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â€œWhenever you find yourself on the side of the majority, it is time to pause and reflect.â€? M a r k T wa i n
DONâ€™T BE ANTISOCIAL F O L LO W M A X I M E V E RY W H E R E
A SK M A X IMUS
Marc Lagrange’s legacy lives on through his timeless images
Our Dictator of Decorum on fashion’s biggest faux pas
The long journey of the NBA’s classiest act
REL A X ED FIT
Put yourself at ease with these perfect accessories
Our fearless small-town cover girl takes on the big city
DI A LED IN
Exquisite timepieces suited for any lifestyle
How a cinematic icon became a business mogul
PERFEC TLY P OLISHED
Elegance goes custom in Ferragamo’s new shoe line
Eat, drink, and play in the world’s power capital
PE A K OIL
Enhance your grooming arsenal with these superb oils
How he built a $50 billion information empire
New York’s hottest cocktail bars elevate the highball
Breaking all the rules to reimagine a classic car
PICK YOUR P OISON
The Hennessey Venom GT conquers the world
Timeless fashion for the modern man
CA RMELO A NTHON Y
H A NN A H FERGUSON
ROBER T DE NIRO
DE S TIN ATION: NE W YORK
MICH A EL BLOOMBERG
P OR SCHE 356 OU TL AW
PA L ZILERI
On the cover: Hannah Ferguson wears a cover-up by L’Agent by Agent Provocateur, a necklace and bracelet by Bulgari, and a V-string panty by Victoria’s Secret. Photographed by Gilles Bensimon.
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The Leading Voice in Men’s Luxury Lifestyle
Sardar Biglari Editor-in- Chief
editor-at-large Glenn O’Brien
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Guillaume Bruneau Mitch Moxley
special lifestyle editor A lessa ndr a A mbrosio
publisher, group media president vice president, integrated sales
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Dan Ragone Susan Kilkenny Olivia Perry
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manager, licensing & int’l. publishing
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Grace Gomez Brea Tim O’Keefe Jim Young Dana Lombardi Jonathan J. Bigham
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MAXIMUS Dictator of Decorum
Being young isn’t easy. Young men have pimples. Their budding beards resemble peach fuzz. Their penis seems to have a mind of its own. But their biggest style issues are not physical. Consider the plight of a generation with parents desperate to be as young as their offspring. Many of our youth were raised not by actual parents but by the television they were plopped in front of. Even worse, they have no tradition to follow, and so they go, clueless, from sweats and flip-flops into a world of work they are ill prepared for. But even after we’ve finally acquired some grasp on how to present ourselves to the world, age begins to assail us with a whole new set of problems. Here’s a question from Max Blagg, the distinguished New York poet who has a long history of breaking ladies’ hearts, demonstrating that even stylish heartthrobs have their dilemmas. Dear Maximus, My hair is going gray but I still feel young at heart. Why do most male hair-dye jobs look so fake and cheap and tell
the world you are a desperate old feller trying to retain an appearance of vigorous youth? Should I simply accept my silver daddy status, or is there a miracle rinse that won’t make my hair look like peed-on straw? —Max I might as well just come out and say it: A mature man who dyes his hair may think he’s pulling it off but he’s usually fooling no one. And his efforts to stay young may just make him look vain. Seventy-five percent of American women color their hair, but there’s no taboo for them. Gentlemen prefer blondes, after all, and studies show that blondes not only have more fun but they also make more money. Hair never stops growing. Two days after your dye job, here comes the gray. Women can get away with showing roots. Men are busted for impersonating youth, which bears a burden of shame. And the worst thing is that dyeing is addictive. How do you stop and revert to your natural state? Men’s hair dye hooks you like heroin. I never got a compliment on my hair color until I went gray, and the whiter I got the more acclaim my Kilimanjaro snowcap earned. I’m convinced that white hair actually makes me look younger. But I know what you’re talking about when you mention the peed-on straw problem. White is not blonde. If your gray has a yellow cast, you run the risk of resembling a dirty old man. You want a blue tone, not a yellow one. Use a shampoo and rinse that brings out the silver. I recommend Phytargent by Phyto Paris. You can also target that pee-on-straw yellow with a rinse made of