Bal Harbour Magazine - Fall 2017

®

FALL 2017

RALPH LAUREN

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THE COSMOGRAPH DAYTONA Rooted in the history of motor sport and watchmaking, the legendary chronograph that was born to race.

It doesn’t just tell time. It tells history.

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oyster perpetual, cosmograph and daytona are ÂŽ trademarks.

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Big Pilot’s Watch Edition “Le Petit Prince”. Ref. 5009:

and international bestseller, “The Little Prince”. Reason enough for IWC to honour

“It is only with the heart that one can see rightly. What is essential is invisible to the eye.” These words have assumed a meaning beyond their literal sense. And when Antoine de Saint-Exupéry put them into the mouth of his little prince, he probably knew already that we need only turn our hearts to the stars in all their brilliance to recognize our dreams. Making them come true, however, calls for men with the

his life’s work with the Big Pilot’s Watch Edition “Le Petit Prince”. The watch has a chapter ring recalling the elegantly reduced design of the cockpit instrumentation in classic aircraft. An image of the little prince, whose imagination, sincerity and openness took people’s hearts by storm, is taken up as an engraving on the back of the case. In the same way that Saint-Exupéry – pilot, poet, and pioneer – gifted

courage of a Saint-Exupéry. By becoming a professional pilot, he not only fulfilled a boyhood dream but was also inspired by flying to write his literary masterpiece

the world a story that tells of human strength and goodness, IWC gives us this watch as a reminder to live out our dreams.

I WC . E N G I N E E R E D FO R M E N .

ENGINEERED FOR MEN WHO FLY THEIR DREAMS.

contents

PHOTO BY DAVID ROEMER

FALL 2017

Model Charlee Fraser in a Saint Laurent leather mini dress.

MATTER OF STYLE What to see, where to go and what to buy this Fall.

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BEST FOOT FORWARD Salvatore Ferragamo’s design director of women’s footwear, Paul Andrew, puts a modern spin on iconic house codes. 58 QUITE THE SCORE Meet Lucy Bright, one of the film industry’s most quietly celebrated creators of sound.

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COOKING THE BOOKS Chef Missy Robbins dishes on her first cookbook: “Breakfast, Lunch, Dinner…Life!”

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FREEZE FAME Danilo Lauria is making video art in the Instagram age.

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TWINKLE TOES Jewel-encrusted boots, sandals and Mary Janes provide a moment for reflection.

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HIDDEN FIGURE Van Cleef & Arpels brings Daniel Brush into the spotlight with an exhibition at its Paris L’Ecole School of Jewelry Arts. 72

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PHOTO BY KRISTIAN SCHULLER

contents

Model Catherine McNeil wearing a cashmere sweater, pants and boots by Bottega Veneta.

IT'S A MUST Bal Harbour has just the accessory you need to finish off your look in the season’s hottest trends.

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DRAWING THE LINE The Sartorialist’s Jenny Walton strikes a balance between real-life image-making and her whimsical illustrations.

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SUIT UP From Hillary Clinton to Stella McCartney, we explore how blazers became Fall’s crowning glory.

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CHILD OF THE NINETIES Lynn Yaeger takes a look back at the decade’s greatest hits—on and off the runway.

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THE LITERARY ISLAND OF MARGARET ATWOOD A remote island in Canada has become a beacon for writers.

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PERPETUALLY ON TIME Michael Friedman talks shop with watch expert Michael Clerizo.

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BEYOND THE TIE Though the tie is still a classic, this season, why not loosen up your accessory game?

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IN FULL BLOOM A flower farm in a remote corner of Washington State is attracting a global audience.

FAR AND AWAY Australian label Zimmermann makes its Bal Harbour debut.

ANIMAL INSTINCT Meet Loni Edwards, the agent behind an emerging group of social media influencers.

121 130 132

A LEGACY IN LACE Ermanno Scervino discusses his couture-like designs and how sartorial magic is made at his Florence atelier.

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PHOTOGRAPHY © ELLEN VON UNWERTH/TRUNK ARCHIVE; COURTESY OF RIZZOLI

contents

Claudia Schiffer photographed by Ellen von Unwerth for Vogue, 1991. ®

FALL 2017

THE YEAR OF INTENTIONAL THINKING Find out how Transcendental Meditation will change your life.

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COWBOY UP Escape to The Lodge & Spa at Brush Creek Ranch for a not-so Wild West getaway.

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SCREEN GEM Maggie Betts makes her way into Hollywood with a critically acclaimed Sundance premiere.

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BEYOND BEAUTY There’s a decidedly Victorian air this season, one that accessorizes well with crop in hand. 164 DARE TO BARE It’s time to take the plunge into Fall with power suits and diaphanous dresses.

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JANE SAYS Matt Tyrnauer takes to the streets for a new film unraveling the battle royale of urban planning.

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BLONDIE Supermodel Claudia Schiffer reflects on three decades as model and muse.

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LE VROOM Richard Mille has teamed up with a group of high-octane women.

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CREATURES OF COMFORT Get ready for high necklines, broad shoulders and a touch of excess.

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EYE CANDY The season’s most coveted accessory is a real page-turner.

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Model Hana Jirickova photographed

by Miguel Reveriego and styled by Sarah Gore Reeves exclusively for Bal Harbour magazine wearing a Chloé embroidered silk dress.

Welcome Note

O

ur Fall issue unabashedly celebrates fashion. This season’s collections were dominated by an upbeat mood, a refreshing playfulness and a return to individual style which we set out to capture in our three fashion stories. Sarah Gore Reeves, our contributing fashion director, took us to a farm in upstate New York, Central Park and in the studio with Charlee Fraser, the brunette model who has soared to the top of everyone's must-shoot list.

In "Beyond Beauty," we showcase some of the season’s best dresses from Alexander McQueen to Oscar de la Renta and in the studio, we reveal the dramatic shapes that are so important right now. In Central Park with cover girl and supermodel Hana Jirickova, we were seduced by Fall's romantic side, including Saint Laurent’s newfound femininity, Ermanno Scervino’s signature lace and a cream confection from Chanel.

We also packed the issue with many intelligent, successful women who move to the beat of their own drum. Take the filmmaker Maggie Betts, who is turning heads with her critically acclaimed Sundance debut, “Novitiate,” or celebrated author Margaret Atwood who makes a case for getting off the grid, or chef Missy Robbins who has just written her first book, which gives a glimpse into the kitchen (and life) of the celebrated New York chef. And supermodel Claudia Schiffer looks back on her stellar career—which, three decades later, is still going strong. All of these women are following their passion and positively impacting others along the way.

And speaking of passion, the growing audience for rare and collectible watches and cars is reaching a fever pitch. Bal Harbour’s Collectors Weekend returns this November with a watch summit and Supercar show like no other to satisfy the most discerning of collectors. Read timepiece expert Michael Clerizo’s interview with Audemars Piguet’s historian Michael Friedman to whet your appetite for what’s in store.

We hope these stories inspire you and we look forward to continuing the dialogue throughout the year @balharbourshops and on the redesigned BalHarbourShops.com, coming soon.

Editor in Chief Sarah Harrelson; highlights from the issue, including Charlee Fraser in “Creatures of Comfort,” a sandal from the Salvatore Ferragamo archive, Claudia Schiffer, a detail from “Beyond Beauty,” Rallye des Princesses and a sketch by Jenny Walton.

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 Associate Art Director Katie Brown Contributing Fashion Director Sarah Gore Reeves Market Editor Shannon Adducci Contributing Writers Kate Betts, Leslie Camhi, Jackie Cooperman, Amanda Eberstein, Mark Ellwood, Emily Holt, Ted Loos, Jessica Michault, Degen Pener, Bee Shapiro, Alyssa Shelasky, Samantha Tse, Lynn Yaeger Contributing Photographers Nico Bustos, Anthony Cotsifas, Chris Craymer, Boo George, Fumie Hoppe, Dean Isidro, Russell James, James Macari, Daniel Matallana, Richard Phibbs, Kristian Schuller Director of Marketing Marissa Cornejo Broennle Editorial Assistant Jessica Idarraga Pre-Press/Print Production Pete Jacaty Digital Imaging Specialist Matt Stevens Interns Maria Rion and Will Shindell Accountant Judith Cabrera Chief Executive Officer Mike Batt 40 BAL HARBOUR

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Contributors

We asked this issue’s writers and photographers what they are most looking forward to this Fall.

She is also the fashion director of Harper’s Bazaar, Turkey and a contributing editor for Vanity Fair Italia and has collaborated with photographers Miguel Reveriego, Will Davidson, Patrick Demarchelier, Alexi Lubomirski, Ben Hassett and Paola Kudacki, among others. In addition to styling our fashion features, Gore Reeves also had the chance to interview one of her favorite models, Claudia Schiffer.

“Claudia is such a cool person, intelligent, thoughtful and has her priorities right.

She would be anyone’s idol as she recreates herself in many roles: designer, actress, mother, supermodel. She’s proof that you should pursue your interests and never be afraid of changing it up.”

“There’s no longer a need to borrow your boyfriend’s sweaters! The trend I most love this Fall is oversized. I just love the silhouette and it fits my vibe. A cozy sweater with long sleeves or a structured jacket with exaggerated shoulders, or a long coat. These stay in your closet—and stay cool.”

LYNN YAEGER is one of the fashion industry’s great iconoclasts. Her personal approach to style and reporting have made her a must-read for decades. A regular contributor to Vogue and T: The New York Times Style Magazine, Yaeger has been sharing her point of view with Bal Harbour for the last five years, including this issue’s ode to ‘90s fashion. “In tough time like these, I am planning to look for all the sequins and glitter I can find— sparkle for day is my new motto!”

“I am very much looking forward to two inaugural collections in Paris—both from women designers: Clare Waight Keller making her debut at Givenchy, and Natacha Ramsay-Levi at Chloé.”

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DAVID ROEMER has quickly established himself as part of the new generation of image-makers. After studies in psychology, film and painting, he turned his focus to photography, capturing models like Jourdan Dunn, Bella Hadid and Lily Aldridge, among others, for international publications. In this issue, Roemer shot model Charlee Fraser wearing Fall’s most generous knits in “Creatures of Comfort.”

YAEGER: SKIP BOLEN/GETTY IMAGES

SARAH GORE REEVES is Bal Harbour magazine’s contributing fashion director.

Contributors

TANYA DUKES is a writer and editor who lives in New York City. Through editorial posts at magazines such as Elite Traveler, she developed a love for all things jewelry related.

Fittingly, she’s looking forward to scooping up Altuzarra’s pearl-embellished combat boots for Fall. In this issue, she wrote “Hidden Figure” about the upcoming Paris exhibition of jewelry from artist Daniel Brush.

ANDREW MEREDITH is a London-based photographer who has worked in fashion, interiors and portrait photography throughout his career. His clients include Chanel, Hermés, Burberry and Selfridges. For his first contribution to the magazine, Meredith shot music supervisor Lucy Bright. “Shooting Lucy at Blacks Private Members Club was pretty much my perfect assignment—great location, and a genuinely lovely person to work with.”

MARSHALL HEYMAN has written for the Wall Street Journal, the New York Times, The New Yorker, Vanity Fair, Vogue, InStyle, W, Harper’s Bazaar, New York and many others. He is currently writing for a new AMC television show set to premiere in 2018. For Bal Harbour, Heyman interviewed director Maggie Betts, whose first narrative feature film, “Novitiate,” is being released in October.

“This Fall, I am most looking forward to the return of Thomas Kail’s ‘Tiny Beautiful Things’ to the Public Theater in New York City. It’s a play he coconceived based on the book by Cheryl Strayed, collecting her ‘Dear Sugar’ letters.”

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JESSICA MEHALIC LUCAS is a fashion and lifestyle writer and brand consultant who lives in New York City. A regular contributor to Bal Harbour magazine and BalHarbourShops.com, she has been an editor at Women’s Health, Us Weekly and Cosmopolitan magazines. In this issue, she interviews Ermanno Scervino about his stunning lace creations and the brand’s rich heritage of Italian craftsmanship.

“I’m coveting Fendi’s red over-the-knee boots which will update every LBD in my closet. Also, Dior’s black and white houndstooth cape will be worn on repeat.”

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ALYSSA SHELASKY is a writer for New York, Travel & Leisure, Conde Nast Traveler, Bon Appétit and Bloomberg magazines. She is the author of “Apron Anxiety: My Messy Affairs In & Out of the Kitchen” and is currently working on a scripted TV series about her life for A&E Studios. She lives in Carroll Gardens, Brooklyn where she constantly tries to cook like Missy Robbins, whom she interviewed about her new book debuting this month from Rizzoli.

MICHAEL SLENSKE is a Los Angeles-based writer and editor who covers art, culture and travel. He is editor-at-large of LALA and Cultured and his work also appears in W, Architectural Digest, WSJ. Magazine and Wallpaper. In “Jane Says” Slenske spoke to writer-turned-filmmaker Matt Tyrnauer about his new documentary, “Citizen Jane: Battle for the City.”

“For the Fall, I’m really excited to nest in my new apartment. I have a new dyptique Figue candle that’s just begging for Autumn to come, and a Southwestern-y Pendleton wool throw for my cream mid-century couch.”

“I'm looking forward to Billy Reid's Shindig. Going there end of August. It's one of the most badass, Bourbon-fueled music and bbq festivals I've ever been to, with softball games between Billy's design team and Jack White's record label, sets from Alabama Shakes and countless other Southern rock giants. And the fact that Billy is behind everything, obviously everyone looks impeccable, it's that whole Southern soigne thing on steroids.”

