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THE SPRING STYLE ISSUE
GENEVIEVE BAHRENBURG IN RALPH LAUREN
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CONTENTS The S pring STyle i SSue 102
Genevieve Bahrenburg—writer, editor, filmmaker—is a woman for all seasons, especially in spring’s latest fashions. But for this muse and cover girl, there’s more than meets the eye, beginning with a heroic comeback from a 22-day coma. by elizabeTh Meigher, STyled by daniel Cappello, phoTographed by Julie SkarraTT AMERICAN BEAUTY
114
30 YEARS OF STYLE
124
BEHIND THE GLASS
128
DRAMATIC LINES FOR MODERN TIMES Sachin & Babi is the brand of choice for smart fashionistas who like their clothes snazzy and affordable. by lily hoagland
134
A CLASSIC MAN OF STYLE: JOHN GALLIHER He was distinguished, discreet, and the chicest man you could ever meet. by david paTriCk ColuMbia
138
KEEPING IT FASHIONABLY FIT
144
THE MORESCHIS GROW GREAT
144
Looking back at three decades of elegance and sophistication.
Meet Faye McLeod and Ansel Thompson, the duo responsible for dreaming up Louis Vuitton’s famous store windows. by alex TraverS
Dress-down is the new dress-up. by daniel Cappello
How the Moreschi family, one of Italy’s driving footwear forces, built their own shoe empire. by alex TraverS
148 THE SMART SET IN THE FABULOUS ’50S The glamorous men and women who proved that they were ready for anything. by david paTriCk ColuMbia
138
160
90
CONTENTS C oluMnS
78
32
SOCIAL DIARY
72
HARRY BENSON
74
TAKI
76
CANTEENS
78
FRESH FINDS
Make room for the best of spring prints. by daniel Cappello and elizabeTh Meigher
82
AT THE VEAU
Sitting down with famed book dealer Glenn Horowitz.
84
ART
86
TRAVEL
90
FASHION
94
ANNIVERSARY
98
SOCIAL CALENDAR
156
YOUNG & THE GUEST LIST
160
SNAPSHOT
Our columnist remembers Robin Chandler Duke. by david paTriCk ColuMbia Capturing model Nastassja Kinski on the beach in the Seychelles, 1976.
On the latest BBC adaptation of Leo Tolstoy’s War and Peace. by Taki TheodoraCopuloS Renato’s of Palm Beach entices with mouthwatering Mediterranean cuisine. by darCy JoneS
by
MiChael ThoMaS
Looking at “Facades” by the master of the snapshot, Bill Cunningham. by kaTe gubelMann Having a blast in Parrot Cay in the Turks and Caicos islands. by nanCy elliSon rollniCk A long talk with Worth New York co-founder Jay Rosenberg. by alex TraverS Celebrating the 40th anniversary of Doubles with its members. by lily hoagland Some are black-tie, others require bathing suits: our guide to the best events. Chronicling the PYTs of the city. by elizabeTh Quinn brown
Saying goodbye to the stylish “Downton Abbey.” by lily hoagland
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EDITOR’S LETTER
Clockwise from top left: Louis Vuitton window by Yayoi Kusama; Veruschka walking dogs in the Borghese gardens, 1971; dress by Sachin & Babi; behind the scenes of our cover shoot with Genevieve Bahrenburg and Valery Joseph.
IMAGE COUNSCIOUSNESS—and the pitfalls of the accompanying self-consciousness—used to be the purview of high society and those who made their living off their looks. A young girl in Dennison, Iowa, could face her day without thinking about her best angles and making sure that her eyebrows were “on fleek.” Now, anyone with a camera phone, or who knows anyone with a camera phone (so…you know…everyone), can feel the pressure to be social media–ready at all times. Now that Mastercard will be accepting selfies as passwords, even banking at home can turn into an exercise in “giving face.” One of the biggest cui in this particular cui bono is the fashion industry. Fashion is now a big pop-culture phenomenon that can involve people from all spheres and provinces. So the labels have more ways to engage their audience, and the audience can engage right back—though not always for the best (see: vindictive posts bashing labels that were written after a blogger is forced to stand at the back of a show). The flip side is that with all this constant imagery, the matter of authenticity becomes more important. If something is deliberately drummed up to create buzz, it won’t ring true. If something is genuine, that quality entices more than any. That quality is also one (of the many) that our cover girl has which shines through without restraint. Genevieve Bahrenburg has overcome an incredible story with a bright attitude that demonstrates an authentic love of life. Looking at her efferves30 QUEST
cent smile, one would be surprised to know how easily it could have become dimmed, but wasn’t, thanks to an unstoppable strength of character. It is a wonderful story, on top of being a gorgeous fashion shoot—but don’t take for my word for it. Page 102 awaits. u
Lily Hoagland
ON THE COVER: Genevieve Bahrenburg wears a striped jumpsuit and calfskin wedge sandals by Ralph Lauren Collection, with bracelets, ring, and earrings by Verdura. From “American Beauty,” by Elizabeth Meigher, styled by Daniel Cappello, photographed by Julie Skarratt.
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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 THE MONTH just passed. The city was quiet. Many were away. The social scene was in Palm Beach, where— between houseguests, dinner parties, dinner dances, and benefit galas—some people got very little rest down under the shelter palms. The weather was the main
subject, no matter where you were. Down in Palm Beach, aside from the typical tropical temperatures, they had rain and some chillier days. Up in Manhattan, we had the same (except for the blizzard at the end of January, which they named, “Josh”). It was a most amazing storm, specifically
because the weather forecasters had called for it and, sure enough, it started on a Friday and came down throughout the next day before tapering off in the afternoon. Then, we had a few days of snowed-in cars and 6-foot snow banks, which was followed by temperatures reaching into the
50s. By the next week, there was barely a trace of the white stuff anywhere. On a Thursday, over at The Lotos Club (at 5 East 66th Street), they held a “State Dinner” for Frank Stella, the distinguished painter and printmaker of minimalism and post-painterly abstraction.
S O C I E T Y O F M E MO R I A L S L O A N K E T T E R I N G C A N C E R C E N T E R ’ S L U N C H EO N AT D A N I E L
Claudia Overstrom and Patricia Lansing
Eleanor Ylvisaker and Shoshanna Gruss 32 QUEST
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D AV I D PAT R I C K C O L U M B I A Stella’s works are all-commanding, offering the idea of the monumental even in their smallest sizes. The invitation read: The Officers and Directors of The Lotos Club request the pleasure of your company at a State Dinner in honor of Frank Stella, Thursday, on the twenty-eighth of January in the year two thousand sixteen at half-after six o’clock. When I was a very young man first in New York, Stella was an established star in the
New York art world, already commanding high prices (at the time) for his canvases. He was producing work that emphasized “picture-as-object” rather than a representation of an object. Some of these have since become iconic examples of his work and they now command prices in the millions. This was in the early 1960s: a breakout time for American modern art, including Pop Art. The area of Manhattan we now call downtown (which had been an industrial area slowly abandoned by exporting manufacturers) was incubating into the vast, upscale community that it is today. Its grand expansiveness commercially and socially was
borne by the art moment of that time. It was the artists— and their world—that created what we now call SoHo and TriBeCa as well as every other neighborhood acronym in that part of Manhattan. Stella has a modest demeanor in social situations. A giant in his field and enormously successful, the man is gracious in meeting. He is by no means self-effacing, but he is direct in his conversations. That said, he looks like the kind of guy who is most comfortable around his own house or studio, working. The Lotos Club is a literary club that now resides in a Gilded Age mansion designed by Richard Howland Hunt
for Maria Louise Vanderbilt Shepard, granddaughter of William Henry Vanderbilt and great-granddaughter of Cornelius Vanderbilt. It was a post-wedding gift from her mother to Maria and her husband, William Jay Schieffelin, who was a grandson of John Jay (the first Chief Justice to the Supreme Court). The Schieffelins, who had been married since 1891, moved in in 1900. Maria’s younger sister, Edith Vanderbilt Shepard, was also married at the end of the 19th century. She and her husband, Ernesto Fabbri, were given a mansion on East 62nd Street. (You may have read that family house story on these pages.) Coin-
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D AV I D PAT R I C K C O L U M B I A H O N O R I N G T H E F I R E D E PA R T M E N T O F T H E C I T Y O F N E W YO R K AT N O B U F I F T Y S E V E N
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cidentally, both of the sisters’ mansions (Fabbri and Schieffelin) are still extant and in daily use in the community that is New York. The Schieffelins lived in their house for about 25 years. William, who worked for his family’s wholesale drug firm, was also president of the Armstrong Association—whose objective was “the stimulation of interest in schools for the industrial education of the negro in the South.” In November 1906, the Armstrong Association met at the Schieffelin’s house where the main speaker of the night was Booker T. Washington. Many years later, in 1932, William was chairman of the defense committee for the 36 QUEST
Sandy and Alex Antonelli
Scottsboro Boys. In 1925, the Schieffelins gave up the mansion to their daughter and moved to a large apartment at 620 Park Avenue, viewed as smaller and more practical for an “aging couple (they were in their late 50s/early 60s). The Lotos Club was founded on March 1870 by a group of young writers, journalists, and critics. The club’s charter was to be “more inclusive, more comfortable and…more active, and more enjoyable” than any other New York club at the time. They took the name “Lotos” from Alfred, Lord Tennyson’s The Lotos-Eaters. In 1873, early member Samuel Clemens (a.k.a. Mark Twain) called it
Robert Turner and Robert De Niro
Amy Rosenblum and Rosanna Scotto
“the Ace of Clubs.” The membership swelled to include scholars, musicians, painters, sculptors, art collectors, historians, and college presidents as well as journalists and writers. When Whitelaw Reid, then editor of The New York Tribune, became president of the club in 1872, he inaugurated “Ladies’ Days”—which were very, very rare at the time. Reid also started the tradition of hosting “lavish dinners for distinguished figures from all walks of life.” Now called “State Dinners,” such occasions have been held for Gilbert and Sullivan, Oliver Wendell Holmes, Ulysses S. Grant, Woodrow Wilson, Enrico Caruso, George M. Cohan,
Somers Farkas and Grace Hightower
Amelia Earhart, Rodgers and Hammerstein, Robert Moses, Harry Truman, Leonard Bernstein, Robert Frost, Dwight D. Eisenhower, Beverly Sills, Margaret Mead, Linus Pauling, Saul Bellow, Joe DiMaggio, Roy Lichtenstein, Arthur Miller, Dave Brubeck, Angela Lansbury, and many more that include at least a dozen New York mayors. Originally located on Irving Place, they moved over to 149 Fifth Avenue and then to 45th Street and Fifth Avenue. In 1909, Andrew Carnegie (a member) backed the building of their own house at 110 West 57th Street. In 1947, they acquired the Schieffelin house at 5 East 66th Street. In 1977, The Lotos Club ex-
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D AV I D PAT R I C K C O L U M B I A tended membership to women and, in 2010, they voted in their first woman president. Today, they have many events for their members. The Grille Room is a very popular dining and lunching spot for members and their families and friends. I have to say: When you’re present in the clubhouse— whether for a large reception and dinner, or for meeting a friend for an late afternoon tea or cocktail—the atmosphere is what the founders sought. It is “more inclusive, more comfortable…and more enjoyable” than any other, especially when all of the above are brought together, as they were for Stella’s “State Dinner.”
On that same night, over on the northwest corner of Park Avenue and 62nd Street, they were celebrating the 100th anniversary of the opening of the clubhouse designed by Delano and Aldrich for The Colony Club, which is thought by many to be the premiere women’s club in America. It was definitely the first women’s club in New York, and its founding is at the root of what became the Feminist Movement or the Women’s Liberation Movement (which emerged enormously a half century after this club’s founding). Anne Tracy Morgan, the youngest daughter of J. Pierpont Morgan, was a major
force behind The Colony Club. A young woman in her late 20s, she lived at home in the family mansion on 35th Street and Madison Avenue. She often traveled abroad with her father on his yacht. There were always others in their party, including his mistress, Adelaide Douglas. Anne provided the cover, as it were, the “beard” for her father (although his extramarital alliances were not a secret in his world). He was a man who loved the company of women. Nevertheless, it was an age where appearances counted as much as facts. On February 7, 1901—115 years ago last month—Anne’s life suddenly changed: she met
Elisabeth Marbury. Known by everyone as “Bessie,” she was a very prominent and powerful international literary agent and theatrical producer. It sounds like their meeting was a coup de foudre, although I wouldn’t know obviously. Marbury lived in a domestic partnership with Elsie de Wolfe, an actress and a budding interior decorator at a time when the profession was regarded as a solely a man’s business. Marbury and de Wolfe entertained famously, salon-like, in their brick townhouse on Irving Place. Among the guests—literary, artistic, and theatrical—were not a few of the men about town, including Jack Astor (Vincent
N E W YO R K H I S TO R I C A L S O C I E T Y ’ S “ W E E K E N D W I T H H I S TO R Y : PA L M B E A C H ”
Warren Phillips and Hillie Mahoney
Stanley and Gay Gaines with Bettie Rubenstein 38 QUEST
Judy Berkowitz, Louise Mirrer and Susan Danilow
Edythe Gladstein, David Mullen and Gina Gladstein
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Pam Schafler, David Rubenstein and Byron Wien
D AV I D PAT R I C K C O L U M B I A H O R T I C U LT U R A L S O C I E T Y O F N E W YO R K ’ S G R E E N B E A N B A S H
Allison Strong with Alexander
Astor’s father) and Willie K. Vanderbilt, and their ilk. The two women were known among their male admirers as “the bachelors.” Presumably, it was also known that they were mutually connubial—or, more explicitly, lovers. When Anne came into the fold, evidently per the passion of Marbury, the duo became what some referred to as the “Versailles triumvirate”—a very cool trio in their day. The choice of words was apt and not accidental. All three commanded respect in a man’s world. Bessie Marbury changed Anne Morgan’s life. It may well have annoyed her father 40 QUEST
Cherie Alcoff with Paige Betz and Jay
Brooke Ooten with Lula and Sarah Jane
that his “beard” was taken from him, although he was always a gentleman with his daughter. (She would demonstrate in her life that she had a lot of her father’s wits and strengths, as well as a strong sense of what’s fair.) Marbury described Anne at the time of meeting as “young for her age” and “not allowed to grow up.” She encouraged the 27-year-old woman, who lived spinster-like under her father’s roof, to defy him and do what she wanted. Marbury described the young Anne: “Her mind was ready for the spark plugs to be adjusted.” It was Marbury who would do the adjusting, and who raised
Victoria Hudson with Allegra and Honor
Lesley Dryden and Erin Dere
Anne’s social consciousness. In 1903, The Colony Club was founded as a women-only private club by Florence Harriman (a.k.a. Mrs. J. Borden Harriman). It was the first club established by and for women only, as modeled on similar clubs for men. The first clubhouse, which was designed by Stanford White of McKim, Mead, and White, was located on 120 Madison Avenue, between 30th and 31st streets. White’s creation was in the Federal Revival style with unusual brickwork done in a diaper pattern on its façade. The women organizing it included Anne Morgan and Bessie Marbury, and
Mary Van Pelt
they raised $500,000 (which is comparable to $50 million in today’s dollars) for the project. White also did something that recommends him as a contributor to the Feminist Movement: he hired a woman to do the interiors: Elsie de Wolfe. The politics that probably led to that decision is apparent in retrospect. Yet, White was also a man responsive to these “strong” women (particularly Marbury), who had demonstrated their political expertise and prowess. The project indemnified de Wolfe’s burgeoning career as an interior decorator and a trailblazer for women. Although there were other
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Kim Vinnakota, Annie Pell and Norris Daniels
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Denise Kalland and Ann Vitunac
women already working in interior decoration at the time, Elsie’s public profile and commissions that followed her work on the clubhouse made her famous, and ultimately established women in the interior-decorating field permanently. It should be noted that, in those days, the idea of even upper-class society women having a place to go that was specifically for their private time, their leisure, their camaraderie, was foreign to many men (and to many women). A women’s club, governed by women for women, while excluding men, was almost scandalous; it might even have been considered scandalous if it weren’t for the prominence 42 QUEST
Suzanne Niedland, Susan Keenan, Irene Athans and Carter Clarke
Hilary Geary and Wilbur Ross with Herme de Wyman Miro
and, more specifically, the wealth of the women who built it. Many men nevertheless opposed the idea or thought it was ridiculous. In its early days, the club hosted a lot of suffrage, sponsored by the Equal Franchise Society (a women’s independence group with many members in the club). Anne and Alva Vanderbilt Belmont were only two of several women of their social strata who were promoting equality for women in the working classes, stressing the “importance of crossclass cooperation between upper-class and working-class women.” In 1909, Morgan joined the Women’s Trade Union League to support the Shirtwaist
Strike. Her public announcement, especially as the daughter of J. Pierpont Morgan, was well publicized: If we come to fully recognize these conditions we can’t live our own lives without doing something to help them, bringing them at least the support of public opinion. We can see from the general trade conditions how difficult it must be for these girls to get along. Of course, the consumer must be protected, but when you hear of a woman who presses forty dozen skirts for $8 a week something must be very wrong. And fifty-two hours a week seems little enough to ask…These conditions are terrible, and the girls must be helped to organize…and if public opinion is
Harry and Gigi Benson with Dick Robinson
Nancy Brinker and Janet Levy
on their side they will be able to do it. —New York Times (December 14, 1909). In its first decade of existence, the country was moving swiftly into the modern age. The hemlines began to move up from the floor and, in Paris, Coco Chanel was about to put women in pants. In 1913, The Colony Club’s members decided to move its headquarters uptown to 584 Park Avenue (at 62nd Street). Someone had the foresight to see that it was a more sensible location for the club, which was here to stay. They hired the firm of Delano and Aldrich to design the marble and red brick clubhouse in the Neo-Georgian style. The new clubhouse was
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D AV I D PAT R I C K C O L U M B I A substantially bigger. De Wolfe influenced the interiors which includes lounges, dining rooms, and bedrooms as well as a two-story ballroom and a swimming pool and spa plus squash courts, servants’ rooms, and a dog kennel for guests to leave their pets. The club today maintains a specialness similar to when it was founded, although it does not have the aura of political progressiveness and activity that gave it birth. It remains an excellent club for a variety of reasons for its members—of which there are 2,500. There is a steady schedule of concerts, discussions, lectures, and wellness and athletic programs. And there are luncheons and
dining parties and events. The 25 guest bedrooms are booked by out-of-town members coming in for a brief stay. It is obviously a well-managed and maintained enterprise, every bit as useful to its members as it was more than a century ago. They do have a rule for those attending their various events, which is that the club’s name not be mentioned in the press. There are several private clubs in New York who have this “rule.” Besides being ironic, it’s absurd—especially considering that their physical plant has been written about and published thousands of times over the past century. On a Thursday night at the end of January, there was a
dinner dance commemorating the 100th anniversary of the opening of this exquisite clubhouse. Nine-hundred attended the black-tie evening with a guest list that included three generations of members, their families, and their friends. It was a festive affair, and it was clear to see the guests loved being there, in those beautiful now landmark rooms, standing tradition with many friends and family together. And this is New York. More clubs. On a Tuesday a week later, I went to lunch with Immi Storrs (the sculptress who has two pieces in exhibition in a sculpture show in the gallery of another private club here in New York).
