FALL 2016 MAGAZINE
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Where park meets the ocean. Eighty Seven Park is a selection of private, oceanfront homes designed to seamlessly embrace both park and ocean. Located in Miami Beachâ€™s newest neighborhood, it is the first residential project by Pritzker Prizewinning architect Renzo Piano in the USA. Beachfront Sales Gallery now open Located at the end of North Shore Park on 87th Street and Collins Avenue By appointment only: 844 369 2670 eightysevenpark.com
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This project is being developed by 8701 Collins Development, LLC, a Delaware limited liability company (“Developer”), which has a limited right to use the trademarked names and logos of Terra Group and Bizzi & Partners Development. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by Terra Group and Bizzi Partners & Development and you agree to look solely to Developer (and not to Terra Group and Bizzi & Partners Development and/or each of their affiliates) with respect to any and all matters relating to the sales and marketing and/or development of the project. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans, and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for illustrative purposes. EQUAL HOUSING OPPORTUNITY.
IWC Portofino Automatic Moon Phase 37. Ref. 4590: As early as the 1950s and 60s, the stars of the silver screen fell in love with a small town on the Italian Riviera that was soon to become world-famous: Por tof ino. T he
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Graff multi-shaped diamond and emerald Butterfly necklace; Tiffany & Co. diamond and platinum Cobblestone band ring.
MATTER OF STYLE What to see, where to go and what to buy this Fall.
IN DEPTH Lily Kwong discusses her latest labor of love—a new podcast that dares to ask women more.
A GLOBAL FIGHT Team Rubicon calls upon veteran volunteers to aid those impacted by natural disasters.
CULT SENSATION Aquazzura’s Edgardo Osorio talks confidence, comfort and the coveted sandals we can’t get enough of. A NEW PATH Vogue Mexico and Latin America’s Karla Martinez de Salas gives us a peek behind the pages.
HIGHER CALLING A Marine Corps veteran takes action off the field, improving the lives of thousands of servicemen.
STAR OF INDIA Nita Ambani is a philanthropist at home and a cultural ambassador abroad.
HARLEM REJOICES Chef Marcus Samuelsson cooks up style and savor in his latest release, “The Red Rooster Cookbook.”
CAUSE & EFFECT With philanthropy in her DNA, Amoryn Engel has become a fundraising matchmaker.
IT’S A MUST Temptations run high this Fall, with a season loaded with covetable accessories for men and women.
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PHOTO © LANDON NORDEMAN
Elie Saab, Paris, 2016, from Landon Nordeman’s “Out of Fashion.”
HIGH TIME Facebook exec Matt Jacobson puts an emphasis on passion when curating the timepieces he covets most.
NEW ORDER A revolution is happening in menswear, with a fleet of new designers at the helm of some of the most storied houses.
BURN NOTICE Diptyque returns to its roots with a new limited-edition fabric collection.
TIE ONE ON Designer Coco Brun shares a brief history of scarves, and reveals why they’re making a comeback.
SNEAKER ENVY Daniel Scheffler investigates the reach of sneaker culture in designer fashion.
AUTUMN LEAVES From ballet’s center stage to fashion’s premier runways, these titles are page-turners.
THE ART OF INVESTING Digital entrepreneur Madelaine D'Angelo discusses how technology will change collecting.
ALL ABOUT YVES The Seattle Art Museum documents the revolutionary career of fashion legend Yves Saint Laurent.
SURFIN’ SAFARI Taschen’s Jim Heimann opens his home to reveal a cache of collections, and a lifelong pursuit.
MAN ON THE STREET Lynn Yaeger remembers her friend, legendary fashion photographer Bill Cunningham.
WORLD CHAMPION Italian luxury player Loro Piana continues its winning streak with chic performance sportswear. THE EVOLUTION OF PHILLIP LIM The designer continues to create essential looks that have found a new home at Bal Harbour. WORD UP This Fall, le mot juste is as essential to fashion as it is to the page, as we pair stylish words with graphic patterns.
SWAN SONG Find your own stage and surrender to the season’s most graceful silhouettes.
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Coco Brun’s vibrant textiles for her Paris-based design studio, Forget Me Not.
INSIDE OUT Photographer Landon Nordeman captures the runway—and all of the action
behind it—in a new book, “Out of Fashion.” PILE IT ON Whether it’s the perfect everyday bracelet, the once-in-a-lifetime necklace or the
future heirloom, these jewels will keep you entranced. TOO GOOD TO BE TRUE From brocade suits to pattern clashing, embellished everything to the most
minimal of slipdresses, get ready to embrace the best of Fall. THE EYE OF FASHION Dallas Contemporary inaugurates the first museum retrospective
for photographer Bruce Weber. SHE WEARS THE PANTS This Fall’s most important accessory is devil-may-care confidence, modeled
after artist Lee Krasner’s escape to the Hamptons with Jackson Pollock. Pair that with the season’s best pants and brogues and you’ve got this effortless look polished to perfection. THE FASHION FLOCK It’s hard to keep up with this roving brood of style setters, sirens and starlets.
ALICE WATERS The pioneering chef sits down with her daughter, Fanny Singer, to discuss their book collaboration, “My Pantry,” and Singer’s new fashion line.
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Model Anais Mali photographed by Victor Demarchelier and styled by Sarah Gore Reeves exclusively for Bal Harbour Magazine wearing an Alexander McQueen dress; Fendi fur coat; and Lulu Frost necklaces and a Kenneth Jay Lane choker, available at Neiman Marcus.
Sarah Harrelson with daughters India and Audrey.
PHOTO BY DOUG CASTANEDO
When we began plotting our Fall Issue, we were in agreement that something felt just a little bit different this season. The Fall collections—typically an ode to serious silhouettes and richer palettes—are looking a lot more playful. For our cover story, “Word Up,” Contributing Fashion Director Sarah Gore Reeves captured the spirit with model Anais Mali, who wears the best of these lighthearted looks— including pieces from Gucci, Valentino and Moschino that literally make a statement! The energy on that set, captured by Victor Demarchelier, was positively infectious. Stylist Seppe Tirabassi pillaged the collections for more of Fall’s feel-good looks, which Joshua Jordan photographed on model Flavia Lucini in “Too Good to Be True.” From Roberto Cavalli’s rock and roll suiting to Salvatore Ferragamo’s colorful capes, this is the season of self-expression. The Fall is also a big moment for culture, and we take a look at a few major exhibitions that are high on our agenda. First, at the Seattle Art Museum, a career retrospective of Yves Saint Laurent—who was the first fashion designer to be exhibited at The Metropolitan Museum of Art. Then, at the Dallas Contemporary, iconic lensman Bruce Weber is thrust into the spotlight with his first-ever fashion exhibition, culled from thousands of archival images. We also celebrate a few figures who help shape the way we experience such outings, like philanthropist Nita Ambani, who is almost single-handedly popularizing Indian art in the U.S., as well as the book editor Jim Heimann, whose own collections of ephemera—from surfing to vintage restaurant menus—have led to some of Taschen’s most popular books. And our own Sarah Gore Reeves was inspired by the ballet, creating an enchanted fashion shoot (with the help of a few young ballerinas) channeling Fall’s most romantic looks. This issue also calls out a few organizations that are wielding their influence to create substantial change in the world, including Jake Wood’s Team Rubicon and Zachary Iscol’s Headstrong Project, which are each dedicated to aiding and empowering military veterans. You won’t want to miss their incredible stories of courage, and perhaps you’ll even be moved to get involved yourself. Last but not least, we’d like to welcome a few of the beloved brands opening this Fall at Bal Harbour Shops: 3.1 Phillip Lim and Aquazzura—both of which you can read about in the issue—as well as IRO and Gianvito Rossi. And be sure to check out some of our longstanding residents, including Moncler, Fendi, Harry Winston, Kiton and Giuseppe Zanotti, all of whom have recently unveiled new boutiques. See you at Bal Harbour!
Publisher/Editor-in-Chief Sarah G. Harrelson
Bal Harbour Magazine Publisher/Creative Director Carlos A. Suarez Publisher/Editor-in-Chief Sarah G. Harrelson Executive Editor Tali Jaffe Minor Senior Editor Eric Newill Associate Art Director Adriana Sandoval Contributing Fashion Director Sarah Gore Reeves Market Editor Shannon Adducci Copy Editors Zoe Lintzeris, Magdalena Puniewska Contributing Writers Kate Betts, Laurie Brookins, Charlotte Burns, Leslie Camhi, Jackie Cooperman, Mark Ellwood, Rachel Felder, Emily Holt, Ted Loos, Jessica Michault, Degen Pener, Bee Shapiro, Alyssa Shelasky, Samantha Tse, Lynn Yaeger, Janelle Zara Contributing Photographers Nico Bustos, Anthony Cotsifas, Chris Craymer, Boo George, Fumie Hoppe, Dean Isidro, Russell James, James Macari, Richard Phibbs, Mikael Schulz Editorial Assistant Danielle Garcia Graphic Designer Deming Harriman Interns Camila Codino, Jessica Idarraga, Alexandra Oshinsky Accountant Judith Cabrera Chief Executive Officer Mike Batt
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Lynn Yaeger is a fashion writer who lives in New York City and has an imaginary apartment in Paris, where she spends all, or at least most, of her time visiting flea markets. She writes frequently for Vogue, T: The New York Times Style Magazine and Travel + Leisure. In this issue, she remembers her friend, the legendary photographer Bill Cunningham, who died in June (seen here). “How I will miss Bill at the shows,” she says “looking for the wildest interpretations of the new looks, and capturing them with his lens.” Bal Harbour magazine’s contributing fashion director, Sarah Gore Reeves, was born and raised in Manhattan. She began her career as a model for Calvin Klein and Ralph Lauren, but quickly learned that her creativity would be best put to use as a stylist. She has collaborated with photographers such as Patrick Demarchelier, Mark Seliger, Ruven Afanador and Norman Jean Roy. She is also the fashion director of Vogue Mexico and Latin America. For this issue, she styles cover model Anais Mali, as well as a ballet fantasia shot by photographer Kristian Schuller (seen here). "Denim or all white—I never get tired of the classics"
Ted Loos, who interviews philanthropist Nita Ambani in “Star of India,” writes regularly on culture for a dozen publications, including The New York Times, The Wall Street Journal and Cultured. He has been to more than 50 countries, including India, and serves as wine and spirits contributor to Travel + Leisure. In his spare time, he raises money and volunteers for Unlocking Futures, a New Yorkbased nonprofit that transforms the lives of at-risk youth. “I’m looking forward to the end of the man bun.”
Leslie Camhi writes about art, design and women’s issues for Vogue and The New York Times, among other publications. Her book “The Harem,” on the women of Yves Saint Laurent’s circle, will be published in 2017. “Speaking with Coco Brun definitely inspired me to up my scarf game. I dug through my closet and rediscovered a fringed, yellow silk number acquired decades ago.” “I'm looking forward to embracing blush pink as a Fall neutral, and the return of prep—penny loafers, cardigans and, yes, headbands.”
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YAEGER: SKIP BOLEN/GETTY IMAGES; CAMHI: ASHER CAMHI EL HANANI
We asked this issue’s writers and photographers which trend they are most looking forward to this Fall.
passionate home cook based in London. Most recently she has illustrated and co-authored with her mother, Alice Waters, the cookbook “My Pantry” (Pam Krauss Books). Since 2015, Singer has written on arts and culture for WSJ. Magazine, where she is a contributing editor. With fellow curator Mariah Nielson, Singer is launching a small clothing and design brand called Permanent Collection in September. Her forthcoming culinary memoir, “Home,” photographed by Brigitte Lacombe, will be published by Knopf in 2018. “I love following fashion but try to avoid investing too much in trends. I'm most looking forward to bundling up in one of the outerwear pieces from Permanent Collection.”
Photographer and painter Frances Tulk-Hart lives in New York City, where she is also in a band, Franco + Rossi Are Love Taps, with her husband. Her work often appears in The New York Times, Teen Vogue, Purple magazine and British Vogue. For her first assignment for Bal Harbour, the formerstylist-turned-photographer shot on location in the Hamptons. “This shoot was inspired by the free spirit of the artist Lee Krasner, who in 1945 moved to the Hamptons with her husband, Jackson Pollock,” she says. “At 4:45 in the morning, 30 minutes before call time, I stepped on a nail and the most spectacular storm opened up on us. As my producer on the shoot said, ‘The universe gave us lemons, and we made lemonade.’”
Michael Reynolds is
Seppe Tirabassi is a fashion stylist based in New York City. Born and raised in Portland, Maine, he began his career assisting stylist Ronald Burton and continues to work with Sarah Gore Reeves. Tirabassi has worked alongside photographers including Patrick Demarchelier, Giampaolo Sgura, Russell James and Gilles Bensimon. In this issue, Tirabassi brings us the best of the Fall collections in “Too Good to Be True.”
a New York-based creative director. Reynolds joined the editorial staff of Vogue in 1990 where he spent six years before joining House & Garden as a senior style editor. In the mid ’90s, Reynolds helped to conceive and launch Wallpaper*, where he continues as its American editor. He’s also a contributing editor to Architectural Digest and Cultured. For this issue he produced our fine jewelry feature, “Pile It On,” with photographer Anthony Cotsifas.
