Bespoke Magazine

BESPOKE

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L U X U R Y

M A G A Z I N E

20 / 20 VISION | VOL 1

20/20 vision

BESPOKE LUXURY MAGAZINE

LAMBORGHINI IN THE HAMPTONS — AN EXHILARATING SYNERGY DISCOVER THE EXPERIENCE THAT WILL SHIFT THE DRIVING CULTURE ON THE EAST END— FOREVER. Lamborghini has partnered with Bespoke to offer an exclusive opportunity for those who demand the very best in automotive precision, power, and innovation. Italy’s most iconic lineup of luxury vehicles has landed in the Hamptons and will change the driving culture here forever. Aptly chosen because it exudes the same elements of beauty and sophisticated design inherent to the Lamborghini name, the Hamptons is the ultimate backdrop for discovering the perfect vehicle for your lifestyle From Meadow to Further Lane, experience the exhilarating synergy of driving your Lamborghini of choice in the most exquisite of locales—with Lamborghini in the Hamptons, there has never been a better time to drive.

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LAMBORGHINI.COM Drive@BespokeLuxuryMarketing.com 20 / 20 VISION | VOL 1

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AATRUE TRUELUXURY LUXURYHOME HOMECOMES COMESWITH WITHITS ITSOWN OWNISLAND ISLAND

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3- TO 7- BEDROOM RESIDENCES FROM $6.5 TO $20 MILLION. PENTHOUSES WITH PRIVATE ROOFTOP TERRACES FROM $26.5 TO $40 MILLION. MOVE-IN READY. +1.305.535.6071 | INFO @ PALAZZODELLALUNA.COM | PALAZZODELLALUNA.COM BEACH | MARINA | TENNIS | GOLF | RESTAURANTS & BEACH CLUB | SPA & FITNESS CENTER BOUTIQUE HOTEL DAY SCHOOL | COUNTRY MARKET | FERRY SERVICE TO & FROM THE MAINLAND

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O W N S A N D O P E R AT E S T H E L A R G E S T, M O S T D I V E R S E P R I VAT E F L E E T

GUARANTEED ACCESS TO YOUR AIRCRAFT OR BETTER

N E W WAYS T O FLY WI TH N E TJ E T S When you’re ready, we want to help get you where you’re needed to do what’s best for your business. To do this, we are now offering new and enhanced programs, making business—and personal—travel easier and more cost-efficient than ever before.

Call 1-877-JET-5912 or visit netjets.com.

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GLOBAL REACH: 5,000+ AIRPORTS IN 200+ COUNTRIES AND TERRITORIES

NetJets Inc. is a Berkshire Hathaway company. Aircraft are managed and operated by NetJets Aviation, Inc. NetJets is a registered service mark. ©2020 NetJets IP, LLC. All rights reserved.

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E N J O Y R E S P O N S I B LY | R E S P O N S I B I L I T Y . O R G

T E R E M A N A ™ S M A L L B AT C H T E Q U I L A 4 0 % A L C / V O L . I M P O R T E D B Y S I E T E B U C K S S P I R I T S W H I T E P L A I N S , N Y © 2 0 2 0 . A L L R I G H T S R E S E R V E D

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Crafted in a small Mexican town, amidst the highest peaks of the Jalisco Highland mountains, every step of our tequila making process is meticulously done. The jimadores harvest fully mature, naturally sweet agave which are then slow roasted in small, traditional brick ovens and distilled in handmade copper pot stills. This creates a bright, flavorful tequila that honors the land it comes from.

D WAY N E J O H N S O N FOUNDER

0g SUGAR | 0g CARBS | GLUTEN FREE 100% BLUE WEBER AGAVE | BRICK OVEN ROASTED DISTILLED IN HANDMADE COPPER POT STILLS 11

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MAKE YOUR MOMENT TIMELESS WWW.FABRIKANT.COM

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A HEALTHY ESCAPE

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Relax and Rejuvenate in complete safety on a private yacht charter

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20 / 20 VISION | VOL 1

WWW.MORANYACHTS.COM

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+1 954 768 0707

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CHARTER@MORANYACHTS.COM

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FOUNDERS' NOTE

Since the founding of Bespoke Real Estate and Marketing, we have found success in refining unique, customized experiences for the members of our community, constantly challenging the status quo with continuous innovation.

In that spirit, we are excited to bring to you Bespoke Luxury Magazine, where we delve into meaningful stories behind those who inspire our niche community’s work and lifestyle.

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B E S P O K E R E A L E S TAT E . C O M

Zachary Vichinsky / Cody Vichinsky / Michael Cantwell

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S TA R T E R S

MUSES

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MOMENT FOR SUPPORT

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AWAKENING THE DEFENDER

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A W H I R LW I N D O F P R O G R E S S

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VISUAL VISIONARIES

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$ 1 0 M I L L I O N + H A M P T O N S

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MAKING OF A MEGA

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JOURNEY WITH BESPOKE

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LAMBORGHINI IN THE HAMPTONS

@BESPOKE.MAGAZINE

TA B L E O F C O N T E N T S

MARKET REPORT

SPOTLIGHTS INSIGHTS BESPOKE LUXURY MAGAZINE

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MAREK REICHMAN 138

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BOB ROTH

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THE RESIDENCY

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T H E S Y M B O L T H AT REPRESENTS LUXURY

The golden B icon not only distinguishes Bespoke, but is also a symbol of luxury, exclusivity and impeccable quality. It embodies our commitment to unparalleled service and continuous innovation.

Through our work, we have come to intimately understand what influences our community’s lifestyle and interests. Above all, we strive to share valuable and relevant insights into the world of ultra-luxury.

BESPOKELUXURYMAGAZINE.COM

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MARTINE ASSOULINE 146

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CBD: THE NEXT FRONTIER

20 / 20 VISION | VOL 1

The WEMPE-CUT®

Perfection now comes with 137 facets.

700 FIFTH AVENUE & 55TH STREET • NEW YORK • 212.397.9000 • wempe.com Hamburg Berlin Duesseldorf Frankfurt Munich London Madrid Paris Vienna Complimentary same-day delivery service to your Hamptons home available.

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MASTHEAD

FOUNDERS CODY VICHINSKY ZACHARY VICHINSKY C O - F O U N D E R & C H I E F C R E AT I V E O F F I C E R

EDITOR-IN-CHIEF

C H I E F C U R ATO R

AYA A B I T B U L

DANNIELLE BIALSKY DESIGN

NICOLE EBEL PRINT PRODUCTION MANAGEMENT BESPOKE LUXURY MAGAZINE

D I G I TA L W O R K F LO W S O L U T I O N S PRINTED BY QUAD ADVERTISING PHIL WITT

CONTRIBUTORS

EDITORIAL

PHOTOGRAPHY

AYA A B I T B U L

DAV I D C L E R I H E W

NICK SCOTT

I A N E VA N L A M

J O S H UA DAV I D S T E I N

GIANNI FRANCHELLUCCI

C H U C K TA N N E R T

THOMAS DE BRUYNE

SANDRA RAMANI

THOMAS LOOF

BETHANY HEITMAN

SAM FROST

LISA ARBETTER

TIM WILLIAMS

KRISTEN POLI

MIKE SCHAFER ROBERT JASO PIA RIVEROLA BRIAN FRANK

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C R E AT I V E P O W E R E D BY B E S P O K E LU X U R Y M A R K E T I N G . C O M

MICHAEL CANTWELL

Lady S 93 metres of superlatives

20 / 20 VISION | VOL 1

Lady S is the world’s most spectacular new yacht. Available for highly exclusive charter, she has a helipad and both IMAX and outdoor cinemas. Her interior totally redefines opulence. On deck there is even a basketball, soccer and badminton court plus 33 crew to look after your every wish.

LADY S, 93m, Feadship, 12 guests

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A DOCUMENT OF TIME

If a print magazine is a document of time, there is no better year to launch Bespoke Luxury Magazine. When we chose our inaugural theme, 20/20 Vision, the many unprecedented events of 2020 had yet to unfold.

BESPOKE LUXURY MAGAZINE

In a year filled with uncertainty, the best strategy is simply “to figure out what is going on,” said Richard Rumelt, famed American economist and author; “not just deciding what to do, but the more fundamental problem of comprehending the situation.” He suggests we ask ourselves: of what larger story are today’s events a part? What present narrative will become history?

As conscious members of our community, we want the first issue of Bespoke Luxury Magazine to feature how other leading business and creative thinkers interpret this narrative in their own respects and in our greater corner of the luxury world. Their stories answer the difficult but exceedingly important question we keep finding ourselves asking with Rumelt: “What is going on?”, and more interesting still, “What’s next?”

If 2020 has shown us nothing else, it’s that those with ingenuity, creativity, and self-discipline, those who work smart, not just hard, will prosper. Bespoke has emerged as a leader by honoring these values, and we see Bespoke Luxury Magazine as giving voice to others who exemplify them. Above all, we hope to deliver the latest, most insightful and actionable information so that you, our readers, can clearly navigate today’s trends and continue to shape the larger picture of history. After all, that is 20/20 Vision.

Enjoy reading.

Aya Abitbul

Dannielle Bialsky

EDITOR-IN-CHIEF

C H I E F C U R AT O R

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20 / 20 VISION | VOL 1

A MOMENT FOR SUPPORT

Charity starts at home. With the widespread economic and social havoc brought on by COVID-19, here’s how you can help those in need in our Hamptons community. Below is a handpicked list of local foundations we believe are making the greatest impact in meeting our community’s needs, along with an exclusive email you can contact directly to get involved.

Hamptons United Hamptons United is a platform that efficiently facilitates the distribution of financial donations into the hands of existing charitable organizations on the East End of Long Island, such as The Children’s Museum of the East End, Supplies for Success, Maureen’s Haven, and Heart of the Hamptons, among others. Hamptons United bridges the gap between the immediate needs of these charities and those who want to financially contribute. With one click, you can donate to the local organization of your choice and help make a direct impact.

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Stacey Kotler, Co-Founder | info@hamptonsunited.org

Southampton Hospital Foundation The Southampton Hospital Foundation supports Stony Brook Southampton Hospital’s mission to deliver healthcare services and expand clinical programs to meet the needs of the community. The Foundation concentrates its efforts on increasing critical philanthropic support to ensure highquality healthcare for all of our neighbors on the East End. Christine Cassamassino, Director of Development | christine.cassamassino@stonybrookmedicine.edu

The Fresh Air Fund The Fresh Air Fund, an independent, not-for-profit organization, has provided free summer experiences to more than 1.8 million New York City children from low-income communities since 1877. This summer, despite the challenges presented by COVID-19, The Fund has continued to provide safe and enriching experiences for New York City youth to keep the magic of summer alive through virtual and outdoor programs. Fresh Air children also participate in year-round leadership and educational programs.

Elizabeth Portland, Director of Development | eportland@freshair.org

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NEW YORK | SÃO PAULO | SHENZHEN | ONLINE

Learning Everywhere, For Toddler–12th Grade Students When Avenues: The World School opened in 2012, one of our goals was to reinvent education for a fast-changing world. Five years ago, our commitment to innovation led us to begin developing Avenues Online. Today, our virtual campus is setting the new standard for online education. This means families can live wherever they choose, liberated from the location of their schools.

To learn more about the solutions we’ve designed for families in uncertain times, visit www.avenues.org.

Avenues Online: A proprietary platform for toddler–grade 12 Avenues Studio Hamptons: A small campus in East Hampton for grades 4–10 Avenues@HOME: In-home instruction in select locations for toddler–grade 5 Avenues Mastery Year Program: A life-changing gap year before college for ages 17+

A WHIRLWIND OF PROGRESS

INSIDE THE TO U R B I L LO N WATC H

WORDS — NICK SCOTT

Why the skeletonized Tourbillon timepiece is the greatest feat in modern horological engineering.

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Royal Oak Tourbillon Extra-Thin Openworked in pink gold.

C o ur t es y Aud e m a r s P ig u e t

Breguet Classique Tourbillon Extra-Plat Squelette 5395.

Co u r t e sy B r e g ue t

INSIGHT

“Tourbillon” is the French word for “whirlwind.”

Naming his mechanical triumph after the French word for “whirlwind”, he patented it in 1801. But little would he imagine that one day his invention could be squeezed into a wristwatch just three millimeters thick. Enter, stage left, the new Classique Tourbillon Extra-Plat Squelette 5395.