I’m not being coy when I don’t tell you the name of the club (which is where we met for lunch). It is another one of those 19th-century clubs here in town that have this rule: no mentioning the name in the press. It’s a rule often ignored by authors, editors, book publishers, and media when talking history. Organized in the mid–19th century, this clubhouse is now a landmark building designed in 1891 also by McKim, Mead, and White. It’s a wonderful organization, loved rightfully by its membership (which is varied). This club has a roster of members, past and present, that represent a great
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Cameron and Jeff Preston 44 QUEST
Michele and Howard Kessler
Michele and Larry Herbert
Petra and Stephen Levin
Kara and Steve Ross
Brian and Eileen Burns
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Donald and Melania Trump with John and Jana Scarpa
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D AV I D PAT R I C K C O L U M B I A M E MO R I A L S L O A N K E T T E R I N G ’ S “ D R E A M T E A M ” D I N N E R AT M I C H A E L ’ S
Nancy Jarecki and Leslie Stevens
cross-section of the arts and culture, finance, law, and education—not only in the New York and the United States but in the world. Many of their portraits are hanging in the hallways, the reading rooms, along the staircases, and in the meeting rooms, alongside the works of many artist members (such as my luncheon hostess). After touring the exhibit, we went upstairs to the dining room, made up of a group of two-story, wood-paneled spaces with a good menu of classics. A number of tables were occupied mostly by men in business suits plus several women. I was told it was also a very popular choice for dinner and they have a before-theater menu, being only couple of city blocks west of Broadway’s 46 QUEST
Penny Damascus and Elizabeth Peabody
theater district. An invitation by a member to lunch or dine there is not only a privilege but also a pleasure on many levels. It is a side of New York that feels grounded, rock solid, and permanent. Such is the allure. The social calendar: Nowadays, it is dominated by charitable works and philanthropy, like the Society of Memorial Sloan Kettering’s biannual “Dream Team” dinner at Michael’s on 55th Street. It was co-chaired by Mary Davidson, Stephanie F. Griswold, Ashley McDermott, and Barbara and Kevin McLaughlin. More than 110 guests enjoyed cocktails and a seated dinner at this special evening dedicated to celebrating making dreams come true. The Dream Team has
Caroline and Philip Warner
Anki Leeds and George Tsandikos
fulfilled more than 1,700 “dreams” since the committee was founded in 1988. It is different from similar organizations that grant wishes in a few distinct ways. It is dedicated to fulfilling wishes of adult patients over the age of 18, a population often underserved in this type of work. And while the Dream Team fulfills wishes for terminally ill patients, it also fulfills the dreams of patients who have achieved positive milestones in their journey, such as the completion of a round of treatment or the news that they are in remission. For the Dream Team, it is just as important to celebrate survivorship. The Dream Team has reunited families for special celebrations, sent
Wanda Brighenti and Abbe Horsburgh
Peter and Martha Webster
countless families on memorable vacations, arranged dinners at some of New York’s finest restaurants, reserved tickets to the hottest Broadway shows and sporting events, and more. Celebrity visits are also a popular request. The Dream Team has arranged for patients to meet with superstars, including Paul McCartney, Magic Johnson, Bruce Springsteen, Jimmy Buffet, Carolina Herrera, and Stephen Colbert. They work quietly and under the radar but the Dream Team’s efforts leave a permanent impression on the patients at the Memorial Sloan Kettering Cancer Center, imparting compassion and joy where most needed. This year’s dinner raised
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Ashley McDermott, Stephanie Griswold, Kevin McLaughlin, Mary Davidson and Barbara McLaughlin
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D AV I D PAT R I C K C O L U M B I A more $130,000 to enable the Dream Team to continue its important work. Guests included: Dayle Haddon, Patricia Herrera Lansing, Shoshanna Gruss, Drew Schiff, Rebekah and Colin McCabe, Gina and James de Givenchy, Lavinia Branca Synder, Mary Davidson, Stephanie F. Griswold, Ashley McDermott, Barbara and Kevin McLaughlin, Chris Meigher, Martha Sharp, Annie Taube, Dr. Evan Matros, Virginia Tomenson, Mary Darling, Hilary Dick, Lisa and Christopher Errico, Leslie Jones, Anne Keating, Christian Leone, Chappy and Melissa Morris, Shelley and Michael Carr, Anki Leeds, Frederic Bancroft, Cliff Brokaw, Amanda Taylor, Philip
In Memoriam: Robin Chandler Duke
W. Warner, Jr., Martha Kramer Fox, Nancy Jarecki, Martha and Peter Webster, and more. In Memoriam. Robin Chandler Duke died on Saturday, February 6, in Charleston, South Carolina. She was 92. Mrs. Duke, who was not
nationally famous (although she did have that moment in her younger years), was very well known in diplomatic, philanthropic, and social circles in New York and other cities of the world. She was notable to the eye
because she was very good looking, a beauty in an approachable way, and carried herself with a kind of serenity. It was clear just by her bearing that she was a “serious” person and her commitments were issues for all of us, but especially for women in the world. It wasn’t necessarily women we all know or know about, but women struggling to keep everything together, including their own personal existences—women who are still under the thumb of ancient sexist traditions. She was remarkable for her achievements as a girl from Baltimore who came to New York at age 16 in 1939. The path she was able to make for herself included everything
E V E N I N G W I T H T H E 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
Monika Plocienniczak and Marc Lewenstein 48 QUEST
Barbara Bispham and Gerardo Ubaghs
Timothy McCabe and Sasa Mikavica
Melissa and Chappy Morris
Fatima Sanandaji and Linette Semino
L I N S LE Y L I N D E K E N S
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from modeling, journalism, and trading on Wall Street to a T.V. career on the original Today Show with Dave Garroway— and beyond, way beyond, because she was a woman of ambition and purpose. A mother’s ideal daughter. She had two marriages: one to actor Jeffrey Lynn, who had a brief but successful career as a leading man in the movies and on stage, and another to Angier Biddle Duke, scion of a rich American family of what was once referred to as High Society. No doubt, she learned from the worlds of her husbands, but neither marriage had anything to do with her effectiveness as a professional and as a philanthropist: she was a power, simply put. She was born Grace Esther Tippett in Baltimore, Maryland, on October 13, 1923. She came to New York to join her sister and, together, they supported themselves and their mother. Her first job was
as a floorwalker in a department store. From there, she got a job as a model at the New York World’s Fair in 1939. She changed her name to Robin Chandler in the 1940s, when she was a panelist on an early T.V. talk show called Leave It to the Girls, which was created by pioneering broadcast journalist Martha Roundtree. She then worked as a writer for the women’s page at the New York Journal American before marrying Lynn, who was then under contract to Warner Brothers in Los Angeles. She returned to the East Coast in the 1950s with her two children, Jeffrey Lynn, Jr., and Letitia Lynn, and worked at WCAU-TV (an NBC affiliate in Philadelphia). She also worked as an anchor on The Today Show, where she covered the 1952 Democratic Convention. In 1958, she and Lynn divorced and, remaining in New York, she became one
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Veronica Atkins
Kenichiro and Nobuko Sasae with Clark and Sarah Randt
of the few women stockbrokers on Wall Street, working the commodities desk for Orvis Brothers from 1953 to 58. From there, she moved to the corporate world becoming V.P. of International Public Relations at Pepsi Cola. At Pepsi Cola, she created a promotion in Africa that led to a four-month tour of West Africa with Louis Armstrong and his band. In 1959, attending the Moscow Fair, she helped orchestrate the placement of Pepsi Cola in the hands of then Vice-President Richard Nixon and Nikita Khrushchev for a unique promotional photo with the marketing slogan: “Be sociable, have a Pepsi”. It was while arranging an 52 QUEST
Whitney and Jeanne Pidot
Patrick Park and Loretta Swit
Tweed Bogache, Bonnie McElveen-Hunter, Gerald Grosvenor, Duke of Westminster, and Teresa Carlson
exhibition in the lobby of the Pepsi Cola building on Park Avenue that she met Duke, scion of the family that made its fortune in tobacco and founded Duke University and Duke Energy. They married in 1962 and she followed him to Washington, D.C., where he was serving as Chief of Protocol for President John F. Kennedy. Following the death of Kennedy, Duke worked alongside her husband as he served as U.S. Ambassador to Spain, and then Denmark, and then Morocco before moving to London. There, she struck up a lifelong friendship with General William Henry Draper, Jr., who convinced her to serve as co-chair of Population
Action International. Draper helped establish the organization in response to the growing economic and environmental challenges of the global population explosion. Duke’s leadership at Population Action International led to her serving as national co-chairwoman of the Population Crisis Committee/Draper Fund, which financed International Planned Parenthood; president and, later, chairwoman of the National Abortion Rights Action League; president of its successor, Naral Pro-Choice America; a founder of the United Nations Fund for Population Activities; and chairwoman of Population Action International. She spent 30 years advocat-
Kyle and Heather Oser
ing in the United States and abroad for women’s access to birth control, family planning, family health care, and education. She was a fierce and tireless lobbyist in Congress, fighting against measures limiting women’s access to contraception and campaigning for funding (both at home and abroad) for family planning and health care, particularly for the poor. “You want to lift Africa out of poverty?” she was known to ask, “Well, then, give women access to contraception and clean water.” Returning to New York, Duke, an ardent Democrat, campaigned unsuccessfully for U.S. Representative from New York’s “Silk Stocking
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D AV I D PAT R I C K C O L U M B I A District” when the seat was vacated by Ed Koch (who became mayor in 1978). In 2000, she was appointed U.S. Ambassador to Norway by President Bill Clinton. (She had previously served under the title of ambassador at the 21st General Conference of UNESCO [U.N. Education, Scientific, and Cultural Organization] in 1980.) Her daughter recalled that she would have loved to have been a senator. In every facet of her life—from the boardroom to embassies, from the
ski slopes to the streets of her beloved New York—she was a force. Always elegantly and impeccably dressed, Duke was fiercely opinionated, outspoken, and always ready to roll up her sleeves and go to work for the people and causes in which she believed. She served as a board member, trustee and chair of numerous corporate, foundation and organization boards, including: U.N. Association of the United States of America, Guggenheim Foundation, Rockwell International, Amer-
ican Home Products Corporation, International Flavors and Fragrances, Emigrant Savings Bank, Worldwatch Institute, World Childhood Foundation, International Rescue Committee, Institute of International Education, Population Action International, Charles A. and Anne Morrow Lindbergh Foundation, Millennium Project of the Friends of Art and Preservation of Embassies, David and Lucile Packard Foundation, US–Japan Foundation, World Affairs Council, and
Advisory Board of the Tolstoy Foundation. Duke was also a longstanding member of the Council on Foreign Relations, the Academy of Arts and Sciences, The Colony Club, and The River Club. She is survived by three children—“who tried in vain to keep up with her”—including: Jeffrey Lynn, Letitia Lynn, and Biddle Duke. She is also survived by two stepchildren, Marilu Duke Cluett and Dario Duke, and a daughter-in-law, Idoline Duke, as well as four devoted grandchildren. u
T H E H E A R T B A L L AT T H E B R E A K E R S I N PA L M B E AC H
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Maggie and Bradford Alderton 54 QUEST
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Kayla Falk, Annie Falk and Gigi Falk
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C A P E H A RT P H OTO G R A P H Y
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LOOT: MAD AbOuT JeweLry
April 11–16, 2016 The Museum of Arts and Design’s annual pop-up exhibition and sale of contemporary artist-made jewelry benefiT Dinner honoring JoAn Hornig and KAy Unger Honorary Dinner Co-Chair AngelA CUMMings CoriCe ArMAn noreen bUCKfire MAriAn C. bUrKe MiCHele CoHen Ann KAplAn MArsy MiTTleMAnn lAUrA TAfT pAUlsen brynA poMp bArbArA regnA pATriCiA HeArsT sHAw bArbArA Tober isAbel AnD rUben ToleDo April 11, 2016
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D AV I D PAT R I C K C O L U M B I A WINTER ANTIQUES SHOW HELD ITS DESIGN LUNCHEON AT T H E PA R K AV E N U E A R MO R Y
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Castle Connolly Healthcare Solutions for all of your healthcare issues Healthcare Solutions is a service that assists busy executives and their loved ones in navigating the complex world of healthcare. This service takes the guess work out of your healthcare decision-making process. The Castle Connolly Healthcare Solutions professional staff can help you navigate through the healthcare system with less stress, faster service and better outcomes - with access 24/7/365. This personal and sophisticated service provides comprehensive and confidential support for all of your healthcare needs, such as: • Understanding the diagnosis of a serious illness • Helping you to prepare for a conversation with your doctor • Identification of the best resources to deal with a complex medical problem • Access to Top Doctors and hospitals on a national and global scale • Identification of non-physician providers such as Dieticians, Therapists and Eldercare providers Castle Connolly publishes the books America’s Top Doctors® and America’s Top Doctors® for Cancer and partners with nearly 40 regional magazines nationwide. For more information on Castle Connolly Medical Ltd., visit www.castleconnolly.com.
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First time offered in over fifty years! Over ten acres perfectly located on Hook Road, one of Bedford’s finest estate areas. Long drive to perfect privacy. Circa 1920’s Stone and Shingle Country House. Spectacular Great Room with stone fireplace. French doors to 80’ covered porch with views over sweeping lawns. Pool with Cabana. Tennis Court. Cottage. Additional land available. $3,400,000
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H A R RY B E N S O N
IT SEEMS LIKE YESTERDAY
Nastassja Kinski on the beach in the Seychelles, 1976.