apple cider vinegar and water, a tablespoon to a gallon. Or you can steal your blonde girlfriend’s Shimmer Lights by Clairol. You’ve said that a man shouldn’t wear suspenders with trousers that have belt loops. Why not? Well, there are worse faux pas in dressing—like wearing suspenders and a belt simultaneously, the sure sign of a pessimist—but those empty loops lurking below those look-at-me suspenders tend to make you look indecisive. Are you a belt guy or a braces guy? Make up your mind! If you insist on trousers with suspender capability and an alternative form of levitation, consider side tabs, which adjust the waist like a belt but, being made from the suit’s fabric, are almost invisible. I see more and more guys going sockless, even with suits, even in autumn. Do you approve? I’m okay with no socks with boat shoes. On a Colum n b y Gl e nn O ’ Br ie n Ill us trations by Je a n- Ph il iP Pe De l hO m m e
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boat. Don Johnson pulled it off on Miami Vice. But these fashion-professional dudes one espies at dandy conclaves such as Pitti Uomo look all wrong to me with their exotic suits, ties, and four-figure shoes—they look funny going sockless. I guess it’s supposed to look sexy, but to me it looks smelly. Now, if I see a guy who’s not dressed to the nines walking around with no socks, I think: bachelor, probably hung over, hasn’t done laundry in two weeks. There is one exception: If you like to wear shorts on the golf course, it’s understandable that you’d want to avoid a mid-calf tan line, but rather than going blisteringly sockless, wear shorty socks for aesthetics and foot health. We’re seeing sweatpants and tracksuits becoming high-end fashion. What’s up with that? Is this a fad or the future? Tracksuits are inherently ironic in that they were created for athletes and wound up as dayto-day clothing for the obese and physically unfit. I first noticed the nonsporting sweatpants on portly airline passengers, and then they began to become fashionable among wiseguys and bodyguards, but who would have thought the look would become popular beyond the Sopranos set? But the massive popularity of active sportswear really came on the heels of the deluxe gym shoe. It was probably inevitable once Nike’s Air Jordan pioneered the status sneaker, creating a “top this” imperative that eventually led to five-figure kicks that made the finest, bench-made Brit shoes seem like paltry flipflops. They are promoted at great expense by giant corporations and collected like art, complete with limited editions. These were the shoes of hip-hop and therefore the youth, and if there was a revolution in shoes, it made sense that a revolution in clothing would follow, as the fashion leaders of hip-hop and hoops dressed for comfort and exclusivity. Today the activesportswear industry has become one with the high-fashion industry, and a who’s who of fashion designers have adopted the once humble gym shoe as a vital part of their repertoire— think Fendi, Givenchy, Kenzo, Comme des Garçons, Issey Miyake, Maison Margiela, et al. Sneakers were followed by hoodies, and suddenly we are seeing designers creating sweatpants as part of the contemporary suit. That thing dangling over the crotch? A drawstring, of course! What did you expect? Fashion historians might recall that Jean-Paul Goude, the great French art director, sported this look 40 years ago, but he wore his cut off and with a T-shirt with shoulder pads. If we are becoming a leisure society, it makes sense that we’ll
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Dyeing your hair isn’t fooling anyone. If anyone says anything about gray or silver, just tell them it’s titanium or maybe white-hot.
indulge in conspicuous relaxation. The artist Julian Schnabel tried pajamas as his full-dress mode, but maybe sweats will ultimately demonstrate that we don’t sweat for a living. I have been asked to attend a wedding in Scotland, and to wear formal Scottish attire.
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Is it okay to go full mackintosh and have nothing between my balls and the heather under my kilt? Sounds like fun. I have no personal experience in this area, but I am pretty sure that you’d best avoid going commando, not only for comfort’s sake but also to avoid incident after hitting
the malt. Scottish civilians wear knickers more often than not these days, but Scot soldiers are still required to let no Calvins come between them and their kilts, unless the duty of the day involves dancing or gymnastics, both of which might occur should the Highland Fling get really flung.
