C California Style & Culture by C Magazine

October 2019

CLASS ACT Cover

MAGGIE GYLLENHAAL

A STY

URE C LT

F ALI OR

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October 2019 STATEMENTS

A day at the museum with Rosetta Getty............................................................................................................... 35

On the prowl for fall’s wildest accessories.............................................................................................................. 38 Shelf life: Nina Freudenberger’s new tome on living with books......................................................... 44

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In the land of plenty: California’s booming culturescape.......................................................................... 52

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Curator Sophia Penske jump-starts a new art consultancy concept............................................... 54

FEATURES With an X-rated role on The Deuce, Maggie Gyllenhaal is an outspoken voice of reason...................................................... 60 A body in motion: behind the scenes with L.A. Dance Project founder Benjamin Millepied.............................................. 70 Designer Madeline Stuart creates a home for a museum-worthy private collection................................................................. 76

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From her Laurel Canyon studio, artist Betye Saar looks back on a lifetime of creative activism...................................... 84

DISCOVERIES Santa Fe, the stomping ground of Georgia O’Keeffe, beckons a new generation of culture-seekers.................

The best in breast care without going under the knife......................................................................................................................................... 94 Comedian Ali Wong’s California............................................................................................................................................................................................. 98

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BETYE SAAR: COURTESY OF THE ARTIST AND ROBERTS PROJECTS, LOS ANGELES. MADELINE STUART: TREVOR TONDRO. LADP: KURT ISWARIENKO. MAGGIE GYLLENHAAL: KERRY HALLIHAN. NINA FREUDENBERGER: SHADE DEGGES. ABIQUIÚ HOME AND STUDIO: KRYSTA JABCZENSKI. SEE SHOPPING GUIDE FOR DETAILS, P.97.

How San Francisco’s Palette blurs the line between gallery and restaurant............................. 50

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To the coolest neighborhoods in The Golden State

CULTURAL

SARAH PAULSON IS ON TOP OF THE WORLD

MUSTS What to see, do and know right now in California

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Contributing Editors Elizabeth Khuri Chandler, Kendall Conrad, Danielle DiMeglio, Diane Dorrans Saeks, Andrea Stanford, Stephanie Steinman Contributing Writers Catherine Bigelow, Christina Binkley, Caroline Cagney, Kerstin Czarra, Peter Davis, Helena de Bertodano, Christine Lennon, Martha McCully, Degen Pener, Jessica Ritz, Elizabeth Varnell, S. Irene Virbila Contributing Photographers Guy Aroch, David Cameron, Mark Griffin Champion, Victor Demarchelier, Amanda Demme, Michelangelo Battista, Lisa Eisner, Douglas Friedman, Sam Frost, Adrian Gaut, Beau Grealy, Zoey Grossman, Kerry Hallihan, Pamela Hanson, Rainer Hosch, Kurt Iswarienko, Mona Kuhn, Kurt Markus, Ben Morris, Bella Newman, Carter Smith, Alistair Taylor-Young, Jan Welters

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F O U N D E R’S

L E T T E R

EDITORS’ PICKS This month’s wish list

MIA BECAR

rtistic expression comes in many forms, and it is lucky for us that so many creatives call the West Coast home — or flock here to share their talents. Take master ballet dancer and choreographer Benjamin Millepied, who moved to California (via New York) from his native France and founded L.A. Dance Project. Ahead of new performances debuting this season, we sat down with the artist to discuss his drive to make Los Angeles a world-class dance destination. Speaking of world-class, artist Betye Saar has been at the top of the game for decades. This month, at age 93, Betye and her lifetime of achievements are being celebrated at the LACMA Art+Film Gala, which only further cements her legendary status. We were thrilled to be invited into her home and studio for a rare interview. Brave is a good word to describe our cover subject, actor Maggie Gyllenhaal. By her own choosing, her career path followed an interesting route, full of portrayals of women who are smart and powerful yet vulnerable. Her quiet strength and fearlessness to speak up and speak out in a cutthroat industry sets an example for us all. While the “industry” used to be the only creative outlet Los Angeles was famous for, the city is now known globally for the output of so many more types of artistic endeavors. Indeed, California, once mistakenly considered a cultural vacuum, has taken that stereotype and flipped the script. It is now a place where dreamers and innovators come to create … and create they do. With sunshine and 72-degree weather almost every day of the year, how much more inspiration do you need?

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CARTIER Love bracelet, large model, $7,600, Cartier, Beverly Hills, 310-275-4272.

Founders ALEXANDER WANG x BULGARI Limited-edition Duette crossbody bag in black with double Serpenti head closure, $2,650, bulgari.com.

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@ccaliforniastyle

MAGGIE GYLLENHAAL. Photography by KERRY HALLIHAN. Creative & Fashion Direction by ALISON EDMOND. Hair by REBEKAH FORECAST at The Wall Group using Serge Normant. Makeup by VIRGINIA YOUNG at Statement Artists using Milk Makeup. Manicure by SONYA BELAKHLEF using Deborah Lippmann. Production by GHIBLI MEDIA. Maggie wears LOEWE sweater and vintage ring.

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ILLUSTRATION: DAVID DOWNTON. SEE SHOPPING GUIDE FOR DETAILS, P.97.

ON THE COVER

Moncler

P E O P L E

KERRY HALLIHAN PETER DAVIS Peter Davis, who contributed “Here Comes the Boom,” p.52, divides his time between L.A. and New York. The editor-in-chief of L’Officiel USA, he has been published in The New York Times, Vanity Fair and Vogue in addition to C. MY C SPOTS • Sushi Park on Sunset Boulevard for the best omakase • I love the surf break known as Haggerty’s and the Malaga Cove Trail • Giorgio’s at The Standard, Hollywood — my pal Bryan Rabin’s Saturdays-only nightclub feels like a chic European disco

Kerry Hallihan photographed C’s cover star, the inimitable Maggie Gyllenhaal, for “The Actor’s Actor,” p.60. Her work has been featured in Vogue Italia, L’Uomo Vogue and Harper’s Bazaar, and clients have included Nike and Saks Fifth Avenue. She divides her time among New York, London and L.A. MY C SPOTS • Bassike in Venice for pants and kidswear • A.O.C. in L.A. has simple, unfussy food packed with flavor • Leo Carrillo State Park — I like to go for early morning walks there with my coffee

Contributors

Jane Mulkerrins, who interviewed Maggie Gyllenhaal, is a British writer and broadcaster who has been based in the U.S. now for nine years. She writes regularly for The Times, The Telegraph and The Guardian. MY C SPOTS • Brian Arden Wines is a small, family-run winery that sells some of Sonoma’s best reds • Falling Oak Ranch near Salinas is an elegant working stable and picturesque hillside property you can rent • Pace in Laurel Canyon for outstanding pizzas and pastas

MATT STROMBERG L.A.-based arts critic Matt Stromberg examined artist Betye Saar’s incredible career in “Saar Power,” p.84. He has contributed to the Los Angeles Times and Contemporary Art Review Los Angeles. MY C SPOTS • Housed in a defunct movie theater, L.A.’s Velaslavasay Panorama is a Victorian form of pre-cinematic entertainment • Forestiere Underground Gardens in Fresno is a 10-acre complex of rooms, passageways and grottoes carved out of dirt and rock • Specs’ Twelve Adler Museum Cafe in S.F. has a colorful cast of patrons and equally colorful decorations

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WORDS BY MARIE LOOK. PETER DAVIS: THOMAS WHITESIDE.

JANE MULKERRINS

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A Bauhaus-inspired turtleneck , $290, top, $2,690, and pants, $2,650, from the ROSETTA GETTY Resort 2020 collection, photographed at the GETTY CENTER .

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CONTRIBUTORS

ANUSH J. BENLIYAN MELISSA GOLDSTEIN MARGRIT JACOBSEN MARIE LOOK

CHARLIE ENGMAN

KELSEY McKINNON MARGIE MONIN DOMBROWSKI

How a Bauhaus exhibition at the Getty Center came to life in Rosetta Gettyâ&#x20AC;&#x2122;s resort collection

KATHRYN ROMEYN ELIZABETH VARNELL

STYLE Written

DESIGN BEAUTY by ANDREW CULTURE BARKER Photography by MARK CHAMPION Styling by ALISON EDMOND

DINING

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Model Marike Le Roux (left) — wearing a Rosetta Getty Resort 2020 turtleneck , $290, and dress, $1,650 — with the designer.

“I’ve wanted to do a print inspired by loom weavings,” Rosetta Getty says, explaining how an archival Bauhaus curtain fabric swatch from 1928 caught her eye as she began to design her Resort 2020 collection. The result is a modern plaid appearing in bookish blazers and insouciant bike shorts alike. The L.A.-based designer, who partnered with the Getty Research Institute on the new collection, credits the graphic impact of coursework in the program’s “Bauhaus Beginnings” exhibition (on view through Oct. 13) for influencing the plaid. “It turned out to be quite dynamic,” Getty says. “So I played with the idea of incorporating it into minimal silhouettes that would seamlessly blend into an everyday wardrobe.” Student drawings, circa 1926, of subdivided squares filled with black and white stripes and varying tones of gray similarly inspired the stripes in her range’s crisp shirtdresses and knits awash in checkerboard patterns. Even her interpretation of polka-dotted cotton poplin and silk charmeuse has a Bauhaus bent. Look closely — the dots are chased by tiny squares, mimicking another intricate ink and gouache exercise from the era. rosettagetty.com. E.V.

Statements BURNING LOVE

A photograph taken by STEWART HARVEY of BURNING MAN 1990, as seen in “NO SPECTATORS: THE ART OF BURNING MAN” at the OAKLAND MUSEUM OF CALIFORNIA.

Every summer, Burning Man beckons 70,000-plus people to the Nevada desert, where the community erects the fleeting metropolis of Black Rock City. While many of the structures are ritualistically set aflame, this fall, a number of surviving largescale installations and artworks will be on view at the Oakland Museum of California, including pieces by Bay Area artists — a nod to the festival’s countercultural NorCal roots. “No Spectators: The Art of Burning Man.” Oct. 12-Feb. 16, 2020. 1000 Oak St., Oakland, 510-318-8400; museumca.org. A.J.B.

ROSETTA GETTY: CHARLIE ENGMAN. BURNING MAN: STEWART HARVEY/OAKLAND MUSEUM OF CALIFORNIA. ARALDA: LOGAN RAUHUT. SHAINA MOTE: JESSIE WEBSTER.

TALKING SHOP Three new brick-and-mortars to visit ARALDA VINTAGE Brynn Saban has resurrected her Hollywood shop of retro finds. Score ’70s Chloé, ’90s Chanel classics and more. araldavintage.com.

SHAINA MOTE The L.A.-based womenswear designer’s debut store — in Highland Park — reflects her subtle, streamlined style. shainamote.com.

RE:STORE This new San Francisco hot spot is stocked with Insta-famous goods from direct-to-consumer brands. visitrestore.com. A.J.B.

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CH Premier

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WILD THINGS Animal print accessories make for a roaring good time

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SEE SHOPPING GUIDE FOR DETAILS, P.97.

Clockwise from top left: DAVID WEBB Zebra bracelet, $69,500. ALEXANDRE BIRMAN Dora heels, $795. ALTUZARRA Chandi sandals, $1,595. OSCAR DE LA RENTA Tro bag, $2,190. AGL animal print booties, $645. DOLCE & GABBANA Leo bag, $2,495.

Photography by MARK GRIFFIN CHAMPION Styling by MARGRIT JACOBSEN 38

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The new ATRA collection, $13,000-$17,000.

GREAT DANE

From top: TERESSA FOGLIA’s Malibu shop, stocked with oneof-a-kind felt and straw styles. The Hannah hat, $1,050.

TO THE BRIM Teressa Foglia, a burned-out social media consultant with a broken heart, left California in 2016 and decamped to Europe for some healing and hat-making. She returned to Malibu this past spring a changed woman with a burgeoning business. It all stems from the millinery course she took outside Toulouse, France. “From a soul perspective, I was truly at peace,” Foglia says. “I felt a happiness overcome me; I was getting my sparkle back.” Now, the spritely blonde and her Californian artist beau, creative director Tyler Hays Wild, ride their tandem bicycle up PCH to the eponymous Teressa Foglia boutique in Malibu Village. There they sell and design bespoke hats ($250-$1,800) handblocked and hand-finished with embroidery, burn marks, vintage baubles and fabrics as wide-ranging as Chanel silk scarves and Japanese indigo picked up on global travels and at flea markets (they also have a Brooklyn showroom/studio, which opened in December 2017). Their head-turning, often funky and always elevated takes on bohemian fedoras and Panama styles have recently attracted the likes of Will Smith, Gerard Butler and Nikki Reed. “It’s an amazing conversation-starter,” says Foglia of her ensemblepolishing hats that imbue wearers with confidence. “I think it makes a person feel good.” 3824 Cross Creek Rd., Malibu, 917-341-1407; teressafoglia.com. K.R.