THE EDITOR FRANCINE CRESCENT told me they were sending a beautiful young woman to be the model for the entire December 1976 Christmas issue of French Vogue, which I was to photograph. The fantasy theme of the issue, to be edited by the French film director Roman Polanski, was based on Polanski’s upcoming film about pirates. There was a swashbuckling hero, villainous pirates, buried treasure, a deserted island, and a beautiful princess. Francine told me the daughter of the German actor Klaus Kinski was perfect for the part. Seeing is believing and, believe me, Nastassja Kinski at 15 was drop-dead gorgeous. Off we go to the Seychelles in the Indian Ocean, one of the most breathtakingly beautiful places I had ever seen. It was one week of sheer fun. It was what I like a photo
shoot to be—full of camaraderie amount the entire cast and crew—and what I always think a fashion shoot should try for: photographs that make the reader smile, laugh, and perhaps want to join in the fantasy. Returning to Paris, we had a hard time getting the exquisite objects out of customs, including the sterling silver and blue enamel tortoise in the photograph shown here. The last I heard, the golden princess gown was still languishing somewhere in limbo. But never mind that, the issue was well received which is always the point. From time to time, I run into Nastassja in Los Angeles or New York and we always have a laugh, reminiscing about our week as the princess and her photographer. ◆ MARCH 2016 73
TA K I
REVIVING THE GLAMOUR OF THE PAST This page: The BBC television adaptation of War and Peace stars Paul Dano, Lily James, and James Norton.
THIS BEING the Fashion Issue, here’s the most fashionable thing English elites did throughout the cold, dreary months of January and February past: watch the BBC’s version of War and Peace, Leo Tolstoy’s epic, televised over six Sunday evenings, proving yet again that the elegant past (Downton Abbey), 74 Q U E S T
and the even more elegant farther past (War and Peace), can never be equaled by the grubby present. Mind you, in this version of the classic novel, there was no “downstairs.” We were only shown servants serving their masters, but unlike Downton, we were never privy to their loves, fears, or con-
cerns. Count Tolstoy did not busy himself with staff. The main characters are all princes, counts, tsars, and the odd emperor (even if the latter had crowned himself in the presence of a Pope). And of course T.V. will never do justice to Tolstoy’s greatest work because, in the end, a great novel can never convincingly make the
This page: Count Lev Nikolayevich Tolstoy, usually referred to as Leo Tolstoy (left); War and Peace, a seminal work of world literature (right).
leap from page to screen. The idiot box rarely does justice to great books. In this case, however, it gave it the old college try. Count Tolstoy wrote more than a thousand pages in 1869 about events that had taken place only 60 years earlier. One member of the Tolstoy family had commanded a battalion and had fought bravely in the battle of Borodino. Although there are two beautifully filmed battle scenes in the six-hour T.V. epic, it would have been impossible to depict the novel’s scenes that had a young Taki’s heartbeat racing to the sky when he first read them. There was the spiritual manner in which Russian soldiers readied themselves for battle against the invading French, as the miraculous icon of the Virgin of Smolensk was taken around the Russian positions in procession. Or the massed ranks of French cuirassiers keeping steady and unmoving under withering Russian fire, many of them being cut in half by cannon balls, yet still keeping in parade order. Tolstoy’s readers would have known all about these events. Their fathers and uncles had fought and died in them. In the T.V. series, posh Russians speak in posh English accents, and it works. The peasants speak in northern English accents, and it also works perfectly. And now we come to the main point of my story: How many among you Quest readers have read W&P? Be honest about it. It is the one great novel that more readers have put down then gone
through and read. That’s because old Leo put so many characters in it with so many Russian names confusing us, that only real fans could go through it. Papa Hemingway was one of them. When he compared himself in boxing terms to various writers, he bragged that he would have knocked out André Gide in the first round, beaten Flaubert on points. But Tolstoy? “I would have gone to the weigh in and refused to go into the ring with him.” People may claim falsely to have read the works of Tolstoy for fear of being though uneducated. Nothing criminal about that, since, after all, most people go to the opera to be seen, not to listen, it’s human nature. Condensing a 1000page book into six hours is a Herculean task, and the adaptor, Andrew Davies, has done a wonderful job. An awful lot of brilliant stuff is left out, but if this adaptation tempts viewers to read the book, the BBC has performed a public service. Here you have the beautiful, broken Countess Natasha Rostova; the jaded, proud Prince Andrei; the soul searching Count Pierre Bezhukov; and the scheming Prince Kuragin, whose son ruins Natasha’s and Andrei’s love affair and who dies next to Andrei after the battle of Borodino. (Andrei forgives him.) Yes, they’re all fabulously rich aristocrats with gangs of serfs tending to their every need. Tolstoy does not bother with the common man, and I hate to think what the New
York Times or the New Yorker would do to him if the novel were published today (which it would not be). For Tolstoy, this was normal. As was patriotism. Every aristocrat immediately goes to the front to fight for the motherland. War and Peace is a universal novel. It touches on every human emotion and desire. It is spiritual, grand in scale, and answers all questions about the human condition. And I will spoil it for you. The T.V. series has a Hollywood ending. And—surprise, surprise—I agreed with it. In the novel, Nikolai Rostov bickers with his very rich and gentle wife who has saved his family from financial ruin, and beats the peasants to keep them in line. Prince Andrei’s son grows up to be a wreck. But it’s Natasha, the main heroine of the book, who has the most depressing end. She becomes a fat, slovenly nag, jealous of her husband Pierre’s absences, never singing nor dancing. In the Hollywood ending, one that gave me great pleasure, there is a family picnic in the sun-dappled countryside, with Pierre gazing in adoration as the children chase butterflies and Nicolai laughs happy and content. Did Harvey Weinstein, the producer, have something to do with this? I wouldn’t put it past him. They say one should never alter or modify a classic but, in this case, I’m with Harvey. Don’t miss it. u For more Taki, visit takimag.com. MARCH 2016 75
CANTEENS
WELCOME BACK TO RENATO’S
IMAGINE A PLACE filled with the fresh scents of a kitchen on Capri, the sophisticated décor of a Manhattan dining room, and the elegance of a breezy Palm Beach terrace. Could this perfect trifecta of island entertaining really exist in one spot? The answer is yes. For almost 30 years, Palm Beach’s Renato’s—tucked away at the back of the bougainvillea-rimmed Via Mizner—has been perfecting the art of enduring dining excellence. This island gem opened its doors the year I was born—the same year my family bought a home on Palm Beach. Every spring, my grandparents would take me to lunch at Renato’s to celebrate my birthday. The three of us would sit outside for hours, nestled between the orchid- and ivy-lined walls. My 76 QUEST
grandmother sipped prosecco and delighted in Dover sole, my grandfather enjoyed a glass of amarone and a practically perfect Veal Scaloppini, and I would tackle a large plate of homemade Tagliolini Bolognese. I remember listening to my grandparents share endless stories of their European travels, every memory flowing out of them across the white tablecloths, like the faint notes of the barside piano playing just above the trickling of the fountain. Only in a setting as romantic as Renato’s could their past adventures come to life as if I were navigating the roads of Rome, getting lost along the Amalfi Coast, and swigging limoncello right there along with them. Renato’s was my grandfather’s favorite restaurant—a preference I am happy to have inherited.
M I C H A E L P R I C E P H OTO G R A P H Y
BY DARCY JONES
CANTEENS Whenever a dessert arrives at a nearby table with a candle in it, I love to think of our afternoons at Renato’s. Renato’s has remained a go-to lunch spot of mine for years, where my favorites include the Carpaccio di Polipo, the Granchio Agli Agrumi (jumbo lump crabmeat with avocado and cucmber), and the Dentice alla Griglia (yellowtail snapper with fresh herbs, lemon, and olive oil). A few weeks ago, my husband and I stopped by Renato’s for an impromptu date night. Thankfully, we were on the early side and just managed to snag a table outside. But even on a Sunday, we were quickly reminded that, when in season, Renato’s with “no reservation” most likely means “no way.” On perfect Palm Beach nights, the French
table share of pan-fried seafood and veggies) along with the Insalata Caprese and the Insalata Renato, which arrived glistening and fresh, featuring organic lettuces and sweet tomatoes kissed in a fragrant vinaigrette. We both followed with homemade pasta dishes: Linguine al Vongle (clams in a garlic and white wine sauce) and the Pappardelle con Vitello e Funghi (a veal and wild mushroom ragu finished with truffle oil). When pasta is done right, it feels like such an exciting indulgence, but never leaves you feeling gluttonous. This was just that. We ended with a scoop of gelato and a grappa to cap it off, because when in Rome—or, rather, when in Palm Beach! At Renato’s, there is no pressure and no pretense. From the
doors of the restaurant are left open, creating an indoor-outdoor dining experience while a piano player creates a soft soundtrack for the movie set–like atmosphere. On this night, we were seated outside under a ceiling of stars and immediately offered a cocktail. After my Bellini arrived, I noticed a threatening cloud but was assured by our amazingly attentive waiters that no rain would spoil our evening. And despite my prediction, not a drop of rain fell. Magic. We were then encouraged by the maître d’ to enjoy our apéritifs—and each other—before saddling ourselves with the menu. It allowed us a moment to relax and take a breath. When we did make our way to the menu, I ordered the Fritto Misto (a great
moment you sit down, time slows and you are happily lost in the warm island air and effortlessly elegant ambience. Renato’s is one of the few places left where hours fly by like minutes, and everyone there is always pleased to welcome you back. u This page, clockwise from left: A tasty shrimp dish; the airy entrance to Renato’s; the saffron risotto with Maine lobster, crabmeat, sweet peas, and diced tomato; the Peruvian Room, inside. Opposite page: Renato’s is the perfect Palm Beach spot for dining al fresco. Renato’s Palm Beach: 87 Via Mizner, Palm Beach. Lunch served Monday–Saturday, 11:30 a.m.–3 p.m.; dinner nightly, 6–10 p.m. For reservations, please call 561.655.9752 or visit opentable.com or renatospalmbeach.com. MARCH 2016 77
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
MARCH TENDS TO BE fashion’s middle ground: cold temps lin-
ger and the occasional snow storm threatens while hints of sun beckon for what’s ahead. We’re all about springing forward, so this month it’s all about fresh spring looks. From stripes and color blocks to bright new prints, now’s the perfect time to do a little spring cleaning—especially that closet. One size fits all for this light and breezy Nellie scarf by J.McLaughlin, made of cotton with embroidery, in aqua, sunflower, and blue. $98 at jmclaughlin.com.
Be punchy and bright this season with Escada’s red knit top ($550) and printed skirt ($1,295). At Escada New York (212.755.2200) or Escada Palm Beach (561.835.9700).
There’s no forsaking Stuart Weitzman’s Abandon wedge, in miel vachetta. $565. Stuart Weitzman: 118 Spring St., 212.226.3440.
Betteridge, the trusted name in jewelry, can be counted on for fabulous finds, like this Estate Van Cleef & Arpels turquoise and diamond brooch. $6,800. Betteridge: 203.869.0124 or betteridge.com. 78 QUEST
What’s very Capri? SOCAPRI’s Genuine Tesa Large Panama Hat, a classic for the season featuring a black cotton belt. $430. SOCAPRI: 235 Worth Ave., Palm Beach, or socapri.it.
Rolex’s 34-mm. Oyster Perpetual Pearlmaster in yellow gold with diamond bezel
Welcome spring in Polo Ralph Lauren: tan
and mother of pearl diamond
herringbone jacket ($598), fringed suede short ($598), and pink stretch polo ($89.50), all available at polo.ralphlauren.com.
dial is simply dazzling. $50,950. Visit rolex.com for official retailers.
Fabergé’s Treillage multi-colored matte rose gold wide ring in diamonds, sapphires, rubies, tsavorites, opals, and amethysts. $4,400. Fabergé: 694 Madison Ave., 646.559.8848.
Slip into chic with Longchamp’s polyester printed dress. $435 at Longchamp boutiques nationwide or at longchamp.com.
You’ll buckle with love for
How sweet they are:
David Webb’s Bloodwood
the Sweet Alhambra
Buckle Ring in 18-kt.
earrings in 18-kt. rose
gold. $6,800. David Webb: 942 Madison Ave., 844.811.WEBB, or davidwebb.com.
gold by Van Cleef & Arpels. $2,550. Van Cleef & Arpels: 877.VAN.CLEEF or vancleefarpels.com. MARCH 2016 79
Fresh Finds Mikimoto’s Midnight Sky necklace featuring
Add an architectural element
Baroque White South Sea cultured pearls,
to your look with this silver metal-
blue sapphires, Paraiba tourmalines,
plated ring by Akris. $495. Akris:
and diamonds. Price upon request. Visit
835 Madison Ave., 212.717.1170.
mikimotoamerica.com for more.
Au Bain Marie gilded-rim glassware set by Moser Glass, available at Leta Austin Foster Boutique, 64 Via Mizner, Palm Beach. For pricing and orders, call 561.655.7367 or email betty@lafinpb.com. Construct a bold spring look with the help of Preen by Thornton Bregazzi, like this Fleur top in leopard grid and Lexie trousers with belt in black. Trousers ($1,403) at Forward by Elyse Walker: fwrd.com.
Treat yourself to a little Harry: the Harry Winston Sapphire Round HW Ring and Harry Winston Emerald Emerald-Cut HW Ring. Prices upon request at 800.988.4110.
Lock in a little color block with the CH Carolina Herrera green/navy leather Baret clutch. $830. CH Carolina Herrera: 802 Madison Ave., 212.744.2076.
Take a walk on the camo side in the Midinette slipper by Belgian Shoes in sleek new camoflouge. $390. Belgian Shoes: 110 East 55th St., 212.755.7372.
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One look, and we bet you’ll want it: the O’Hare Shopper Tote in marine stripe canvas and black by WANT Les Essentiels. $595 at wantlesessentiels.com.
Meet Ray-Ban’s newest icon: the Clubround, combining the acetate/metal details of the classic Clubmaster with the on-trend Ray-Ban Round for an unmistakably modern look. $160 exclusively at ray-ban.com. Michael Bastian remains the master of the contemporary cut. This season, he turns your father’s chalk stripes into your own. For current
Diabolo de Cartier Optical Illusion
suiting options, email concierge@michaelbastiannyc.com.
Fountain Pen, black composite, palladium-finish details. $850 at Cartier boutiques nationwide. For more information, contact 800.CARTIER or visit cartier.us.
The Hunter Field Men’s Norris Side Adjustable Boot in navy fuses the design of Hunter’s iconic Original Tall with new developments, like an adjustable Make David Yurman’s Pavé ID Bracelet with black diamonds in black leather a permanent part of your identity. $3,900. David Yurman: 712 Madison Ave., 212.752.4255, or davidyurman.com.
Behold the timeless elegance of Patek Philippe’s Men’s Calatrava in white gold with lacquered dial, gold applied hour markers, and mechanical, self-winding movement. $34,700. Patek Philippe: 212.218.1240.
rubber side strap. $165 at us.hunterboots.com.