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The aircraft isn’t the only masterstroke of human ingenuity that conquers gravity: devotees to all things horological would sooner marvel at a breakthrough achieved by Abraham-Louis Breguet around 1795, when the watch was still something worn in the pocket. Noting gravity’s detriment on timepieces’ accuracy—especially when they were removed from the pocket to consult or laid on a flat surface—he discovered that, if the escapement and balance wheel were housed in a rotating cage, it would compensate for positional anomalies. The Tourbillon watch was born.

To achieve this horological feat, Breguet’s technicians have placed the rotor on the periphery of the plate instead of the center and created the silicon escapement in a more angular shape than its predecessors. The titanium carriage is directly connected with the wheel train instead of the pinion and base. And, thanks to the movement being skeletonized, the beholder can witness the entire micro-engineering theater—in which an ingeniously revised tourbillon has the lead role—playing out before them.

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Another slim, skeletonized tourbillon piece we can’t take our eyes off at the moment is the RM 17-01 Tourbillon Carbon TPT Richard Mille introduced to its canon late last year, as well as the RM 52-05 Tourbillion Pharrell Williams manual-winding piece, designed in collaboration between Pharrell and Mr. Mille. Retro-classicists will favor Audemars Piguet’s take on this fascinating sub-genre: the Royal Oak Tourbillon ExtraThin Openworked, introduced in steel and pink gold in 2016.

The jury’s still out—and engaged in heated debate—when it comes to whether there’s still any point in a design movement that doesn’t serve much purpose in modern timekeeping, but the sheer artistry of the tourbillon as a watchmaking technique is undeniable. Which, for true horolophiles, is reason enough to invest in one.

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RM 52-05 Manual Winding Tourbillon Pharell Williams.

Rob er t Ja s o, Co u r t e s y Ri c ha r d Mi ll e

INSIGHT

The hand-assembled tourbillon mechanism alone has over 40 parts that together weigh under a gram.

Bezel

Dial

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Hands Center Wheel Pivot Center Wheel

Tourbillon Pivot

Balance Wheel

Tourbillon

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Mainspring

Plate

Bridge

Lugs

Breguet Classique Tourbillon Extra-Plat Squelette 5395 in platinum case.

C ou r t e s y B r e g ue t

Fluted Case

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Crown

Escape Wheel and Pinion Breguet Silicium Hairspring

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BESPOKE LUXURY MAGAZINE

A PLACE UNLIKE ANY OTHER

w w w.oetkercol lec tion.com/hotels/jumby-bay-island

BESPOKE 2 34

MAGAZINE

One of the most beautiful, undisturbed places in the world, Jumby Bay Island is a private island of white-powdered beaches, lapped by turquoise seas. Reachable only by boat, there’s not a car in sight, only lush trails and winding cycle paths. Kick off your shoes and relax in the Caribbean’s finest hideaway resort.

20 / 20 VISION | VOL 1

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$10 MILLION + HAMPTONS MARKET REPORT

INSIGHT INTO THE $10M+ H A M P TO N S R E A L E S TAT E M A R K E T

W O R D S — AYA A B I T B U L

This year, New Yorkers have moved out East at higher rates than ever. As a result, the Hamptons real estate market has exploded. Our research team took an in-depth look at Q1 and Q2 property sales, revealing everything you should know about the market this year.

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INSIGHT

By June 30, 2020, there were already more $30M+ homes sold than in the entirety of 2019.

JBialsky Premiere Design and Development, Bridgehampton, NY Residence.

Co u r t e s y B e sp o ke M a r ke t i ng

105% BESPOKE LUXURY MAGAZINE

INCREASE IN SALES VOLUME C O M PA R E D T O 2 0 1 9 Q 1 / Q 2

Like all things this year, the boom in the Hamptons real estate market has been unprecedented. Back in March, as New York City led the country in coronavirus cases, local restaurants and retailers were closed or functioning at limited capacity, and summer travel plans were canceled, droves of New Yorkers traded gritty urban quarantining for spacious residences out East. As a result, there was a surge in the Hamptons property sales and rental markets in Q1 and Q2, consistent with the pattern of other destination home markets like Aspen and South Florida. Those who were considering investing in a new secondary home before the pandemic found hardly a better time to do it than this year, leading to a flourishing market and fast absorption of property.

And even before the pandemic, there was not exactly a plethora of available ultra-luxury listings. The fourth quarter of 2019 saw recordbreaking numbers in home sales, all while the number of new developments were falling steadily. In fact, in the past five years, compared to 2010-2015, there has been signifcantly less new development in the $10 million+ segment, because land and construction costs have increased while buyers have become more critical and informed. Margins for developers have become thinner, meaning fewer $10 million+ homes being built.

This low supply, coupled with the rush of New Yorkers to the Hamptons, has led to a price

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surge and a near depletion of quality inventory across all hamlets, vintages, and price segments.

At the end of Q2 2020, the total number of trades in the $10 million+ segment increased by 90% compared to the first half of 2019. The total sales volume increased from that of $359,044,000 in 2019 Q1/Q2 to $737,478,416 in 2020. By June 30, there were already more $30M+ homes sold than in the entirety of 2019.

“It’s important not to look at the market from a one-dimensional point of view,” says Cody Vichinsky, co-founder of Bespoke. “How many buyers missed great opportunities because they didn't believe that all the best properties were being absorbed until it was too late? People often overlook the fundamentals of these types of markets, and assume that they will broadly correct themselves. However, there is typically more demand than good supply, thus the better opportunities are always singular and acute in nature. If you wait for the broad brush market correction, you may be waiting a very long time.”

With many residents planning to stay in the Hamptons past Labor Day this year, it is likely that the Q3/Q4 sales jump that is typical of every year will surge even further this year. School enrollment has risen out East, and city-based Avenues school is even shifting operations to the Hamptons to accommodate. Those renting will likely either pay premiums to extend their rental or invest in a home of their own, while those looking to buy will likely respond to the high demand and close quickly.

After all, homes in the $10 million+ range are “vessels for experience more than they are homes,” says Vichinsky. “The reason to park your money in a property like this is so you can use it, enjoy it, your family can have a great summer there, and your time is well spent.” In a year of uncertainty, nothing could be better.

Q1 & Q2 2020 HAMPTONS $10M+ SALES

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SALES BY TOWN

38.9% SOUTHAMPTON 14 LISTINGS

8.3% SAG A P O N AC K 3 LISTINGS

5.6%

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A M AG A N S E T T 2 LISTINGS

SOLD LISTINGS

5.6% SAG H A R B O R 2 LISTINGS

89.47%↑ FROM 2019 Q1/Q2

5.6%

M O N TA U K 1 LISTING

8.3%

11.1% EAST HAMPTON 4 LISTINGS

WA I N S C OT T 3 LISTINGS

2.8%

11.1%

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QUOGUE 2 LISTINGS

2.8%

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BRIDGEHAMPTON 4 LISTINGS

SALES BY PRICE POINT

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QUANTITY

20 16 12 8 4 0 QTY

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$15M-$20M

$20M-$25M

$25M-$30M

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16 LISTINGS

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PRICE Sourc e: B es poke Communi ty Res earch

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BESPOKE LUXURY MAGAZINE

JULE POND, WATER MILL, NY

42+ OCEANFRONT ACRES | 20,000 SF+/BESPOKEREALESTATE.COM EXCLUSIVE. $145,000,000 ®

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“There are roughly 295 physical oceanfront properties available, so there are really two or three oceanfront homes at any given time that that someone would look at and think, ‘That’s a quality property. That’s a market I want to participate in.’ With the surge in demand, we’ve seen fast absorption and therefore more sales so far this year than in the same time last year.”

C O D Y V I C H I N S K Y, CO-FOUNDER OF BESPOKE

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Water Mill, NY Residence.

Co u r t e s y B e sp o ke M a r ke t i ng

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RICHMOND

NEW YORK LONDON LOS ANGELES mckinnonharris.com

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MAREK REICHMAN

THE ARTIST OF ASTON MARTIN

WORDS — NICK SCOTT

Marek Reichman—the Executive Vice President and Chief Creative Officer at Aston Martin—on the present and future of luxury motoring.

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In the years, just shy of fifteen of them, that have passed since, Reichman has transformed the visual language of Aston Martin and made the marque the most aspirational of our times. We tap into the mindset of one of luxury’s foremost game-changers.

P H OTO G R A P H Y | DAV I D C L E R I H E W

One idle moment during his upbringing in South Yorkshire, a 12-year-old Marek Reichman sketched his first car. It was the first of his many professional epiphanies achieved far ahead of his time. About a quarter of a century later, during a spell working at Ford in California, Reichman presented a first sketch to then Aston Martin CEO Ulrich Bez: his vision of how the original two-door DB5 might plausibly be stretched to make a four-door version.

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WHAT DID YOU WANT TO CHANGE ABOUT ASTON MARTIN’S VISUAL LANGUAGE FROM THE OUTSET?

From the start I wanted to make our cars more powerful looking, more muscular. I felt that the DB9 in its earliest form was very feline and didn’t represent the car’s natural powers and capacities, especially as we were just starting to go into racing again with the DBR9. When you see a racehorse at rest, it’s elegant and strong, but you don’t see the sinews of its muscles. The Rapide—its haunches, the lamps, everything—is powerfully graceful, in the way that a racehorse is when it’s galloping. Also, when you have a longer wheelbase you can better show the golden ratio.

HOW WOULD YOU EXPLAIN YOUR PHRASE, “SHOUTING WITHOUT BEING LOUD”?

When you look at natural athletes—Carl Lewis or [Magic] Johnson—they’re not over-bulked, yet they look ultra-capable. You see that in nature, too, and I wanted to represent nature in AM’s body forms. We’re not overt – we’ll leave that to Maserati and Ferrari. We prefer to be slightly understated and elegant.

HOW DID YOU TRANSLATE THIS INTO THE DBX, ASTON MARTIN’S FIRST SUV?

Our biggest capability is that we have defined and designed the platform, the architecture, the layout ourselves. It’s not a VW Audi or a BMW in the case of Rolls Royce. We were unconstrained by an existing platform and could therefore place everything where it

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needed to be. That means you can play with mass and size. The DBX is something of a TARDIS—people see it and think it’s quite compact, but you can fit half a basketball team in it, and yet it’s got the biggest trunk volume in its class and also has knee room, shoulder room and head room.

IS IT FAIR TO SAY AN SUV HAS TO TICK MORE BOXES?

We had to achieve muscularity and practicality, both uncompromisingly. We don’t compromise beauty for usability or vice versa. To use an athletics analogy again, while our sports cars are clearly sprinters and the GTE is a longdistance runner, the DBX is a heptathlon or a decathlon—really good at everything it has to do. I’d compare it to Olympic gold medalist Jess Ennis—an SUV has be supreme at so many things.

IS BEAUTY IN THE EYE OF THE BEHOLDER? OR IS IT SOMETHING MORE PRIMITIVE, MORE UNIVERSAL?

If I could do a survey of everyone on the planet—“Does anyone find a wave ugly?”, “Does anyone find a Nautilus shell ugly?”—not a single person could justifiably say “I do not like it because it does not look good.” Our brains are geared by two billion years of evolution to be a part of that mathematical equation and to appreciate that beauty. That phrase is about choice, which is something very different, something which came about through the philosophy of the Theologians, the Greeks and the Romans.

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Aston Martin Vantage GTE. C ou r t e s y A s t o n M a r t in

Marek Reichman at the Aston Martin Headquarters. Located in the town of Warwick, the HQ is about a two hour drive northwest from London.

Reichman with the Aston Martin 47DB9

HOW ARE YOUNGER GENERATIONS CHANGING THE TASTE CONSENSUS IN AUTOMOTIVE LUXURY?

From light punk to very traditional to a mixture of the two, being able to have choice, and therefore more things colliding together, is a new cultural revolution. I teach millennials at Tongji University in Shanghai twice a term, and without a doubt that collision is exactly what new millennial thinkers expect, and that is why we’re doing an SUV despite it pushing against some of our traditional customers.

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WHAT DO YOU PREDICT THE IMPACT OF DRIVERLESS VEHICLES WILL BE ON LUXURY MOTORING AESTHETICS?

