New York City, 1970.

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their shopping carts, and no one noticed one of the most famous men of the 20th century. That’s style, too: one of the most famous men in the world, impeccably but casually dressed and passing for the everyman. I was reminded of a famous exchange of letters I read between him and a fan: “How Old Cary Grant?” went the fan’s message.

“Old Cary Grant Fine, How You?” was the master’s response.

The problem with defining style is that it is an individual’s sensibility, which appeals to the individual’s taste. It also differs with the ages. Marie Antoinette would have been shocked at the sight of Coco Chanel’s designs. (Although, had the Queen of France lived in the era of Coco, she may very well have taken to them.)

In the Edwardian age, John Singer Sargent gave style to his clients with his portraits. Did he have it? Yes. Did they, his clients? Sometimes. But they knew he could deliver it to them, 102 QUEST

so they knew what it was. To purchase it is to recognize it and to merge into it.

Jackie Kennedy Onassis had style that could be purchased, but she also had style that was reflected in the way she conducted herself in public life, so that in both instances, it was admired and respected, like the aforementioned Mr. Grant. On the other hand, Babe Paley had a style that was purchased, but her fashion sense, unlike Mrs. Onassis, reflected an artist’s eye.

In another incarnation, she might well have been an artist.

Style reflects the times and the times are always sociopolitical.

It gets redefined with each generation, reflecting the zeitgeist of the time, and the artist in one’s soul. Just as Napoleon’s (brief) reign as Emperor of France brought forth the Empire’s style, the style of Marie Antoinette went out with the French Revolution, and a new style emerged. And so it is as we begin to move into the postmodern age of the 21st century. —David Patrick Columbia

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STYLE FILE

This page, clockwise from top left: Minnie Mortimer Gaghan, Claiborne Swanson Frank, and Ali Larter at the Sunset Tower Hotel in West Hollywood; Mrs. Stanley G. Mortimer and Mrs. Desmond Fitzgerald modeling matador hats, photographed by Horst P. Horst for Vogue, 1940; Liza and Minnie Pulitzer at home in Palm Beach, Florida, 1959; Tory Burch at the Society of Memorial Sloan Kettering Cancer Center’s 2014 Spring Ball; Veronica Swanson Beard and Veronica Miele Beard at the 2013 CFDA/Vogue Fashion Fund Finalist Announcement Celebration; Fleur Cowles and Perle Mesta sitting on an 18th-century boiserie (a gift from Margaret Biddle in Paris) in Look magazine’s offices, 1975. Opposite page: Olivia Palermo and Johannes Huebl said their vows during an intimate, outdoor T H I S PA G E : B FA NYC . CO M ; CO U RTE S Y O F T H E B E RT M O R G A N L I B R A RY; PAT R I C K M C M U LL A N .

civil ceremony in a park in Bedford, New York.

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This page, clockwise from top left: President John F. Kennedy and Jackie Kennedy aboard Coast Guard yacht Manitou, Newport, Rhode Island, September 1962; Alexa Chung at London Fashion Week, 2014; Bunny Mellon, renowned gardener, photographed by Fred R. Conrad for the New York Times; Jacqueline de Ribes, 1966, from Countess Marina Cicogna’s book Scritti e Scatti; Leandra Medine photographed by Greg Kessler at Paris Fashion Week, 2014. Opposite page, clockwise from top left: Mona von Bismarck and Jacques de la Beraudiere chatting in 1938; Meredith Melling and Hanneli Mustaparta photographed by Phil Oh; the Duke and Duchess of Windsor at the Paramount Theatre in Palm Beach, 1948; Alexandra Lind Rose attends New York City Ballet’s 2014 Fall Gala.

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T H I S PA G E : PAT R I C K M C M U LL A N ; P H I L O H . O P P O S I TE PA G E : B FA NYC . CO M ; G E T T Y; R E D UX ; RO B E RT L . K N U D S E N / P R E S I D E N T I A L CO LLE C T I O N .

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STYLE FILE

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T H I S PA G E : PAT R I C K M C M U LL A N ; I M A X T R E E / V I N C E NZ O G R I LLO ; P H I L O H ; B FA NYC . CO M . O P P O S I TE PA G E : C A P E H A RT P H OTO G R A P H Y; G E T T Y; PAT R I C K M C M U LL A N .

