Bal Harbour Magazine - Spring 2015

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PHOTO BY JAMES MACARI

SPRING 2015

Model Bo Don wears a Calvin Klein dress, available at The Webster, 305.868.6544; Tiffany & Co. ring, 305.864.1801 and Ray-Ban aviator sunglasses, available at Neiman Marcus, 305.865.6161.

CONTRIBUTORS We asked our contributors: “If you could put two collaborators in a room together,

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who would they be and why?”

THE NOW LIST What would Spring be without its flowers?

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FASHIONABLE UNIVERSE What to see, visit and wear this Spring.

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WHO’S THAT GIRL? Keep your eye on model on the rise, Kendall Jenner.

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KING ARTHUR’S COURT Photographer Arthur Elgort shares the stories behind his new book, “The Big Picture.”

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GET TO KNOW Supermodel—and Bal Harbour cover star—Anna Selezneva.

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STYLE SETTERS We talked to four tastemakers to see what they’ll be wearing this Spring.

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JUST SKIMM IT A new daily newsletter, theSkimm, knows what women want—and it’s not reality TV.

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THE MCQUEEN LEGACY The work of visionary designer Alexander McQueen is back in the spotlight this year.

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A MATTER OF TIME Are watches the new Blue Chip collectible? Mark Ellwood investigates.

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NATURAL TALENT Megan Hess draws up fashion’s most iconic images.

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PHOTO COURTESY OF MEGAN HESS

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Megan Hess’ series, “The Couture Dresses,” celebrates her favorite pieces of haute couture with prints such as Dancing in Blooms (left) and illustrations atop objects, such as the vase featured above.

ON THE ROCKS Delicate they may be, but these jewels have sparkle power to spare.

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THAT 70S SHOW Get the decade’s look with perfect patchwork, technicolor platforms and fringe all over.

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MUSICAL CHAIRS Lynn Yaeger takes a look back at the whirlwind year in fashion.

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THE MAKING OF AN ICON Norma Kamali changed the shape of women’s fashion—literally.

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THE FASHION FLOCK Two curatorial powerhouses, Judith Clark and Valerie Steele, discuss the rise of a field

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they helped invent: fashion as exhibition.

BOLD MOVES Make a statement with the season's brightest looks for men.

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TAILOR MADE These classic men’s looks are always in style.

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PINS AND NEEDLES There’s a growing number of people turning to acupuncture to treat insomnia.

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Rima Suqi set out to see if this could be the cure we’ve been waiting for.

IT’S A SPRING THING Head-to-toe denim, pretty plaids and a handful of dressed-up blooms mean it’s time to stash the coat and step out in the season’s carefree looks.

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Christy Turlington, 1990, by Arthur Elgort from his new book, “The Big Picture.”

IN LIVING COLOR Turn up the volume on your wardrobe with this season’s

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most vivid fashion.

GOING SOLO For a singular thrill, nothing surpasses acquiring a one-of-a-kind

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piece of jewelry.

MEISEL Phillips auction house gives the famed photographer Steven Meisel

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a three-city selling exhibition.

BEYOND THE SEA No matter your port of call, Spring’s nautical-themed

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looks are a perfect fit.

TURNING THE PAGE Author Angella Nazarian reflects on a life well-lived.

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FASHION FÊTES Partying around the world with Bal Harbour’s brands.

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TOP SHELF Stock up on these stylish tomes.

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EDITOR AT LARGE Get to know the fashion world’s top critic: Vanessa Friedman.

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Anna Selezneva photographed exclusively by Alexei Hay and styled by Sarah Gore Reeves wearing a Fendi feather

dress and Roberto Cavalli lucite cuff.

Hair by Fernando Torrent and makeup

by Brigitte Reiss-Andersen.

Welcome Note

Editor-in-Chief Sarah Harrelson with hotelier Ian Schrager

WORLD RED EYE

Welcome to the Spring issue of Bal Harbour. There is something about this moment in fashion that feels different to me. It seems like this season’s collections are more approachable and inclusive than ever. Take, for instance, our fashion story shot by the brilliant photographer Alexei Hay, who—on his first assignment for Bal Harbour—captures supermodel and cover star Anna Selezneva. The 24-year-old model, who has graced eight international Vogue covers and has paraded down the runway for Chanel, Dior, Saint Laurent and Valentino, to name a few, effortlessly shows off the season’s most playful prints (Miu Miu), pantsuits (Stella McCartney), a you-could-live-in plaid shirtdress (Michael Kors) and—my favorite trend—perfectly undone hair.

Capturing the allure of Miami’s tropical lifestyle, photographer James Macari and our contributing fashion editor Sarah Gore Reeves spent the day on a sleek 54-foot VanDutch yacht where model Bo Don shows off some of the season’s best silhouettes.

Speaking of fashion photography, this issue serves up some titans of industry. Arthur Elgort, the 74-year-old lensman responsible for some of the fashion world’s most indelible images over the last several decades, grants contributing writer Jessica Michault an exclusive interview to discuss the importance of digital photography, shooting supermodel Christy Turlington and his new book, “The Big Picture,” which has already taken center stage on my coffee table. We also catch up with the curator behind “Role Play,” an exhibition showcasing fashion photographer Steven Meisel, on view now at Phillips in New York. We present an eight-page pictorial featuring some of his iconic images.

Also in this issue, contributing writer Lynn Yaeger captures the dizzying power switches of fashion designers in the last year with her signature humor and wit in “Musical Chairs,” while iconic designer Norma Kamali opens up to Jessica Michault, and Bee Shapiro lands an exclusive interview with the fashion director and chief fashion critic for The New York Times, Vanessa Friedman. For the men, new contributor David Yi defines the current trends and Mark Ellwood uncovers some collectable watches with a little advice from one of the foremost experts in the world, Aurel Bacs.

And because looking your best is only possible when you’re feeling your best, Bal Harbour presents a new wellness series this spring. Visit the redesigned BalHarbourShops.com for details and to keep up to date with all of the Shops’ happenings, including the opening of two new restaurants: The Grill at Bal Harbour, a new concept from the Hillstone Restaurant Group, and Stephen Starr’s new French bistro.

I hope to see you at the shops!

Sarah G. Harrelson Publisher/Editor-in-Chief

Bal Harbour Magazine Publisher/Creative Director Carlos A. Suarez Publisher/Editor-in-Chief Sarah G. Harrelson Executive Editor Tali Jaffe Associate Art Director Adriana Sandoval Assistant Editor Lauren Pellerano Gomez Distribution and Production Leighton Bloomfield Contributing Fashion Editor Sarah Gore Reeves Contributing Writers Kate Betts, Jackie Cooperman, Tanya Dukes, Mark Ellwood, Rachel Felder, William Kissel, Stella Lee, Ted Loos, Jessica Michault, Eugenia Santiesteban Soto, Bee Shapiro, Alyssa Shelasky, Samantha Tse, Lynn Yaeger, Janelle Zara Contributing Photographers Alexei Hay, Douglas Friedman, James Macari, Mikael Schulz Editorial Coordinator Dana Parker Print Production Pete Jacaty Digital Imaging Specialist Matt Stevens Interns Danny Eguizaba, Juan Ruiz Accountant Judith Cabrera Chief Executive Officer Mike Batt 34 BAL HARBOUR

BAL HARBOUR MAGAZINE IS PUBLISHED BY WHITEHAUS MEDIA GROUP WHITEHAUSMEDIAGROUP.COM 1680 MICHIGAN AVENUE, SUITE 1013 MIAMI BEACH, FLORIDA 33139 VOICE 786.342.7656 TO SUBSCRIBE, BALHARBOURSHOPS.COM

Contributors “If you could put two collaborators in a room together, who would they be and why?”

Fashion editor and stylist Sarah Gore Reeves was born and raised in Manhattan. She began her career in the fashion industry as a model for Calvin Klein and Ralph Lauren, but quickly learned that her creativity would be best put to use as a stylist.

She has collaborated with photographers such as Patrick Demarchelier, Mark Seliger, Ruven Afanador and Norman Jean Roy. Gore Reeves has worked with celebrities and top models, including Sarah Jessica Parker, Maggie Gyllenhaal, Karolína Kurková, Gisele Bündchen, Cindy Crawford, Carrie Underwood and Heidi Klum. She’s also the fashion director of Vogue México/Latin America.

Valerie Steele is director and chief curator of the Museum at the Fashion Institute of Technology, where she has organized more than 20 exhibitions since 1997. Steele combines serious scholarship (and a Yale Ph.D.) with a rare ability to communicate with general audiences. She is author or coauthor of more than a dozen books, and in this issue, sits down with celebrated fashion curator Judith Clark to discuss her upcoming installation series at Bal Harbour, “Fashion Project.”

“Iris van Herpen and Darwin. She is one of the most brilliant fashion designers working today and very interested in art, science and technology.”

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Born in Dallas, Texas, James Macari studied photography at the University of Oklahoma, then moved to New York to work under photography masters Richard Avedon and Patrick Demarchelier.

During these apprenticeships, Macari forged his perfection of light and technique. His easy-going personality means he is able to form a connection between camera and model, giving his work a sense of intimacy and a closeness to the subject.

His work has been featured in Vogue Germany, Vogue Russia, Vogue España, GQ, The New York Times Magazine, Details, I.D. and V Magazine.

Contributors

Lynn Yaeger is a fashion writer who lives in New York City and has an imaginary apartment in Paris, where she spends all, or at least most, of her time visiting flea markets. She writes frequently for Vogue, The New York Times’ T Magazine, Travel + Leisure and the Sundance Channel’s Full Frontal Fashion website.

Jessica Michault is the editorin-chief of fashion industry website NowFashion.com. For more than 15 years, she has covered everything in the world of fashion, from Hollywood red carpets to haute-couture collections. Michault’s work has appeared in The New York Times, the International Herald Tribune and Vogue Italia, among others. In this issue, she interviews fashion photographer Arthur Elgort to discuss his new coffee-table book, “Arthur Elgort: The Big Picture.”

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Native New Yorker Stella Lee has a penchant for urban escapes.

After spending four years in the small town of Hanover, New Hampshire, during college, she has since spent much of her time as a Manhattanite in the fashion departments of Vogue, W, InStyle and Harper's Bazaar. Lee is currently an independent fashion stylist working for editorial and commercial clients. In this issue, Lee produced the “Style Diary,” as well as the Spring trend report.

A former hedge-fund attorney, Bee Shapiro is now a contributing columnist to The New York Times Fashion & Style section. Her work has also been featured in Vanity Fair, W, Harper’s Bazaar and Fast Company.

“If I could put two collaborators together, it would be Jony Ive and Elon Musk. Who knows what glorious synergy could come from these two brilliant creative forces?!”

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Contributors

British-born, New York-based Mark Ellwood has lived out of a suitcase for most of his life. Specializing in luxury travel, fashion and contemporary art, Ellwood contributes regularly to the Financial Times Weekend, Bloomberg Businessweek, W, Departures and HowToSpendIt.com.

“The artist I most admire is Egon Schiele, for his unflinching, aggressive and beautiful work. The same could be said of Alexander McQueen.

To see what those twisted genius brains could come up with together would be astonishing.”

An avid world traveler raised in an international home, Rima Suqi has explored and covered emerging destinations in the Middle East and Africa, far-flung luxury resorts in French Polynesia, as well as those closer to home and the burgeoning arts scene in Marfa, Texas. The Chicago native has traveled to over 30 countries and subjected herself to innumerous spa treatments—all in the name of journalism. A columnist for The New York Times and a contributing writer for InsidersGuidetoSpas.com, Suqi also contributes to Departures, Elle Decor and American Way.

Douglas Friedman was born and raised in New York City and now divides his time between his hometown and Los Angeles. He shoots portraits, interiors and fashion for Harper’s Bazaar, Vogue Italia, InStyle and The New York Times. For this issue, Friedman photographed philanthropist Angella Nazarian at her Bel Air home.

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Former WWD editor David Yi moved to Brooklyn by way of Los Angeles. The Colorado native is also a contributor to Style.com, Harper’s Bazaar, GQ, Details and New York magazine, among others. For his first contribution to Bal Harbour, Yi presents a selection of men’s fashion and accessories, picking up on two of the season’s trends in “Bold Moves” and “Tailor Made.”

“In my deepest of fantasies, I would put Rick Owens in a room together with the minds at Walt Disney to see what kind of heroes they could come up with. Imagine the oversized, distressed collaboration Mickey tees!”

WHERE LUXURY MEETS LIVING

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THE Now LIST

IN BLOOM What would Spring be without its flowers?

F

leeting is a word too often associated with fashion. But what then do you say to the return of florals on the runway every Spring? Surely a motif that reappears on such a regular interval could be deemed “classic,” and thus is untethered to the whims of what’s trending now.