The husband-andwife team behind Copenhagen’s Ganni label are debuting their cool-girl readyto-wear stateside this fall with two highly anticipated flagship store openings — in West Hollywood and New York City. 9004 Melrose Ave., West Hollywood; ganni.com.

Statements

From top: GANNI Resort 2020. Feathery cotton dress, $395.

Forward-thinking furniture designer Alexander Díaz Andersson, founder of Mexico City studio Atra, considers how natural woods and metals age over time. “We’re mindful of the decaying process so that with use [the furniture] becomes more beautiful,” says Díaz Andersson, who recently brought Atra to the U.S. with a San Francisco showroom. The newest collection from the Swedish-Mexican designer (known for marrying sleek Scandinavian lines with sculptural details reminiscent of Mexico’s midcentury brutalism) features geometric seating, tables and more. Metals are oxidized to a blue, purple, yellow, black or bronze patina; woods are oiled to evolve with wear or charred using a Japanese wood-preserving technique. In addition to its unique methods and commitment to sustainability, Atra is further luring Californians with a forthcoming selection of outdoor furniture and an L.A. outpost, due in 2020. 3562 Sacramento St., S.F.; 415629-0686; atraform.com. M.M.D.

KNOCK ON WOOD In “Charles Gaines Palm Trees and Other Works” — the Los Angeles artist’s first exhibit with gallery Hauser & Wirth — the living legend puts his conceptual style of art on full display. Of note is the new Numbers and Trees series, focused on native flora from Palm Canyon and featuring the creative’s “grid” system; he fills in numbered squares with colorful paints on acrylic sheets set atop black-and-white landscape photos to bring each tree to life. Through Jan. 5, 2020. 901 E. Third St., L.A., 213-943-1620; hauserwirth.com. M.L. CHARLES GAINES’ Numbers and Trees: Palm Canyon, Palm Trees Series 2, Tree #1, Cahuilla, 2019, on view at HAUSER & WIRTH.

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TERESSA FOGLIA INTERIOR: FREDDIE PAULL. GANNI MODEL: JAKOB LANDVIK. CHARLES GAINES: CHARLES GAINES AND HAUSER & WIRTH/FREDRIK NILSEN.

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Drape yourself in scarfinspired prints for a chic rock-chick look

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Statements

Clockwise from top left: VERSACE top, $1,000, dress, $4,050, and ring, $225, and BURBERRY bag, $2,490. LANVIN dress, $4,990, TAMARA MELLON sandals, $395, and stylist’s earrings. JONATHAN SIMKHAI dress, $895, and ALEXANDRE BIRMAN sandals, $595. HERMÈS dress, $5,450, and scarf, $335, and MAJE bag, $360. OSCAR DE LA RENTA dress, $6,490, CUYANA scarf, $45, and TAMARA MELLON sandals, $395. SALVATORE FERRAGAMO top, $1,250, and pants, $1,190, JENNY BIRD earrings, $60, and ALEXANDRE BIRMAN sandals, $595.

Photography by MARK GRIFFIN CHAMPION Styling by ALISON EDMOND 42

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In a new tome, Nina Freudenberger documents the home libraries of the cultured and creative

E N T From top: Jordana Munk Martin’s Brooklyn library, featured in the book. NINA FREUDENBERGER at a dining table she designed. Bibliostyle: How We Live at Home With Books (Clarkson Potter, $35). Freudenberger’s Scandinavian-inspired Malibu trailer, where a custom black-stained solid oak coffee table from her new line shares space with vintage Bernt Petersen Rag chairs.

“I

love the journey of looking inside peoples’ homes,” says Los Angeles-based interior designer and author Nina Freudenberger. “I call it design anthropology.” That voyeuristic instinct led her to distant places — a convent in Puglia, Italy; a midcentury modern apartment in Berlin; a poured concrete house in Mexico City — and back for her latest title, Bibliostyle: How We Live at Home With Books. With photographer Shade Degges and writer Sadie Stein, Freudenberger captures the personal spaces of authors (Karl Ove Knausgård, Jonathan Safran Foer), creatives (artist Vik Muniz, former French Vogue editor Irene Silvagni), interior and fashion designers (Commune’s Roman Alonso, Phillip Lim) and others through the lens of their private libraries. “Book collections tell so much about the person ,” she says. “It’s an interesting way to access a home.” Freudenberger credits the process of creating her first book — the 2017 bestseller Surf Shack: Laid-Back Living by the Water — with reigniting her creative spark. A few years after moving to L.A. from New York in 2013, the RISD alum decided to take a break from Pinterest-sourced reference images and look at her industry from a new angle. Since then, her family (husband, film producer Mike Larocca, and their two sons, Wolf, 3, and Julian, 1) has nabbed its own slice of surf culture: a double-wide trailer in Point Dume, Malibu, where she mixed Ikea pieces with high-end custom finishes for unfussy, sand-adjacent Scandinavian results. Freudenberger is also in the process of furnishing their Hancock Park home with a mix of elevated neutrals, spanning a 1940s French armoire, Apparatus and Allied Maker lighting, and vintage Rainer Daumiller dining chairs. Inspiration freshly stoked, she recently launched a madeto-order furniture line, including a pair of dining tables whose hard-wearing craftsmanship recalls those she has admired in her native Germany, mixed with a very West Coast point of view. “It’s based on California design and flexibility and childfriendliness,” she says. “Everything has a curved corner.” Forthcoming projects include the residence of an A-list actor-director and two boutique hotels — both set in Central California and slated to open in summer 2020. •

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“Book collections tell so much about the person” Words by MELISSA GOLDSTEIN 44

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FREUDENBERGER: JESSICA ALEXANDER. IMAGES COPYRIGHT © 2019 BY SHADE DEGGES. REPRINTED WITH PERMISSION FROM BIBLIOSTYLE: HOW WE LIVE AT HOME WITH BOOKS, BY NINA FREUDENBERGER, COPYRIGHT © 2019. PUBLISHED BY CLARKSON POTTER, A DIVISION OF PENGUIN RANDOM HOUSE, LLC.

Kohanaiki

DESIGN

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BODY OF WORK Brass, wicker or ceramic — say hello to the new anthropomorphic “it” pieces

ANISSA KERMICHE: KALORY PHOTO & VIDEO.

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Clockwise from top left: ANISSA KERMICHE Popotin Pot Blanc pot, $80, anissakermiche.com. CHRIS WOLSTON Nalgona 01 dining chair, price upon request, thefutureperfect .com. RACHEL SAUNDERS CERAMICS Woman vase, $188, garmentory.com. KELLY WEARSTLER Narcissus bowl, $995, kellywearstler.com. RAMI KIM STUDIO Face soju cups, $40 each, ramikimstudio.com. CARL AUBÖCK bookends, $785, lawsonfenning.com.

Editing by ANUSH J. BENLIYAN 46

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RANCH DRESSING Interior designer Nathan Turner drew on his outdoorsy childhood spent camping in the Sierra Nevadas and riding horseback through his family ranch for his latest project, three adjacent cottage suites — collectively called Turner House — set amid Alisal Guest Ranch & Resort’s lush acreage in the Santa Ynez Valley. Inspired by the California-Monterey style, Turner devised rustic interiors filled with vintage art, woven baskets and tapestries that evoke the 1940s era in which the guest ranch first opened. Modern touches include reclaimed barnwood paneling plus patterned Ralph Lauren fabrics and striking Pendleton accessories spread throughout the rooms, which can be booked jointly or separately (suite 68 includes the master bedroom and living room). The L.A. resident and Bay Area native also created an immersive multiday cooking and entertaining retreat at the ranch, Nathan Turner’s I Love California Workshop (Oct. 23-25, $3,000 per couple), complete with master classes on table decor and margarita mixology, and horseback riding around the property’s historic adobe. 1054 Alisal Rd., Solvang, 800-425-4725; alisal.com. E.V.

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PUFF LOVE Fall’s most squeezable handbags

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From top: The fresh interiors of the TURNER HOUSE at ALISAL GUEST RANCH & RESORT. Decorator NATHAN TURNER . Horseback riding around the property’s historic adobe.

SPOKE & WEAL co-owner JON REYMAN at work.

Spoke & Weal — the California-bred, ecoconscious hair salon with a cult following — has outgrown its original San Francisco location and moved to a sleek new spot in Jackson Square. It’s one of eight technique-focused salons owned and operated by Jon Reyman and Christine Thompson. Here, clients enjoy the signature dry haircuts and famed nontoxic custom color applications in the minimalist, 3,200-square-foot space, where 16 workstations are flooded with natural light pouring in from the original arched windows. “Salons have changed,” Thompson explains. “People used to come in, relax and hang out, but now they’re working and trying to get out as quickly as possible.” The downstairs area — cozier and more private than the main floor — is out of view from street traffic and features a color bar area where clients can easily boot up a laptop while their hair is processing. 701 Sansome St., S.F., 415-800-7440; spokeandweal.com. K.A.

ALISAL RANCH: VICTORIA PEARSON. SEE SHOPPING GUIDE FOR DETAILS, P.97.

1. BOTTEGA VENETA bag, $2,480. 2. VERSACE bag, $1,725. 3. GIVENCHY bag, $2,590. 4. MAJE bag, $195.

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Bernard Douglas

S T A T E M E

DINING

S P O T L I G H T From top: A dinner table set up in PALETTE’s gallery space. The “ Writer’s Rice” squid ink risotto from the Inception dinner series. A portrait of chef-owner PETER J. HEMSLEY by Oakland-based painter JANE FISHER . A checkerboard dish of scallop crudo and black garlic scallop mousse from the Progression series.

(OLIVE) OIL ON CANVAS At San Francisco’s Palette, chefartist Peter J. Hemsley creates edible masterpieces

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he dialogue about art and food has existed for as long as man was composing dishes,” says Peter J. Hemsley, the chef-proprietor and artist behind Palette, San Francisco’s new restaurant-meetsgallery concept, which debuted earlier this year. Conceived to spark conversations around food, art and community, the SoMa destination is anchored by an exhibition room showcasing Bay Area artists, and a locally driven eatery whose creatively plated farm-to-table dishes (think carrot-turmeric gnocchi with English peas, ricotta and preserved lemon) are artworks in their own right. The sprawling space also houses a studio, where Hemsley creates his recipe-inspired sketches, sculptures and paintings of flora and fauna (often incorporating kitchen scraps), and ceramicist Andrew Kontrabecki makes Palette’s bespoke dishware; and a boutique stocked with accessories and home decor by local artisans. Now, Hemsley — who honed his gastronomic skills under chefs Michael Tusk at Quince, Daniel Boulud in New York and Alain Passard of Paris’ Arpège — is expanding his culinary concept with a new dinner series, allowing guests to experience “some of the best of what we have to offer in terms of moving art, changing food and custom-made tablewares,” Hemsley says. Reconceptualized monthly and held every Saturday, the fine dining program pairs an eight-course tasting menu with beverages, live music, artworks and discussions curated around the series’ rotating theme. “Palette is a part of a serious conversation speaking to ‘food as art and art as food,’” he says. Highlights from the dinner’s first edition, Inception (through Oct. 12) — inspired by new beginnings — include “Writer’s Rice,” a squid ink risotto served in a Kontrabecki-crafted vessel that resembles crumpled paper. For the second iteration, Progression (Oct. 19 through Nov. 30), the premise is growth and change, and Hemsley plans to exhibit urban street art in the gallery, “challenging guests’ senses to that age-old question of ‘what is art?’” he explains. Next year, he hopes to explore the relationship between food and fashion. “The space was designed with tables that can be set up as a runway,” Hemsley says, hinting at upcoming dinners with designers and artists. Even with the rapid evolution of Palette, evidently, he is still hungry for more. Dinner series priced at $185/person. 816 Folsom St., S.F., 415-865-0529; palette-sf.com. •

“Food as art and art as food”

Words by ANUSH J. BENLIYAN 50

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INTERIOR: ROB WILLIAMSON. PORTRAIT: JANE FISHER.

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INDELIBLE MEMORIES BEGIN WITH A

Grand American Beach Vacation at The Del Crashing waves. Ocean breezes. Warm sand between your toes. And seaside adventures with the ones you love most.