AT T H E V E A U
APPRECIATIONS: LUNCH WITH GLENN HOROWITZ BY MICHAEL M. THOMAS
WHEN GLENN HOROWITZ is seated, he looks around Le Veau d’Or and observes that the place doesn’t seem to have changed much since the first time he came here with me. That would have been in 1980, a year or two after he first set up shop in a pretty elemental suite of offices in the Graybar Building, where first editions of masterpieces of modern literature were arrayed on shelving consisting of orange crates set on their sides. In the 35 years since, my friend has metamorphosed now the dominant force in the world of rare books and documents. He’ll kill me for saying this, but in terms of scope and style, Glenn’s standing in his chosen vocation reminds me of Larry Gagosian in his. The Dickensian premises and orange crates have given way to elegant galleries and bookrooms in Manhattan and East Hampton. His clientele includes very big names in Wall Street and Hollywood (I should know: he sold my copy of the first edition of The Wind in the Willows, in dust jacket, to one of the biggest). For me, it’s what hasn’t changed about Glenn that matters: the qualities he brought to the table at the outset that have underwritten a friendship that’s shown admirable staying power despite the odd pebble in the path. But let’s step back. I began collecting modern first editions at the end of the 1960s when my indispensable friend, John Saumarez Smith of London’s Heywood Hill, persuaded me to buy the inscribed copies of Decline and Fall and Vile Bodies that Evelyn Waugh had presented on publication to his chum Cyril Connolly. They cost a hundred pounds each. Today? I hate to think… Around 1980, some 10 years into my collecting life, I began to be aware of a cyclonic force gathering strength on the bibliophilic horizon. Like all good storms it had a name: Glenn Horowitz. There had to be something there, I suspected, to judge from the “not our sort” moaning and keening emanating from the pillars of the trade. Made curious by the gossip, I sent away for Horowitz’s most recent list of offerings, and what I read sent me hastening to the Graybar Building. Our first meeting confirmed my premonitions. No extended pinkie here! His business instincts obviously coursed in him as vitally as his love and knowledge of books. He clearly found glamour in great writing and good books, and he conveyed that passion with a knowledge and intensity that could turn the dankest philistine into a book-person of incandescent refinement. Finally, he was clearly, candidly ambitious—and what was wrong with that? The book world can be a bit la-de-da at its most rambunctious and can always use a brisk shakeup. 82 QUEST
And so it turned out. Glenn’s business grew and prospered, and he left the Graybar Building for a series of Manhattan premises and opened one in East Hampton. When Glenn and the late, irrepressible Carter Burden (the most voracious book collector it’s ever been my pleasure to know) discovered each other, a perfect book-world storm was born. With a prize in view, neither man displayed an ounce of quit. It was great fun to watch: the disruption of all that cozy, clubby, leather-armchair gentility. When we sat down at the Veau, however, my plan wasn’t to revisit ancient landscapes and exchange anecdotes of bookish derring-do and folly. What I was interested in was how, in a business defined by a clientele that has changed generationally and culturally, Glenn has maintained, even improved, his position in the field. Part of this could be attributed to the man’s intellectual and cultural adaptability, and his prescient opportunism. But also, in the past decade and a half, Glenn’s “traditional” business had given way to large-scale transactions involving the acquisition of individual writers’ literary archives and estates. These have included the papers of James Salter to the Ransom Center at the University of Texas, as well as the archives of Tom Wolfe, Norman Mailer, and Vladimir Nabokov to the New York Public Library; John Updike to his alma mater (Harvard); Marilynne Robinson to Yale; and Kurt Vonnegut to the Lilly Library at Indiana University (KV’s home state). Just before I sat down to write this, the New York Observer published a piece entitled “The Rarefied World of Rare Book Collecting Is Not a Dying Art.” The “money quote” in the article is provided by John Doyle, proprietor of the marvelous Upper East Side bookshop Crawford-Doyle: “Typically, rare book buyers tend to be middle-aged or older readers. They are reminiscing about books that impressed them as children.” I emailed Glenn for his take on the article. “If you're not spawning generations of new consumers who first engaged as adolescents with texts through books they will not grow up to be middle-aged and advanced-aged buyers of books. Great copies of great titles will always have real currency, and will trade. But with texts entering young people’s lives electronically rather than through traditional books, the bird will be starved, tumble off the branch.” There may never be a smartphone that’s as satisfying in either a tactile or intellectual way as a book, but you can’t fight the tape, as they say on Wall Street. Glenn Horowitz has kept the passion, but shifted the focus. That’s what the good ones do. I’ll buy him lunch anytime. u
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This page, clockwise from top left: Rare book dealer Glenn Horowitz; London’s Heywood Hill bookshop at 10 Curzon Street, Mayfair; Donna Karan and Kelly Klein with Horowitz; his store at 20 W 55th Street; Tracy Jackson, Horowitz, Anne Hearst McInerney, and Jay McInerney; Vile Bodies, the 1930 satire on society by Evelyn Waugh.
ART
MORE THAN A FACADE: BILL CUNNINGHAM BY KATE GUBELMANN
This page: One of the photographs from the exhibit Facades, currently on display at Four Arts in Palm Beach; the photographer Bill Cunningham (inset). 84 QUEST
CAN A 30-YEAR-OLD exhibition still be relevant today? If it is Bill Cunningham’s Facades, it is. After several reincarnations—most notably at the New York Historical Society—the evergreen exhibit is now on display at the Four Arts in Palm Beach. Facades is a prescient title. At first look, the photographs that Cunningham took of his friend and collaborator, Editta Sherman, are a bit campy. They seem to be snapshots of a coy and often smiling Mrs. Sherman. Her theatrical poses in front of the aging buildings of New York City somewhat belie the message. These photographs are finely crafted images of the history of fashion and the corresponding history of architecture. These pairings were not happenstance; diligent research connected the two arts. The commonality of dress style to the architectural facade becomes evident, for example, in the classical Ionic column echoed in a Fortuny dress, or with a wink and a nod to Paris, up a ladder in Dior. Cunningham and Sherman sought original dresses for their fashion statements. Flea markets and thrift shops provided the clothes, but one had to know what was the right frock for the right facade. Marty Bronson, in the 1977 catalogue, reports that “[Cunningham] found near-
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This page, clockwise from top left: Editta Sherman, as photographed in front of the Solomon R. Guggenheim Museum; Sherman in front of the Paris movie theater; the two would find the right couture to echo the architecture; even subway train cars covered in graffiti were used to document the cityscape of the time.
ly 500 outfits that can be dated between 1786 and 1976.” Evidently, if the proper hat could not be found, Mr. Cunningham knew how to create it. He began his career as a milliner, under the label William J. He knows his history there, too, as every hat is correct, even if it is a reproduction. Anyone who reads the New York Times knows Bill Cunningham. Every Sunday, his photographs record what is happening in New York. He has a curatorial eye for trends. Besides the camera, Cunningham uses another tool for his craft: the bicycle. It sets the right pace to discover some of the 1,500 locations he used. From 1968 to 1976 Bill and Editta cre-
ated their collaborative art in their spare time. Bill was writing for Women’s Wear Daily and Editta was a photographer in her own right. Those years in New York were years of turmoil. The city was close to defaulting, buildings were being burned, and row houses were being destroyed to allow for new development. Even train stations were targets. Pennsylvania Station, a McKim, Mead and White edifice of 1910, was dismantled in 1963. Grand Central was the next to go. As Bill and Editta were documenting design achievements of the past, the present was forging ahead with the wrecking ball. Happily, preservationists prevailed with the Grand
Central Terminal, but many structures were destroyed to make way for the new. Not all bad, as the new-then buildings like the Guggenheim Museum. Although Mr. Cunningham has said that he and Editta Sherman did this project for “the fun of it.” The result is a profound show with multilayered messages that are very valid today, 30 years later. There is more that meets the eye than the first impression of a facade, especially if that eye belongs to Bill Cunningham. I would like to thank Nancy Matto at the Four Arts and Dr. Valerie Paley at the Historical Society for their generous time and help in creating this article. u MARCH 2016 85
T R AV E L
TURKS & CAICOS’ PARROT CAY IT FIRST HIT US in the speedboat as my husband Bill and I were crossing from Providenciales (“Provo” to locals) to Parrot Cay: the sweet, pure air that smelled of sea salt mixed with a bit of banana and coconut. I closed my eyes and felt the freshest air I had ever experienced. That air will steal you away from anywhere! It took us from Palm Beach to the COMO Hotel and Resorts, the only hotel on the private three-milelong Cay. I suppose the fact that the hotel staff picks you up at the airport, drives you to the private dock, and takes you by boat to the Cay and your own villa, where your luggage is awaiting you, only adds to the gracious welcome.
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The main hotel, situated on top of a hill, was decorated in a British Colonial style and free of excessive ornament with white walls and natural woods and fabric to complement the furnishings, the hotel—like the air outside—spoke of purity and freshness. Besides the hotel itself, there are beach villas and private homes that can be booked through the hotel. The further away from the refinements of the hotel, the more private and rugged the landscape. Instead of facing a check-in counter, we were offered a Rum Punch as we waited for our personal butler to take us via golf cart (no cars on the island) to our beach villa. Like the hotel, our
N A N C Y E LL I S O N RO LL N I C K
BY NANCY ELLISON ROLLNICK
This page, clockwise from top: The poolside Lotus Restaurant turns into a Southeast Asian fusion eatery by night; the blackboard wishing our columnist a nice day, Bill and Nancy Ellison Rollnick, having dinner in the Tiki Hut; the halibut dish. Opposite page: The Parrot Cay by COMO is a private island resort, part of the Turks and Caicos Islands.
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A respite from all the amplified noise, A-lists, rope lines, gas fumes, glitter, and galas that mark our lives.
villa was a modern version of the British Colonial style. I can see why rocker Keith Richard has a home on Parrot Cay. (By the way, one can book his home through the hotel.) It is a respite from all the amplified noise, A-lists, rope lines, gas fumes, glitter, and galas that mark our lives. Instead, one finds fine white sand, Bougainvillea in shades of purple and Palm Beach Pink, birds—some rare and endemic—like the Kestrel, Banana Quit, or Ringed Neck Booby. And noise? The sound of surf. For our first night at Parrot Cay, we chose to dine in their private Tiki Hut, situated between the infinity pool and the sea. We indulged in Kusshi Oysters, Steamed Rock Shrimp Dumplings, Steamed Halibut, and Crispy Pressed Duch with Asian Kale in an aromatic orange reduction. Oh yes, and a full moon illuminated the water. After feasting the night before in the Tiki Hut, I figured it was time to get serious—and what is more serious than Ayurvedic therapy! With the fear and trepidation of an American ordering off a foreign-language menu, I stumble through the various Easterninspired massage therapies offered at the Shambhala Spa, including the exotic sounding Ayurvedic therapy, Abhyanga rhythmic therapy, and Pizichili. Since I am a foodie, I considered the Pizichili package as it sounds like it tastes the best, but the Javanese Royal Lulur Bath, a beauty ritual from the Royal Palaces of Central Java, stole my heart. This gentle exfoliating treatment begins with an Indonesian massage, followed by a body scrub with aromatic mixed spices and warm yogurt before a relaxing bath and a soothing application of body lotion. It was the yogurt that sold it for me, and for nearly two hours I contemplated the nature of bliss. I think what makes the atmosphere of Parrot Cay so gentle and serene is the loving attendance of COMO’s staff that respects both the visitor and the essence of the Cay itself. Paradise. Did I mention we had a full moon… u This page, from top: Keith Richard’s master bedroom in his own villa; Parrot Cay private beach villa. Opposite page, clockwise from top: The walkway to the main hotel, which has rooms available on top of the private villas and beach houses; surfing is one of the many activities offered to guests; the Terrace restaurant specialises in modern Mediterranean-inspired Turks and Caicos dining, with a focus on Italian cuisine; the sports club.
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yoga is one of the many sports and wellness options available at
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MARCH 2016 89
FA S H I O N
INSIDE WORTH NEW YORK’S STUDIO JAY ROSENBERG STARTS most workweeks here at his fashion company, Worth New York, in the Garment District of Manhattan, and this morning, he explains to me, there is a review of a future W by Worth collection. “Big fall season coming up,” he declares as his vice president of design, Diane Manley, stands behind him and puts on one of the collection’s prototypes: a desert brown suede vest with a shawl collar. Rosenberg swivels in his chair to face Manley, who is playing with the garment—flipping up its collar, tugging at the hem—in the mirror. He watches her for a moment, and then chimes in. “This doesn’t look terribly good, does it?” he wonders aloud. Diane agrees. “I feel like I’ve got too much shape,” she asserts, “like it’s lost the cool vibe to it.”
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Manley, Rosenberg informs, tries on every item that Worth produces for both its Worth New York and W by Worth collections, both described as “classic women’s wear with a modern edge.” The vest she has on isn’t her size, but Manley and Rosenberg are mainly concerned about the construction and the skin itself. “What happens with suede is that you have the potential of crocking,” says Rosenberg, “meaning suede might come off onto your pants or your sweater underneath. So we’ve done a spray-back finish that changes the color and look. Now the garment won’t crock, but I have a color differential that I hate.” And since the brand begins each season with a color story—“because when a woman is shopping, she responds to color and then she starts responding to fabric,” he notes—this may
CO U RTE S Y O F WO RT H N E W Y O R K
BY ALEX TRAVERS
This spread: The W by Worth showroom at the Crown Building, located at 730 Fifth Avenue.
prove to be an issue when the vest goes into final production. Besides these brainstorming methods, there are many unique aspects to Worth: for instance, the way it has challenged the conventional fashion canon by cutting out retail stores and selling its clothing and accessories directly to consumers, allowing it to lower its price points; the way it has aptly recruited a team of stylists and salespeople who share the lifestyle and values of Worth’s clients and who understand their wardrobe needs; the way it prides itself on making sustainable products season after season. But the most remarkable fact about Worth is that—right from the start, before Rosenberg and his co-founders Caroline Davis and Richard Kaplan sold their first piece of clothing— it intended to make fashion personal. Rosenberg has said that his customers “can buy whatever they want,” meaning that they have the resources to shop anywhere. He believes that the key to attracting—and keeping—customers requires two things. One is exceptional service, a special bond between the client and the salesperson. The other is the quality of the clothing and accessories. In his mind, making long-lasting products is just good common sense. “If they don’t like the clothes,” he tells me, “they may buy once—because they like the saleswoman—but they’re not buying the second time if they don’t like the clothes.” Around 45 years ago, when he was in his early 20s, Rosenberg worked as a textile artist in New York. Mostly, he would dye or print raw fabrics, then sell these fabrics to manufacturers on Seventh Avenue. “I actually did painting—hand-painting—of textiles,” he enthuses. Rosenberg started Worth with Caroline Davis and Richard Kaplan in 1991. Then, there were only two other companies in the industry that were direct-to-consumer sellers. At first, Rosenberg didn’t think the sales method would work for Worth. Who would want to buy clothes from someone’s home? “But Richard talked me into it,” he admits. “Now I’m the biggest convert.” Today, as Worth continues to produce several collections each year and its staff of stylists and salespeople grows, Rosenberg has much to manage. “I have to make sure that we can make the
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clothes—and that we can make them at a certain price point— and that we’re making them in the best possible way we can.” After 45 years in fashion, Jay Rosenberg still takes great pride in this business, and he still thrives on finding ways to make Worth’s clothing and accessories unique. That’s what he likes to focus on when he’s at work, when figuring out new methods to service customers simply aren’t enough. Day or night, he’ll think of the different ways clothing can be worn, produced, accessorized. “So our customer can have our products in her closet for the rest of her life,” he’ll explain. “We’ve been doing this a long time, and we’re pretty proud of what we’ve done. It’s exciting.” What else, I ask, keeps it exciting? “The designers. The people. And listen, it’s challenging.” After he says this, Manley comes in wearing a printed black dress with long sleeves. Based on the look on Rosenberg’s face, this dress may present a challenge. Rosenberg [to Manley, deadpan]: Oh boy. Wow, you’ve got quite a print there. Oh boy... Manley [sarcastically]: I feel like they’ll see me in this. Rosenberg [to a designer]: Can you take off the sleeve there please? That will help you a lot. The sleeves are cut off, and the dress is instantly transformed. With just this small edit, it is significantly easier on the eyes. I comment, unbidden, on the difference. Rosenberg [to me]: When you have a busy pattern like this…it’s overwhelming. By making this a sleeveless dress, you make it a cute dress. But do you know the first thing my customer is going to tell me? Before I can conjure a guess, he’s already answering his own question. And the response that follows reveals much— about Rosenberg himself, about how he confidently mines his 45 years of experience in fashion, and about the way he handles a challenge. “Because if she’s over 40, she really wants to cover her arms,” he replies. “In this case, however, we’re going to say: ‘You’re not going to. You’re going to wear it this way…and you’re going to look really fantastic.’” u
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FA S H I O N
Images from Worth’s studio, located in Manhattan’s Garment District. Before each item goes into production, all Worth New York and W by Worth prototypes are made in Manhattan. Worth also has showrooms in New York City and Houston. Below: Looks from Worth New York’s Spring 2016 and Summer 2016 collections. Opposite page: Jay Rosenberg, one of Worth’s co-founders; a series of looks from Spring and Summer 2016.
A N N I V E R S A RY
DOUBLES 40TH ANNIVERSARY B Y L I LY H O A G L A N D
C U T T Y M CG I LL
PHOTOGRAPHY BY ANNIE WATT AND CUTTY MCGILL
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A N N I E WAT T; C U T T Y M CG I LL
“PERHAPS ONE OF the reasons Doubles is still here 40 years later,” explains Wendy Carduner, proprietor of the private club in question, “is because each successive generation feels a connection to a place where they have been coming since they were two years old.” While celebrating an anniversary, especially one as important as a 40th, might lead some people to look to the past, Wendy is looking instead to the next generation of members for inspiration. “We have created an environment where, 40 years later, the younger and youngest members are as
attached to the club as the oldest members—to me that is very complimentary and it means you are reaching out to every single age group, which is extremely important for longevity.” We all know why it’s easy to love Doubles: from the moment you breach the unassuming door inside the SherryNetherland entrance, and descend the lushly carpeted stairs, you know you’ve entered a more welcoming and gentle world than the one you left outside. Certain standards of civility are expected and met, both from the members and the
This page, clockwise from top left: Ivanka Trump and daughter Arabella; Christine and Steve Schwartzman; Muffie Potter Aston with her twins, Ashleigh and Bracie; Suzanne Johnson and her son; Karen LeFrak, Sharon Bush, Cornelia Bregman, Joan Spitzer, Jamie Gregory, Grace Meigher, and Martha Kramer; George Farias, Alison Mazzola, Anne Hearst McInerney, and Jay McInerney. Opposite page: Wendy Carduner, proprietor of Doubles, flanked by Mark Gilbertson (left) and Doug Steinbrech (right).
hottest tickets in town, and Wendy has expanded programs available to children of all ages, which has met with rave reviews from kids and parents alike. “What Wendy has created is truly unique and spans all generations,” exclaims Ashley McDermott, Connor’s mother. “From the toddlers at Halloween in costumes, to the happiest middle school kids in Manhattan dancing the night away, Doubles is a place for families. In a city that can feel cold and lonely, Doubles welcomes you with a blast of red and a big smile from Tom behind the desk and Wendy greeting young and old with her trademark elegance and warmth. My children
This page, clockwise from top left: Joanne De Guardiola and family; Ann Coley, Stephanie Shafran, Ashley McDermott, Libby Fitzgerald, Monique Richards, and Kristin Clark; Candice Bergen, Eleanora Kennedy, and Anna Safir; Betsy Pitts (center), George Perry (right), and friend; Christina Rosa and Joan Rivers; Harrison LeFrak and friend.