REYNOLDS: FRANÇOIS DISCHINGER
Fanny Singer is a writer, curator and
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Born and raised in Mexico City,
“I can’t wait to shop Demna Gvasalia’s breakthrough collection for Balenciaga.” Raised in the warm suburbs of California’s Bay Area, Nathan Ellis Perkel was exposed to photography at a young age via his passions for music and skateboarding. He has continued to keep a youthful perspective while shooting for Esquire, Louis Vuitton, Vanity Fair, Nike and BMW, among others. Perkel lives and works in New York City, where he captured designer Phillip Lim at his studio. “This Fall I’m looking forward to wearing more Gore-Tex!”
Christopher Mason is a
British-born New Yorker, journalist, photographer, Instagram addict (@christophermasonny) and the author of “The Art of the Steal: Inside the Sotheby’s-Christie’s Auction House Scandal.” For his first contribution to Bal Harbour, Mason sits down with Zachary Iscol and Jake Wood to learn about their respective foundations dedicated to veterans. “I’m not sure about which trends I’ll be embracing, but I’m really looking forward to watching Jon Stewart’s incisive coverage of the 2016 Presidential election on HBO!” 46 BAL HARBOUR
Wendy Vogel is a New York-based writer and curator. A former editor at Art in America, Modern Painters and Flash Art International, she contributes to Artforum, ArtReview, frieze, Rhizome and T: The New York Times Style Magazine, among other publications. For her first Bal Harbour assignment, she interviews photographer Landon Nordeman about his new book, “Out of Fashion.” “As a true ‘90s child, I’m looking forward to the return of the slip dress and jewel-toned velvet for Fall.”
VOGEL: KRISTINE LARSEN
now lives in Miami with her husband and children. In this issue, she caught up with Karla Martinez de Salas, the new editor-in-chief of Vogue Mexico and Latin America: “It was very interesting to see Mexico through Karla’s eyes.”
Saigon bag with strap, available in 11 colors
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PHOTO © MERT & MARCUS
Mert and Marcus’ Parallel Lines, 2006
ON THE EDGE
For 20 years, the provocative photographic duo Mert Alas and Marcus Piggott have been startling viewers with their highly charged images of powerful women, from Björk and Charlotte Rampling to models Adriana Lima and Gisele Bündchen. Now, to celebrate their two decades of collaboration, the London-based team has partnered with auction house Phillips for their first solo show and sale: “Mert and Marcus: Works 2001-2014” brings together 18 images that will be available for purchase after exhibitions in Phillips’ galleries in London and Paris, which run through November 16. Expect to encounter vibrant examples in both color and black-and-white of the pair’s edgy imagery. —Eric Newill
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This fall, Swiss luxury house Akris invites clients to “Create Your Aidentity” by customizing the brand’s iconic trapezoid Ai bag to their taste. Choose from 17 luscious hues to create a mix-and-match color riot, or go for one bold tonal statement. Akris also provides a selection of handles— including two in python—and metal details for the ultimate bespoke bag, which can be ordered in three sizes. Stop by the boutique to experience the full range of luxe options. —EN
Akris’ iconic Ai bag customized in orange and fuchsia
François Dischinger has made a career photographing buildings and interiors for magazines including Vanity Fair. His ability to capture the essence of the architect as well as the space keeps them coming back. This fall, Dischinger shows his work at a solo exhibition opening September 21 at New York’s Danziger Gallery. “Seeing my images blown up to full size changes the experience,” he says. “They take on a new identity.” —Kat Herriman
handle with care The Met’s Costume Institute shows off a dazzling array of pieces acquired over the last decade in “Masterworks: Unpacking Fashion,” opening November 8. From recent showstoppers by John Galliano and Raf Simons to sumptuous gowns from Jean-Philippe Worth, these objects will be displayed in packing crates and on pallets, as if they have just arrived at the museum. —EN
de Gournay’s L’Eden Paradiso on scenic paper
OFF THE WALL
A Viktor and Rolf Spring 2010 ballgown 50 BAL HARBOUR
Designer Adam Lippes brings his passion for interiors to his Fall/Winter collection with a standout collaboration with de Gournay. Lippes chose two of the British company’s iconic patterns, Wisteria and L'Eden, which can be found printed onto sweaters, embroidered on dresses and as the fabric for a kimono-style jacket and culottes. The collection is available at The Webster. —Tali Jaffe
PHOTO BY ANNA-MARIE KELLEN, © THE METROPOLITAN MUSEUM OF ART; © FRANÇOIS DISCHINGER
Mies van der Rohe’s Farnsworth House at dusk
The Porsche Carrera 906 and 918 Spyder zipping around the Swiss mountain passes of Andermatt.
Porsche, Ferrari and BMW Alpina are each releasing books this fall celebrating their iconic cars.
HIGH OCTANE PURSUITS
PHOTO BY ROBERT BENSON (NYBG); © STEFAN BOGNER (PORSCHE); COURTESY ASSOULINE (FERRARI)
This year marks the New York Botanical Garden's 125th anniversary—a milestone already heralded by the serendipitous summer blooming of the rare corpse flower. NYBG plans to celebrate by reviving their successful 2014 show “Kiku: The Art of the Japanese Garden” on October 8. “Kiku,” the Japanese word for “chrysanthemum,” can’t prepare you for the mountains of yellow, pink, white and purple blooms. Don’t wait too long, however: Flowers, even hardy ones, don’t last forever. —KH
The 1965 Alpina 1800 TI, featured in “OAL-BB 50: The Alpina Book.”
A trio of high-powered tomes spotlighting some of the auto industry’s most iconic models races into stores this fall. BMW celebrates its halfcentury association with performance specialist Alpina in “OAL-BB 50: The Alpina Book” (Delius Klasing Verlag). A legendary auto is lovingly restored, piece by rare piece, in “Ferrari: 275 GTB #08011” (Assouline). And it takes three books packaged together to tell the story of the “Porsche 918 Spyder” (Delius Klasing Verlag), a limited-edition Hypercar. Meanwhile, enthusiasts won’t want to miss the first annual Bal Harbour Shops Collectors Weekend, November 3-6. Alongside an exhibition of prized show cars and exotic new models, this exclusive four-day event will also highlight limited-edition watches from the Shops’ top luxury retailers. For more information, visit balharbourshops.com. —EN 52 BAL HARBOUR
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Edgardo Osorio in his Florence office; the Disco Thing sandal
CULT SENSATION This month, Aquazzura opens its new boutique in Bal Harbour. Designer Edgardo Osorio talks confidence, comfort and those coveted sandals. BY JESSICA MEHALIC LUCAS
He’s been designing shoes since he was 14, making it impossible for Edgardo Osorio to play favorites. “I love them all. They’re my babies,” says the Aquazzura founder and creative director—a.k.a. the man responsible for such cult hits as the Wild Thing fringed sandals and the lace-up Christy flats. After stints at Salvatore Ferragamo and Roberto Cavalli, the Colombian-born Osorio launched his Florence-based label five years ago. His goal: Create exceptional shoes to complement women’s hectic lives. “If you go to the office or an event and after 15 minutes you want to change your shoes, then your shoes are not okay,” he says. “It’s all about making a woman feel beautiful, comfortable and sexy.” To that end, the 30-year-old sketches his own designs and consults with footwear technicians to perfect the pitch of each shoe. Osorio favors luxuriously soft materials like suede that “caress the foot” and values feedback from real women via personal appearances and Instagram (he runs the brand’s account himself). “I need to know who my client is, where she goes, what she does,” he explains. “That way I can offer her something interesting and different, a shoe she doesn’t already have in her closet.” It’s not a surprise then that Aquazzura has skyrocketed globally, 56 BAL HARBOUR
including a brand-new store at Bal Harbour Shops on the heels of the pop-up shop’s success earlier this year. “Miami is a place that’s very close to my heart,” says Osorio, who grew up there and in London. The boutique’s design, like all the brand’s stores, is unique to the city, and 20 percent of the shoe selection will be exclusive. Expect to find many styles from the opulent From Russia With Love Fall collection; the fur pom-pom sandals and velvet platforms were inspired by a trip to Saint Petersburg during the White Nights Festival when the sun barely sets. “I travel eight months a year,” says Osorio. “Everywhere I go, I make it a point to look at new things and colors, to go to exhibitions. This is something that really inspires me.” But the designer cites his biggest inspiration as the women he meets all over the world. “They are the heart of Aquazzura,” he says. It’s working for Osorio, who delivers two collections a year, as well as a series of capsules—most recently he collaborated with Poppy Delevingne on a boho-chic Resort collection. A children’s line also will be rolled out later this year. “It’s a mini-me collection of the most iconic shoes,” says Osorio. “It’s a great way of bonding mother and daughter. And they’re just so darn cute.”
1 In Depth
Landscape designer and former model Lily Kwong discusses her latest labor of love—a new podcast that dares to ask women more. In every interview, Lily Kwong—urban planner, landscape designer and artistic director—inevitably gets the same questions. “We talk about what I look like. What my fitness routine is. What I’m wearing,” she says, relaying a point of contention. “That seems to be a problem that a lot of women in my life are having.” In the wake of what she calls a “last straw interview,” the former-modelturned-environmentalist decided to do something better. She launched AskThemMore.com, a website and podcast where smart, creative women wouldn’t be bombarded with such inconsequential questions. Guests, whom Kwong describes as “women who have taken non-traditional paths and live creatively,” come to her SoHo recording studio and talk for an hour. Since launching this summer, Kwong has interviewed poet Cleo Wade on the experience of growing up biracial in the South, and entrepreneur Kristy Caylor on how to know it’s time to change careers. With her very first guest, DJ Chelsea Leyland, they skipped the small talk about fashion choices and playlists to discuss Leyland’s little-known struggle with epilepsy. “Music is really important to who she is, but the struggle she has experienced fundamentally transformed her life,” says Kwong. “I wanted to give her a space to talk about it.” Ask Them More came out of Kwong’s desire to not only provide an alternative to the shallow interview, but also glean inspiration and share that with others. High on her list of dream guests is one of her greatest inspirations, Oprah. “I used to rush home as a little girl for Oprah,” she says. “Watching her ask questions really made an impact.” —Janelle Zara 58 BAL HARBOUR
“When it comes to impressive gardens, Yves Saint Laurent’s Jardin Majorelle in Marrakech is the first thing that comes to mind.” “I’m halfway through two books: ‘Topologies’ by Maya Lin and Sarah Stein’s ‘Noah’s Garden.’”
4 5 3
“I love visiting the botanical gardens in my favorite cities: San Francisco, Miami and New York.”
“I never tire of cycads, wisteria, redwood trees from my native San Francisco, and night-blooming jasmine.”
“Sustainability is the future of fashion. My must-haves for Fall are a Maiyet backpack— the one with the handpolished horn is so beautiful— and Stella McCartney's Hadley boots.”
PHOTO BY PHIL OH / TRUNK ARCHIVE (KWONG); COURTESY OF RIZZOLI (TOPOLOGIES); © TYBA (BURLE MARX)
“Roberto Burle Marx was the godfather of modern landscape architecture. He was 100 percent an inspiration to me.”
Bosco Sodi’s Casa Wabi
A New Path Karla Martinez de Salas, newly appointed editor of Vogue Mexico and Latin America, gives us a peek behind the pages.
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“On my must list this Fall: floral dresses from Balenciaga, a Miu Miu denim jacket and Saint Laurent’s printed bohemian dress from Pre-Fall.” Kate Moss, photographed by Bruce Weber for Vogue
“Through our images, I want to show the world the beautiful landscapes and diversity we have in Mexico and Latin America,” says Karla Martinez de Salas, who recently became Vogue Mexico and Latin America’s editorin-chief after 20 years working for W, Interview, The New York Times and American Vogue. “I want people to be so inspired that they purchase a ticket and come visit. “The move from New York to Mexico has presented different challenges,” she continues. “I was a full-time editor but became freelance when my twin daughters were born— you can imagine what that was like. I now divide my time between work, motherhood and feeding my curiosity— which is endless—by discovering new places and going to museums with my husband and daughters, Constanza and Ines. I am always thinking about what to do next. People who don’t work think it’s harder going into an office, but being a full-time mother is very difficult, as well. I am more aware now, and I try to be present in whatever I am doing at the moment.” —Fernanda Domit
PHOTO BY TÁMARA URIBE (MARTINEZ); BRUCE WEBER © CONDÈ NAST (MOSS); COURTESY OF GALERIE DES GALERIES (PRAGER)
“I recently went to Bosco Sodi’s artist residence, Casa Wabi, built by Tadao Ando in Puerto Escondido, Oaxaca. It’s one of the most beautiful places I have ever been. I love the desert, especially by the sea. My other favorite place is Marfa; I grew up in El Paso, Texas, so I love dry heat and arid climates.”
“Some of my favorite photographers are Steven Klein, Mikael Jansson, Alex Prager [seen here] and Jason Kibbler.”
3 “My dream cover model would be a group shot with Amber Valletta, Shalom Harlow and Kate Moss.” “My preferred social media is Instagram. Here I am at a friend’s wedding in Corvara in Northern Italy.”
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We love Codices, the ancient messengers of Art and Culture. Illuminated page from â€œPantheonâ€? by Godfrey of Viterbo, Italy, 1331
PHOTO BY KIRK JACKSON, COURTESY TEAM RUBICON
Team Rubicon CEO and co-founder Jake Wood helps the community of Bridge Creek, Oklahoma, after a tornado.