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Any time we get to move the paradigm it’s a positive thing. With around 75 percent of the 70 million cars or so that the world makes annually, the design language comes straight

from the horse-drawn carriage: the horse was the engine, the trunk was at the back.

So any opportunity, as a designer, to get rid of that and have a flat floor with batteries and tiny motors in it—that, for me, is manna from heaven. The entire idea of community and collaboration within the cabin becomes a very different thing. These paradigm shifts in technology and therefore functionality and therefore form are really fascinating for me.

DO YOU SEE ANY OTHER PARADIGM SHIFTS ON THE HORIZON?

There are murmurs. In this whole world of luxury, how quickly we can shift from being on terra firma to being up in the skies, but not on a plane or in a helicopter, is something we can expect to be focused on. I’m a massive believer in sci-fi showing us the possibilities.

As Einstein said, “The true sign of intelligence is not knowledge but imagination.”

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Marek Reichman at the Aston Martin Headquarters. Located in the town of Warwick, the HQ is about a two hour drive northwest of London.

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MARTINE ASSOULINE

LUXURY’S LIBRARIAN

W O R D S — AYA A B I T B U L

The matriarch at the helm of her eponymous luxury publishing house, Martine Assouline tells us what luxury and craftsmanship mean to her.

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Collection of Assouline covers.

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“A masterpiece art book is greater than the sum of its parts.”

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-Martine Assouline

In 1994, Parisian couple Martine and Prosper Assouline vacationed with their sons, Sebastien and Alexandre, to La Colombe D’Or, a luxury boutique hotel and restaurant along the French Riviera.

Founded in 1920, it was the one of the most popular lodgings for 20th century intelligentsia and artists, particularly during the World Wars; original works of Picasso, Matisse, Satre and Baldwin still line the walls and shelves today, often exchanged for a few nights’ stay. The Assoulines, cultural connoisseurs and former magazine editors with keen aesthetic eyes, were so drawn to the hotel’s history that they decided to materialize it in the form of a coffee table book, an homage to the resort’s role in French cultural development. La Colombe d’Or: Sant Paul de Vence was the first of their creative editorial endeavors,

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and today their eponymous publishing house has made over 1,500 books covering art, architecture, fashion, travel, and popular culture, and has featured Chanel, Dior, Goyard, Rolex, Cartier, and Bentley, among others, in their own independent publications.

Assouline’s growth has defied the general downwards trend of the publishing industry, which shrunk by 5.8% over the last five years, as they’ve been able to seize opportunity in the world of luxury printing.

Martine, the matriarch at the helm of the house’s robust production and design operation, tells us how they’ve done it, and where she sees the future of publishing, experiential marketing, and luxury branding heading.

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WHAT INSPIRED YOU TO PUBLISH LA COLOMBE D’OR?

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Books were our world, and publishing houses like ours didn’t exist at that time. It was 25 years ago, and we were visiting [the La Colombe D’Or hotel] regularly. We told the owners, the Roux family, who were the fourth generation in the business, that we had an idea to create a masterpiece art book telling the hotel’s story. They were so appreciative and supportive of the idea, so we just did it. We did it out of love, passion, and interest, and that is why it was so greatly successful. After that, we decided we wanted to start a publishing house that was more about aesthetic pleasure, which was the original focus of La Colombe d’Or. We decided to do a second and third book that wasn’t just regular marketing for the hotel, but what we saw as “inspired marketing.”

It was a beautiful and artistic expression of the hotel’s history and legacy.

BUT YOU DON’T CONSIDER YOURSELF A BRANDING AGENCY.

No, absolutely not. We are an independent publisher, and we really cover only what we like. Mostly we publish about concepts in culture, art, or traveling.

But very quickly after our first book, we saw that in order to have a successful business we would need to start with brand partnerships, that we couldn’t make two books a year only about our dreams and muses. But ultimately, we live what we do.

Sometimes people will come to us with an idea, but mostly we feature what draws and attracts us—me, Prosper, and now my son, Alexandre.

WHAT OPPORTUNITY DO BRANDS HAVE WHEN THEY PUBLISH WORKS AT THIS ARTISTIC AND CREATIVE LEVEL?

For any book lover at the helm of a major luxury brand today, editorial has the potential to break tradition and bring a nuanced message about the brand. It’s part of the process of constantly creating something new. I remember in the mid-‘90s, we created our first books for Dior and Chanel; besides the fact that we knew about imaging, books and

design, we also knew about fashion. And that made the project very interesting, because for the first time, a fashion brand wasn’t just publishing images of runway. Those books were a visual showcase of the spirit of the brand, not just the clothes themselves. We saw opportunity for the brands to tell a new, powerful story at a time where most books were a little bit too…classic.

WITH THE RISE OF DIGITIZED INFORMATION IN THE 21ST CENTURY, WHAT DO YOU SEE AS THE FUTURE OF THE PUBLISHING INDUSTRY?

For the moment, digital isn’t a problem. It’s actually something complementary. Online is really the best way to discover our books. Digitization poses less of a threat to publishers themselves than it does to printers. But even still, at the end of the day digital can’t replace the tactile experience of paper.

A masterpiece art book is greater than the sum of its parts; a digital publication most often isn’t. With our books, most of the time they will be closed, and we believe they should offer something then, too.

Each one is not just a book, it’s an accessory to your home. That’s why we take tremendous care of the object itself. We regularly travel across the world to find new fabrics for the covers. We carefully select the type of color, the typography, the textiles, the size, et cetera for every work. That’s why there’s been a huge demand for us to curate home libraries. It’s all about detail and experience, and that’s not going away but instead coming in vogue.

HOW DO YOU DEFINE LUXURY?

It’s something extremely personal. For me, it’s about pleasing your eyes, whether it’s through an object you’re really attracted to or your style. Being surrounded by beauty is luxury for me, which itself can be very simple. But it changes for everyone, depending on their sensitivities, their experiences, their education. I’m not impressed by the things that are the most expensive; the price is not the value. I can fall in love with a house that’s worth millions of dollars, but I can also fall in love with a small cabin that’s perfect and fresh on the beach in South America. It’s all really personal.

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BOB ROTH

A GUIDE TO STRENGTH

WO R D S — J O S H UA DAV I D S T E I N

Transcendental Meditation has been praised by Ray Dalio, Oprah, Michael J. Fox, and countless other global and cultural leaders for increasing personal performance, success, and happiness. Acclaimed transcendental meditator and teacher Bob Roth tells us how TM can elevate your everyday mood.

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It’s barely seven thirty in the morning as Bob Roth, the CEO of the David Lynch Foundation and a leading figure in the Transcendental Meditation movement, graces a sprawling oceanfront residence in Montauk, his white linen shirt the saratorial equivalent of his cool, calm, and kind demeanor.

Since it was popularized in the United States in the 1960s, Transcendental Meditation, or TM, has moved from the periphery of ancient Eastern traditionalism into the board rooms and classrooms of the present.

Roth insists that unlike most meditations which expect the impossible—to “clear your mind of its thoughts”— TM is about giving you tools to access the calm beneath the rush of those thoughts, leading to increased wellness and productivity. In his latest book on the practice, Strength in Stillness, Roth compares the busy mind to the energetic waves at the surface of the ocean.

TM, he says, helps its practitioners dive into the stiller waters near the ocean’s floor, enabling more precise, focused thinking. The practice itself can be done anywhere, requiring only a place to sit comfortably upright where the meditator can close their eyes and relax.

World-class celebrities and business leaders across the gamut—Ray Dalio, Oprah, Ariana Huffington, Tom Hanks, Jerry Seinfeld, Martin Scorsese, and Katy Perry, to name a few—have adopted the twenty-minute TM tradition into their daily routine, with Roth as their teacher. Dalio even says it’s the single most important reason for his success. Here’s why Roth advocates for universal embrace of the meditative practice.

“TM gives me more resilience, more energy, more strength, more power to change things.”

-Bob Roth

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P H OTO G R A P H Y — I A N E VA N L A M

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MANY PEOPLE TRY OUT DIFFERENT TYPES OF MEDITATIONS, ONLY TO FIND OUT THEY DON’T DELIVER ALL THE BENEFITS PROMISED. WHAT MAKES TM WORK SO WELL? The most important thing to know is that all meditations are not the same. TM isn’t a panacea and it isn’t a religion. It’s a technique, backed by science, used to reach a deep level of the mind where it is naturally quiet, settled and peaceful. The mantra is the vehicle we use to reach those depths. In TM, the body gains a state of rest deeper than sleep in many regards, according to research. This deep state of rest allows the body to reboot itself, which is important.

If you want to fix your computer, you turn your computer off then reboot it. If you want to fix your car, you turn it off. If you want your body to heal itself, you give it a deep rest. Meditating for twenty minutes, twice a day, wakes up the creative networks in the brain and resets the amygdala, giving the mind a rest from its state of hyperarousal.

HOW WOULD YOU DESCRIBE TM’S LONGTERM IMPACT? For too long, people thought that meditation would make you passive. That is certainly not the case with Transcendental Meditation. I’m almost 70 years old and have been meditating for over 50 years, and I have more energy now than I had when I was in my 20s and 30s. TM gives me more resilience, more energy, more strength, more power to do all the things I need—and want—to do in my life.

THAT SEEMS LIKE ONE REASON WHY TM HAS SO MANY ADVOCATES. IT DOESN’T TAKE YOU AWAY FROM THE WORLD, IT ALLOWS YOU TO OPERATE BETTER WITHIN IT. That’s exactly true. We work with the most vulnerable populations to people of very high net worth. But whether it’s a 10-year-old kid in the South Bronx, a vet suffering from PTSD, a famous entertainer or a high-powered CEO, stress and trauma are like

ticking time bombs inside everybody. Wealth, fame, power—they don’t make us immune from the ravages of stress. The old adage is true: happiness lies within, and so does health and wellbeing. It’s interesting: many of our corporate clients came to TM because they saw a video of a veteran or an inner-city school kid doing TM and they think, ‘If that kid can do it, I can do it too.’

HOW HAVE YOU SEEN TM HELP ITS PRACTITIONERS CONQUER STRESS BROUGHT ON BY THE COVID-19 PANDEMIC? There are so many external events that we cannot control in our life, including the huge financial and health challenges brought on by COVID. But what we can have some control over is how we respond to those very difficult pressures. TM provides a simple, easy-to-practice tool that, as I said, gives the body a profound state of rest, reduces stress, and wakes up the creativity and problem-solving centers within the brain so we can more effectively navigate these turbulent days with energy, focus, and grace.

THE POSSIBILITIES FOR TM’S APPLICATIONS SEEM PRETTY ENDLESS. WHAT’S YOUR VISION FOR THE FUTURE OF TRANSCENDENTAL MEDITATION IN THE U.S.?

Stress is like a tumor that is metastasizing in the physiology of just about everyone and in society as a whole. The situation is urgent and needs to be addressed. The David Lynch Foundation is focused on funding large-scale clinical trials to demonstrate the impact of TM as a treatment for healing trauma, reducing high blood pressure and decreasing anxiety. Right now, you can get a prescription from your doctor for anti-anxiety or antihypertensive medications, and the prescriptions will be covered by Medicare or your insurance provider. If the results of these larger TM trials are as impactful as the previous studies, then it won’t be long before you will be able to be covered for TM instruction, too. That will be a very good day.

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AWAKENING THE DEFENDER

REBUILDING THE ICONIC LAND ROVER CAR

W O R D S — C H U C K TA N N E R T

The Land Rover Defender is one of the most sought-after off-roaders ever made. Instead of buying the brand new 2020 model, many collectors are opting for authentic custom rebuilds of the 20th century classic.

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Series III Defender, 1988.

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Arkonik DUNE Defender 90, 1991.

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There are few places a Land Rover Defender fits more quintessentially than at the beach.

Arguably the greatest model in the Land Rover line, it shines like a mirror in the sun, able to traverse hot, tall dunes without so much as a bump. Yet, like a true defender, it is humble, durable, and resilient, its classic vintage aesthetic making it as unassumingly beautiful as ever. Its exposed frame, large tires, and bold headlights give it a fearless face. In short, it’s a perfect match for its name.