Send questions for Maximus to AskMaximus@maxim.com. Follow Glenn O’Brien on Twitter @lordrochester.
Even during leisure time, the modern man needs to be appropriately equipped P h o t o g ra p h e d b y M AR K P L AT T S t y l e d b y AN D R E W P O RT ER
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1. Headphones, BOSE. 2. Eau de parfum, TOM FORD. 3. Phone case, BRUNELLO CUCINELLI. 4. Sunglasses, G-STAR. 5. Boxed game of dice, LOUIS VUITTON. 6. Watch, GARMIN. 7. Flask, TOMMY BAHAMA. For more information, see page 94.
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COURTESY OF THE BR ANDS
Whether youâ€™re a driver or a diver, these timepieces combine form with function
Crafted from lightweight and strong Grade 5 titanium, an alloy, the racing-inspired LINDE WERDELIN SpidoSpeed Titanium chronograph balances the complexity of its design with a monochrome palette, making this limited-edition timepiece (only 99 were produced) a masterpiece of understated style. 16
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Tudor Heritage Black Bay
Longines Heritage Military COSD
The TUDOR Heritage Black Bay looks as good on land as it functions under the sea: a perfect watch for ocean explorers and desk divers alike. Inspired by a watch worn by British paratroopers during World War II, the LONGINES Heritage Military COSD is a beautiful homage to the original. The broad arrow found below the Longines logo indicated British government property in wartime. Cased in brushed titanium, the OFFICINE PANERAI Luminor 1950 Regatta 3 Days Chrono Flyback Automatic Titanio features a three-day power reserve, flyback chronograph, and regatta countdown capability. It was built for ocean racing but is equally comfortable sailing into the weekend. The TAG HEUER Monza Calibre 17 was originally designed in 1976 to commemorate Niki Lauda’s 1975 TAG Heuer Monza Calibre 17
Officine Panerai Luminor 1950 Regatta 3 Days Chrono Flyback Automatic Titanio
Formula 1 World Championship win. This 40th anniversary model brings the cult classic back to life while keeping Heuer’s racing tradition alive. Constructed from titanium and carbon fiber, complete with a DLC-coated black bezel, the MONTBLANC TimeWalker ExoTourbillon Minute Chronograph is a lightweight and highly resistant timepiece. Combine that with the high-performance Manufacture Calibre MB R230 movement and you have a watch that can take the wear and tear of city life without losing a second. Limited to a run of 1,884 units, the BREITLING Navitimer 1884 pays homage to Breitling’s history. In addition to its day, date, and month display, this timepiece features the circular slide rule that has made the Navitimer invaluable to pilots for generations. For more information, see page 94.
Montblanc TimeWalker ExoTourbillon Minute Chronograph
Breitling Navitimer 1884
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Salvatore Ferragamo’s bespoke men’s footwear stands on tradition and exquisite detailing
Salvatore Ferragamo will always be a revered authority on traditional, handcrafted footwear. For almost 90 years, the Italian luxury fashion house has been producing world-class dress shoes, including its Tramezza line. Launched 20 years ago, Tramezza—which literally means “something in between”— features an extra sole, resulting in the ultimate in fit and comfort. Now the designer has established the Tramezza Made to Order program, offering fortunate customers the opportunity to obtain bespoke creations in one of three classic styles—the Oxford, the Monkstrap, and the Monkstrap Boot—based on each customer’s personal preferences. Clients can customize style, material, color, and buckle finish. Regardless of individual distinctions, Ferragamo adheres to the underlying values that made it famous: traditional handcrafting, exquisite attention to detail, and the highest-quality premium materials. —Keith Gordon
CO U RT E SY O F F E R R AGA M O
The Tramezza Made to Order program offers customized Oxfords, Monkstraps, and Monkstrap Boots
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From hair to beards, shaving to bathing, oils are an essential component of any man’s grooming arsenal P h o t o g ra p h e d b y M AR K P L AT T S t y l e d b y AN D R E W P O RT ER
No. 7 No. 3
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1. Beard Oil, PRORASO. 2. Pre-Shave Oil, THE ART OF SHAVING. 3. Gold Lust Hair Oil, ORIBE. 4. Superbly Restorative Argan Dry Oil, KIEHL’S. 5. Peach Nut Oil Cleanser, C.O. BIGELOW. 6. Pure-Formance Composition Oil, AVEDA MEN. 7. Oil Bath, SUSANNE KAUFMANN. 8. Shave Oil, REFINERY. For more information, see page 94.