Hotel del Coronado

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HERE COMES THE BOOM

Major investments and sublime starchitecture could finally fortify California as a global arts hub

atch out New York, London and Paris: California is in the middle of an all-out billion-dollar culture awakening. Now the fifth-biggest economy in the world, its technology and entertainment industries are experiencing unprecedented profits, which means lots of deeppocketed patrons are funding the arts in a very big way. In L.A., the Hammer Museum is adding a whopping 40,000 square feet of gallery space, and the big guns at La Brea Tar Pits and the surrounding 12-acre site are currently deciding among three fresh new looks to go for. Meanwhile, some major museums and institutions are opting to start from the ground up. We take a closer look at how the Orange County Museum of Art (OCMA), Los Angeles County Museum of Art (LACMA) and the Academy Museum of Motion

Pictures have enlisted high-profile, Pritzker Prizewinning starchitects to help write the next chapter in California’s cultural history. OCMA (ocmaexpand.org) is moving from Newport Beach to the Segerstrom Center for the Arts in Costa Mesa. Designed by Thom Mayne and his firm, Morphosis, the new three-story, 52,000-square-foot building has been more than 10 years in the making. The South Coast Plaza-owning Segerstrom family deeded the land to the museum in 2008, and it is slated to open in 2021. The museum, which has long championed emerging artists in the Pacific Rim, conducted an exhaustive international search for an architect before deciding on L.A.-based Mayne. “We were struck by Mayne’s dedication to creating a Southern California vernacular that understood the nature of the region, his consistent pursuit of innovative ways to incorporate architecture into an existing environment, and his experimentation with materials and forms,” explains OCMA’s director and chief executive, Todd Smith. The new OCMA boasts a futuristic yet organic facade: imagine the most stylish spaceship landing in the middle of Orange County. The undulating bands of metal panels will house a reconfigurable exhibit space, a multiuse education hall, a rooftop sculpture terrace and storefront galleries with one section of exhibit space viewable from the street, aptly named Avenue of the Arts. The piece de resistance? A massive

Words by PETER DAVIS Illustration by NEIL WEBB 52

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outdoor staircase that swerves toward the museum’s entrance near Richard Serra’s Connector sculpture, which commands the Segerstrom Center’s Julianne and George Argyros Plaza, a gathering place for the public, much like the stairs outside the Metropolitan Museum of Art in New York. With more than double the exhibition space of the Newport Beach location, OCMA will get to show off its impressive permanent collection of over 3,500 pieces, including seminal works by Chris Burden, Edward Ruscha, Catherine Opie and John Baldessari, to name just a few. Megamogul David Geffen just donated $150 million to kickstart LACMA’s (lacma.org) new building designed by Swiss architect Peter Zumthor. With an overall budget of $650 million, LACMA is replacing its four aging buildings with one nearly 350,000-squarefoot structure. Featuring a horizontal design and a single-level gallery floor, the space will allow visitors to flow through the exhibits in one continuously fluid high-art journey without ever being disrupted by stairs or elevators. “You will make your own path through this new LACMA and stumble upon surprises and new discoveries,” enthuses museum director Michael Govan. “I don’t think there will be another museum experience like it on this scale, and people will have to come to L.A. for that.” This fresh approach is made even more unique with galleries that let in natural light and don’t need controlled artificial lighting to display sensitive works. The concrete gallery walls create an industrial mood, a move away from the whitewashed backgrounds of most museums and galleries. “Zumthor doesn’t have a signature style, but rather responds to a specific location and circumstances,” Govan explains. “His considered, respectful approach to a place was the ideal one to reimagine LACMA’s presence in the center of a busy urban area but located in a park that is known for its Pleistocene-era tar pits.” The new LACMA will open in 2023 with approximately 110,000 square feet of gallery space, a new theater, three restaurants/cafes and covered multipurpose event spaces, as well as 3.5 acres of new park and open space, becoming a nexus in the city for art on the grandest of scales. “What’s attracting artists … to L.A. is how much art there is everywhere and how it’s presented in so many different ways,” Govan concludes. Down the street from LACMA, the art of moviemaking’s Academy Museum of Motion Pictures (academymuseum.org) is following suit. It not only boasts a star-studded Board of Trustees (chair Ron Meyer, Jason Blum, Diane von Furstenberg, to name a few) and Academy Museum Campaign Committee (Bob Iger, Annette Bening, Tom Hanks), it has collected over 2,500 three-dimensional motion picture objects since 2008, from Dorothy’s ruby slippers from The

Wizard of Oz to the only surviving shark model from Jaws. The museum also draws upon the collection of the Academy of Motion Picture Arts and Sciences’ 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters and 104,000 pieces of production art as well as 1,600 special collections of personal artifacts from film legends like Cary Grant, Katherine Hepburn and Alfred Hitchcock. The Academy’s selection committee chose Renzo Piano’s architecture firm to reimagine the Saban Building (the former May Company department store) on Wilshire Boulevard, and to add to it an impressive spherical structure. “Renzo drew his inspiration from our site on Miracle Mile with its landmark 1939 Saban Building and from the visionary nature of movie-going itself,” explains Brendan Connell Jr., the museum’s chief operating officer. “He envisioned the beloved Streamline Moderne building, which embodies the spirit of Los Angeles during the golden age of Hollywood, connected to a futuristic spherical structure in a way that would express the experience of film as a voyage through our museum.” The 300,000-square-foot museum is a film lover’s playground, with a highly immersive permanent exhibition, two film and performance theaters (the

“I don’t think there will be Statements another museum experience like it on this scale” M I C HAE L G OVAN, L AC MA D I R E CTO R

1,000-seat David Geffen Theater and the 288-seat Ted Mann Theater), and an education studio. The museum is set to open in 2020 with an inaugural show in collaboration with Studio Ghibli and devoted to Hayao Miyazaki — the first major retrospective of his work in the U.S., followed by a thematic exhibition called “Regeneration: Black Cinema 1900-1970,” an unprecedented survey of African American contributions to cinema before blaxploitation. “The exhibitions will immerse visitors in manifold and diverse stories by integrating rare and remarkable objects from the museum’s collection and multiscreen film projections into a setting with evocative decor and lighting,” explains Doris Berger, acting head of curatorial affairs. Although building the 1,500-paneled sphere has come with its fair share of delays, it will be well worth the wait. •

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SOPHIA PENSKE, the curator and art advisor behind PENSKE PROJECTS.

ART + ABOUT Sophia Penske knew she was on to something when the opening event for her Los Angeles pop-up gallery this summer reached capacity. The garden-themed show, featuring pieces by Honor Titus and Greg Ito, was a first look at the work of Penske Projects, a progressive platform designed to discover artists, curate private collections and host biannual pop-up galleries. At 24, Penske is taking a novel approach: she holds no inventory, buys directly from artists and relies heavily on social media. “A guy DM-ed me from New York and bought a work from the show just from seeing it on Instagram,” she says. The pop-up model also means the L.A.-based advisor/gallerist, can work from anywhere, whether in London for Frieze this October to shop for private clients (she has around 10), or show in other locales (she has her eyes on Abbott Kinney next). Penske, whose grandfather founded the multibilliondollar Penske Automotive Group, graduated from Cornell and modeled briefly, then learned the ropes at Di Donna Galleries and Michael Altman Fine Art in New York. Her first commercial commission was curating the vast Spring Place in Beverly Hills. “I think people like the idea of having a young dealer,” she says. “It’s been great collaborating with artists who are the same age as me. And in L.A., there’s lots of room to grow.” penskeprojects.com. K.M.

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1. OSCAR DE LA RENTA pin, $190. 2. DOLCE & GABBANA pin, $525. 3. HERMÈS pin, $28,400. 4. CHANEL pin, $800.

The HIDDEN HILLS GENERAL STORE and barn.

Craving a laid-back lifestyle, sisters Jenny Ostrow and Melissa Wallace left their Beverly Hills roots behind and headed for the hills — Hidden Hills. The Calabasasadjacent, rural equestrian community is the sisters’ perfect antidote for city life. Ostrow, a former fashion editor and stylist, and Wallace, an interior designer, recently opened the Hidden Hills General Store, a modern take on the traditional mercantile, in a barn on Wallace’s property. “The barn, which houses hens, mini horses, a goat, a pig and two dogs, remains accessible during store hours,” Ostrow says. On the other side of the midcentury structure, you’ll find the store’s line of basics (T-shirts, totes, etc.), as well as a curated collection of vintage designer clothing, Nick Fouquet hats, jewelry, books and goods by emerging brands. Wellness events are also on the horizon. By appointment only. 310-5605757; hiddenhillsgeneral store.com. K.A.

SECOND COMING Oakland’s beloved McMullen boutique has debuted a sophomore outpost, bringing Sherri McMullen’s expert eye to Palo Alto. Appointed with velvet curtains and ocher accents, the new store stocks the flagship’s repertoire of labels, such as Jacquemus and Kamperett, plus fresh additions and collaborations. Also in the pipeline: power luncheons, panels, local art shows and more. “I am thinking about the woman who lives in the area — her lifestyle, what she wears, things she’s involved in,” McMullen says. “We are excited to get to know her.” 855 El Camino Real, Ste. 36, Palo Alto; shopmcmullen.com. A.J.B. The new Palo Alto McMULLEN boutique takes cues from the Oakland flagship, shown here.

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SOPHIA PENSKE: CAITY KRONE. ATRA: JOSÉ MANUEL ESPINOSA. MCMULLEN: MARIA DEL RIO. SEE SHOPPING GUIDE FOR DETAILS, P.97.

in Halloween Boutique

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We re All Mad Here. RO G E R S GA R DE N S . C O M

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MODEL: REBECCA L’AMORE AT NOMAD LOS ANGELES. HAIR: NATHANIEL DEZEN AT OPUS BEAUTY USING KEVIN MURPHY. MAKEUP: JENNA ANTON AT FORWARD ARTISTS USING KOSAS. SEE SHOPPING GUIDE FOR DETAILS, P.97.

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Clockwise from top left: BALENCIAGA top, $1,850, skirt, $1,990, and gloves, $895. RED VALENTINO coat, $1,140, and JENNIFER FISHER ring, $195. CO top, $825, and pants, $795, JENNY BIRD earrings, $60, and stylist’s slides. GUCCI coat, $3,700, and gloves, $690. SPORTMAX top and dress, $1,675 (sold together), CUYANA beanie, $65, and STELLA McCARTNEY sneakers, $685. PRADA jacket, $2,410, and skirt, $980, CHRISTIAN LOUBOUTIN booties, $1,095, and JENNY BIRD earrings, $75.

Photography by MARK GRIFFIN CHAMPION Styling by ALISON EDMOND 56

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Films with Live Orchestra

Get Out

OCT 30 7:30PM Michael Abels conductor DC6 Singers guest vocalists

Coco

NOV 1 7:30PM NOV 2 7:30PM

SF Symphony

Emil DeCou conductor

Ghostbusters NOV 29 7:30PM NOV 30 7:30PM Peter Bernstein conductor

sfsymphony.org/film SECOND CENTURY

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415.864.6000 Box Office Hours Mon–Fri 10am–6pm, Sat Noon–6pm, Sun 2 hours prior to concerts. Walk Up Grove Street between Van Ness and Franklin.

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HIDDEN GEM Set in the former Brock & Company jewelry store, an old Hollywood mainstay favorited by the likes of Mary Pickford, V DTLA is the new Los Angeles sister restaurant to Stockholm’s “fast fine” dining destination 1889. The all-day eatery serves up Genovese-style sourdough pizza (think beet and arugula with roasted garlic and Gorgonzola); shareable dishes such as eggplant caponata with pork skins, fennel, honey

and lemon oil; and craft cocktails. Inspired by its 1920s lapidary roots, the two-story space is bedecked with indoor palms, mythology-infused murals by Spanish graffiti artist duo PichiAvo, deep jade-hued subway tiles and tufted seating, and refurbished Brock relics, including an original vault turned intimate seating area that is sure to make you feel like a million bucks. 515 W. Seventh St., L.A.; v.restaurant/los-angeles. A.J.B.

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From left: RICK OWENS and MICHÈLE LAMY, 2013. The fashion designer’s new tome, RICK OWENS PHOTOGRAPHED BY DANIELLE LEVITT.

Clockwise from left: A onetime jewelry vault now serves as an intimate dining space at V DTLA. A bird’s-eye view of the restaurant. Beetroot and chèvre pizza in V DTLA’s signature takeout box.