MICHAEL CLERIZO is an American writer living in Europe. He is a contributing editor at WSJ. Magazine and writes a monthly column about watches for the Wall Street Journal’s Off Duty section. He is the author of two books: “Masters of Contemporary Watchmaking” and “George Daniels: A Master Watchmaker And His Art,” both published by Thames and Hudson.

“Interviewing Michael Friedman of Audermars Piguet was an intense experience because he is engaging and erudite and possesses a hard to keep up with a rapid fire delivery.”

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NICK COMPTON is a London-based writer and editor and senior contributing editor at Wallpaper.

For his first contribution to Bal Harbour, he talked to Lucy Bright, rising star movie music supervisor and “human jukebox‚“ about the new sound of Hollywood.

“As a true ‘90s child, I’m looking forward to the return of jewel-toned velvet for Fall.”

SLENSKE: RANDI MOLOFSKY

Contributors

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DAV I D Y U R M A N . C O M

COURTESY OF ROGER VIVIER

MATTERof STYLE

ARCHIVAL REVIVAL

There are some films whose costume designers are as critical to the plot as the script writers. The 1967 classic “Belle de Jour,” starring Catherine Deneuve, is one of them. This year marks the 50th anniversary of the film in which the great French actress famously wore Roger Vivier buckle shoes, resulting in a feeding frenzy for the footwear the world over. To celebrate the occasion, Bruno Frisoni designed a new pump inspired by the original with an oversized square buckle and a chunky podium heel. Available now at Roger Vivier, Bal Harbour Shops.

A still from “Belle de Jour,” starring Catherine Deneuve wearing Roger Vivier’s now famous buckle shoes.

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Z IS FOR ZEGNA

A great many things are happening at Ermenegildo Zegna. Alessandro Sartori presented his first collection at the start of this year, which has now landed in stores. His direction for the brand is clear, bringing a new definition to what formal menswear can mean. Is a suit still a suit if it includes a hoodie? According to the latest collection, that’s affirmative.

And, come October, you can explore the Fall collection in Zegna’s redesigned boutique—and until then, at their temporary home on the third floor.

WELL TIMED

Bal Harbour Shops Collectors Weekend returns with four days of curated content for the most discerning car and timepiece enthusiasts. Brands including Audemars Piguet, Bulgari, Chanel, Chopard, F.P. Journe, Graff, Harry Winston, Hublot, IWC, Panerai, Tourneau and Van Cleef & Arpels display their most rare and coveted watches, while an incredible collection of Supercars will surely turn heads. Visit balharbourshops.com to reserve your spot, November 2-5.

We’ve been following Donald Robertson, aka @drawbertson, since our Fall 2014 issue where we profiled the illustrator. Since then, he’s amassed an additional 100,000 followers (he’s up to 190,000 as of press time) and has released his first monograph, published by Assouline. In it, more than 100 illustrations highlighting some of his greatest works are joined by original pieces created for the book, as well as anecdotes from collaborators, fans and influencers in fashion, beauty and art. Available at Books & Books Bal Harbour.

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Rihanna photographed by Annie Leibovitz in Havana, 2015.

ALL ABOUT ANNIE Photographer Annie Leibovitz needs no introduction.

Responsible for some of the most memorable images etched in our cultural consciousness—from a pregnant and naked Demi Moore to a meta-selfie portrait of the Kardashian/West clan to countless heads of state from Queen Elizabeth to President Obama. Phaidon’s “Annie Leibovitz: Portraits 2005-2016” brings together 150 of these images, several of which have never before been seen in print. Available at Books & Books Bal Harbour.

COURTESY OF ERMENEGILDO ZEGNA; ©ANNIE LEIBOVITZ; ©DONALD ROBERTSON

Chanel Premiere Camellia Skeleton

Ba l Harbour Shops

j o h nv a r v a t o s . co m

Machine Gun Kelly New York, N Y 2017

COURTESY OF MONCLER; ©GIO_GRAPHY: FUN IN THE WILD WORLD OF FASHION, GIOVANNA BATTAGLIA, RIZZOLI NEW YORK, 2017

Behind the scenes of the Moncler campaign, shot on location in Iceland.

INVISIBLE HAND

Moncler has long been a fan of artistic collaboration. From capsule collections with Pharrell Williams to the artists tapped for its campaigns, the Italian luxury sportswear label pushes the boundaries far beyond the puffers it’s best known for. This Fall, Moncler tapped Chinese artist Liu Bolin—whom they also worked with on the Spring campaign—to bring his signature disappearing act into the frame of famed lenswoman Annie Leibovitz. In a bold move for a campaign, rather than spotlighting the brand’s fashion, the emphasis is on the environment it was shot in—among the glaciers of Iceland. Consider it a redefining of embedded advertising.

FEEDING FRENZY If you barely have time to get dressed in the morning, might we suggest a quick swipe through the feed of one of our favorite InstaInfluencers, Giovanna Battaglia, for a bit of sartorial inspiration? Better known digitally as @bat_gio, you can also check out her new book from Rizzoli, capturing many of her most memorable looks as she globe-trots from one fashionable destination to the next. For more InstaFashion, check out @carolineissa, @thelsd, @miraduma and the Man Repeller’s @leandramcohen.

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This winter, diptyque presents a limited edition collaboration with French street artist Philippe Baudelocque. Three new candles with the artist’s signature, heavily detailed illustrations—Incense Tears, featuring a Phoenix; Fiery Orange, featuring a dragon and Frosted Forest featuring a unicorn—are being released in time for the holiday season.

In addition, an Advent calendar, a giant Baies candle and a Constellations Carrousel, which whimsically dances around a votive’s edge, are also being released for the holidays.

BAL HAR B OU R SHOPS 866-FE R RAGAMO – FE R RAGAMO.COM

TAKE FLIGHT

Josef Albers’ Prismatic II, 1936

Artist Josef Albers was seduced by Mexico’s landscape, history and artifact—which in part led to his own explorations of geometry he is best known for. In November, The Guggenheim will bring together never before exhibited works from his period of creation influenced by Mexico, alongside significant collection paintings from the Homage to the Square and Variants / Adobe series, shedding new light on this least known period of Albers’ practice.

SPARKLE AND SHINE

Every year, Tiffany & Co. releases its Blue Book collection, presenting its most exquisite creations. This year’s theme, Art of the Wild, calls on nature for its inspiration—from exotic birds to the powerful waterfalls the company’s design team encountered while on their creative expeditions.

Platinum and gold necklace with tourmalines and diamonds.

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HAUTE CUCINE

The latest Italian pairing infuses some of the most classic of kitchen accessories with the fashionable flair that only Dolce & Gabbana could produce. Smeg teams up with the Sicilian designers to create a colorful exploration of Italian heritage by way of juicers, toasters and of course, coffee makers.

COURTESY OF JOSEF AND ANNI ALBERS FOUNDATION; TIFFANY & CO.

London-based Noor Fares has us hooked on her whimsical yet edgy jewelry collection that is inspired by her Lebanese heritage and passion for contemporary art. Available at The Webster Bal Harbour, these Fly Me to the Moon earrings are a must for the Fall.

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ANSOLET ROSSOUW HOTEL PARTICULIER SALOMON DE ROTHSCHILD, PARIS MARCH 5TH 2017

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COURTESY OF SALVATORE FERRAGAMO

Paul Andrew’s new version of Salvatore Ferragamo’s iconic F Wedge.

BEST FOOT FORWARD As Salvatore Ferragamo’s first-ever design director of women’s footwear, Paul Andrew puts a modern spin on iconic house codes. BY JESSICA MEHALIC LUCAS

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T

opping fashion headlines last September, Salvatore Ferragamo appointed cult-favorite shoe designer Paul Andrew as the brand’s first-ever design director of women’s footwear. The dapper Brit has an impressive history, honing his craft at Alexander McQueen, Narciso Rodriguez, Calvin Klein and Donna Karan before launching his namesake brand of women’s shoes in 2013—which nabbed the 2014 CFDA/Vogue Fashion Fund Award and quickly became a red carpet goto for the likes of Jessica Chastain, Lupita Nyong’o and Emma Watson.

One year into the job at Ferragamo, we checked in with the designer who launched his Pre-Fall and Fall debut for the brand to critical acclaim. “The past year has been an amazing adventure, one with no creative boundaries,” says Andrew. “And certainly not lacking for international travel: in the past six months alone I’ve been in Tokyo, Seoul, Milan, Paris, London, Mexico City, Qatar and Oman.” And of course to Florence at the global headquarters of Ferragamo, where we caught up with the designer.

How did you first get interested in the world of shoe design?

I always admired my father’s work, as upholsterer to the Queen at Windsor Castle and would say that I grew up in the world of design.

From saving pocket money for British Vogue as a child, to exploring the world of high-tech craftsmanship in design technology courses in high school, it was well evident before I entered fashion footwear design studies in university where my passions and natural talents lied.

Tell us about your debut collections for Ferragamo.

My idea has been to reemphasize the story of the Ferragamo brand and highlight the fundamentals that made Salvatore such a profound and groundbreaking presence. My designs reimagine certain brand symbols—the metal gancio, the Flower Heel, the F Wedge and the signature Vara Bow Ballerina—and express these icons to a new generation of independent, strong and discerning women.

And what inspired those first collections?

When Salvatore passed away in 1960, he left behind an incredible archive housing almost 15,000 pairs of shoes. I have focused on reworking certain silhouettes, which have become the inspirational foundation for the collections. I have reimagined them in new colors and added new architectural elements taken from both Florentine artists such as Sandro Botticelli and contemporary artists like Richard Serra.

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What have been your goals at the house?

My intention has always been to bring about an evolution, not a revolution for the modern Ferragamo women. To reintroduce this incredible brand to a new and younger generation of consumers while maintaining our loyal and respected clientele. I am doing this with innovations in design, make and material, with the hopes of putting new emphasis and interest on the inherent beauty of the brand.

I began with the iconic F Wedge and Flower Heel reimagined as booties, ankle-strap pumps and evening sandals. My aesthetic of streamlining silhouettes and playing with architectural intrigue adds a new narrative for the Fall/Winter collection.

How did you combine the house codes with your own aesthetic?

When you really study Salvatore’s archives, it’s clear that he valued the perfect silhouette. The volume and proportion of all his creations from the 1920s, ‘30s and ‘40s always made the foot look smaller and the leg longer.

He was the first to make shoes fashionable—into covetable objects of desire. He also loved to work with colorful and innovative materials.

I share these same aesthetic values in my eponymous collection.

So with my designs for Ferragamo, I’m consciously bringing back awareness to these design fundamentals and thinking how he would want the shoe to look today.

What did you learn while going through the archives?

I have spent numerous hours over the last several months studying the archival shoes in close detail. In doing so, I feel that I’ve been somewhat able to connect with Salvatore’s passion, his creative genius. As the first named shoe designer for the house, exploring the archives is more than a source of inspiration, but a dialogue with the brand’s namesake founder.

Have you introduced any new materials or techniques?

I wanted to bring iconic elements into the now, the future for Ferragamo—to innovate the innovations. Artisanal craftsmanship is in the Italian blood and by tapping into this passion for artisanship and innovation from other areas of industry, we’re able to open new doors to the world of fashion. By galvanizing the Flower Heel on a knit ankle bootie, a process realized by an expert team of car manufacturers, Ferragamo remembers the past while charging forward.

What’s next for women’s shoes at Ferragamo?

I’m building a long-term narrative for Ferragamo and while you can definitely expect newness season to season, the story I’m crafting brings both consistency and evolution.

COURTESY OF SALVATORE FERRAGAMO

Design director of women’s footwear Paul Andrew; a sketch of the Flower Heel and a stack of Belluno Double-Band sandals.

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QUITE THE SCORE

Meet Lucy Bright, one of the film industry’s most quietly celebrated creators of sound.

BY NICK COMPTON PORTRAIT BY ANDREW MEREDITH

Lucy Bright, a powerhouse music supervisor based in London, sets the tone for films from indies to bigbudget blockbusters.

I

’m never happier than when I’m on the movie set and everyone is doing their job really well,” says Lucy Bright, over sips of tea at Blacks, the members club she often takes refuge at. “I love that environment and I love the idea of bringing a story to life.” Bright, though, is no young Turk director or producer. She is a shining example of a relatively new—and increasingly indispensable—part of the filmmaking machinery: the music supervisor.

It’s a job that requires a particular set of skills; a creative urge, generous pop-cultural curiosity and cross-disciplinary synaesthesia matched with deal-making nous and a forensic eye for detail. “For me it is the perfect balance,” says Bright. “I don’t want just the business side or the artistic side. I love both.”

“Lucy is just brilliant at pulling together all these different elements and keeping things on track. And she has this calm, lovely attitude,” says Pam Abdy, the former President of Production at New Regency who worked with Bright on Assassin’s Creed, a video game franchise turned blockbuster. “She is an artist who can handle the administrative side. And she has impeccable taste—just look at the composers she has worked with.”

Bright, now 39, began her career at Mute Records where she worked while studying for her art history degree at the University College London. After graduating, she got a job in the PR department of Warner Classics which represented Steve Reich “a cranky old New Yorker” and Philip Glass “dreamy and zen.” Bright also worked with György Ligeti whose music Kubrick had used in 2001: A Space Odyssey. It opened her mind to the possibilities of music in film.