As opposed to restorations that keep period-correct pieces, a Defender rebuild means constructing the car from scratch, outfitting an original bare frame with new engines and transmissions, modern suspensions, drive trains, power steering, and updated interiors, while preserving, and often further beautifying, the classic vintage look. While a simple restoration may cost tens of thousands of dollars, a completely customized rebuild usually begins at around $125,000 and can reach above $300,000.

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Some people, lured by that vintage, sturdy beauty, have invested in a Defender of their own. But because the Land Rover Company hasn’t sold a new one since 1997 (though 2020 marks the first year of new production), an industry of rebuilding them has emerged, where specialty garages repurpose only the original frame to construct a new, ultra-customized luxury Defender. Vendors such as Arkonik, based in Somerset, U.K., Coolnvintage in Lisbon, Portugal, East Coast Defenders in Kissimmee, Florida, and Himalaya in Charleston, North Carolina have mastered the art of rebuilding this classic car.

Though it’s a lofty price tag, the Defender’s appeal lies in part in its nostalgia; it is a relic of the elegancemeets-grunge look of the ‘90s, an oxymoronic, aesthetic impossibility in every other decade, yet pulled off so well only then. Being able to drive a car with a rugged, ‘90s-era exterior and a touchscreen dashboard interior is, of course, the cake for today’s car-loving bourgeoise.

“When I drive it, I feel like I’m stepping back in time a little bit, like getting kind of old school,” says Mark Mummert, owner of a fully customized Arkonik Defender One-Ten. “It’s nice for someone who’s fifty years old to take a step back. When you’re driving this thing and people see it, it gives them a sense of, ‘thank goodness someone is bringing this back to life.’”

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Arkonik NEO Defender 110,1989.

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Part of the appeal of getting a rebuilt Defender versus a restored one is the freedom of choice in its mechanics. In Arkonik’s case, owners can choose to replace the rather anemic original engine with, say, an LS3 6.3-liter V8 used in a Corvette. At Coolnvintage, the engineers strictly use Land Rover company engines, sometimes replacing the old one with a 5-liter V8. When it comes to replacing the manual transmission with an automatic one, everything but the case and housing is tossed, giving owners the option to insert a 4-speed or a 6-speed variant, depending on the engine used. Rebuilders also install suspensions that provide a more comfortable ride for everyday use and better brakes for optimal stopping power.

“The machine I have in my garage is a thousand times more valuable to me than the original manufacturer vehicle. I’d rather have that than a fully restored Defender using original parts and pieces, especially mechanical pieces, because those you can definitely have issues with,” such as leaking oil or fluid, says Mummert.

For Arkonik customers, that freedom of choice also reveals itself in a range of interior options. Think non-traditional seat configuration, a hand-made custom steering wheel, even personalized family emblems embroidered into the headrests.

Ricardo Pessoa, the founder of Coolnvintage, a Portuguese shop that rebuilds approximately twelve Defenders per year, has a more controlled design approach. He maintains a reverence for what he sees as the Defender’s original purpose, which is an ultra-casual seasonal car rather than an everyday driver.

Too many high-tech specs, he thinks, ruins that concept.

“For us, we upgraded technically; the suspension is better, the inside is more comfortable, we’ll install better speakers. But we won’t add LED lights on the speedometer or touchscreens on the inside. Really, we’re making a toy. It’s a beach car, a summer car, and it has to be simple, washable inside, and maintain the same principles that Land Rover had when they first designed it.”

Like a true artist, Pessoa has a clear image in his mind’s eye of the beachy, retro lifestyle that his Defenders should fit into, almost as if they were props in a seaside Super 8 film.

As such, he takes great care to curate a new color palette each year so that Coolnvintage rebuilds match his vision, much like a fashion designer’s seasonal collection. “For us, colors and a summer vibe—the whole thing is connected.”

It seems the Land Rover Company has caught on to Defender enthusiasts’ need for an authentic all-terrain vehicle that feels as luxurious as it does capable. This year, for the first time in twenty-three, they are releasing a new 2020 Defender model.

Starting at $50,000, it is Land Rover’s latest mid-tier offering and a nod to the glory of the Defender’s legendary predecessors. But no matter the cost, any new model will always be slightly anti-climactic next to one with history, rebuilt entirely to one’s own customizations— family emblems, beachy beauty, and all.

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Series IIA Defender, 1966.

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Defenders

Stage One V8 Defender, 1983.

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Series II Defender, 1958.

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R E S TO R AT I O N

Only uses parts and pieces from the same period as the Defender itself (1960s-1990s).

Typically done by Land Rover companycertified shops.

VS. REBUILD

Defender 90, 2013.

Co u r t e sy Co o ln v i n t a g e

Outfits an original frame with modern parts, effectively reconstructing the car from scratch.

That includes new engines, transmissions, suspensions, drive trains, power steering, and updated interiors.

Oetker collection

Courchevel • Baden-Baden • Paris • Vence - Côte d’Azur • St Barths • Cap d’Antibes • Antigua - West Indies • London • São Paulo

Eric - Life Saver

ARRIVING HOME, BEAUTIFULLY.

The Marina at Aston Martin Residences provides a unique and exclusive means of getting to and from the heart of Miami.

The ample depth of mooring means even the super yachts can berth on your doorstep. Unparalleled convenience designed for living life beautifully.

Riverwalk East Developments, LLC, a Florida limited liability company is the owner of the property on which the Condominium is to be constructed and the seller of the units in the Condominium and is for purposes of the Florida Condominium Act the “developer” of the Condominium (“Developer”). Developer has engaged G & G Business Developments, LLC. (“G & G”) to assist with the development and marketing of the Condominium and its units and Developer has a limited right to use the trademarked names and logos of G & G. Any and all statements, disclosures and/or representations relating to the Condominium shall be deemed made by Developer and not by G & G and you agree to look solely to Developer (and not to G & G and/or any of its affiliates) with respect to any and all matters relating to the development and/or marketing of the Condominium and with respect to the sales of units in the Condominium. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans, and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for illustrative purpose. For New York Purchasers only, the complete offering terms also require reference to that certain CPS-12 Application available from the Offeror under file number CP18-0005.

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE.

AMResidencesMiami Developed by G&G Business Developments LLC 300 BISCAYNE BOULEVARD WAY, MIAMI, FL

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Pembrooke & Ives Interior Design, Austin Patterson Disston Architect.

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VISUAL VISIONARIES

THE FUTURE OF INTERIOR DESIGN

WO R D S — J O S H UA DAV I D S T E I N

Though people will always seek out and create beautiful spaces in which to live, the future of interior design is a rather open question.

We asked five well-known voices— designers with unique visions and accomplished practices—to weigh in on what the future might look like.

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DAV I D S C OT T

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For Manhattan and Sag Harbor-based designer David Scott, all design boils down to one thing: honesty. “When I’m talking to a client,” he says, “I ask a lot of questions and do a lot of listening. I ask not only How do you live but how do you want to live? In all of this, honesty is key.” In this home, for instance, a pied-à-terre in New York City for a Hamptons-based client, Scott explains, “This was the client’s first apartment in the city, so it was completely new for them. It’s located amongst all the best restaurants, so they have traditionally spent the majority of their time dining out.” As a result, much of the space is devoted to entertaining, not cooking. Scott therefore populates the living room with his signature mix of vintage furniture and custom pieces. Moving into the future, Scott remains certain the past will hold currency. “I always try to use vintage pieces,” he says, “after all, it’s the most sustainable form of design.”

Gianni Franchellucci.

Co u r t e sy D a v id Sc o t t Int e r i o r D e s ig n

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Conceptual Rendering of Sofia Joelsson’s 57 Ocean design.

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SOFIA JOELSSON

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It’s no surprise that Sofia Joelsson, a former Miss Sweden who emigrated to the United States in 1998, has an eye for aesthetics.

The Miami-based designer, whose work includes private residences in the Bahamas, Miami, New York and other luxurious destinations, says the goal of her approach is always harmony. “I let the space tell me what it wants to be,” says Joelsson of this residence in 57 Ocean, a luxury condo suite in Miami whose Atlantic views inspired the subtle, natural aesthetic. In some cases, it’s about letting the design play wingman to the art. “A lot of my clients have museum-quality collections,” she explains, so “it’s important to allow those pieces to stand out. It’s all about ultimate flow.” But, of course, it’s also about comfort. “I’m obsessed with finding the latest and greatest textiles.

Today you can get a textile of the finest linen or silk that is cleanable and bleachable. My clients have multiple homes around the world, and they don’t want to have the maintenance.” As for what the future holds, Joelsson sees innovation—textile and otherwise— always in service of client. “The key is to let technology lead to more ease, not to more complication.”

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PIET BOON

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Some designers rely on pattern, others on texture, and some on profusion and excess. For legendary Dutch designer Piet Boon, simplicity is paramount. Whether it is an award-winning office building in his native Netherlands, a residential resort in South Korea or a private villa in Bonaire, Boon distills each property to its simple lines. “If the lines are not correct, it will disturb the whole feeling. We always make it very calm,” he says. For this villa located just off the beach, for instance, Boon used simple shapes, inspired by native architecture, to create a versatile home—filled with custom furniture—cooled by the prevailing breeze. As the winds of time blow design forward, Boon sees the principles remaining the same: simplicity and cleanliness, he says, yield timelessness: “We want to create spaces that don’t get bored in a few years.”

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Thomas de Bruyne.

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Thomas Loof.

C ou r t e s y A m y La u

AMY LAU

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Often touted and always true: an Amy Lau space is indisputably one of a kind. The New York-based designer (and co-founder of the prestigious Design Miami Fair) custom designs nearly every element in her client’s home. “A custom piece,” she says, “tells the story of who the clients are.” In this space, for instance, Lau worked with legendary designer Vladimir Kagan, visited the factory seven times, and laid out paper templates to ensure the couches sat perfectly in the room, leading the eye to the bar and then the patio beyond. Sure, all custom work might be pricey, says Lau, but “what I’ve learned is that a lot of things can make us unhappy. The fewer things we have, the better. It’s the more thoughtful things around us that provide happiness. Less is more.”

As the means for fabrication continue to evolve, Lau sees no end to the trend of customization. “The future is,” she says, “without a doubt, about increasing individualization.”

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JESSE CARRIER

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Jesse Carrier and his wife, Mara Miller, met at the Fashion Institute of Technology as students and, at the helm of design firm Carrier & Co., have been creating bespoke interiors ever since. According to Carrier, the pair doesn’t just create spaces but tells stories. A good example is the Soho loft seen here. “We used a myriad of elements, from the curated collection of books to the coffee table, to create a lived-in space,” he explains. The future as Carrier sees it might look a lot like the past, and that suits him just fine. “In recent years, we witnessed a surge of modernism in design: expanses of glass and stone, and ‘open concept’ plans in architecture. But more and more, we’re happy to say, we’re seeing the market return to comfortable, livable spaces filled with warmth, color and pattern.”

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Sam Frost.

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LINDA RUDERMAN

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Greenwich-based designer Linda Ruderman is a step ahead in creating “healthy homes”. She advocates the physical and aesthetic benefits of smart home systems that include purified air and water circulation and responsive lighting. These features are proven to deliver a host of health benefits, including improved cardiovascular and respiratory functioning. They can also enhance the aesthetics within a room, especially in terms of lighting. Ruderman is a big fan of Ketra lights by Lutron, which produce natural lighting that can enrich the vibrancy of colors and fabrics in a room, and can automatically adjust throughout the day to mimic natural light conditions. Increased natural light improves sleep and can reduce seasonal depression, but also brings life to windowless or dim rooms.

“It’s basically an integrated wellness solution that at this point is becoming essential for work-at-home life,” Ruderman says. Her comment fits into an overall trend of increasing symbiosis between nature and interior design. “Nature is really playing a big part in contemporary and modern design, bringing the indoors out and vice versa.” Complete outdoor kitchens, porcelain flooring that can recreate a hardwood look outdoors, and folding glass patio doors that all but deconstruct a home’s fourth wall, serve to create a continuous space that blurs the line between inside and out. “When I design, I stand in the house and see what I’m going to see outside, which inspires me to make sure it’s cohesive. I see using a lot of natural elements, whether it be lamps, objects of art, selenite, earthenware, or pottery, becoming very popular, particularly with moody types of colors like dark blue, clay, and terracotta.”

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THE FUTURE OF FITNESS Custom online personal training tailored to your fitness goals and active lifestyle.