STYLE FILE

This page: Nicole Hanley and Matthew Mellon at the Museum of the City of New York’s New York After Dark party; Poppy Delevingne and Derek Blasberg attend New York Fashion Week; Lourdes and Pepe Fanjul, Jr., in Palm Beach at New Hope Charity’s annual bazaar; Andres and Lauren Santo Domingo on their way to the 2014 Met Gala; Jessica Hart and Stavros Niarchos at Save Venice’s Enchanted Garden Ball at The Pierre. Opposite page, clockwise from top: Paul Butler, patriarch of one of America’s foremost polo families, with his son, daughter, grandchildren, and son-in-law—as photographed by Slim Aarons, Palm Beach, April 1981; Emilia Fanjul and Pauline Pitt view Carolina Herrera’s Spring 2015 collection in honor of the Palm Beach Heart Ball; Carolina Herrera wearing Emilio Pucci in a hallway of Hacienda La Vega in Caracas with her husband, Reinaldo, behind her, 1970; Carmen Dell’Orefice and David Patrick Columbia.

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STYLE FILE

This page, clockwise from top left: Louise Grunwald (then Louise Savitt), photographed by Horst P. Horst in a Moroccan caftan while seated on the floor of her Billy Baldwin–decorated living room in New York City; Anna Wintour and Oscar de la Renta at the 2014 Couture Council Award Luncheon; Lauren Remington T H I S PA G E : B FA NYC . CO M ; C A M I LL A M CG R AT H © E A R L M CG R AT H ; G E T T Y; PAT R I C K M C M U LL A N ; P H I L O H . O P P O S I T E PA G E : G E T T Y.

Platt wearing Michael Kors; Bill Cunningham and Jamee Gregory in Southampton; C. Z. Guest and her daughter, Cornelia, photographed by Harry Benson at Templeton, their family home in Old Westbury, New York, 1982; Marella Agnelli with friend and future sister-in-law Maria Sole Agnelli; Lauren Bush Lauren and Amanda Hearst at DIFFA’s Dining by Design Auction.

Opposite page: Nan Kempner and Patricia Kennedy Lawford, 1980; Mrs. Catherine “Deeda” Blair arrives at the Embassy of Iran dinner dance, Washington, D.C., 1975.

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BESPOKE AND BEGUILING “IF THERE COMES a time when owning a custom-made black cashmere blazer or tweed hacking jacket becomes unstylish for a woman, I will hang up my tape measure,” Alan Flusser declares. The designer has no reason to worry: male couture on a female silhouette is an aesthetic that appeals to something almost primal within us. Picture Katherine Hepburn, moxie bouncing off every plane of her angular face, strutting around in 1940s men’s wear like Joan of Arc in her armor. It’s a style that communicates a certain strength of character.

The new bespoke women’s wear Flusser Femme updates that tradition. The fashion line offers women the exquisite process of getting a bespoke classic like the dinner jacket in anything from cashmere to velvet. “As in men’s wear, the well-cut jacket allows for more levels of formality and versatility than any other single article of clothing,” says Flusser. “A lightweight jacket or blazer can be paired with jeans and a T-shirt on one end and a straight skirt and silk blouse on the other, with all variety of personal style in between. It can accommodate trim or full-cut trousers, short or long skirts, old khakis or silk-satin bottoms.

Plus, its tailored shoulders and uplifting lapels lend women an understated authority and presence.”

The inspiration for the line came from Flusser’s daughter, Piper. She had been lusting after a men’s black tailcoat with satin lapels to wear with jeans or a long skirt. Flusser, who had been making custom men’s clothing for thirty years, was surprised at how few options existed of woman’s couturiers for traditionally male pieces in Manhattan, one of fashion’s capitals.

As a master of the bespoke tailoring process, he turned his talents to gathering luxurious fabrics and details for his fe-

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CO U RTE S Y O F A L A N F LU S S E R

B Y L I LY H O A G L A N D

This spread: The Hepburn business/dinner suit from the Flusser Femme collection of Alan Flusser.

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D E N N I S C A H LO ; S T E P H A N A LE S S I

This page, clockwise from top left: The Piper, an alternative dinner jacket in fine Italian velvet; the functioning sleeve buttonhole; the Polo Coat in authentic American-milled camel hair. Opposite page: The Elizabeth jacket, named in honor of a client

D E N N I S C A H LO ; S T E P H A N A LE S S I

who feels life should be both adventurous and fun.

male clients and offering them perfectly cut trousers, skirts, and jackets. “Our promise is stylish longevity because we cut clothes not for fashion but for the body that is going to wear them. As long as one wears clothes that flatter their specific figure and favor their particular complexion, one will always look stylish, no matter what the fashion gods may decree that day.”