In 2006, she left Warner to manage the composer Michael

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Nyman, who had created ground-breaking scores for Peter Greenaway, before joining the music publishing company Music Sales, where she is now director of creative.

In addition to managing the publishing rights of Glass, and other more established composers, Bright has been working closely with the cream of “neo-classical” composers—better known by their band affiliations—including Dustin O’Halloran (A Winged Victory for the Sullen), Adam Wiltzie (AWFTS/Stars of the Lid), Volker Bertelmann (Hauschka), Hildur Guðnadóttir, Anne Nikitin, Bryce Dessner (The National), Richard Reed-Parry (Arcade Fire) and Peter Gregson. All have created music that comes off as imagined soundtracks, and Bright has partly engineered their move into the actual writing of scores. “I’ve been convinced that this was the new sound of cinema for the last 10 years. Now they are working on films and this year feels like a big turning point.”

Hollywood seems to agree. O’Halloran and Bertelmann were nominated for this year’s Oscar for best original score for “Lion” while Mica Levi, behind the startling score for “Under the Skin” and who worked with Bright on the upcoming “Marjorie Prime,” was nominated for “Jackie.”

Some of Bright’s composers have moved (or returned) to Los Angeles to be closer to the action. As much as she loves the city, it is a move Bright is resisting, at least in her current role. “I would end up having to do big budget films that my heart wasn’t in.” Instead, she offers, “a sideways move into becoming a producer is more likely.” “I like enabling people to do their best and getting other people to know about it.”

Bal Harbour Shops New York Boston Dallas Palm Beach Atlanta Houston 877 700 1922 Explore the Akris Boutique at www.akris.ch

PHOTO BY EVAN SUNG

Acclaimed chef Missy Robbins outside of her Brooklyn restaurant, Lilia.

COOKING THE BOOKS Chef Missy Robbins dishes on her first cookbook: “Breakfast, Lunch, Dinner… Life!”

BY ALYSSA SHELASKY

W

hen you’re a chef, it’s impossible to please everyone.

Unless, of course, you’re Missy Robbins, executive chef and owner of Lilia, in Williamsburg, Brooklyn.

Because, Lilia—with its three stars from The New York Times, and endless fans of the unfussy and food snob variety— is perfect. And so perfectly “Missy Robbins.”

In the melodramatic soap opera that is the food scene, it’s especially rare to find someone who’s equally respected and liked.

When I first started to write for Bon Appetit about six years ago, I remember both restaurant critics and celebrity chefs singing her praises. I assumed she would be intimidating and ego-driven—

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professional hazards in most kitchens, if I'm being honest. When I met her at a food festival, however, deeply focused on her pasta (it can easily be argued that no one does pasta better), Robbins looked up with kind eyes and a warm smile and I thought: Ah, she’s worshipped because she’s talented and nice. What a novelty!

Before Lilia, Robbins did everything right at A Voce restaurants in New York City, earning Michelin stars and a Food & Wine Best New Chef award. Her first cookbook, “Breakfast, Lunch, Dinner…

Life!: Recipes and Adventures from My Home Kitchen,” is being released in September. We asked her a few questions about her first taste in cookbook writing.

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FENDI.COM

Missy Robbins shares her five favorite cookbooks.

“The Splendid Table” This is a regional Italian book. It delves so deep into the traditions of Emilia Romagna, which was the first region I cooked in when I lived in Italy.

“Seven Fires” It’s all about wood fire cooking from a master… which is now the heart and soul of the kitchen at Lilia.

Anything from The River Café.

These were some of my first books, which taught me a great deal about Italian cuisine and simplicity in cooking. A major influence in my life.

The Time-Life series. These vintage books are so old school, but have so much great technique and nostalgia.

Tell us about the conception of “Breakfast, Lunch, Dinner...Life!”

I came up with this book before Lilia. I wasn’t working and I was cooking a lot at home, and traveling. I felt like I wanted to write a cookbook based on all of this, but also tell my story of this very finite period of time in my life.

What was the cookbook-writing process like for you?

The hardest part was definitely finding the time and head space to concentrate on it. I am a very visual person, so that part of the book’s development was the most exciting.

Is there a recipe (or two) in there that’s especially meaningful to you?

They are all meaningful in one way or another. I think the ones that relate back to my family—like cooking the short ribs for my dad on his birthday—and all of the vegetable dishes represent a new way of eating for me, which really changed my life.

How does publishing a book and opening a restaurant compare?

They are actually really different and, in the best way, are two

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amazing creative outlets. Writing was new to me and I really enjoyed using that part of my brain.

Where do you turn for inspiration in the kitchen?

Travel definitely inspires me the most. But, even just walking through local farmers markets can fuel so much cooking in me. Many of the recipes from this book simply came from strolling through the market and picking up great ingredients.

What do you like to make yourself for dinner?

I cook very very simple stuff for myself. Often quick pasta dishes of spaghetti, garlic, chilies and olive oil, cacio e pepe, or spicy tomato sauce. In the summer it’s all about vegetables. Zucchini is is go-to with anchovies, garlic, mint and red wine vinegar. I finally have a dining room table, so that’s nice.

What's your absolute favorite kitchen tool?

Spoons, good kitchen knives and a few good All-Clad pots and pans. It’s all about the basics.

PHOTOS BY EVAN SUNG

“The Encyclopedia of Pasta” is my bible, essentially.

Danilo Lauria, at left with model Karolina Kurkova; above, Lauria captures model Irina Kravchenko at the Frieze New York art fair for a collaboration with W magazine and Fusion.

Freeze Fame From street fighting with Stella McCartney to all-access at the Met Gala, Danilo Lauria is making video art accessible in the Instagram age.

I

have been rejected by certain people in the industry—and I completely understand why,” says Danilo Lauria, a video artist with an Instagram following of 91K and counting. “There are photographers who work their whole lives behind a camera, and then this kid comes along with an iPhone.” Though he may be self-deprecating, Lauria, or @danilo as he is best known, has been enthusiastically embraced by a great many fashion and cosmetic houses, artists and museums. He is proof of concept for Instagram as a showcase and champion for unknown talent—and while embracing the platform that gave him a voice, Lauria is keenly aware of the perils of being an artist in the social media age.

It was neither an interest in photography nor film, however, that drove the young Spanish Argentine to find his distinctive niche in a largely oversaturated market, but rather a nostalgic childhood hobby. “When I was 12 years old, I used to draw flip books all the time. Eventually I went to art school and I studied traditional animation—and that is really what I am doing, except I am taking it to the digital world.” Lauria’s shorts are familiar and fun for that very reason; they are a modern take on whimsical, short form illustrated narrative. While working for an ad agency in Miami, Lauria shot stop motion videos for fun in his free time. Hired by interior

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decorator Samuel Amoia to document a showhouse Amoia had designed, he shot a short promotional house tour in his flipbook style. Shortly after being uploaded to Instagram, Stella McCartney called.

Since then, Lauria, who is the creative director of video at the Fusion media company, shot the Met Gala three times for Vogue, including an insider’s 360-view of the event where he got up close and personal with Rihanna and Kim Kardashian; a humanizing and playful look at the process from maquette to installation of KAWS’s anthropomorphic sculptures at the Brooklyn Museum; and most impressively, a musical homage to the Guggenheim Museum on the anniversary of Frank Lloyd Wright’s unveiling of the building in 1959. “We turned the Guggenheim into a piano,” he says of the elaborate project, which included hiring a composer to create a musical score. “We took a black sheet and moved it along the floors of the museum to the score of the song and I ‘played’ each key from the opposite side of the circular room.” Lauria kept his iPhone on a tripod and controlled the shutter with his Apple Watch; the video playfully distorted scale and perspective of the iconic landmark.

Another one of the artist’s favorite projects include Stella McCartney’s Spring 2016 ad campaign which was modeled after a retro street fighter video game, with two

models wearing McCartney in freeze frame battling each other.

Lauria is wary of being type-casted by his genre, however. “When you do a video, everyone calls you to do the exact same thing. It’s a problem—a good problem—but it’s still a problem. I want to keep changing,” he says. While he knows Instagram gave him a platform, the artist is conscious of its ephemeral nature and doesn’t view himself as an Instagram artist. “It is such a democratic tool—both the iPhone and Instagram. But it is a field with more competition. Everyone is a photographer these days.”

Lauria hopes evolving is the antidote, and now that he has a broad audience, he is taking aim at causes that are important to him, specifically socially conscious material dealing with the refugee crisis and climate change. Lauria spent time in a refugee center in Rome, and has been deeply influenced by his uncle, Claudio Lauria, who founded FICMA, the International Environmental Film Festival. He is currently working on a documentary with model Jillian Mercado about diversity—or lack thereof—in fashion.

While Instagram may have granted Lauria a platform, it is his nostalgic appropriation of time and perspective, that defines and sustains his appeal. “What I do, it’s a collage of reality,” he says, “like telling a story in a very short time, but in my style.”

COURTESY OF DANILO LAURIA

BY MIEKE TEN HAVE

TWINKLE TOES

Jewel-encrusted boots, sandals and Mary Janes mark a moment for reflection.

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t would be easy to think that, amidst February’s flurry of ground shifting news headlines, the Fall 2017 collections had a tone deaf pep in their step. From New York to Paris, designers were determined to dazzle, down to the jewel-encrusted shoes glimmering on both sides of the pond.

It’s not that fashion remained oblivious to food shortages, terrorism or the election of the United States’ President Unpredictable, but designers had found themselves vexed with the challenge of justifying the need for fashion amidst such turmoil.

For Gucci’s Alessandro Michele, with style as in society, this proved to be a time for reflection, a theme poised with a question painted by artist Coco Capitán on his vinyl record invitations (“What will we do with all of this future?,” they read—a near perfect projection of the thoughts running through the minds of slackjawed editors, stylists and international social media onlookers who momentarily tore themselves away from the 24-hour news cycle), and given life on the runway by the literal reflections caused by the house’s most glittering collection to date. Both men and women came forth bedecked in gems from head to toe, replete with sparkling face masks, bodysuits and brilliant t-strap platform sandals that were made to parade as well as march.

Fashion’s preeminent feminist, Miuccia Prada, seconded the motion, speaking backstage at Miu Miu about the importance of bearing ourselves against “an uncertain future” with a kind of maddening glamour, an argument made and won on the runway particularly well by one luscious pair of silver silk Mary Janes with a diamanté fringe strap and buckle. These are shoes that incite the kind of

intelligible desire that Italian luxury is famous for. For further proof, Dolce & Gabbana doubled down on the directive, with well-heeled sequined boots reinforced with oversized baubles and buckles represented in the full RGBIV scale that gave equal lift to the international cast of mothers, daughters, models and media moguls walking in the show. Even the Americans momentarily shook off impulses for austerity: see the star-studded boots and sandals Laura Kim and Fernando Garcia designed for their debut at Oscar de la Renta.

After all, it’s the three heel clicks of Dorothy’s ruby red slippers that wake her up from her fever dream. But Fall’s gleaming shoes go beyond wishful thinking—and furthermore, beyond a 1 percent privilege—to pile on the jewels and Let Them Eat Cake. Fashion, and women in particular, have a history of turning beauty into a rebellious duty in the face of trying times. During the German occupation in World War II, French women forced to forgo shampoo and leather for the service of Hitler’s troops were given skin-irritating soap and painful wooden soled shoes. They, in turn, took to wearing delicate turbans to hide unwashed hair and creating the highest possible platforms as a display that their spirits could not be broken. It’s an age old defense explained by Lebanese television host Raymonde Butrose, who continued to cover fashion throughout the 15-year Lebanese Civil War because, she said, “Fashion is like a flower in a vase. It helps you forget the horrors of yesterday and cope with tomorrow.” In other words, as you pull on Saint Laurent’s knockout overthe-knee rouched crystal boots, you are not only guaranteed to illuminate a room, but to take a megawatt step forward.

A look from the Saint Laurent Fall 2017 collection and the brand’s statement boot, embroidered with white crystals.

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COURTESY SAINT LAURENT

BY MACKENZIE WAGONER

Hidden Figure Van Cleef & Arpels brings elusive jewelry designer Daniel Brush into the spotlight with an exhibition at its Paris L’Ecole School of Jewelry Arts.

T

hough it’s already among the grandest of jewelry houses, Van Cleef & Arpels has larger plans for its legacy.

With its L’Ecole School of Jewelry Arts, the quintessentially Parisian brand offers instruction on gems, the history of the art of jewelry, as well as fundamental jewelry design. Established five years ago, L’Ecole is a “platform for education on jewelry and decorative arts,” says Van Cleef & Arpels’ CEO Nicolas Bos. Ensconced in an 18th century mansion on Place Vendôme, the brand’s educational offshoot hosts conferences and workshops on subjects from grand feu enameling to identifying gemstones. And thanks to a recent expansion, there’s room for exhibitions from “designers that aren’t part of the Van Cleef & Arpels universe, but bring something exciting to the world of fine jewelry.”

Jeweler Daniel Brush is the latest artist to be celebrated by Van Cleef & Arpels, and is the subject of a fall exhibition at L’Ecole, from

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October 12 through 30. Owing to its virtuosity and scarcity, his work has been a source of fascination for hard core connoisseurs for decades. His pieces rarely appear in public (not even his website includes photos of his jewelry and paintings) and he maintains strict control over who can buy his work.

Though he’s often branded a recluse— Brush seldom leaves the studio he’s shared with his wife, a fellow artist, for 40 years—the breadth of his output suggests that he hasn’t withdrawn from the world; he’s invented a new one and devotes exhaustive attention to it.