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staff, and everyone is all the happier for it. “Doubles has been a place where my family can experience New York,” says Blair Husain, who hosted her wedding reception at the club. “We see friends, celebrate holidays, visit the theater, establish traditions, and create memories—all in the same beautiful venue.” While the adult members have always enjoyed all the club has to offer, a precocious fifth grader by the name of Connor McDermott asked Wendy back in 2007 why there weren’t more activities at the club for his age group. He suggested a night of Disco Dancing at Doubles for his fifth- and sixth-grade friends. Nearly a decade later, Kid’s Night is one of the
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have literally grown up at Doubles and can’t wait for their own memberships in their twenties.” The emphasis on manners that adults enjoy extends to the younger crowd as well. “At Kid’s Night, for example, when we have 200 children, the girls go to the buffet first,” explains Wendy. “What it does is teach the boys the concept of ‘ladies first.’ And although at the beginning they found it difficult to understand and accept, they now know that when they come to Doubles, and the buffet opens, they must let the girls go first and stay on the dance floor until it is their turn.” This attention to the next generation
of members has fostered the new generation of Doubles, like Muffie Potter Aston’s twin girls, Ashleigh and Bracie. “Their first ‘party’ with Santa occurred at Doubles when they were only 11 months old,” Muffie recalls. “This lead to Easter and Halloween parties, where the joy of dancing, face painting, and holiday-appropriate activities for children was melded into fun for my husband Sherrell and me, as well as my own parents, to enjoy. What an incredible and heart-warming family history this club holds for us. And with the 40th Anniversary dinner approaching, it’s a generational reminder that at Doubles, there is always something special here for all ages and all stages.” u
This page, clockwise from top left: Helen Schifter, Dennis Basso, Alexia Hamm-Ryan, and Marisa Noel Brown; Dayssi Olarte de Kanavos and family with Santa; Isabel Tonelli and family; Michael Gilbane, Mark Hull, and Leslie Hull; Claudia Overstrom and family; Wendy Carduner, Grace Meigher, and Mayor Michael Bloomberg.
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CALENDAR
MARCH SOUND AND VISION
The Bascom Palmer Eye Institute will hold its 35th Evening of Vision Gala at the Mar-a-Lago Club. For more information, call 561.515.1527.
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NEW YORK, NEW YORK
The Citizens Committee for New York City will host its 2016 New Yorker for New York Gala at Gotham Hall at 6 p.m. For more information, call 212.233.8987.
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POWER PLAY
Women’s Leadership Council will host its 10th Power of Women to Make a Difference Award Luncheon at Cipriani 42nd Street at 11:30 a.m. For more information, call 212.921.9070. TAKE ME TO CHURCH
Catholic Charities of the Archdiocese of New York will hold its black-tie gala benefit at the Waldorf=Astoria at 6:30 p.m. For more information, call 212.763.8591. ARTS AND ALL
The Raymond F. Kravis Center for the Performing Arts will celebrate its Founder Members Dinner in the Cohen Pavilion at 5:30 p.m. For more information, call 561.832.7469.
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ANIMAL LOVE
The American Humane Association will host its Cocktails and Conversations Gala at 241 Bradley Place in Palm Beach, Florida, at 7 p.m. For more information, call 561.537.5887.
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The Society of Memorial Sloan Kettering Cancer Center will host the 25th Bunny Hop at 538 Park Avenue. For more information, call 866.468.7619.
The American Museum of Natural History will celebrate its Winter Dance at the museum at 7 p.m. For more information, call 212.496.3495.
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South Florida Science Center and Aquarium will hold its benefit at The Breakers at 7 p.m. For more information, call 561.370.7738.
The Preservation Foundation of Palm Beach will hold its dinner dance at The Breakers. For more information, call 888.273.2537.
HOP TO IT
UNDER THE SEA
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NIGHT AT THE MUSEUM
A TOWN PRESERVED
NEVER LOVELIER
The Alzheimer’s Association will celebrate its annual Rita Hayworth Luncheon at The Colony at 11:30 a.m. For more information, call 312.604.1680.
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HOMEROOM
Palm Beach Day Academy will host its 2016 Feather Ball at the school (241 Seaview Avenue) at 6:30 p.m. For more information, call 561.655.1188.
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IRISH HEARTBEATS
Kelly Cares Foundation will host its Sixth annual Irish Eyes Gala at The Pierre at 6 p.m. For more information, call 574.213.5624. DO A PLIÉ
The School of American Ballet will present its 2016 Winter Ball at Lincoln Center’s David H. Koch Theater. For more information, call 212.769.6636 HIGH-QUALIT Y LIFE
The Palm Beach Civic Association will hold its Awards Luncheon at the Breakers at noon. Proceeds
PAT R I C K M C M U LL A N
On March 3, the American Museum of Natural History will host its 2016 Winter Dance in the museum’s Milstein Hall of Ocean Life at 7 p.m. The evening will bring together young philanthropists to celebrate and raise funds for the museum’s scientific programs. For more information, call 212.496.3495.
CALENDAR
MARCH
2
I LOVE ROCK AND ROLL
Rock and Roll Hall of Fame inductee Darlene Love will join the Brooklyn Center of the Performing Arts’ 2015–16 season, performing a concert of her numerous hits 8 p.m. The concert will take place on the College Campus at 2900 Campus Road. Brooklyn Center’s mission is to present outstanding performing arts and arts education programs, reflective of Brooklyn’s diverse communities. For more information, call 718.951.4500.
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CULTURE CLUB
On March 1, the Society of Memorial Sloan Kettering Cancer Center will host its 25th Bunny Hop at 583 Park Avenue. Guests will enjoy an entertaining evening of activities and acts, including a live animal show, a petting zoo, magicians, and balloon artist. For more information, call 212.829.0002.
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ON THE CATWALK
Daughters of the American Revolution, a lineage-based membership service organization for women, will hold its 2016 Palm Beach Fashion Show Luncheon at the Beach Club at 11:30 a.m. For more information, call 561.863.5500.
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A NEW TRADITION
The Preservation Foundation of Palm Beach will celebrate its Gruss Lecture reception at The Colony at 2 p.m. For more information, call 561.655.5430.
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HELPING HANDS
The Palm Beach Foundation’s Community Tribute reception will take place at the Mar-a-Lago Club at 5 p.m. For more information, call 561.832.2600.
The Hanley Center Foundation will hold its Palm Beach Dinner at Club Colette at 7 p.m. Proceeds from the event will help the Hanley Center Foundation’s mission to provide scholarships for patients who could not otherwise afford addiction treatment. The foundation also provides substance abuse prevention and education programs for parents, caregivers, and school-age children. For more information, call 561.841.1166.
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The Peggy Adams Animal Rescue League will host its annual Off the Leash Party at Club Colette at 6 p.m. Event chairs include: Nellie Benoit, Carol Garvy, Laurie Raber Gottlieb, and Joanie van der Grift. For more information, call 561.472.8845.
Hôpital Albert Schweitzer Haiti, one of the most active and efficient Integrated Community Services programs in all of Haiti, will celebrate its annual White Hot Night Gala at The Breakers at 7 p.m. For more information, call 561.702.7471.
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PAYING HOMAGE
TO THE RESCUE
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WHITE SAND
The Boys and Girls Club of Palm Beach County—a non-profit youth development organization dedicated to promoting educational, vocational, health leadership—will host its 15th Barefoot on the Beach reception at The Breakers at 7:30 p.m. Chairs include: Brooks Bishop, Taylor Collins, and Keith Williams. For more information, call 561.683.3287.
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A GOOD CAUSE
St. Jude Children’s Research Hospital will hold its annual Palm Beach Dinner at Club Colette (215 Peruvian Way) at 7 p.m. Lourdes Fanjul, Talbott Maxey, and Thomas C. Quick will host, and all proceeds will benefit St. Jude Children’s Research Hospital, which fosters the free exchange of ideas among scientists and clinicians for creative, collaborative science. For more information, call 305.537.1429.
CROSS BORDERS
On March 4, the Preservation Foundation of Palm Beach will hold its 34th dinner dance at The Breakers at 7:30 p.m. More than 350 guests attended the 33rd gala, which raised $1.3 million for the Foundation’s initiatives. For more information, call 888.273.2537.
PAT R I C K M C M U LL A N
from the event will help preserve, protect, and enhance the many special qualities of the island. For more information, call 561.655.0820.
The Society of the Four Arts will holds its Benefactors’ Dinner at the Sailfish Club at 7 p.m. Each season, the Society of the Four Arts offers a dynamic lineup of cultural programing, including notable speakers, concerts, films, educational programs, and art exhibitions. The campus is home to beautiful sculpture and botanical gardens, a library and children’s library, and a state-of-the art educational facility. For more information, call 212.755.2590.
AMERICAN BEAUTY BY ELIZABETH MEIGHER STYLED BY DANIEL CAPPELLO PHOTOGRAPHED BY JULIE SKARRATT
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Genevieve Bahrenburg, photographed in New York City for Quest in Spring 2016 designer collections. In this spread, she is pictured in Oscar de la Renta’s black lace and seafoam organza tiered halterneck gown with black threadwork embroidery and Harry Winston’s Caftan bracelet, Winston Cluster Line earrings, and Carpet ring, all in platinum and diamonds.
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In Escada’s Tsewis jumpsuit, floral-print BB heels by Manolo Blahnik, and Verdura’s gold and colored gemstones Confetti necklace and Candy ring in gold, blue topaz, and iolite.
When Genevieve awoke from her coma in Bellevue’s ICU—a coma that had left her unresponsive for 22 days—she found...that her body refused to respond to any of her mental commands. Her eyes were the only sensory organs that she could control.
SOME PEOPLE are just magic. The air around them feels a little bit lighter...when in their presence the world looks a little bit brighter...and what may have once seemed impossible suddenly feels, well, possible. Ancient cultures have a term to describe such people, claiming that they possess an abundance of “life-force energy,” otherwise known as “chi” in Chinese, or “prana” in Sanskrit. I have been blessed with a few friends and mentors who possess this rare quality; my friend Genevieve Bahrenburg is one of them. I ran into Genevieve years ago when she was working at Vogue and I was applying to business school. Our fathers were friends when Genevieve’s dad was running the Hearst magazines and mine the magazines at Time Life. We were at a stiff Upper East Side cocktail party that, to any onlooker, might have seemed more like a lesson in posture and good manners than an actual party. “Want to get out of here and go have some fun?” she asked. I liked her right away. I nodded “yes,” and we slipped out into the night. I soon discovered that Genevieve is much more than your typical pedigreed blonde beauty from New York. Unlike many of her contemporaries, she’s never chased a career modeling for all of the high-end fashion glossies (though she’s certainly modeled— having been photographed by the likes of Gilles Bensimon, Annie Leibovitz, and Patrick Demarchelier). As it turns out, Genevieve’s keen fashion sense is grounded in her erudite book savvy. She attended Nightingale-Bamford, Greenwich Academy, and Andover, and earned a B.A. from Columbia in International Relations. In addition to positions as features editor and writer for Vogue and Elle.com, she’s also served as the executive editor of Above magazine. Genevieve has written and co-produced two photo tomes, American Beauty and Young Hollywood (both Assouline), with Claiborne Swanson Frank. She is featured in American Beauty, leaning against a prop plane near her father’s house on Tuckernuck Island, just off of Nantucket. On New Year’s Eve of 2013, Genevieve and a friend left a dinner in Greenwich Village with the intent of sharing a toast at Genevieve’s apartment on the Bowery, which she was about to officially move into on New Year’s Day. The building’s elevator was out of service, so her friend headed down the basement stairs to find another way in while Genevieve kept the front glass door propped open with her black suede heels. As she waited for her friend to return, a man approached her, hoping to discuss the Hollywood celebrities that Genevieve was working with for the 2014 Vanity Fair Hollywood Portfolio, alongside photographer
and famed artist Chuck Close. (Genevieve was also working on a book about Close called Close to Close.) In keeping with her usual kind, good-natured demeanor, Genevieve spoke to him about Close and also about the young female stars Claiborne Swanson Frank was photographing for their joint project, Young Hollywood. And that’s the last thing she remembers. Her friend recalls hearing a loud crash, and ran over to find Genevieve lying at the bottom of the doorway’s stairs, unconscious and without a pulse. Genevieve never made a sound—no yelling, not even a scream—and what exactly happened that night still remains unclear. Her friend called 911 and began CPR. The EMS paramedics arrived quickly, and Genevieve was admitted to the ER for a Level 1 traumatic brain injury (TBI)—the most severe form of cranial injury—when a patient does not respond to voices, sounds, light, or touch. When Genevieve awoke from her coma in Bellevue’s ICU—a coma that left her unresponsive for 22 days—she found herself surrounded by white walls, bright lights, piercing monitors, and an array of IV tubes. Her immediate emotions were confusion and frustration, accompanied by unbearable, seething pain. She was terrified to discover that her body refused to respond to any of her mental commands. Her eyes were the only sensory organs that she could control. Regaining power of the rest would take time, effort, and herculean courage. Genevieve had suffered two massive epidural hematomas. In the five days following her fall, four major brain surgeries were performed, followed by another eight during the 35 days she spent in the ICU. Her mother, Linda, her brother, Luke, her soul sister–cousin, Casey Bahrenburg, and her close friend Claiborne Swanson Frank remained permanent fixtures by her bedside at Bellvue Hospital’s ICU. “Their love, strength, and perseverance were my lifeline,” Genevieve attests, “but even with their support, I needed to dig deep.” Incredibly, Genevieve retains vivid memories of dreams she experienced during her coma. She remembers being in the ocean, at the helm of her father’s Blackfin boat, Desperado. The sky grew darker as it started to rain. She felt the wind shift and accelerate to the northeast, while waves around her whipped into swells. Showers rapidly turned to pouring rain as bolts of lightening pierced the sky. She steered up in an attempt to crest the waves, only to maneuver back in time for the inevitable downward crash. She rode the storm—up and down, up and down…until, finally, the ocean calmed. The waves diminished, the rain stopped, and the sky cleared. She recalls seeing a MARCH 2016 105
This page, clockwise from top left: Genevieve with her Desperado, at Orient Point on Long Island Sound; Genevieve’s grandmother photographed at the age Genevieve is now; Genevieve taking a dip in her grandmother’s pool in Naples, Florida; Genevieve photographed by John F. Cooper for his book, Organic Portraits; Genevieve photographed with good friend Chuck Close before her accident in 2013; Genevieve and her brother, Luke, at Bellevue Hospital; one of Genevieve’s many water collages, as seen on her colorful Instagram account; Genevieve and SoulCycle instructor Akin Akman doing push-ups on the street; Picasso’s “Girl Before A Mirror”; Genevieve painting on her father’s porch as a little girl; Genevieve in Mt. Sinai’s ICU when she was eight, after her first brain injury, sustained in Central Park.