RICK PICS Youth culture documentarian Danielle Levitt trains her lens on the vibrant and curvilinear proportions, monastic layers and postapocalyptic glamour dreamed up by Rick Owens in the past decade for a dynamic new volume, Rick Owens Photographed by Danielle Levitt (Rizzoli New York, $55). From the first image of a step dancer in the San Joaquin Valley-raised designer’s 2014 Vicious women’s collection to the towering headpieces of his fiery 2019 Babel presentation, Levitt captures a range of looks — fierce, contemplative, even ecstatic — all wildly original. E.V.

ART ATTACK Three not-to-miss exhibitions JAMES TISSOT AT LEGION OF HONOR Don’t miss the most comprehensive look at the artist’s career in over 20 years. Oct. 12-Feb. 9, 2020. legionofhonor.famsf.org.

JUDY CHICAGO AT JEFFREY DEITCH Experience a survey of Chicago’s early works, including paintings, drawings, sculptures and more. Through Nov. 2. deitch.com.

RICHARD MOSSE AT SFMOMA Take in imagery captured via heat-vision cameras showing migrant and military interactions. Oct. 26-Feb. 17, 2020. sfmoma.org.

From left: The Artists’ Wives, 1885, 1885, by JAMES TISSOT. Zig Zag, 1965/2019, by JUDY CHICAGO. Incoming, 2017, by RICHARD MOSSE.

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RICK OWENS: DANIELLE LEVITT. JAMES TISSOT: FINE ARTS MUSEUMS OF SAN FRANCISCO. JUDY CHICAGO: JOSHUA WHITE/ JWPICTURES.COM. RICHARD MOSSE: RICHARD MOSSE AND JACK SHAINMAN GALLERY, NEW YORK.

Get the ultimate insiderâ&#x20AC;&#x2122;s guide to The Golden State 12 Issues for $19.95 SHOP.MAGAZINEC.COM

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CHRISTY TURLINGTON BURNS: PAMELA HANSON.

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THE ACTORâ&#x20AC;&#x2122;S A CTO R Feature

Maggie Gyllenhaal is a darling of the critics but a critic of the system. Jane Mulkerrins meets the trailblazer and talent who plays Hollywood by her own rules

Photography by KERRY HALLIHAN Creative & Fashion Direction by ALISON EDMOND 60

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BALENCIAGA top, $2,600.

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MICHAEL KORS COLLECTION dress, $2,390. SALVATORE FERRAGAMO earrings, $790. SYLVIE CORBELIN ring. $4,650. Opposite: PRADA dress, $7,510. OSCAR DE LA RENTA earrings, $350. SYLVIE CORBELIN ring (left), $4,650. Wedding ring, Maggie’s own. JIMMY CHOO pumps, $675. Corset and briefs, stylist’s own.

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“I’m not anti-porn. But there is a human cost to the rampant capitalist business element of it”

hen Maggie Gyllenhaal was told she was about to receive a significant increase in her salary to equal that of James Franco, her co-star in the HBO drama The Deuce, she had, she admits, “a very unfeminist reaction to it, initially.” “I felt guilty, as if it somehow wasn’t fair,” she explains. “It felt so incredibly generous and unexpected to be paid the same as my male co-star. Then I realized, ‘Oh, I’ve been brainwashed.’ Even with my own husband [actor Peter Sarsgaard], I’d think, ‘Oh, he’s getting paid that for this part in this movie; that’s not what I’d be paid for that.’” She mock-shrugs, as if to dismiss the discrepancy as the simple order of things. “I

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really drank the Kool-Aid,” she continues. “Then, quickly, I was very grateful to HBO — not just for the money but for the thinking behind the money.” As radical as it feels for Hollywood’s leading female actors to now, finally, be receiving some pay parity, it’s particularly surprising to hear admissions of an apparent form of financial Stockholm Syndrome from one of the industry’s otherwise most outspoken voices. Gyllenhaal, the 41-year-old star of such indie hits as Secretary, Sherrybaby and, more recently, The Kindergarten Teacher, has a tendency to speak up when others have remained silent: in opposition to the Iraq War, for example, and even in openly expressing disillusionment with Barack Obama. She has become a prominent figure in the Time’s Up movement. “Somebody said to me recently that they were upset that they could no longer compliment a woman on set and tell her how beautiful she looked,” she tells me, with an extravagant roll of her big, round blue eyes. “What a willful misunderstanding of what we intelligent women are after. But people get angry when they have to change.” It’s late morning in the courtyard of a genteel hotel in downtown Manhattan, where Gyllenhaal is currently living while between houses; she and Sarsgaard, having sold their four-story townhouse in Park Slope, Brooklyn, are awaiting the renovation of their new home, also in Brooklyn, to be completed. She sweeps into the lobby looking every inch the A-lister, in enormous sunglasses and a floral Roland Mouret dress. “I’m only wearing this because I just did morning TV,” she explains of her before-noon glamour. We last met exactly two years ago, just as the first season of The Deuce was about to launch and a month or so before the #MeToo movement exploded. It has, she attests, felt like the most extraordinary couple of years. “I do think it was set off by [Donald] Trump being elected and having been caught on tape saying you can grab women’s pussies, and ‘they let you do it if you have power,’ and there being absolutely no consequences,” she says vehemently. “People — women — just went: ‘Oh, really? No f*cking way — we can’t just sit on all this anymore.’” But Gyllenhaal — thoughtful and literary, quoting Charlotte Brontë, Virginia Woolf and Rachel Cusk in the course of a single breath — is not one for pat answers or the simplistic

SAINT LAURENT BY ANTHONY VACCARELLO top, $2,290, belt, $745, and skirt, $2,590. Vintage pearl ring. SYLVIE CORBELIN ring (right), $4,650. Wedding ring, Maggie’s own. Opposite: OSCAR DE LA RENTA gown, $6,890. SYLVIE CORBELIN ring, $4,650.

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“It’s an amazing thing as an actor to use your body in storytelling”

apportioning of blame. “We’ve made cultural agreements to accept certain things, and now we’re going, ‘Oh, no, actually, I don’t want to agree to this anymore,’” she says. “Without the vote or access to so many jobs, women have been forced to use all the tools in their toolbox — which includes sexuality — to get things they want.” She pauses, lifts the lid of the teapot and peers inside. “How many of us haven’t put on a push-up bra and a blouse to try to get a job? That’s not the same as being a sex worker, but it’s not entirely different,” she posits. The taboo subject is of keen interest to Gyllenhaal, since her character in The Deuce, Candy, has, over the course of the past two seasons, gone from being a prostitute to a director of porn films; the show is currently airing its third season. While trying to better understand her character, Gyllenhaal says, “I’ve noticed that there’s an acceptable cultural hatred of sex

workers and people involved in porn. And I think that what we’re really saying with that is: ‘You hold the part of me that I’m ashamed of and that I wish I hadn’t agreed to.’” Charting the rise of the porn industry in New York City, the first season of the series — created by David Simon and George Pelecanos, the pair behind The Wire — took place in 1971, the second in 1977; this third and final season begins in 1985, with the spectre of the AIDS crisis adding an extra layer of public censure and moralizing about sex. “I’m not anti-porn, and I don’t think the show is antiporn,” says Gyllenhaal. “But there is a human cost to the commodification, the rampant capitalist business element of it.” A waiter arrives at our table to see if we want to eat. “Is it lunchtime yet?” asks Gyllenhaal. It’s 11:30 a.m. “I’ve been up for so long already,” she says, shrugs and orders a steak.

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SIMONE ROCHA bustier top, price upon request, and coat dress, $5,250. OSCAR DE LA RENTA earrings, $420, and ring, $220.

Given the sex-heavy storylines of the show, for the making of season two, filmed in the early months of the #MeToo movement, HBO appointed an “intimacy coordinator” — the first network to do so. Again, Gyllenhaal admits her reaction to the hire wasn’t initially positive. She has never shied away from nudity. “I think it’s an amazing thing as an actor to use your body in storytelling,” she says. “My body is definitely in the third season of The Deuce and it looks like the body of a 41-year-old woman, and I think that’s cool.” She continues, “But I believed I’d been managing nudity and sex scenes just fine for 20 years. And then, in season two, Alicia [Rodis, the HBO intimacy coordinator] came in, and, to be completely honest, there was a part of me that felt: ‘I don’t want you messing with what I’ve got sorted. I’ve got my system.’” She lets out a hollow laugh. “Then in season three, I had some real sex [scenes] to do … and I completely changed my tune.” Rodis, she says, brought with her a spectrum of specially made barrier garments to put between the actors and asked pertinent questions never before posed on set, such as whether an actor had her period. “All these things that I just used to manage for myself, she took it all off my shoulders — it was wonderful.” Though she was born in Manhattan, Gyllenhaal’s parents (screenwriter Naomi Foner and film director turned academic Stephen Gyllenhaal) moved to Los Angeles when she was less than a year old, where she and her younger brother, actor Jake Gyllenhaal, grew up, first in Silver Lake, then in Hancock Park. “My very earliest memories are all about the light and the smells — eucalyptus and lemon,” she says. “And I vividly remember all the produce — oranges and avocados — and I do miss that.” But once she hit her teens, she says, “I never felt like I fit in there.” She moved to New York City at 17 to study at Columbia University and, aside from a year back in L.A. making Secretary, has made her home here ever since. She describes herself as “never a massive blockbuster star,” and while her tendencies lean toward the independent (Crazy Heart; Confessions of a Dangerous Mind), she has had commercial as well as critical success in films such as The Dark Knight, World Trade Center and BBC series The Honorable Woman, for which she won a Golden Globe.

“If I’m not dressed properly, I don’t feel like I can work properly”

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She and Sarsgaard, 48, began dating in 2001, married in 2009 and have two daughters, Ramona, 12, and Gloria, 7. The elder, says Gyllenhaal, is already politicized. “She’s a quite serious environmentalist. She’s going to be inheriting the world that we’re creating and, as Greta Thunberg says, ‘The grown-ups aren’t doing anything, so it’s falling on the kids.’” Gyllenhaal, too, is attempting to do her bit, even in the rarified world of the red carpet. “I wore this amazing blue leopardprint dress years ago to the Golden Globes. Then, I was nominated for The Honorable Woman, and I asked them if I could wear it again, and they wouldn’t let me,” she says, horrified. “I know we don’t buy those dresses that we wear on the red carpet, but it’s ridiculous that you wear it once and you’re not allowed to wear it again.” Clothes, she says, have always been important to her, and not simply from a style perspective. “If I’m not dressed properly, I don’t feel like I can work properly,” she says. “I remember in The Honorable Woman being in this knitted turtleneck dress that I was supposed to be in for 15 scenes or something. I did one scene in it and said: ‘This is all wrong. I can’t act in this.’ I’m really good at saying no about that stuff.” That clarity and decisiveness will serve her well in the new direction that work is taking her — on the other side of the camera. Having served as a producer on The Deuce and The Kindergarten Teacher, she has now written an adaptation of Elena Ferrante’s novel The Lost Daughter and will be making her directorial debut with its production. The notoriously reclusive Ferrante, who never gives interviews and whose true identity remains a mystery, communicates only by letter. “So I wrote to her and appealed for the rights to The Lost Daughter,” Gyllenhaal says, forking her steak and spinach into her mouth. “And she gave them to me, on the condition that I direct it.” As endorsements go, it’s not a shabby one. But had she been hoping to direct for a while, I ask. “I don’t think I felt entitled to admit to myself that I wanted it,” she says. What changed? “It certainly has something to do with growing up, turning 40,” she muses. But the role of Candy also contributed. “I mean, I have been playing a director for a couple of years now,” she says and laughs. “I often learn things in my work before I learn them in real life.” •

Opposite: LOUIS VUITTON top, $3,750. BLEECKER AND PRINCE earrings, $1,350. Wedding ring, Maggie’s own.

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Makeup: CHANEL Ultra Le Teint foundation, $60. NARS Velvet Matte lipstick pencil in Mysterious Red, $27. MILK MAKEUP Holographic Stick in Supernova, $28. MAKE UP FOR EVER Aqua XL waterproof eyeliner pencil in Diamond Brown, $21.

SAINT LAURENT BY ANTHONY VACCARELLO dress, $10,500. VHERNIER earrings, $15,400. Hair by SYLVIA WHEELER at Forward Artists using Bumble and Bumble. Makeup by KATE LEE at The Wall Group using Chanel. Manicure by MILLIE MACHADO.

Hair by REBEKAH FORECAST at The Wall Group using Serge Normant. Makeup by VIRGINIA YOUNG at Statement Artists using Milk Makeup. Manicure by SONYA BELAKHLEF using Deborah Lippmann. Production by GHIBLI MEDIA.