ENERGYELITETRAINING.COM

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THE MAKING OF A MEGA

W H AT TO K N O W BEFORE YOU BUILD

W O R D S — AYA A B I T B U L

For yacht lovers ready to commission a new custom construction, here’s all the things to know to make sure it gets done right the first time.

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Coral Ocean Yacht by Lürssen, developed and sold by Moran Yacht & Ship.

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SUPER

MEGA

LENGTH: 80-120 FT (24-36 M) AVERAGE BUILD TIME: 1.5 YEARS ACCOMMODATIONS: 6-12 GUESTS

LENGTH: 120-220 FT (36-68 M) AVERAGE BUILD TIME: 2.5 YEARS ACCOMMODATIONS: 12-36 GUESTS

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YAC H T

C O U R T E S Y M O R A N YAC H T & S H I P

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YAC H T

GIGA YAC H T

LENGTH: 220 FT+ (68 M) AVERAGE BUILD TIME: 4 YEARS ACCOMMODATIONS: 36+ GUESTS

THE

ENZO YAC H T

380’7” CONSTRUCTION BY LÜRSSEN. DEVELOPED AND SOLD BY MORAN YACHT & SHIP

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BUILD TIME

A yacht’s dimensions determine everything from its engine capacity to its amenities to its build time. Here’s how long you should expect all engineering and design details to be defined before a new build is delivered.

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As the outdoors have become the safest place to enjoy a respite from our otherwise socially isolated summers, boat owners are evermore grateful for the freedom to extend their vicinity into the many miles of open waters.

After all, this isn’t entirely new; true boat lovers have always found relief and tranquility in the humming bays and wild sea, if nothing else as a short-term escape from the inflexible solidity of life on land.

In order to provide that full experience, owners have always sought to offer their families and guests the most luxurious accommodations. For many, this means commissioning a brand new, custom yacht construction, built to specific engineering and design preferences.

But while the prospect of a custom-built boat may sound as much a dream as a summer day sailing one, the intricate and long-term process can take many wrong turns. When contracting construction with a standard broker who deals directly with shipyards, many owners end up paying 20 to 40 percent more than the original contract price. For some, that translates to $60 million extra in renovations on a brand-new construction.

“Shipyards are purely in the business of making money,” says Robert Moran, founder and President of Moran Yacht & Ship, a luxury superyacht construction and brokerage firm. There’s a conflict of interest between the manufacturer and the customer in the industry, he explains, where shipyards have the incentive to write the yacht’s technical specifications in such a way to encourage additional change-order revenue.

To avoid this, planning, mapping, and building 3D renderings of a ship before a

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single material is ordered is of the utmost importance. Moran and others experts in automotive engineering and interiors shared with us how to get it right the first time.

ENGINEERING FOR THE FUTURE

Robert Moran’s insight comes from his thirty-three years of experience constructing superyachts, a category of ships whose lengths generally reach over 80 feet and include ultra-luxurious interiors and amenities. As a seasoned builder, Moran and his team are able to anticipate every permutation of the thousands of decisions and variables that arise when building a new yacht from the ground up.

“When you’re writing the techs, you’re writing for the future,” says Moran. “You have to write for new green tech, the power saving equipment. That’s glass, solar panels, et cetera.

“If you’re writing specifications that match today’s standard, you’re already building for the past.”

In addition to green tech, other spec variations that owners must choose include types of insulation, engine equipment, air conditioning systems, rating systems, and interior choices like fabric, wood and marble.

Due to the laser-like attention to detail that is required to ensure every one of those thousands of decisions are correct, Moran Yachts oversees construction of only two to four ships per year.

Kismet Yacht by Lürssen, developed and sold by Moran Yacht & Ship.

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Guillaume Plisson Kismet Yacht by Lürssen, developed and sold by Moran Yacht & Ship.

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Guillaume Plisson Kismet Yacht

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INTERIORS MUST BE TIMELESS

Achille Salvagni, a renowned interiors and furniture designer for yachts and homes, explains, “Most shipyards would either treat interiors as a creativity aspect and assign it completely to the novice buyer, or they would leave it to the technicians at the shipyard itself, as if it were a secondary part to deal with.”

Being the most lived-in and used aspect of the yacht, interiors largely determine the ship’s entire value over time.

Trendy interiors can result in a faster devaluation. As the lead interior designer on the latest Grande Series for world renowned yacht maker, Azimut, Salvagni emphasizes the need for creating his clients’ builds using understated, timeless tones and lines.

3D VISION

Top construction and design firms are increasingly relying on 3D renderings to ensure alignment between their vision and the customer’s over those many years of planning.

Only recently has rendering technology become robust and realistic enough to allow engineers and designers to organize, manage, and envision the millions of technical decisions

Because of the tedium and massive scale that is yacht construction, it is crucial that shipyards, brokers, and designers predefine all engineering and interior specifications at least one year before the piece is delivered, and sometimes even longer depending on the dimensions; a “giga-yacht”, one that spans over 220 feet, can require up to four years of detailed definition in advance. If they don’t, advises Salvagni, “Run.” NO ROOM FOR RENOVATIONS

It is precisely because of today’s ability to plan construction to near exactitude that both Moran and Salvagni advise clients not to approach yacht construction like they would home construction. While home renovations, such as putting up new walls or replacing ventilation systems, are relatively straight-forward, tweaks on a yacht are insensibly expensive.

Because the value of any motorized vehicle depreciates over time, the costs of renovations would not increase a ship’s value enough to even slightly make up for its depreciation. It therefore makes more sense for owners to sell their yachts and build a new one from scratch than renovate. For that reason, 3D renderings avoid such dilemmas and ensure the first construction matches the initial contracting cost.

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“A yacht is rootless,” he explains, which creates a unique design challenge. Yacht construction, unlike that of a plane or car, incorporates residential aspects, and yet unlike a home, has no identity defined by its fixed surroundings.

“You cannot overdress the interior. If you do, it might match one specific scene but not ninety percent of the rest of the scenes. My attention is to create a very neutral space that matches the needs of the clients, embodies the DNA of the owners, but still is neutral enough to absorb and to create a dialogue with different scenarios,” he says. “The more neutral you are, the longer the yacht will last.”

with groundbreaking precision. In fact, the models can be so identical to reality that many publications have mistakenly published renderings as though they were real images.

“To any potential yacht owner, to any potential yacht builder,” advises Moran, “find the company that has sold and built for a long period of time the type of yacht you’re building.

They’ve got to know a lot. And that type of knowledge is the only way to create and build at the highest level.”

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INSIGHT

Launch of Project Testarossa by Lürssen.

C ou r t e s y M o ra n Ya ch t & S h ip

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When building a boat, some owners end up paying 20 to 40 percent more than the asking price, which can translate to an extra $60 million.

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‘Seed takes Flight’ signature ring 14.8mm golden south sea pearl with 931 diamonds, sapphires, rubies & tsavorite garnets Handcrafted in Ireland

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Nigel O'Reilly

www.nigeloreilly.com By appointment only | Contact Thierry Chaunu at Beaugeste Luxury Brands The Chrysler Building | 132 East 43rd St | New York | NY 10017 Tel: (212) 847-1371 | concierge@BeauGesteLuxury.com 103

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Transformative Result-Driven Design & Staging - Unrivaled Efficiency.

Ha mptons | NYC | C onnecticu t

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I C O N I C M O D E R N . C O M

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Jumby Bay Island.

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JOURNEY WITH BESPOKE

B E S P O K E ’ S S I G N AT U R E R O U N D U P O F M U S T- S E E D E S T I N AT I O N S

WORDS — SANDRA RAMANI

Though global travel has nearly grinded to a halt, many have found a renewed appreciation of the earth’s natural beauty, as well as their own personal freedom to discover it at whim. As we slowly emerge back into the world we once knew, our once far-off dreams of travel are nearing closer into our grasp. As you plan your next trip, consider these offthe-radar natural wonders.

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DIVE INTO JUMBY BAY

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For a new take on the crystal Caribbean islands, consider a visit to the tucked-away island of Jumby Bay, right off the coast of mainland Antigua. Originally developed by a community of bespoke vacationers in the ’80s and now operating under the Oetker Collection, the serene island is home to the next generation of international estate and villa homeowners hailing from North America, the U.K., and Europe. In addition to their ultra-luxury residences situated on 15-25 square miles of private land, residents retain part ownership in the five-star eponymous Jumby Bay Resort hotel, the island’s only luxury retailer, the Jumby Bay Boutique, and its handful of fine dining spots. Breezy canopied dinners, sunny beachside picnics, and age-old rum tastings are some of the few things to be enjoyed at restaurants like The Estate House or 1830 Bar, which serve farm-to-table, organic options

inspired by West Indian culinary traditions.

What’s more, the small community is staunchly committed to the island’s ecological preservation, making it a haven for exquisite tropical birds and sea turtles, and is dedicated to the philanthropic Jumby Bay Fund, which supports local Antiguan communities. “It’s like a giant clubhouse in paradise,” says Wayne Kafcsak, the CEO of Jumby Bay, who has worked on island hospitality concepts in Europe, Africa, and the Caribbean for over forty years. “The relationship with the staff is like nowhere else that I’ve seen in terms of hospitality and closeness. Our facilities have that feeling where you go in and everyone knows you and gives you great service. The commitment of the board and homeowners is really extraordinary. We’re all held to a high standard and it feels very organic and natural.”

INSIGHT

With one of the most devoted ecological sustainability programs in the Caribbean, Jumby Bay’s efforts include preserving endangered indigenous species like the Hawksbill Turtle, the White Egret and the Persian Black-Headed Sheep.

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Residence at Jumby Bay Island Co u r t e s y B e sp o ke M a r ke t i ng

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SOAR TO NEW HEIGHTS IN NEW ZEALAND

It’s the ultimate ski lift: getting helicoptered to the top of a mountain in a matter of minutes to access untouched landscapes and adrenalinepumping thrills. There’s no better place in the world to go heli-skiing (and heli-snowboarding) than Queenstown, New Zealand, where the world-class skiing spans the region’s eleven mountain ranges.

Companies like Harris Mountains Heli-Ski can ferry you to backcountry runs, accompanied by certified mountain guides and gourmet picnics.

Tucked into a mountain hideaway is the Minaret Station Alpine Lodge, a hotel that’s only accessible by helicopter and which offers its own heliskiing excursions along with lots of other soaring experiences.

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New Zealand has the highest number of helicopters per capita.

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Heli-skiing on Mount Cook in Queenstown, New Zealand.

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Aerial shot of the island of Mauritius.

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After he visited Mauritius in 1896, Mark Twain famously wrote, “Mauritius was made first and then heaven; and heaven was copied after Mauritius.�

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CONNECT WITH NATURE IN MAURITIUS If it’s beaches you’re craving, head to Mauritius. Relatively unvisited by Americans, the Indian Ocean island nation off of Africa’s East coast is born of French, African, Indian, and Chinese influences. Best of all, it is home to pristine beaches, rainforests, and hiking trails that have been largely insulated from mass tourism. The island hosts several five-star resorts, like the Four Seasons Mauritius at Anahita where you can reserve your own private beach, or the brand-new Anantara Iko Mauritius Resort & Villas whose “Streetwise Gurus” will lead you on off-the-beaten-path excursions. You’ll be poised to explore attractions like the protected Blue Bay Marine Park, where the snorkeling and diving showcases over 40 species of vibrant coral, the Ile aux Aigrettes nature reserve, which is leading the way in conservation efforts, and the Black River Gorges National Park, famous for its waterfalls and zip lining.

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The Northern Lights over the Blue Lagoon.

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The Northern Lights, known scientifically as Aurora Borealis, occurs when molecules from the sun collide with atoms in the Earth’s atmosphere, exciting the electrons which causes them to release light.

SEE THE NORTHERN LIGHTS IN REYKJAVIK 20 / 20 VISION | VOL 1

“Reykjavik,” which means “smoky bay,” the world’s Northern-most major capital, has lately made its way onto the radar of luxury travelers. Spend the day soaking in the famous Blue Lagoon, a geothermal spring enriched with algae, seawater, and minerals that promote healthier skin. The Retreat at the Blue Lagoon, which is built into a lichen-coated lava flow, part of the volcanic rock that ultimately forms the lagoon, offers seven-course tasting menus and five-star accommodations. Sample local delicacies—from horse mussels to rare bilberries—at Dill, the first Michelin-starred restaurant in Iceland. Reykjavik is one of the few major cities in which you can spot the Northern Lights, so if conditions are optimal, catch the awe-inspiring astral light show from your suite between September and March.