As designers fall under the spell of florals, inspired to capture these ethereal blossoms anew, why not cultivate your sartorial garden with a few of these prize blooms? —Tali Jaffe

Clockwise from left: A look from Chanel Spring Couture; Diptyque Rosafolia candle, available at Neiman Marcus and Saks Fifth Avenue; Charlotte Olympia Rosario sandals; Roger Vivier Miss Viv’ Nippon-nimayu bag.

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FASHIONABLE UNIVERSE SPRING 2015

PHOTO COURTESY OF THE MUSEUM OF ARTS AND DESIGN

COMPILED BY JESSICA MICHAULT AND MAXWELL WILLIAMS

FOLLOW US!

There’s a brand new BalHarbourShops.com! Each week we bring you original content, including exclusive interviews, runway reports and the best Bal Harbour has to offer—and so much more!

Not all mannequins are made equal—especially those of Ralph Pucci. When the man behind Ralph Pucci International, a high-end design showroom, began his business in the 1970s, he became enamored with the idea of creating mannequins with personalities. As a result, his figures turned out more like sculptures than the vessels for clothing the world was accustomed to. Nearly 30 of Pucci’s most famous creations, including collaborations with Anna Sui, Christy Turlington, Kenny Scharf and Diane von Furstenberg, will be on view in “Ralph Pucci: The Art of the Mannequin” at the Museum of Arts and Design from March 31 through August 30.

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Rock-star architect Peter Marino is known for designing elegant shopping experiences, which is why Bulgari selected the leatherclad draftsman to redesign its Bal Harbour Shops boutique. Marino’s interior for the fine jewelry and timepiece brand is inspired by classic Roman architecture—echoing the brand’s Italian roots—but with a modern sensibility.

Utilizing marble, Italian walnut, bronze and breccia stone, Marino has created a space where shoppers can find the perfect Bulgari bauble in an intimate environment.

Bulgari’s one-of-a-kind diamond Serpenti bracelet (favored by Naomi Watts); at right, the brand’s new Bal Harbour boutique, designed by Peter Marino.

A look from Rag & Bone, Spring 2014

An installation from “Making Art Dance,” curated by Jeffrey Deitch, at Mana Contemporary

LET’S DANCE! Aperlaï’s Geisha Lines heel, Fall 2013

Trained as a classical ballet dancer and then under the tutelage of the legendary Merce Cunningham, Karole Armitage would go on to break all the rules, earning her the nickname “the punk ballerina.” Over her 30-year career—mostly as the creative director of her company Armitage Gone! Dance—the dancer and choreographer has worked with artists and designers such as Jean Paul Gaultier, Christian Marclay, Charles Atlas, Aïda Ruilova, Jeff Koons, David Salle, Christian Lacroix and Karen Kilimnik to create costumes, sets and backdrops that accentuated her technical-yet-subversive productions. Curated by Jeffrey Deitch, “Making Art Dance: Backdrops and Costumes Celebrating 30 Years of Collaboration by The Armitage Foundation,” a retrospective of these collaborations, is on view through March 13 at Mana Contemporary in Jersey City.

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AS IF THE FASHION WORLD NEEDED MORE PROOF THAT THE MENSWEAR INDUSTRY IS BOOMING, THE CFDA HAS JUST ANNOUNCED IT WILL LAUNCH ITS OWN MENSWEAR FASHION WEEK. CALLED NEW YORK FASHION WEEK: MEN’S, THE EVENT WILL KICK INTO GEAR WITH THE SPRING 2016 SHOWS AND RUN FROM JULY 13TH-16TH. THE ROSTER OF TOP TIER DESIGNERS WHO HAVE DECIDED TO PARTICIPATE, INCLUDING CALVIN KLEIN COLLECTION, MICHAEL KORS, RAG & BONE, PUBLIC SCHOOL, BILLY REID, TODD SNYDER, MICHAEL BASTIAN, OVADIA & SONS, ROBERT GELLER, DUCKIE BROWN AND PATRIK ERVELL, POINTS TO A NEW FASHION WITH SERIOUS PROMISE.

PHOTO BY BEN ROSSER/BILLY FARRELL AGENCY © BFA NYC

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THE FENDI FIVE

Introduced last year, the chic Fendi 3Baguette became an instant musthave. Now, Fendi has tapped five style setters— Rihanna, Sarah Jessica Parker, artist Rachel Feinstein, supermodel Jourdan Dunn and ManRepeller.com’s Leandra Medine—to create their own personalized versions of the bag. If you’re not already enticed, all proceeds from the sale of these special editions— available online at 3baguetteauction.fendi.co m through March 13—will go to a charity selected by each of the five dynamic collaborators.

Fendi 3Baguette by Leandra Medine.

A red carpet without an A-lister dressed in Oscar de la Renta just doesn’t exist. His legacy of exceptional gowns—and gaspworthy moments—is the subject of “Oscar de la Renta: His Legendary World of Style,” at the Savannah College of Art and Design (SCAD). Curated by Vogue contributing editor André Leon Talley, over 70 garments will be on view through May 3, including the striking red silk gown worn by Beyoncé for her March 2013 Vogue cover (at right) and dresses worn by Hillary Rodham Clinton and Taylor Swift.

Luxe in London

No place is better for a show that questions the concept of luxury than the Victoria and Albert Museum in London. Its new exhibition in collaboration with the Crafts Council, “What is Luxury?” on view from April 25 through September 27, does just that. Pairing seemingly disparate such as like Iris van Herpen’s 3-D printed dress, an 18th-century ecclesiastical crown and DNA Vending Machine by artist Gabriel Barcia-Colombo, which contains pre-packaged DNA samples, the show assesses the various definitions of luxury. Is it about the luxury of privacy from the government? Is it about living comfortably? Is it about exclusive access to resources? All these questions and more are raised in this thought-provoking exhibition.

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© M. ZOETER X IRIS VAN HERPEN; COURTESY V&A IMAGES; OSCAR DE LA RENTA ARCHIVE, NEW YORK; ADAM KUEHL

Iris van Herpen’s Voltage Dress, 2013

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WHO’S THAT GIRL Model on the rise Kendall Jenner walked for Chanel’s Haute Couture Spring runway show—her fifth for the house since her Chanel debut last March.

STAR TURN

Keep your eye on Kendall Jenner, who has proven there’s no “k” needed in fashion cred. Not when Chanel, Givenchy, Alexander Wang and Dolce & Gabbana come calling.

BY TALI JAFFE 52 BAL HARBOUR

bal harbour shops

KING

ARTHUR’S COURT In a rare interview, photographer Arthur Elgort delves into his vast archive and shares the stories behind the iconic images in his new book, “The Big Picture.”

BY JESSICA MICHAULT

Stella Tennant in Watermill, 1995

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ARTHUR ELGORT

Mad Max in Death Valley, 2000

Arthur Elgort is a man who loves the unexpected.

Over the past five decades, his photographic work has been characterized by its ability to convey the feeling that his subjects have been caught unaware, as if they are just going about their business in a nonchalant way, and yet still maintain a sense of glamour—a snapshot, if you will, into the lives of supermodels, celebrities and even Elgort’s own family.

A lifelong proponent of shooting with natural light and giving a sense of movement to his shots, Elgort was the first photographer to take models out of the studio and onto the streets, arguably making him the grandfather of the current street-style and

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concrete catwalk approach to photography. He is even credited with creating the now-famous “Vogue Jump” shot, a self-explanatory style of image known to any fashionista worth her salt.

To celebrate his monumental photographic achievements, Steidl is publishing an impressive coffee-table book, “Arthur Elgort: The Big Picture.”

Inside, 280 Elgort images, both iconic and personal, come together to highlight the artist’s unique and engaging point of view.

Bal Harbour chatted with Elgort about his impressive body of work and discovered that for this photographer, it all comes down to trying to capture those fleeting magical moments in life.

ARTHUR ELGORT

Keira Knightley in Kenya, 2007

Looking back, which particular photo shoot in the book stood out for you?

I liked the Mikhail Baryshnikov shoot and the Rolling Stones shoot—and pretty much anything I did with Grace Coddington.

There are quite a few images of Christy Turlington in this book. Was she your favorite model to work with?

She is so good! You just can’t take a bad photo of her, and she was one of the easiest models to work with. Her dad was a pilot, so she knows how to travel well and can arrive anywhere ready to go.

What made you decide that you didn’t want to do your fashion shoots in a studio? That was a bold decision at the time.

It was circumstances, really. I didn’t have a studio when I began my career, so I met people on the street and took their photos on the spot. I was just lucky that it worked out for me.

Your images always look very natural. Nothing looks posed.

Yeah, you can’t tell what time they come from; they are ageless in a way.

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There are quite a lot of photos in your book of your kids. Why were they important to include?

You know, they change so quickly. And I didn’t want to miss those moments. That’s why I always took breakfast photos of them growing up.

Is there a piece of advice you would give someone starting out in photography today?

You really have to be able to do film—digital film—now to make it.

What about digital for you? Switching to digital photography from film, was that difficult?

It was hard at first. Before, I could show the people around me just one Polaroid at the start and that was it. I didn’t have to show anything else until I was done. It was much quicker. Now, everyone is huddled around the computer screens all day and they are endlessly changing the shoes, or the hat, or the dress. But I got used to it. And now I enjoy it.

There are quite a lot of photos of ballet dancers in this book. What is the fascination?

I started out shooting ballet dancers. But I realized there wasn’t enough money in it, so I began doing

ARTHUR ELGORT

Nadja Auermann in New York City, 1995

fashion shoots. Fashion shoots were also a good way to pick up girls.

Who are some of your favorite models to work with today?

Karlie Kloss, probably because she started out as a dancer.

I really like dancers because they are in tune with their bodies and know how to move.

What made you decide to do this book now?

I really wanted to do a large book for a change. Up until now, all of my books could be put in your lap. This one is much more substantial. I am now working on a ballet book, which I am also excited about.

What do you do for fun?

I love music, so I am always going to classical music concerts and jazz concerts. I have taken a lot of jazz photos over the years‌ maybe I should do a book with those photos next.

You have shot some unforgettable images all over the world. Is there one place that you would like to go to shoot that you haven’t yet visited?

I would love to go to Australia. But it is so far away!

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Christy Turlington and Naomi Campbell in New Orleans, 1991

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Get to Know Supermodel

ANNA SELEZNEVA We caught up with our cover model on young designers, vintage finds and her most memorable fashion shoot.

What is your daily go-to fashion uniform?

I don’t have any uniform—it depends on the day and my mood.

How do you conceive of the term “model off-duty,” and how does that translate to your daily look?

Fashion is a profession. But this term is not translated into my life much. To me it’s a hashtag next to pictures of the girls in social networks.

What is your skin care regimen?

I visit my skin care specialist Julie Lindh a couple of times a month. She has created an amazing line of products that I use when I’m traveling.

What was the last book you read and loved?

“The Monk Who Sold His Ferrari” by Robin Sharma.

Most prized possession?

The people that I love in my life.

Young designer you are most excited about?

There’s a new generation of Russian designers that are really good. And I also think young Scandinavian designers are doing very cool stuff.

Your best vintage find?

In Paris I found a Christian Dior dress from the Summer 1964 collection.

Who has most influenced you in the fashion world?

There are many people who have influenced me. Steven Meisel, Mert Alas & Marcus Piggott, Emmanuelle Alt, Isabel Marant, Alexander Wang, Karl Templer… and many others.

Most memorable photo shoot?

Oh, there’s one shoot I will never be able to forget. It was an haute-couture editorial in February 2012. For some reason, the magazine decided to shoot on location in a field outside of Paris. The temperature outside was -16 Celsius (3 degrees Fahrenheit). I stayed professional until the end, modeling Spring clothes in the cold while the crew was wearing snow parkas. I will never forget that.

Three things you can’t live without?

Faith. Music. And, of course, beauty-care products!

What non-fashion magazines do you read on a monthly basis?

I prefer books; but sometimes I read the articles in Esquire and a cool Russian magazine called Russian Reporter.

Favorite juice spot?

Moon Juice in L.A., JugoFresh in Miami and Juice Press in NYC.

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“ I stayed professional until the end, modeling Spring clothes in the cold while the crew was wearing snow parkas. I will never forget that”.

STYLE DIARY

“The sweet glamour of my outdoor line for Lane Venture is probably my favorite collection.”

“FOR MY LIPS, I LOVE NARS DOLCE VITA VELVET MATTE LIP PENCIL. IT’S A GREAT COLOR.”

“SAINT LAURENT MAKES GREAT BUCKET BAGS. THE EMMANUELLE IS PERFECT FOR THE SUMMER.”