BARRE N ON E Feature

As a dancer in Paris and New York, Benjamin Millepied was one of balletâ&#x20AC;&#x2122;s biggest names. So why did he choose to set up a company of his own in L.A.?

Words by DAVID HOCHMAN Photography by KURT ISWARIENKO Creative & Fashion Direction by ALISON EDMOND 70

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BENJAMIN MILLEPIED wears DIOR MEN jacket, $3,900, and pants, $1,000. COS T-shirt, $19, and shoes, $225. Above: Benjamin wears TOM FORD top, $1,590, and pants, $1,920. COS shoes, $225. DAVID ADRIAN FREELAND JR . wears COS top, $89, and pants, $125. APL shoes, $185. JANIE TAYLOR wears COS top, $69, and pants, $125. APL shoes, $140.

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aving retired from the New York City Ballet nearly a decade ago, Benjamin Millepied no longer dances. “Moving around in the kitchen to Stevie Wonder is about as far as it gets,” he says, adding you’re far more likely these days to catch him at a women’s soccer match than practicing his pirouettes. “Megan Rapinoe reminds me of the skills of ballet,” he says of the U.S. soccer team captain. “She can basically move with anything that comes at her.” You can say the same about Millepied. Up on a rooftop in South Los Angeles, he’s watching a pair of lithe performers who represent the future of dance in L.A., a city where, as Millepied puts it, “the history of dance is mostly about failures.” Los Angeles never really supported a major ballet company until Millepied co-founded L.A. Dance Project in 2012. Today, as two of his troupe’s lead dancers trade sweaty glissades and double turns behind

him, the company’s artistic director can pride himself on having built an arts organization even Paris or New York can’t quite match. “Where do I begin, really?” Millepied says about the city’s appeal as a culture capital. At 42, he is delicately built, 5-foot-10 and 160 pounds, but there’s something ruggedly masculine about him. In a taut black turtleneck and black knit pants, Millepied could easily pass for a Tom Ford model. “Everything is possible in Los Angeles,” he says. “On one hand, L.A. is a complete mess — totally chaotic, sprawling, a tangle of contradictions as far as architecture and the distribution of wealth. But there’s humanity and expression and fascination in that. It makes this city endlessly interesting and stimulating to me.” It was Hollywood that first brought Millepied to the general public’s attention, though he was already huge in the dance world. Before he choreographed and performed in

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Feature Darren Aronofsky’s award-winning 2010 film Black Swan — and famously walked away with its star, Natalie Portman, his wife since 2012 and the mother of their two children — Millepied was among the world’s most acclaimed men in tights. Born in Bordeaux, France, in 1977 to a decathlete and a ballet dancer, Millepied started dancing at 5 and by 13 was a standout at the Conservatoire National Supérieur Musique et Danse de Lyon. Later, even before completing his training at the School of American Ballet in New York, where he studied on a scholarship full time, Millepied originated a lead role in West Side Story choreographer Jerome Robbins’ 2 & 3 Part Inventions. By 1995 he was dancing with the New York City Ballet, where he rose to soloist within three years, and principal dancer by 2001. Meanwhile, his choreography landed on stages at the Paris Opera (Millepied served

as director of dance at the Paris Opera Ballet from January 2013 until he resigned in 2016), and the Baryshnikov Arts Center in New York, where he created a solo piece, Years Later, for Mikhail Baryshnikov himself. “I danced for 20 years very intensely and while it was not easy on the body, it opened my life to many, many wonders,” Millepied says. Now his focus is almost exclusively behind the scenes. Millepied, among much else, is adapting and directing the opera Carmen into a feature-length film (due out next year) with a score by Academy Award–nominated Moonlight composer Nicholas Britell. Currently on his mind: A six-week, 13-piece series of L.A. Dance Project performances at the company’s 2245 studio space downtown this fall, featuring a piece created in collaboration with Londonbased, Swedish-owned fashion brand COS. (The series runs through November.) “What I appreciate most about L.A. is how open

David wears COS top, $89, pants, $115, and shoes, $135. Janie wears COS top, $89, bralette, $49, briefs, $49, and skirt, $125. APL shoes, $140.

“L.A. is a tangle of contradictions. But there’s humanity and Feature expression and fascination in that” BENJAM IN M ILLEPIED

running an arts organization in Donald Trump’s America. Three years in a row, the president’s proposed budget plan called for shuttering the National Endowment for the Arts, the National Endowment for the Humanities, and the Corporation for Public Broadcasting. Getting government backing for a group like his is “mission impossible,” Millepied says, which is why he’s grateful for brands that step in with hefty support where D.C. foundations once might have provided the ducats. “With so much going on around immigration, poverty and the environment, people aren’t as likely to donate [to the arts], even though the need for artistic expression has never been greater.” Millepied makes it work. L.A. Dance Project now has 12 full-time dancers and the company performs at venues around the world. This fall’s multipiece series — featuring sets designed by local visual artists such as Njideka Akunyili Crosby and Charles Gaines — includes six world premieres. Among the new works is a piece from choreographer and principal dancer Janie Taylor created in collaboration with COS, which also supplied the costumes. “Benjamin’s desire to take the art form to an audience that might not otherwise see it felt very connected to our values,” says Atul Pathak, a spokesman for COS, whose parent company is H&M. “LADP’s spirit and creativity is exciting, and we were particularly attracted to partnering with them because they are aiming toward younger patrons, and the tickets are incredibly affordable” — as low as $10 for some performances — “making it more open and democratic.” On the ritzier end, a Paris dance production of Romeo & Juliet that Millepied is readying for next May at La Seine Musicale features massive Renaissancestyle sets bejeweled with Van Cleef & Arpels gemstones, and the dancers projected in black and white on a giant screen. With so much on the horizon, it makes one wonder how Millepied finds his center of gravity. I want to inquire about his conversion to Judaism, which he completed a few years after his wedding (he admits that he reads a ton of Abraham Heschel), and about the everyday home life he and Portman enjoy in a leafy little mountain town north of Los Angeles. But by now, Millepied’s turtleneck — I kid you not — is pulled up over his mouth and one eye as he talks. “I really like my privacy,” he says gently, lowering his collar as a smile takes over his face. X

Opposite: TOM FORD top, $1,590, and pants, $1,920. COS shoes, $225. Hair and Makeup by MIRA CHAI HYDE at The Wall Group using Skuff Potion and Caudalie.

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it is to unusual ideas, partly because it’s not overly formal or conservative. You’re not tied to convention here or to ‘we do it this way, and that’s that,’ and that gives you enormous freedom as an artist,” he explains. But there is one area where he’s not so open to expression. Ask Millepied about his private life — what it’s like being married to one of the most famous actors on the planet; what his experience is like, say, walking down the street alone versus with Portman — and the proverbial needle skids across the vinyl. “It’s not something I pay attention to, and it’s really all OK,” Millepied says in response, pulling his turtleneck up around his chin. Millepied and Portman started dating during the filming of Black Swan, and the actor was pregnant when she won the Oscar, sweetly namechecking Millepied during her acceptance speech for giving her “my most important role of my life.” Their son, Aleph, was born in June 2011, and daughter, Amalia, arrived in February 2017. I ask how his children’s lives are different from his own childhood. “Oh, you know, not so different in some ways; very, very different in others,” he says. “They’re children and they’re wonderful.” In fact, the quick snapshot he gives me of his early life sounds like the opening scene of a Tintin adventure. “We were bohemians. We crossed the Mediterranean on a tiny sailboat when I was 4 months old and traveled up the Gambia River to Senegal, where I lived until I was 5. That’s when I started to dance.” His mother was his first teacher and taught him that “dance wasn’t about the audience, and certainly not about money, but more about a wildness of passion and a response to music felt deeply within.” Budgets and boards now require Millepied to stress a bit more over profits, which may explain why he lies low when he’s not working. He says he has no real hobbies other than a little biking and photography, though he acknowledges a weakness for collecting furniture from the Bauhaus period and the arts and crafts movement. Fashion is not especially important to him (“I would describe my style as comfortable, which doesn’t always mean stylish”) and he finds creative inspiration from a broad range of sources: the classical compositions of Nico Muhly, the feminist essays of Rebecca Solnit, vintage tango videos on YouTube. A little later in a downstairs photo studio, Millepied is blunt about how tough it is

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HOME IS WHERE THE ART IS

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How Madeline Stuart designed an entire abode around a worldclass collection of contemporary works

Words by MARTHA McCULLY Photography by TREVOR TONDRO 76

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At one end of the living room of the MADELINE STUART-designed home, a FRANK STELLA painting presides over a neutral textured sofa and a pair of Italian chairs from the 1940s. A CLAES OLDENBURG pie sculpture sits atop the ROBERT KUO side table. The curule-form stools are from New York antiques dealer LEE CALICCHIO.

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The living room was designed to showcase large works of art, like this early MARK BRADFORD painting. Stuart introduced her client to these Jules Leleu armchairs, also in the living room. Opposite, from top: An early ALEXANDER CALDER mobile hangs above a bronze bench by noted French artisan ALEXANDRE LOGĂ&#x2030;. The interior designer.

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hen interior designer Madeline Stuart’s father, the legendary director Mel Stuart, wrapped filming Willy Wonka & the Chocolate Factory in 1970, he gave her a locket with the following inscription: “We are the music makers. We are the dreamers of dreams.” Stuart says, “It’s my father’s directive — and his artistic credo — that I try to put into practice every day.” Stuart has become a master of her own medium, having spent three decades honing her craft and developing a vast knowledge of design, art and architecture — and an impressive portfolio to show for it. But that’s not to say some projects aren’t more challenging than others. For a discerning Southern California couple with a collection of some of the finest and most bankable artists of the last century, from Alexander Calder to David Hockney, Stuart, who is known for layered interiors with rich textures and colors, had to restrain herself and come up with creative solutions to let the art be the star and the furnishings play the supporting cast. “I wanted this house to defer to the collection first and foremost and to not just feel like an art gallery with a few seating areas in it,” Stuart says. So in this classic Georgian white brick house with a crisp contemporary interior, she avoided the “low-slung Italian look. That’s too predictable and cold.” Instead she opted for chic yet calm, with each piece standing in its own right, such as the little Parsons table in the living room. “It couldn’t be simpler, but it just happened to be a Jean-Michel Frank table purchased by Frances Elkins from Frank himself for the Kersey Coates Reed house in Lake Forest, Illinois. To know that just makes me weak in the knees,” says Stuart, who says she is neither a traditionalist nor a modernist, but a lover of authenticity. The owners had raised their family in a traditional Tudor-style house with heavy English antiques without exploring a way to stylistically incorporate the artwork and the furniture. In their new home, they wanted the opportunity for a viewer to stand back and appreciate each Richard Diebenkorn and Frank

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“I wanted this house to defer to the collection and not just feel like a gallery” Stella in its own space without feeling crowded, indeed a unique and wonderful problem to have. So along with her clients, Stuart made subtle design decisions to do just that. The walls are various shades of white. “Donald Kaufman is my go-to,” she says of the custom-blended hues that were carefully chosen to accommodate the light and elements in each room. “A white on the east side of the house is going to look very different than on the west side,” Stuart says. Stuart did upholster the walls in the den with a taupe-y linen fabric so it feels warm and cozy, serving as the perfect backdrop for the Julie Mehretu and Willem de Kooning paintings and Degas sculpture. Architecturally, the backgrounds had to be very clean and subdued, “no cake decoration, elaborate moldings or paneling or anything that would prevent the artwork from being placed or seen to its best advantage,” Stuart says. Oak floors were inspired by gallery flooring. Although wood flooring has gone through extreme swings of late from ebonized to bleached, “these are not dark nor light, just quiet and warm, the color and feeling of what you would find in an art gallery in Paris or New York.” Extremely high ceilings were designed to accommodate artwork, one of the features she worked closely with architect Marc Appleton on, though the Morris Louis and Mark Bradford paintings really dictated the 12-foot height of the living room. These works not only needed to be moved in, but also moved out on loan occasionally. In the dining room (with a Madeline Stuart Collection custom walnut table that expands to seat 24), instead of windows

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CREDIT TKTKT

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In the dining room, ELLSWORTH KELLY paintings frame a ROY LICHTENSTEIN portrait. The walnut dining table can extend to seat 24 and was custom-made by MADELINE STUART COLLECTION.

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Photos excerpted from NO PLACE LIKE HOME: INTERIORS BY MADELINE STUART (Rizzoli New York, $55).