A GLOBAL FIGHT
In just six years, Team Rubicon’s Jake Wood has amassed a volunteer army of 35,000 veterans to aid in international disaster relief efforts. BY CHRISTOPHER MASON ake Wood was out of the Marine Corps for only three months when Haiti suffered a catastrophic earthquake in January 2010. Instead of easing back into civilian life, he decided to volunteer. "I just saw a situation that reminded me of Iraq and Afghanistan—chaos, danger, limited resources and information,” he says. "I'd thrived in that environment over the previous four years and felt that I could take everything I'd learned and get down there to help people.” Wood and a friend, William McNulty, gathered a group of eight likeminded veterans willing to lend their expertise for a common humanitarian cause. They chose to ignore warnings from the government and major aid organizations not to venture forth—and arrived in Haiti on January 17, 2010, carrying sorely needed gear and medical supplies to the devastated population of Port-au-Prince. After Haiti, Wood and McNulty founded Team Rubicon, a charity dedicated to organizing a force of volunteer veterans to provide relief to those impacted by natural disasters around the world. In the process, they strive to reduce human suffering and help the afflicted to regain dignity. The group does not receive government funds, but its mission has attracted major support from big banks like Goldman Sachs and Citibank, retail chains such as Home Depot and Walmart, private foundations, and
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influential philanthropists in New York City. With global disasters, Rubicon’s efforts often dovetail with the Red Cross, which provides mass shelter and compassionate care. With a disaster like Superstorm Sandy, Wood explains, “The Red Cross will help to put a tent over their head. We’re the organization that takes care of their house.” Tasks can include mucking out a flooded basement, chainsawing, or demolishing a house ravaged by hurricane-force winds. Under his leadership as CEO, Team Rubicon has responded to more than 120 disasters around the globe, including the 2011 Joplin tornado in Missouri, Hurricane Sandy, Typhoon Haiyan in the Philippines, and the 2015 earthquakes in Nepal. During that time, the groups has expanded from eight to 35,000 volunteer veterans, all attending to disasters that require grit, determination and courage. Such heroic efforts, Wood observes, can restore a sense of purpose when veterans return to the banalities of everyday life after the focused efforts and strains of warfare. Initially, Rubicon’s volunteers were all recent veterans of the wars in Iraq and Afghanistan. But the group is evolving. Many Vietnam vets are now retiring from civilian jobs and wind up becoming Team Rubicon volunteers. “They’ll tell you their lives would be profoundly different if Team Rubicon had been there when they came home,” Wood says.
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A Marine Corps veteran takes action off the field, enabling thousands of servicemen to receive free, comprehensive mental healthcare. BY CHRISTOPHER MASON
achary Iscol, a combat-decorated Marine Corps officer, fought in the second battle of Fallujah in 2004—a brutal engagement considered the bloodiest conflict of the war in Iraq. “We were one of the hardest hit battalions,” he says. After returning to civilian life, Iscol discovered that many of his friends struggled with the psychological ravages of war, including grief, depression, anxiety and other symptoms of posttraumatic stress disorder (PTSD). He was horrified to learn that many sufferers encountered intolerable delays in receiving adequate mental healthcare from the U.S. Department of Veterans Affairs. In describing the dire situation to friends, Iscol considered himself fortunate: As the son of philanthropic parents, if he were to find himself in similar anguish, he could get expert care from top psychiatrists, no matter the cost. “Why can’t we do that for our veterans?” he asked. In 2013, Iscol founded the Headstrong Project, a charity whose mission is to enable military veterans suffering with PTSD to receive cost-free mental healthcare. The following year, the group launched a partnership in Manhattan with Weill Cornell Medical College, one of the nation’s leading mental healthcare centers, to develop a first-of-its-kind, comprehensive program for veterans in need. “We don’t have volunteers. We work with clinicians who have at least 10 years of experience,” Iscol explains. Treatment is tailored to the needs of each veteran and is without charge, confidential and bureaucracy-free. The need is urgent. According to the VA, more than 200,000 former service members of the wars in Iraq and Afghanistan have been diagnosed with a mental health problem, but the VA’s flawed bureaucracy has seemed incapable of keeping up with the volume of requests. Meanwhile, brave women and men who served their country have been dying in tragic circumstances. Approximately 20 combat veterans commit suicide every day. Fortunately, tremendous advances have been made in clinical therapies for PTSD since veterans returned from Vietnam. “We know there are programs that do work,” Iscol says. “So people can get
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PHOTO BY LARRY BUSACCA/ © GETTY IMAGES
Zachary Iscol, founder of the Headstrong Project
better and get their lives back.” Over the past two years, Cornell has treated more than 160 veterans and Iscol expects the number to increase significantly over the next year. The Headstrong Project is also expanding into areas with a high population of veterans in need of effective mental healthcare. Branches have already opened in San Diego and Houston, and in May the nonprofit staged its first fundraising gala in Chicago, where it plans to debut a clinic later this year.
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CAUSE & EFFECT With philanthropy in her DNA, Amoryn Engel has become a fundraising matchmaker, finding meaningful connections for her network of donors. BY MARK ELLWOOD Journalism and philanthropy are twin passions for 45-year-old Engel, much like her late mother, Naomi, who first covered society events for the National Post and introduced Amoryn—who is now the Post’s society editor— to the charitable world while she was still a teen. “My mother was colorful and outrageous and a bon vivant whom everybody knew. Philanthropy and giving back were always part of my DNA, as she used to take me along to charity events as her plus one. But I was always more interested in the cause as opposed to the glitz and the red carpet.” Engel has certainly passed on that passion to her two sons with husband Kevin Warn-Schindel. She says she encourages the boys, aged 13 and 10, to “wake up, brush their teeth and think, What can I do to make the world a better place?” Since that stint at ABC News, Engel has made philanthropy her second full-time job, working with a select roster of local causes to both chair galas and raise funds from individual bequests. A recent success in the former came when she chaired the first-ever Wanderluxe Gala to benefit the Air Canada Foundation and the SickKids Foundation, raising more than $1 million in one evening. Engel helped secure donations, sponsors and auction prizes from the likes of Air Canada, the evening’s primary underwriter. “It was a very bespoke, high-glam event, where everything clicked—just really amazing,” she says. Now, though, Engel admits she’s focusing her efforts less on such splashy bashes and more on connecting donors with causes they can be personally passionate about—those storytelling skills at work, Engel recently again. When she was tasked to help the Children’s Aid Foundation raised $4 million source funds to support kids in foster care, Engel turned to a friend for the Children’s Aid Foundation. who herself had been adopted. “She had felt so alone as a kid and never wanted anyone else to feel that way, so we came up with a backpack program for kids coming into care,” where they could store their precious possessions. The project raised $4 million and that was just the beginning. “It’s become the Little Engine That Could, as it’s snowballing out of control with people wanting to become involved,” she says. What advice would she, the seasoned philanthropist, give anyone else considering taking on a similar mission? “If you’re going to ask, you’re going to get asked,” Engel laughs, before adding, “Pick your partnerships carefully. You’ll be a successful fundraiser if you find a cause you feel passion for. After all, if you’re not drinking the Kool-Aid, no one else will.”
“It’s about presenting the right story to the right person in a compelling way so they feel a personal connection.” —Amoryn Engel 66 BAL HARBOUR
PHOTO BY GEORGE PIMENTEL
moryn Engel credits the skills she learned in her first job, producing news at ABC in New York, to helping turn her into one of Toronto’s top fundraisers. Whether crafting segments for ABC, as she once did, or encouraging friends to open their wallets, Engel relies on the same gift: storytelling. “It’s about presenting the right story to the right person in a compelling way so they feel a personal connection,” Engel explains. Hard work helps, too, of course. “Women like Barbara Walters didn’t get where they did by resting on their laurels—I mean, there were no laurels,” she laughs. “They worked tirelessly around the clock, and they were there 24/7.”
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STAR OF INDIA The chair of the Reliance Foundation, Nita Ambani, is using her fortune for good all over her home country. She’s also bringing Indian art to the rest of the world.
PHOTOS COURTESY RELIANCE FOUNDATION
BY TED LOOS
Ambani sponsored the Nasreen Mohamedi show at the Met Breuer.
ndia—a country of 1.3 billion people—has staggering problems on a matching scale. But it also has Nita Ambani, India’s richest woman, who has dedicated her life to chipping away at those struggles as chairwoman and founder of the Reliance Foundation. Focusing on health, education and disaster relief, the foundation gets involved in almost anything Ambani and her husband, Mukesh, deem necessary. This includes huge land-reclamation projects (converting 2,500 acres of desert into fertile ground) and creating Asia’s largest mango plantation. “We have transformed the lives of six million Indians,” says Ambani. The Mumbai-based Ambani, 52, is a stylish sort who can converse on any topic—from her taste in fashion (favoring Oscar de la Renta) to
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her unlikely passion for cricket (owning the Mumbai Indians). But seated in a private space at The Metropolitan Museum of Art, where she’s a major patron, it’s clear that her purpose for waking every morning is to be a global philanthropist. Children will always be a focus for Ambani. “I was a teacher myself,” she says. “Every child should be able to read and write and have health as a priority. Every family should feel secure on both these grounds. These are the bedrocks of any society.” Those beliefs have led her to create her own educational system of sorts: a network of 14 institutions that includes India’s top international school. And she’s very hands-on. “It’s not just about writing checks. It’s about getting involved in the cause and creating
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“We have transformed the lives of six million Indians.” —Nita Ambani
Ambani’s Reliance Foundation operates a network of 14 schools, including India’s top international educational facility.
things of excellence,” she says. But then Ambani pauses and smiles. “I’m maybe too detailed. I get into micro details on too many things,” she says. “But we have 15,000 children in our schools and it’s very important to do things right.” The foundation also established a special 345-bed hospital in Mumbai. “When I do write checks, it’s for health,” Ambani says. “We have many free wards at the hospital.” And true to form, she keeps up with the day to day, and is full of pride for the foundation’s accomplishments. “We saved a four-month-old child who was having heart attacks,” she says proudly. Equally important to her is Indian art: This spring, Ambani was in New York for the opening of the Nasreen Mohamedi show at the newly inaugurated Met Breuer, which she sponsored, as well as a dinner at Christie’s in her honor. “It’s about getting Indian art and artists to the world
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stage,” says Ambani, who collects the work of Subodh Gupta and Anish Kapoor among many other Indian and international artists. When her daughter returned to India from Yale, she bought her a Tracey Emin piece. Ambani is a former professional dancer who still practices every day at home. “Dance has shaped my destiny in many ways,” she says. “At one performance, my future father-in-law saw me dancing and sent me a marriage proposal from Mukesh.” Perhaps the most relevant legacy of her dance training is that she is always in motion these days—juggling more projects than most people can handle. Her latest effort involves creating India’s largest convention center in Mumbai, slated for 2018, which will also be an exhibition space and performing arts hub. “I want to bring the brilliance of Indian art to the world,” Ambani says. “The foundation’s journey in art has just begun.”
ITâ€™S A MUST Temptations run high this Fall, with a season loaded with covetable accessories. Weâ€™ve gathered some of the best pieces for men and women, so turn the page, take your pick and make a statement! BY SHANNON ADDUCCI
Bottega Veneta Naturale necklace with green fluorite, jade and labradorite and set in oxidized silver with gold detail; 305-864-6247.
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MUST-HAVES Chanel ribbon and resin pearl necklace; 305-868-0550
Oscar de la Renta crystal and pearl drop earrings; 305-868-7986
Alexander McQueen jeweled belt; 305-866-2839
Ermanno Scervino metallic leather gloves; 305-866-5996
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Roger Vivier Pied de Coq sequined booties; 305-868-4344
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A look from the Salvatore Ferragamo Fall/Winter collection Miu Miu pearly velvet slide sandal; 305-993-2300 74 BAL HARBOUR
MUST-HAVES Bottega Veneta document case; 305-864-6247
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Saint Laurent leather belt; 305-868-4424
Brioni hard case in brown crocodile; 305-868-9399
Salvatore Ferragamo leather and suede backpack; 305-866-8166
Audemars Piguet Royal Oak chronograph; 305-864-6776
A look from the Canali Fall/Winter collection Etro wrapped sunglasses; 305-868-5971
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HARLEM REJOICES Chef Marcus Samuelsson captures the essence of his storied neighborhood while cooking up style and savor in his latest release, “The Red Rooster Cookbook.” BY DANIEL SCHEFFLER
resident Bill Clinton called Marcus Samuelsson “a chef who has reinvigorated and reimagined what it means to be American.” And so, after several years of running the Harlem restaurant Red Rooster, Samuelsson is releasing a cookbook that brings together not only the recipes of the popular spot but also the stories (and style) of the people who inhabit this modern institution. “The Red Rooster Cookbook” is a sequel of sorts to Samuelsson’s memoir “Yes, Chef,” which delves into his upbringing: first as a young boy in Ethiopia, and then in Sweden where he grew up with his adoptive parents. This new cookbook reflects the lush and layered history, traditions and images of an iconic, and very much changing, New York neighborhood. “What I love best is how Harlem and Rooster
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allow me to learn, to dream,” says Samuelsson. “Muscoota—that’s what the Native Americans called this section of Harlem. Run your eyes across the page quickly enough, and the words look like music. Which fits. Music, food, dance, song.” Among the recipes that are destined to become at-home favorites is the corn bread—which Samuelsson calls a “core Red Rooster recipe.” “I knew from the beginning how I wanted it to taste, but we continue to tinker and change the recipe. This version is very moist, almost custardy.” Another of Samuelsson’s favorites is catfish and pecans. “In Sweden, catfish tasted of the sea, so I was surprised by the mild flavor of the American freshwater varieties. It has a real meatiness that holds up to nuts. So here we’ve got a quick fry, topped with a shower of pecans, apples, raisins and capers. Love that play of salty and sweet.”