If a style is timeless, it stands to reason that the pieces themselves should withstand the years as well.

Using the best fabrics, personalizing the details, and painstakingly tailoring each piece for its owner, the Flusser Femme line offers what could be any woman’s go-to piece to make her feel as confident and classy as Kate Hepburn herself. As she said, “Why slap them on the wrist with a feather when you can belt them over the head with a sledgehammer?” u

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BEHIND THE BACALL LOOK

BY DANIEL CAPPELLO

life,” Lauren Bacall once observed. True, but the poised, everassured Bacall played the role of the leading lady with such style and intelligence that we’d almost have to argue with her on this point if the face in the mirror were her own. As a witness to and interpreter of so many of life’s truths, Bacall proved a life study all her own.

She managed to carve out a unique spot for herself among the pantheon of 20th-century American film legends; her looks and charisma were emblematic of Old Hollywood, but she was always more of a modern woman, even in her early days. Throughout her storied career, she managed to be both a legend of the big screen and a real person in ordinary life.

She spoke her mind, held fast to her convictions, and was never anybody’s fool—least of all fashion’s.

Still, her sense of style and her overall sense of self were striking—and not just to any admirer or passerby. Some members of the curatorial team of the Museum at FIT, which houses a permanent selection of some of Bacall’s own clothing, decided last spring to take a closer look at her sartorial intuition. “We began to look through the collection in search of possible exhibition ideas,” explains Hannah Adkins, student curator of the Museum at FIT. “We noticed that a lot of garments had been donated by Lauren Bacall This page: An Yves Saint Laurent evening set in silk organza, sequins, and beads, from Fall 1969, France (gift of Lauren Bacall), on view at “Lauren Bacall: The Look,” at the Museum at the Fashion Institute of Technology. Opposite page: Lauren Bacall photographed in 1945; Lauren Bacall and her husband, fellow actor Humphrey Bogart, on their boat.

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CO U RTE S Y O F T H E M U S E U M AT F I T; WA R N E R B ROT H E R S / T H E KO B A L CO LLE C T I O N ; G E T T Y I M A G E S

“LOOKING AT YOURSELF in a mirror isn’t exactly a study of

This page: Norman Norell coat and two-piece dress in wool and rhinestones, designed for the film Sex and the Single Girl, 1965, U.S.A. (gift of Lauren Bacall), on view at the Museum at FIT; Bacall with her children, Leslie and Stephen, in 1961 (inset). Opposite page: A sketch of Bacall’s Big Sleep costume

by Leah Rhodes; Bacall and Humphrey Bogart with their son, Stephen; Christian Dior by Marc Bohan evening dress in silk jersey and ostrich feathers, Spring 1986, France (gift of Lauren Bacall), on view at “Lauren Bacall: The Look”; Bacall, once a model, learned how to pose for the camera

CO U RTE S Y O F T H E M U S E U M AT F I T; G E T T Y I M A G E S / H U LTO N A R C H I V E ; P O P P E R F OTO / G E T T Y I M A G E S

in her earliest years.

and we started to discuss the relevance of provenance. Many of the garments in a museum collection lose their personal history when they leave the wardrobe and are put on display in a larger fashion context,” Adkins elaborates. “Lauren Bacall seemed like a perfect public figure to examine and celebrate through her personal style, and in so doing, bring her clothes to life.”

And thus the museum’s latest exhibition—opening this month—was born. A joint endeavor by the Fashion Institute of Technology’s School of Graduate Studies and the Museum at FIT, “Lauren Bacall: The Look” is the first exhibit to exclusively explore Bacall’s career and personal style, in which her own garments take the spotlight. Organized by graduate students in the Fashion and Textile Studies: History, Theory, Museum Practice program, the exhibit examines Bacall’s distinctive style within the context of her modeling, film, and theater careers.

Walking in, you’ll find selections from Bacall’s personal wardrobe as well as from her film and stage roles displayed alongside photographs, magazine pieces, film posters, and archival footage. Approximately a dozen garments have been selected from a collection of 700 that Bacall donated to the museum between 1968 and 1986, including works by designers Marc Bohan, Pierre Cardin, Norman Norell, Yves Saint MARCH 2015 117

This page, clockwise from bottom: Harry smuggles the freedom fighter Bursace (played by William Molnar) into Martinique in To Have and Have Not, starring a young Lauren Bacall; Emanuel Ungaro silk damask pantsuit, ca. 1973, France (gift of Lauren Bacall), on view at the Museum at FIT; Bacall in The Big Sleep, 1946. Opposite page: Bacall relaxes by her California pool with her pet Boxer, mid-1950s; Pierre Cardin dress, 1968, France (gift of Lauren Bacall), on view in “Lauren Bacall: The Look,” at the Museum at FIT.