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“Seeing my interiors as backgrounds for works by Richard Diebenkorn and David Hockney is absolute bliss” flanking the fireplace, there are two Ellsworth Kelly paintings. In place of lamps in the living room, which might block the view of the Frank Stella painting, there is a Claes Oldenburg pie sculpture and an Alexander Calder stabile on the tabletops. Similarly, there are almost no window treatments in the house. “They would have been distracting, fussy and unnecessary,” Stuart says. Instead of pattern and color, there’s texture, such as the living room sofas with handwoven linen velvet fabrics by Chapas Textiles of Brooklyn, N.Y. Nubby rugs specially woven by Tai Ping add depth and richness to the room. Though the art really is the star, this also had to be a house for entertaining and family gatherings, or a place where the owners could have a glass of wine and a conversation in the living room, feeling the vibe and soul of great art. “This is definitely a home,” Stuart says. And for her, a dreamcome-true project. “As someone whose fantasy is to own even just a single piece by one of these artists, seeing my interiors as backgrounds for works by Richard Diebenkorn and David Hockney is absolute bliss. Who could ask for anything more?” •

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From top: A sculpture by JOHN CHAMBERLAIN, an Oldenburg teacup and an EDGAR DEGAS bronze are placed on a classic KARL SPRINGER console from the 1970s. Japanese Edo-period bronze vases and an art-pottery bowl sit atop a steel-and-glass table from BLACKMAN CRUZ. Opposite: A JEFF KOONS sculpture rests atop an art book, one of hundreds in an extensive library. The room also includes a 1970s-era parchmentcovered table and classic Cab armchairs.

SAAR POWER Feature

From her Laurel Canyon studio, assemblage artist Betye Saar has played a pivotal role in the foremost cultural movements of the last century. And at 93, she shows no signs of slowing down

Words by MATT STROMBERG Photography by AMANDA DEMME Creative & Fashion Direction by ALISON EDMOND 84

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BETYE SAAR wears GUCCI top, $1,500, and earrings, $620.

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n the sloping hills of Laurel Canyon, Betye Saar’s studio is filled with raw materials. Instead of paint or clay, however, these are the everyday objects the assemblage artist has acquired over the past 50 years at flea markets and garage sales, all organized neatly by type: clocks, birdcages, starfish, globes, wooden chairs and colored glass bottles. Tacked to a wall is a large diagram of the British slave ship Brookes, in which dozens of black silhouettes are crammed tightly together. It is a haunting image underscoring the brutality of slavery that Saar has included in several works. One table holds only red items, including painted wooden slices of watermelon, a derogatory “mammy” figure, and an afro pick, above which a framed Barack Obama “Hope” poster and a red African mask hang on the wall.

“As a kid, I’d always been a collector like most kids are — bits of broken glass, whatever I would find,” she says, sitting on the garden terrace full of succulents, herbs and vegetables that Saar tends herself, separating her modest living quarters from her studio. A blue mosaic grotto composed of bits of broken pottery, seashells and marbles — an ongoing collaboration between Saar and her middle daughter, Alison, also an artist — welcomes visitors outside the entrance to her home. Saar’s method is to weave her collected objects into hybrid sculptures that highlight “the everyday magic of ordinary things,” as she puts it, her voice still full of wonder at the idea. “You know my series on washboards? What can be more ordinary than a washboard? Or a chair? Or table or cupboard? I try to be the magician

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and to transform it into something else that tells another story.” Throughout our conversation, Saar maintains such an impressive recall on her history, bouncing nimbly back and forth between her childhood, early career and her current flurry of activity that you quickly forget she is in fact 93. More than an impassioned storyteller, Saar is best known as a trailblazer who was at the center of both the feminist and black arts movements at a time when being an African-American woman artist was itself radical. Her seminal 1972 work The Liberation of Aunt Jemima was a defining statement of the era, one that appropriated and dismantled a commonplace racist and misogynist trope (that of Aunt Jemima, a symbol of black subservience to a white ruling class) with humor and wit.

HANDS AND DETAIL OF BETYE SAAR STUDIO: AMANDA DEMME. ARCHIVE: COURTESY OF THE ARTIST AND ROBERTS PROJECTS, LOS ANGELES. SKETCHBOOK AND SUPREME QUALITY: MUSEUM ASSOCIATES/LACMA.

“I’m not upset ifFeature I’m accepted or not, I’m not responsible for educating everybody” BETYE SAAR

Clockwise from top left: Sketchbook, 1998, 1998, as seen in “Betye Saar: Call and Response.” Supreme Quality, 1998, also on view in the LACMA exhibition. One of the many collected objects in Saar’s studio. The artist in Laurel Canyon in 1970. Opposite: GUCCI Lion ring, $430. Other rings, her own.

Saar had been invited to create a work for a show at a black cultural center in Berkeley called the Rainbow Sign. “I didn’t have a hero, but I had a ‘she-ro’ and that was Aunt Jemima,” she says. “So I made The Liberation of Aunt Jemima, which became my icon.” Inside a box no larger than a sheet of paper, Saar placed a figurine of Aunt Jemima with bulging eyes, large red lips, a broom in one hand and a rifle in the other. Superimposed on the figure was a caricatured image of Jemima holding a white child, on top of which Saar laid a cutout of a Black Power fist. “Instead of a derogatory image that was a servant, she rebelled against that,” Saar explains. “This was also the beginning of the feminist movement and the beginning of the civil rights movement, so she was just a perfect one to give civil rights to. She was liberated by making her a warrior, and that started me on a whole other trend of doing political pieces, of taking derogatory images and transforming them into warriors, to people of respect.” Four years earlier, Saar had been profoundly affected by the assassination of Dr. Martin Luther King Jr., prompting a deepening engagement with black culture. The sentiment was shared by other African-American assemblage artists in Los Angeles, like Noah Purifoy and John Outterbridge, who had been creating works from the charred rubble of the Watts uprising that reflected the struggle and resilience of the black community at the time. This fall, Saar mounts two significant solo shows on either coast. In September, the Los Angeles County Museum of Art opened “Betye Saar: Call and Response,” a careerspanning exhibition pairing drawings from her sketchbooks with corresponding finished artworks (on view through April 5, 2020). This October, “Betye Saar: The Legends of Black Girl’s Window” opens at New York’s Museum of Modern Art (on view through Jan. 4, 2020). Centered on Saar’s 1969 assemblage piece Black Girl’s Window, the show features 42 works on paper recently acquired by the museum that showcase her innovative printmaking practice. And in November, Saar will be an honoree at LACMA’s annual Art+Film Gala alongside Mexican Oscar-winning director Alfonso Cuarón. This is one of L.A.’s highest cultural honors: Past honorees include Ed Ruscha, David Hockney, Martin Scorsese, Quentin Tarantino and Barbara Kruger. In addition to the major museum shows, Saar’s archives were acquired by the Getty

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GUCCI top, $1,500, skirt, $1,600, earrings, $620, Lion ring, $430, and sandals, $2,490. Other rings (left), her own. Hair and Makeup by DEE DALY at Opus Beauty using Oribe and Chanel Les Beiges.

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Research Institute last year, ensuring that her papers, journals and collections of ephemera will be accessible for future generations. Her Culver City-based gallery, Roberts Projects, has also been working on her catalogue raisonne for the past five years, compiling and digitizing images from a lifetime of work. Although Saar has been well-respected throughout her career, major institutional attention has been elusive. “She was not unknown, but underknown and undervalued,” explains Carol Eliel, curator of LACMA’s “Call and Response.” Given the recent groundswell of attention on her life and work, one wonders: What took so long? “I do feel that being a black woman, coming of age in the ’60s in California, she had three strikes against her,” Eliel says. Saar is not one to dwell in the past, however — she’s too busy creating new work every day and looking ahead. “I don’t know, and I don’t care, as long as it’s happening,” she says. “My focus is making the art and just living. I’m not upset if I’m accepted or not accepted or whatever because I’m not responsible for educating everybody. I think it’s good art, and they finally opened their eyes and saw that.” Saar was born in 1926 in L.A. and moved in with her great-aunt Hattie in Pasadena with her mother and siblings after the untimely death of her father in 1931. The family would periodically visit her paternal grandmother, who lived in Watts, and it was on one of these trips that she had an encounter that would have a profound effect on her. “I saw this man doing these strange things over there,” she recalls. “Simon Rodia was building Watts Towers, but I didn’t know what they were.” Over the course of 30-plus years, Rodia, an Italian immigrant who worked as a construction worker by day, created the whimsical series of cone-shaped towers using only his bare hands and basic tools. He covered them in a colorful mosaic of found objects and debris, including tiles, broken pottery and sea shells. Rodia’s can-do spirit echoed Saar’s own upbringing. “My mother was a creative person: She knew how to sew, so my sister and I learned how to sew,” she recalls. “This was during the Depression, so we made things for gifts, because you couldn’t buy anything, we didn’t have money. … We just knew how to do things with our hands, and that has stuck with me.” Saar studied design at UCLA, graduating in 1949 intent on becoming an interior designer. “Being from a minority family, I never thought about being an artist,” she told the Los Angeles

“Being from a minority family, I never thought about being an artist. But I could tell people how to buy curtains” BETYE SAAR

Times in 2016. “But I could tell people how to buy curtains.” In 1952, she married ceramicist Richard Saar, and the couple had three daughters: Alison and Lezley, accomplished artists in their own right, and Tracye, a writer. When Richard left his ceramics career to become a technical illustrator, the family relocated to Laurel Canyon to be closer to his work. Though she and Richard divorced in 1968, the house they moved into in 1962 is where Saar still lives today. At the time, the landscape was quite desolate owing to a fire a few years earlier. “The houses from my house down to Laurel Canyon had all burnt down,” she says. “But this house had lived through the fire. So I figured, ‘This must be a charmed house.’ It still is.” Laurel Canyon was a counterculture mecca of the period, and the Saars counted several popular rock and folk musicians among their neighbors, including Frank Zappa and Mama Cass. “It was hippie-ville. … Love-ins, so to speak, were the thing for entertainment,” she says with a mischievous grin. Following her time at UCLA, Saar began graduate studies at Cal State Long Beach, working toward a career in teaching design. One day, however, she walked past a printmaking room and was drawn in by the medium. “It just seemed really fascinating, so I started taking print classes,” she recalls. “The whole procedure of getting a plate and making a pattern on the plate and inking the plate, it was kind of a ritual that appealed to me.” She shifted her studies, got her own press and began exhibiting at Koslow

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Gallery in Encino in 1964 and, later, at Ankrum Gallery in L.A. in 1966. The next major milestone in her artistic evolution came in 1967, when she attended a Joseph Cornell exhibition at the Pasadena Art Museum (now the Norton Simon Museum). She was smitten with Cornell’s boxes and his idiosyncratic, yet poetic juxtapositions of items. “This was the first time I’d ever seen an assemblage,” she says. “And I said, ‘I want to make things like that.’ So from that time on I started collecting boxes and curious objects.” A trip to Chicago’s Field Museum in 1970 proved to be another turning point. The museum’s extensive collection of African art expanded the wealth of aesthetic traditions she could pull from. These came to the fore in a 1973 solo show at Cal State L.A., which featured objects that suggested shamanic or ritualistic functions, including paintings on cowhide, drawing on sources from across the African diaspora, including Haiti and the U.S. A replica of the exhibition was recently featured in “Soul of a Nation: Art in the Age of Black Power 1963-1983” at L.A.’s The Broad museum, a wide-ranging survey of politically charged black art of the period. “It was weird stuff, but now, many decades later, that show is kind of the foundation of my work,” Saar told Art In America earlier this year. In the ensuing decades, Saar has straddled two poles: the political and the metaphysical, often combining them in the same work. (“Even in the metaphysical ones, I maybe have a slice of watermelon, or a mammy figure or Uncle Tom figure that refers back to [the political].”) Alongside her more intimate assemblages, Saar has expanded her practice to include large installations, the latest of which will be featured in “Call and Response.” Titled Woke Up This Morning, the Blues Was in My Bed, it consists of a number of blue bottles attached to a folding army cot, which sits on a bed of coal with a blue neon wave. Eliel explains the origin of the work goes back to sketches from 2001, however Saar waited to construct the work until she had a proper place to show it. Touching on themes of spirituality, gender and race, the work seems more relevant than ever, but Saar insists she’s not taking aim at our current political and cultural morass specifically. “No! I don’t want to use my creative energy on that!” she exclaims. “My creative energy goes to what I would like for it to be, the mystical things, the positive things of one world, one people, because that’s the bottom line.” •

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California nameplate necklace, $4,550

California is more than just a place, it’s an attitude. So we set up STATE OF MIND to help you capture its essence. A one-stop shop for the finest made-in-California clothing, accessories, homewares and wellness products, it has all the things we want in our own homes, and our closets, right now.