HIGH ROLLING Why the humble highball is all the rage at NYC’s coolest cocktail bars
Odds are you’ve been drinking highballs since you’ve been drinking. Gin and tonic? Highball. Vodka soda? Highball. Rum and Coke? You guessed it. By simple definition, it’s a combination of booze and something fizzy— not shaken, not stirred, just poured in—and served in a highball glass with ice. Long ignored by the drinking establishment, highballs have improbably become the darling of cocktail bartenders in one of the most fickle drinking cities on Earth: New York. The reason is that bartenders secretly love to drink them. They’re quick, they’re not too boozy, and they taste good. As a result, a new wave of highballs is turning the basic construct on its head. Blacktail, the new Prohibition-themed, Cuba-inspired spot on Battery Park’s Pier A from Dead Rabbit creators Jack McGarry and Sean Muldoon, is the leader of this movement. Through extensive trial and error, bar manager Jesse Vida devised an eight-drink roster of highballs that involve a good deal of mixology magic—twists like enormous ice cubes, dry (not sweet) specialty sodas, and a technique that involves stirring while adding the fizz. At Blacktail, a Rum & Cola is made with Champagne, and the Vodka & Celery uses Dr. Brown’s Cel-Ray soda (celery-flavored, and not as bad as it sounds); verjus, which is made of unripe wine grapes; and citric acid. The combination is refreshing and light, like all good vodka sodas, but with just enough tartness to make it sing. At Chumley’s, a beautifully restored 1920s speakeasy tucked in the West Village, bar manager Jessie Duré is using top-shelf spirits to craft anything-but-basic highballs. Each option will feature an original recipe, but the menu will also recommend alternatives designed to amp up the drink’s flavor profile. Order the Chaplin—a Bowmore 12-year scotch highball with Contratto Fernet and specially crafted chocolate ice— and swap in Paul John Edited whisky, a world-class single malt made, surprisingly, in India, which imparts the drink with a smokiness and mint character. “It’s fun to confound people’s expectations about what you can and cannot do with certain spirits,” says Chaim Dauermann, managing bartender at The Up & Up, a Greenwich Village bar known for its smart, inventive cocktails. He makes his appropriately named Insanely Good Scotch & Soda with Bruichladdich’s limited-production Islay Barley scotch and a dash of orange bitters, a welcome reprieve from the anonymous blended scotch you’ll find in the well at most bars. “We’ve pushed the envelope so far into the extreme and the obscure,” Dauermann says, referring to the byzantine cocktails that crowd most drink lists. “This is a way to loosen your tie a little bit and give people permission to order and enjoy simple drinks and still feel like they’re having the same experience as everybody else.” —Megan Krigbaum
2 dashes Angostura bitters ¼ ounce lemon juice ½ ounce simple syrup ¼ ounce Rabarbaro Zucca amaro 1½ ounces rye whiskey Ginger beer or ginger ale
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To a highball glass, add bitters, lemon juice, simple syrup, amaro, and whiskey. Add ice and stir until combined. Throw in more ice and, while stirring, top off with ginger ale or, for a spicier drink, ginger beer.