“Summer for me is all about comfortable dresses and flats—they’re so easy to throw on and go! I love Chloé’s eyelet dress and Sergio Rossi‘s Lagoon sandal.”

NARS’ Dolce Vita velvet matte lip pencil, available at Saks Fifth Avenue

Celerie Kemble With immaculate taste and a thoughtful eye, interior designer Celerie Kemble has not only made a name for herself, but she’s carried on her family’s legacy. She is the principal of Kemble Interiors, Inc—a family business of over 30 years that was founded by her mother, Mimi McMakin. More contemporary, the Harvard grad has been taking the family company to the next level. Kemble recently launched an outdoor line with Lane Venture, which has an aesthetic she describes as ‘30s-’40s Palm Beach, where her family has been rooted for more than a century. —Stella Lee

“Rockefeller University’s Parents & Science lectures are always so informative.

I try to attend each year.”

“If I’m not in New York, I am usually out in Palm Beach with my family.

The Norton Museum of Art is one of my favorite spots in town.”

“I carry my Rimowa trolley everywhere.

It can fit all of my favorite items, including my D. Porthault pillow [left].”

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“Lazy weekends in bed with a good read are the best. I recently finished reading ‘Beautiful Ruins‘

by Jess Walter.”

PHOTO BY PATRICE CASANOVA (BELLPORT); SCOTT RUDD (ROCKEFELLER UNIVERSITY)

“I spend many weekends out in Bellport, New York in the warmer months.

The Bellport restaurant is one of the best in town.”

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STYLE DIARY

“THE NEUE GALERIE IS MY FAVORITE MUSEUM IN THE CITY.”

What happens when you marry beauty, brains and business chops? You get Manhattan’s Lauren Remington Platt, the founder of the industry-changing Vensette, an on-demand beauty service booking website and mobile platform. The former model and Ivy League grad first cut her teeth as a financial analyst, where she had the kind of schedule that didn’t leave much time for party makeup and hair appointments. Short on solutions, Platt dreamed up Vensette, which launched in 2011 out of her downtown living room. The popular startup connects clients, which include socialites, actresses and CEOs, to top hair and makeup stylists, who make house and office calls. Platt has the city’s social scene literally covered.—SL

“I’m seriously coveting Ralph Lauren’s new Mini Ricky bag.”

“A CHIC WHITE OUTFIT IS MY GO-TO WARMWEATHER ENSEMBLE.”

“Sant Ambroeus in the West Village is one of my favorite spots in the city. You can probably find me sitting outside there with my pups on any given weekend.”

“Jimmy Choo sandals are my summer staples. They transition so seamlessly from day to evening!”

A look from Stella McCartney Spring 2015

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Jimmy Choo Hasty sandal

“I’m currently reading ‘The Hard Thing About Hard Things’ by Ben Horowitz. It’s an insightful read that discusses the challenges of management and leadership in running a business.”

“ONE&ONLY REETHI RAH IN THE MALDIVES IS MY NEW FAVORITE DESTINATION.”

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Lauren Remington Platt

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STYLE DIARY

“I’m big on lists, so my Smythson notebook is always with me.”

Jenne Lombardo

“I spend the summers in Montauk with my kids. It’s a very safe and sacred place to us as we have been going for years. I like simple pleasures that allow us to focus on one another as a family.”

A tour de force in the fashion industry, Jenne Lombardo, co-founder and executive director/curator of MADE Fashion Week and co-founder of strategic branding firm The Terminal Presents, has had her hand in a variety of chic enterprises. The pint-sized dynamo has worked with brands such as Alexander Wang, Proenza Schouler, Rodarte, Lady Gaga, Target and Tumblr. Among her many roles, Lombardo is sought out for her ability to discover and shepherd emerging design talent and for breathing new life into established brands. Call the Cleveland native fashion’s favorite strategist.—SL

“I recently went to see ‘Le Nozze di Figaro’ at the Metropolitan Opera, and it brought tears to my eyes. To be in such a grandiose room at Lincoln Center listening to music that has so much passion really takes you to such a deeply moving place.”

“I ALWAYS HAVE MY CAEDEN HEADPHONES WITH ME. PART OF MY JOB IS TO FIND MUSIC, SO I’M ALWAYS SCOURING THE INTERNET FOR UNDISCOVERED TALENT.”

“My goal is to dress head to toe in the same designer.

Proenza Schouler and Balenciaga are currently on my wish list for Spring.”

“I love skinny heels with pointy toes to elongate my legs, like this Nicholas Kirkwood pump!”

“I work out a lot at Barry’s Bootcamp.

I love how accomplished I feel after testing my endurance and seeing what I’m truly capable of.”

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Spring 2015 collection looks from Balenciaga (right) and Proenza Schouler, available at The Webster.

Nicholas Kirkwood Mirage ankle-strap pump, available at Saks Fifth Avenue

PORTRAIT BY THE COVETEUR / TRUNK ARCHIVE

“I JUST PICKED UP ‘THE FEVER.’ I LOVE MURDER MYSTERIES!”

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STYLE DIARY

“Santa Teresa in Costa Rica is one of my favorite places in the world—I’m headed there again this Spring!

I’m looking forward to my yoga time at Florblanca Resort.”

“I AM IN AWE OF THE AMAZING DOUGLAS GORDON INSTALLATION AT THE PARK AVENUE ARMORY.”

Laura Mercier Tinted Moisturizer, available at Neiman Marcus and Saks Fifth Avenue

“Skin care in the summer is all about sun protection.

Laura Mercier’s Tinted Moisturizer with SPF is great for daily use.”

“I just dress how I feel when I get up in the morning.”

“A chic coverup from Zero + Maria Cornejo is an essential for any Summer travel.”

Lindsey Adelman

Lindsey Adelman literally brings light to her clients. Since opening her studio in 2006, the former artist turned lighting designer and producer has become known for culling a certain kind of ambiance. “In my work, I am always after creating an effect that is warm and approachable, but at the same time unusual and original,” Adelman says. Today, her studio boasts a team of 20 to execute her visions. She also gives back and supports the Robin Hood Foundation in the fight against poverty.—SL A look from Zero + Maria Cornejo Spring 2015

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“SONOS’ SPEAKER SYSTEM IS PROBABLY ONE OF MY FAVORITE TRAVEL ACCESSORIES. I LOVE ITS PORTABILITY.”

“The Catch Floor Light looks like a frame in a science film about gravitational pull—but still feels luxurious.”

“Almond restaurant in Bridgehampton is the best out there!

The tequila sour and all of the fish entrees are terrific.”

PHOTO BY ERIC STRIFFLER (ALMOND RESTAURANT)COURTESY PARK AVENUE ARMORY

“I rarely leave my house without a good read on hand. I loved Donna Tartt’s ‘The Goldfinch,’ and now I’m reading her older book, ‘The Secret History.’”

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TheSkimm co-founders Danielle Weisberg and Carly Zakin

JUST SKIMM IT

With the instant success of theSkimm, two women prove their demographic demands more than morning news and reality TV recaps.

BY STEPHEN TREFFINGER

A generation of women is now waking up to theSkimm, a daily e-newsletter delivered at 6 a.m. that provides summaries of the top news, entertainment, sports and fashion stories—with more than a touch of sass. For many of its over 1 million subscribers, theSkimm is replacing morning TV shows and other news outlets. And where there are legions of devoted fans, there is money; in December, the startup announced that it had raised $6.25 million in financing.

Danielle Weisberg and Carly Zakin, the team behind theSkimm, began their careers as associate producers at NBC News in 2008, just as the recession was beginning to pummel broadcast journalism.

Watching divisions fold and colleagues get laid off, the two were forced to consider futures outside the station. “We started talking about this opportunity that we saw. Our friends who were incredibly smart and well-educated had no time to get news in a way that appealed to them,” says Weisberg. So they set out on their own in 2012 in order to fill that void.

The newsletter is written in a conversational tone that sounds like it’s coming from a well-informed friend, though potential employees need hard news backgrounds in order to be considered. The morning after President Obama’s most recent State of the Union address, theSkimm headline read: “I GOT MOVES, THEY’RE MULTIPLYING.” Indeed, the team is its own demographic: millennial women who live in a large city and have money to spend—and little precious time to waste.

That said, they did get a big boost when Oprah tweeted that she was

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a Skimmer, as devotees call themselves.

In addition to the core product, Weisberg and Zakin turn to social media outlets throughout the day, but more to grow the brand than as a way to simply repost headlines. Shows like the Golden Globes provide a perfect opportunity to combine business with pleasure. “We’re watching it anyway, so it’s obviously organic to what our consumers are doing as well. We just have fun with it,” says Weisberg. During the last Globes broadcast, their tweets included “Aw Catherine Zeta Jones got a new face!” and “Can we acknowledge… Joshua Jackson and Katie Holmes at same event?”

Fans are so enthusiastic that many write in to say they want to get involved further; and so, the Skimm’bassador program was born. The ranks—who numbered about 80 early on and are now in the thousands—volunteer to promote the Skimm universe through their own channels, including social media and word of mouth. “It’s something that’s always evolving, but is a real cornerstone of our brand,” says Zakin.

The duo intends to use theSkimm’s generous funding to primarily expand on the non-newsletter aspects of the business. “We’re definitely thinking about bringing the voice to other platforms,” says Zakin. “But increasing the content of the Daily Skimm itself isn’t part of that strategy.” And when asked what’s the best part about the money (other than the expansion)? “The ability to get off the couch—we’re roommates in New York City—and move into a real office!”

This year, Alexander McQueen is the subject of two books, one play and a museum exhibition.

Writer Mark Ellwood explores what set this visionary designer apart from the rest.

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A look from Alexander McQueen’s Spring 2008 collection, “La Dame Bleue,” in collaboration with Philip Treacy.

IMAGES COURTESY OF PENGUIN PRESS

THE MCQUEEN LEGACY

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his year, one of fashion’s most original voices, Alexander McQueen, will be recognized with no less than two books, one museum show and a play being released in London. Each of these cultural pieces serve as a reminder of how McQueen, the bad boy of British design, remains a force in fashion, even five years after his untimely suicide.

In February, veteran fashion reporter Dana Thomas publishes her new book, “Gods and Kings,” a doorstop-sized delight on McQueen and fellow fashion wunderkind John Galliano. Then, in the fall, British journalist Andrew Wilson releases his own biography of the designer.

Furthermore, this spring, London’s Victoria and Albert Museum will

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IMAGES COURTESY OF PENGUIN PRESS

From “Gods and Kings,” clockwise from left: John Galliano, Amanda Harlech and André Leon Talley, 1996; Shalom Harlow spray-painted by robots in McQueen’s “No. 13,” 1999; a dress from McQueen’s “Widows of Culloden” collection, 2006; Naomi Campbell in McQueen’s first show for Givenchy wearing Philip Treacy’s sheep-horn hat; McQueen in 2003.

host a restaging of 2011’s “Alexander McQueen: Savage Beauty,” the landmark exhibition at New York’s Metropolitan Museum of Art that attracted over 650,000 visitors, making it the eighth most-visited exhibit in the museum’s history. Perhaps Kate Middleton will open the show—after all, she helped shore up McQueen’s reputation just months after his death by choosing his onetime assistant (and successor) Sarah Burton to design her wedding dress.

So how has Alexander “Lee” McQueen remained such a potent force in fashion, his company thriving rather than dissipating in his wake? For one thing, according to the Fashion Institute of Technology’s Valerie Steele, his artistry transcended seasonal styles.

IMAGES COURTESY OF PENGUIN PRESS

THERE’S NO GREATER EVIDENCE OF MCQUEEN’S ENDURING LEGACY, THOUGH, THAN THE WAY TODAY’S COLLECTIONS CONTINUALLY REFERENCE HIS WORK.

At left, McQueen cartwheeling, 1994; right, Kate Moss in Galliano’s Union Jack jacket 1993.

“His work was so absolutely unique,” she says, “immediately recognizable as his, with no concessions to trends or what was selling.” McQueen was a former pattern-cutter at London’s theatrical costume supplier Angels & Bermans; this gave him the ability to fuse fashion and costumes in a fresh way. “McQueen’s style tribe was intensely theatrical in a very visceral, fierce way.”

Dana Thomas agrees. “He is one of only four or five designers of the 20th century that created a new silhouette—and he did it before he’d even had his first professional show,” she says, referring to the “bumsters” he developed, trousers that teasingly created some extra cleavage at the lower back. He championed this new low-slung pant at the start of his career; now, almost two decades later, the everyday trouser fits at the hip, rather than the waist as was once standard. Few designers can claim to have moved the waistline.