And his work is as unpredictable as it is painstaking. “There’s no consistency,” he says.

“I never thought about it. I get up and worry about what there is to say.”

Brush’s dizzyingly eclectic catalog includes seemingly ancient stainless steel objets topped with thousands of pinpoint-fine gold granules, blush colored Bakelite jewels studded with pink diamonds and canvases

painted with gestures inspired by Japanese Noh theater. The one thing that unites them all is that Brush creates every piece with his own hands. “Every single thing is done the way a jeweler did it 100 years ago: with a saw, engraving burins and files.”

The focal point of Brush’s exhibition is a series of necklaces from his book “Necks,” which features 117 collars made solely to be photographed for the volume. They’ll be accompanied by a selection of cuff bracelets executed in steel, diamonds and other precious stones. And, Brush will be on-site to introduce his work to visitors, an experience he views as an “incredible opportunity” to see the public respond to his jewelry.

Still, while most anyone would appreciate an extended Paris sojourn, Brush already looks forward to returning to the rigors of his studio.

“If you have a dream to be a little whisper in the history of art, you have to work at it,” he explains. “Really work at it.”

Poppies, 2010

PHOTO BY TAKAAKI MATSUMOTO

BY TANYA DUKES

Bal Harbour Shops - 9700 Collins Avenue, Store 140 Bal Harbour - Tel. 305 868 4344

IT'S A MUST We've fallen hard for these must-have accessories, channeling three of the season's biggest trends.

Whether you're fierce and fiery, sleek in silver or classically casual in denim, Bal Harbour has just the accessory you need to finish off your look.

BY SHANNON ADDUCCI

A look from the Alexander McQueen Fall 2017 collection captures one of the season’s biggest trends. Turn the page for more silver stunners.

BAL HARBOUR 75

MUST-HAVES

Paco Rabanne sequin pouch bucket bag, available at Neiman Marcus; 305.865.6161

Linda Farrow round sunglasses; opening Winter 2017/18

SILVER STREAK Disco-ready crystals and rhinestones paired with futuristic ashes make for a modern metallic look.

Stella McCartney Alter Snake Skin ankle boot; 305.864.2218

Tiffany & Co. diamond and white gold; 305.864.1801

A look from the Chanel Fall 2017 collection.

Bottega Veneta Giuseppe Zanotti Harmony mirrored patent leather sandal; 305.868.0133

Argento Scuro crystals Knot clutch; 305.864.6247

J.W. Cooper sterling silver, gold and diamond Ram bracelet; 305.861.4180 76 BAL HARBOUR

MUST-HAVES

Emporio Armani chain boot; 305.868.2113

Morgenthal Frederics Elsa sunglasses; 305.866.2020

Dolce & Gabbana embellished Lucia handbag; 305.866.0503

POWER RED

Move over Millennial Pink: Fall’s newest hue is a primary powerhouse.

A look from the Fendi Fall 2017 collection.

embroidered satin Mary Jane pump; 305.864.9111

Tod’s fur-trimmed leather backpack; 305.867.9399

Salvatore Ferragamo suede flower-heel sandal; 305.866.8166

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Prada

Bulgari carnelian, diamond and rose gold Serpenti ring; 305.861.8898

R O B E R T D E N I R O a n d B E N J A M I N M I L L E P I E D , N Y, 9 a m D I S C O V E R T H E C O N V E R S AT I O N AT Z E G N A . C O M # Z E G N A C O N V E R S AT I O N S

MUST-HAVES Chopard sapphire and diamond necklace; 305.868.8626

Gianvito Rossi frayed denim Lola sandal; 305.865.8330

INDIGO GIRLS

Buccellati sapphire, tsavorite, fancy yellow diamond and gold bracelet; 305.866.8686

Dark wash, chambray or just indigo-hued, Fall’s denim inspiration is all about embellishment.

Aquazzura Cosmic pearl pump; 305.330.6860

Audemars Piguet Royal Oak quartz, yellow gold and diamond watch; 305.864.6776

Dior flap bag with chain, available at Saks Fifth Avenue; 305.864.3263

A look from the Dior Fall 2017 collection.

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Pinko felt embellished hat; 786.577.7330

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DRAWING THE LINE The Sartorialist’s Jenny Walton strikes a balance between real-life image-making and her whimsical illustrations inspired by the fashionable world she inhabits.

TKTKTKTKTKTKTKTK

BY MIEKE TEN HAVE

Illustrator Jenny Walton's website, markersandmicrons.com, provides a platform for her to share her illustrations, which have been commissioned by magazines and retailers.

J

enny Walton’s gestural, minimalist fashion illustrations offer a refreshingly anachronistic reprieve from the inescapable deluge of fashion photography—some of which she is partly responsible for as the site director of Scott Schuman’s pioneering street style mecca, The Sartorialist. While it may seem like these two professional antipodes would contradict one another, they actually share common ground. The Sartorialist captures pointed, singular moments that are

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as much about the subject’s outfit choice as they are about the élan and mood with which the person wears it; similarly, Walton’s illustrations distill the spirit of the clothing or pattern she is drawing and eschew the literal.

“I like to leave out as much as possible,” she confirms of her distinctive style.

Walton, however, didn’t begin her career with the intention of portraying fashion, but rather creating it. After graduating from Parsons, she took a job working at Calypso as an assistant knitwear

designer. “Looking back on it, it was such a small company—only two people per department, and I was sketching and drawing, doing embroidery layouts, beading layouts and really handling the technical side on my own.” Living in the far reaches of Park Slope, Brooklyn at the time, she had hourlong commutes to and from her office in Long Island City. “I had two hours every day where I was like, what should I do with this time—so I began drawing a lot. This was the time Instagram was taking off, so I was

Bal Harbour Shops Tel 305 720 2501 31philliplim.com

“We’re in a time where it’s so easy to photograph everything, and it all becomes so literal. The mystery in illustration is so refreshing.”

—Jenny Walton

posting my drawings and really liked the reaction I was getting. It became the part of the day I liked the most,” she recalls. (Walton now has a following of 150,000.) After an illustration job inquiry came in offering $750 for a project, Walton quit her job at Calypso.

“When I got that gig, I was like ‘I made rent!’

I didn’t have too much lined up, but I hustled and made it work,” she says.

She took a freelance design position at Anthropologie’s headquarters in Philadelphia, decamping to her parents’ home in southern New Jersey where her father would drop her off every morning on his way to work, “a nice trip down memory lane,” she recalls. On a couple of her trips to Manhattan, Walton and

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Schuman’s paths seemed to continually cross, including at a 3.1 Phillip Lim show, which she fibbed about having tickets to. Schuman suggested they shoot her for the Sartorialist, and shortly thereafter, he invited her to help him layout his third book. The two soon became a romantic pair and became engaged earlier this year. She now handles the inner workings of the style site managing partnerships, collaborations and book plans.

In the meantime, Walton continues to draw a breadth of assertive and languorously lined figures in the fashions of the moment.

She has been hired by large chains such as Target, who uses her illustrations to add grace to a host of accessories, like shoe boxes and

silk scarves, and by magazines like InStyle to illustrate trend features. “We’re in a time where it’s so easy to photograph everything, and it all becomes so literal. It used to take six months for a trend to appear, and fashion illustration had so much mystery to it; I think that’s what people miss,” opines Walton on the surge in appeal for the hand drawn. “The mystery in illustration is so refreshing.”

The illustrator finds inspiration in Henri de Toulouse-Lautrec’s Japanese-influenced woodblock style and René Gruau’s perfect, minimalist lines that infer, rather than tell. She greatly admires her contemporary, Richard Haines, and work that rejects the obvious.

“Why would you want to copy a photograph?

SUIT UP

From Hillary Clinton to Stella McCartney, we explore how blazers became Fall’s crowning glory.

BY MACKENZIE WAGONER

“The best part of a party is getting dressed to go.”

—Nan Kempner

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PHOTO BY FRANCESCO SCAVULLO/CONDE NAST; COURTESY TRUNK ARCHIVE

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simply because she had never tried he storm had been the combination before, but times building: The fashion being what they were, it was hard to hoodie had reached its ignore the comparisons to the saturation point—even suffragette suit, the uniform donned Vetements’ Demna by women at the turn of the century Gvasalia admitted to experiencing fighting for the vote. The look sweatshirt fatigue. There was the style cropped up in Paris where Sarah community’s not so secret support of a Burton, in her most exceptional certain presidential candidate and selfAlexander McQueen showing to date, proclaimed “pantsuit aficionado.” And borrowed the suffragette silhouette there were the women demanding to replete with waist-cinching belt and be taken seriously everywhere from the ground-sweeping skirt made for a board room to the march on wide-marching gait.

Washington. Which is why, for Fall, Even in McQueen black, the look designers answered the rally cries with was optimistic—the collection an a fleet of blazers for every age and exploration of England’s pagan social circle. If the February runways are tradition devoted to the power of to be believed, by the turning of the mother nature, of women’s intuition, autumn leaves, everyone from young and, paired with trainers, of a youthful Parisiennes with an early aptitude for generation who won’t be held back chic, to the established Savile Row set, by expectations.

Jacquemus’ the denim worshipping Downtown curvaceous noir flared quarters were New Yorkers and Hollywood deliciously swingy while Céline’s bombshells with supernatural structured and spacious obsidian silhouettes will be suiting up. And there tuxedo jacket was the ideal wardrobe will be just as many ways to wear a addition for the multi-hyphenate to blazer as there are women who will throw on over just about anything, or wear them. better yet, exactly nothing.

Topping off fully fledged pantsuits, And they came in colors, too. skirts of every length, and, in the case Acne Studio’s cropped version in crisp of Stella McCartney’s double-breasted white floral was an easy entry point for oversized show opener, a mile of bare the new agers, while Bottega Veneta’s legs—blazers stole the show at the Fall brilliant yellow with exaggerated collections. Nearly 50 years after Nan Socialite Nan Kempner—pictured here wearing Yves Saint Laurent for a 1974 shoulders and a nipped waist gave a Kempner’s notorious stride into La Côte Vogue photo shoot—was a longtime friend and muse to the designer. nod to forties tailoring—blazer Basque wearing nothing but the top half of her Yves Saint Laurent pantsuit (after being refused entry for devotee Katharine Hepburn’s heyday no less. Hepburn summed up her wearing trousers) the skin-flashing look still carries the thrill of defiance. feminist sartorial attitude in 1981 telling Barbara Walters, “I’ve just done For those lower on courage but high on to-do lists, there was a laid what I damn well wanted to and I made enough money to support back ease to the tailoring at Victoria Beckham, who ditched the hero myself.” Which is to say, even if the frothy pastel cupcake dresses dress beloved by trophy wives the world over for something floating through Fall’s couture collections were designed with a princess aspirational for modern moguls: minimalist jackets in navy, gray and a moment in mind, the women who will wear them are no damsels in sublime raspberry with martingales that pulled open one side—the distress. They open their own doors, pay their own way and wear the lapel equivalent of a rolled up sleeve. She paired them with long skirts pants, too, or, as the case may be, sometimes just a blazer.

CHILD OF THE

NINETIES

Lynn Yaeger takes a look back at the decade’s greatest hits—on and off the runway.

W

hen Sir Winston Churchill opined, “Those who fail to learn from history are doomed to repeat it,” he wasn’t talking about your closet this season. Or was he? In case you haven’t been paying attention, we are poised on the brink of a full-on 1990s revival, and, get this, Winston—we are planning to learn from it and repeat it!

Isn’t it amazing how quickly these decades come in and out of focus? No sooner have you donned that ‘60s Ali McGraw beret, that droopy ‘70s Talitha Getty caftan or that ‘80s Madonna bustier, that a whole new era pokes its head into your exhausted consciousness.

And though it didn’t seem so at the time, now the 1990s seem so quaint, so innocent. No cell phones until late in the decade—not even flip phones. No Facebook. No tweeting Presidents.

I am assuming here that you are a person who is old enough to even remember the decade of “Harry Potter” and NYPD Blue, Monica Lewinsky and Tonya Harding—even if you were just a child at the time. If not, you need to double down on your education—not just two Friends reruns each day, but four. A study group with your buddies where you teach each other to emulate Rachel’s hair, and

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consider suiting up in Elaine Benes’s oversize blazers and Becky Connor’s striped sweaters.

As you may have already guessed, whatever the larger culture has decided to embrace is invariably reflected on fashion runways.

But don’t worry—no one is going to force you into high-waisted stone washed denim, Slap bracelets and pastel athleisure pants straight out of “Clueless.”

Because, as it turns out, plenty of designers have also spent the past year in a time capsule, watching videos of Lady Di and Paris Hilton. At Raf Simons’s much anticipated inaugural collection for Calvin Klein, the homage to Helmut Lang’s ‘90s designs was apparent in details like drifting feathers imprisoned in transparent plastic. (And fun fact—Helmut was the guy who, back in 1998, decided to stage his show in New York before the European collections, precipitating a calendar shift that remains in effect to this day.)

Phoebe Philo at Céline, who can always be counted on to offer something artfully avant-garde but eminently wearable, has deconstructed slip dresses straight out of the Yohji Yamamoto playbook. And Donatella Versace says the starting point for her most recent couture collection was the Versace ad campaign of Fall 1998,

LAPERLA.COM

9700 Collins Ave, Bal Harbour, FL 33154

PHOTO BY TRUNK ARCHIVE

Believe it or not, right at this very minute, your little niece and her sulky friends are rummaging through your attic in search of the latest must-have accessory. a medieval fantasia featuring those shining stars of the ‘90s modeling galaxy: Carolyn Murphy, Audrey Marnay and Maggie Rizer.