courtesy of the up & up
Blacktail’s rye & Ginger
S U B S C R I B E TO
F O R A S LO W A S $ 1 . 2 5 AN ISSUE
G O TO M A X I M .C O M
view from the top
PICK YOUR POISON When the top sports car manufacturers in the world came together in 2007 for a showdown between the world’s fastest supercars, the list of participants read like a who’s who of European automotive royalty: McLaren, Lamborghini, Bugatti. But it was an upstart American company that ultimately dominated the competition. Since launching Hennessey Performance Engineering in 1991, John Hennessey has crafted some of the planet’s most exclusive performance vehicles. The model he brought to the 2007 competition, the Hennessey Viper, was based on a Dodge Viper platform, only he’d more than doubled the original output to around 1,100 horsepower. Even as the Hennessey Viper killed the competition, the former racecar driver knew he’d barely tapped the potential of his Texasbased facility. Hennessey realized that adding more horsepower would be futile if he couldn’t effectively transfer that power to the ground. Instead, he focused on cutting weight. “We simply wanted to build the fastest car in the world by combining maximum usable power with the lightest vehicle,” he says. The Viper platform was limited in how much weight could be shed, so he based the next model, the Hennessey Venom GT, on one of the world’s lightest sports cars, the Lotus Exige. Hennessey and his team managed to squeeze a 7.0-liter twin-turbo V-8 into the Lotus platform, but only kept roughly 10 percent of the Lotus, completely rebuilding everything in front of the dashboard and behind the seats. The monster they created could produce 1,244 horsepower while keeping its weight at a feather-light 2,743 pounds. The Venom GT’s combination of power and lightweight design offers drivers the ability to go from zero to 60 mph in 2.7 seconds, eventually reaching a verified top speed of more than 270 mph—a record for a production car. Compared with more resource-rich competitors, Hennessey manages to do more with less. “We are very proud of our accomplishments given the size of the company,” he says. “Like somebody once said, ‘It’s not the size of the dog in the fight, it’s the size of the fight in the dog.’ I’d much rather be David than Goliath.” —Keith Gordon
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courtesy of hennessey
With cars like the lightweight Venom GT, Hennessey Performance Engineering plays David to the European manufacturers’ Goliath
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Caption info here
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Fashion credit, brand. Fashion credit, brand. Fash credit, brand.
THE HIGH ROAD
Carmelo Anthony wants to bring a championship to New York—and this year, he and the Knicks finally have a shot. But the NBA’s classiest guy also has big plans for a future off the hardwood. Te x t b y t i M s t ru BY
armelo Anthony’s life has been a journey of many turns, from a kid on the mean streets of Baltimore to NCAA champion to NBA megastar. Those closest to Melo have said he likes it this way: Journey builds character. Imbues wisdom. The latest turn came this past August, moments after Team USA beat Serbia 99-66 to win gold at the 2016 Rio Olympics. Anthony stood on the Carioca Arena 1 court as his teammates celebrated around him. The New York Knicks forward had just claimed his third Olympic gold medal (and fourth overall; he won bronze in 2004), but he was more reflective than overjoyed. “I know this is the end,” he said while fighting back tears. “This is it for me.” The 32-year-old was retiring from Team USA—a squad that has included legends like Michael Jordan, Magic Johnson, and LeBron James—as its all-time leader in points, rebounds, and games played. Yet as that chapter closed and Anthony enters the last stage of his pro hoops career, his personal journey is just beginning. Off the court, following in the footsteps of Muhammad Ali, Jim Brown, and Kareem AbdulJabbar, Melo has emerged as one of the country’s highest-profile advocates for social justice. And on the hardwood, the star’s luck may be changing.