Though his swaggering affect and quotable truculence earned McQueen attention, they often overshadowed his true skills. Trained as an apprentice on London’s starchy Savile Row, his cutting and patternmaking skills were unparalleled. Thomas tells the story of an intern who was raving to McQueen about Balenciaga’s skill in making a garment with just one seam; McQueen rolled his eyes as the intern

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went on marveling at the seemingly impossible task. “The next morning, the kid walked into the studio, and there was that same dress sitting on the dummy,” Thomas says. “He did that all the time.”

McQueen wasn’t just a masterful designer; he understood the architecture of clothes, and easily catered to a diverse customer. “He knew how to cut a little black dress so that a woman—size 2 or 14— would look elegant,” notes vintage dealer Cameron Silver of L.A.’s Decades boutique. McQueen’s popularity wasn’t limited to his designs, either. Among the fashion pack, he championed democracy on the runway. When he tried to live-stream his catwalk show in Fall 2009, a recreation of Atlantis featuring holograms and sea aliens, the firm’s host site crashed due to the unprecedented traffic.

There’s no greater evidence of McQueen’s enduring legacy, though, than the way today’s collections continually reference his work. Thomas recalls a recent Balmain show, where a white suit shown was identical to a piece from McQueen’s first (and panned) couture show for Givenchy. “Line for line, they reproduced it. I’m surprised the designer didn’t get fired for plagiarism.” She continues, “It’s really a shame he’s gone because he pushed everyone in fashion to do better. Next to his work, everybody else looked lame.”

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A MATTER OF TIME

Watches may just be the next Blue Chip collectible—at least that’s what Phillips is banking on with the debut of its new watch department.

BY MARK ELLWOOD

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ike most gavel-wielders, Aurel Bacs has an auction-day ritual.

Although it isn’t the red ties with which he’s become synonymous.

His ties, he explains, are a practicality. “The last thing you can be bothered about is trying to find a tie to match your suit and shirt—and a red tie goes with everything.” His ritual is far quirkier. “The worst thing that can happen to an auctioneer is to lose your voice—or have it get rusty or tired.

You have to grease the engine. So I always meet a dear friend of mine before an auction for a glass of milk.” He pauses. “And yes, I’m slightly embarrassed to admit that.”

No doubt Phillips will have ample milk cartons on hand when Bacs hosts his first sale for the firm on May 9th in Geneva. The two-

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day auction is the debut of the house’s newly formed watch department, a niche division helmed by Bacs and his wife, fellow watch expert Livia Russo. This expansion was a significant announcement by the firm’s new CEO, Edward Dolman, best known for his longtime stint as chairman of Christie’s. Both Bacs and Russo were Dolman’s former colleagues at the rival auction house, where they earned widespread plaudits for growing annual watch sales from $8 million to $130 million in less than a decade.

The duo resigned from Christie’s in late 2013, and they planned only to return to the auction world as buyers. “Faithful friends and clients would ask us to assist them looking at watches, but it was a weird feeling to have a paddle in my hand instead of a gavel,” Bacs

laughs. Nonetheless, he went on to achieve a record-breaking buy last November, spending $24 million on behalf of an anonymous client for Patek Philippe’s iconic 18-karat-gold Henry Graves Supercomplication.

Bacs and Russo planned to continue consulting like this until Dolman contacted them about a potential partnership. Likening the auction business to running a restaurant, Bacs says he had grown tired of running Christie’s worldwide operation; it had morphed into a role more akin to juggling franchises than a cozy family bistro, he explains. Dolman offered him the chance to begin afresh with a new mission and launch team of just five people based between New York and Geneva.

As a proprietor, Bacs says, “I’d rather have a restaurant offering the best pizza in town than

BACS’ BEST BUYS Aurel Bacs shares a few of his favorite timepieces.

Timepiece experts Aurel Bacs and Livia Russo are the husband-and-wife team at the helm of Phillips’ new watch department.

the worst caviar. We want to focus on the high-end—that doesn’t just mean the highest value, though. To me, a simple time-only watch in perfect condition worth $10,000 is high-end, whereas a gold perpetual calendar in poor condition with a poor restoration and dodgy provenance worth $50,000 is not.”

Debonair and effortlessly charming, Bacs is a potent force in the watch world alongside his equally sophisticated wife. “We never really know where our professional life ends and our personal life starts,” he admits. “I am much more chaotic, she is more analytical. I’m an improviser, she’s a planner. I’m more technical, she’s much more aesthetic. What we share is a passion for watches.” That isn’t their only shared value, at least according to watch collector and president of Ivanka Trump Fine Jewelry, Geoffrey Hess. Respect for the pair among timepiece collectors is unparalleled.

Hess believes that the proliferation of collectors and auctions has muddied credibility in the industry with photos online or in catalogs doctored to improve the quality of a timepiece. “The watch that shows up on the screen is very different from the one you’re holding in person,” he complains. Bacs and Russo, Hess notes, act like a “a Good Housekeeping seal of approval. I would have no qualms with calling Aurel and asking, ‘Am I safe to buy that?’ If he told me yes, I would be 100 percent comfortable and confident. In my view, he represents the best of everything.”

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“Audemars Piguet is one of my absolute favorites,” Bacs says. He’s on a mission to find a hand-selected group of quality pieces for the brand’s small but devoted group of collectors. “Everyone thinks Audemars equals Royal Oak, but I think of repeaters, chronographs and calendar watches from the 1930s, ’40s or ’50s. In my view, they’re still very undervalued.”

“Being a good boy from Zurich, IWC Schaffhausen was my first horological love. A good Swiss German when he’s 18 or 20 always thinks IWC before thinking of any of those unpronounceable French names,” Bacs laughs. The Portuguese and the military lines are both standouts, he believes.

IWC Portugieser Annual Calendar

Audemars Piguet 2014 Millenary Quadriennium

“Hublot is one of the most incredible success stories of the last 20 years,” Bacs says. “Jean-Claude Biver is a genius who carved out his own niche while picking up the sort of lifestyle that the Royal Oak projects—but making it decades younger.”

Officine Panerai’s heritage makes Bacs swoon. “What is cooler than a company that can say it made watches for frogmen in World War II?” he says. “It’s James Bond— real 007 magic. He also singles out the signature dial, with its bold design, as “hard to match.”

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NATURAL TALENT

Megan Hess draws up fashion’s most iconic images.

BY JANELLE ZARA

Megan Hess’ Feather of the Opera, from the Black Feathers collection.

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PHOTO BY MARTINA GRANOLIC

Fashion illustrator Megan Hess at work in her studio in Victoria, Australia; at left, Chanel Couture print, from The Couture Dresses collection.

An air of elegance and whimsy permeates artist Megan Hess’ work.

The timeless glamour of her illustrations is what continually draws commissions from the likes of Balenciaga, Fendi, Tiffany & Co., Dior, Vogue and other icons of the fashion world. We spoke to the Australian native about her sources of inspiration and where her career began.

What steered your career toward fashion illustration?

I studied graphic design because it felt like a “real” job in the art world.

But I really always wanted to be an illustrator, I just didn’t know that it was a possible career choice! After working as an art director at agencies for several years, I packed everything up and moved to London, where I worked in a million different creative jobs. In my final job there as art director at the department store Liberty, I realized that I had a burning desire to be an artist.

I started to do very small illustrations for Liberty, and from there, other art directors saw my work and little commissions began to follow.

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After about a year, I found myself with nonstop work. I wasn’t earning a fortune, but I’d never been happier. I knew I was going to do this forever.

Today, I can probably only do about 20 percent of the projects that come my way. The biggest challenge for me is fitting it all in. But at the end of the day, it’s my dream job, so I’m very grateful.

You illustrate for the biggest fashion houses and publishers in the world. Is there a project that you consider your first big break?

As my clients got bigger and better, I was able to be a little more selective and to work on briefs that I knew had great creative opportunity. Then in 2006, I got a call in the middle of the night from Candace Bushnell’s publisher asking if I would illustrate her next novel, “One Fifth Avenue.” This was when things took off at rapid speed.

Her book became a New York Times best-seller. I met with Candace and she asked me to illustrate all of her previous books, including the cover of “Sex and The City.” Once it was released, I was contacted by Time and Vanity Fair to create portraits for them. This was

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“I love to arrive in a new city, find a busy cafe, and start sketching people around me” —Megan Hess

a dream come true. Tiffany & Co., Chanel, Dior and Cartier followed. At the same time that my work finally took off, I had my first baby. It’s funny, I always tell people that I haven’t really slept since 2006.

Your illustrations have a very distinct, romantic style. Where do you draw inspiration?

I get inspired by many different things—people, fashion, art, music—but probably the biggest influence is travel. I think the more you travel and immerse yourself in different countries and cultures, your eyes are opened, and you become inspired by new things. I love to arrive in a new city, find a busy cafe, and start sketching people around me— secretly, of course. My characters and fashion sketches are how I express my thoughts and experience. Students always ask me how they can find their own style, and I always say, “Keep drawing, and your style will find you!”

Although the majority of your clients are based in Europe and North America, you still call Australia home. Have you ever considered relocating?

Because of technology, I could actually live anywhere and do the same work. I love living in Australia. It’s a beautiful country. The funny thing is that nearly all my clients are somewhere else. Australia is a day ahead of the rest of the world, so I usually have my completed sketch for an overseas client waiting in their inbox before they even wake up!

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Waiting for the Concorde, from Hess’ Black Feathers collection.

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A look from the Versace Spring 2015 collection

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Marc Jacobs at Louis Vuitton’s Spring/Summer 2013 runway show.

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MUSICAL CHAIRS

A guide to the whirlwind year in fashion and the designers who now helm some of the world’s most luxurious houses.

BY LYNN YAEGER

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hat French guy who was so sure that “the more things change, the more they remain the same” certainly wasn’t talking about fashion. When it comes to style, even the least chic among us knows that this industry is all about change! Renewal! The next new thing! Fashion houses—even those that have been around for a hundred years—are more and more switching things up, trading designers as if they were baseball players, and reviving old labels that haven’t had a living createur since Zeppelins plied the skies.

Trust me, there have been so many illustrious firms taking on new blood recently that you can’t tell who is where, and designing what, without a score card. In fact, even with the handy guide we have prepared for you, your perfectly coiffed head will be spinning.

First up, let’s look at the companies who clearly want someone who will carry out the signatures of the house. The granddaddy of this noble enterprise is the great Karl Lagerfeld at Chanel, a master who manages to make Mademoiselle’s hallmarks—the soft tweeds, the cropped jackets, the Double C buttons and buckles—completely fresh and modern. Although Lagerfeld has been in Madame’s patent-leather pumps for a while, there is a host of new people following this venerable path.

Let’s give a warm shout-out to Peter Copping, who is taking over for the late, incontestably great Oscar de la Renta. With the delicate feminine sensuality he promulgated at Nina Ricci, his former employer, Copping seems like the perfect guy to take the beribboned reigns. And who, you may ask, is coming into Nina Ricci? The lovely young Frenchman Guillaume Henry, direct from the kicky Carven catwalk.

Nicolas Ghesquière, creative director at Louis Vuitton.

REJUVENATED HOUSES AND NEW DESIGNERS WILL INVARIABLY RESULT IN INNOVATIVE FASHIONS THIS SPRING.

And let’s wave hello to the wacky Jeremy Scott at Moschino, who presented a Barbie-doll-themed show in Milan last Fall, a goofy event that totally captured the spirit of this fun-loving company. (And, admit it, who among us hasn’t wanted to look like Barbie at least once in her life?)

But not every new designer is exquisitely sensitive to the sensibilities of a historic brand. At Balmain, the adorable young Olivier Rousteing is now in charge. If his super-sexy, hot-as-Hades offerings don’t remind you at first blush of Pierre Balmain’s elegant tailleurs, then his forte of accoutering “it” girls will. In his time, didn’t Balmain himself dress bright young things?

And what of that cool cat Riccardo Tisci at Givenchy? If his designs seem to veer far from Givenchy’s original vision (Hubert de Givenchy never did show fabulous gypsy-gladiator mini-dresses like Tisci did last season), couldn’t it be argued that Erykah Badu and Julia Roberts, both Givenchy enthusiasts, are the new Audrey Hepburns?

And let’s not forget accessories-based firms that have great monikers but no fashion cred to speak of. When Marc Jacobs arrived at Louis Vuitton in 1997, the label had never done clothes, so Jacobs was able to bring his wildest fantasies to life with no imaginary toes to tread on. Now Nicolas Ghesquière, who took over in November 2013, has similar freedom—replacing Jacobs’ extravaganzas with an irresistible, sleek ’70s sensibility—at least so far.