Believe it or not, right at this very minute, your little niece and her sulky friends are rummaging through your attic in search of the latest must-have accessory—a black nylon Prada sack. But no need for you to settle for the second hand-model—Prada continues to offer its iconic backpacks, totes and wallets with the little silver triangle we loved so much back in the day.

But perhaps the highest—and at the same time lowest— manifestation of this craving to relive the halcyon days of the Clinton impeachment hearings and the OJ Simpson trial is the renaissance of grunge. Time to unearth that 33 rpm Nirvana album and turn up the volume on “Smells Like Teen Spirit” The original runway 94 BAL HARBOUR

incarnation of this trend cost Marc Jacobs his job at Perry Ellis back in 1992, when he had the audacity to introduce thrift shop styles on a runway, pairing sheer dresses with clunky boots, popping hunting vests over flowery confections, wedding maximal plaid skirts to minimal t-shirts.

Perhaps the apotheosis of the plunge into grunge can be said to take place at Gucci, where the nutty cross-pollination, the radical mixology, is dramatic and inspiring—a joyful noise combining tartans and blossoms, appliques and tweeds. If the original proponents of all this brilliant mayhem were those grunge princesses who stomped gleefully into fashion two decades ago, who can blame their daughters and granddaughters for stepping into flimsy frocks and thirsty boots, in search of a good time too?

The literary island of Margaret Atwood A remote island off Canada’s southernmost point has become a beacon for writers, and the ultimate in offline living.

O

ne might say, it’s the year of Margaret Atwood. Not only has her home country of Canada turned 150, she also has a hit show, “The Handmaid’s Tale,” on Hulu which is based on her book - with the same name—that was written more than 30 years ago. Alas, with overtures of fundamentalist theocratic dictatorships creeping up all over the world from the Americas, to Europe and Asia, Atwood has a vantage point like no other.

But even so, for Atwood, this resurgence in interest in her dystopian novel and its real-world emulations, fortunately hasn’t startled her. “Nothing much surprises me—I'm too old,” she says.

A place that Atwood has used to escape this thronged world, in order to create her own fictional worlds, has been a little island hidden away: Pelee Island, Ontario, right in Lake Erie in Canada’s most southern point. With a population of roughly 170, there is a small ferry that runs from the mainland and delivers you on this vineyard filled island. The biggest noise here comes from its bird population, for which Atwood has a particular passion.

This island is part of two major migratory bird routes, the Atlantic Flyway and the Mississippi flyway. And if you’re a birder, you’ll understand the significance as Atwood does.

“I have written on Pelee Island since 1987, so any book that has come out since then has been at least partly written on Pelee,” says Atwood, who has a cottage on the island. “It offers ‘time out’—time out of the usual appointments and activities—and also time out of internet connection, if you so desire.” And there is a larger community of creative minds – like Atwood – seeking exactly that: time out. Their very own version of a quiet, creative place where moments with birds

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are valued more than any kind of awards, or even fans or admirers.

In more recent years, she’s also helped open Pelee Island up to a few more temporary residents in the form of an intensive writer’s retreat. The Pelee Island Book House accepts just a handful of writers every year for its six annual workshops—where you can stay on the water and just write. Besides evasion of the internet, the island is known for these avian Margaret Atwood has been residents who then become the most ideal writing books on the remote Pelee Island since 1987. writing companions.

So this important stop for migratory birds is reason enough for Atwood to host an annual fundraiser for Pelee’s Bird Observatory. Atwood and her partner, writer Graeme Gibson, are, needless to say, also on the board of the Pelee Island Bird Observatory. She has written at length about the need to preserve her sanctuary along this lake, comparing her beloved Lake Erie to actor Robert Mitchum’s eyes.

In fact, her careful attention to her bird friends and their interactions is absolutely evident in her work, most recently in the installments of Atwood’s graphic novel “Angel Catbird”—the third volume, “The Catbird Roars” was released over the summer. And even though she won’t talk about her next project, she did spend a lot of time of Pelee Island as of late.

So as an ornithology semi-expert, Atwood is, in fact, always ready to chat about her winged friends who, if we pay close attention, are teaching us lessons every day. “Birds are key to a number of other species—they plant trees, devour decaying animal life that would otherwise give rise to outbreaks of rats, wild dogs, rabies and other diseases, help break down plant materials so their nutrients can reenter the ecosystem, and that's just for starters,” says Atwood. “We should pay attention to the birds because they are the messengers. If it's killing birds, it will ultimately kill you, too.”

COURTESY OF PELEE ISLAND

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PERPETUALL Y ON TIME Audemars Piguet’s Historian Michael Friedman sits down with watch expert Michael Clerizo to discuss the enduring appeal of timekeepers.

M

ichael Friedman loves his job— especially as he has to explain what he does to almost everyone he meets. As Audemars Piguet’s in-house historian, Friedman—who, with his shaved head, glasses and salt-and-pepper beard gives off the vibe of a college professor—describes his work as “a pie with many pieces.”

Indeed it is a big pie, filled with the staples of an historian’s diet: researching and writing, often in the archives maintained by the Heritage Department at Audemars

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Piguet’s headquarters in Le Brassus, Switzerland; traveling around the world to meet with press, current and potential collectors; a hefty program of lectures and panels about the industry and the brand’s role as a family-owned company in the preservation and progress of fine watchmaking, as well as attending auctions and visits to watch dealers.

His preparation for this role began in the 1990s while still a student at Clark University where he studied psychology and interdisciplinary studies, and wrote several

papers on horology, the study of time measurement.

Before joining the company, Friedman worked as a museum curator, auction house expert, appraiser and advisor to institutions and private clients, including guitarist Eric Clapton.

“The primary function that I have is weaving the history of Audemars Piguet— the watches and watchmakers, executives and family members—into the narrative of what the company does today.”

Weaving history into present day

TKTKTKTKTKTKTKTK

For the last four years, Audemars Piguet has been a sponosr of Art Basel, commissioning artists to create memorable installations, like this one

by Chinese artist Sun Xun.

Michael Friedman, at left, works with Audemars Piguet to create experiential environments for their booth in the VIP Lounge at Art Basel.

“Perpetual calendar watches relate directly to a most important natural event: the earth’s orbit around the sun.”

—Michael Friedman

The Royal Oak Frosted Gold was released in celebration of the 40th anniversary of the iconic women’s Royal Oak watch. It features hammered 18-carat pink gold on its case, bezel and bracelet.

narrative yields communications materials such as the double-sided “Royal Oak Perpetual Calendar” book, which was published in 2015.

The book’s right hand pages tell the story of the new 41mm ROPC, while the left hand pages chronicle the history of all 188 AP vintage calendar wristwatches as well as 20 double complication wristwatches produced before 1978.

Another theme in Friedman’s work is the cultural context of timekeepers and why mechanical watches remain popular. “There is a massive cultural desire to have objects that last,” he says. “Everything else in our lives is really here for a moment and as we move deeper into the digital age this is becoming the norm. But it is going to be those objects that stand in defiance of this constant obsolescence that will capture people’s imagination.”

For Friedman, the most prominent of those objects is the luxury, hand finished mechanical watch. “People use the word experience a lot when they talk about luxury. What they mean by experience is humanity, the desire for long lasting objects made by hand,” he explains. “At our Art Basel exhibitions in our collectors lounge we always have watchmakers, finishers, dial makers and gem setters.

What we have found is that everyone gravitates to where these people are working.”

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This year marks the fifth year of Audemars Piguet’s involvement with Art Basel and Friedman says that one reason for the brand’s involvement is that the fair provides the opportunity to create interesting experiences for clients, like seeing an artisan at work. And they always present an exhibition of timepieces from its museum alongside contemporary watches.

“This year we’re exploring Perpetual Calendar watches, gem set watches and watches that go through metallurgical transformation like our new frosted gold watches for women. The unifying theme is nature.

Perpetual calendar watches relate directly to a most important natural event: the earth’s orbit around the sun,” explains Friedman. “About gem set watches I always like to remind people when they are looking at a diamond set watch that gemmology is geology. Diamonds are the product of time, pressure, carbon and luck, a natural process. Watch cases and bracelets and the movement inside are created from naturally occurring materials that are transformed into something novel and interesting by the human hand applying lessons from metallurgy, physics, chemistry and engineering.”

With that flourish the discussion ends, and with a knowing smile, Friedman takes a pause and watches as I meditate on the lesson learned.

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BEYOND THE TIE

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Though the tie—a staple accessory long established in gentlemanly wardrobes—is still a classic, this season, why not loosen up your accessory game? Plenty of labels are offering big-time statement accents for guys this autumn, such as Bottega Veneta with its angular high-top sneakers, Versace with a striking graffitied and Medusa-adorned briefcase and Dolce & Gabbana sneakers depicting its designers' likenesses in cartoonish emoji form. If you really want to push the envelope, try Giorgio Armani's crocodile double-gusset briefcase, which is bound to brighten up even the most mundane of business meetings. —Nick Remsen

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IN FULL BLOOM

Erin Benzakein recently released her first book, “Floret Farm's Cut Flower Garden: Grow, Harvest & Arrange Stunning Seasonal Blooms” from Chronicle Books.

Florals are all the rage on the runway, yet it’s a flower farm in a remote corner of Washington that is attracting a global audience.

BY TALI JAFFE MINOR

I

t all began with a truck. Seeds, too, of course, but what put Floret— a rare and heirloom flower farm in Washington’s Skagit Valley—on the map was a photo of an old Toyota truck loaded with dahlias that Floret’s founder Erin Benzakein posted to Instagram a little more than a year ago. “The photo went viral in a way I never knew possible,” says Benzakein. “Buzzfeed even did an article titled, ‘People on Instagram Are Obsessed With This Photo of a Bunch of Flowers in a Truck.’” While that photo may have struck an aesthetic viral chord, it barely scratches the surface of what Floret is all about. Here, we talk to Benzakein about the making of a floral farming success.

Though you're based in a remote corner of Washington, you’re connected with some of the most influential players in your field.

How important is social media to your company? I love using social media to introduce a global audience to the beauty of local seasonal flowers, and to encourage followers to grow some of their own. Social media has definitely played an important role in the growth of Floret.

Hands down, my most popular post ever was a photo of our little beatup farm truck packed with buckets of colorful dahlias. Within minutes of posting the photo, my phone blew up.

What would you say is the Floret signature arrangement? My design style has been described as lush, organic, abundant, with a fresh-from-

the garden-vibe. Because I use materials harvested from my gardens, my floral designs incorporate a lot of uncommon flowers and foliage that are not normally offered by most conventional florist shops. I also love to tuck in some foraged materials, textural elements and edible ingredients such as fruiting branches, herbs and even baby vegetables.

Are people seeking out heirloom flowers as they do with say, tomatoes? I can say that there definitely is an increased awareness of seasonal, locally grown flowers and the local food movement has played a part in it. Just as the best chefs know that produce flown in from thousands of miles away pales in comparison to perfectly ripe produce picked nearby at their peak, many top floral designers have adopted a similar ethic. Designers are increasingly buying direct from local flower farms or even growing some of the flowers themselves.

This is a pretty big shift in the floral industry.

Can you talk a little about the importance of community for Floret?

Many of the most precious people in my life have come to me via the flower community. There's a vibrant collective of farmers and designers that are committed to the principles of community over competition.

I’ve often said that we shouldn’t hoard all this beauty here just for ourselves; we need to share it with others and support others that share our passion for flowers—whether they are planting their first flower patch or are still trying to figure out how to pursue their flower-filled dreams.

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FAR AND AWAY

Zimmermann—The Australian label from sisters Nicky and Simone Zimmermann— makes its Bal Harbour debut with a feminine (and fierce) collection.

BY NICK REMSEN PHOTOGRAPHY BY CHARLIE RUBIN

Nicky Zimmermann in her company’s New York showroom as they were preparing for the Resort 2018 runway show.

F

ew places do easy, lovely, sunand-surf style like Australia.

And few brands capture the continent’s prettified, beach-y effortlessness as convincingly as Zimmermann, the Sydney-based readyto-wear and swim label founded in 1991 by sisters Nicky and Simone Zimmermann. (Nicky handles design—she began her career by selling handmade frocks in Sydney’s markets—and Simone runs operations.)

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As Zimmermann has grown into a globally distributed house over the past 26 years—its latest addition being a brand new store in Bal Harbour—its signatures have also become firmly established: floral, flouncy and delicate dresses along with sporty-meets-frilly (yet never precious) swimwear rule its roster, and Resort 2018 is no less a testament to its unique, much sought after aesthetic.

“For Resort, I wanted to create a really feminine collection that played to a lot of

Zimmermann’s core signatures,” says Nicky.

“Think: soft, delicate prints contrasted with harder-edge detailing. I had a fiery, Latin muse in mind—a strong, artistic and passionate woman. And I wanted the collection to have romantic undertones.”

The result is equal parts retro-chic and current-cool, with heart motifs, tiered layers of printed chiffon or intricate lace, flamencoruffled tops, polka-dots, puff-sleeves, paint strokes and sun-faded stripes. (This is another trademark of Zimmermann: the

“I wanted to reinterpret something strong, and possibly mannish, into a collection that focused on femininity.”