CO U RTE S Y O F G E N E V I E V E B A H R E N B U R G ; PAT R I C K M C M U LL A N
family as a little girl; Genevieve aboard her father’s boat,
beautiful rainbow as she steered Desperado past the lighthouse and the Yacht Club at Orient Point, New York, where her father lives, marking her entrance home. As Genevieve dreamed of navigating Desperado through the storm, she could also see herself from an alternate vantage point, as though she was creating a film of herself aboard the ship. Based on that dream and true to her ideal, Genevieve is now working on a documentary about her dream titled Genevieve: Girl Before a Mirror, to be released this spring. A close friend of hers, Paul Haggis (the Oscar-winning director of 2004’s Million Dollar Baby and 2005’s Crash) inspired her to work on becoming a filmmaker instead of a writer. Haggis insightfully suggested, “In your dream you were trying to direct your own reality. As you’re healing, you are trying to direct your own life.” Genevieve often likens herself to Alice in Wonderland. Her fall in 2013 was not Genevieve’s first trip to the ICU with a massive epidural hematoma. When she was eight years old, Genevieve plummeted headfirst onto a large metal sprinkler when a friend from Nightingale accidentally crashed into her during a game of tag in Central Park. She was whisked away on a stretcher to Mt. Sinai’s ICU. The resulting surgery left her struggling to speak and write; jotting down quotes from Alice in Wonderland helped her relearn basic motor skills. Two decades later, she felt as if she had been struck by lightening twice. In fact, it was her childhood scar that provided an access point for her neurosurgeons in 2013. Genevieve was able to re-channel the inspiration she drew from Alice as a little girl to help guide her through her current trauma. In her lifetime, Genevieve has undergone 13 major brain and skull surgeries. To best manage this trauma, she has relied on the works and creations of artists who inspire her; it’s become her healing process. Genevieve now suffers from aphasia, a communication disorder within the recesses of the brain. People with aphasia often have difficulty speaking and finding the right words to complete their thoughts. Genevieve spent the fall of 2014 working through this frustrating syndrome by carrying a blue Smythson notebook (given to her by the magician David Genevieve, in a black cashmere tank dress by Michael Kors Collection and Stuart Weitzman’s Nearlynude black suede heels, carries Jimmy Choo’s “Winking Eye” Candy clutch and wears her own gold bracelet with Verdura’s black jade Black & White Maltese Cross cuff.
Blaine) with her on frequent trips to The Met, The Guggenheim, MoMA, and The Whitney. She would fill it with names of her favorite artists (Man Ray, René Magritte, Robert Motherwell, James Turrell…) in order to regain the memory of their genius. Famed painter and photographer Chuck Close, Genevieve’s favorite artist and dear friend, suffered a sudden rupture of his spinal artery in 1988 that left him partially paralyzed and wheelchair-bound for life. Beloved and revered by many for his single-minded “combative optimism” (Close made his way to Yale despite dyslexia, and then ingeniously found a way to paint despite having no movement in his fingers after his spinal artery aneurysm), Close reinvented himself after his paralysis and forged ahead to become one of the most important and influential American artists of his time. Genevieve’s relationship with Close has been instrumental to her recovery, and the two friends have grown even closer as a result of their respective traumas. In A Farewell to Arms, Ernest Hemingway famously wrote, “The world breaks everyone, and afterward, many are strong at the broken places.” After her first brain surgery when she was eight, Genevieve wrote in a school essay, “Although the accident is over, I still have a permanent reminder that stretches from my right ear to my left. This incident has taught me to live life the fullest way possible, because it can be taken away from you very quickly.” Now, over 20 years later, Genevieve imagines herself as the girl in Picasso’s “Girl Before a Mirror,” who appears in the painting as two distinct versions of herself. The dream she experienced during her coma sent her sailing through seas of rediscovery and rebirth, compelling her to unearth a new self—a 108 QUEST
In her lifetime, Genevieve has undergone 13 major brain and skull surgeries. To manage this trauma, she has relied on the works and creations of artists who inspire her... “The art of self-reflection has become my paintbrush, my lens, and my weapon,” she affirms.
This page: In Katie Ermilio’s double-face satin Matchstick Jumpsuit, floral-print BB heels by Manolo Blahnik, and Harry Winston’s sapphire and diamond Secret Cluster earrings, Secret Message bracelet, and Secret Cluster ring. Opposite page: Reaching for Veronica Beard’s orchid linen-denim upcollar Dickey Jacket in blue while posing in Veronica Beard’s white Lucia basketweave Long & Lean lapel vest and Tropicana basketweave tailor shorts. Shoes are Ralph Lauren Collection woven raffia heels and jewelry includes gold Perlée earrings by Van Cleef & Arpels; her own gold bracelet paired with Cartier’s Juste un Clou gold bracelet; two Cartier Love bracelets in gold (one with diamonds); and the Vintage Alhambra bracelet in gold and white mother of pearl by Van Cleef & Arpels. MARCH 2016 109
truer self—and one that she may never have known had she not fallen on that fateful eve in 2013. Not surprisingly, this new persona maintains the same, sunny disposition for which Genevieve will forever be known, flashing her radiant smile even in the face of excruciating pain. She finds solace, strength, and endurance in SoulCycle classes (which she attends twice a day!) led by one of her many heroes, Akin Akman. In addition to SoulCycle, she practices meditation, and is determined to remain positive and keep moving forward. To prepare for her 13th major operation last March, in which a plate was placed over the missing part of her skull, Genevieve envisioned herself bright-eyed and smiling after the procedure. She stands even stronger today, affirming that “the art of self-reflection has become my paintbrush, my lens, and my weapon.” u
In Valentino’s deep green silk Cady gown, her own gold earrings and bracelet, and Verdura’s gold, black jade, amethyst, green tourmaline, and diamond Topkapi cuff. All hair and makeup styling by Valery Joseph and Valery Joseph Salon. Shoot associate: Alex Travers.
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This page, clockwise from top left: Photo of a woman swimming in the ocean by David Guzman; Genevieve recuperating at Bellevue Hospital; Genevieve photographed by Patrick Demarchelier for with the two books she collaborated on with Claiborne Swanson Frank, American Beauty and Young Hollywood; Claiborne Swanson Frank and Genevieve at a lunch hosted by Quest at Crown restaurant, 2012; photo of a storm, similar to the one Genevieve saw in her coma dream; John Tenniel’s illustration of Alice from the 1865 publication of Lewis Caroll’s Alice in Wonderland; Genevieve smiling from her bed PAT R I C K M C M U LL A N
CO U RTE S Y O F G E N E V I E V E B A H R E N B U R G ;
Harper’s Bazaar, 1994; Genevieve with her friend and famed magician, David Blaine; Genevieve smiling
at Bellevue; visitors’ tickets of friends and loved ones who visited while Genevieve was in a coma at Bellevue; Chuck Close’s “Self-Portrait (Pink T-shirt),” 2013; Genevieve on her birthday in 2015 with Cash, her family dog; photo of a rainbow seen above her father’s house on Orient Point, New York (similar to the one she saw in her coma dream); Genevieve after her third craniectomy and 13th and final surgery. Opposite page: Portrait of Genevieve Bahrenburg by Chuck Close.
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This page: In Ralph Lauren Collection’s dark navy viscose halter cutout gown; gold Trinity de Cartier earrings; and yellow diamond Radiant ring with tapered baguettes by Harry Winston. Inset: Genevieve standing strong in the ocean against the evening light. Opposite page: Riviera striped jumpsuit and calfskin wedge sandals by Ralph Lauren Collection with all Verdura jewelry, including the gold Curb-Link bracelet; South Sea cultured pearl, gold, sapphire, and diamond Toggle bracelet; gold, amethyst, and turquoise Candy ring; and pair of gold and diamond Target earclips. Inset: Genevieve standing beside a painting of a tiger, her spirit animal—strong, beautiful, and bright.
Quest
30 YEARS OF STYLE
It gets redefined with each generation, reflecting the zeitgeist of the time, and the artist in one’s soul.
This page, clockwise from top left: Bette Davis at the 16th Cannes Film Festival, 1963; Cary Grant flashes a smile from the helm of a BMW Isetta 300 in New York City, 1955; Marella Agnelli photographed by Horst P. Horst at Villar Perosa, outside Turin, 1967; Jack Nicholson and Michelle Phillips peruse the menu while seated at their banquet table at the 28th Annual Golden Globe Awards at the Beverly Hilton Hotel, February 5, 1971; Pilar Crespi seated outside the villa of Contessa Ida Matarazzo in Rome, holding a book and wearing Valentino’s flannel pantsuit, 1971. Opposite
H O R S T P. H O R S T / CO N D E N A S T V I A G E T T Y I M A G E S CO R B I S
F R A N CO I S G R A G N O N / PA R I S M ATC H / G E T T Y I M A G E S ; M A X B . M I LLE R / F OTO S I N TE R N AT I O N A L / G E T T Y I M A G E S ;
page: Jacqueline de Ribes photographed by Richard Avedon, 1962.
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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. 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. 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
H A R RY B E N S O N ; PAT R I C K M C M U LL A N
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. 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 their shopping carts, and no one noticed one of the most famous men of the 20th century. That’s style, too: one of the
Quest
K E Y S TO N E - F R A N C E \ G A M M A - R A P H O V I A G E T T Y I M A G E S ; RO N G A LE LL A / W I R E I M A G E ; A P P H OTO / S TA F F / P U T N A M T K 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 .
30 YEARS OF STYLE
This page, clockwise from top left: British model Jean Shrimpton caused a huge uproar when she arrived at the Melbourne Cup Carnival in 1965 wearing a minidress five inches above the knee with no stockings, gloves, or hat; Catherine Deneuve with photographer David Bailey in Cannes, France, 1966; Chessy Rayner, Kenneth Lane, and Pauline Boardman Pitt during Saks Fifth Avenue’s A Night Under the Stars gala at The Seagram Building, New York, 1988; American tennis player Francis Xavier Shields (“Frank Shields Sr.”), in his match against Henry Wilfred “Bunny” Austin, whom he defeated on July 2, 1934, at Wimbledon. Opposite page, clockwise from top left: Carolina Herrera photographed in her office in New York by Harry Benson; Carine Roitfeld, former editor-in-chief of Vogue Paris; sisters Samantha and Serena Boardman seated front row at a fashion show.
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J AC K RO B I N S O N / H U LTO N A R C H I V E / G E T T Y I M A G E S ; RO N G A LE LL A / W I R E I M A G E ; I N TE R F OTO / A L A MY; G E T T Y; I VA N DM I T R I / M I C H A E L O C H S A R C H I V E S / G E T T Y I M A G E S
This page, clockwise from top left: Mrs. Stanley Grafton Mortimer Jr. (Barbara “Babe� Cushing Mortimer Paley) photographed by Horst P. Horst, 1946; Gloria Vanderbilt with her sons Anderson Cooper (left) and Carter Vanderbilt Cooper at their home in Southampton, New York, 1972; Nan Kempner and Valentino at a dinner at The Waldorf=Astoria in New York, 1987; Ali MacGraw in a still from Goodbye Columbus, 1969; Frank Sinatra, photographed by Bob Willoughby, seated in an open doorway of the 20th Century Fox Studios soundstage while filming Can Can, 1959. Opposite page: Yves Saint-Laurent with Lauren Bacall and her daughter, Leslie, at a showing of his collection in Paris, 1968; Deeda Blair at home in Washington, D.C.; David Bowie carrying a leather coat in Munich, 1976; Wallis, Duchess of Windsor, and the Duke of Windsor outside Goverment House in Nassau, circa 1942. The Duke of Windsor served as Governor of the Bahamas from 1940 to 1945; Charlotte Rampling wearing a high collared, white, lace blouse. 118 QUEST
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30 YEARS OF STYLE
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LE O N A R D M CCO M B E / T H E L I F E PI C T U R E CO LLE C T I O N / G E T T Y I M A G E S ; L I P N I T Z K I / RO G E R - V I O LLE T / T H E I M A G E WO R K S ; I A N S H O W E LL / K E Y S TO N E / H U LTO N A R C H I V E / G E T T Y I M A G E S
Quest
30 YEARS OF STYLE
This page, clockwise from top left: Lauren Bush Lauren and David Lauren attend the “Charles James: Beyond Fashion” Costume Institute Gala at the Metropolitan Museum of Art, May 5, 2014; Peter O’Toole photographed by Bob Willoughby in 1962 at The Beverly Hills Hotel, just after making Lawrence of Arabia; Princess Diana (wearing John Galliano) and Liz Tilberis, revered editor of Harper’s Bazaar, arriving at The Metropolitan Museum of Art’s Costume Institute Ball in 1996; Karen LeFrak, Blaine Trump, and Hilary Geary Ross at Central Park Conservancy’s 28th Annual Fredrick Law Olmsted Awards Luncheon, May 5, 2010. Opposite page, clockwise from top: Porfirio Rubirosa with his wife Odile Rodin and Anne Slater at the Johansson-Patterson fight, 1961; Sylvie Vartan and Françoise Hardy at The Olympia in London, November, 1963; Paris couturier Madame Grès with models (left to right) Gyll, Devi, and
J A M E S D E VA N E Y / G C I M A G E S ; T I M G R A H A M / G E T T Y I M A G E S ; PAT R I C K M C M U LL A N
Betty outside the Dorchester Hotel, London, March 22, 1971.
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H E N RY C L A R K E / CO N D É N A S T V I A G E T T Y I M A G E S ; PAT R I C K M C M U LL A N
Quest
A LE X A N D R E B A I LH AC H E P H OTO G R A P H Y; S L I M A A RO N S / G E T T Y I M A G E S ; A L A I N N O G U E S / S YG M A / CO R B I S ; J O H N D O M I N I S / T H E L I F E PI C T U R E CO LLE C T I O N / G E T T Y I M A G E S
30 YEARS OF STYLE
This page, clockwise from top left: Peter Beard working on his diaries with his daugher, Zara, in tow; Patsy Pulitzer about to board a plane belonging to the Everglades Flying Service in Palm Beach, Florida, 1955; sisters Jackie Kennedy and Lee Radziwill photographed by Jacques Lowe, playing with Caroline Kennedy and Anthony Radziwill in Hyannis Port, Massachusetts, 1960; Grace of Monaco, Prince Rainier, Albert, and Stephanie on a skiing holiday in 1960; Steve McQueen in his living room in Palm Springs, California, 1963. Opposite page, clockwise from center: Lauren Santo Domingo sports a Burberry trench and classic Salvatore Ferragamo Vara ballet flats; Cheryl Tiegs poses with with jockey Laffit Pincay at the Santa Anita Race Track in California, 1971; Nicole Hanley Mellon, wearing her own designs, photographed by Cristina Macaya in the doorway of David Ray’s majestic Villa La Pointe in St. Barth’s; King Juan Carlos of Spain greets Emilia Fanjul at The Glades Academy benefit in Palm Beach, Florida.
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BEHIND THE GLASS BY ALEX TRAVERS
CO U RTE S Y O F A S S O U L I N E
This spread: Louis Vuitton’s “Ostrich” windows at New Bond Street, London, 2010.
ONE DAY, TWO PEOPLE with very different aesthetic styles but a common purpose find their way to creative jobs at Louis Vuitton. Neither of them has calculated that, in just a matter of years, they might help redefine the luxury brand’s image. Louis Vuitton Windows (Assouline) is the story of merchandising directors Faye McLeod and Ansel Thompson, and of their more than 30 window displays—creations that have featured life-sized ostriches, gilded velociraptors, and a fantastical Orient Express. When you look at what McLeod and Thompson actually did and how the windows actually looked, it often wasn’t as straightforward as their words might lead you to believe. “I
wanted to be respectful of the brand’s heritage,” asserted Faye in the book’s introduction, written by New York Times fashion director Vanessa Friedman. But if the script for the duo was to respect Vuitton’s past, it was a script that they often veered away from, in ways that were fascinating and surreal. In Windows, McLeod said that she was nervous about “revealing her own tendencies.” She would soon learn, however, that it was Vuitton that “wanted to do things most brands would be too scared to do.” So McLeod and Thompson went to work, and their bosses seemed pleased with the results. To understand why the windows looked as they did, you need MARCH 2016 125
Shanghai, 2012 (above); Louis Vuitton Windows (inset). Oppostie page: The Fall-Winter 2011–2012 show windows at Avenue Montaigne, Paris, 2011.
to consider the time and place from which they emerged. For a 155-year-old brand in the late 2000s to present itself like this— audacious, provocative—didn’t constitute some default retail reaction. Rather, it was an act of irreverence. This was the start of an era in which brands that produced accessories and clothes were not just expected to sell product, they were expected to have an image. And as the largest luxury brand, Vuitton had higher goals and was playing for bigger stakes. It might have been easy for McLeod and Thompson to play it safe with the displays, continuing in the brand’s traditional vein, but their displays became workouts for the mind. People stopped and looked. Often, they went inside to learn more. All fashion ads and retail displays are kind of a lie: What matters is how potent and persuasive are the stories and dreams and truths that are smuggled in that lie. And McLeod and Thompson are great smugglers. At times, they helped convey the designer’s message of the season. Yes, those messages were often gratuitous and usually out of reach. But McLeod and Thompson’s creations were also a type of visual theater that bubbled over with a sense of longing for the magical and the worthwhile, however elusive those might be in fashion. Behind those windows, they offered something that their audience could recognize as true. Mostly, it was an experience associated with a thrill—a tryst at a hotel, a wild roller-coaster ride. Today, inside those glass boxes, there’s something tangible to want, or someone to aspire to be like. And so as you peer into those Vuitton windows—and form your own interpretations—the only sane thing to do is believe that what you see could be real. u
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This page: Louis Vuitton’s Fall-Winter 2012–2013 show windows, Plaza 66,
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CO U RTE S Y O F S AC H I N & B A B I
This page: A Perla tank and Pea skirt, part of Sachin & Babi’s Noir Pre-Fall 2016 collection. Opposite page: The floral motif on the Leith gown is made with a combination of machine and hand threadwork techniques. Jet beads are added to highlight and add depth and shine; these white Luiza pants add drama to any silhouette.