Long one of the league’s top players, Melo has emerged as a high-profile advocate for social justice
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hasn’t he won that title? Contemporaries including James, Wade, Stephen Curry, Dirk Nowitzki, and Kobe Bryant have all hoisted that hardware. The answer is simple: supporting cast. Anthony’s never had much of one. “Kobe has always thrived in the league,” explains Salley. “But Kobe wasn’t a champion until they built the right team around him.” The closest Anthony came was in 2008–09, when the Nuggets lost to the Lakers in six games in the Western Conference Finals. Recent years in New York have not silenced detractors. Following a second-round loss to the Pacers in 2013, Anthony and the Knicks have not returned to the playoffs. “They’re rebuilding, and he’s in a tough situation,” says Johnson, referring to the team’s lowly 49 wins over the past two seasons. “He could have bailed. But he’s committed to New York City. He loves the pressure, the pulse. It’s something he’s accepted.” Proof of which came in July 2014, when Melo resisted the chance to play for title contender Chicago and resigned with the Knicks for $124 million. Melo’s loyalty subsequently prompted Knicks president Phil Jackson and GM Steve Mills to open the coffers and build a team around their superstar. “We have a very special team on paper right now,” Anthony said, according to a recent Daily News report. “The front office stepped up. It was a collective effort. They did their job.” Hopefully the newest Knicks can do theirs. Rose, when healthy, is one of the league’s top point guards. Noah is a defensive monster and brings a palpable energy to the floor. “I think we’ll be seeing them win that trophy in the near future,” Johnson says. “Melo will have a chance to bask in the glory like the great Knicks teams of old.” A title is unquestionably first and last on Anthony’s NBA bucket list. Yet he refuses to be defined by basketball and he’s already mapping out paths for his post-NBA life. The first is that of activist. Over the past few years Anthony has continually used his voice for social change. In April 2015 Melo marched in the Baltimore streets of his youth after the police-related death of Freddie Gray; he joined James, Wade, and Chris Paul on stage at this year’s ESPY Awards to deliver a message in support of Black Lives Matter and social responsibility; and he vociferously stood by the WNBA players who demonstrated against police shootings of young black men. The second path is that of entrepreneur. A few years ago, Melo unveiled Melo7 Tech Partners, a venture capital company he founded with renowned investor Stuart Goldfarb. A longtime tech junkie, Anthony’s plans go beyond chasing a buck; he hopes to help shape the future with innovations such as virtual reality. “The money is enticing, but it’s also the thrill of being involved with businesses and companies that [are] changing the world today,” he later said. His basketball career may be in its third act, but the long journey of Melo the man is only just beginning.
After a challenging few years, this season Anthony will lead a rebuilt Knicks squad
o p e n i n g s p r e a d : p e t e r h a pa k / t r u n k a r c h i v e . t h i s pa g e : n at h a n i e l s . B u t l e r / n B a e v i a g e t t Y i M a g e s . o p p o s i t e : p e t e r h a pa k / t r u n k a r c h i v e
Although Melo has perennially been, without question, one of the NBA’s best since he entered the league in 2003—with a career average of 24.9 points, 6.6 rebounds, and 3.2 assists per game—he has never won an NBA championship. With the Knicks’ offseason changes, however, New York may have a contender. They have a new head coach in Jeff Hornacek. They have assembled their best squad in a decade, one that includes last season’s rookie sensation, Kristaps Porzingis, and recent signees Derrick Rose, Joakim Noah, and Brandon Jennings. “I think the time is now for us, for the Knicks,” Anthony told New York’s Daily News. “I think the time is now for the city, the fans. Everybody’s been tired of waiting and waiting and waiting.” Anthony’s been waiting for an opportunity like this since he first made a layup. Raised in the West Baltimore district known as the Pharmacy because of its rampant drug problem, the streets outside his front door were straight out of HBO’s acclaimed series The Wire. Drugs, gangs, and thugs were a part of daily life. Not unlike many kids in that world, he found solace on the basketball court. Unlike many kids, however, Melo had a gift. In 2001, as a 6'7" junior at Towson Catholic High School, he averaged 23 points and 10.2 rebounds per game. That same year Anthony solidified his reputation at the USA Basketball Men’s Youth Development Festival, where he tied for the tournament scoring title (a 24-point average) with another young prospect: LeBron James. Melo played at Syracuse University, where in his first and only college season, he led the Orangemen to their first NCAA championship, earning the freshman the Most Outstanding Player award. “I didn’t even like Syracuse, but I became a fan watching him,” says four-time NBA champion John Salley. The Denver Nuggets selected Anthony with the third pick of the 2003 draft (behind James and Darko Miličić and ahead of Chris Bosh and Dwyane Wade), and it was immediately clear that the kid from the Pharmacy was a phenom. “He’s always been a complete player,” says Gus Johnson, the longtime sportscaster now with the Milwaukee Bucks. “Big, strong, tough, and versatile. He’s got that great jump shot. He can play on the perimeter. But he can also bang in the paint or the box.” In his first NBA season, Melo averaged 21 points and 6.1 rebounds, and the Nuggets made the playoffs for the first time since 1995. Over the next 13 seasons with Denver and in New York (where he was traded midseason in 2010-11), Anthony would make nine all-star teams, win the 2013 NBA scoring title, and pour in 62 points in a game, one of only a handful of players to score that many. In 2014, he surpassed the 20,000-point mark and is currently the 29th-highest scorer in league history. “He’s an obvious Hall of Famer,” Johnson says. Melo is not without his critics, however. He’s inconsistent on defense, they say. He shoots too much. Why, screams the collective Greek chorus,
“he’s committed to new york city. he loves the pressure, the pulse. it’s something he’s accepted.”