Or, take a look at the Spanish brand Loewe, an enterprise that has been providing the international haute bourgeoisie with purses since

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the 19th century. In 2007, the label hired Stuart Vevers, formerly at Mulberry, who hung around for a few seasons before he crossed the Atlantic, decamping to Coach, yet another handbag hub expanding into fashion. Though Vevers is British, he has infused Coach’s clothes with a preppy Americana vibe, even offering one notable pullover decorated with the Apollo spacecraft. Did Loewe fold up its fashion tent after Vever’s departure? No way! It wasted no time, giving the job to the quirky British wunderkind J.W. Anderson.

Phew! This is exhausting. But let’s press on! No roster of this kind would be complete without a discussion of perhaps the most fascinating switcheroo of all—the appointment of John Galliano as creative director at Maison Margiela. After the controversy following Galliano’s infamous 2011 incident—no need to rehash here—he has come roaring back to life. Many fashion pundits wondered aloud about the improbability of a showman like Galliano taking over a house whose namesake was so famously elusive. (Monsieur Margiela was never even photographed, and I know from personal experience that he would only be interviewed by fax!) But somehow, Galliano has managed to meld his own flamboyance with Margiela’s more austere aesthetic, showing a spectacular artisanal couture collection in London in January.

What does all this mean to you? Only this: Rejuvenated houses and excited new designers will invariably result in gorgeously innovative, unexpectedly fabulous fashions on the racks! And isn’t that what you’re really shopping for this Spring?

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THE MAKING OF AN ICON

Norma Kamali changed the shape of women’s fashion—literally. Here, writer Jessica Michault sits down with the legendary designer to discuss four decades of style.

I

n the second half of the 20th century, perhaps no two designers had more impact on the way women dressed than Yves Saint Laurent and Norma Kamali. While even a fashion novice knows the Saint Laurent name, Kamali, who has been referred to as the Greta Garbo of the industry, has remained relatively under the global fashion radar.

And yet, to this day, her innovative ideas, femalefriendly designs and fabric exploration continue to impact the industry as a whole, as well as shape the work of up-and-coming fashion designers.

Kamali, who will turn 70 this year, started her love affair with fashion back in 1965 when she used a job working in the office of an airline company to score discounted plane tickets. She traveled almost every weekend for the next four years to London and experienced the fashion revolution that was the swinging ’60s firsthand.

“My dream of being a painter switched to fashion the minute I stepped foot in London,” says Kamali of that time. “I brought back clothes each week from London and sold them to friends; then I opened a store. Within a few months, I was making styles and selling my own clothes through a small shop I opened in 1967.”

It was not long before Kamali, an ageless beauty with a sleek and slender frame, was a Studio 54 regular and her designs were being

Norma Kamali, who began designing in 1965, has been referred to as the Greta Garbo of the fashion industry.

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Christian Dior and Givenchy, worn by trendsetting friends. One of Stephanie Seymour in an iconic respectively. her minimalistic red bathing suits Norma Kamali swimsuit. Below, a clipping from WWD featuring But Kamali isn’t proud of all became instantly iconic when Farrah Kamali’s designer sweatshirts, 1980. of her claims to fashion fame.

Fawcett, a regular customer, pulled it She is also credited in the 1980s out of her bag and posed in it for her with adding shoulder pads to legendary 1976 poster. It’s a suit that women’s suiting.

“Sooo can be pointed to as an ancestor of embarrassing!” says Kamali. “I the unpretentious swimwear designs look at what I have done currently being created by Tomas through the years and some Maier. styles are still selling today, not Much of Kamali’s success has only on my line but on many come out of her ability to spot other collections, because they sartorial necessities that are not being were timeless. The shoulder addressed in the market. One of her pads were a statement about biggest and most lasting triumphs, women and power. The power the sleeping bag coat, came about suit was the outfit of choice in thanks to one of man’s most basic the ‘80s for women intent on necessities. “I was camping in the ’70s making a career an option they with my hippie-dippie boyfriend. One chose… in a man’s world. Yikes, cold night, as I contemplated a visit they exploded on everyone’s into the woods, I brought my sleeping shoulders, and I will take some bag with me,” reveals Kamali. “Then of the blame.”

I came back and made a coat out of Guilty or not, the structure the sleeping bag.” of those shoulder pads has It has been one of her best-sellers influenced generations of ever since and arguably ignited the designers, including Olivier whole puffer outerwear movement that Rousteing at Balmain, Jean Paul is still going strong today—a Gaultier, Raf Simons and development that brands such as Jeremy Scott, to name a few.

Moncler, Canada Goose and But Kamali’s visionary riskParajumper, who got their starts taking has not been limited to designing outerwear, have taken full “MY GOAL IS TO the clothing she designs. Back advantage of.

IMPACT WOMEN’S in the early 1980s, she was The current fascination with LIVES WITH creating short films of her work, luxury activewear and designer foreshadowing the industry’s sweatshirts can also be traced back to INFORMATION current love affair with mini Kamali. She was the first designer to AND TOOLS TO fashion films designed to go craft skirts and tops in terrycloth. and HELP THEM viral online. Speaking of which, send them down the catwalk. “I was REACH THEIR the designer was also one of the doing cover-ups for my swim first of her ilk to launch a collection, and when I started to FULL POTENTIAL.” website. “No one was online, design them, I thought about what I —NORMA KAMALI but I was obsessed,” says wear after a swim and that is a gray Kamali, who points to her time terry sweatshirt,” explains Kamali. “At the time, the only place you would find a aesthetic has only increased over the years, working on a UNIVAC computer at her job at sweatshirt would be at an Army Navy store or and brands like Alexander Wang, Proenza the airline as having first opened her eyes to a college shop. I ordered gray terry and Schouler and Kenzo have harnessed its the possibilities of the virtual universe.

Today, Kamali, who credits her longevity created a cocoon to start as a cover-up, but power with paradigm-shifting sartorial results.

Kamali was also an early advocate of to perseverance, reinvention and the failures before I knew it, I made dresses, pants, using parachute silk in her work. Some of she has learned from, still likes to get to the jackets and even gowns in gray terry.”

This casual approach to dressing has those designs now reside in the permanent office by 6 a.m. to sketch in the quiet earlybecome more than a trend, but rather a way exhibit of the Metropolitan Museum’s morning hours. She is forever on the lookout of life in the United States. The ease and Costume Library. Since then, designers like for designs that empower the people she comfort of the designs and fabric connected John Galliano and Alexander McQueen went dresses. Or, as she puts it: “My goal is to with Americans on an instinctual level. The on to use the material to great effect in their impact women’s lives with information and appreciation of an informal sportswear haute couture work during their days at tools to help them reach their full potential.”

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PHOTO © MIGUEL TOVAR

Judith Clark installs “Appearances Can Be Deceiving: The Dresses of Frida Kahlo,” which was the first exhibition of the artist’s garments since their discovery in 2004.

THE FASHION FLOCK Two curatorial powerhouses, Judith Clark and Valerie Steele, discuss the rise of a field they helped invent: fashion as exhibition.

Judith Clark, a groundbreaking London-based independent fashion curator, lecturer and writer, joins Valerie Steele, director and chief curator at the Museum at the Fashion Institute of Technology, to discuss fashion as an art form, the rise in popularity of fashion exhibitions at major museums and Clark’s new role at Fashion Project, an experimental space at Bal Harbour Shops devoted to special programs and displays that explore fashion and how it relates to culture, both historically and in today’s world.

Judith Clark: When we first met in London in 1998, I had just opened a small gallery in Notting Hill. You were in from New York, and I was very excited when you contacted me, as I had cited you and your founding of Fashion Theory as proof that very interesting bridges were being built between academia and curatorial practice in relation to dress. I think our very first conversation was about my desire to create a quasi-museum environment within a small space that could more easily accommodate a faster

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experimental attitude toward exhibitions of dress. Fast-forward to today, reflecting my this recent commission to curate and design exhibitions for Bal Harbour Shops—in a space very similar in size to that one—made me think how different our discipline is today.

Valerie Steele: The situation has changed tremendously in the past few years. Today, everyone, every museum, wants to mount fashion exhibitions—even the Imperial War Museum! Yet the majority of fashion exhibitions remains very traditional in their approach: high fashion on fiberglass mannequins behind glass, with very loose themes such as “50 Fabulous Frocks!” What I always loved about your work was the combination of intellectual and visual excitement—new ideas and new design paradigms. Your “Malign Muses” show was a revelation to me, the way you made the miseen-scène central to the way you conveyed your narrative. That show really influenced my exhibition, “Gothic: Dark Glamour.” We created settings like a ruined castle and a laboratory, a cemetery and a Goth club, to bring out the literary, artistic and subcultural themes behind the term “Gothic.”

JC: I think we have been liberated, as you say, through this change.

We went from having to justify our interests to being able to curate shows like “Gothic” and to wonder about common ground among designers over time. We no longer have to create the definitive study of one designer. We instead enjoy looking at history again and again.

You are lucky to have such a glorious collection to draw from.

VS: Yes, I find the traditional retrospective of a single designer to be one of the least interesting ways to organize a fashion exhibition.

Comparative studies, however, can be very interesting. We just opened the exhibition, “Yves Saint Laurent + Halston: Fashioning the

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’70s.” We call it our “Registrar’s Delight” because all of the clothes on display come from our permanent collection.

JC: It can get away from the cult of genius (and the kind of demands that were made a few years ago in the recategorizing of fashion as art) and get on with actually looking at the clothing in a broader context. At the moment, I am very interested in a parallel history of dress and the history of its exhibition—the rise of the thematic show, the dress as sculpture show, the mise-en-scène. The exhibition that I am working on for Bal Harbour Shops is exactly that, it is like a minihistory of curating in six cabinets.

VS: The history of fashion exhibitions is certainly a fascinating topic, which relates, of course, to the idea of fashion as art—since, merely by virtue of being displayed in an art museum, fashion begins to acquire the aura associated with art. I think that fashion is in the process of being reconceptualized as art (in the same way that photography, jazz and film were gradually seen as being art forms and not just aspects of popular culture). Not all fashion will (or should) be regarded as art, but certain looks do seem to have the characteristics—ever-changing and difficult to define—that we associate with art. For example, the work of Alexander McQueen, Madeleine Vionnet and Cristóbal Balenciaga.

JC: Yes, and just as there have been so many recent publications about methodologies surrounding how art is displayed (the curator as an artist, the artist as a curator), I feel we need to find a way to better articulate what we have been doing, that we have traditions that we have been working with and against and that we have debates about a designer’s intention. I want to raise some of these issues through the project at Bal Harbour Shops.

PHOTO © V&A IMAGES

For the highly experimental “Spectre: When Fashion Turns Back,” at the Victoria and Albert Museum, Clark created a series of installations that included a labyrinth of “looking games.”

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TRENDS

Versace Vanitas Medusa Medallion shopper with Cuba Print

Etro stamped leather backpack

Bold Moves Make a statement with the season's brightest looks.

BY DAVID YI

Valentino Psychedelic Camo tote bag

Looks from the Etro Spring 2015 collection

Bally suede Sammo belts

Fendi Buggies sneaker

Fendi Straw Monster Man Peekaboo bag 111 BAL HARBOUR

Canali calfskin leather bag

TRENDS John Varvatos silver Coin Fleur de Lis cufflinks

Bottega Veneta sky blue wool scarf

Tailor Made

A look from the John Varvatos Spring 2015 collection

These classic looks are always in style.

BY DAVID YI

A look from the Prada Spring 2015 collection

Brunello Cucinelli calfskin leather Office bag

Breguet Marine Royale watch

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Ermenegildo Zegna croc embossed leather cardholder

PINS AND NEEDLES There’s a growing number of people turning to acupuncture to treat insomnia. With 40 percent of Americans being effected by this ailment, Rima Suqi set out to see if this could be the cure we’ve been waiting for.

Y

ou know the saying, “You snooze, you lose?” Nothing could be further from the truth. That Type A co-worker bragging about getting by with little or no sleep could be setting himself up as a prime candidate for a variety of ailments later in life, including diabetes, obesity, depression and a host of cardiovascular issues. That’s not all; according to the Centers for Disease Control and Prevention (CDC), “Insufficient sleep is responsible for motor-vehicle and machinery-related crashes... Drowsy driving can be as dangerous—and preventable—as driving while intoxicated.”

While the CDC recommends adults get seven to eight hours of sleep each night, many do not, with as many as 40 percent of Americans reporting some type of insomnia, including the inability to fall asleep or to stay asleep.

Thankfully, there are alternatives to cure insomnia—other than the quick fix pills that flood the marketplace—without the side effects. When jewelry designer Alexis Bittar found himself waking up at 3:30 a.m. night after night, he turned not to pills, but to acupuncture. “After my first session, I went home and slept for 12 hours,” he recalls. “It helped put me on more of a sleep schedule. Without a doubt, it was beneficial.”