CO U RTE S Y O F T H E M U S E U M AT F I T; B E T TM A N / CO R B I S

Laurent, and Emanuel Ungaro. The focus here is on pieces from the 1960s and 1970s.

“The Look” opens with a photograph of a 19-year-old Bacall taken by Louise Dahl-Wolfe and chosen by Harper’s Bazaar editor Diana Vreeland for the magazine’s March 1943 cover.

The photograph shows Bacall’s full, natural eyebrows and softly waved hair—along with the alluring look of ease and selfconfidence that became her trademark. It’s but one of many images that capture “the look” and reveal how it evolved.

You won’t be able to miss a vivid pink wool coat by Norman Norell, worn by Bacall in the 1964 film Sex and the Single Girl, or a fuchsia Cardin mini-dress, accented with molded 3D pyramid shapes. In a stunning evening look by Dior, ostrich plumes at the wrists and hem of a silk jersey dress add dramatic flair. A beaded ensemble by Yves Saint Laurent demonstrates Bacall’s audacious attitude when it came to dressing.

Throughout her life, Bacall borrowed style cues from men’s wear. Examples in the exhibition include an ivory silk pantsuit by Norell and a black silk pantsuit by Ungaro. Both are impeccably cut and share certain elements: wide legs, high waistlines, and kerchiefs at the neck that reference a man’s tie. Images of Bacall relaxing at home reveal this particular look in action. Observing photographs of Bacall from over the years illustrates how her style from one decade to the next was remarkably unchanged and altogether chic. What becomes clear in “The Look” is how innate Bacall’s ease and confidence were. And now, thanks to the Museum at FIT, they are given new life. u

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THE RISE OF MISHA NONOO

BY ALEX R. TRAVERS

CO U RTE S Y O F M I S H A N O N O O ; J U L I O G A M B O A F O R B FA NYC . CO M

This page: A sleeveless dress from Misha Nonoo’s Spring 2015 runway show, for which she collaborated with Brooklynbased artist Dustin Yellin. Opposite page: Misha Nonoo smiles backstage with her models during the show.

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This page: In 2012, Misha Nonoo was awarded the Fashion Group International’s Rising Star award for Women’s Ready-to-Wear. Opposite page: Front-row guests watch a model walk at Misha Nonoo’s Spring 2015 runway show, which took place in New York. An appreciation for quality, tailoring, and worldly travel is the essence of the Misha Nonoo label.

K E LLY S T UA RT; N ATA S H A J A H A N G I R

MISHA NONOO is trying to find the right words. She thinks for a moment. “It was a happy accident.”

About five years ago, Nonoo, who was then working at a small tailoring atelier in Manhattan’s Garment District, went out to meet some of her girlfriends for brunch. She recalled a conversation.

“I love your jacket,” a friend said to Nonoo.

She replied, “Oh, actually, I made it.”

“My friend is a buyer at Intermix. You should show them.”

Shortly after their chat, Nonoo secured an appointment at the multi-brand fashion retailer. She was hoping to receive some feedback on her capsule collection, which consisted of about eight pieces, all jackets and coats. It was something she was doing on the side—“weekends, evenings, before work.”

When she met with Intermix, Nonoo received some exciting news—the retailer asked to purchase her collection. Then, someone added, “My friend works for Women’s Wear Daily.

You should get a press piece. They’re doing a story on new designers to watch.”

At the time, Misha Nonoo did not have a business set up. “I didn’t have an LLC. I didn’t have a lawyer. I didn’t have any of that,” she recalls. She only had samples. Suddenly, the designer had orders to fill. Her brand was born.

Misha Nonoo grew up near the Western shores of the Persian Gulf, in Bahrain. While Nonoo, an only child, was living in the Middle East, she and her parents did a lot of traveling—to Asia,

to Europe—and the family would always spend their summers in the United Kingdom, with Misha’s grandmother.

Memory is a prime interest of Nonoo, the designer. She remembers the colors of Bahrain vividly. “When you go to the souks, they have these amazing pyramids of tamarack and saffron.” She also mentions the shades of the deserts. “I would say that definitely influenced me from a design perspective.”