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VIXEN NEXT DOOR Fearless in front of the camera, cover model Hannah Ferguson is still a Texas farm girl at heart
Te x t b y S ar ah h o r n e G ro S e P h o t o g ra p h e d b y G I L L e S B en S I M o n S t y l e d b y c aro L I n e c h r I S t I an S S o n
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Opposite page: Wool-blend blazer and trousers, SALVATORE FERRAGAMO.
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o ahead and google “Hannah Ferguson twerking.” We’ll wait. On camera, the swimsuit and lingerie model appears tanned and fearless, not afraid to show her moves, a whole lot of skin, or a bit of a hard edge. She’s graced international editions of Elle and Marie Claire, glammed it up for the lingerie brand Triumph, and bared nearly all for Sports Illustrated shoots on some of the Caribbean’s most exotic beaches. But in person, as she walks into a café near Wall Street with her dark blonde hair pulled back in a tousled ponytail, Ferguson seems more farm girl than man-eater, and it’s hard to square her, in the flesh, with the girl dancing on a beach in outtakes from her latest bikini shoot. Her Southern lilt and casual style are a testament to a childhood spent in San Angelo, Texas. Her parents were in the Marine Corps and she describes her upbringing as conservative. She and her four siblings were homeschooled; Ferguson didn’t enter a traditional school until seventh grade. At home, she and her three sisters weren’t allowed to wear nail polish until a certain age. On the family farm, “It was get up at six in the morning, feed the animals,” she says. “We had chickens, sheep, goats, geese, ducks, a horse.” Sports were a big deal. It all sounds like a plotline from Friday Night Lights, I note. “That’s pretty much what it was like,” Ferguson laughs. Yet the gulf between all-American tomboy and glossy-magazine cover babe isn’t as big as it might seem. After high school, the athletic beauty entered a local modeling contest, landing a contract with a Dallas agency. Six months later, she made the big move to New York. But even as she struggled to adapt to the breakneck pace of Manhattan and the glamorous, alien world of modeling, something clicked. “When I get in front of the camera,” she says, “there’s something in me that just comes out. That’s my favorite kind of work: being sexy. For some reason, it comes naturally.” It all sounds rather glitzy, but she doesn’t flaunt her high-flying life on social media. She has all the usual accounts, but she keeps them focused on work. “I just take pics of things I’m doing. I feel like, for the most part, I’m
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“When I get In front of the camera, there’s somethIng In me that just comes out. that’s my favorIte kInd of Work: beIng sexy.”