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D HEY, HEY, SANTA FE A weekend getaway to New Mexico’s art and culture capital

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Discoveries

E R KRYSTA JABCZENSKI/GEORGIA O’KEEFFE MUSEUM

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The historic adobe home and studio of GEORGIA O’KEEFFE in Abiquiu, N.M.

TRAVEL

WELLNESS

MY CALIFORNIA

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here is something in the air in Santa Fe. And it’s not just the smoky scent of piñon wood that permeates every corner of New Mexico’s capital in the evenings, when locals burn the spicy-sweet indigenous plant. The southwestern destination has been gaining popularity among the cultural cognoscenti as a weekend getaway, luring visitors with its heady mix of Pueblo-style architecture, mystical desert landscape, elevated Tex-Mex cuisine, and art- and design-drenched community. We hopped a direct flight from LAX to Albuquerque and drove the 50-mile Turquoise Trail, a

C O V E R I E S

sourced from weaving studios in Chimayo, N.M.). Locals and visitors alike frequent La Reina, the on-site bar, where bartenders recommend mezcal for sipping and mix up finely balanced margaritas. For a luxury alternative, the Four Seasons Resort Rancho Encantado Santa Fe (rooms from $299/night, fourseasons.com/santafe) feels like a true escape. Set amid the Sangre de Cristo foothills, the 57-acre dude ranchturned five-star property has all the makings of a top-tier resort getaway with local touches, including casitas embellished with bold southwestern accessories, beamed ceilings and kiva fireplaces. At the spa, offerings include an altitude adjustment massage, an indulgent mountain spirit purification treatment (think sage smudging and an adobe clay body mask), and the blue corn and honey renewal, a local remedy for desert-ravaged skin. And for an immersive experience, you can arrange for dinner from the in-house fine dining restaurant Terra to be served in the hotel’s teepee, which is said to be positioned on the property’s “spiritual vortex.”

Discoveries Clockwise from above: FOUR SEASONS RESORT RANCHO ENCANTADO SANTA FE overlooks the Rio Grande River Valley. Inside O’Keeffe’s Abiquiu house studio. The SHOP ARCHITECTS-designed SITE SANTA FE museum building. The southwestern desertscape. SHIPROCK SANTA FE gallery is the go-to destination for Navajo texiles, Native American jewelry and more. LA REINA bar is popular with locals for a topshelf margarita come happy hour. A vibrant Mexican feast at PALOMA.

scenic byway that winds through historic mining towns, to spend a weekend in The City Different. Joshua Tree-based husband and wife duo Jay and Alison Carroll (he’s a prolific creative director, she’s a food industry vet, and they’re also behind the olive oil brand Wonder Valley) have worked their magic on the city’s buzziest hospitality offering, El Rey Court (rooms from $149/night, elreycourt.com). Inside a renovated 1936 motel set off of Route 66 (and a 10-minute drive from the historic plaza), whitewashed adobe style pairs with expertly curated modern statements (spanning Dennis Hopper photos to paintings by L.A.-based artist John Zabawa and textiles

Words by MELISSA GOLDSTEIN 92

MAGAZ I N EC.COM

The south field rooms at the lavender-blanketed LOS POBLANOS ranch.

March 2019

PALOMA: JONATHAN TERCERO. KRYSTA JABCZENSKI/GEORGIA O’KEEFFE MUSEUM. SITE: JEFF GOLDBERG/ESTO. SANTA FE LANDSCAPE: MADDY BAKER/UNSPLASH. LOS POBLANOS: DOUGLAS MERRIAM. SHIPROCK: WENDY MCEAHERN.

PLAYING THE FIELD

Start your day at Modern General (moderngeneralonline.com) with green chile cilantro corncakes or an acai bowl washed down with a sweet green juice and browse their selection of design books and thoughtfully crafted kitchen and garden tools. On Saturdays, hit the Santa Fe Farmers Market (santafefarmersmarket.com) at the Railyard, a historic, revitalized section of the city that’s also home to internationally renowned arts organization Site Santa Fe (sitesantafe.org) and a collection of curated shops. At the market, stock up on chiles, snack on a fresh pupusa, or indulge in a local legend: a blue corn blueberry lavender doughnut from Whoo’s Donuts. Nearby you’ll also find a top pick for dinner: upscale Mexican haunt Paloma (palomasantafe.com), where the decor is unabashedly festive, the mole is perfectly seasoned and the tortillas are made from local, landrace blue corn. More than 80 galleries and studios are packed into the Canyon Road Arts District’s half mile. For the best selection of Navajo textiles in town, head to local institution Shiprock Santa Fe (shiprocksantafe.com) — a local institution for over 30 years — where fifthgeneration art dealer Jed Foutz has amassed historic and contemporary Navajo rugs and blankets, Pueblo pottery, folk art and silver and turquoise jewelry. Finally, no cultural figure is more synonymous with Santa Fe than Georgia O’Keeffe; and, indeed, you could spend your entire trip in homage to the iconic artist — from the museum in town devoted to her work, to Ghost Ranch, the site of many of O’Keeffe’s most famous landscapes and now a retreat and education center. If you only have time for one stop, make it a pilgrimage to her home in Abiquiu (okeeffemuseum.org), where the legend’s modern aesthetic and pioneering life philosophy is faithfully preserved. •

Discoveries

The smoky scent of piñon wood permeates every corner

Treat yourself to an overnight at Los Poblanos, a historic inn and organic farm dating back to 1932 that is surrounded by 25 acres of lavender fields in the Rio Grande River Valley and a mere 10-minute drive from downtown Albuquerque. The property’s field-tofork restaurant Campo is a destination in its own right, with seasonal menus featuring elevated, locally inspired bites such as blue corn hushpuppies, and smoked mushroom mole verde. Pack a picnic with provisions (cheese, crackers, pastries) from the Farm Shop, or stock up on lavender salve and sage bundles before you head home. lospoblanos.com.

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BODY PORTRAIT: ALEXANDER STRAULINO/TRUNK ARCHIVE/ PHOTO USED FOR ILLUSTRATIVE PURPOSES ONLY. WILDLING: BRUCE WAINN. ELISSA GOODMAN: EMILY YOUNG.

Wellness

BARING IT ALL Traditional self-care rituals focus on the face. But are you paying enough attention to your breasts? Caring for your face starts at your nipples, or so many facialists say. That may sound funny, but think about it: The chest area is just as susceptible as your face and neck to signs of aging from sun damage, wrinkles, volume loss and more. Extending your self-care rituals further south can reap big rewards with minimal effort, and if your routine needs a little updating, non-invasive options abound. So why not treat your decolletage with the same care as you would your face?

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HANDS ON We know the benefits of regular self-examination, but what about breast massage? “It’s important to keep the lymph nodes and blood circulating freely,” explains herbalist and acupuncturist Gianna De La Torre. The lymphatic system collects excess fluid in the body’s tissue and, after filtering via the lymph nodes — little bean shaped masses that strain away bacteria, waste and toxins — returns it to the blood stream. “Lymph fluid doesn’t circulate on its own, it’s propelled by physical movement and massage,” adds De La Torre, who co-founded Wildling, a gua sha-centric beauty line. She advises to utilize a gua sha tool and breast oil for optimal results. “Massage across the pectoral muscles under the collar bone, out toward the armpit, and up the breast bone. Raise your arm and gua sha up the outside of your breast and around from the areola to the base of the breast,” she says. Repeat daily for a possible volume increase, as healthy breast tissue increases circulation and improves blood flow, and energy “qi” brings nourishment, which increases fullness.

ON THE SURFACE “Skincare is treating the whole organ, not just your face or extremities,” advises celebrity facialist Georgia Louise, who recently opened her first West Coast outpost at AllBright, a ladies-only social club in West Hollywood. She’s amassed an arsenal of tricks to treat a variety of issues: “For fine lines and wrinkles between the breasts and on the decolletage, invest in a silicone overnight patch for immediate results. Microneedling is great for stimulating collagen production and improving product absorption. Red LED lights trigger fiberblasts, great for stimulating collagen, improving skin texture and brightening skin color.” She also recommends Endermologie for help with lymph drainage, providing instant gratification, and Thermatone for skin tightening. “If you’re below a size C, microcurrent treatments can provide a nonsurgical breast lift,” Louise adds.

“Skincare is treating the whole organ, not just your face or extremities”

Wellness G EORG IA LOU ISE

WILDLING cofounders (from left) GIANNA DE LA TORRE, JILL MUNSON and BRITTA PLUG.

DOCTOR’S ORDERS Dermatologist Dr. Ava Shamban’s proven techniques achieve noticeable results, sans implants. Treatments include the Fraxel Dual, and Ultherapy for the decolletage (improves the appearance of lines and wrinkles), as well as glycolic acid and salicylic acid peels to brighten the skin and soften its texture. “We also do absorbable thread lifts,” Shamban shares. “They’re inserted just below the dermis. Perfect for a subtle lift. Injections of Restylane or Juvéderm under the areola give a nice little perk-up.” Nano-color infusion artist Dominique Bossavy concurs, saying, “I perform nipple blushing to change color, asymmetry, size or shape — even the positioning of the areola area, giving nipples a youthful appearance.” Bossavy also excels at stretch mark and scar camouflage, restoring skin color and texture.

ELISSA GOODMAN

YOU ARE WHAT YOU EAT “Eating with breast health in mind can reduce breast cancer risks and translate into other areas,” explains holistic nutritionist and author Elissa Goodman. “Follow a Mediterranean (mostly plant-based) diet, maintain a high intake of vegetables and fruit in whole form, prioritize highfiber foods, eliminate processed foods, limit unhealthy fat and sugar intake. An excess of hormones contributes not only to breast cancer, but to fibrocystic breast disease (cystic breasts). Adopting these eating guidelines helps support the body in naturally balancing hormones,” she explains, which can translate into feeling better overall, improving PMS symptoms and helping to minimize breast cysts. Up your intake of cruciferous veggies (broccoli, Brussels sprouts and cabbage), and healthy fats (olive oil, avocados and nuts) for additional benefits. elissagoodman.com.

WE L L N E S S

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BREAST FRIENDS

The lotions, potions and tools to add to your skincare routine

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BIOLOGIQUE RECHERCHE CRÈME RÉPARATRICE

ENVIRON COSMETIC BODY ROLL-CIT

Loaded with peptides, this moisturizing cream tones and protects the epidermis while invigorating and tightening areas where the skin lacks tone and can appear loose. $88/3.4 oz., biologique-recherche.us.

A hand-held, stainless steel, doubleheaded micro-needling device that is used on the decolletage and breasts to simulate collagen production. $200, dermaconcepts.com.

3. JOOVV MINI

WILDLING EMPRESS STONE

This professional grade, at-home device delivers noninvasive, red light therapy to reduce inflammation and boost natural collagen production. $695, joovv.com.

This gua sha tool is made from Bian stone, which can produce negative ions to help with anti-aging. $65, wildling.com.

4. Wellness

JANINE MAHON BREAST OIL

SIO SKINPAD

This proprietary blend of organic, wild-harvested Chinese herbs and natural ingredients has been formulated to direct healing to breast tissue. $87, drjaninemahon.com.

Wear this medical-grade silicone patch between your breasts for up to two weeks and treat your skin to a deeply hydrating treatment. $30, siobeauty.com.

MAURA TIERNEY Emmy-nominated, Golden Globe-winning actor Maura Tierney is busier than ever. With a recent run at the Geffen Playhouse in Witch, and the final season of The Affair on Showtime, Tierney’s next project, The Report, debuts in November. “I’m proud to be part of this film, the story of Daniel Jones, who investigated the CIA’s alleged use of torture on detainees.” Having left breast cancer in the dust, Tierney stays sane and centered with Transcendental Meditation, a specific form of silent mantra meditation. “When I’m practicing properly (twice a day for 20 minutes), it’s incredibly helpful, and its effects are cumulative, so you have to do it,” she explains. Tierney’s quest to maintain balance includes losing herself in a great book, and her ideal day “involves a hike in Malibu, then a bite at Malibu Seafood.” And she’s learned the ultimate in modern self-care: “When I put my phone down, my life improves dramatically. I try to remember that.”

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WILDLING: BRUCE WAINN. MAURA TIERNEY: ERIC HOBBS.

SHOPPING GUIDE

rose gold and black Spinel gemstone brooch, $28,400, Hermès, Beverly Hills, 310-278-6440. Chanel metal, glass, and strass brooch, $800, Chanel, Beverly Hills, 310-278-5500.