When Misha was 11 years old, her family moved from Bahrain to London. “I had come from a co-ed school and for me everything became very regimented. The English educational system is known for being quite rigid and I had grown up in this slightly more bohemian environment, even though I went to an English school. After a year, I got used to it and I completely loved it.”

Though Nonoo was interested in sports and business and history, she had another fascination.

“I wanted to work in fashion,” she says. “I wanted to have my own label. But that seemed so far away at the age of 17, which is when I went to college.”

Nonoo studied business at London’s European Business School and at the École Supérieure du Commerce Extérieur in Paris, although she admits that she was always more creative than business-minded.

“My parents were like, ‘Maybe try business school and see where that takes you and if you feel strongly about design go work in a design house afterward.’ It was actually their advice that I took. That’s how I was led down [my] path.”

Most of Nonoo’s hands-on fashion experience came when she moved to New York after college. This is when she was working in the Garment District.

“I learned everything from product aspects to basic pattern making. And, at the same time, I was assisting the head designer, so I just shadowed everything she did, from start to finish.

Because it was such a small team, I got a very comprehensive overview of what it takes to run a business in fashion.”

After two years of working there, she began crafting her item-driven collection of coats and jackets on the side—the ones that Intermix ended up buying.

“It was daunting, but there is also such a beauty in being

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her love of fashion and the arts, I’m pleasantly surprised by how those items relate to her brand’s mission.

“Great contemporary art is a huge part of history,” she explains. “It’s almost like looking at history being made now, from an artistic point of view. In 200 years’ time, people will be looking at [Gerhard] Richter’s art and that fascinates me—this idea of how something can stand the test of time and how modernity can age.”

Is that what she hopes her fashion line can achieve?

“It’s always been a very important aspect to me. It’s really about pieces that are going to last in your wardrobe, not only in terms of the styling and the details—it will be relevant in times to come—but the quality is there for it to really still last.” u

M E G A N K I R K E ; J U L I O G A M B O A F O R B FA NYC . CO M

young and naïve and not knowing what you’re getting yourself into. I was like, I can do this.”

Her first full collection was for the Fall-Winter 2011 season.

After that, her career skyrocketed. She started putting on runway shows in New York. She was accepted into the CFDA/ Vogue Fashion Fund and its incubator program. She launched her own e-commerce site. Nonoo made all the right moves for a young designer working and living in New York.

But what makes Misha Nonoo stand out among her competitors and contemporaries is her purity of style and innovation.

There’s a certain romantic quality to her clothes and her cinematic runway shows. She tells me that a lot of her business is based on “contemporary classics.” And when Nonoo talks about

This page: Two looks from Misha Nonoo’s Spring 2015 collection. Opposite page: Models pose backstage before the show.

This page: More looks from the Spring 2015 runway show.

Opposite page: A backstage outtake, featuring one of Misha Nonoo’s prints, part of her collaboration with the artist

J U L I O G A M B O A F O R B FA NYC . CO M ; B O N D U K E

Dustin Yellin.

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THE POWER OF TWO

BY DANIEL CAPPELLO PHOTOGRAPHS BY ROSE HARTMAN

Š RO S E H A RTM A N , CO U RT E S Y O F ACC E D I T I O N S

This page: Caroline and Elise Rueda in their East Side apartment in New York City, 2014; the cover of Incomparable Couples, by photographer Rose Hartman and published by Antique Collectors’ Club Editions, features Iman and David Bowie, photographed in 1994 at the 13th Annual CFDA Awards at New York State Theater. Opposite page: John Richardson and Nan Kempner at the Costume Institute Gala at the Metropolitan Museum of Art, 1999. Incomparable Couples ($49.50) is available for sale online at accdistribution.com. For more about the photographer, please visit rosehartmanphotography.com.

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This page, clockwise from lower left: Gordon Parks with Gloria Vanderbilt at the Living Landmarks gala at The Plaza Hotel, 2001; Francesco Scavullo and Tina Turner at Studio 54, 1978; mother and daughter Bianca and Jade Jagger at the launch of Jade’s jewelry line at Lot 61, 1999. Opposite page, clockwise from top: Andy Warhol and Lou Reed at Studio 54, 1978; mother and daughter C. Z. and Cornelia Guest at the Costume Institute Gala at the Metropolitan Museum of Art, 1989; Suzy Parker and Richard Avedon at the opening of an Avedon exhibit at the Metropolitan Museum of Art, 1978.

IT WAS—and remains today—the kiss seen ’round the world.