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EXPLORE A GOLFING MECCA IN SCOTLAND Ardfin, the most exclusive Scottish getaway on the Island of Jura, is the U.K.’s newest spectacle for devotees to all things golf. Since opening in April, visitors have already rated it as one of the top ten courses in the world, rivaling neighbors Trump Turnberry and Royal Portrush, home of The Open Championship in 2019. Situated on 12,000 lush acres and flanked by ten miles of crystal coastline, Ardfin’s pristine 18-hole championship golf course and its 9-hole par 3 course hosts single parties at a time. Off the course, the estate is recognized as a top location for deer stalking, ocean and loch trout fishing, clay pigeon shooting, and water sports. Amenities include the ten-room Victorian villa Jura House and the collection of private homes known as the Quadrangle, each restored over the last decade to their former glory by architect Stanhope Gate and interior designer Louise Jones.

The journey to get there is as exotic as the island itself, accessible only by private flight into the neighboring island of Islay, by helicopter, or by ferry from Glasgow, putting this highlander getaway at the top of our list to visit—before the secret’s out.

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INSIGHT

In 1164, Somerled, a Norse-Gaelic Lord, conquered the Island of Jura from its Viking occupiers and established the Lordship of the Isles, which ruled Jura independently for nearly one thousand years. In the 1930s, Charles Campbell, the last local Lord of the Isles and a distant descendant of Somerled, sold the island into seven estates; Ardfin was purchased by its first private buyer in 1938. Today, Prince Charles is the official Lord of the Isles.

Ardfin Golf Course and Jura House.

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GET OFF THE GRID IN ARIZONA Wide open spaces and a rich array of outdoor activities make northern Arizona an idyllic place to disconnect.

Though the Grand Canyon is an American family classic, few people have yet to access the region’s most privileged hideaways, like Antelope Canyon or Horseshoe Bend.

Surrounded by spectacular mountain and desert views, camping, hiking, and wellness and romantic retreats immerse visitors in the unhindered natural landscape while paying homage to the native Navajo culture.

Amangiri, an Aman collection resort just across the border in southern Utah and a thirty-minute drive from the main Canyon, is a great place to enjoy hot air ballooning, canyon hiking, and native-inspired dining.

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Fast-flowing waters from flash floods created the steep vertical walls of Antelope Canyon. As strong currents rushed from the top of the canyon to lower ground, they picked up pieces of dirt, rock, sand, and wood, which cut intricate striation patterns into the rock.

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Antelope Canyon, Arizona.

Co u r t e sy Ol e g B o g d a n & Re gi na To d o r e n ko @r e g i na d o r e n ko @ ol e g b o gd a n c o m

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Aerial of Bodega Garzรณn Vineyard.

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INSIGHT

Uruguay is a world leader in growing the littleknown grape varietal, Tannat, an obscure redwine grape that produces high tannin levels.

Tannins occur naturally in grape seeds and stems, imparting astringent, bitter notes to wine but also contributing to its ability to age over time.

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If you like Malbec, Albariño or other South American staples, make Uruguay your next wine-fueled destination. Set along the southeastern coast, the town of José Ignacio retains a low key beach-chic vibe, despite being a favorite of frequent guests like Leonardo DiCaprio and Mark Zuckerberg.

Tucked among the sand dunes, boutique hotel Bahia Vik is just a bike ride away from town’s indie boutiques and buzzing restaurants, while less than an hour away sits Bodega Garzón, Argentine billionaire Alejandro Bulgheroni’s 2,000acre temple to wine. Book the four-hour private tour of the vineyards and state-of-the-art winery, which includes a wine-pairing lunch at the on-site restaurant overseen by international celeb-favorite chef Francis Mallmann. The label’s private wine club offers the chance to craft your own wines with the vintners, access to all Bulgheroni wine properties worldwide and the opportunity to play on a private, PGA Tour Preferred 18-hole golf course.

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EXPLORE WINE COUNTRY IN URUGUAY

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| 987 | 451 | 987 | 451 55 NEWTOWN LANE EAST HAMPTON MADISON AVENUE BROOME STREET 55 NEWTOWN LANE EAST HAMPTON MADISON AVENUE BROOME STREET 122

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LAMBORGHINI IN THE HAMPTONS

A N E X H I L E R AT I N G SYNERGY

For Bespoke Luxury Magazine’s inaugural photo essay, we are featuring one of our greatest muses: Lamborghini. Since their founding in 1963, Lamborghini has become a pedagogy of Italian craftsmanship, perfectly mastering the precocious balance between ferocity and grace for over fifty years. We set out to capture that synergy by casting the latest URUS, Huracån, and Aventador models in vibrant tones against the regal backdrop of the Hamptons, tracing their elegance and dynamism all the way from Meadow to Further Lane.

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Aventador SVJ Roadster.

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INSIGHT

The Aventador SVJ Roadster and Hurácan EVO both have an aerodynamic system called the “Aerodinamica Lamborghini Attiva 2.0.”, which includes a front spoiler, a hinged flap system, and air flow channels under the body of the car. In addition to improving breaking and acceleration, this system also provides “aero vectoring,” which allows drivers to turn corners at high speeds with less steering input needed.

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Huracán EVO Spyder, Huracán EVO RWD, and Aventador SVJ Roadster.

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Aventador SVJ Roadster and Urus.

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Ferruccio Lamborghini, the founder, was born April 28. Because he was a Taurus, most Lamborghini cars are named after bulls.

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The Huracรกn EVO is one of the fastest sports cars ever made, accelerating from 0 to 100 mph in 2.9 seconds.

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Huracรกn EVO RWD. Mi ke S ch a f er, C o ur t es y Be s p o ke Ma r ke t in g

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Aventador SVJ Roadster.

M ike S ch a fe r, Co u r t e sy B es p o ke M a r ke t i ng

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The Aventador SVJ Roadster’s body is made of ultra-light carbon fiber, which makes the car lighter, more fuel efficient, and have a lower center of gravity.

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The Lamborghini Urus has a top speed of 190 mph, making it one of the world’s fastest production SUVs. It accelerates from 0 to 60 mph in 3.6 seconds.

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Urus at Hamptons Residence.

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Photo: Joshua McHugh

NEW YORK 212-829-0703

WATER MILL

WWW.DAVIDSCOTTINTERIORS.COM

INFO@DAVIDSCOTTINTERIORS.COM

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All information is from sources deemed reliable but is subject to errors, omissions, changes in price, prior sale, or withdrawal without notice. Transaction volume includes sold and in-contract properties. All rights to content, photographs, and graphics reserved to broker. Equal Housing Opportunity Broker. Photos may be enhanced. Bespoke Real Estate LLC is a licensed Real Estate Broker. 903 Montauk Highway, Water Mill NY 11976.

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THE RESULTS HAVE BEEN ASTOUNDING...

Over $950 Million in $10M+ Hamptons Transactions in 2020 - YTD.

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THE NEXT FRONTIER

CBD

WORDS — BETHANY HEITMAN

The CBD market has boomed in the world of wellness. Now, it’s migrating into the exclusive luxury sector, proving itself as more than just a trend.

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C ou r t e s y N a t u r e o f T h in g s

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Topicals, or CBD-infused body creams, are among the most popular products in the emerging market.

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Of all of the industries that are disrupting traditional retail, few are doing it better than CBD.

Formally known as cannabidiol, CBD is the non-psychoactive part of the cannabis plant praised in the last few years for its wide range of health benefits. Supporting longheld anecdotal claims, recent studies have found that CBD reduces generalized social anxiety and depression, induces sleep in insomniacs, and, in its most purified form, was found to reduce the severity of seizures in epileptic patients. Its dermatological benefits have also been discovered to fight inflammation by warding off free radicals, which reduces acne, diminishes wrinkles and evens the skin’s complexion.

Despite CBD’s initial associations with marijuana culture, the new beautiful CBD brands have successfully reinvented its reputation in the luxury market, reflected most by its consumer demographics: the prime customer for CBD products is 40 years old, highly educated, and employed full-time. What’s more, the gender breakdown for CBD consumers is nearly one-to-one, unlike general cannabis products whose customers are more than two-thirds male.

By 2024, BDS Analytics predicts that the collective market for CBD in the United States will surpass $20 billion across pharmaceuticals, dispensaries, and general market retail; for reference, the same report estimated the entire organic food industry will be worth $74 billion. That’s a 49 percent compounded annual growth rate predicted across six years, from $1.8 billion in sales in 2018.

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From luxe, minimalist boutiques in Manhattan to sleek product samples in department stores, the ingredient has come a long way from the skepticism and speculation most alternative medicine treatments are dealt. Standard Dose, Prima, Lab to Beauty, and even legacy players like Saks Fifth Avenue and Harrods of London are investing in CBD-infused tinctures, creams, and oils, the latest attempt to catapult the ingredient into the exclusive realm of luxury self-care.

HIGH DEMAND

The growing usage, combined with emerging clinical proof of CBD’s effectiveness, has culminated in this explosion in the market, where traditional investors are backing cannabis-focused venture capital and private equity firms.

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The collective CBD market in the United States is expected to surpass $20 billion by 2024.

INSIGHT

Hemp vs. Marijuana While both are varieties of the Cannabis plant, “hemp” classifies varieties that contain 0.3% or less THC content (by dry weight). “Marijuana” classifies varieties that contain more than 0.3% THC. Both can yield the same CBD extract.

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In addition to creams, tinctures, and oils, hemp, the strongest known natural fiber in the world, is also being used to make fabric that is more absorbent, durable, and insulating than cotton.

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For example, Tuatara Capital, a New York private equity firm, just raised over $200 million in their second fundraise, the largest-ever fund dedicated to the booming industry.

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WHY NOW

“Three years ago, most conversations around CBD revolved around explaining what it was and that it wouldn’t get you high,” says Laurel Angelica Meyers, the co-founder and COO of Prima, a CBD skincare brand. JP Collett, the CEO and founder of Nature of Things, a luxe online retailer of CBD skincare products, explains that in its early days on the market, “CBD and first-mover brands broke into the mainstream by way of early retail adopters in the mass channels like CVS, Kroegers, Sephora and Walgreens, putting much of their value on revenue, not quality or brand.” This resulted in an initially ambivalent reception in the luxury market.

But that’s shifted. Experts identify three distinct influences that make today’s luxury market uniquely welcoming to the ingredient.

First, the legalization of marijuana has become part of the national conversation. Within the past decade, close to a dozen states have completely legalized the use of cannabis, and nearly triple that have legalized it for medical purposes. This has opened the door for clinical research. “For so long, no one was able to look into anything having to do with marijuana, including CBD, because it was a Schedule 1 drug,” says Meyers.

Findings from the resulting wave of newlylegalized research support long-held claims that CBD can reduce inflammation, help with skin issues, and reduce anxiety, depression, and insomnia.

Because of those latter psychological benefits, the ingredient has become a COVID-19 favorite, the pandemic being the second cause for the most recent surge in sales. Elizabeth Hogan, a co-founder at GCH Inc., a brand development firm for CBD startups, said that demand for

sleep-inducing products spiked during March and April, with most customers trying it for the first time in those months. Research conducted by consumer research firm Brightfield Group in March found that 39 percent of CBD consumers expected to increase their usage during lockdown, and 53 percent cited anxiety as their number one ailment that CBD cures, followed by depression and insomnia in third and fourth place. With lockdown orders causing a rise in all three conditions nationwide, many who were previously skeptical of CBD have chosen to take it up as a form of self-indulgence and a relaxant. Though the pandemic has led to short-term spikes in a handful of industries, Hogan insists that CBD’s growth is long-term, as indicated by increased investment even before March.

At the same time, the increase in luxury buying patterns towards alternative medicine and plant-based beauty in general has paved the way towards luxury consumers’ warm reception of CBD. With brands like Goop espousing acupuncture and wellness crystals, to natural beauty lines like Drunk Elephant becoming one of the fastest-growing skincare brands, buying patterns indicate there is more of an appetite for non-traditional methods of self-care in the market.