DRAMATIC LINES FOR MODERN TIMES B Y L I LY H O A G L A N D
CALL IT FASHION’S categorical imperative: for a special-occasion item to be perfect, it must be chic, well-made, and at a reasonable price. Often young women have to settle for the old “two out of three ain’t bad”—but actually, the results usually are. Women end up with either something cute that falls apart, a piece with sturdy seams that even their grandmother finds dowdy, or the perfect outfit whose price tag they can’t justify to themselves if they are only going to wear it once or twice (and because they already justified the price of that bag this week…). There is also increased pressure to keep finding new pieces thanks to this social media age of constant MARCH 2016 129
This page: The Paola gown’s skirt has flower appliques that were made by machine, then hand cut and applied to the base fabric, with sequins sewn to the dress in a linear motif. Opposite page, clockwise from left: The Anita dress;
chronicling, when everyone has looked through party pictures and realized they’ve trotted out the same outfit one too many times. Luckily, two designers heard the call, as if millions of voices cried out: “Chic! Well made! Reasonably priced!” Babi and Sachin Ahluwalia, creators of the label Sachin & Babi, have been able to hit the trifecta over and over again, with their strong focus on evening and special-occasion dresses and separates. In fact, the Ahluwalias have become especially well-known and applauded for their evening separates that can be mixed and matched. “Because the modern girl’s wardrobe is adapting to the necessity of the seperates, we find the clientele is embracing them,” the two agreed. These two are designers who burst with ideas, with energizing outcomes. When asked about the inspiration behind their latest collection, they replied “classic Latin silhouettes, rich jewel tones, Flamenco flair, and a recent trip to Valencia and Granada.” The result: ruffled tiered flamingo maxiskirts, modern boleros, and their signature handwork which embodies an Old World elegance and charm, balanced by the ease and wearability that the modern girl demands. During this year’s New York Fashion Week, they presented their Fall 2016 collection of evening wear at 632 on Hudson, a house decorated with an impressive collection of antiques and artifacts. The collection was exhibited in an intimate setting with models positioned on different floors: draped across a couch, perched on an antique bed, or leaning over a balustrade. The presentation attracted not only the usual American 130 QUEST
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the Julieta tee; the Jasmina tank.
MONTH 2013 00
This page: The Ceclia tank is a modern way to wear the intricate and rich floral threadwork in not only formal but also casual settings. Opposite page: Pairing the Enza tank with the Kasandra skirt is just one of a vast range of possibilities that Sachin & Babi’s seperates offer to successfully
fashion glossies like WWD and Vogue, but French publications like Madame Figaro gave their stamps of approval as well, proving that the brand translates very well across many different continents. Alongside pieces like the vibrant multi-tiered maxiskirts in a floral print, there were plenty of beautiful gowns, from a voluminous emerald green velvet and taffeta one to a simple black velvet strapless column. The Latin inspiration was abundently clear. Intricate embroidery work and embellishments sprinkled the looks, like those on a black lace applique gown with a plunging neckline and a ruby red cummerbund. The outfits showed expert craftsmanship combined with modern wit. Overall, the collection offered a fresh and youthful approach to eveningwear—at just the right price point. Every season, the two go through a similar process in creating their collections: “Starting from the embroideries, we move on to the fabrics—fabric is the birth of the design, allowing us to conceptualize the silhouette—then we add elements of things that have inspired us in between the collections, like art, music, or prints.” When asked about their current favorite material, they respond that they’re “obsessing over modern lace at the moment.” Sachin and Babi Ahluwalia know how to combine the best of modern silhouettes with classic tailoring, and create looks that appeal to any woman looking for style and exquisite fit. And what does the future hold for the brand? “We’re exploring the possibilities of bridal.” There might be some chic, well made, and affordable wedding dresses on the horizon—keep a look out. u
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mix and match pieces from their collections.
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A CLASSIC MAN OF STYLE: JOHN GALLIHER I soon learned that he’d led a HE WAS A most unusual pervery cosmopolitan life since the son, the likes of whom I’d never 1940s in London, Paris, New met before. Although no strangYork, and, early on, in Los Aner to the world known as “Socigeles. He’d met and known the ety” in the 20th century, he was rich and the famous of that era, the kind of character you’d read now many historical names, and about in a novel but never think he seemed to have made his way to know or meet. And yet, in his not in any profession, but in the way, he was a simple man. business of being a “good man to I met him at a dinner party at have around.” Billy McCarty-Cooper’s house He was known to his multitude in Los Angeles. A friend of mine of friends down through the dehad told me beforehand that I cades as Johnny, Johnny Galliher was about to meet the chicest (pronounced Gal-yer), or Johnny man I’d ever meet. “And why?” G. He possessed a unique comI asked. “You’ll see,” he said. bination of characteristics and This was about 30 years qualities—easily said but rarely ago. At the time, he was in his found in life—and therefore difmid-sixties, with a full head of Above: John Galliher and Nan Kempner at the Guggenheim ficult to define. An old friend of white hair (which someone told Museum in New York for a gala dinner and auction benefiting the more than 50 years, Tony Hail, me he brushed 50 times each American Friends of the Claude Pompidou Foundation, 2002. the San Francisco interior demorning). He was “old” to these much younger eyes: small-framed, with a soft-spoken, quiet pres- signer, put it most succinctly: “He was fun to know.” It didn’t appear that he ever had a real profession or even ence, and very bright eyes. I had never heard of him before that night—and I’ve always a job. Nor was it believed that he was independently wealthy, heard of him since. The word “chic” is over-used and I’m not though perhaps a small trust provided income. He was a charmer sure what it means. Though John, or Johnny, as everyone liked in his own way. He was naturally gentlemanly, curious, and the to call him, defined it in his completeness: always a gent, well- kind who if he didn’t have something nice to say (or amusing, turned-out, never calling attention to himself, a good ear, a which might be more like it with him) said nothing at all. As a good laugh, a bit of mystery, and a good life well-lived, appar- very agreeable (a favorite word of his) man, he navigated skillfulently doing nothing but being “chic.” Therein lies the mystery; ly for more than 60 years through a world where gossip, bitchery, and malice could be commonplace and even lethal. he was sensible. He was born in Washington, D.C., on May 24, 1914, the secWe became friends in the years following that dinner, and when I moved back to New York he’d occasionally invite me to ond son of five children. The Gallihers were a prosperous fama small lunch or dinner he’d have at his apartment on East 69th ily of Anglo extraction, although never one of great wealth and Street (and later on 63rd), where he’d gather six friends for a worldliness like those the second son would go on to swim with. The boy grew up to be handsome, about five-nine—an average simple meal (cooked himself) and a lot of talk, often amusing. 134 QUEST
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BY DAVID PATRICK COLUMBIA
H A N S W I L D / T I M E & L I F E PI C T U R E S , F RO M T H I E R RY CO U D E RT ’ S C A F É S O C I E T Y ( F L A M M A R I O N )
Above: Elsa Schiaparelli, pictured at her home in Paris in 1947, was introduced to Galliher by mutual friend Hubert de Givenchy. Not only was she one of the many storied names among Galliher’s roster of international acquaintances, but the two were live-in lovers who enjoyed a romantic affair. MARCH 2016 135
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height for his generation—lean, but sinewy, with a thick head of He liked people, never obviously pushed himself on them, and curly black hair and bright blue eyes. As a very young man, in accepted them on their terms. He did not suffer fools. If there the early 1930s, his path in life appears to have opened to him were aspects to a person that were cruel or vulgar, he removed when he became a favorite of a leading Washington hostess, min- himself, quietly and quickly—and resolutely. He was not one to describe anyone as a “friend,” although as ing heiress Evalyn Walsh McLean, and her daughter, also named it was with many who knew him and considered it a friendship, Evalyn, who was seven years his junior. After high school and then college at Lehigh University, John John saw Garbo many times after that first meeting, though rarejoined the navy, and served in Europe during the Second World ly by seeking her out. Garbo, he knew—as did everyone who War as a lieutenant. After the war he moved to Los Angeles, came in contact with her—was highly unavailable to anyone who where he shared a house in Beverly Hills with Diana Barry- had any expectations of her presence, or company. There was the time when both John and Garbo were guests more, whom he had met through Evalyn McLean. Diana was the on producer Sam Spiegel’s glamorous daughter of the yacht in the Mediterranean great star of the stage and in the 1950s. It so happened screen John Barrymore and both he and she were early New York socialite Michael risers, and the first thing Strange (a nom de plume both did was to take a swim for Blanche Oelrichs). before breakfast. They’d Now in his late twenties, bump into each other leavout in the great big world, ing their respective cabins John’s path in life had befor the swim. Only a nod gun to show direction. It was exchanged, however— seemed to have risen out of never a word. Garbo liked natural interest and curiosito swim in the nude, somety, as if swept up by Dame thing that John blithely Fortune. His inherent amignored for her sake, swimbition and self-discipline ming just far enough ahead would propel him into the of her. When finished, both high life of Hollywood, would return to their cabins New York, Paris, and Lonwithout uttering a word. don, as a member, an associLater at breakfast, howate, a friend, and—presumever, with everyone present, ably at times—as a lover. they’d exchange their first While living in Beverly words. “Good Morning, Hills, one day John ran into Miss G.” “Good Morning, Lady Mendl, Elsie de Wolfe, Mr. G.” It was the beginwhom he had met before. ning of a long “friendship” Learning that he was “new” always on her terms and calin town, she asked if there endar. was anyone he’d like to In the late 1940s, John meet. He couldn’t think of went to work for the Maranybody, since he’d already Above: Galliher, whose handsome looks included “a thick head of curly black hair shall Plan in Paris and kept known so many. Then he and bright blue eyes,” pictured at the Sun and Surf Club in Palm Beach, 1939. an apartment on the rue thought of Garbo, who had recently retired from the screen and was already a legend. “That de Bourgogne that was said to be a gift of retail heir Donald Bloomingdale, believed to be another of John’s conquests. He might be difficult,” John later recalled Lady Mendl saying. A few days later, he got a call from Lady Mendl’s secretary: worked briefly with his friend Hubert de Givenchy at the beLady Mendl was inviting him for cocktails the following Tuesday ginning of the designer’s career. Givenchy did not speak English at 5:30. It happened that he already had a previous engagement, and John spoke French beautifully. With his linguistic and social as he told the secretary, expressing his regrets. “Break it,” she talents he served as a “liaison” for the rising couturier. After 15 years of living in Paris, in the 1960s he bought a house emphatically advised, sotto voce. So he did. On the following Tuesday at the appointed time, in London in Chester Square. It is said that in the following years he went over to Lady Mendl’s Mediterranean villa, After All, he bought and re-did several houses, making a tidy sum from and found waiting Lady Mendl, Cary Grant, Marlene Dietrich, the business. His social sphere was replete with names. Both Noel Coward and Cole Porter were close friends and influenced and…Greta Garbo. His relationship with Garbo is emblematic of John’s social ca- his style. He was often entertained by Barbara Hutton and her reer—and it was a career, a very successful one. All kinds of peo- cousin Jimmy Donahue; with Fulco Verdura; with Elsa Schiapaple were attracted to him. His charm was his intelligent evenness. relli (with whom it was said he had a long affair); with Arturo
F RO M T H I E R RY CO U D E RT ’ S C A F É S O C I E T Y ( F L A M M A R I O N )
F R A N Ç O I S KO LL A R / M I N I S T È R E D E L A C U LT U R E / M É D I AT H È Q U E D U PAT R I M O I N E ,
and Patricia Lopez-Wilshaw; as well as with Alexis de Rede, Aly plastic-covered cloth. After each course, the table was cleared by Khan, Rita Hayworth, Daisy Fellowes, Porfirio Rubirosa, and the loading everything into the basket, which was eventually carried Duke and Duchess of Windsor. Not only charming, handsome, into the kitchen when guests left. There was always something of a mystery about him finanand fun to be with, he also had a great reputation as a lover—of both sexes. More than a few reveled in repeating Diana Barry- cially because while he lived well, if “modestly,” he wasn’t an more’s famous description of him as being “well-bred and well… “income earner,” and if there was an inheritance, it wasn’t notable. He lived alone, and comfortably, yet somewhat frugally everything else.” He loved to play cards, and it was at the card table that a when I knew him in the last 20 years of his life. He was invitbit of a different side of Johnny Galliher came out. He played ed out often because he was good company. In those years he to win. This man, who’d made an art of living a life unfettered spent a few weeks each winter in Gstaad, guest of his friends by temperament, hated to lose. The games were most often Bill and Pat Buckley, as well as in Lyford Cay with Sybilla Clark, or in Palm Beach or Califorplayed for money, but it was nia with other friends who never a question of stakes. had houses there. He could get very angry, In the last years of his life, openly, at his partner if he now in his eighties, he was thought they’d played an esoften seen around New York pecially bad hand. His temattending the theater, movper at losing was so out of ies, opera, and ballet. Three character that friends easily times a week he walked— sloughed it off with a laugh, three and a half miles each albeit sometimes feigned, way, always at a brisk pace— for they always remained from his apartment on East cowed by it. 63rd Street to the pool in the In the mid-1980s, having Asphalt Green on York and given up his Paris apart92nd Street, for an hour’s ment, he also sold his propswim. To the world, it seemed erties in London and consolthat although age had come idated his life to a small but to John Galliher, the levity of pleasantly appointed apartyouth remained his. It was a ment on East 69th Street off very orderly life, active and Madison Avenue. He often organized right down to his visited his friend Billy Mcweekly walks. So it came as Carty-Cooper in California a surprise to those who knew until Billy’s premature death him to learn that just before from AIDS in 1991. He conChristmas, in 2003, he had tinued to travel frequently to been gravely ill and died. visit friends in Europe or on After his death, he surthe Mediterranean. prised many by leaving beIt was a world of formality: quests totaling almost $2 rules, etiquette, and pleasure. million. He left each of 35 Anything goes, but watch Above: Lady Mendl, or Elsie de Wolfe, who introduced Galliher to Greta Garbo friends from all walks of life yourself. To its real connoisin Hollywood, seen in her salon in a photograph by François Kollar, 1939. $25,000 tax-free. Many of seurs, the life was a talent. John Galliher possessed that talent. He’d had, over time, a cou- those friends were people who could use—indeed, needed—that ple of close associations (or boyfriends, in today’s parlance) and gift, even though they never told him. The remainder of his estate was well provided for. But he was always his own man, at the was divided among City Harvest, God’s Love We Deliver, and the Gay Men’s Health Crisis. center of his world. His small fortune was also a surprise for obvious reasons. The His friend, the novelist and journalist Billy Norwich, writing about him in 2001 in the New York Times, concluded that he was mystery remains, even in memory. I concluded with a serious “the favorite host for all seasons in New York. Everyone wants to guess that the secret was: he did have a profession—he had been go back to Johnny’s…for lunch or dinner or Saturday-afternoon a spy, or more specifically, worked in intelligence in those days after the war and perhaps much longer. I’d come to that conclusion card parties. (Gin, not bridge.)” His style of entertaining at meals, Norwich reported, followed because of the wide variety of acquaintances he kept up with, a trend started by Louis XIV for a round table of six, where the ranging from movie stars and tycoons to European politicians, Sun King would dismiss his servants so that everyone could talk dukes, and duchesses, to authors, to artists, as well as not a few freely and without interruption. John had no servants but instead ordinary working stiffs. He was comfortable with all—and all invented a convenient replacement: a laundry basket lined with a with him—because he was, above all, a gentleman. u MARCH 2016 137
KEEPING IT FASHIONABLY FIT BY DANIEL CAPPELLO
CO U RTE S Y O F J A M E S P E R S E
Opposite page, from top: James Perse’s Yosemite U-neck sports bra ($55) with Yosemite skinny stripe yoga pant ($105); Yosemite graphic V-neck tee ($75). This page: James Perse’s knit mesh hooded pullover ($250) and stretch jersey long leggings ($68).