Unlike pills, which mask the symptoms but don’t necessarily cure insomnia, traditional Chinese medicine treats the root of the problem.

A first visit with a practitioner will include answering a host of questions about your physical and, often, mental state. The practitioner might also check your pulse on both wrists, as well as examine your tongue and identify key trigger points in your musculature as part of the information gathering process. From there, he or she will determine how to proceed.

“Many people come in, not necessarily with specific insomnia issues, but with issues that are linked to it in some way,” explains

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Randolph Ask, a Taoist medicine acupuncturist whose clients have included a number of Broadway stars, including Matthew Broderick.

“From a Chinese medicine perspective, I look at whether a person has trouble falling asleep, staying asleep or are dream disturbed. There are different ways of looking at insomnia; we look at it as a deeper disturbance of a relationship with themselves.”

“The good thing about Chinese medicine is that we diagnose by the constellation of symptoms a patient presents us with—that’s called a pattern of disharmony,” explains Adele Reising, who has treated Julian Schnabel and Gwyneth Paltrow in her New York City practice. “There are five or six different types of insomnia, and the practitioner will ask questions to figure out which pattern you fit into.”

Circadian rhythms also provide clues. If a patient is waking up at a specific time every night, there are often corresponding physical and emotional symptoms. Within Chinese medicine, each two-hour period in the day corresponds to a specific organ meridian (i.e., the liver, lungs, large intestines, stomach or gallbladder). But practitioners are quick to point out that just because you wake up repeatedly between 1 and 3 a.m., which corresponds to the liver meridian, it doesn’t mean something is wrong with your liver. “While that can be part of it, we’re not looking at the organ, we are looking at what that channel represents,” explains Ask. “Liver issues often correspond with inflammation and “itis” issues—bursitis, tendonitis—and also repressed anger issues.”

“When we say there’s a ‘kidney yin deficiency,’ sometimes it just means you’re stressed out and producing too much cortisol and adrenalin; you’re waking up with panic attacks, you can’t sleep. It doesn’t mean there’s actually something wrong with your kidneys,” adds Reising.

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“We are looking for a pattern of disharmony.”

Once that pattern is found, both Ask and Reising advise taking an herbal supplement (in tea, tincture or pill form) in addition to undergoing acupuncture.

“If you look at the traditional yin/yang of Chinese medicine, herbs are the inside out, which is the yin, and acupuncture is the outside in, which is the yang. When those two meet, it’s healing,” explains Ask. However, herbs and acupuncture will only be as effective as the patient’s willingness to make lifestyle changes to accompany the treatment. Insomnia issues are often the result of some type of excess—which can be stress-related, but also from drinking too much or not eating well. “You have to participate in your healing,” says Reising, who suggests patients seeking treatment for insomnia have acupuncture once a week. “If you’re having trouble sleeping but want to have a coffee at 8 p.m. or drink six beers before bed every night, I cannot help you.

Acupuncture will not help unless you stop drinking or cut back. It is all within reason.”

“I want my patients to take responsibility for their lives,” says Ask, who advises patients to meditate in addition to making healthier lifestyle choices. “It’s your life and your decisions day by day in terms of the excess choices that you may or may not make.

But those choices are very important. To go to somebody to fix you all the time is as much a Band-Aid as taking a drug.”

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PHOTO COURTESY OF ALEXANDER STRAULINO, TRUNK ARCHIVE

Many are turning to acupuncture to treat insomnia—an ailment that effects 40 percent of Americans— including a handful of celebrities.

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Alaia Alexander McQueen Alexander Wang Aurelie Bidermann Balenciaga Balmain Calvin Klein Collection Celine Chanel Chloe Delfina Delettrez Dior Dries Van Noten Dsquared Eres

Givenchy Hood by Air Junya Watanabe Lanvin Maison Martin Margiela Olympia Le Tan Pierre Hardy Proenza Schouler Raf Simons Rag & Bone Saint Laurent Stella McCartney Tom Ford Valentino …and many more

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A Five-Star and Five-Diamond resort destination in Miami’s most exclusive enclave, directly across from the Bal Harbour Shops.

for more information, dial 305-993-3300 or visit stregisbalharbour.com

©2010–2013 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Preferred Guest, SPG, St. Regis and their logos are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates.

J&G Grill is a restaurant concept created by world renowned Chef Jean-Georges Vongerichten. A comfortable yet elegant hideaway with floor-to-ceiling windows and dramatic ocean views, here is signature Jean-Georges sophistication realized far from home. Open daily for dinner. For J&G Grill Reservations, dial 305-993-3333.

As the only live music venue in Bal Harbour, The St. Regis Bar presents a seductive twist on contemporary music seven nights a week. The bar features an exclusive selection of the world’s finest champagnes, rare vintage wines, and handcrafted cocktails, complemented by a tailored menu of Sushi and Asian-inspired cuisine.

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10201 COLLINS AVENUE, BAL HARBOUR, FL 33154 | 786-414-2939 WWW.OCEANABALHARBOUR.COM THE SKETCHES, RENDERINGS, GRAPHIC MATERIALS, SPECIFICATIONS, TERMS, CONDITIONS AND STATEMENTS CONTAINED IN THIS BROCHURE ARE PROPOSED ONLY, AND THE DEVELOPER RESERVES THE RIGHT TO MODIFY, REVISE OR WITHDRAW ANY OR ALL OF SAME IN ITS SOLE DISCRETION AND WITHOUT PRIOR NOTICE. THE PHOTOGRAPHS CONTAINED IN THIS BROCHURE HAVE BEEN TAKEN OFF-SITE AND ARE MERELY INTENDED AS ILLUSTRATIONS OF THE ACTIVITIES AND CONCEPTS DEPICTED THEREIN. NOTHING HEREIN SHALL CONSTITUTE AN OFFER TO SELL, OR A SOLICITATION OF OFFERS TO BUY, IN STATES IN WHICH SUCH OFFERS OR SOLICITATIONS CANNOT BE MADE.

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BAL HARBOUR, FLORIDA, TEL. (305) 864 0888

WE ARE PLEDGED TO THE LETTER AND SPIRIT OF THE U.S. POLICY FOR ACHIEVEMENT OF EQUAL HOUSING OPPORTUNITY THROUGHOUT THE NATION. WE ENCOURAGE AND SUPPORT AN AFFIRMATIVE ADVERTISING AND MARKETING PROGRAM WHICH THERE ARE NO BARRIERS TO OBTAINING HOUSING BECAUSE OF RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS OR NATIONAL ORIGIN. THE SKETCHES, RENDERINGS, PICTURES AND ILLUSTRATIONS ARE PROPOSED ONLY AND THE DEVELOPER RESERVES THE RIGHT TO MODIFY, REVISE OR WITHDRAW ANY OR ALL OF THE SAME AT ITS SOLE DISCRETION WITHOUT NOTICE. THE RENDERINGS ILLUSTRATE AND DEPICT A LIFESTYLE, HOWEVER, AMENTIES, FEATURES AND SPEFICIATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. ALL INFORMATION IS DEEMED RELIABLE BUT IS NOT GUARANTEED AND SHOULD BE INDEPENDENTLY VERIFIED. ALL REAL ESTATE ADVERTISED HEREIN IS SUBJECT TO THE US FEDERAL FAIR HOUSING ACT OF 1968 WHICH MAKES IT ILLEGAL TO MAKE OR PUBLISH ANY ADVERTISEMENT THAT INDICATES ANY PREFERENCE, LIMITATION, OR DISCRIMINATION BASED ON RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS, OR NATIONAL ORIGIN. PLEASE CHECK WITH YOUR LOCAL GOVERNMENT AGENCY FOR MORE INFORMATION. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS IS NOT AN OFFER FOR CONTRACT OR SALE IN THE STATES OF NY, NJ OR MASS.

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IT’S A SPRING THING Head-to-toe denim, pretty plaids and a handful of dressed-up blooms means it’s time to stash the coat and step out in the season’s carefree looks.

PHOTOGRAPHY BY ALEXEI HAY 144 BAL HARBOUR

STYLING BY SARAH GORE REEVES

Bottega Veneta embroidered denim dress, 305.864.6247; Roberto Cavalli wooden lace-up wedge and lucite cuff, 305.865.1749; Max Mara bucket hat, available at Neiman Marcus, 305.865.6161.

Chanel tweed suit and necklace (worn as bracelet), 305.868.0550; Barbara Bui metallic oxfords, available at Intermix, 305.993.1232.

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Michael Kors plaid top and skirt, 305.864.4144; Max Mara trench, available at Neiman Marcus, 305.865.6161; Prada sandals, 305.864.9111.

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Emporio Armani dress and necklace, 305.868.2113.

Dolce & Gabbana striped ribbed top and embellished mesh skirt, 305.866.0503.

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Miu Miu cropped blouse, tweed check skirt and leather pump, 305.993.2300; Chanel beaded necklace (worn as a bracelet), 305.868.0550.

Stella McCartney Open Shapes sleeveless top and trousers, 305.864.2218; Michael Kors leather belt (worn as necklace), 305.864.4144; 3.1 Phillip Lim Marquise sandals, available at Neiman Marcus, 305.865.6161.

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Sonia Rykiel embellished linen and cotton jumpsuit; Roger Vivier Mask leather sandals, 305.868.4344; Edie Parker acrylic clutch, available at Neiman Marcus, 305.865.6161; de Grisogono ring, 305.865.8765.

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Givenchy studded leather and Chantilly lace sleeveless dress available at Neiman Marcus, 305.865.6161; Alexis Bittar cuff, available at Saks Fifth Avenue, 305.865.1100.

Photographer: Alexei Hay Stylist: Sarah Gore Reeves/Altered Agency Photographer assistant: Paulo Stagnaro Stylist assistants: Katrina Athanasiou, Seppe Tirabassi Hair: Fernando Torrent/L’Atelier Makeup: Brigitte Reiss-Andersen/The Wall Group Manicurist: Casey Herman/Kate Ryan Inc. Tech: Osvaldo Ponton Model: Anna Selezneva/Women Management

Versace dress, 305.864.0044; Philip Treacy hat.

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In Living Color

Turn up the volume on your wardrobe with this season’s most vivid fashion.

Photography by MICHAEL SCHWARTZ Styling by SARAH GORE REEVES

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Antonio Berardi dress, available at Saks Fifth Avenue, 305.865.1100; Alexis Bittar cuff (worn as arm band), available at Scoop, 786.304.2600.

Burberry Prorsum trench coat, available at Neiman Marcus, 305.865.6161; Fallon choker, available at Intermix, 305.993.1232.

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Louis Vuitton jacket, skirt and blouse, available at Saks Fifth Avenue, 305.865.1100; Chopard Apple ring, 305.868.8626; Fallon gold hoop earrings, available at Intermix, 305.993.1232.

Cynthia Rowley jacket and skirt, available at Scoop, 786.304.2600; Fallon cuff, available at Intermix, 305.993.1232; Chopard rubellite ring and Copacabana earrings, 305.868.8626; Zac Posen sunglasses; Manolo Blahnik patent leather pumps, available at Saks Fifth Avenue, 305.865.1100 and Neiman Marcus, 305.865.6161.

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Emilio Pucci dress and Fallon crystal Biker choker, Barbed Wire collar and Barbed Wire cuffs, available at Intermix, 305.993.1232; Chopard brown-and-white diamond bracelet, 305.868.8626.

Christopher Kane dress and Wendy Yue ring, available at Neiman Marcus, 305.865.6161; Alexis Bittar cuff (worn as arm band), available at Scoop, 786.304.2600.

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Salvatore Ferragamo dress, 305.866.8166; Eddie Borgo cuff, ring and chain bracelet and Fallon Barbed Wire cuff Chain bracelet and ring, available at Intermix, 305.993.1232.

Photographer: Michael Schwartz/De Facto Inc Stylist: Sarah Gore Reeves/Altered Agency Photographer assistants: Andy Harrington, Kiri Wawatai Stylist assistant: Seppe Tirabassi Hair: Leonardo Manetti/The Wall Group Makeup: Brigitte Reiss-Andersen/The Wall Group Manicurist: Maki/Kate Ryan Inc. Producer: Quinn Buggs Tech: Katie Hawthorne Model: Missy Rayder/Marilyn New York

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Chanel jacket, 305.868.0550; Chopard rubellite and Copacabana rings, 305.868.8626; Fallon twisted pearl choker, available at Intermix, 305.993.1232; Wendy Yue Skull, Black Pearl and Pink rings, available at Neiman Marcus, 305.865.6161.