“People are looking for more natural methods,” says Grace Saari, co-founder of Svn Space, a luxe retailer of CBD skincare products. Despite the power of the pharma industry, “it’s about balance, and being able to have a little east-meets-west in all of our lives,” says Saari.

As brands evolve into ambassadors of lifestyles more than merchants of products, the next decade will reveal how much CBD truly becomes a part of that curation. Perhaps its use will become the golden standard of a healthy, balanced lifestyle. If the evident success of emerging CBD businesses is any proxy for the trend, then it’s certainly on its way.

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Maximus Royal The largest jewelled tourbillon for wristwatch in the world with 453 baguette diamonds (21cts) invisible setting

212-847-1371

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A GAME OF GALLERIES

T H E S TAT E O F T H E ART MARKET

W O R D S — AYA A B I T B U L

As a handful of legacy art galleries are taking greater control of the world’s top artistic talent, here’s the future for artists, independent dealers, and collectors.

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Eden Gallery in Soho, New York.

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Most of what I remember from Art Basel is fluorescent, endless whiteness.

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In that labyrinth of fame, hype and clout, the vast, white walls shone with unabashed brightness, as if they alone were the spectacle thousands came to see. The whole place was whiter than I remember in years before, credit due to the large booths commissioned by even larger, more powerful galleries.

In fact, their radiance was so dominant that the halls came to be reflective of the overarching industry discord that has emerged within the last few years: like the white booth walls, the galleries commissioning them were drowning out the art too, rather than acting as a supportive platform from which the real masterpieces could shine.

Back in 2007, curator and dealer Jeffrey Deitch predicted that the art world would be run by a handful of a few corporations, “just like Hollywood.” Today, that prediction has actualized: at the end of 2019, smaller independent galleries, defined as those with $500,000 to $1 million in sales, reported a 9 percent year-over-year sales decline, while larger galleries, or those with over $30 million in sales, reported a 16 percent increase within the same period, according to Art Basel and UBS’s 2020 Global Art Market report.

Enter the “Mega-gallery”, institutional powerhouses that not only rule art fairs, but also have collectively dominated a majority of the

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collector market disproportionate to their size.

Experts cite a few reasons for this boom. First is globalization, where large galleries can afford to have multiple locations throughout the world and easily access local collectors. More international art fairs have followed, which disproportionately benefit galleries with the means and staff to exhibit at them all, says Emma Fernberger, director at mid-sized gallery Bortolami. “Fairs provide opportunities for us to expand our client base,” she continues, “however, in the last couple of years we have experienced what a lot of others have, which is that there are too many.”

Ellie Rines, founder of independent gallery 56 Henry, added that Megas have a habit of branding their artists based on market desires, and dump them once that trend fades. “A great gallerist’s responsibility is to give an artist freedom to make what they want to make, not to brand them,” she says. Megas also have the resources to run their own publishing houses and magazines, which she says influence collector trends in their favor, too.

But above all, the greatest reason for Megas’ dominance in the market takes root in how art itself is valued. In commodity markets, value is grounded by the material and labor costs of the commodity and in the market’s demand for it.

The price of an artwork, however, is determined almost entirely by the shared opinion of a select few, i.e., the Megas. Once those few christen an artist as genius, he or she becomes so, and the work can command any price. This paves the way for a few players to monopolize the market on immensely outsized returns for

INSIGHT

In 2019, independent galleries reported a 9% YoY decline in sales. Mega-galleries reported a 16% increase within the same period.

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Jeff Koons. Balloon Dog and Rabbit.

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Calman Shemi. Golden Notes, Mississippi Rock.

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works whose prices are backed by little more than groupthink. This provides capital to reinvest in further globalization and publishing efforts, in turn reinforcing the shared opinion of what’s genius and what’s not, and the cycle perpetuates ad infinitum.

In this sense, Mega-galleries pose a unique threat to newer, smaller galleries and artists than, for example, Coca-Cola does to new soda brands. In this world of “magic”, the sellers, not the buyers, determine what’s worthy.

NOT ALL GIANTS STOMP

However, not everyone believes the dynamic between large and small galleries to be so simple.

“The notion that Megas solely drive trends is an over-simplification,” says Elizabeth Dee, CEO of Independent Art Fair, a New York-based invitational fair. “Every collector market is unique to that artist.”

“It’s a gallery whose survival is dependent on every sale [put bluntly, a small, independent one] that might be tempted to orient the artist into collector trends,” says Klimovsky.

But whether it’s the Megas’ habits that stratify the industry or not, stratification exists. Dee sees the Independent Art Fair as one of the ways it can be corrected. Independent is an invite-only fair that democratizes the market by creating a space for toptier and emerging galleries to show side-by-side.

Designed to feel more like a large group exhibition than a typical fair, all booths co-exist regardless of size, where it’s not about the “gallery’s class status, it’s about curatorial engagement and quality,” says Dee. THE UNEQUALIZER

As Independent has grown since its 2010 founding, another hope for an industry democratizer has emerged alongside it: social media. Over the last decade, many gallerists looked to the promise of Facebook, Instagram, and other innovative social platforms as a way of restoring the balance between the Megas and the independent galleries and artists.

And for some artists, it has. John Margaritis, the founder of art collective New York Sunshine, has not signed with a gallery at all, as he was able to successfully reach collectors through his Instagram instead. Margaritis has found enough success on the platform to self-fund his exhibitions at Art Basel and land him collaborations with Virgil Abloh and LeBron James. CJ Hendry, an Australian hyperrealist artist who has over 500,000 Instagram followers, has found so much success online that she was also able to fund her own in-person, multimillion-dollar exhibitions. Some of her works go for over $250,000 online, a great feat for even gallerybacked artists.

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Likewise, Cathia Klimovsky, founder and owner of Eden Gallery whose artist roster includes Alec Monopoly, Angelo Accardi, SN, Calman Shemi, Dorit Levinstein, and David Kracov, insists that a name alone does not exempt any gallery, big or small, from their first obligation to their collectors.

That means representing artists whose work they believe can live on their collectors’ walls for years and are not merely trendy for the short term.

“When I see my collectors in five or six years after selling an artwork,” says Klimovsky, “I have to be consistent in representing the artist that I first sold to them. If I’m not with that artist, the collector could feel that the work was sold as an immediate financial benefit to Eden, rather than as a collector’s piece with long-term value.” If nothing else, that’s the very faith collectors place in their gallerists.

A Mega, she maintains, has the financial freedom to allow the artists to explore their own creative freedom and break from trends.

But despite these successes, the majority of the formal art world has remained deeply traditional and highly hegemonic, ironic as it may be for an industry that funds the breaking of cultural and social boundaries. Most large galleries typically

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have used their websites and social media profiles to display their artist roster and make announcements, rather than as a platform through which they could uniquely engage collectors. That is, until COVID-19.

anything over five figures generally meant the buyer saw it first in person. For art, that meant experiencing the work’s texture, color, light reflection, angles, and even the very feeling of being in the room with the piece. As gallery doors shuttered, still pictures and video fell short of recreating that real-life experience for collectors. Virtual reality could, easing the decline of sales for Megas through the worst of lockdowns.

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VIRTUALLY THERE

Over the last several months, countless galleries have quickly and creatively moved all their operations online. Since the outbreak, Hauser & Wirth, one of the oft-cited Megas, launched HWVR in April, their first virtual reality exhibition of their Menorca location through a new in-house technology and research division, ArtLab. Chinese artist Pete Jiadong Qiang created a gamified online museum experience for the Beijing-based X Museum, launched just as the U.S. travel ban was instituted. The artist Brian Donnelly, a.k.a. KAWS, worked with Acute Art to develop an app that positions his limited-edition “Companion” figures in real space using augmented reality.

Dee insists, “We need to learn the lessons and ways in which we pay for and monetize the technological space. Let’s not replicate the problems that Google and Facebook have created; let’s be part of a new marketplace that is equitable for all dealers and artists.”

For example, she suggests that fairs could offer a platform where all of their exhibitors can build virtual reality booths, instead of the galleries themselves having to fund the virtualization of their art in-house.

“A digital economy has to come out of this postcorona environment,” she says. “I see the next generation of collectors defining what they want differently, mainly by prioritizing experience over transaction,” which, thanks to the pandemic, will doubtlessly include online ones.

This major embrace of imaging technology couldn’t be more serendipitous. According to the Global Art Market report, 92 percent of high-net-worth millennials reported having bought art online. Of those individuals, 36 percent paid over $50,000 for a work of art or object online, including 9 percent who had spent more than $1 million.

Still, even with new technologies, the same pattern of imbalance emerges. “It’s the person with the biggest pocket that seems to be winning the lion’s share of the digital space,” contests Dee, even on social media.

Experts agree that during the height of the pandemic, Megas were able to command outsized collector attention because they had the means to quickly pivot and excite clients about new works, even with closed doors and canceled fairs, primarily through sophisticated augmented and virtual reality technologies. In a pre-COVID world, most sales of

But regardless of whether a collector buys through a Mega, an independent, a fair, online, directly from the artist, or even during a global pandemic or relative calm, one thing will always hold true, says Dee: “The best collectors always look where no one else is looking.”

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INSIGHT

36% of HNW millennial collectors paid over $50,000 for a work of art or object online, including 9% who spent more than $1 million.

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KAWS, HOLIDAY - Mt. Fuji, Japan, 2019 Ni c k Ch u , C o u r t e sy KAWS St u d io

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SAVING A SPIRIT

T H E TA L E O F ANCESTRAL MEZCAL

WORDS — LISA ARBETTER

Mezcal has been made the same way for generations. Now, global demand is straining production, jeopardizing the future of the ancestral practice.

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PHOTOGRAPHY | BRIAN FRANK & PIA RIVEROLA

Mezcal isn’t just a spirit. It’s a story. And like many great stories, it’s sprawling and multigenerational, transports you to another place, and instills a profound appreciation for tradition.

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We pick up this tale today at a moment of conflict. The spirit’s popularity is stressing natural resources and poses a threat to the handmade, labor-intensive way it’s produced.

In 2020, the global mezcal market was estimated to be worth $197 million, and is expected to swell to $738 million by the end of 2027, suggesting a compounded annual growth rate of 13 percent, according to MarketWatch. Riding this popularity, Pernod Ricard bought into Del Maguey, Bacardi into Ilegal Mezcal, and Diageo, which bought George Clooney’s Casamigos tequila, has extended that line to include mezcal. In order to meet rising demand, the large companies are completely altering the fundamentals of ancestral mezcal production. But steadfast makers, ethical importers, and forwardthinking non-profits value the slower, revered tradition, and are fighting to preserve it.

The whole process starts with agave—or maguey (ma-gay) as it’s called in Mexico.

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Hundreds of varietals exist, though only thirty of them can be used for mezcal. Once the agave matures, the piĂąa, or heart of the plant, gets hacked out and roasted in a concave stone fire pit, which is how mezcal gets its distinctive smoky flavor. The cooked agave is then pulverized using a giant millstone called a tahona, which is driven by a horse, ox, or mule. In the most ancestral techniques, two people alternatively pound it into a receptacle called a canoa using a wooden hammer called a mazo, similar to a mortar and pestle. The mash, or tepache, is fermented and then distilled at least twice in copper or clay stills.

Espadín agave, native to Oaxaca and one of the easiest varieties to grow, takes up to ten years to mature, though producers insist it yields the best tasting mezcal. Its long reproductive lifecycle is the greatest challenge to mezcal’s industrialization, for the natural supply cannot keep up with increasing global demand, forcing mass producers to clone agave, genetically engineer it, or simply dilute the final mezcal product with water.

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INSIGHT

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If the alcoholic content is less than 40 percent, the mezcal is likely diluted with water.

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WHY TRADITIONAL

“The big players shouldn’t even be competing with traditional makers,” says Lorena Teran, a local Oaxacan mezcal connoisseur that has worked with local producers for over fifteen years. “It’s a completely different market. In fact, big producers abuse the agave.”

One of the fastest ways to spot traditional from industrial is by checking the alcoholic content on the bottle. If it is less than 40 percent it is most likely diluted with water, which results in a less balanced, less round profile. “By adding water to something not coming from the still,” says Teran, “the flavor won’t last long on the palate.

Cloned agave, for example, results in entire fields of “monocrops”, which make entire agricultural regions highly susceptible to epidemics while also removing the flavor nuance from the resulting mezcal. To prevent this, Teran works with an agave nursery under the artisanal El Buho label, an advocate for sustainable planting.