WEAR I always love Duro Olowu’s patterns. It’s all sorts of classic but it’s also very modern. For fashion here in Harlem, I look at OGs like Dapper Dan and Lana Turner; both are in “The Red Rooster Cookbook.” LISTEN Lately, I’ve been listening to Girma Yifrashewa at home. Girma is a great Ethiopian classical pianist. And now that we have my nephews and nieces here, Drake is playing constantly. When I run, I still listen to my classic playlist: A Tribe Called Quest and Kendrick Lamar and Swedish music like Little Dragon. EAT Stewed oxtails on the stove is a sure sign of the season at my home. It’s a dish near and dear to my heart that I prepared for my good friend Thelma Golden for her father’s 85th birthday celebration. I have a recipe for it in “Red Rooster” that is perfect to serve with grits or mashed potatoes. DRINK Fall is the perfect time for brown spirits. I’m a fan of 25-year-old Glenmorangie paired with roasted duck and root vegetables. SEE At MoMA this October, there’s an exhibition, ”Insecurities: Tracing Displacement and Shelter.” It’s a powerful exploration of how architecture and design have addressed the needs of shelter for people in refugee camps.
PHOTOS BY BOBBY FISHER FROM “THE RED ROOSTER COOKBOOK” (PUX MARTIN/HOUGHTON MIFFLIN HARCOURT)
Samuelsson shares some of his celebrated recipes, like lemon chicken with green harissa and roast eggplant purée, in his new book out this October.
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When it comes to collecting watches, Facebook exec Matt Jacobson has a strict passion-driven policy for curating the timepieces he covets most. BY LAURIE BROOKINS PORTRAIT BY AMANDA FRIEDMAN
Jacobson at home in Manhattan Beach; a 1973 stainless-steel Rolex Daytona, a collectible watch made popular by Paul Newman, available at Tourneau.
for vintage timepieces, I can hear the Oahu surf rolling in the background. “This is such a special place,” he says of his Hawaii vacation home, located near the island’s legendary Diamond Head. “When we bought a home on Oahu, we loved the idea that never again would we need to pack. Whenever the mood strikes us, everything we need is already here.” Jacobson’s homes may be growing in number—in addition to Hawaii, there’s the Southern California residence he shares with his wife, the interior designer Kristopher Dukes, and their now grown twin daughters, as well as a vacation spot near Joshua Tree National Park. But if you talk with the Facebook head of market development for more than five minutes, it’s clear he’s lured by a love of the surf. “I’ve been a surfer since I was a kid,” he says. And he’s had a partner on the waves since college: “That’s when I got a Rolex Submariner; that watch has surfed with me all over the world.” That Submariner indeed spawned another lifelong passion for the 55-year-old Jacobson: a love of vintage watches, with a decided focus on Rolex and Patek Philippe. Favoring those brands comes as no surprise when you consider Jacobson’s personal style. “It’s funny, I’m the only guy at Facebook who wears a coat and tie. I’m pretty traditional and prefer classic stuff,” he says. (Famously, Jacobson was employee No. 8 at Facebook, and other than CEO Mark Zuckerberg is
As Matt Jacobson talks about his passion
the longest-tenured employee at the social-media behemoth.) Among the most prized pieces in his collection: a Rolex “Paul Newman” Daytona, highly coveted among watch aficionados for its association with the iconic actor, who wore the stainless-steel chronograph with contrasting dial and subdials almost exclusively until his death in 2008. “Everything about that dial is just so beautiful,” Jacobson says. “It is so clean.” His original Submariner and that Daytona are two of exactly 12 vintage timepieces in Jacobson’s collection—no more, no less, and that’s by design. “I have a one-in, one-out policy,” he explains, noting that his love of collecting—he also acquires vintage cars, currently Volkswagens and before that, Mercedes—is precisely the reason the strict rule is needed. “I have enough space for this amount of these things. So everything is filtered through an idea of: Is this thing better than the thing I have?” Jacobson owned a different Daytona, but traded up when a Paul Newman became available, while a Patek Philippe Beta 21 was swapped out when he came across a Patek 2526 from 1955. “Someone said I should get it polished, but no way. I love patina on things. I’m always looking for unpolished examples, pieces that look like they’ve got some battle scars. They represent the life that watch lived.”
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BURN NOTICE Diptyque returns to its roots with a new limited-edition fabric collection inspired by its original Parisian bazaar-like boutique. BY DANIEL SCHEFFLER
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LIGHT IT UP
The Miami candle is inspired by the strong architectural and decorative elements in Bal Harbour’s Diptyque boutique. Above, the brand’s creative director Myriam Badault.
Limited-edition pillows from Diptyque’s new collaboration with Belgian linen company Libeco.
IMAGES COURTESY OF DIPTYQUE
Diptyque, the gracious French brand with its iconic 34 Boulevard SaintGermain address in Paris, has become somewhat of a calling card for the well-heeled home—or at the very least, an appreciated host. The home fragrance house, which now counts 50 scents in its archive, inspired by everything from nature, childhood memories or journeys, has been quietly extending its reach beyond candles and diffusers. A move that actually brings Diptyque closer to its roots, back on Boulevard Saint-Germain. When it was founded in 1961 by Christiane Gautrot, Desmond Knox-Leet and Yves Coueslant, it was a passion for “objects with soul” that was the driving force in this then-experimental space. You might call it the first concept store, with Italian glass-bead necklaces and potpourri butting up against upholstery fabrics and handsewn change purses, amid other treasures captured along the trio’s travels. Fast-forward five decades and Diptyque is testing the silken waters with new limited-edition fabric collections, including pillowcases, totes and pouches. “In the beginning, the Saint-Germain store was a kind of bazaar chic,” says Myriam Badault, the brand’s creative director. “You could find a selection of fabrics, decorative objects and accessories. I have always felt that our patterns and this grounding in the ‘decorative arts’ is what makes Diptyque truly unique.” Each product in the collection pays homage to the founders by intertwining their rich heritage but also incorporating a modern interpretation of their history. “I always wanted to recreate and protect a kind of ‘creative laboratory,’ and the watchwords for us are freedom, innovation and experimentation,” says Badault. “It is a way to enrich the original collection and make it alive and modern by mixing the origins and contemporary designs.” For the 2016 collection of fabric accessories, the brand chose to partner with the Belgian linen company Libeco. “It was key for us to work with them because we wanted to use a very qualitative material, genuine and luxurious, but with a sustainable dimension,” says Badault. And for the patterns they worked with designer Charlotte Gastaut who played with three vintage patterns of the Diptyque collection: Prétorien, Légende and Palladin. And it’s all very French. Decorating is a way of living; in a way, it’s an extension of one’s personality. “What Diptyque offers today is a part of this very Parisian lifestyle of home pride and decorating through a collection of very exclusive and unique scents and objects,” says Badault. “We like to surprise our clients, re-enchant their everyday lives, and share emotions, findings and encounters.”
From left, looks from Brioni, Berluti and Ermenegildo Zegna’s Fall collections.
A revolution is happening in menswear, with innovative designers helming luxury brands Berluti, Brioni and Ermenegildo Zegna—as well as a fresh collection from an industry giant. BY JESSICA MICHAULT n the space of just a few days at the start of this year, three of the world’s top menswear brands—Brioni, Ermenegildo Zegna and Berluti—announced that their star designers would be leaving. But the industry showed itself to be resilient and innovative with its fresh hires while also welcoming into the market a major new player. As more and more big brands like Gucci and Burberry take a shine to the idea of showing both their womenswear and menswear collections together, the latter is being scrutinized like never before. Instead of standing alone, men’s pieces now need to have a more homogenous aesthetic that falls in line with the womenswear designs. But major menswear designers find that this is the perfect time for their work to be under the microscope, because their clients are now much more comfortable with showing that they are knowledgeable about fashion and are not afraid to be seen as someone who keeps up with current trends. “They used to be ashamed of it. Nobody used to say that they actually buy and enjoy clothes,” says Lanvin’s menswear designer, Lucas Ossendrijver, about the societal shift in the market. Kris Van Assche, Dior
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Homme’s creative director, agrees: “Men are really obliged now to take care of themselves, because the visual package is taken into account on all levels of life.” As for the gender-neutral stance that some designers are taking, Brioni’s new creative director, Justin O’Shea, has decided to swim against this sartorial stream. “In an era when many luxury menswear clothing brands are creating collections that are more and more feminine, Brioni has taken the opposite approach,” he says. He also decided to show his first capsule collection for the house during haute couture in July, and used the band Metallica as the models for his debut advertising campaign for the company—two moves that bucked the current fashion trends both in terms of the official menswear calendar and the use of 50-somethings rockers instead of young “dandy” male models for print adverts. But headline-grabbing tactics are somewhat second nature to O’Shea, who, before his job at Brioni, worked for seven years as the fashion director of the luxury e-tailer mytheresa.com. He knows how to generate buzz and that is what big luxury brands are looking for in a saturated social media landscape.
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As more brands take a shine to showing their womenswear and menswear collections together, the latter is being scrutinized like never before.
Clockwise from above: Designers Stella McCartney, Alessandro Sartori and Justin O’Shea; looks from Brioni and Lanvin.
One designer who is going to be getting in on the menswear action and has adopted the “two for the price of one” fashion show premise is Stella McCartney. She just announced that she would be showing menswear for the first time in her upcoming womenswear show in November. And just like O’Shea, she will be giving the industry something to talk about as she announced that “the range will include fur-free and leather-free apparel and accessories,” just like in her womenswear collections. Menswear without leather? If McCartney can make those pieces work then the whole market might have to rethink its strategy. As for Ermenegildo Zegna and Berluti, they went in polar-opposite directions with their new designer appointments, a move that further indicates just how broad the menswear fashion spectrum has become. Zegna welcomed back into the fold, like a prodigal son, Alessandro Sartori, who left the house—where he designed the Z Zegna collection for eight years—to launch the Berluti clothing line five years ago. Sartori is known to live and breathe fashion, having grown up watching his
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mother work as a dressmaker and run her own shop just steps away from his childhood home. And his father’s impeccable style honed his own menswear aesthetic, which tends towards clean silhouettes and fabric experimentation. “I love finding beautiful new solutions to menswear,” says Sartori about his process. “My father taught me to always find a creative solution.” Meanwhile, at Berluti, if the rumors are to be believed, soon Haider Ackermann will be signing on as the brand’s new creative direction. Ackermann is one of the fashion industry’s most beloved designers and has found success with his own soigné menswear collection filled with lush fabrics in jewel-tone hues. He too loves to include female designs into his menswear shows, as a way to underline the sensual versatility of his dandy rocker low-slung pants, chic dinner jackets and fitted silk vests. Menswear has never been as exciting or enticing as it is today, adapting and adjusting to recent developments with calm and grace. Maybe it can be a guide book for how the fashion industry should write its next chapter.
THE OYSTER PERPETUAL The incarnation of the original Oyster launched in 1926 is a distinctive symbol of universal style. It doesn’t just tell time. It tells history.
oyster and perpetual are
PHOTO BY SILJA MAGG
Coco Brun, in her Paris studio, creates vibrant scarves for her Forget Me Not collection.
TIE ONE ON
Designer Coco Brun shares a brief history of scarves, and reveals why they’re making a comeback this fall. BY LESLIE CAMHI oco Brun, the creator of luxurious silk twill scarves in luscious patterns, thinks French women’s reputation for the chic deployment of printed squares of fabric is, well, a bit overrated. Yes, Catherine Deneuve and Romy Schneider managed to look fetching in Hermès babushkas, and Brigitte Bardot rocked the headscarf that tamed her wild blonde mane. “But in the U.S. in the 1950s, you had Grace Kelly,” the Paris-based pattern designer and illustrator says, in her potent Gallic accent. “And then all over Asia, in Japan and Indonesia, for example, people use fabrics more than anywhere else.” The turban, traditionally an item of men’s dress in India, began appearing as a fashionable accoutrement in Western women’s portraiture about 300 years ago, when Lady Mary Wortley Montagu, married to the British ambassador to Turkey, sparked the trend. Couturier Paul Poiret helped revive the style, adorned with feathers and jewels, as an elegant alternative for evening headdress in the first decades of the 20th century. And despite the notorious death-by-neck-scarf of dancer Isadora Duncan (caught in the
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Headscarves were celebrated as icons of glamour in the ‘50s; bandanas and their ilk were embraced in the ‘60s; scarves returned with the ‘70s vogue for vintage and then again in the logo-crazed ‘80s.
wheels of a car in which she was a passenger), the scarf in its many permutations has been going strong ever since. Headscarves were celebrated as icons of glamour in the ‘50s; bandanas and their ilk were embraced by the counter-cultural ‘60s as hippy-chic symbols of Third World solidarity and revolution; scarves returned with the ‘70s vogue for vintage (more turbans!) and then again in the logo-crazed ‘80s (Gucci!). So it’s not surprising to see them recently turning up on runways: tied at the neckline in a floppy bow at Michael Kors, cinching the waist of a tailored jacket at Altuzarra, wound around the wrist at Loewe, or around a satchel handle at Louis Vuitton. Keen observers of London Fashion Week even noted the return of the babushka—in bright prints at Mary Katrantzou and at Christopher Kane in sheer plastic. Brun dates the trend in large scarves to about five years ago, when after studying graphic and industrial design in Paris, she founded her pattern design studio, Forget Me Not, in London. “Now all the big brands do scarves,” she says, citing particular collections by Givenchy, Alexander McQueen, Ferragamo and Louis Vuitton. Her own fringed and tasseled wares, woven in Italy, with vibrantly colored prints inspired by esoterica, nature and geometry, were quickly snapped up by fashionable boutiques like Colette in Paris. Recent collaborations include a series of delicately geometric foulards commissioned by Baccarat to celebrate the French crystal manufacturer’s 250th anniversary, and an ultra-chic, faintly retro line of swimwear in highly saturated color and tropical prints for Seilenna. Brun recalls, from childhood, her mother “wearing turbans all the time, as protection from the heat, when we were traveling in Africa.” For her own line, she designs varying shapes—long scarves, diamonds and pareos—to be tied around the head or neck, transformed into a skirt or even belted as a dress. “If you’re cold, you can wrap one around you, like a shawl,” Brun says. “And when I am traveling, I always have a big one with me, so that if I need to visit a religious place, I can be both respectful and dressed up.” They never go out of style, and what’s more, they always fit.