—Nicky Zimmermann Nicky and her team pore over model boards and work over the details of the Resort 2018 collection, which arrives in stores later this fall.

attention to detail and emphasis on variety is extraordinary.) There’s even something of a regional grandeur in Resort’s overall takeaway—its impression is as sophisticated and storied as the longstanding charm of, say, places like Oaxaca or Cartagena.

Nicky’s favorite piece is a floral, pleated frock called the Painted Heart Folds dress— save for two spaghetti straps, it’s an off-the-shoulder piece with dramatically

voluminous sleeves and frilled layers around its hem. “It’s very quintessentially Zimmermann,” notes the designer.

It should come as no surprise that the Zimmermann sisters make frequent visits to Miami. “I always look forward to it,” says Nicky. “I’m usually here for work, so when I do get a window to relax, I love to sit quietly by the pool. I also take the time to do some vintage shopping, and over the years I’ve

found a few secret spots just outside of the city where I often pick up pieces that give me great references for summer ideas.” She then notes that Miami and Sydney are not exactly alike—save for one telling, binding element, and one that perfectly captures the vibe of her designs: “I’d say the only similarity between the two places is that unique relationship between the city… and the beach.”

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ANIMAL INSTINCT

Meet Loni Edwards, the agent behind an emerging— and unexpected—group of social media influencers.

L

oni Edwards is slammed. Her schedule is jammed pack with clients, well, barking at her all day. As the founder of the first talent agency to focus on celebrity pets, The Dog Agency, she is the queen bee of the insta-famous animal kingdom. A graduate of Harvard Law School, Cornell University and Phillips Academy Andover, Edwards is a force and very much… the future.

Just ask her own super-famous pup, Chloe The Mini Frenchie.

How do you explain what you do?

I help pet owners, whose animals already have a social presence, grow their brand, monetize their brand and make everything easier and better.

How does a pet “score” you as an agent?

They have to be in the game already. Usually the owners will contact us because things are happening and it can be overwhelming. Occasionally we’ll reach out if we see someone giving great content or going viral. For example, Louboutina is this “hugging dog” sensation; she’s a 5-year-old golden retriever.

I knew I had to reach out to this dog, then someone from Louboutin actually connected us and we just signed.

Are these pet owners the equivalent of Stage Moms?

Ha! The majority of these social media pets fell into it. And then the pet owners don’t know how to handle the business end.

They’re not lawyers or media experts. They’re like, “What do we do now?” I know law and contracts. I went to Harvard Law School.

Plus, I went through it all with my dog, Chloe.

Tell us about Chloe’s journey to fame….I put her on social media the day I got her. She was 2 pounds, the tiniest, cutest thing I’ve

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ever seen. I was like, “She’s going to make people so happy.” It developed to something on its own. She totally blew up. People started recognizing her. I think her first big thing was something for PetSmart. At the time, it was only pet brands looking to work with pets, now it’s brands that used to want human-influencers.

Pets are relatable to everyone. Brands are seeing a ton of value in working with them.

Who are some of your most-followed clients?

Some of our biggest clients are @TunaMeltsMyHeart, who has nearly two million followers and @TheDogist, who’s almost at three million followers. Also very high on the list are @gonetothesnowdogs @crusoe_dachshund and @harlowandsage Who are some of your favorite clients?

I can’t pick favorites. They are all my little babies. But my boyfriend and I are obsessed with Pardon Thy French—she’s a cancer survivor who lost one of her legs. We just signed this super-cute hedgehog, Lionel, Lionel The Hog. The owner is an amazing content creator. Some of the owners do this as a fulltime job or some keep working—which is why they have us.

Let’s discuss how hard it was to find time for this interview…

My schedule is nuts. I travel nonstop for the agency and also for things for Chloe. Next week, I fly to LA for CatCon, and meet ‘n greets with our clients. Then I go to Colorado for a pet media trip with the Ritz-Carlton with some of our insta-famous dogs. I’m juggling brands that want to work with us, potential clients, campaigns, TV show concepts for clients, clients with book deals, etc. It’s never a dull day. My biggest dream for Chloe is a Delta campaign; we fly Delta all the time. Or any airline actually. That’s the top focus.

PHOTO BY CHRIS CRAYMER/TRUNK ARCHIVE

BY ALYSSA SHELASKY

BAL HARBOUR 133

A LEGACY IN

LACE

Ermanno Scervino discusses his couture-like designs and how sartorial magic is made at his Florence atelier.

M

ade in Italy covers all manner of creation.

From hand-dyed leather to old-vine Barolo. But at Ermanno Scervino, the moniker is most associated with exquisite, handmade lace. Founded in 2000 and headquartered in Florence, the luxury label specializes in ethereal, figure-flaunting creations in layers of diaphanous lace. While the glamorous designs are a dream floating down the runway, they’re even more aweinspiring up close, showing the meticulous attention to detail that goes into handcrafting each piece of lace.

Upholding a time-honored Italian tradition, Scervino and his team of 50 tailors painstakingly create one-of-a-kind varieties of the elegant fabric—a rarity in today’s see-now, buy-now fashion culture. Here, Scervino, the brand’s charismatic creative director, provides a peek behind his elaborate design process.

You are known for your intricate lace. Can you take us into the process of creating it?

My lace is unique, obtainable only thanks to a couture, handmade technique. The Tuscan savoir-faire allows me to create something new every season, such as the millefoglie lace, a plissé work so difficult that I almost gave up. It took months of tests and experiments before getting the desired result.

How did lace become a signature for your brand?

I’ve been working with lace since the very beginning. The area where my headquarters is located has been known since the beginning of the 20th century for the production of lace. All European nobles, including Queen Victoria, went there to create a trousseau. I decided to draw on this know-how to create something new and more advanced, that I find the apotheosis of femininity.

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Approximately how many hours of work goes into creating one of your lace dresses?

It is a complex and very long process, consisting of at least five months of continuous experimentation. Each of my creations must be charismatic, have an energy that distinguishes it from any other and has to be obtained through a manual couture excellence that is possible only here in Italy.

What makes your workshop so unique?

Because turning my ideas into materials, colors and shapes is the most complex part of this work. We work with such precious materials, with such complex techniques. It’s necessary to know how to touch the fabrics, how to handle and combine them, because if you make a mistake, there is no turning back. My relationship with my tailors does not require words; we just exchange a look and know where to intervene and what to change.

We are all in love with perfection.

How do you find such a talented team of tailors?

Fortunately, there are many girls who come out of the fashion schools and want to come to work in my atelier. In a global economic crisis, I hire. For us, it is very important to have young people working in the atelier, because they bring ideas, modernity and technological skills.

How does your Italian heritage play a role in your designs?

For me, it is fundamental. Made in Italy simply means the excellence of materials, cuts, design and know-how in manufacturing. It is necessary to protect the value of made in Italy, because it has cultural roots and tailoring skills of excellence that are timeless. However, we have to be careful not to fall into easy nostalgia. My will is to translate this excellence into modern language, combining the values of sartorial tradition with glamour.

COURTESY ERMANNO SCERVINO

BY JESSICA MEHALIC LUCAS

A mood board at the Florence atelier of Ermanno Scervino offers insight into the making of the collections.

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THE YEAR OF INTENTIONAL THINKING Curious about Transcendental Meditation?

According to its practitioners—including actor and activist Hugh Jackman—it will improve your life in ways you never thought possible.

N

orman Rosenthal, New York Times Bestselling author of “Transcendence: Healing and Transformation Through Transcendental Meditation” and most recently, “Super Mind,” among other titles, is a clinical professor of psychiatry who practices and champions Transcendental Meditation. Through this practice—which has been adopted by Lena Dunham, David Lynch, Ellen Degeneres, Arianna Huffington, Paul McCartney and Gisele Bündchen, among many others—one has the ability to enrich their life by enjoying the benefits of meditation in any state of consciousness. Here, Rosenthal expands on this highly effective practice.

What is the difference between Transcendental Meditation and mindful meditation? Transcendental Meditation (TM) is a practice in which the meditator is taught to think of a mantra or word-sound in such a way that the meditator effortlessly slips into a very pleasant state of consciousness known as transcendence.

Over time, as a person continues to meditate, feelings of transcendence filters into a person’s daily life, exerting many favorable effects, which I have called the Super Mind.

Mindfulness is a different type of meditation in which a person is taught to focus on something—such as the breath, a thought or image in such a way as to raise awareness about the moment-to-moment changes in that person’s inner and outer world. Over time, those who practice this form of meditation develop a stronger sense of the way in which the inner and

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outer world are constantly changing. In my experience, both personally and with patients, TM is an easier practice to learn than mindfulness.

What are the emotional and physical attributes of Super Mind development?

As the Super Mind develops, a person may experience many favorable changes. These include: feelings of being in the zone, where things come more easily to you; a sense that the world is more supportive, which include an improvement in relationships; increased creativity and productivity; a better ability to balance attachment and detachment—an important quality for leading a good life; and increased happiness.

Can you talk about intention, and its importance to meditation? For any practice to work, there has to be intention, and TM is no exception in this regard. Even though TM is an effortless technique, a person still needs to schedule time to do it and follow through regularly in order to get maximum benefits. That requires intention.

If you had to describe TM in just a few words, what would you say? I would describe TM as a simple and effortless technique which for an investment of 20 minutes twice a day, can completely change your life.

Could you share some of the ways TM has been proven to improve health? The practice has been shown in controlled studies to reduce blood pressure (the socalled silent killer), heart attacks and stroke; and to prolong longevity.

One of the principles of TM is to “be the change,” and that in doing so, the world will follow. Do you think that there is a

residual factor for those that practice TM that affects those around them? Or, is it more that the world will change because we are changing the way we experience it by changing ourselves? I believe that when we change, we change the world around us. I am confident that people who do TM and benefit from it transmit some of that benefit to the people in their lives.

In our very noisy lives, we have little internal space—where, as you explain, is the place where happiness and creativity thrive. What are some practical ways for us to make more space on a daily basis?

I’m glad you asked this question because TM is one of the most powerful ways I know in creating internal space that is so crucial for the development of the Super Mind and all its benefits. Other simple ways of creating more space are: Spend less time on the internet; Go for a walk and allow yourself to experience nature; Practice yoga; Take a minute every now and then for a few deep breathes.

Would you say we’re experiencing a resurgence in wellness awareness, perhaps due to the overwhelming static around us? I have little doubt in today’s world that we are experiencing an increase in conflict and static, making techniques such as TM more valuable today than ever.

Have you worked with any companies that have integrated TM practices into their health and wellness offerings for their employees? If so, can you share any feedback from their experiences? I have spoken to many CEOs who have incorporated TM into their corporations.

Universally they report greater effectiveness and well-being among their workers.

PHOTO BY CHRIS COLLS/TRUNK ARCHIVE

BY TALI JAFFE MINOR

Transcendental Meditation is a simple and effortless technique which for an investment of 20 minutes twice a day, can completely change your life.

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COWBOY UP

Escape to The Lodge & Spa at Brush Creek Ranch for a not-so Wild West getaway.

BY KATHRYN ROMEYN

E

levated gourmet cuisine is not exactly the expected menu at a dude ranch, but then again, The Lodge & Spa at Brush Creek Ranch is no standard Wild West destination. The Saratoga, Wyoming, property that is open May through October each year is so gorgeous and luxurious it redefines expectations of what a trip to a cattle ranch can—and should—be. Set on 30,000 acres of the Platte River Valley, the pristine landscape is rugged, bucolic and diverse, with magical light emanating from the vast open sky that seems to cast a spell. Then it’s the genuinely plush but authentic accommodations, which comprise lodge rooms and suites, log cabin residences and restored cabins in the high desert prairie—and a barn dance hall to boot.

In a short time, Brush Creek has become a must for families and couples who can’t resist the urge to return over and over, thanks in part

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to the ever-evolving roster of all-inclusive activities and offerings. New this year: an Aerial Adventure Ropes Course, with a few dozen features and 150-foot dual zipline, as well as expanded spa and culinary programs. Both are intimately evocative of the region: the Bullseye Massage at Trailhead Spa includes targeted tension relief with an arnicabased potion and sandalwood scalp massage, and there’s even a Signature Teepee Journey, which involves a meditation and intuitive rubdown using native Wyoming herbs with the river flowing in the background, providing a soothing natural soundtrack.

When it comes to the food, the ranch truly shines—and stimulates.

The just-unveiled ‘pasture to plate’ program means guests enjoy ranchraised Akaushi beef and flavorful fruits and vegetables grown in the 6,480-square-foot greenhouse (fun fact: it produces 106 different items, from leafy greens to honey to herbs). It’s hard to imagine an array any

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The resort offers a lengthy roster of allinclusive activities, including cattle drives, trail rides and a new ropes course.

more local. Naturally, everything is made from scratch, whether it’s smoked lamb chops with mint pistou, pizzas, cucumber gazpacho or a whole grilled Rocky Mountain trout, and with such an expansive amount of land, dining venues vary from a deck to a mountaintop picnic to a Chuckwagon accompanied by live bluegrass. To go with the vibrant dishes, the ranch pours wines from an always expanding cellar focused on lesser-known, smallproduction but high-scoring wine—think 93 to 100 points.

As tempting as it may be, devotees don’t come to Brush Creek only to eat, however. The panoply of activities offers excitement for all ages and interests, and are organized in a bespoke manner to fit each guest’s desires.