SEVERAL—BUT NOT SO MANY—years ago, two women sat down to a casual weekend lunch in the West Village. One of the ladies, an insider at the house of Chanel, took one look at the other, an executive in the pharmaceutical industry, and exclaimed in a semi-joking (but pointed) outburst, “What’s with that outfit? You look like a soccer mom from New Jersey.” The fashion faux MARCH 2016 139
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CO U RTE S Y O F V E LV E T BY G R A H A M & S P E N C E R
pas? A much-too-capricious choice of sweatpants—barely passable for the street, more appropriate for the gym. “L.A., maaaybe. New York, no.” This was the early- to mid-aughts, and though it had been several years since “Sex and the City” held its uncompromising grip on city girls, everyone still carried a little Carrie Bradshaw close at heart. At her most casual, Carrie might very well dress down, but that meant dressing down à la Dolce (& Gabbana). She wouldn’t just throw on a pair sweats; she’d probably make more of an effort—say, fitted cargo pants (it was the early aughts, after all) and a pair of Manolos, perhaps. Adidas? Verboten. At the time, Ms. Bradshaw and the aforementioned Mademoiselle Chanel might never have guessed that the pharma exec could be so prescient. But today, the chic set is lining up (or getting online) for a stylish collection of activewear by Stella McCartney for Adidas. Manolos are nice—and still have their place—but for the woman who’s juggling SoulCycle and Gyrotonics classes, coffee meetings with the steering committee of an arts board, picking up the kids from school and dropping them at music practice, then ducking by the Diamond District to oversee production of an eponymous jewelry line, Stella McCartney’s neoprene and mesh performance sneakers, in a fetching combo of radiant orange, spring pink, and buttercup yellow (on shopbop. com), are much kinder on the feet—and don’t forsake a sense of fashion. They pair perfectly with, say, McCartney’s high-performance snakeskin-print “Techfit” running pants, too. No slouch, these pants are made to do the job when you’re down and dirty at the gym—Climalite fabric sweeps sweat away from the skin while that Techfit technology focuses on muscles to generate maximum power and endurance—but the deliberately long, vertical lines, broken-up patterns, and figure-enhancing fit also make you look good while showing off the fruits of those workouts. The “athleisure” movement, as it’s come to be known, seems as if it’s here to stay. What began as a trend of women staying in their Lululemon yoga pants as they darted about town slowly grew into an actual preference for those pants, even when yoga wasn’t on the schedule. You could then dress it up a bit: throw on an understated but obviously expensive cashmere sweater, grab your monogrammed Goyard bag, and go. For better or worse, highbrow dressing-down has opened up a sea of options for women who don’t want to sacrifice style for comfort, or who don’t want to waste time changing from gymready to daytime-appropriate; a gal’s got enough on her plate as it is. And if clothes are meant to project an image to the world, “luxuriant” workout wear might very well be an empowering choice: you feel great in form-fitting (often flattering) fabrics, while proclaiming that your time is better spent taking FaceThis page: The Asera top ($147) and Toni skinny jean ($170) from Velvet by Graham & Spencer (above); the Helga top ($99) and Fabiola cozy jersey pant ($128), also from the spring collection by Los Angeles–based Velvet by Graham & Spencer (below). Opposite page: Spring offerings from the activewear line Vimmia include, clockwise from left, the Wind jacket ($132); the Adagio legging in night and ash ($129); and the Demi tank ($101). MARCH 2016 141
Time conference calls than it is fretting over power suits, skirt lengths, or crease lines on ironed sleeves. Brands that have always embraced laid-back luxuriousness are laughing all the way to Madison Avenue. Take, for instance, Velvet by Graham & Spencer. What Jenny Graham and Toni Spencer started in 1997 as a fashion-forward T-shirt company, meant to embody the easygoing luxe of Los Angeles style, has evolved into a full-collection label recognized for meticulously crafted, clean, and “elevated” staples. The company just opened a New York storefront on Madison Avenue, in the heart of one of Manhattan’s most staunchly styled neighborhoods. Shoppers might have once bristled at a $100 price tag for a simple cotton V-neck, but have you ever slipped into the softness of a James Perse tee? Today it’s the price one pays for a certain fit and feel. Perse, who was led to fashion by way of sports (it was the hunt for a perfectly constructed baseball cap), might have launched his company in 1994 with high-quality T-shirts, but the brand has evolved to encompass men’s, women’s, and dedicated activewear lines. His multi-level storefront on Madison and 84th is as much an institution for Upper East Siders as are the Met and the Guggenheim, both in walking (or jogging) distance. Meanwhile, “fashion activewear” is growing as the sole raison d’être of emerging brands, like Vimmia, which promises to “unleash your life force.” Tory Burch, who’s admitted that “nobody gets dressed anymore” (in spite of her own continued sartorial sharpness), has also recently reconsidered the lifeblood of her fashion label with the introduction of Tory Sport, a line of high-performance wear grouped around specific sports and the more nebulous “coming and going” category—a nod to the reality that ladies don’t lunch so much anymore because they’re too crunched for time in the to-and-fro of life: multi-tasking, child-rearing, incomeearning. These clothes are made to perform—if you’re really going to work on that backhand—and, probably more importantly, make you look good, too. But is sportswear real fashion? Can it truly ever replace the way a two-piece Oscar de la Renta tweed suit once made you feel, or a pair of Chanel heels, even if your business lunch is with a determinedly casual Silicon Valley hedge-funder? Just remember that women once felt they shouldn’t—couldn’t—wear a skirt much higher than the ankle, or that they needed shoulder pads and double-breasted jackets for confidence. Keeping up with fashion can be a workout of its own. So why not have the cutest mesh sneakers for the job? u This page: Lululemon Athletica offers layering staples for spring, ($58), Align pant ($98), and &go Swing trench ($258). Opposite page, clockwise from bottom left: Spring looks from Tory Sport include the performance cashmere tennis sweater ($325), lasereyelet tennis dress ($495), and performance piqué sleeveless polo ($95); cashmere crewneck sweater ($285), pleated jersey skirt ($110), and reflective sneaker ($195); and hooded running vest ($200), graphic cotton long-sleeve T-shirt ($85), chevron full-length legging ($125), and printed slide ($150).
CO U RTE S Y O F LU LU LE M O N AT H LE T I C A
including, from top, the Get Down bra ($54), Make a Move short
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THE MORESCHIS GROW GREAT
“TO DESCRIBE THE Moreschi style,” writes author Cristina Morozzi in The Italian Art of Shoemaking (Rizzoli), a publication depicting the Moreschi footwear family, “it is necessary to study the pre-boxed shoes leaving the production line, and to get to know them.” The passage that contains these words runs for several pages of tight text, one of the early clues that, at least within the world of visual fashion tomes, this is intended to be a significant and weighty work. Other clues: There are entire sections dedicated the origins of leathers and animal hides, and (in an act of incredible self promotion or confidence) the book includes what feel like press releases on items such as its bottled water and limited-edition bikes. And then there is its title: The Italian Art of Shoemaking: Works of Art In Leather. But for its first half (and, of course, for the beauty of the shoes), it comes close to justifying all that. Accompanied by family photographs and the artful shots of Giò Martorana, Morozzi 144 QUEST
introduces us to a young Mario Moreschi, a textile worker who took no shortscuts when it came to crafting his footwear. Mostly, the language describing the production is ludicrously ornate—“Nothing is left to chance; rather, every step is the fruit of a tradition cultivated with passion and skill.” Likewise, there are some lengthy detours about the technical aspects of shoemaking. Still, if you really expected a tour around the house of Moreschi today without obsessive enthusiasms and extravagances, this is probably not the book or shoe brand for you. Though some passages are unbearably obtuse (and feel lost in the translation from Italian to English), for the most part Morozzi tells—and tells well—a compelling tale of Mario Moreschi, a self-taught shoemaker with ambitions to become one of Italy’s best artisans. Also in these years are surprises. Through conversations with Mario’s son GianBeppe, we learn that Mario passed away before he could see his company—then named Morres—
CO U RTE S Y O F R I Z Z O L I
BY ALEX TRAVERS
This page: Prototypes for Moreschi footwear. Opposite page: A Moreschi shoe sits on a Singer sewing machine.
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prosper. In a moment that is both distressing and heartfelt, GianBeppe remembers his father’s passing. “He died suddenly on Saturday, November 9, 1957, in my arms. His heart had given way under the strain of years of hard work, stress, and worry.” Throughout the book, GianBeppe speaks fondly of his family life, and how he fit in. He recalls shadowing his father when he was 20, helping with the sales, and lists off his memories of Mario to the author. “He remembers his father’s entrepreneurialism, his firm commitment to quality production, the successes, and the strains. He remembers him sitting at his desk, head in hands, thinking of work, of commitments undertaken, and of how to pay his employees at the end of the month.” As the pages turn, and time passes, you can really feel GianBeppe searching for new ways to honor his father, working out innovative strategies to keep the business going while still abiding by his father’s morals. “He left to his sons a small company,” GianBeppe declares, “but one that was theirs only, a respected name, and a product that was gaining recognition.” Soon after his father’s passing, a man named Angelo Gabriele Fronzoni enters GianBeppe’s life. The two meet at the Vigevano International Shoe Fair, and Fronzoni suggests that GiThis page: Music was always a part of Mario Moreschi’s life. He delighted in playing the piano and he even conducted the Moreschi orchestra; The Italian Art of Shoemaking: Works of Art In Leather (Rizzoli). Opposite page: Images from the Moreschi factory today; the Moreschis (from left to right): Francesco, GianBeppe, Mario, and Stefano.
anBeppe rename Morres. (What is your name?” asks Fronzoni. “Moreschi,” GianBeppe answers. “That will be your new name.”) But, Fronzoni advises, changing the business name is not enough to spur sales and help international markets identify the brand. So he comes up with an idea for a logo, a figurative “M” formed by two men’s shoes placed side by side. “Black on white,” recalls GianBeppe, “because, as [Fronzoni] stated, ‘they were the truest, most indelible colors.’” Morozzi, the author, is at her very best when she conveys what is was for GianBeppe, now in his eighties, to be a young man searching for ways to honor his father’s name. She also writes as though she has a clear sense that GianBeppe, no matter the hurdles, would provide for his family and his workers and artisans. And that’s exactly how she should write, for one of the many reasons the Moreschi name lives on today is because of GianBeppe’s faith and loyalty. Later in the book, we meet GianBeppe’s son Mario, who manages the company today with his brothers, Stefano and Francesco. Like his brothers, Mario has a deep appreciation for the shoes his grandfather created. But the book’s true beauty is surely the way it captures the bond of this family—“I feel like a child of leather and skin,” says Mario. “I still feel excitement whenever I enter the safe where we age the leather.” u
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THE YOUNG & THE GUEST LIST
This page: Mark Gilbertson, thanking James de Givenchy and Alex Bolen on behalf of MCNY. 156 QUEST
PAT R I C K M C M U LL A N
BY ELIZABETH QUINN BROWN
Clockwise, from left: Lauren Remington Platt; Lara Meiland-Shaw and Zani Gugelmann; Bradley Livingstone and Taylor Black; Melissa Menard and Andrea Ruiz; Nicky Hilton, Peter Copping, and Amy Fine Collins, at the Museum of the City of New York’s Winter Ball on February 23.
MCNY’S WINTER BALL AT THE PIERRE HOTEL ON FEBRUARY 23, the Director’s Council of the Museum of the City of New York—comprised of Sara Ayres, Mark Gilbertson, Celerie Kemble, Nicole Hanley Mellon, Calvert Moore, Sloan Overstrom, Allison Rockefeller, Tara Rockefeller, Andrew Roosevelt, Alexia Hamm Ryan, and Burwell Schorr—hosted its Winter Ball, which was sponsored by Oscar de la Renta and Taffin by James de Givenchy. The Pierre Hotel was brimming with gowns—a rainbow of collections from Oscar de la
Renta—as guests waltzed from cocktails to dinner to dancing. Our table was a delight, with friends (and friends of friends) from Greenwich Academy and Phillips Exeter Academy and Trinity College, including Alejandro Canet, Cody Kittle, Todd Ostrow, Alexandra Porter, and Charlotte Ross (who dazzled in a pink confection with black lace). We chatted about traveling to Eastern Europe and the Oscars, which are sure to pale in comparison to the glamour and glitz of this affair... MARCH 2016 157
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From left: Arielle Patrick and Martin Ambrose; Cotton Codinha and Frances Denny; Taylor Roach and Katie Parker-Magyar; Cornelia Wolcott, Caitlyn Byrnes, and Carrie Wolcott, at the
▼ POPPING KRUG IN GREENWICH VILLAGE
“IF I TOLD YOU THINGS I did before, told you how I used
OLIVIER KRUG WELCOMED guests—including Leah Bourne, Carson Griffith, Derek Hester, Julia Loomis, and Todd Plummer—to 47 West 9th Street (or, the “Krug House”) on January 21, where we gathered to toast the release of Krug 2002. The evening included a performance by Jon Batiste—the talent who serves as musical director of The Late Show with Stephen Colbert (and shares my enthusiasm for sushi at Takahachi in the East Village)—and, also, champagne. Plus, there was a suite of sweets by chef Dominique Ansel, because Krug is king and so are things like cronuts.
to be, would you go along with someone like me? If you knew my story word for word, had all of my history, would you go along with someone like me?” is the opening for “Young Folks” by Peter Bjorn and John. And, like, yes. I would go along with someone like Martin Ambrose, Kipton Cronkite, Jenny Cuminale, Dana Greechan, Alden Hawkins, Samu el Leeds, and Katie Parker-Magyar—members of the committee that hosted the American Folk Art Museum’s “Young Folk” event at Bar Americano on January 21.
From left: Jordan Greene and Leah Bourne; Jon Batiste; Seth Tringale and Julia Loomis, toasted the release of Krug 2002 at the Krug House on January 21. 158 QUEST
PAT R I C KM C M U LL A N . CO M
▲ “YOUNG FOLK” AT BAR AMERICANO
B FA . CO M ; G R E G S C A F F I D I
American Folk Art Museum’s “Young Folk” event on January 21.
Clockwise from left: Zach Weiss; Kate Krone and Jasmine Lobe, at the pre–New York Fashion Week: Men’s party at the Gordon Bar at 60 Thompson on January 28. Clockwise from right: Timo Weiland and Carson Griffith; Noa Santos and Ross Matsubara; Jihad Harkeen and Gabriel Liberty, at the afterparty for Timo Weiland’s Fall 2016 show at the Gordon Bar at 60 Thompson on February 4.
NEW YORK FASHION WEEK: MEN’S AT THE GORDON BAR AT 60 THOMPSON
K I R S T E N C H I L S T RO M
NEW YORK FASHION WEEK: MEN’S —which hosted its
sophomore season from February 1 to February 4—was fêted with festivities at the Gordon Bar at 60 Thompson. On January 28, Zach Weiss invited Ali Martillotta and me to his pre–New York Fashion Week: Men’s, where we cheers’d with margs and chatted with Arielle Patrick. And on February 4, Timo Weiland and his team of Alan Eckstein and Donna
Kang invited their nearest and dearest—and most fashionable—to celebrate their Fall 2016 show, which featured their men’s collection as well as their women’s collection. Spotted at the scene (a mix of downtown cool and uptown chic): Le Call, Warren Cathcart, Brad Faulkner, Jihad Harkeem, Ross Matsubara, Lauren Painter, Noa Santos, Caroline Smith, and Jonah Tulis. u MARCH 2016 159
SNAPSHOT
This page, clockwise from top left: Anna Bates, a maid in Downton Abbey; the Dowager Countess, as played by Dame Maggie Smith; a wedding scene; the Crawley sisters; Matthew Crawley and Robert Crawley, Earl of Grantham.
GOING OUT IN STYLE B Y L I LY H O A G L A N D DOWNTON ABBEY, the cultural juggernaut that had fans proclaiming one another “a total Mary” (a compliment, depending) or “such a Barrow” (an insult, always), has begun its sixth and final season. Taking its characters from the Edwardian era through the Roaring Twenties, the show bloomed with the accompanying fashion evolutions and revolutions. From corsets with tight laces to short hems and drop waists, the passing years’ trends could be found within all the impeccable period outfits. The characters’ dress habits were also used to illustrate one of the show’s themes: as modernity approached, society relaxed to more casual standards. This year sees them dining in black tie rather than white, something that previously would have been 160 QUEST
unthinkable, as exemplified by one of the Dowager Countess’ best lines from the third season: When Matthew was forced through circumstance to show up in black tie, she scathingly remarked, “I’m so sorry, I thought you were a waiter.” (If only that were the worst thing to happen to Matthew that season...) Even if the frocks upstairs got the most attention, the uniforms downstairs were chosen and crafted with the same attention, cross-stich detailing, and embroidery. There’s a reason the costume team won an Emmy. With the series finale on the horizon, the audience can be sure that the characters may have some tricks and plot twists up their sleeves—but also that said sleeves will be perfectly tailored. u
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