JEWELRY

TIFFANY & CO. By the time the Art Deco era arrived in the early 1920s, Tiffany & Co. had already been operating in the U.S. for nearly a century and was one of the world’s preeminent jewelers. A leading exponent of Jazz Age finery, Tiffany harnessed the effervescent energy of New York City—skyscrapers competing for supremacy, glittering nightlife in underground speakeasies—and translated it into its jewels. The new Tiffany Masterpieces collection replicates the sophisticated, optimistic designs of the era.

Its crisp lines that mimic the period’s architecture and a rigorous emphasis on using only spectacular diamonds—which made the brand stand out then and now—are a throwback in the best sense of the word.

Tiffany diamond, chrysoprase and black spinel necklace in platinum

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Going Solo For a singular thrill—and incomparable style—nothing surpasses acquiring a one-of-a-kind piece of jewelry.

Here, we’ve gathered five unique designs, each with a story to tell.

BY TANYA DUKES

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VAN CLEEF & ARPELS Fanciful stories, legends and fables have been a frequent source of inspiration for the jewels of Van Cleef & Arpels for generations. High jewelry creations featuring unicorns, fairies, dragons and phoenixes are inseparable from the heritage of the brand. The newest chapter in its history is the Peau d’Âne collection. Based on one of France’s best-loved fairy tales, the pieces render castles, princesses and enchanted creatures in exceptional gemstones. The Miroir Enchanté necklace—in a cascade of diamonds, pearls, emeralds and sapphires—is a jeweled interpretation of the mirror the tale’s heroine brings along on an odyssey that leads to her prince.

Miroir Enchanté necklace and detachable clip in white gold with diamonds, emeralds, sapphires, white cultured pearls and one 24.77-carat sapphire.

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CHOPARD With its Happy Diamonds line, a range of pieces that features mobile, spinning stones, Chopard instantly cemented its reputation for creating fine jewelry that doesn’t take itself too seriously. That remains the case for its most rarefied designs. The limited-edition Animal World collection combines refined technique with whimsy and humor. When rendered in precious colored stones and diamonds

by Chopard’s artisans, animals whether fantastical—dragons and peacocks—or humble—hippopotamuses and rats—become objects of desire.

Immortal Peacock earrings with emeralds, sapphires, colored diamonds, tsavorite garnets, amethysts and Paraiba tourmalines set in 18-karat white gold and titanium

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GRAFF Laurence Graff developed an eye for diamonds before we was old enough to vote. By the age of 15, he was a jewelry apprentice in London, sparking a passion that led him to found his eponymous house, Graff Diamonds. Known for its record-breaking stones, one of his finds, the 550-carat Letseng Star, is among the largest white diamonds ever unearthed. Its yield of 27 flawless stones appears in an array of jewelry designs; but the largest of the bunch, a 33.11-carat pear-shaped diamond, resides in a butterfly brooch whose wings flutter—and cast light on the historic jewel—with the faintest of movements.

Diamond butterfly brooch featuring the 550-carat Letseng Star diamond

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BULGARI Silent and lithe, the serpent has been said to symbolize qualities from immortality to beauty to seductive persuasion. At the house of Bulgari, it also alludes to its founder’s Greek and Roman heritage. Stars like Elizabeth Taylor and Naomi Watts have been tantalized by the Bulgari Serpenti collection of snake-inspired jewelry for years. As part of the celebration of the brand’s 130th anniversary, a limited collection of unique pendants, each festooned with diamonds and a precious colored gemstone, continues Serpenti’s enticing story.

Bulgari Serpenti necklace in rubellite, diamond and white gold BAL HARBOUR 173

Naomi Campbell and Christy Turlington in Los Angeles, Vogue Italia, December 1989 174 BAL HARBOUR

PHOTO BY TOMMY TON / TRUNK ARCHIVE

M E I S E L

Phillips auction house gives famed photographer STEVEN MEISEL a three-city selling exhibition.

BY BEE SHAPIRO BAL HARBOUR 175

PHOTO BY JD FERGUSON / TRUNK ARCHIVE

Linda Evangelista in New York City, Allure, June 1991 176 BAL HARBOUR

Fashion photography has ruffled feathers, challenged stereotypes, created fantasies and, more recently, taken on fine art. Surveying the art world’s power galleries, you’re likely to recognize names typically associated with fashion spreads in magazines: David LaChapelle has hung his decadent photographs on the walls of Blue Chip institutions like Paul Kasmin Gallery; Inez & Vinoodh, the prolific husband-wife duo, has shown their work at Gagosian Gallery; and British lensman Nick Knight has displayed his oeuvre at the esteemed Saatchi Gallery. Now, Steven Meisel, perhaps the most admired living fashion photographer, joins the shutterbug-cum-artist elite. Auction house Phillips is currently wrapping a three-city selling tour of Meisel’s work, which kicked off in Paris in November, alighted in London for the holidays and closes in New York on March 3— the photos, however, will be available for purchase through the early fall.

Titled “Role Play,” the 25-photo exhibition took months to put together and traces Meisel’s work over the last three decades.

According to Vanessa Hallett, Phillips’ worldwide head of photographs, the exhibition was sparked by demand.

In October 2012, the auction house sold an important Meisel image of Linda Evangelista and Kristen McMenamy for $86,500. “It was well above its pre-sale estimate of $60,000,” Hallett says. “For the past few years, we have been observing a —Vanessa Hallett, rise in interest for fashion across the entire Phillips photographs spectrum, from early classic works by Irving Penn and Richard Avedon to more contemporary images by Helmut Newton and Peter Lindbergh.” Phillips has staged selling exhibitions for fashion photographers in the past, including for Mario Testino and Annie Leibovitz. “More and more collectors are integrating works by these important photographers into their collections, and we expect this trend to continue in the foreseeable future.”

Meisel is unique for his tremendous oeuvre, Hallett says.

His career started in the 1980s. After attending the Parsons The New School for Design, he worked as an illustrator at Women’s Wear Daily before picking up a camera. One of his first assignments? Shooting test shots for Elite models; he’s been known for spotting talent ever since.

“WE HAVE BEEN OBSERVING A RISE IN INTEREST FOR FASHION PHOTOGRAPHS ACROSS THE ENTIRE SPECTRUM.”

Today, along with regularly shooting campaigns for luxury houses such as Prada, Valentino, Dolce & Gabbana, Lanvin and Versace, Meisel is the leading photographer for both Vogue and Vogue Italia—photographing every cover for the latter since 1988. The New York native also lets his work speak for itself; he may have catapulted loads of supermodels’ careers (think: Christy Turlington, Amber Valletta and Cindy Crawford), but he’s notoriously press-shy.

To compound the intrigue, Meisel has also never put together a monograph of his work—you know, the coffeetable types that serve as pretty paperweights, securing the artist’s posterity for years to come.

So suffice it to say, the winnowing process for “Role Play” was fierce. In just 25 images, Phillips sought to form what Hallett calls “a panoramic overview of Meisel’s remarkable career.” Culled from fashion editorials, the chosen images include Meisel’s favorite: a grunge-era shot featuring Kristen McMenamy and Daniel Blaylock (Vogue, December 1992) that perfectly balances attitude and style.

“This image captured a real cultural moment of a music scene and fashion scene fusing together to create a new look,” says Meisel, also noting the photo story was almost killed for pushing the envelope—with “men in skirts,” of all things.

Indeed, it’s Meisel’s uncanny ability to nail the feeling of the moment, filtering it through his unerring fashion sensibility and vision for the future that inspired the title of the exhibition. It’s also his seemingly inexhaustible appetite of storytelling. “The title alludes to his boundless creativity in coming up with new and fresh ideas for each commission,” Hallett says.

Other exhibition highlights: a cheeky monochromatic portrait of Christy Turlington and Naomi Campbell (Vogue Italia, December 1989) and a black-and-white shot of Raquel Zimmermann (W, September 2011) that oozes elegance from a bygone era. There’s also a lounging photo of model Guinevere Van Seenus (Vogue Italia, January 2008) that’s so richly saturated, it’s almost dripping with acid hues.

These are such memorable fashion photography moments that it’s no surprise if viewers pull out their iPhones and capture the photographs for their own social media channels. (Interestingly, unlike many working fashion photographers, Meisel isn’t on Instagram.) Given the nature of the work—fashion photography is usually aligned with trends that come and go—there’s a timelessness to the images that speaks to Meisel’s great talent. Says Hallett: “He has been defining the zeitgeist of each decade since the 1980s, and to this day, he continues to push boundaries, excite and charm. He makes it easy to fall in love with photography with each frame that he takes.”

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Natalia Vodianova in New York City, Vogue Italia, May 2005

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Linda Evangelista and Kristen McMenamy at L’Haÿ-les-Roses, France, 1992

“MEISEL MAKES IT EASY TO FALL IN LOVE WITH PHOTOGRAPHY WITH EACH FRAME THAT HE TAKES.”

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“MEISEL HAS BEEN DEFINING THE ZEITGEIST OF EACH DECADE SINCE THE 1980s.”

Raquel Zimmermann in New York City, W, September 2011 180 BAL HARBOUR

Christy Turlington in Paris, Vogue Italia, February 1992

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BEYOND THE SEA

No matter your port of call, Spring’s nautical-themed looks are a perfect fit.

PHOTOGRAPHY BY JAMES MACARI

STYLING BY SARAH GORE REEVES

Bottega Veneta gingham dress, 305.864.6247; Tiffany & Co. T cuff, 305.864.1801.

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Calvin Klein dress, available at The Webster, 305.868.6544; Tiffany & Co. ring, 305.864.1801; Ray-Ban aviator sunglasses, available at Neiman Marcus, 305.865.6161.

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Christopher Kane jacket, available at Oxygene, 305.864.0202; Eres Alliages Tungstène bikini top, available at The Webster, 305.868.6544; Prada boyshorts, 305.864.9111; Tiffany & Co. Sugar Stacks ring, 305.864.1801; Pomellato Nudo ring, 305.866.1225; Kenneth Jay Lane earrings, available at Intermix, 305.993.1232; Chanel flap bag, 305.868.0550.

3.1 Phillip Lim top, available at The Webster, 305.868.6544; Paul Smith striped pants, available at Scoop, 786.304.2600; Chanel tote, 305.868.0550; Jimmy Choo denim espadrilles, 305.864.3656; Ray-Ban Aviator sunglasses, available at Neiman Marcus, 305.865.6161.

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Elle Sasson denim trench, available at Saks Fifth Avenue, 305.865.1100; Kenneth Jay Lane earrings, available at Intermix, 305.993.1232; Tiffany & Co. necklace (worn as a bracelet), cuff and Sugar Stacks ring, 305.864.1801; Pomellato Nudo ring, 305.866.1225; Chanel cuff and flap bag, 305.868.0550.

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Chanel navy jacket and skirt, 305.868.0550; Jimmy Choo denim espadrilles, 305.864.3656; Tiffany & Co. necklace (worn as a bracelet) and ring, 305.864.1801; Kenneth Jay Lane earrings, available at Intermix, 305.993.1232.

Photographer: James Macari/Art Department Stylist: Sarah Gore Reeves/Altered Agency Photographer assistants: Tyler Nevitt, Nelson Chaves Stylist assistants: Seppe Tirabassi, Katrina Athanasiou Hair: Felix Fischer/Factory Downtown Makeup: Fredrik Stambro/Streeters Manicurist: Bo Satayakul Producers: Beth Klein and Rika Noda/Art Department Tech: Liz Lucsko Model: Bo Don/NEXT Model Management Yacht provided by VanDutch Center in Fort Lauderdale

192 BAL HARBOUR

TURNING THE PAGE With an eye toward the future—including the release of her third book and a new nonprofit promoting innovation among women—Angella Nazarian opens her home to reflect on a life well-lived.

BY LESLEY MCKENZIE PHOTOGRAPHY BY DOUGLAS FRIEDMAN

BAL HARBOUR 193

“What is the key to a well-lived life?” is a question that drives Angella Nazarian forward on a daily basis. It’s one that the Iranian-born, Los Angeles-based author and speaker constantly asks herself, whether she’s interviewing subjects for her upcoming book or reflecting on her own daily joys as a mother, wife, philanthropist and entrepreneur.

The answer, in part, can be found in the Bel Air manse that Nazarian and her husband, David, have called home since 2003. “This is the space where we wanted to raise our kids,” she says, referring to the couple’s sons Phillip and Eli (now ages 22 and 19, respectively), who guided their decision to buy the hillside sanctuary perched just two blocks above thrumming Sunset Boulevard, offering expansive vistas of the twinkling Los Angeles skyline.