ON OUR COVER

Maggie wears Loewe pearl sweater, price upon request, similar styles available; loewe.com. Vintage pearl ring.

SILVER LININGS

WILD THINGS

p.38 David Webb zebra bracelet with cabochon rubies, diamonds, and black and white enamel, $69,500; davidwebb.com. Alexandre Birman Dora heels in pony, $795, similar styles available; alexandrebirman.com. Altuzarra Chandi black and white zebra printed sandals, $1,595; altuzarra.com. Oscar de la Renta black and white printed baby Tro bag, $2,190; neimanmarcus.com. AGL animal print booties, $656; agl.com. Dolce & Gabbana Leo printed bag, $2,495, Dolce & Gabbana, Beverly Hills, 310-888-8701; dolcegabbana.com.

p.56 Balenciaga gray silk Fluid Ring top, $1,850, gray faux leather Kick pencil skirt, $1,990, and gray lambskin BB gloves, $895, Balenciaga, Beverly Hills, 310-854-0557. Red Valentino gray wool cloth Longline coat, $1,140, Valentino, S.F., 415-772-9835. Jennifer Fisher tube ring, $195; jenniferfisherjewelry. com. Co pocket tunic in gray top, $825, and culotte pants in gray, $795, A’marees, Newport Beach, 949-642-4423. Jenny Bird Icon hoop earrings, $60; jenny-bird.com. Gucci Smoke gray gabardine trench coat, $3,700, and Smoke gray gabardine gloves, $690; gucci.com. Sportmax two-piece knitted top and dress, $1,675 (sold together); sportmax.com. Cuyana wool cashmere beanie, $65; cuyana.com. Stella McCartney Eclypse glitter sneakers, $685; saksfifthavenue.com. Prada jacket, $2,410, and skirt, $980, Prada, Beverly Hills, 310-278-8661. Christian Louboutin Sandrine silver lurex booties, $1,095, Christian Louboutin, Costa Mesa, 714-754-9200; christianlouboutin.com. Jenny Bird Beau drop earrings, $75; jenny-bird.com.

SILK SCREEN

THE ACTOR’S ACTOR

TABLE OF CONTENTS

p.22 Maggie wears Balenciaga long draped top in leopard printed crushed satin, $2,600, Balenciaga, Beverly Hills, 310-854-0557. LADP dancers wear all COS clothing and APL shoes, COS, Beverly Hills, 310-734-3472; cosstores.com, and athleticpropulsionlabs.com.

p.42 Versace Baroque printed top, $1,000, Greca trim silk dress, $4,050, and Virtus ring, $225, Versace, Beverly Hills, 310-205-3921; versace.com. Burberry orange and tan embossed small TB envelope clutch, $2,490; us.burberry.com. Lanvin long asymmetrical scarf dress, $4,990, Lanvin, Beverly Hills, 310-4020580; lanvin.com. Tamara Mellon Frontline 105 sandals in white patent, $395; tamaramellon.com. Jonathan Simkhai wrap camisole Handkerchief Hem dress in Midnight, $895, Jonathan Simkhai, L.A., 424-284-3071; jonathansimkhai.com. Alexandre Birman Vicky 100 sandals, $595; alexandrebirman.com. Hermès Bleu Noir woven dress, $5,450, and Clic Clac Mod Marin silk scarf, $335, Hermès, Beverly Hills, 310-278-6440; hermès.com. Maje M Duo Croco bag, $360; us.maje.com. Oscar de la Renta floral crest charmeuse fringed gown, $6,490; Oscar de la Renta, L.A., 323-653-0200; oscardelarenta. com. Cuyana silk striped scarf, $45; cuyana.com. Tamara Mellon Frontline 105 sandals in Honey nappa, $395; tamaramellon.com. Salvatore Ferragamo silk printed top, $1,250, and silk printed pants, $1,190, Salvatore Ferragamo, Beverly Hills, 310-273-9990; ferragamo. com. Jenny Bird Icon hoop earrings, $60; jenny-bird. com. Alexandre Birman strappy 100 multicolor Python sandals, $595; alexandrebirman.com.

p.61 Balenciaga long draped top in leopard printed crushed satin, $2,600, Balenciaga, Beverly Hills, 310854-0557. p.62 Michael Kors Collection gold and black metallic jersey ruched dress, $2,390, Michael Kors Collection, Beverly Hills, 310-777-8862. Salvatore Ferragamo Geometric glass earrings, $790; ferragamo.com. Sylvie Corbelin Oeuvre Au Noir black and gold ring, $4,650, Just One Eye, L.A., 323969-9129. p.63 Prada lace dress, $7,510, Prada, Beverly Hills, 310-278-8661. Oscar de la Renta Cayenne embroidered heart earrings, $350; neimanmarcus.com. Sylvie Corbelin Oeuvre Au Noir black and gold ring, $4,650, Just One Eye, L.A., 323-969-9129. Jimmy Choo Anouk red velvet pointy-toe heels, $675; jimmychoo. com. p.64 Saint Laurent by Anthony Vaccarello loose ruched leopard print top, $2,290, and large corset belt, $745, Saint Laurent, Beverly Hills, 310-271-5051; ysl.com, and Saint Laurent by Anthony Vaccarello Plissé velvet maxi skirt, $2,590; net-a-porter.com. Sylvie Corbelin Oeuvre Au Noir black and gold ring, $4,650, Just One Eye, L.A., 323-969-9129. p.65 Oscar de la Renta Amber velvet one-shoulder gown, $6,890, Oscar de la Renta, L.A., 323-653-0200. Sylvie Corbelin Oeuvre Au Noir black and gold ring, $4,650, Just One Eye, L.A., 323-969-9129. p.66 Simone Rocha black Wallpaper bustier top, price upon request, and black Wallpaper bell coat dress, $5,250; simonerocha.com. Oscar de la Renta Cayenne bud pavé flower branch earrings, $420, and Cayenne cameo ring, $220; neimanmarcus.com, Oscar de la Renta, L.A., 323-6530200. p.69 Louis Vuitton embroidered leopard top, $3,750, Louis Vuitton, Beverly Hills, 310-859-0457. Bleecker and Prince black Madam earrings, $1,350, bleeckerandprince.com. Makeup: Chanel Ultra Le Teint foundation, $60; chanel.com. Nars Velvet Matte lipstick pencil in Mysterious Red, $27; narscosmetics. com. Milk Makeup Holographic Stick in Supernova, $28; milkmakeup.com. Make Up For Ever Aqua XL waterproof eyeliner pencil in Diamond Brown, $21; makeupforever.com.

BARRE NONE

p.71 Benjamin wears Dior Men gray striped jacket with satin scarf, $3,900, and gray striped pleated pants, $1,000, Dior, Beverly Hills, 310-247-8003. COS navy t-shirt, $19, and dress shoes, $225, COS, Beverly Hills, 310-734-3472; cosstores.com. Benjamin also wears Tom Ford black silk turtleneck, $1,590, and black mohair silk satin Atticus pants, $1,920, Tom Ford, Beverly Hills, 310-270-9440. COS dress shoes, $225, COS, Beverly Hills, 310-734-3472; cosstores.com. David wears COS white top $89, and gray pants, $125, COS, Beverly Hills, 310-734-3472; cosstores.com. APL TechLoom Phantom Reflective sneakers in silver, white, and black, $185; athleticpropulsionlabs.com. Janie wears COS white tank top, $69, and gray pants, $125, COS, Beverly Hills, 310-734-3472; cosstores.com. APL TechLoom Pro Cement sneakers, $140; athleticpropulsionlabs.com. p.72 David wears COS pink top $89, purple pants, $115, and purple sneakers, $135. Janie wears COS maroon top $89, maroon bralette $49, maroon brief bottoms $49, and maroon skirt $125, COS, Beverly Hills, 310-7343472; cosstores.com. APL TechLoom Pro Simply Rose and white sneakers, $140; athleticpropulsionlabs.com. p.75 Benjamin wears Tom Ford black silk turtleneck, $1,590, and black mohair silk satin Atticus pants, $1,920, Tom Ford, Beverly Hills, 310-270-9440. COS dress shoes, $225, COS, Beverly Hills, 310-734-3472; cosstores.com.

HOME IS WHERE THE ART IS

p.76 No Place Like Home: Interiors by Madeline Stuart (Rizzoli New York, $55).

Shopping Guide

PUFF LOVE

p.48 Bottega Veneta padded bag in Paper Calf, $2,480; bottegaveneta.com. Versace Virtus quilted shoulder bag, $1,725; versace.com. Givenchy small GV3 bag in Vermilion, $2,590, Givenchy, Costa Mesa, 714-545-2185. Maje yellow quilted bag, $195; us.maje.com.

MADELINE STUART: TREVOR TONDRO/RIZZOLI.

PIN INTEREST

p.54 Oscar de la Renta gold coin brooch, $190, Oscar de la Renta, L.A., 323-653-0200; oscardelarenta.com. Dolce and Gabbana brass and gemstone tie pin, $525, Dolce & Gabbana, Beverly Hills, 310-888-8701. Hermès Chaine D’Ancre Punk

SAAR POWER

p.85 Gucci dark gray vintage silk crepe de chine long sleeve shirt with bow tie, $1,500, and lion head earrings with pearls, $620, Gucci, Beverly Hills, 310-278-3451. p.86 Gucci lion head ring with Swarovski, $430, Gucci, Beverly Hills, 310-278-3451. p.88 Gucci dark gray vintage silk crepe de chine long-sleeve shirt with bow tie, $1,500, satin black matte sable skirt, $1,600, lion head earrings with pearls, $620, lion head ring with Swarovski, $430, and suede sandals with crystals, $2,490, Gucci, Beverly Hills, 310-278-3451.

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C A L I F O R N I A

date night. We get the pate, crab pasta, lamb neck and more.

Favorite hotel? Nobu Ryokan in Malibu. The architecture is serene but stunning.

C O

Favorite drink? Don Julio 1942 with a huge cube of ice.

Clockwise from left: ALI WONG, whose new book, Dear Girls (Random House, $27) comes out Oct. 15. BESTIA’s calamari dish. NOBU RYOKAN in Malibu. DITA Narcissus sunglasses, $550. BIRD BROOKLYN boutique in Culver City. The PURISIMA CREEK REDWOODS. ALEXANDER WANG booties, $550. San Francisco’s DE YOUNG MUSEUM.

E R I E S

Where do you live? Los Angeles. I went to UCLA and am very lucky all of my girlfriends from college live here as well. What makes it special? The beach. The Chinese food in the San Gabriel Valley, the Vietnamese food in Orange County, the Korean food in Koreatown. Where did you grow up? In San Francisco’s Richmond District and Pacific Heights. I spent a lot of my summers in Chinatown and in Golden Gate Park. My family is still there. Favorite hike? Purisima [Creek Redwoods] in Half Moon Bay. It’s shaded, and we love eating afterwards at Cooking Papa. Favorite restaurant? Bestia is our go-to spot when my husband and I are overdue for a

Favorite museum? The de Young Museum. They always have great exhibits, and then I love walking with my kids to the arboretum. Favorite show venue? The Punchline San Francisco comedy club was like graduate school for stand-up.

ALI WONG The Netflix stand-up sensation and author of Dear Girls shares her Golden State favorites

Favorite market? 99 Ranch! My heart beats fast whenever I see one, and I could spend hours in their produce section.

My CA

Last show you saw that impressed you? Janet Jackson in Las Vegas. She’s 53 and tours with a toddler and performs all the hits, and it’s all very impressive. Where do you take visiting friends? The Huntington [Botanical] Gardens near Pasadena, and then to Dai Ho afterward for incredible Taiwanese food. What do you wear by day? My Sandy Liang fleece; an Opening Ceremony varsity jacket; 7115 by Szeki dresses and jumpsuits. What do you wear by night? I love Kaarem. Their clothes are so comfortable and easy to wear. When I want to be a little more tough I’ll wear my Alexander Wang dress and booties. Favorite boutique? Bird Brooklyn at Platform LA in Culver City. I call it a black hole because once I go in, I don’t really come out. Favorite sunglasses? Dita Narcissus or Barton Perreira Mystere. Favorite drive? Cruising around Venice during sunset, listening to KDay. •

ALI WONG: STEPHANIE GONOT. BESTIA: SIERRA PRESCOTT. NOBU RYOKAN: BARBARA KRAFT. BIRD BROOKLYN: SPENCER STARNES. PURISIMA: DAN MEYERS/UNSPLASH. DE YONG MUSEUM: RANDY DODSON/ THE FINE ARTS MUSEUMS OF SAN FRANCISCO.

High Camp

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Louis Vuitton