“The taste should be silky, almost oily, which you can sense in the middle of your tongue.”

Industrial makers also tend to roast the piñas in massive metal autoclaves with high-temperature water vapor instead of in slow-burning cedar wood pits, finishing the roasting in eight to nine hours instead of over the course of several days. By sacrificing the woodsy, smoky flavor left by the fire roasting, the final product comes out more similar to tequila than to true mezcal.

THE BUSINESS OF MEZCAL

As I explored the world of Oaxacan mezcal, one name kept coming up over and over again: Graciela Angeles Carreño, the owner of Real Minero Mezcal. As tradition has it, Carreño’s family has made mezcal using the same recipe for local use at weddings and other celebrations for at least four generations—and probably earlier—that’s just the earliest documentation, says Carreño.

As an ancestral maker, she distills only with clay pots and produces small batches—about 8,000 liters per year, compared to the 10,000 liters per week a midsized tequila maker might produce. One bottle takes 24 days to produce on average, and Carreño sells only to exclusive importers and a handful of restaurants in the U.S., limiting access to her already small supply despite massive demand. New York liquor stores traditionally retail one bottle of Real Minero between $140 and $200.

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In terms of taste, the best way to distinguish mezcal brands from industrial is that no traditional mezcal, even under the same label, tastes exactly the same. Unlike a streamlined industrial process, production done by hand with natural agave results in different flavor and aromatic profiles; each batch might have a mix of fruity, piney, and woodsy accents, which vary based on the harvest, soil profile, ripeness of the agave, and fermentation time. In designing a recipe to extract as much usable mezcal per pound of agave, all that flavor nuance is stripped out.

Even though industrialized mezcals have less alcohol per liter than artisanal ones, watered down versions will taste like they have more.

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Though Real Minero is among the best mezcals in the world, Carreño’s methods are nearly impossible to scale. As a result, some mezcaleros have discovered ways to retain the flavor notes of traditional recipes while making the production slightly more efficient and business friendly. For example, Bernardo Saenger, founder of Barro De Cobre, which translates to “Copper of Clay,” distills two batches independently in copper and clay stills and then blends them into one batch, creating a highly nuanced flavor profile. At the same time, copper stills are much more efficient than clay ones, which are prone to frequent breakage and require constant maintenance.

Use of copper categorizes Barro de Cobre as an artisanal maker instead of an ancestral one like Real Minero, according to the federal mezcal regulatory council that oversees the entire industry, the Consejo Regulador del Mezcal, or CRM. ONLY IN OAXACA

If the slow production process didn’t limit scalability enough, Oaxaca’s political, cultural, and historical landscapes also play a major role in the growing industry. Much of the vast Mexican state is highly segmented, where ten million residents are governed by six hundred independent, tight-knight, and powerful local villages. Most of these communities enjoy relative self-governance under usos y costumbres laws, a colonial-era legal precedent where federal authorities grant indigenous communities the right to self-rule with their ancient laws and customs. Most of those early legal traditions do not regard private property, and instead grant ownership of the farmland to the local community governance, similar to a farming commune. As a result, there is nearly no privatized land in the Oaxaca’s rural regions, but hundreds of small farms run by local jurisdictions.

In this system, mezcal producers looking to scale cannot source enough Oaxacan agave from a handful of strategic plantations. They would instead have to endure the logistical nightmare of sourcing and transporting small yields from hundreds of communities. Though there is privatized land with similar climates in neighboring Mexican states such as Puebla, the CRM does not certify mezcals as Oaxacan using Pueblan-grown agave. Plus, Oaxaca’s land has a unique terroir that produces the best Espadín, says Saenger.

“Mezcal has brought wealth to these communities,” he continues. “You can see in that they have better trucks and houses. It isn’t wrong.

“But if you want to build a huge mezcal brand like Don Julio or another big tequila brand, it will be impossible to source from Oaxaca.”

William Scanlan, who imports family-owned brands almost exclusively (including Real Minero, Mezcalosfera by Mezcaloteca, and Rey Campero), supports local producers by paying them asking price. “My background is in art, where I would never negotiate pricing. If an artist feels a work is worth that amount, who am I to tell him or her that it’s not?”

And that’s the point: mezcal making is an art, and art defies mass production. “The maker’s goal, rather than efficiency, is to get the best result,” says Scanlan. “I think the families that make heirloom agave spirits in the traditional way have this multigenerational wisdom that can be applied to problems that society is facing every day. The big problems—climate change, food insecurity, water insecurity. I think applying that point of view—how do you get the best result, not how do you do things more efficiently—can help us all.”

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Rachel Carrancรก.

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DECODING THE LABEL

Mezcals certified by the CRM have a QR code that can be scanned to learn about the producer, the process, where it was made, and what type of agave was used. Other descriptors you might find on the label include:

ANCESTRAL VS. ARTISINAL MEZCAL:

MEZCAL ARTISANAL:

Milled agave with copper or clay distillation. Modern equipment such as autoclaves, diffusers, and column stills are prohibited.

MEZCAL ANCESTRAL:

Must be made from pit-cooked and mallet-crushed or stone-milled agave.

Distillation is in clay pots. Stainless steel is prohibited.

BLANCO OR JOVEN Not aged, and no alterations were made after distillation. Most mezcals fall into this category.

Flavored or infused after distillation.

DESTILADO CON “Distilled with�, also called mezcales de pechuga. The second or third distillation is done with other ingredients, such as fruits, meat, or herbs, in the still itself.

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Allows for modern industrial production methods imported from the tequila industry.

ABOCADO

REPOSADO Rested in wooden barrels for between two and 12 months.

MADURADO EN VIDIRO Stored in glass for over 12 months, underground or somewhere with minimal variation in light, temperature, and humidity. This softens the mezcal without lowering the alcoholic content.

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BUGAMBILIA MEZCAL C O C K TA I L

“Bugambilia” is a purple tree native to the Oaxaca region. For a sweet refresher balanced by earthy, smoky notes, serve this easy cocktail to family by the pool or at a small backyard gathering.

INGREDIENTS

1 1/2 oz Espadín Mezcal (artisinal or ancestral) 1 oz Lemon Juice 1 oz Hibiscus Syrup 2 oz Pineapple Juice 1/2 oz Yellow Chartreuse Liqueur 1 Handful of Ice

INSTRUCTIONS

Mix all the ingredients into a cocktail shaker and shake. Serve like an Old Fashioned decorated with “Sal de Chile,” or chili salt.

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Ana Lorenzana.

Cour t e s y B a r r o d e Co b r e

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203.552.9700 | LINDARUDERMAN.COM | 877.730.8311 NEW YORK | GREENWICH | PALM BEACH

Ana Lorenzana. Courte s y B a r r o d e Co b r e

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PHOTOGRAPHY | TIM WILLIAMS FINE ART

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THE RESIDENCY

A SHORT STORY

WORDS — KRISTEN POLI

The great minds assembled thought someone else stole the painting. It couldn’t have been any of them, could it?

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The accusation comes on Thursday, directly after lunch hour; there are bits of nigiri still waiting to be cleared from the table when the guests hear it, the afternoon sun coming through the curtains to light up fatty cuts of underbelly.

Even Sasha could admit that the house was the perfect place for this elitist incubator inaugural.

It was a one-time home to Willem De Kooning, and a permanent one to Jackson Pollack and Lee Krasner, both buried in the nearby Green River cemetery. Sasha was the lone writer in the group, among an Ecuadorian cryptocurrency magnate, a choreographer famous for her work with incorporating drones, and a poet who was much better known for her anarchist projection art.

At the core of the accusation is a question, but it’s delivered more like an urgent announcement. “Alright everyone! Where the hell is the Williams painting?”

The accuser was none of these, however. It was Horner Brentman, the host, founder of the residency and famed inventor and entrepreneur.

His company, Atuma, had developed a carbonbased printer so advanced it ushered in a new age of commerce and even language, relegating the term “3D printing” to the past. He referred to his process lovingly in interviews as “molecular manifestation” and held six patents related to hydrogen collision. With Brentman’s technology, people could—and did by the thousands—order anything online, only for it to immediately appear, “molecularly manifested,” in their home in seconds. In addition to convenience, this eliminated the need for packaging and shipping, making Horner an ally to both environmental groups and investors.

The work in question, a hyper-realist rendition of an ocean wave crashing neatly onto itself, has supposedly vanished.

In a flushed concern, the guests rush out of their seats to see the empty wall left in the painting’s absence for themselves. First to get up is Sasha, the famous art journalist and a huge Williams fan.

Sasha and seven others were invited to this extravagant home in Sagaponack on the promise of a week of creative exploration “at the intersection of art and technology.” The summer of 2029 was nearing its end, and assembled here were the greatest minds of all major industries to collectively “reckon with the new-age ‘30s,” as the host put it.

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He presents the facts bluntly: An original, priceless painting is missing.

Pacing back and forth but edging ever closer to the dining table, Brentman begins to berate the guests. “I know one of you stole it, obviously.”

Damian, the cryptocurrency CEO, adjusts his grip on the chair’s curved back. “As if any of us would think you wouldn’t notice it going missing?” he defensively retaliates. “None of us have even left today.”

“This is truly a humiliating accusation to make,” the choreographer chimes in, before Horner can react.

“Wouldn’t an appraiser be able to distinguish the authenticity of the original? Through carbon?” asks Sasha.

Horner stares at each of his residents, evidently frustrated, but his hands are kept coolly at his sides as his eyes make their way across the dining table. The guests exchange stares of shared indignation, waiting for the exchange to be over so they can get back to the new passions they have discovered over the course of the week: floating in zero gravity tanks, listening to eight-dimensional music, and smoking herbal cigarettes by the pool.

The choreographer is the first to break the silence. “Well, I don’t know about you all, but I could use an hour in one of those zero-gravity float tanks,” she posits, heading for the hallway.

Before anyone has a chance to follow her, a shriek is heard from the other room. The group rushes out to find the choreographer standing still, wide-eyed with a gaping jaw.

Sasha inhales sharply, some of the residents gasp, Damian begins to curse. The scene before them is neither gruesome nor sinister, although perhaps to an elite crowd such as this, it is both.

Not only has the missing Williams painting returned to the wall where it once was, but hundreds of identical paintings now surround it, each one completely indistinguishable from the other.

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“No one leaves this room until we figure out where the painting has gone. For all I know, someone has taken it, scanned its AFIG for reproduction and is planning on selling a counterfeit.” They all know that AFIG is shorthand for atomic configuration, the genetic code of any object created with Brentman’s device.

Sasha is about to demand that they all deserve an apology when Horner exits the room. The residents hesitate, unsure of how to proceed in the presence of this new hostility that lingers despite the host’s absence. The poet drags her chopsticks through a shallow puddle of liquid aminos on one of the remaining plates.

Horner stands next to them, arms crossed.

“What’s going on?” insists the choreographer, but he doesn’t reply. A smirk is beginning to appear across his face.

“Which one is the original?” Sasha demands.

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“The only fool is he who believes more art in the world is a bad thing.”

“There’s no way to know.” Horner says facetiously.

“My machine doesn’t just replicate objects anew, it processes the original timestamp. These replications have the same tiny scratches and bits of fading as the real painting.”

“But why? With every replica the value of the art diminishes. Doing something like this could make the most priceless pieces...worthless,” stammers the poet.

“That is precisely the point, which begs the question: what is the purpose of art? Is it meant to be purchased by only the elite? To be on display at only the finest museums? Or to be experienced by anyone who wishes to see it? Is art made to be enjoyed by the few or by all?”

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“So this was all a stunt? To make a fool of all of us?” exclaims Damian. Red color starts rising in his cheeks.

“The only fool is he who believes more art in the world is a bad thing,” replies Horner.

As if nothing happened, Horner carries on down the hallway past the row of paintings. “It’s a lovely day for a dip in the pool. I hope you’ll all join me, if you care to,” he says, and promptly exits.

As he walks toward the parlor, he hears in the distance the argument growing between the great minds he has assembled. He hears the phrase “pure genius”; he hears the phrase “uncontrollable evil”.

He smiles to himself and steps out the back door onto the lush, summer grass.

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BORN IN LE BRASSUS

RAISED AROUND THE WORLD