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The Resort and Fall collections have an emphasis on scarves, including, clockwise from top, Gucci, Bottega Veneta, Fendi and Louis Vuitton.
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SNEAKER ENVY Daniel Scheffler investigates the reach of sneaker culture in designer fashion, and the social and cultural implications of these democratic accessories.
n one of the most elegant expressions of trickle-up fashion since the grunge movement, sneakers have become almost omnipresent in designer collections. From John Varvatos to Brioni, Cesare Paciotti to Saint Laurent, footwear is adapting to a more casual lifestyle, but also retaining a brand’s essential DNA. At Los Angeles fashion and lifestyle brand James Perse, the addition of sneakers seems like a natural fit. “I saw a void between the traditional athletic brands and the high-end fashion footwear offerings, which we’re seeking to fill with our new collections,” says Perse. “We wanted to reinvent the classics with everyday wearability, quality and edge.” This season, the brand introduced the So Cal collection, offering shoes “with a modern-stealthy vibe.” At John Varvatos, the designer focused on finishes—easily setting his footwear apart. “Shoes from the collection are robust, featuring antiqued finishes and hand-applied treatments,” explains Varvatos. “The collection achieves a genuine authenticity and continues in our theme of stylized audacity.” Perhaps the greatest nod to the staying power and significance of the trend is its embrace by museums. “The Rise of Sneaker Culture,” an exhibition that originated in Toronto at the Bata Shoe Museum, is on view at the newly opened Speed Art
From top: John Varvatos Zip sneakers; Cesare Paciotti micro-studded sneakers; Ermanno Scervino denim sneakers; Salvatore Ferragamo Nayon 3 sneakers.
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Museum in Louisville, Kentucky. “Increasingly, footwear is being charged with the responsibility of conveying complex and highly nuanced social meaning,” says the show’s curator, Elizabeth Semmelhack. “In this culture, sneakers are central to increasing diverse expressions of masculinism and are also central to expressions of individuality— something which men historically have not been encouraged to reveal through dress.” “What we choose to wear and the impact of those choices are powerful components of design,” said Sarah Schleuning, curator of decorative arts and design and managing curator of the summer show “The Rise of Sneaker Culture” at the High Museum in Atlanta. “The exhibition offered an in-depth exploration of the creativity and diversity of design within the singular typology of sneakers as well as the social significance of their evolution. The sneaker is a ubiquitous object that can be experienced and appreciated in a new way.” Fashion bestows the power of gender expression, social status, futurism and even cultural affinity onto shoes in a democratic way. Semmelhack says, “The wide range of sneakers—from high-end collaborations to the resurgence of shoes like the Stan Smith that bring with them a kind of nostalgia— allows one to craft a very nuanced statement of self.”
Autumn Leaves From ballet’s center stage to fashion’s premier runways, these titles are page-turners. BY ALEXANDRA OSHINSKY
We asked a few of our favorite jewelry and accessories designers to share what’s on their fall reading list. EDDIE BORGO
Misty Copeland changed the landscape of professional classical ballet, and photographer Gregg Delman was there to capture her meteoric rise. In his new book, Delman documents Copeland’s graceful athleticism over four years as she journeys towards becoming the first African-American principal dancer at the American Ballet Theatre. (Rizzoli)
THE IMPOSSIBLE COLLECTION OF WINE
Enrico Bernardo—who in 2004, at 27 years old, was the youngest to be named Best Sommelier of the World—brings together a collection of extraordinary wines that could only exist within the pages of a book. Enthusiasts will appreciate Bernardo’s vast knowledge of international vintages, and novices will learn much from his attention to the different facets of taste that distinguish wines throughout time. (Assouline)
MARIANO VIVANCO: PORTRAITS NUDES FLOWERS
Photographer Mariano Vivanco has spent 10 years chasing beauty in natural forms. This new book brings together these works in a modern and symbiotic way, juxtaposing Technicolor flowers with portraits and nudes. (Artbook) 100 BAL HARBOUR
“We have a couple of house projects going on in Puerto Rico, so I’m reading ‘Gardening in the Tropics’ by R. E. Holttum and Ivan Enoch as research. I’m also in the middle of ‘Detroit: An American Autopsy’ by Charlie LeDuff.”
“I recently visited both Mapplethorpe retrospectives in Los Angeles—at the LACMA and the Getty. ‘Robert Mapplethorpe: The Archive,’ by Frances Terpak and Michelle Brunnick, surveys the artist’s student work, jewelry, sculpture and commercial assignments— and sheds light on his motivations, connections, business acumen and talent as a curator and collector.”
“Marcus Aurelius’ ‘Meditations’ has become my daily reading and philosophy of my life.”
“I’m currently reading ‘The New Rules of Retail’ by Robin Lewis and Michael Dart because along with the history of retail development, it also provides a clear vision of the future. The book captures how dynamic and fast-changing the retail business is—which I find fascinating—and it challenges me to always stay ahead and improve.”
“I’m currently reading ‘Business Stripped Bare: Adventures of a Global Entrepreneur’ by Richard Branson. I really admire his hard work and ingenuity, and find his honest candor on successes and setbacks refreshing.”
From its 1926 inception as a modest fur and leather workshop to the luxury powerhouse it is today, Fendi has remained rooted in its Roman heritage. In celebration of its 90th anniversary, Fendi releases this collectible tome, a visual journey of the house’s near century of unwavering style. (Assouline)
Patricia Engel, author of “The Veins of the Ocean,” shares her favorite books of the fall.
Christie’s, a cultural touchstone since its inception in 1766, is celebrating its 250th anniversary with a look back at some of its most significant lots, stories and moments to take place on the auction floor. From Captain Cook’s log book to Ian Fleming’s typewriter to Jeff Koons’ Tulips, this is a true celebration of the history of collecting. (Phaidon)
Donatella Versace brings readers into the house of Versace through a beautifully illustrated history. Following her brother Gianni’s death in 1997, Donatella took over the helm and continues to steer it through season after successful season. Including essays, iconic photography and archival images, this book captures Versace in all its glory. (Rizzoli)
Christodora by Tim Murphy
A rapturous take on intertwined lives during the AIDS crisis in New York in the ’80s, and the Lower East Side tenement that unites a community. It’s no wonder this gorgeous novel is already set to be made into a TV series.
Currin’s Sibyl, 2013
The Red Car by Marcy Dermansky
I am a huge fan of Dermansky’s work, especially her entrancing novel “Bad Marie.” “The Red Car” promises to be another dazzler. Homesick for Another World by Ottessa Moshfegh
After the success of her novel “Eileen,” Moshfegh returns with a haunting story collection about characters on the brink of disaster and discovery.
EATALY: CONTEMPORARY ITALIAN COOKING
Synonymous with modern Italian fare, the renowned marketplace Eataly lends its novel take to 300 dishes that are easy to make for an impressive dinner or cozy night in. With fresh ingredients and this clear instruction manual, all that’s missing to live la dolce vita is the Italian accent. (Phaidon)
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Pull Me Under by Kelly Luce
At age 12, Rio fatally stabbed a grade school bully in Japan. After decades in exile in the U.S., she returns to Japan to confront her complicated past. I’m already hooked!
Reminiscent of Old Masters, John Currin’s paintings present complex images of women that walk the line between enticing and repellent. This new collection challenges the viewer to question idealized beauty. (Rizzoli)
by Juan Gabriel Vásquez
The latest translated work by the celebrated Colombian novelist is a slim, intimate and unforgettable exploration of the effect one man’s life can have on so many others.
All titles available at Books & Books Bal Harbour.
© FENDI ARCHIVES; © JOHN CURRIN .< ROBERT MCKEEVER> COURTESY GAGOSIAN GALLERY.
GOING ONCE: 250 YEARS OF CULTURE, TASTE AND COLLECTING AT CHRISTIE’S
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THE ART OF INVESTING With a little help from Arianna Huffington, digital entrepreneur Madelaine D'Angelo is on a mission to change the way we collect. BY CHARLOTTE BURNS PORTRAIT BY GEORGIA NERHEIM
Founder and CEO of Arthena Madelaine D’Angelo
“I’m a natural problem solver, so I sought out to find a great one,” says Madelaine D’Angelo, who is part of a new generation of entrepreneurs using technology to make art more accessible. The Harvard grad—who wrote her thesis on collector behavior in collaboration with then-director of The Metropolitan Museum of Art, Philippe de Montebello—set her sights on the opaque and often exclusionary contemporary art market. “My long-term goal is to have everyone investing in the art market,” says D’Angelo, who last year launched the art investment platform Arthena, which she describes as “a structured set of funds in the form of collections.” “I want Arthena to increase transparency in the market so that new entrants feel comfortable investing and current 112 BAL HARBOUR
collectors can make more informed decisions.” Historically, collectors spent years developing both the eye and the knowledge that allowed them to buy art that became more valuable over time. But, as the idea of art as an alternate asset has taken hold—spurred on by the fact that the art market rebounded faster after the last recession than other traditional assets—more people have rushed into the field, many of whom “don’t have the time, or connections, to build up the necessary connoisseurship,” says D’Angelo. Through Arthena, the investment platform relies on advice from art and finance experts whom most new buyers wouldn’t have access to. Collectors buy shares in one or more of the funds, which are spread across modern, contemporary and emerging art, and capital is
pooled to create a larger base for investments and a broader spread of risk. D’Angelo workshopped the idea of an online fund when she was accepted into AngelPad, the start-up incubator that was recently ranked by MIT as the number-one seed accelerator in the country. She began the program with “an egregiously awful PowerPoint presentation” and left with a viable business plan. D’Angelo explains that Arthena’s analytics are what sets it apart. She uses auction data, but also scrapes the web for private sales information, breaking down the data into categories such as growth, inflation, sales over time, price by years and market volatility. And it’s gaining traction: Major supporters include Arianna Huffington, while a deal with UBS is rumored.
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ALL ABOUT YVES A new exhibition at the Seattle Art Museum documents the revolutionary career of fashion legend Yves Saint Laurent. BY CHARLOTTE BURNS
Yves Saint Laurent at his Paris home, 1977
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“The changes he progressively introduced stand at the origin of the profound changes in contemporary ways of dress.” —Florence Müller
o stranger to museums, French fashion designer Yves Saint Laurent was the first living couturier to be given a retrospective at New York’s Metropolitan Museum of Art in 1983. Now, more than 30 years later, the Seattle Art Museum (SAM) will pay homage to his enduring legacy with the exhibition “Yves Saint Laurent: The Perfection of Style.” Saint Laurent led an extraordinary life. Born in Oran, Algeria, in 1936, he was something of a prodigy who created garments for a child’s theater from his mother’s old clothes. After his father arranged for his sketches to be shown to the editor of French Vogue, he was enrolled at the École de la Chambre Syndicale de la Couture Parisienne in Paris. He soon became an apprentice to Christian Dior, who anointed Saint Laurent the heir apparent. After Dior’s sudden death, his sensitive young successor was catapulted onto the fashion scene, producing his first Trapeze collection at age 21, achieving instant fame. Unlike most wunderkinds, Saint Laurent maintained his position as a pioneer throughout the decades. He is credited with changing the way modern women dress, by introducing pants for both day and night, and clothing them in jackets like Le Smoking (the tuxedo). He was the first designer to create a ready-to-wear range, anticipating the shift from custom couture to casual wear. He also played a pivotal role in including women of color in his fashion shows. In total, the exhibition will include around 100 garments created by Saint Laurent, “as well as lots of sketches and boards from every collection Yves produced,” says Chiyo Ishikawa, SAM’s deputy director for art who collaborated on the exhibition with the French fashion expert and curator Florence Müller. It will also include “ephemeral material, such as magazines, photography and excerpts from films and catwalk shows. We are also showing the paper dolls he made when he was a teenager—these amazing hand-colored creations—I think for the first time,” Ishikawa says. The exhibition begins with a video of Saint Laurent’s final show—a greatest-hits parade culminating in the couturier standing at the end of the catwalk surrounded by swooning supermodels against a soundtrack of Édith Piaf singing “La Vie en Rose.” From here, the opening gallery provides a mini-retrospective, charting his childhood creations through some of his pivotal professional phases such as the elegant Beatnik, or the celebrity couturier. One room is dedicated to gender and Saint Laurent’s fluid handling of it: “The changes he progressively introduced into the traditional representation of the feminine and masculine bodies and the codes of seduction stand at the origin of the profound changes in contemporary ways of dress,” says Müller. Another gallery will focus on the atelier and the artistic process behind the construction of the garments. Saint Laurent “didn’t come from a tailoring or dressmaking background but from drawings, so he needed this army of magicians who could look at his 2D drawings—which were really good at communicating what he wanted to say—and make them into muslins,” Ishikawa says. Another gallery focuses on Saint Laurent’s Pop period, and will include works from the museum’s collection, while another section deals with the designer’s virtuoso use of color. The final image in the exhibition is a brooding Saint Laurent, painted by Andy Warhol and taken from the collection of his partner, Pierre Bergé. It is a fitting close to this tribute to a designer who was also an artist, transcending fashion.