Robert Doisneau’s famous black-and-white snapshot “Le baiser de l’hotel de ville” (“Kiss by the Hotel de Ville”) puts front and center a young couple kissing amid the bustle of a Paris street, oblivious to passersby. The image speaks to the power of two: that synergistic energy of two individuals whose love, friendship, or respect for each other transcends a moment for all time.

Doisneau’s tableau of two happens to be photographer Rose Hartman’s alltime favorite image of a couple. And Hartman knows a thing or two about couples. She’s stood as one of the ultimate witnesses of the past 40 years of American culture, as Eric Shiner says in the introduction to her latest book, Incomparable Couples (ACC Editions). Her groundbreaking photography, we are reminded, straddles the boundaries of street, paparazzi, portrait, and documentary photography. All of these angles are on view here, whether she’s caught a couple fleeing the blaze of the paparazzi on a downtown street or a mother and daughter team in full regalia for a society gala uptown.

What emerges in Incomparable Couples is a veritable dance between photographer and her famous subjects alike, from the artist and muse to the mother and child, from the friend caught with friend, the model snapped with fellow model, or the lover reaching out a hand for her betrothed. Covering so much ground, so many places, so many people, and so many occasions, it becomes quite obvious, as Michael Gross is quick to point out in the introductory text, there must be two Rose Hartmans. u 130 QUEST

This page: Lynn Wyatt and Kenneth Jay Lane at a private art preview held at Christie’s auction house in 1992; John F. Kennedy, Jr., and Carolyn Bessette-Kennedy at the presentation to Brendan Gill of the Municipal Art Society of New York’s first Jacqueline Kennedy Onassis Medal, 26th Street Armory, 1994 (inset). Opposite page: Luca Orlandi and Naomi Campbell at the Night of Stars gala at the Pierre Hotel in 1996.

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This page, clockwise from left: Bob Mackie and Cher at the Costume Institute Gala at the Metropolitan Museum of Art, 1985; Luis Acebo, Duke of Badajoz, and Nati Abascal, the Duchess of Feria, at the Spanish Institute Gala at the Waldorf=Astoria Hotel, 1985; Kelly and Calvin Klein at the Costume Institute Gala at the Metropolitan Museum of Art, 1986 . Opposite page: Claudia Schiffer and Valentino at the opening of the Valentino boutique on Madison Avenue in 1996. Incomparable Couples ($49.50) is available for sale online at accdistribution.com. For more about the photographer, please visit rosehartmanphotography.com.

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READY TO RUNWAY

BY ELIZABETH QUINN BROWN

This page: Sultry was the name of the game at Versace Couture Spring 2015.

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Looks from Spring 2015 Couture, from left to right:

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Viktor & Rolf; Giambattista Valli; Jean Paul Gaultier; Chanel.

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1. Laura Mercier Appear sun-kissed—like the models at Viktor & Rolf—with a swipe of the Bronzing Gel; $32. 2. Clarins The Instant Light Natural Lip Balm Perfector, in coral, melts on your mouth for a pout that is natural and nourished; $23. 3. Glossier The Phase 1 Set, from the team at Into The Gloss, perfects your skin, a.k.a. your canvas, with a mist, a moisturizer, a balm, and a tint; $80 at glossier.com. 4. Chanel Be bold with the Rouge Allure, in insaisissable, as seen on the models at Chanel; $36. 5. Yves Saint Laurent Blush Volupté, in passionée, for a look to love; $47. 6. Éminence Organics Flawlessness is possible with the Balancing Masque Duo, which containts two masks: the Charcoal T-Zone Purifier with Buchu leaf and Kaolin clay and the Pomelo Cheek Treatment with Bamboo leaf and Pomelo juice; $54 at eminenceorganics.com. 7. Guerlain The Cils d’Enfer Maxi Lash, in marine, for dramatic lashes; $30.

8. Tom Ford Your eyes will smolder—like the models at Jean Paul Gaultier and Versace—with the Eye Color Duo, in crushed indigo and raw jade; $60.

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READY TO RUNWAY 1 1

Looks from Spring 2015 Couture, from left to right: Alexis Mabille; Valentino; Jean Paul Gaultier; Schiaparelli; Elie Saab.

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THE HAIR 1. Crowns by Christy Mimic the models at Valentino with a wreath of flowers; $25 and up, at crownsbychristy.com. 2. LUSH Revamp your routine with the Solid Shampoo Bar, in Braziliant, to condition; Montalbano, with lemon, olive, and rosemary for shine; and Jason and the Argan Oil, for softness; $9.95. 3. Davines The MINU products are designed to enhance color-treated hair; $25–32. 4.