Trail rides on horseback are offered in four levels, and there’s also the opportunity to accompany wranglers on a real cattle drive, or take a lesson in barrel racing or pole bending. (Young ones aged four to eight can participate in Lil’ Wranglers Camp.) Also on offer: fly fishing, rock climbing, sporting clays, pistol and rifle shooting, mountain biking, hikes in the million-acre-plus Medicine Bow National Forest, ATV-ing, yoga, paintball, wing shooting and lawn games (there’s also off-ranch 18-hole golf). Nighttime offers no shortage of excitement either. Cocktails and hors d’oeuvres always preclude feasts, and afterward the saloon is a hot spot only second to the great outdoors—that wide, bright sky filled with twinkling stars, best accompanied by s’mores.

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Set on 30,000 acres of the Platte River Valley, the pristine landscape is rugged, bucolic and diverse, with magical light emanating from the vast open sky.

New York fixture Maggie Betts makes her way into Hollywood with a critically acclaimed Sundance premiere.

BY MARSHALL HEYMAN PORTRAIT BY RYAN SLACK

M

aggie Betts isn’t a particularly religious person. And yet the subject of her first narrative feature—out this October from Sony Pictures Classics—is nuns. Set in the 1960s during the time when the Catholic church was undergoing major philosophical changes, the film, “Novitiate,” stars Margaret Qualley (“The Leftovers”) as a young woman who has decided to pledge her life to the convent.

“It was completely by accident,” says Betts, who lives in a townhouse in Greenwich Village in Manhattan. The daughter of Lois and Roland Betts, her father developed Chelsea Piers in New York and is a close friend of George W. Bush. This means Maggie has stepped out on the town quite a few times with the Bush twins, and traveled to Africa with them as well.

It was during a trip to Zambia, the setting of Betts’ previous film, a documentary about the AIDS crisis called “The Carrier,” that she picked up a biography of Mother Theresa. The book detailed the world’s most famous nun’s “marriage” to god.

“This was not a symbolic marriage,” Betts explains, adding that she found the committed relationship between Mother Theresa and her higher power particularly fascinating. “It was intense, highly dysfunctional and all or nothing.”

“That made me go on Amazon to look at ex-nun memoirs,” Betts adds. By the time she had written the screenplay to “Novitiate”—the title refers to the period of training prior to taking vows in the church—Betts had read nearly 30 books on the topic, over four years. In turn, her film, which won the Breakthrough

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Director prize at this year’s Sundance Film Festival, is highly researched and detailed.

“I’ve wanted to make a movie my whole life, but I didn’t necessarily have the self-confidence until now,” says Betts, who has been writing unproduced screenplays since graduating from Princeton. Though she had made the documentary and a short film called “Engram” starring Isabel Lucas, when it came to a fiction film, “I didn’t know if I could handle the pressure, the money, being in charge of all these different people,” she admits.

A few tips from producer Celine Rattray gave Betts some added confidence when it came to developing “Novitiate” for the big screen. Rattray suggested finding an interesting and novel area to tackle, one that hadn’t been over-explored on screen. She recommended Betts try to keep the action to a contained environment, like, for instance, a convent. And she also encouraged Betts to write an incredible part that would attract a female actress to star. In Betts’ case, that would be the Reverend Mother, played by Melissa Leo, who won an Oscar for her role in 2010’s “The Fighter.”

Though it took Betts a long time to get her debut film off the ground, she is already at work on two more, including one about the Russian feminist protest punk rock group Pussy Riot.

“There’s a part of me that wishes I’d done so many things earlier. Did I waste all this time?” Betts says. “But I probably wouldn’t have been able to make this movie at any other age. I like getting older. You see things from so many different angles.”

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JANE SAYS

Filmmaker Matt Tyrnauer takes to the streets—of New York, China and India—for a new film unraveling the battle royale of urban planning.

BY MICHAEL SLENSKE

I

f the human race is urbanizing at a rate of 1.5 million people per week, essentially adding a new Los Angeles metro area to the planet every two months, it’s simple logic to take a look back at how we met (and failed) the challenges of urban planning in the twentieth century to insure our cities will survive (and thrive) the twenty-first. “When I told people I was making a movie about urban planning their eyes would roll to the back of their head or they’d walk away, and not surprisingly,” says Vanity Fair writer-turned-documentarian Matt Tyrnauer, who wrote and directed his first documentary, “Valentino: The Last Emperor,” a decade ago. This spring he bowed his second film “Citizen Jane: Battle For The City,” which takes a microscopic (and panoramic) look at urban planning— past, present, and future—through the lens of writer-turned-activist Jane Jacobs and her decades-long campaign for the value of “social capital” against the bulldozing agenda of New York City planning czar Robert Moses. For three decades the latter uprooted countless neighborhoods across the five boroughs to build housing projects and expressways—including two lower Manhattan roadways Jacobs helped defeat from barreling through Washington Square and SoHo—that ignored the “complex order” of urbanism and the “ballet of the good city sidewalk” brimming with the messy commercial and communal pageantry of street life Jacobs so eloquently observed in her classic 1961 urban planning critique, “The Death of Life of Great American Cities.” “She was a citizen warrior,” adds Tyrnauer, “and I think she can be a great example to other people who want to go down that road.”

Michael Slenske: What got you into Jane Jacobs?

Matt Tyrnauer: Reading “The Death of Life

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of Great American Cities” gave me the idea.

I picked it up maybe six or seven years ago.

I’d never read it, but I’d written a lot about architecture and read a lot on the subject and was really taken with it. I realized there was never a first tier documentary made about Jane Jacobs or her ideas and that’s what got me started. After I read the book, I was talking about it with Robert Hammond, the co-founder of the High Line, and he had recently read the book and had a similar reaction. First of all it was, ‘Oh my god, how could we never have read this book?’

Because we were both involved with projects that were relevant to what Jacobs writes about, him more so than I with the High Line.

MS: And you had just come off making the Valentino film, which grew out of a Vanity Fair profile you’d written.

MT: Yes, it grew out of my experience being with him.

MS: It must be quite a shift going from a jet-setting tour around the globe with one of the most iconic couturiers to getting deep into the arcana of urban planning.

MT: They are two very different styles: one is verité, which is my favorite style of documentary and that sort of observational story-telling was something I was very much interested in with my written work and Valentino picks up on that; Jane Jacobs has been dead for years and Robert Moses has been gone even longer, so this was more archival. The period the movie takes place in has some of the most extraordinary archival photographs of cities and that material was of great interest to me. Also, telling a story with a different kind of exposition was interesting. My next film is another verité, called “Scotty and the Secret History of Hollywood,” about Scotty Bowers, who was the male madame to the stars after World War II. MS: Aside from “The Death and Life of Great American Cities,” was there another

impetus for getting this project moving?

MT: The gateway was my passion for architecture and design in the mid-century and Jacobs has a totally different perspective than the one that I’ve subscribed to really.

I’m obsessed with Modernist architecture and Mies van der Rohe is my favorite architect, and a lot of her theories are antithetical to that kind of Modernism and looking at architecture as a grand work of art and the city as a collection of architectural masterpieces. That’s where I was coming from before I read Jacobs. She makes you see what a city really is, which basically a social capital machine, and once you see that you see the city very differently. If you don’t care about such things, it’s astonishing and it makes you think about the world in a very different way. That was the gateway drug, her ideas. I think they are very important, and I think cities are very important, and they are atop of the global agenda right now because there’s a population and urbanization explosion happening right now.

MS: The figures cited by the subjects in the opening of the film are astonishing, and this idea that even if Moses was shortsighted in his quest his message still resonates with urban planners today who will be planning the next century of growth. Were you aware that we’re at this new inflection point or precipice?

MT: You can’t read “Death and Life” without realizing that in many ways this is happening all over again in the developing world and things are even bigger now. As Jacobs tells us, every situation is different and there’s no one-size-fits-all, cookie-cutter solution for any place. Having said that, the economics of towers in the park buildings have been proven to be efficient, but at a very high human cost, which is one of her major points in the book. This same thing is happening in the developing world. It’s still happening in the United States, but the picture here is very

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PHOTO BY TYLER WILLIAM PARKER

mixed and some of her theories were taken to heart so in some places things got better.

But it’s certainly staggering to go to China or India and see the social capital of the cities in those countries wiped clean for towers in the park environments that she warned about.

The other question the movie raises is that the world is inevitably urbanizing at an unprecedented pace so what are we going to do for the new urban fabric that’s being developed?

MS: What does it seem like that answer will be? Instead of housing projects in New York you now have luxury towers with $50 million apartments.

MT: The book is really prescient and she covers a lot of these different ways we can screw up our cities and it didn’t all have to deal with housing projects. There were lots of other things she was seeing and warning against: over-success of cities, gentrification, these issues we’re facing now. The umbrella point, I think, is that when economic forces and government forces and people’s inaction let the social capital of cities be destroyed then great violence is being done to society and great problems arise from that. This is Jacobs’s great warning. It can take many forms and a lot of people don’t understand that social capital is what cities really are. We tried to get that point across in a 90-minute film.

MS: The pacing of the film and the plodding of this battle with Moses was very effective. Had you always thought to make their rivalry the focal point?

MT: It’s a very heavy subject and most people aren’t interested in urban planning. So my conclusion early on was to make a movie that wasn’t preaching to the converted—graduate students in urban planning—it should be a movie that was character driven and there happened to be two characters who could get the point across and they engage with

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each other in these battles at a critical time in both of their careers. Jacobs is making her name and Moses is about to be knocked off his pedestal. For me it’s also the perfect time to set the movie visually, this glorious midcentury, Margaret Bourke-White, Helen Levitt, Rudi Burckhardt visualized city. I love that material and it seemed to me that if you wanted a theatrical film about urban planning that was a good way to go.

MS: It seems like a lot of moviegoers would be in your position prior to reading Jacobs, thinking that Modernism won in a way, but your film makes the point that it lost and that those utopian projects—like Niemeyer with Brazil or the Bauhaus in Europe— didn’t achieve the goals they’d set out to.

MT: I couldn’t agree more. I love Niemeyer and I love looking at pictures of Brasília and I love looking at pictures of Chandigarh and Louis Kahn’s capital complex in Bangladesh— those masterplan, Modernist utopian visions. I could look at photos of them all day and I love them but then you realize these places didn’t work at all. If you look at aerial photos of Brasília, the core that was planned by Niemeyer looks very orderly, but when you look around, there are these incredibly disorderly settlements—some would call them slums. That top down, command-and-control aesthetic doesn’t really work. What Jacobs makes you see is that there’s beauty in what on the surface seems to be mess that humans beings make of their cities. But there’s a marvelous order to that and we should respect that because when we disrespect that the consequences can be dire.

MS: Did you come across the next wave of Jacobs and Moses?

MT: I think one of the legacy of Jacobs is that she launched a period of citizen activism and the whole concept of the community board exploded after her book. Now a lot of people mischaracterize her as the mother of all

NIMBYs [Not In My Back Yard] but I don’t think she really was. I think she was about putting more power in people’s hands. There are urban planners everywhere and some of them have less power and some of them have more power such as in authoritarian places like China. They can have a lot of power and can do a lot of damage really quickly, but they can also do a lot of good really quickly. These are the questions we should be looking at.

We went to China and India and met people who are on-the-ground citizen soldiers. It’s baby steps, but one thing to realize about Jacobs was that these were 10-year battles.

It’s not for the faint of heart, but she’s really self-taught. By her example you don’t need to have an urban planning degree you just need to be bright, inquisitive, and intrepid to make a new path. She’s a citizen warrior and I think she can be a great example to other people who want to go down that road.

MS: I wonder what she’d make of New York today?

MT: You never know, and you can’t speak for her because everything is situational, but I think she’d be pretty discouraged. A lot of what she was fighting against was corporatization and collusion between governments and corporations. Look at Times Square. Everyone slams Times Square as being Disney-fied, but that was purposefully done. This big cleanup that topdown people want kills cities. Was the dangerous, hooker/peep show Times Square great? No, but I would argue that it was more interesting than the bizarre, hellish tourist nightmare that Times Square is now. I often wish she were around to comment about all these high-rises in Long Island City. Are the mayors giving too much away to developers?

These are still pressing questions and she helped raise them in the public realm and made it popular for the average person to talk about these things.

COURTESY OF IFC FILMS. A SUNDANCE SELECTS RELEASE.

“I’m obsessed with Modernist architecture and Mies van der Rohe is my favorite architect. A lot of Jane’s theories are antithetical to that kind of Modernism and looking at architecture as a grand work of art and the city as a collection of architectural masterpieces.”

—Matt Tyrnauer

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BLONDIE Supermodel Claudia Schiffer reflects on three decades as model and muse with Contributing Fashion Director Sarah Gore Reeves.

I

n the great supermodel canon, blonde bombshell could only mean one name—Claudia Schiffer. In October, Rizzoli will release the first monograph on the German beauty who continues to cut a striking silhouette wherever she is captured. The London-based mother of three—and the original Guess Jeans girl— takes a pause to speak about transformative beauty, motherhood and the sage advice of Karl Lagerfeld.

Considering you had an abundance of material for this amazing book, what was the process you used to select images? It was really tough to edit. You’re right that there were so many images to choose from.

Along with my team, I personally chose every single image featured from the past 30 years by making lots of Pinterest moodboards and then editing down the number of images we included. There was only one image that I really wanted to include that didn’t make it, which was a Versace ad with Sylvester Stallone from 1995.

Why did you choose Ellen von Unwerth to write your foreword? Ellen was the first person who I worked on a major shoot with

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and she really made the first major impact on my career so it makes sense that she should be the first voice in the book. She was a model before she became a photographer, so she knew how to get the most out of me.