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PHOTOS BY ALEXANDRE GUIRKINGER, GUY MARINEAU AND PIERRE BOULAT COURTESY OF FONDATION PIERRE BERGÉ-YVES SAINT LAURENT, PARIS AND THE SEATTLE ART MUSEUM
Yves Saint Laurent designed this cocktail dress in homage to Piet Mondrian for the 1965 Fall/Winter collection.
Clockwise from right: A Haute Couture gown from the 1994 Fall/Winter collection; Saint Laurent in 1976 and 1962; the collection board used for the Mondrian presentation, 1965.
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“Surfing covers a pretty wide spectrum, more than any other sport. You don’t find this in golf.” —Jim Heimann
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Jim Heimann’s new book, “Surfing,” is a compilation of more than 900 images presented in five chronological chapters beginning with the first recorded European contact in 1778 to the present-day surf culture.
Taschen’s executive editor opens his home to reveal a cache of collections— and a lifelong pursuit that has informed his career. BY MAXWELL WILLIAMS PORTRAIT BY TONY BYRD
ehind Jim Heimann’s house on a quiet street in West Los Angeles, file drawers threaten to burst, dioramas are stacked on one another, and walls are covered in shelves upon shelves of books. He is a collector of objects, memorabilia and oddities related to a number of topics, mostly about L.A.’s nightlife history, but also about surfing. Serving as the executive editor of Taschen America, Heimann's latest—and biggest—work for the book publisher tackles the Polynesian-born boardsport, from 1778 through today. A lifelong Angeleno who grew up in the Westchester neighborhood near the iconic Randy’s Donuts, Heimann has published books since 1980—first as a graphic designer, and then as an editor, writer and researcher. He has dozens of publications to his name, covering image-driven subjects like menu design and fashion advertising. But he is acutely professorial in surf culture, having already produced several books on the subject, including the successful monograph of LeRoy Grannis’ classic surf photos, which spurred “Surfing,” a 592-page tome on the subject. “You can’t write the history of surfing in one volume, so what we’re trying to do is cover all aspects—from music and clothes to art, posters and language,” Heimann says. “It’s a pretty wide spectrum that covers more than any other sport. You don’t find this in golf—there’s no golf craze of dancing and 20 or 30 bands playing golf music.” “This is all the meat that goes into all the books,”
Heimann says, digging through a file to show pictures of L.A. bars and nightclubs. It’s a whole treasure trove—the informational equivalent of magma waiting to burst from underneath the surface onto the pages of a book, one that will come together in the next few years. In all, it’s a legendary collection—his backyard houses two structures full of material that Heimann has hunted down, and there are two more off-site buildings full of his archives, including 6,000 restaurant menus. “My wife is very tolerant,” he says with a laugh. As for the fate of the collections, Heimann has his own plans. “There are several strategies that I already have in place for it to ultimately end up somewhere,” he says. “Because my daughter is not that interested. She understands, and my wife understands, but they have been overwhelmed with all this stuff for years, and they know that it’s going to go. There seems to be high interest, because there’s a lot of depth in a lot of areas. It’s a unique 40-year collection of stuff that you can’t find anywhere else.” He reveals a flat file full of psychedelic posters from the 1960s that he collected himself. They are priceless artifacts—an impossibly rare Jimi Hendrix poster among them—as are many of the items tucked into every corner of the archive. One could spend hours just poking around in there, picking through the history of L.A., absorbing the memories deeply embedded in the ephemera. Luckily, Heimann does—churning out authoritative and beautiful books for the world to see.
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WORLD CHAMPION With a brand-new Ryder Cup partnership, Italian luxury player Loro Piana continues its winning streak with chic performance sportswear. BY KATE BETTS
When the first golf ball soars over the greens at Minnesota’s Hazeltine National Golf Club on September 27, spectators at the Ryder Cup—golf’s most prestigious team competition—will be treated to more than just the highly anticipated face-off between the U.S. and European teams, at what is believed to be the third most widely viewed sporting event in the world after the Olympics and the World Cup. The European team, including captain Darren Clarke, will be sporting chic new uniforms designed and crafted by the inimitable Italian luxury goods house Loro Piana. The elegant, performance-level uniforms include a sweater and vest made from feather-light cashmere, a polo shirt in lightweight wool piqué ergonomically designed to follow body lines, and pants with a waterproof finish. At the June 30 announcement of the partnership, Antoine Arnault, chairman of Loro Piana and the son of LVMH chairman and CEO Bernard Arnault, spoke about the authentic laboratory that Loro Piana has created in partnering with sporting events like the Ryder Cup. “We are very proud and honored to represent the European team at the Ryder Cup,” he said. “We have high hopes that Loro Piana’s elegance, quality and extensive experience in transforming the best natural fibers in the world into high-performance products, in this case for sports professionals, will win us yet another important victory.” Although the terrain of this course and the 2018 Paris tournament may be new territory for Loro Piana, the sporting life is not. Over the last several decades, the brand—which was founded in 1924 by Pietro Loro Piana and has most recently been run by sixth generation family member and current deputy chairman Pier Luigi Loro Piana—has become celebrated for its extraordinarily high standards in the manufacture and fabrication of natural materials like Mongolian baby cashmere, wool sourced from Australia and New Zealand, cotton, linen and Peruvian vicuña. The company has also become known for its partnerships with competitive sporting events and for its technical sportswear designs. Inspired by the passions of brothers Pier Luigi and Sergio Loro Piana, who ran the company together from the 1970s until 2013, sponsorships have included the Peking to Paris Motor Challenge, the Piazza di Siena show jumping competition in Rome’s Villa Borghese (Loro Piana supplies the
team’s jackets and horse blankets, and smart blue and gold Loro Piana heraldry adorns the banners around the competition), and the Loro Piana Superyacht Regatta. Many of the products created for these events have inspired further development of Loro Piana ready-to-wear products. The Horsey Storm System windbreaker, for example, was originally created for the Italian Olympic equestrian team in 1992. Loro Piana was able to create a wool so light in weight as to be “rustle-free,” so quiet that it didn’t spook the horses. Today the jacket is still a bestseller for both performance and everyday wear and was worn by the Italian equestrians at the Rio Olympics. Although the company dates back to the early 19th century when the Loro Piana family first found success as wool fabric merchants, brothers Pier Luigi and Sergio introduced classic ready-to-wear designs in the 1980s. Soon the luxury textile manufacturer, based in Quarona in Northern Italy, was producing its own line of luxury women’s and menswear. The sports connection followed. By 2008, Pier Luigi had translated his personal passion for boating into the Superyacht Regatta: one in May or June, when competitors race on a course from Porto Cervo through Sardinia’s La Maddalena archipelago, and another in March, around Virgin Gorda island in the Caribbean. Any regatta worth its weight in luxurious New Zealand wool or baby soft Mongolian cashmere must have a uniform. And Loro Piana outfitted the teams in the finest gear, using their innovative Storm System process, which makes fabrics like lightweight wool or cashmere weatherproof, windproof and warm. Since LVMH acquired an 80-percent stake in the Italian luxury goods company in 2013, Arnault has been involved in further advancing Loro Piana’s association with sporting events. And each event, unique in its unusual combination of elegance and technical difficulty, must always circle back to Loro Piana’s heritage. This summer, for the sixth Peking to Paris Motor Challenge, Loro Piana’s drivers, Giorgio Schön and Pierre Tonetti, carried a symbolic bale of cashmere from the 2015 harvest in their 1971 Alfa Romeo Giulia Super as they raced over 8,700 miles of terrain— through the Gobi Desert, over the Siberian steppe and the Ural Mountains, and through Eastern Europe—for 37 days. In keeping with Loro Piana’s high standards, they delivered the cashmere in perfect condition.
The Loro Piana story is entwined with competitive sport, from sailing to motoring and, now, golf.
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PHOTO BY LISA CAMUS, COURTESY LORO PIANA
Loro Piana’s new uniforms for the European team, which will debut during September’s Ryder Cup.
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MAN ON THE STREET
Lynn Yaeger remembers her friend, legendary fashion photographer Bill Cunningham.
e never had an assigned seat at a fashion show, but the front row didn’t have any trouble accommodating him. In fact, he may have been the only person Anna Wintour ever scooched over for. In an industry whose only reason for being, it sometimes seems, is to celebrate What’s Next! What’s New! The Latest Model! The Coolest Designer!, he was eternal, unchanging with his blue French workers’ jacket and ratty bicycle, his raison d’être slung around his neck. Bill Cunningham, the intrepid photographer for The New York Times—the guy who, let’s face it, pretty much invented street fashion photography—passed away last summer at the age of 87. Until the end you could find him stationed on the sidewalk, gleefully snapping, grinning when he saw someone in the kind of delightful, nutty outfit he adored. “I never go out with a preconceived idea,” he once explained. “I let the street speak to me.” I had known him since the 1980s, when I was just an ordinary person with funny clothes. I wasn’t famous; I didn’t know anyone famous. I had a low-level job, but I also had an extraordinary black Romeo Gigli coat with a velvet collar that ended in points, like a court jester’s. Bill didn’t care at all about my lack of social status—he loved me for my Gigli. We became friends—or, no, strike that, friendly. Did Bill have close friends? Was there anyone this pale rider had a drink with, a bite, a movie night? He certainly never sat down at any fashion dinners, though his hosts would have loved to have had him. He famously never even accepted so much as a glass of water. But while the rest of us were gorging and burping, he was noticing things—the way a silver frock gleamed in the sun, the way a swath of fringe danced. “I’m not interested in celebrities, with their free dresses. I’m interested in clothes,” he explained. Cunningham was born into a large Irish Catholic Boston family. He dropped out of Harvard at 19, served in the Korean War, came to New
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York, floated around the fashion business and started making hats. (“I could never concentrate on Sunday church services because I’d be concentrating on women’s hats,” he recalled, describing a strict childhood.) I always thought his courtly, pre-Stonewall manners were reminiscent of the 1950s and ‘60s in Manhattan—a Mad Men world incarnate. This extreme modesty did not prevent him from becoming universally recognized: The French government bestowed the Legion d’Honneur on Cunningham in 2008; the next year he was declared a Living Landmark by the New York Landmarks Conservancy. “I started photographing people on the street during World War II. I used a little box Brownie. Nothing too expensive,” he said. By the time I knew him he had graduated to a low-end Nikon. It was rumored that in the early days, Bill tore up his paychecks. “Money’s the cheapest thing,” he explained. “Liberty and freedom is the most expensive.” (I asked him once where he stayed in Paris during Fashion Week, and he shook his head and laughed, and said something like, “Child, you don’t want to know.”) One of the last times I talked to him was at the Thom Browne show in New York last winter. It was snowing, there was a frigid queue, and I was in a foul mood. But Bill was cheerful and unruffled (especially for an octogenarian who had arrived by bicycle through the slush!). I knew he had been having some health issues. When I asked him if he would be coming to Europe for the upcoming season he shook his head. Not even Paris? I implored. “Oh, child,” he said, “I am just happy to be here in New York.” We were happy to have you in New York too, Bill, for so many reasons. You were a citizen of the world, sure, but also our hometown hero. You were indeed that rare bird, unassuming and completely authentic in a business that all too often seems to prize just the opposite. No matter how crowded a fashion show is, no matter how scarce a ticket, there will always be an invisible empty seat in the front row, with your name on it.