Living Proof The Night Cap Overnight Protector will transform your locks while you sleep, with benefits through five shampoos; $28. 5. Bumble and bumble Be chic and sleek—like the models at Schiaparelli—with Bb.Straight, a blowdry in a bottle; $30. 6. Kérastase A microfine scrub that stimulates your strands by exfoliating from scalp to ends; $44.

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1 1. Kyle White of Oscar Blandi Salon at 545 Madison Avenue (212.421.9800); 2. Rachel Bodt of Cutler Salons at 47 West 57th Street (212.308.3838) and 465 West Broadway (212.308.3838).

THE EXPERTS Kyle White of Oscar Blandi Salon: Kyle White is the king of color, so he knows about maintaining your mane between bleachings: “Take a teaspoon of coconut oil and heat it for three seconds in the microwave. It will stay in your hair for multiple shampoos. If you’re blonde and you’re concerned about the sparkle you attain at the salon, try not to wash. Limit it to three times per week, and use a dry shampoo. Also, try an ionic blow dryer to prevent breakage and invest in a shower filter—its like a Brita for your shower. It will help your hair to stay shiny and bright.” Rachel Bodt of Cutler Salons: Rachel Bodt, who works with a stable of models at Cutler Salon in SoHo, discusses what’s in at the moment—from the perspective of a colorist: “There are a lot of soft, fawn, taupe blondes, with a hair-painting feel. On the runway at Fashion Week, we saw a lot of soft, beige, creamy double-processes, rather than the white blonde double-processes we’ve seen in past seasons. For

brunettes, we saw rich dark browns with no red in them. For the redheads, themselves? Lots of sunset coppers, almost like a natural ginger girl and a few really, really vibrant, oxblood reds.”

Rita Hazan of Rita Hazan Salon: Rita Hazan has her (talented) finger on the pulse when it comes to trends in color: “The biggest trend we’ll see this year is a multidimensional tortoise shell with natural tones. I did this on Beyoncé at the beginning of the year—it’s natural, yet dramatic and expensive-looking.

Highlight placement is very important with this trend.” Valery Joseph of Valery Joseph Salons: Valery Joseph reigns on the Upper East Side, with a series of locations— including the B3 Barneys Blow Bar by Valery Joseph at Barneys New York. Book a blow-dry, and the city becomes your runway... BeautyNow: To book your appointments in cities across the country, visit beautynowapp.com to download BeautyNow. The app caters to the girl on the go—and is perfect for traveling! u

3. Rita Hazan of Rita Hazan Salon at 720 Fifth Avenue (212.586.4343); 4. BeautyNow, an app from Kathleen Jennings that facilitates the booking

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of appointments. Visit beautynowapp.com to download; 5. Valery Joseph of Valery Joseph Salons at 1044 Madison Avenue (212.517.2333) and 1457 Third Avenue (212.300.4142).

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THE YOUNG & THE GUEST LIST

BY ELIZABETH QUINN BROWN

Timo Weiland, Donna Kang, and Alan Eckstein presented Timo Weiland Fall-Winter 2015 at New York

CO U RTE S Y O F T I M O W E I L A N D ; L I N S LE Y L I N D E K I N S

Fashion Week.

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Randolph Adler, Ewa Johansson, and Tom Martignetti supported the New York Philharmonic on February 3.

Anthony Martignetti, chair for the Young New Yorkers for the

Margaret Pennoyer and Justin Kush, chair for

Philharmonic, with Alison Hill.

the Young New Yorkers for the Philharmonic.

Liam Millhiser, Jameson McFadden, and Ann Winger celebrated the 20th anniversary of the Young New Yorkers for the Philharmonic on February 3.

Vanessa Grout enjoyed chamber music by members of the New York Philharmonic.

Andrew Ward and Wyatt Harris toasted to 20 years of

Alexandra Porter, chair for the Young New Yorkers

the Young New Yorkers for the Philharmonic.

for the Philharmonic, with Lucius Robinson.

“I’M SORRY FOR MY INABILITY to let unimportant things go,

for my inability to hold on to important things,” wrote Jonathan Safran Foer. But who’s to say what’s unimportant or important?