“I think a home should be really calm and inviting. It should give you an understated sense of elegance,” says Nazarian, who enlisted interior designer Joan Behnke to update the home’s existing traditional decor (think: gold-leaf surfaces) with a more simplified aesthetic that’s as glamorous as it is comfortable. “I like the focus to be on specific pieces in each room,” she says, turning her attention to the soft floorto-ceiling curtains in the living room, which trail off into cascading layers of ruffles. They were modeled after one of her dresses, she notes, and hand-sewn by a couturier-turned-drapery maker.

This refined decorative approach is on display throughout the property, from the sweeping Persian-inspired garden and 18th-centuryinspired tea pavilion that flank the house (a project that took seven years to complete) to the sprawling organic vegetable garden and abundance of fruit trees. Late last year, the basement-level entertaining room and wine cellar were remodeled, inspired by a striking black-andgold 1960s Modernist Italian console that now takes center stage in the newly reimagined bar and dining area.

Nazarian’s strategy for viewing things with a fresh perspective has served her well not only on the homefront, but also in her professional endeavors. A former university psychology professor, Nazarian left her illustrious academic career in pursuit of new opportunities to inspire people in areas of personal growth and development. Eleven years later, that has come in myriad forms, including two best-selling books, speaking engagements and the development of a personal coaching app.

Most recently, Nazarian’s efforts have been channeled into her new nonprofit, Visionary Women, which is designed to bring together leaders in the fields of women’s growth and innovation. The organization is a follow-up act to the now-defunct Women A.R.E., a nonprofit and salon series she co-founded that culminated in a hypersuccessful, sold-out summit in Los Angeles in 2013 that focused on female trailblazers across all fields.

“After Women A.R.E., it was all about taking stock and figuring out what we wanted to do next,” says Nazarian. “When you have a nonprofit, everyone knows that the money goes toward women’s initiatives, which was really important to me. And it enhances our fundraising capabilities, which was equally important.” The group’s

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Interior designer Joan Behnke updated the home’s traditional decor with a more simplified aesthetic that’s as glamorous as it is comfortable.

“I THINK A HOME SHOULD BE REALLY CALM AND INVITING. IT SHOULD GIVE YOU AN UNDERSTATED SENSE OF ELEGANCE.” —ANGELLA NAZARIAN

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Books and keepsakes line the built-in bookshelves in this elegant gathering space.

official launch kicked off in February with a “Women at the Forefront of Technology” panel discussion featuring female industry titans, including Dawn Ostroff, president of Condé Nast Entertainment, and Pauline Fischer, vice president of original films at Netflix.

Other speakers on Visionary Women’s spring docket include Liberian peace activist Leymah Gbowee and Iranian cotemporary artist Shirin Neshat, who is also one of the subjects featured in Nazarian’s new book, “Visionary Women,” which lands on shelves this October. It’s a highly anticipated follow-up to her tome, “Pioneers of the Possible: Celebrating Visionary Women of the World,” which honored 20 females who have made a difference in their fields.

“I thought I was finished after the last book,” explains Nazarian. “I missed the introverted aspect of writing. I missed having

196 BAL HARBOUR

these women as friends. When I read about a person, I think about them all the time. In my office I have a clipboard with their pictures. I look at it and think about them, and I quote them all the time. They live inside me and I kind of missed that.”

Spanning women across the globe in a variety of fields, her newest book delves into the lives of 25 vanguards, from performance artist Marina Abramovic to Sandra Day O’Connor, the first woman to be appointed to the U.S. Supreme Court.

But there’s another common thread running through the group. “They all had a defining moment, or changed careers, or had something drastic happen that changed their perspective,” Nazarian says. “I think that is really interesting for all of us as women to remember. We’re all in need of reinvention once in a while.”

Nazarian blends modern elements with antiques to create a look completely her own.

HAIR AND MAKEUP BY BERNARD ICHKAN

“WE’RE ALL IN NEED OF REINVENTION ONCE IN A WHILE.”

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The Persian-inspired garden and 18thcentury-inspired tea pavilion serve as a space for reflection at Nazarian’s Bel Air home.

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FASHION FÊTES Partying around the world with Bal Harbour's brands Theo Jansen’s Strandbeest at the Audemars Piguet Art Basel Miami Beach party

Kristen Stewart and Stella McCartney at McCartney’s Fall 2015 Presentation

Julia Roberts at the Hammer Museum

IMAGES COURTESY BFA

Kate Foley at Stella McCartney

Jim Carrey and Marco Bizzarri at the Hammer Museum Gala sponsored by Bottega Veneta

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Model at Stella McCartney Nicole Winhoffer at Stella McCartney Chloë Sevigny Jacquelyn Jablonski

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Serena Williams and Freida Pinto at Art Basel Miami Beach 216 BAL HARBOUR

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Models at Stella McCartney 218 BAL HARBOUR

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Famous photo session for “Beggars Banquet,” London, 1968

Halston In the first monograph to chronicle the designer’s life and iconic aesthetic, “Halston: Inventing American Fashion” offers an insider’s look into the lasting legacy of one of North America’s most influential designers. Sketches, photographs and interviews offer an intimate portrait of Halston as both a skilled fashion designer and forward-thinking innovator.

(Rizzoli)

Top Shelf Stock up on these stylish tomes.

The Rolling Stones ©MICHAEL JOSEPH (ROLLING STONES)

Not only did the Rolling Stones redefine music of the 1960s and ’70s, the band also set the bar for “the look” that defined rock ’n’ roll cool. This time, fans can get a backstage pass through 500 pages of photographs and illustrations featuring neverbefore-seen images from the band’s own archives in New York and London.

(Taschen)

Dior: New Couture World-renowned French fashion photographer Patrick Demarchelier reveals hundreds of never-beforeseen photographs in this new book from Rizzoli and the House of Dior.

Every photo has a story to tell, but the real page-turner is Dior’s revolutionary silhouette, introduced in 1947 as the “New Look,” just as modern and elegant over six decades later. (Rizzoli)

When Art Meets Design Pairing antique furniture with contemporary art, Hunt Slonem creates intimate luxurious spaces in fantastically decorated and meticulously restored homes. In his new book, interior design, fine and decorative arts come together to reveal that design is always in the details.

(Assouline)

A Touch of Style

Gypset Trilogy Fusing the carefree lifestyle of the gypsy and the elevated taste of the jet set, the Gypset Trilogy offers a complete compendium of inspiration for luxe bohemian living. In this new edition, “Gypset Style” (2009), “Gypset Travel” (2012) and “Gypset Living” (2014) are available as an exclusively designed boxed set—a perfect gift for the globe-trotting and fabulously chic. (Assouline) 222 BAL HARBOUR

Leading stylist and design expert Carlos Mota shares his inimitable eye for selecting furniture, textiles, accessories and art in this new book from Assouline. Featuring 200 illustrations, Mota’s penchant for color and sophisticated aesthetic shine bright in this inspirational tome of style.

(Assouline)

All titles available at Books & Books Bal Harbour.

Italian Glamour

Hollywood in the 30s

From the founders of Rome’s first flea market comes a breathtaking survey of 400 images tracing the evolution of Italian style from the postwar years to the present day. The best looks from Emilio Pucci, Dolce & Gabbana, Gucci, Missoni and Valentino are featured through archival photographs and never-before-seen images documenting three centuries of European glamour and timeless style. (Rizzoli)

From Chaplin’s last silent films to “The Wizard of Oz,” Tinseltown’s golden age is perfectly illustrated in this new book from Taschen. The glamour, style and excess of Hollywood in the 1930s is captured though illustrations and text, documenting a most elegant era in cinematic history. (Taschen)

Flash Legendary musical artist Lenny Kravitz reveals a skilled approach to a new creative medium: photography.

Enthralled with cameras from a young age, the esteemed— and highly photographed— musician turns the lens on himself in a rare record of the nomadic musical life.

(TeNeues)

Mario Testino: In Your Face Spanning his 30-year career as one of the most prolific and in-demand photographers of the fashion industry, Taschen’s new book on Mario Testino features striking images from editorial campaigns as well as personal and autobiographical portraits of the photographer himself. (Taschen)

Hubert de Givenchy Madrid’s Museo ThyssenBornemisza releases a stunning monograph on the occasion of the first major retrospective of one of the last living 20th-century French couturiers, Hubert de Givenchy. The designer and fellow curator Eloy Martínez de la Pera trace the evolution of the fashion house from the maison’s founding in 1952.

(Fundación Colección Thyssen-Bornemisza)

The Ranch at Live Oak Ranked among the best luxury spa and fitness facilities in the world, Malibu’s The Ranch at Live Oak announces its first cookbook. Filled with 100 pages of delicious recipes focused on wellness, rejuvenation and weight loss, plus stunning photography by award-winning photographer Sara Remington, this new book offers at-home vegetarian meals for a healthier mind and body. (Rizzoli) BAL HARBOUR 223

I

EDITOR AT LARGE

Get to know the fashion world’s top critic: Vanessa Friedman.

f there was a first seat of fashion journalism, then Vanessa Friedman, a discerning, reedy redhead whose writing exudes a certain frankness and pragmatism, would be perched on the pulpit. In mid-2014, Friedman closed out an 11-year run at the Financial Times, serving as the London-based paper’s first-ever fashion editor, and joined The New York Times as fashion director and chief fashion critic. A few months in, she’s settled on her oeuvre: a blend of business, breaking news and select barbs (including one famously directed at Beyoncé for her lack of fashion influence). Here, she talks about her past, present and what she’s looking forward to within the industry.

When did you take an interest in fashion writing?

I was actually a history major with minors in European cultural studies and creative writing—my thesis was a historical novella about Bauhaus and Weimar. When I got out of school, I went to France for two years and worked for a law firm called Coudert Frères. I was torn between law and magazines. I started moonlighting at an English-speaking publication called Paris Passion, which was like Time Out. So why not law?

I came back to the U.S. and thought, “If I do magazines now, I can always go back to law school. But no one has a 40-yearold editorial assistant. It just doesn’t happen.” So I went to work at Vanity Fair and then The New Yorker, where I just wanted to start writing. It’s hard when you’re starting out to get people to give you assignments. So I began doing beauty stuff for Allure and then writing for Vogue, but mostly about culture, not about fashion. Vogue then offered me a one-year contract, but I decided to move to the U.K. Why there?

I had just gotten married. It was 1996. My husband was working at J.P. Morgan and they said, “Do you want to go to England for a year or two?” We were like, “Yeah! Why not?” We ended up staying for 12. While there, I became

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BY BEE SHAPIRO

the European editor at Elle and was also looking for freelance work. This woman at the FT thought I had done fashion before because I had worked at fashion magazines, so I started getting fashion assignments. Somewhere in there, I had my first child, went to InStyle UK, had my second child, left InStyle UK and joined the FT. Why not stay as a freelancer with the kids?

I actually found it was harder to balance

freelancing with family. When you’re freelancing, you’re really at the beck and call of people.

Someone would call me from the U.S. at 5 p.m. on a Friday and say, “Can you do this story for Monday?”

Back to the FT, why was the paper interested in fashion at the time?

The FT had always had fashion stories in what was called the “How To Spend It” section. The woman who started the section was Marion Hume, who went on to run Vogue Australia. It was sort of a hodgepodge of consumer stuff.

She would sometimes cover shows, and then there would be coverage about spas and stories about vases or aprons. It was great; I could do whatever I wanted as long as it felt like it was in the vein of the FT. So when The New York Times position opened up, what were you thinking? Or why did you move back to the States?

I was in New York already—in Brooklyn—for a couple years. And, you know, it’s the Times. If you grew up in New York, it is the romantic ideal of what a newspaper should be. It was too exciting of an opportunity to not want to do it. For me in particular, the combination of The New York Times and the International New York Times was such a great opportunity.

The outgoing Times fashion critic Cathy Horyn has always held you in high regard. Did she offer any advice?

We knew each other just from being at the shows and through work. We had a nice lunch at ABC Kitchen and she offered me some friendly advice.

Is there a way you want to shape or direct your coverage?

I feel very strongly that there’s a news imperative at a newspaper. It’s true for features and for the actual section. It’s our job to be really responsive to the news and to break stories, and to also be aware of our kind of reader in the broadest sense.

What do you think of social media?

I like to tweet; I don’t really Instagram. I felt like at a certain point I had to pick, and so I picked Twitter because I’m a words person. It’s actually really interesting to have a very quick-hit way to express yourself and then also have a way to express yourself daily with a blog, then a considered opportunity in a column and then a longer-term piece in a feature.

What do you think is interesting or exciting in the fashion world now?

After Angela Ahrendts [former CEO of Burberry who is now at Apple], I would love to see more women at the heads of companies, both creatively and corporately. There needs to be more diversity.

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