Â© GETTY IMAGES
Bill Cunningham photographed by Ron Galella at the Fourth Annual Fete de Famille AIDS Benefit, 1989
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THe evoluTion of PHilliP lim The New York designer with deep California roots continues to create essential looks that resonate from London to Taipei to a new Bal Harbour boutique. BY BEE SHAPIRO PORTRAIT BY NATHAN ELLIS PERKEL
aving grown up in Southern California, Phillip Lim is quick to draw comparisons when asked about his new store opening in Bal Harbour this fall. “I have a kinship with the area,” says the New Yorkbased designer behind the much-loved label 3.1 Phillip Lim. “I do everything there I would do in California. I take in the exotic flavors, the tropical weather, the beach. You go to Miami to just keep it sexy.” That’s partly why Lim, whose line is going strong after 11 years, is launching his first directly operated mall store in Bal Harbour Shops this November. As the 17th location in a growing global enterprise, the 1,800square-foot space will be a gorgeous ode to its environs. Working closely with the firm MR Architecture + Décor (who also designed the brand’s Taipei store), Lim was intent on bringing out the color palette of the region through the use of pastels. There are also custom-made rugs inspired by palm trees warming up the concrete floors, he notes. The idea is that the shopper is completely immersed in the retail experience whether it’s lounging, shopping or socializing, says Brandon Sanchez, an associate at MR Architecture + Décor. There are also nods to Art Deco, glamour and “the sea and the sky, with palettes of green, blue and white,” Sanchez adds. The stone, steel and glass storefront will also let in plenty of that South Florida natural light—all the better to view the women’s ready-to-wear, accessories, footwear and eyewear collections. The store is debuting with its Resort collection, which Lim describes as “perfect” for the Bal Harbour client because of its
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“eclecticism and laid-back attitude but with an urban jolt”—notably the psychedelic florals and many dresses of the lineup. (Lim is partial to Look 1 of the collection, a vibrantly printed floral cocktail dress with cutaway shoulders and halter neckline.) Inspired by the ‘60s and ‘70s Venice Beach culture, one that inspired him immensely growing up, Lim adds that the collection “feels feminine, strong and personal.” In fact, true inspiration is something the designer finds particularly precious in today’s social media age. Though he’s a fan and avid user of Instagram—“you get access to the world in a click of the button and that’s amazing and changed everything,” he says—he also describes it as a “cheap instant temporal fix.” “Real inspiration is through real experience,” Lim says. “You have to have a life outside of social media.” Moreover, with social media’s influence, fashion is literally moving at a breakneck speed. Trends “can pass in a blink of an eye,” Lim admits, pointing especially to the proliferation of fashion in pop culture. Fashion has become “part of the ingredients that make up the pseudo pop celebrity machine,” he says, which means new silhouettes or styles can be spurred from a single celebrity street style moment. But for someone who has been steering his eponymous company for more than a decade, Lim also believes we’re going through an adjustment period in fashion. At some point, he hopes fashion will “stand up for itself again” rather than be swayed predominantly by pop culture. His motto in the meantime? “Have a point of view and stick with it, but also evolve constantly.”
“Real inspiration is through real experience. You have to have a life outside of social media.” —Phillip Lim
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THIS FALL, LE MOT JUSTE IS AS ESSENTIAL TO FASHION AS IT IS TO THE PAGE. PAIR THESE STYLISH WORDS WITH GRAPHIC PATTERNS FOR A BEST-SELLING LOOK.
Word Up PHOTOGRAPHY BY
VICTOR DEMARCHELIER STYLING BY
SARAH GORE REEVES
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Gucci top, 305.868.6504; Roberto Cavalli red leather pants, 305.865.1749; Dolce & Gabbana shoes, 305.866.0503; Chanel bag, 305.868.0550; Anya Hindmarch keychain, available at The Webster, 305.868.6544; Kenneth Jay Lane brooch, available at Neiman Marcus, 305.865.6161; Alexis Bittar triangle earrings, available at Saks Fifth Avenue, 305.865.1100. Opposite page: Dolce & Gabbana cat print dress, 305.866.0503; Libertine plaid vest, available at Oxygene, 305.864.0202; Prada corset belt, 305.864.9111; Kenneth Jay Lane hoop earrings, available at Saks Fifth Avenue, 305.865.1100.
Moschino dress, available at Saks Fifth Avenue, 305.865.1100; Dolce & Gabbana collar, 305.866.0503; Kenneth Jay Lane star earrings, available at Neiman Marcus, 305.865.6161.
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Maria Lucia Hohan coat, available at Oxygene, 305.864.0202; Missoni leggings, available at Saks Fifth Avenue, 305.865.1100; Miu Miu belt, 305.993.2300; Bottega Veneta shoes, 305.864.6247; Saint Laurent bag, 305.868.4424; Alexis Bittar necklace, available at Saks Fifth Avenue; Kenneth Jay Lane ring, available at Neiman Marcus, 305.865.6161.
Red Valentino love tee, available at Saks Fifth Avenue, 305.865.1100; Kenneth Jay Lane dragonfly brooch and earrings, available at Neiman Marcus, 305.865.6161. 162 BAL HARBOUR
Moschino black bow dress, available at Saks Fifth Avenue, 305.865.1100; Kenneth Jay Lane multi-strand pearl necklace, available at Neiman Marcus, 305.865.6161; Alexis Bittar Lucite bangles, available at Saks Fifth Avenue.
Red Valentino shirt and skirt, available at Saks Fifth Avenue, 305.865.1100; Sonia Rykiel New York pin, available at The Webster, 305.868.6544. 164 BAL HARBOUR
Bottega Veneta leopard print coat, 305.864.6247; ĂŠtre CĂŠcile Martien tee; Alexandre Vauthier pants, available at Oxygene, 305.864.0202; Anya Hindmarch boots and Sonia Rykiel earrings, available at The Webster, 305.868.6544; Kenneth Jay Lane lipstick necklace, available at Neiman Marcus, 305.865.6161.
Alexandre Vauthier dress and Libertine jacket, available at Oxygene, 305.864.0202; Kenneth Jay Lane star earrings, available at Saks Fifth Avenue, 305.865.1100.
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Moschino dress, available at Saks Fifth Avenue, 305.865.1100; Chanel patent leather jacket, 305.868.0550; Christian Louboutin pumps, available at Saks Fifth Avenue; Erickson Beamon necklace and earrings.
Pucci puffer coat, available at Neiman Marcus, 305.865.6161; Red Valentino shirt, available at Saks Fifth Avenue, 305.865.1100; Calvin Klein shoes, available at The Webster, 305.868.6544.
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Moschino fur coat and Belstaff jumpsuit, available at Saks Fifth Avenue, 305.865.1100; Kenneth Jay Lane earrings and bangles, available at Neiman Marcus, 305.865.6161; Lulu Frost necklaces, available at Neiman Marcus. Photographer: Victor Demarchelier Photographer Assistants: Dan Savage, Bruce Bernard Stylist: Sarah Gore Reeves Stylist Assistants: Seppe Tirabassi, Katrina Athanasiou Hair: Takashi Yusa Makeup: Eric Polito Manicurist: Bernadette Thompson Props: Manuel Norena Tech: Kenny Ulloa Model: Anais Mali
S WA N
Find your own stage and surrender to the seasonâ€™s most graceful silhouettes. Take a turn in the simplicity of a slip dress, or embrace the romance in tiers of chiffon and lace. Photography by KRISTIAN SCHULLER Styling by SARAH GORE REEVES 172 BAL HARBOUR
SONG Valentino cream dress, 305.867.1215; Kenneth Jay Lane pearl tassel necklace, available at Neiman Marcus, 305.865.6161; Chopard diamond flower pendant necklace, 305.868.8626.
Oscar de la Renta textured long-sleeve top, 305.868.7986; Ralph Lauren silk skirt, 305.861.2059; Tiffany & Co. Morganite diamond drop pendant, 305.864.1801; Gianvito Rossi silver heels, available at Neiman Marcus, 305.865.6161.
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Vionnet blue chiffon dress; vintage necklace, stylistâ€™s own; Chopard diamond bracelet, 305.868.8626.
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Dolce & Gabbana dress, pink Mary Jane shoes and embellished collar, 305.866.0503; Tiffany & Co. Spinel diamond drop earrings, 305.864.1801; Chopard Palme Verte yellow gold bracelet, 305.868.8626.
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Ermanno Scervino jumpsuit with bow, 305.866.5996; Kenneth Jay Lane earrings, available at Neiman Marcus, 305.865.6161.
Maria Lucia Hohan chiffon dress, available at Oxygene, 305.864.0202; Chopard hoop earrings, 305.868.8626.
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Valentino embroidered chiffon dress, 305.867.1215; Chopard diamond hoop earrings and ring, 305.868.8626.
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Simone Rocha pink coat; Michael Kors white ruffle blouse, 305.864.4144; Oscar de la Renta gold embroidered pants, 305.868.7986; Dolce & Gabbana shoes, 305.866.0503; Chopard Temptations orange sapphire, ruby, garnet, amethyst and diamond drop earrings, 305.868.8626. Photographer: Kristian Schuller Photo Assistants: Christopher Patrick White, Christopher McCoy Fashion Director: Sarah Gore Reeves Hair: Felix Fischer/Factory Downtown Makeup: Eric Polito/Art Department Props: Tara Marino/Ray Brown Fashion Assistant: Katrina Athanasiou Producer: Isabel Scharenberg Tech: Denis Vlasov Model: Alisa Ahmann/Model MGMT Ballet Dancers: Drew, Yana, Olivia, Jordan/Clear Talent; Daphne/Take3Talent
Photographer Landon Nordeman captures the runway—and all of the action behind it—in a new book, “Out of Fashion.”
© LANDON NORDEMAN, ALL RIGHTS RESERVED, 2015.
BY WENDY VOGEL
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A view from the photographers’ riser at Hermès, Paris, 2015 BAL HARBOUR 185
© LANDON NORDEMAN, ALL RIGHTS RESERVED, 2015.
Iris Apfel at Dries Van Noten, Paris, 2016
riot of color, texture and larger-than-life personalities, photographer Landon Nordeman’s new book, “Out of Fashion” (Damiani), captures the glamour and the aftermath of runway shows. The New York-based artist, who started his career as a photojournalist, has covered everything from cat shows to the 2016 Presidential campaign. In 2013 he was tapped by New York magazine’s The Cut to cover Fall Fashion Week, and has found in high fashion an ongoing font of inspiration for his dramatic, humorous and stunning snaps. You started your career as a documentary photographer. What led you to fashion? My series of photographs on dog shows, called Canine Kingdom (2002–14), caught the eye of Stella Bugbee, the editorial director of The Cut at New York magazine. She had a hunch that I would thrive at Fashion Week. She was correct! This book is called “Out of Fashion,” implying that it’s either unfashionable or evolving from fashion to...something else. The title allows the audience to interpret it as they wish. It’s true that I began as an outsider to fashion, and it’s also true that the book evolved
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from fashion—but I would not call it unfashionable. It’s purely my own perspective, or interpretation, of the world of fashion—it’s what I saw. Who are your artistic influences? There are so many artists whose work I love, but photographically speaking, Garry Winogrand and Guy Bourdin are my favorites. What has been your favorite photographic subject to date? It’s impossible to choose a favorite. I love this quote from Victor Hugo: ‘All the corners of the earth are exactly the same. And anywhere one can dream is good, providing the place is obscure and the horizon is vast.’ For the last four years, fashion week has provided one place for me to dream. Have Instagram and other social media platforms changed the way you photograph? Yes, Instagram has changed the way I shoot because it provides community. The community in turn provides inspiration and encouragement. That’s the hardest part of being a photographer—selfmotivation. The work I see and the feedback I receive motivates me and encourages me. That is a powerful force. Do you see a difference between art and fashion photography?
Guo Pei Couture, Paris, 2016
Where does your work fall within those categories? In academic terms, yes, there’s a difference, but I prefer not to make distinctions about what constitutes art or fashion photography. Often the line between them blurs. The questions I ask myself when judging a photograph are: Does it intrigue me? Does it surprise me? Your book has a lot of incredible candid shots of fashion icons. Did you have any difficulty securing access to your subjects? Access is a challenge at Fashion Week all of the time—I always want to get close, and I always want to be able to move. I believe in making the most out of what you have at the time. I believe that pictures can happen anywhere. The question of nature versus artifice comes through in your compositions, and also your attention to details such as patterning. I’m thinking about the photograph of makeup brushes in a case patterned with grass. Can you tell me more about that? Yes, I love juxtapositions, and I love moments or details that are beautiful but strange to me—or better said: that look strange when photographed. Fashion Week is filled with those moments if you’re looking closely. I believe in the idea of looking for questions in a
photograph instead of answers. The candid images in this book are often less than glamorous: the rows of photographers in suits designed to protect their clothes from wet paint, the Louvre reflected in the warped mirrored Dior building constructed for a fashion show, a hair extension on a table after a show. Did you begin this book as a critique of imagemaking? No. This book is not at all a critique of image-making, or of fashion. I never set out with preconceived notions of a subject or of a photograph. I photograph in an instinctual way, responding to what is in front of me. I have an idea of what I am looking for—color, humor, gesture, beauty, mystery—but I never know exactly what it is until I see it. I have found that the most interesting images often reside within the edges of an event—and from before or after the spectacle has occurred. Is the fashion world able to laugh at itself? Yes, it certainly is. I experienced many examples of that. However, when the show is about to start, and careers, reputations and dollars are on the line, it is no laughing matter.
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At Anthony Vaccarello, Paris, 2014
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We won’t fault you for staring. Whether it’s the perfect everyday bracelet, the once-in-a-lifetime necklace or the future heirloom, these jewels will keep you entranced. Photography by ANTHONY COTSIFAS Produced by MICHAEL REYNOLDS Jewelry Market Editor SHANNON ADDUCCI
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RETOUCHING BY ANONYMOUS RETOUCHING
PILE it ON
Wendy Yue gemstone rings, available at Neiman Marcus, 305.865.6161; Pomellato white ceramic and tsavorite Capri ring and pink ceramic and ruby Capri ring, 305.866.1225; Chanel Fine Jewelry ceramic, gold and diamond Camelia GalbĂŠ rings, 305.868.0550; Chopard opal, garnet, sapphire and diamond ring, 305.868.8626.
Buccellati diamond and gold Honeycomb cuff bracelet, 305.866.8686; Tiffany & Co. diamond and platinum cluster necklaces, 305.864.1801; Buccellati diamond and gold lace pendant earrings; Buccellati diamond and gold cuff bracelet; Tiffany & Co. diamond, gold and platinum Schlumberger Three Leaves earrings; Buccellati diamond, gold and baroque pearl Unica Butterfly brooch; Tiffany & Co. diamond, gold and platinum Schlumberger Apollo earrings.