On January 22, The James New York debuted its collaboration with Grey Area—a mural by Brooklyn-based artist Paul Wackers (who was commissioned by Kyle DeWoody) on the façade of the hotel between Grand and Thompson streets on Sixth Avenue. The project features a series of works entitled, “Slow Dance and the Daylight,” engaging the public via col-

or. Following the unveiling, guests including Waris Ahluwalia, Hanuk, Alexa Rudolfo, Ben Watts, and Aleksandra Woroniecka ascended to JIMMY to toast the project with cocktails.

On the 29th, it was the Young Collectors Night to benefit the East Side House Settlement at the Winter Antiques Show at the Park Avenue Armory. The event—hosted by Wendy Goodman, design editor of New York magazine, and co-chaired by Courtney Christensen, Stephanie Clark, and Sam Dangremond—serves as an opportunity for 700 twentyMARCH 2015 141

This page: A mural by Brooklyn-based artist Paul Wackers decorates the façade of The James New York; Aleksandra Woroniecka and Waris Ahluwalia, outside of the public-art project at The James New York (inset).

142 QUEST

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and thirty-somethings to browse and consider a collection.

(Over a glass of wine, of course.)

On February 3, the Young New Yorkers for the Philharmonic toasted to 20 years with a chamber music performance by members of the New York Philharmonic at the Racquet and Tennis Club. Stephanie Sirota served as chair, along with: Christopher Allwin, Jason and Mary Dillow, Sarah Jane and Trevor Gibbons, Sandra Kozlowski, Justin Kush, Anthony Martignetti, Blair and Edouard Métrailler, Stefan Nowicki, Alexandra Porter, and Mae Rogers. After the concert—which featured works by Ludwig van Beethoven—guests indulged in hors d’oeuvres and dancing ’til midnight.

And then there was New York Fashion Week, which (for me) was about Timo Weiland (and Alan Eckstein and Donna Kang) from the presentation at New York Men’s Day on February 11 to the women’s wear show on February 12. Spottings included: Ian Bradley, Peter Davis, Warren Cathcart, Emma Greenberg, May Kwok, Lauren Painter, and Benjamin Setiawan. Then, it was to Playa del Carmen and Tulum for the weekend—but after fêting Timo Weiland Fall 2015 at Up & Down, of course. u

Elijah Duckworth-Schacter and Katherine DeConti supported East Side House Settlement on January 29.

Emma Rathkey and Sam Dangremond, co-chair for Young Collectors Night.

Gus Dangremond browsed the art and antiques at the 61st Winter Antiques Show.

Maximilian Sinsteden and Catherine Olasky, whose firm, Olasky & Sinsteden, is a member of the Interior Design Committee.

Caroline Baker and Nina Delano at Young Collectors Night at the Winter Antiques Show at the Park Avenue Armory.

Nadya Krasnikova and Brandon Aryeh supported East Side House Settlement.

Angel Sanchez browsed the art and antiques at the 61st Winter Antiques Show.

Caitlin Frank and Rachel Schaeffer, dressed in lace

Alexandra Michler at Young Collectors Night

at the Park Avenue Armory on January 29.

to benefit East Side Settlement House.

MARCH 2015 143

SNAPSHOT

FRIENDS IN FASHION

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ment, including stylist (and friend) Vidal Sassoon. Grace Coddington describes, “Vidal came along and liberated hair after Mary Quant liberated clothes. He cut my hair in a bowl cut and totally changed hair—everything before then was lacquered and stiff. Suddenly you could shake your head—it was a defining moment of the Sixties.” The revolution was inspired, and these were the players who collaborated to define the era.

On December 31, 2014, the designer—and the mini-skirt— were immortalized when Mary Quant was named a Dame Commander of the Order of the British Empire, or DBE, for services to fashion in the U.K. —Elizabeth Quinn Brown Designer Mary Quant with model Grace Coddington, sporting Vidal Sassoon cuts, photographed by Eric Swayne in 1966.

E R I C SWAY N E

“A WOMAN IS AS YOUNG as her knees,” decreed Mary Quant as she introduced the mini-skirt to the world in the 1960s. The era was anti-establishment, and fashion was being forged by contemporaries of the designers who had reigned in the 1940s and 1950s.

Mary Quant was 21 in 1955 when she opened her store, Bazaar, on the King’s Road in London, England, explaining, “Snobbery has gone out of fashion, and in our shops you will find duchesses jostling with typists to buy the same dresses.” The clothes were bold—in color and style—and were designed to be girlish, with details like collars and pleats. The hemlines were as short as seven inches above the knee, causing the market of 16- to 25-year-olds (which was coming into existence) to scramble.

Mary Quant was influenced by the creatives of the move-

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