The shoots we did together were very quirky; you couldn’t just flip past them in a magazine, so they got us both noticed. That’s where Paul Marciano from Guess saw us and the rest is history.

In the book you shared that you had the reputation of being cold, although it was a defense mechanism for being shy. What helped you to relax during your shoots?

I found my confidence on set once the make-up was applied. The more make-up they would put on me, the more outrageous, sexy or silly I felt I could be.

You’ve described yourself as an ugly duckling. When did you start to embrace your beauty? I don’t think that anyone ever wakes up and thinks, ‘I’m so beautiful,’ but over time I became more comfortable in my own skin and came to terms with the fact that people looking at me is a part of my job. When you think about the ‘ugly duckling’ it sounds so cliché, but that is

actually a very accurate description. I was much taller than all of the other girls, really skinny, knocked knees—I didn’t know that as a model these are all traits that wouldn’t hold you back, but at school it’s not what makes you one of the popular girls. Despite all this, I still made the most of the opportunities that came my way, and I feel very thankful for having been able to do that.

What advice would you give a younger you? I was always very ambitious and competitive, so I might tell her to relax a little and have even more fun.

Who were your mentors when you were first starting out in the industry and finding your way? Ellen von Unwerth was definitely a mentor to me in the early days, and Karl Lagerfeld. There have been so many designers and photographers, editors and make-up artists who have had a huge influence on me: Dolce and Gabbana, Donatella Versace, Steven Klein, Herb Ritts, Anna Wintour, Valentino Garavani and many more.

What do you do to make time for yourself? I think most parents would

Claudia Schiffer photographed by Karl Lagerfeld for the 1992 Chanel Spring/Summer campaign.

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“The first time I walked in a Chanel runway show, Karl Lagerfeld told me to just be myself. It was great advice that I have always tried to remember when feeling unsure.”

—Claudia Schiffer

probably say that time to themselves is a rarity. But, I’ve always had a strong work ethic, so even when I was a young model I probably didn’t have much me time. My business is growing and it is very exciting. I can rest when I retire.

What were some of the struggles you faced as a model in the beginning of your career? My shyness was probably the biggest hurdle I had to overcome. I was the model who would sit with the other models in the photo studio and think, ‘I hope they’re not going to choose me today.’ I didn’t enjoy the feeling of being the center of attention.

What was the best piece of advice you were given as a young model? The first time I walked in a Chanel runway show, Karl Lagerfeld told me to just be myself.

It was great advice that I have always tried to remember when feeling unsure.

Who was your favorite photographer to work with and why? Every time someone asks me my favorite photographer or image, I feel like I’m avoiding the question, but it really is impossible to choose. There have been so many great photographers with 198 BAL HARBOUR

incredibly different aesthetics who I’ve had the pleasure of working with and learning from.

What was one of your favorite fashion campaigns and why? There have been so many, from the ‘90s up to the present day, that I have loved that it would be impossible to choose one. I’ve always been very selective about the work I accepted, so whether it’s a Guess or Chanel campaign from the ‘90s, or a more recent one with Dolce & Gabbana or Balmain, I chose it because I love working with the team and believe in the product.

When did you know you made it? I was in New York after having done the Guess campaign and I’d just come back from a tour of what seemed like every major city in America. I remember being in the elevator baffled as to why everyone was staring at me. Eventually, someone asked me if I was ‘the Guess girl.’ From that moment on, things moved very quickly for me.

How were you able to stay away from having a tumultuous career? I worked every day and was always jumping on a plane somewhere else. That has its good

and bad sides, but I never had time for doing anything too crazy.

How would you sum up your experience of modeling in the early ‘90s? What were some of your greatest memories? Working on this book has really helped me recall amazing moments and experiences. It surprised me how many small details I remembered about each shoot we worked on—especially the teams involved. It was a great period of my life.

How do you think the modeling industry has changed in the last 30 years? Social media has certainly changed the landscape, in that girls have more of an opportunity to take control—not only of the public’s perception of them but also of their own visibility. In the ‘90s, a great agent would make sure you were being considered for key jobs, but now you can almost act as your own agent by sharing photographs and videos of yourself every day. There was a lot of camaraderie 30 years ago, which I don’t know if there is now because the field is probably a lot bigger, but I think many of the changes are positive.

PHOTOGRAPHY © ELLEN VON UNWERTH/TRUNK ARCHIVE

Schiffer photographed

by Ellen von Unwerth for Guess, 1991.

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COURTESY RICHARD MILLE

Richard Mille has teamed up with a group of high

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ROOM

octane women to rewrite the rules of the rally circuit.

BY MARK ELLWOOD

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Nearly 100 cars were driven in this year’s Rallye des Princesses, a six-day course from Paris to St Tropez.

I

n February 1929, just as the cult of the automobile was first gaining speed, a clutch of Gilded Age petrolheads set out on an untested journey. They spent four days traveling almost 700 miles between Paris and the Côte d’Azur, testing both the limits of their cars’ performance, and their own navigational skills. The winner, like every other competitor in the race, was a woman, Madame Lietard. She helped the rally become a legendary event in modern France and a pioneering feminist gesture. So much so, in fact, that entrepreneur Viviane Zaniroli (wife of Paris-Dakar rally director Patrick Zaniroli) resolved to create a contemporary counterpart that channeled the same “spirit of femininity, glamour and sports.” The result: the Rallye des Princesses, where adventurous, all-female teams drive classic cars from Paris to St Tropez.

The first such Rallye was in 2000.

Zaniroli preserved many aspects of the original, though she did extend the race to six days. With GPS and other high tech navigation tools banned, drivers and their co-pilots must rely solely on old-fashioned map reading skills. She has made one key change in the race

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versus the 1920s original: it takes place in the summer, so drivers can enjoy better weather. There are lunch stops, too, and the chance to regroup each night in a five-star room en route.

Just 18 crews competed in that inaugural, in 2000; this year, almost 100 different cars took to the course, with vehicles shipped in from as far away as London or Newport Beach, California.

“More than 3,000 women have entered,” says Zaniroli. “They come from all social strata—some are CEOs, doctors, lawyers, office workers or nurses. They’re competitive to the bone, and all driven by the same desire.” Zaniroli is particularly proud of the diversity among drivers—the oldest competitor, so far at least, was Mi-Jo, who entered with her daughter in a MG Midget MKII from 1965 as part of her 80th birthday celebration. Fittingly, the winner in 2000 was Caroline Bugatti, granddaughter of speed demon Ettore, who drove her family’s 35B from 1927; a few years later Sylvie Tellier, model and former Miss France, came in an impressive fourth.

Swiss watchmaker Richard Mille recently signed up to be the Rallye’s long-term sponsor. Mille, whose

eponymous brand of luxury watches has sports in its DNA—from partnerships with golfer Bubba Watson or tennis player Rafael Nadal—always insists that his watches are rugged enough to be both worn and cherished.

“I am not afraid to go to the battlefield—when I work with top athletes, the only obligation is that they must wear their watch during their sport,” he says, “I don’t want to make a watch that you put in the safe waiting for the next generation.”

To wit, a number of drivers in this year’s Rallye could be seen sporting a Richard Mille on their wrist. While women represent about 25 percent of the company’s sales, the event provided an opportunity to reinforce the connection. “It’s very charming, and a bit romantic,” says Mille, who is also a passionate classic car rally driver, racing a Lola T70 from the early 1970s. He’s intrigued by Zaniroli’s plans to reroute the course next year, likely to the Atlantic Coast near Biarritz, before it celebrates its 20th anniversary in 2019 with a return to St Tropez. “It’s womenonly, so I’m not admitted, and not welcome,” he laughs, “I can only be there cheering at the start.”

COURTESY RICHARD MILLE

“I am not afraid to go to the battlefield—when I work with top sportspeople, the only obligation is that they must wear their watch during their sport.”

—Richard Mille

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CREATURES OF COMFORT Volume and texture create a tactile experience when you cozy up in one of these statement-making silhouettes. Get ready for high necklines, broad shoulders and a touch of excess— there will be no cold shoulders this season!

PHOTOGRAPHY BY DAVID ROEMER STYLING BY SARAH GORE REEVES

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Agnona ribbed turtleneck sweater.

Jil Sander long camel-colored asymmetrical cloak and midi skirt.

Delpozo embroidered blouse, pleated trousers and rounded-sleeve jacket, available at Saks Fifth Avenue, 305.865.1100.

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CĂŠline draped top in black sheer crepe jersey and trousers in techno suiting, available at Neiman Marcus, 305.865.6161.

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Chanel wool and cashmere coat, 305.868.0550.

Michael Kors raglan turtleneck, dolman wool melton jacket and leather pleated trousers, 305.864.4144. Alexander McQueen calf leather boots, 305.866.2839.

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Salvatore Ferragamo velvet texture dress, 305.866.8166.

Stella McCartney camel knit all-in-one jumpsuit and camel tailored jacket, 305.864.2218.

Chanel glitter tweed dress with removable satin collar, 305.868.0550.

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Brunello Cucinelli striped silk shirt, lightweight lamĂŠ nappa leather coat and fil-coupĂŠ loose tailored trousers, 305.864.4833.

Balenciaga leather dress with houndstooth wool lining, thigh-high boots and Cushion Square crossbody bag, 305.864.4932 214 BAL HARBOUR

Saint Laurent mini leather dress, 305.868.4424.

Balenciaga silver mixed earring, silk dress and red goatskin thigh-high boots, 305.864.4932.

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Photographer: David Roemer Photo Assistants: Samantha Dong, Alvin Wong Producer: Alexey Galetskiy Stylist: Sarah Gore Reeves Stylist Assistants: David Taveras, Elizabeth Pascarella Model: Charlee Fraser Hair: Felix Fisher Makeup: Vicky Steckel Manicurist: Yuko Digital Tech: Joseph Borduin

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MAKING THE FLOATING PIERS

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Christo and Jeanne-Claude performed a miracle on Italy’s Lake Iseo last summer: they allowed 1.2 million people to walk on water via a golden buoyant dock. A new limited edition book, “Making the Floating Piers,” gives readers a privileged glimpse into how the couple developed the three-kilometer walkway. The new volume, signed and designed by Christo, includes a 24 x 24 cm swatch of the project’s original fabric—a tactile way for reader’s to experience the miraculous work. (Taschen)

EYE CANDY The season’s most coveted accessory is a real page-turner.

BY JONATHAN KENDALL

ROBERT RAUSCHENBERG: THIRTY- FOUR ILLUSTRATIONS FOR DANTE’S INFERNO STUDIO KO Founded by French architects Karl Fournier and Olivier Marty, Studio KO, famous for its Minimalist approach, is behind some of the most dazzling interiors in New York, Paris and London—as well as the new Yves Saint Laurent museum in Marrakech, seen here. In October, Rizzoli will release the first monograph featuring many of Fournier and Marty’s built projects, each conjured into existence with a timeless integrity. (Rizzoli)

Robert Rauschenberg created a series of haunting watercolor illustrations from 1950-60, each depicting the various regions of hell.

MoMA has released a remarkable limited edition of the drawings in a new clothbound volume aptly titled “Robert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno.” Limited to 500 copies, each clamshell box includes a trade edition of the Italian poet’s book, along with Rauschenberg’s poignant drawings, each reproduced at their true size on individual sheets. (MoMA) BAL HARBOUR 219

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BETAK: FASHION SHOW REVOLUTION For the past 25 years, Alexandre de Betak has mesmerized the fashion world with his epic shows for brands such as Christian Dior, Michael Kors and Rodarte. This fall Phaidon will publish “Betak: Fashion Show Revolution,” the first ever book to examine the man behind these grand shows. Its 450 photographs, most of them previously unpublished, are poised to grab readers by their hands and bring them to both the front row of runways across the world, as well as behind the scenes where all the magic happens.

(Phaidon)

FASHION PHOTOGRAPHY: THE STORY IN 180 PICTURES

©PETER LINDBERGH, COURTESY PETER LINDBERGH, PARIS; ©DUY VO

TRIA GIOVAN: THE CUBA ARCHIVE When New York-based photographer Tria Giovan first traveled to Cuba in 1990, she discovered a people with an indomitable spirit.

Entranced by them, and the complexities of their day-to-day lives, Giovan returned to the island a dozen times over the next six years, shooting more than 25,000 images. Her new book “The Cuba Archives: Photography from 1990’s Cuba,” is poised to give the public an affecting glimpse of a time that highlighted the resiliency, and flair, of the Cuban people. (Damiani)

This fall Aperture releases "Fashion Photography: The Story in 180 Pictures," featuring the works of Richard Avedon, Helmut Newton, Horst P. Horst and more. The book isn't just a feast for the eyes, though, in it readers will learn from fashion chronicler Eugénie Shinkle how this field of photography constantly holds up a mirror—a magical one—to the changing values of culture.

(Aperture)

IBIZA: BOHEMIA What do Hollywood star Elizabeth Taylor and rock legend Freddie Mercury have in common? They’ve both frolicked across the magical island known as Ibiza. In homage of the island’s unique connection with creative minds, Assouline has recently released “Ibiza Bohemia,” which chronicles the island’s history as a hot spot for celebrities and artists alike since the 1930s. In the book, fashion editor Renu Kashyap and travel writer Maya Boyd explores the hippie-chic atmosphere that continues to enable it to be a fertile ground for artistic inspiration and spiritual awakenings. (Assouline) All titles available at Books & Books Bal Harbour.

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