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Van Cleef & Arpels Bouton dâ€™Or pink gold ring with carnelian, white mother-of-pearl and round diamonds, 305.866.0899; background, Van Cleef & Arpels rose and yellow gold rings. 194 BAL HARBOUR
David Yurman gold and gemstone Renaissance bracelets, 305.867.1772.
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Bulgari B.zero1 rose gold and diamond bracelet, 305.861.8898; Marina B diamond and gold Triangoli ring, available at Neiman Marcus, 305.865.6161; Marco Bicego hand-coiled gold Cairo necklace, available at Neiman Marcus; Lalique pearl, diamond, gold and enamel Soleil de Gaia pendant, 305.537.5150; Temple St. Clair rock crystal, sapphire, emerald and ruby Lantern amulet, available at Saks Fifth Avenue, 305.865.1100.
Chopard ruby, diamond and white gold necklace, 305.868.8626. 198 BAL HARBOUR
From brocade suits to pattern clashing, embellished everything to the most minimal of slipdresses, get ready to embrace the best of Fall.
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TO PHOTOGRAPHY BY
B E JOSHUA JORDAN
TR UE STYLING BY
Carolina Herrera fur trimmed coat, silk blouse and trousers, available at Neiman Marcus, 305.865.6161; Bulgari Serpenti pink gold pendant with rubellite eyes and Serpenti pink gold big pendant with amethyst eyes, 305.861.8898. PREVIOUS PAGE: Chanel embroidered skirt, t-shirt, hat and pearl necklace, 305.868.0550; Roger Vivier black sequin thigh high boots, 305.868.4344; Bulgari B.zero1 18k white gold bracelet and B.zero1 18k white gold bracelet with round pavĂŠ diamonds, 305.861.8898.
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Etro silk tiered dress, striped wool sweater and necklaces, 305.868.5971; Chanel black suede boots, 305.868.0550; Saint Laurent medium Sunset monogram bag, 305.868.4424.
Roberto Cavalli brocade jacket, trousers, knit vest, scarf and platform boots, 305.865.1749; David Yurman Osetra small tassel necklace, 305.867.1772; Gucci black leather tote, 305.868.6504; Prada pink agenda, 305.864.9111.
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Prada dress, corset and hat, 305.864.9111.
Gucci wool flower jacquard guru neck jacket and gaucho pant, 305.868.6504; Bulgari Divasâ€™ Dream bracelet, 305.861.8898.
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Michael Kors shearling jacket, sleeveless chiffon blouse, double face crĂŞpe broadcloth skirt and Black Goldie bag, 305.864.4144; David Yurman Osetra bracelet with green onyx, 305.867.1772; Roger Vivier Zip Polly loafer, 305.868.4344.
Salvatore Ferragamo multi-color wool knit cape, top and skirt, 305.866.8166; Fendi mink and leather By the Way bag, 305.861.7114; Giuseppe Zanotti multi-color sparkle bootie, 305.868.0133; David Yurman Solari bead bracelets in 18k gold, 305.867.1772. 208 BAL HARBOUR
DSquared2 Kaori embroidered coat, blouse, bodysuit and camo army icon pants, 305.866.7880; Salvatore Ferragamo fur-trimmed t-strap platform heels, 305.866.8166; Buccellati Pendant brooches with diamonds, rubies and emeralds, 305.866.8686.
Photographer: Joshua Jordan Photographer Assistants: Hector Adalid and Nuri Daynish Fashion Stylist: Seppe Tirabassi Stylist Assistant: Leyla Nuritova Hair: Peter Butler Makeup: Deanna Hagan Digital Tech: Will Heath Model: Flavia Lucini
Dallas Contemporary inaugurates the first museum retrospective for the iconic photographer Bruce Weber. BY TRACY ZWICK
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PHOTO Â© BRUCE WEBER
THE EYE OF FASHION
Kate Moss with a local landowner, Vietnam, 1996
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“Bruce probably shoots 500 images every time he goes on location. The public sees three or four at best. His archive is deep and rich and we are really utilizing that.“ —Peter Doroshenko
elieve it or not, master photographer Bruce Weber has never taken part in a fashion-centric exhibition. That’s about to change. Weber’s Pirelli calendars, Kate Moss pictures and Calvin Klein campaigns may have made him famous, ushering in his pervasive 40-year influence on the American visual vocabulary. But it’s the perpetually bandana-clad lensman’s adventurous spirit and unsurpassed eye for the extraordinary that have made him an icon. On September 18, Dallas Contemporary will open “Far From Home,” the first ever Weber retrospective, comprised of 250 works, “most of which have never before been seen,” according to the museum’s executive director, Peter Doroshenko, who is curating the exhibition. “That’s the exciting part,” he explains. “Bruce probably shoots 500 images every time he goes on location. The public sees three or four at best. His archive is deep and rich and we are really utilizing that. We are printing all new images for this exhibition.” And when Weber goes on location, he goes to “the most unique and exotic locations” in the world, “from Norway to Vietnam to Brazil,” says Doroshenko. “The show’s theme will be fashion; its sub-theme will be travel.” Weber began the process of culling images for the show, then Doroshenko met with Weber’s studio team and looked over more photographs before Weber made final selections. “It’s Bruce’s vision,” says Doroshenko. “Bruce chose the images that stood out to him as the best of each shoot.” This appealed to Doroshenko. “In retrospect we can make better judgments, or with time we may have the luxury to think things through and we all become better editors. I think that’s the situation here, after all these years when Bruce goes back and looks at all these different locations and images.” Many of the images, including some dating to the 1970s, evince hallmarks of Weber’s now long-established style: breezy naturalism,
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unplaced nostalgia, the elegance and counterintuitive warmth of black and white. Most of the works at Dallas Contemporary will be in black and white, “with maybe some tinting,” says Doroshenko. “Only recently, in the last few years, has Bruce been working a lot with color, and those newer works are a bit colder and more in-your-face. Hyper-realism is what we’re seeing in the newer photographs. We could open up Vogue today and see what he’s doing for Louis Vuitton. That’s the wonderful thing about Bruce: He’s pushing the fashion photograph to an extreme.” And fashion photography is nothing new to Doroshenko or Dallas Contemporary. “We don’t limit ourselves to painting and sculpture,” he says. “We’ve done a lot of fashion photography, including a recent show with Mario Testino, as well as an exhibition of Helmut Lang sculpture. We are interested in the gray areas and periphery of contemporary. Bruce’s work is amazing photography, but not typical ‘art photography.’ The exhibition will be on view for five months and will include a public talk with Weber on its opening day, as well as screenings of his films. “Bruce is always making videos, and his short vignettes will be part of the show,” Doroshenko notes. Asked for one or two images that stood out to him after poring over thousands in Weber’s archive, Doroshenko sighed: “That’s like asking who my favorite artist is. There are so many.” When pressed, he cited a location shoot in Brazil—“the Rio project, some of which appeared at the 1987 Whitney Biennial,” where Weber’s work was shown alongside that of Julian Schnabel, Ross Bleckner, Barbara Kruger and Jeff Koons. “These images are more extreme even than the Calvin Klein ads Bruce did,” showing muscular young men wearing nothing but snug underwear. “They’re so hot and sexy, you start sweating just looking at them.”
PHOTOS © BRUCE WEBER
Shalom Harlow with friends on the Seine, Paris, 1995
Bruce and Talisa, Bellport, New York, 1982
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SHE WEARS THE PANTS PHOTOGRAPHY BY FRANCES 214 BAL HARBOUR
This Fall’s most important accessory is devil-may-care confidence, modeled after artist Lee Krasner’s escape to the Hamptons with Jackson Pollock. Pair that with the season’s best pants and brogues and you’ve got this effortless look polished to perfection.
STYLING BY DORIA
Gucci crêpe wool-silk Cady jacket, washed oxford long sleeve shirt with scarf, boot cut pants and silk flower brooch, 305.868.6504. Opposite: Karen Walker Hydrolab jumper; Cinq à Sept Saturn stole, available at Saks Fifth Avenue, 305.865.1100.
Etro velvet embroidered jacket, silk floral trousers and Victorian white lace pink ribbon camisole, 305.868.5971; Gucci ring with glass pearls, 305.868.6504.
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Stella McCartney wool twill Giulieta trousers, 305.864.2218; Standard. by Karolyn Pho Studio T-shirt; Robert Clergerie Voel shoes, available at Intermix, 305.993.1232.
Fendi silk mohair sweater and pants, 305.861.7114. 218 BAL HARBOUR
Suno Lurex floral chiffon top, available at Neiman Marcus, 305.865.6161. Photographer: Frances Tulk-Hart/See Management Stylist: Doria Santlofer/Kate Ryan Stylistâ€™s Assistant: Karolyn Pho Model: Camilla Deterre Hair: Eloise Cheung/Kate Ryan Makeup: Allie Smith/Sarah Laird & Good Company
THE FASHION FLOCK It’s hard to keep up with this roving brood of style setters, sirens and starlets. Here, we capture them in Cannes celebrating with Chopard and in England for Dior’s London takeover.
Kendall Jenner at the Chopard Wild party
Elena Perminova at Dior Cruise Collection International Press Lunch in London
Caroline Issa at Dior
Elizabeth Von Guttman and Alexia Niedzielski at Dior
Emilia Schüle at the Trophée Chopard ceremony
Natasha Poly at the Chopard Wild party in Cannes
Colin and Livia Firth at Annabel’s and Chopard in Cannes
Kristina Bazan at the Trophée Chopard ceremony
Elizabeth Olsen at Dior
Kate Beckinsale at Dior
Lottie Moss at the Chopard Wild party
Adriana Lima at the Chopard Wild party 220 BAL HARBOUR
Poppy Delevingne at the Chopard Wild party
PHOTOS COURTESY OF DAVE BENETT; GISELA SCHOBER/ GETTY; VICTOR BOYKO/ GETTY
Olympia Scarry at Dior
Kiernan Shipka at Dior
A MOVEABLE FEAST
Franca Sozzani at Fendi
After celebrating Gucci’s Resort collection in London, the stylish migration continued to Rome for Fendi’s Haute Fourrure show.
Dasha Zhukova at Gucci Gong Hyo-jin at the Gucci Cruise party in London Elisabetta Beccari at Fendi’s 90 Years Anniversary in Rome
Georgia May Jagger at Gucci
Will.i.am at Gucci
Lindsey Wixson at Fendi Claudio Santamaria and Matilda De Angelis at Fendi Anna Dello Russo at Fendi
Kate Hudson at Fendi
Annie Lennox and Alessandro Michele at Gucci 222 BAL HARBOUR
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Elle Fanning at Gucci
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Chiara Ferragni at Fendi
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ALICE WATERS Fanny Singer: Mom, I thought it might be nice to start by talking about our recent project, ”My Pantry,” and about what it was like to work together. Alice Waters: Well, I always say that my favorite part of the project was going on the book tour because I got to hang out with you so much! I mean, with you living in London, we rarely get so much time together—it was a dream! It’s true, it was pretty special: days on end of being together at the same hotel, going on early morning walks, trying to remember the exact recipe for za’atar on the spot while recording Diane Rehm’s NPR show live… But going back to the original question of what it’s like to collaborate with your kid, there’s really nothing more rewarding. Because of course you’ve influenced them in so many ways—and are thrilled if they like to eat salad as much as you do!—but then they become their own person, with their own talents, and it’s exciting to think of how they might enrich your own projects. I had helped you with writing projects in the past, but this was really our first proper book project together, and was especially compelling for me because I also got to paint all the illustrations for it. Speaking of which, if you had to choose one drawing, what was your favorite? Well, I found them all so charming. But I loved the cover illustration best. It captures how I arrange and store things in my own kitchen: rather than stick something in a plastic container, I’ll put it in a beautiful bowl and use a small plate as a lid. You also, of course, need certain tools in the kitchen to keep things running smoothly. What’s your most indispensable kitchen implement? My mortar and pestle, of course! My marble mortar is easily my favorite thing in the kitchen, and if I could only have one piece of ‘equipment’ it would be this. It’s such a basic tool, and has been around for thousands of years, but using it also feels like engaging in alchemy— ingredients transform in shape and texture and become something more than the sum of their parts. And it allows you to keep close to the taste, too, to able to smell and taste and tweak in a very immediate way. I always use my mortar to make salad vinaigrette: I pound a clove of garlic with coarse salt to a paste and then add in vinegar or lemon and allow it to macerate a moment before stirring in olive oil. I have several mortars, but the other one I use frequently is a Japanese suribachi, a ceramic bowl scored in a cross-hatch along the inside, which is perfect for making salad dressings and grinding spices. I think it’s not too much of a stretch to think of the ethos of “My
224 BAL HARBOUR
PHOTO BY AMANDA MARSALIS
The pioneering chef, who created Berkeley’s legendary Chez Panisse in 1971, sits down with her daughter, Fanny Singer, to discuss their book collaboration, “My Pantry.”
For 45 years, Waters has been at the forefront of the organic food movement.
Pantry” as quite similar to my design and fashion project, Permanent Collection: a curated selection of the most classic historical and contemporary design originals, remade in luxurious materials—the most essential pieces, be it a coat or a sandal or a ceramic cup, that no woman can live without. In a sense, my partner, Mariah Nielson, and I are making an expanded pantry, or a wardrobe conceived on the same principles: full of only the most essential, beautiful ingredients. I can’t wait for you to start making pieces for the kitchen! Soon! We’ll have to come trawl through your cabinets for inspiration!
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Published on Sep 21, 2016
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