more private; I’m not constantly Snapchatting my day away. For my day-today life, I don’t necessarily put it out there for the world.” Ferguson says she’s not one to forget her roots. She drives a four-door, diesel-guzzling Ford truck, feels most at ease in cut-off jean shorts, and still likes fishing for bass and trout. “I always liked to do my hair and put on makeup, but I was never afraid to get my hands dirty, hang out with the guys, play sports, fish.” She adds, “I’m still trying to keep myself grounded and keep my upbringing, have a good heart. You hear some crazy stories in this industry. I don’t see the need for being a diva. You’re just making life unpleasant for everybody else and yourself, too.” Thanks to that effortless sensuality, Ferguson’s work has taken her across the globe, from Turks and Caicos to Paris. In Miami, through fellow swimsuit model (and Maxim cover girl) Hannah Davis, she met her boyfriend, Davis’ brother, Conn. The pair split their time between downtown Manhattan, the Davis family farm in upstate New York, and the Virgin Islands, where they relax with Hannah Davis and her new husband, former New York Yankees superstar Derek Jeter. Ferguson’s adventurous character shined through at her cover shoot for Maxim. When a stylist presented her with a snake cuff bracelet, she joked, “How about some real snakes?” On day two of the shoot, the crew called her bluff. “This guy came in with a crate of snakes. I mean, I grew up around snakes, because we would have bull snakes eating our chicken eggs. But at one point the python was around my shoulders and it started to wind around my neck, and this snake is slithering out of my hand and looking right at my face.” The cover girl tells me she remembers taking a deep breath and meeting the snake’s gaze, thinking, What did I get myself into? She pauses, breaking into that girl-next-door grin. “It was very cool.” Animals, she adds, can sense when you’re jittery. And so it goes with modeling. “When you’re uncomfortable revealing your body, it’s going to show. The camera picks that up. So you just have to channel that adrenaline and say, ‘Okay, here we go.’ ”
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Wool and cashmere jacket, JIL SANDER. Gem-embellished acetate sunglasses, A-MORIR.
Cotton poplin shirt and cotton Fashion wide-legcredit, pants, EMPORIO bRAND. ARMANI.Fashion Suede tie, DAVID credit, bRAND. Fash SAMuEL MENkES CuSTOM credit, bRAND. LEAThERwEAR.
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Oversize trousers, ANThONy VACCARELLO. Leather biker cap, DAVID SAMuEL MENkES CuSTOM LEAThERwEAR. Suspenders, TOMMy hILFIGER. Rings, DE GRISOGONO. Earrings, modelâ€™s own.
Maxi coat, ANThONy VACCARELLO. Gold choker with diamonds, DE GRISOGONO. T-back V-string panty, VICTORIAâ€™S SECRET. Over-the-knee leather boots, JIMMy ChOO.
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Black felt hat, FAETh MILLINERy. T-back V-string panty, VICTORIAâ€™S SECRET. Black suede over-theknee boots, GIuSEPPE ZANOTTI DESIGN.
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T-shirt, ARMANI EXChANGE. Belt with oversize buckle, ZANA bAyNE. Cuff bracelets, DE GRISOGONO.
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LamÃ© one-piece swimsuit, AMERICAN APPAREL.
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Patent-leather sandals, GIuSEPPE ZANOTTI DESIGN. For more information, see page 94. Hair, Italo Gregorio for wella Professionals/bryan bantry Agency. Makeup, Glenn Marziali using Dior Addict at Factory Downtown. Manicure, Roseann Singleton using ySL La Laque Couture.
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THE TITAN OF TRIBECA Already a legend of the screen, Robert De Niro has emerged as one of New York’s savviest entrepreneurs Te x t b y B I L L S AP O R I TO
ou could say that history cast New York City native Robert De Niro perfectly in his role as a real estate entrepreneur, movie producer, and developer. Not that the two-time Academy Award winner has done all that badly at acting in his more than four decades on screen. But his real estate dealings have followed the footprint of New York’s original business. The city was built—quite literally—in the 17th century by the Dutch inhabitants of New Amsterdam, who filled in parts of lower Manhattan to create more usable property. Skip ahead a century or so and New York is the birthplace of another industry: moviemaking. The first studios got rolling in the 1890s, the films flickering to life in the Kinetoscope parlors of lower Manhattan. Another hundred years after that, De Niro establishes Tribeca Productions in an emerging neighborhood and in the process cements his reputation as a shrewd businessman. “Robert De Niro was the person who began to see the possibilities of Tribeca,” architecture critic Brendan Gill said in 1997. “He bought property there, developed an old building into a film center and a restaurant. When you do that, a cultural center develops around that, and pretty soon you have what would amount anywhere else to a prosperous village in our great big city.” That prosperous village, along with his lucrative film career, has given De Niro an estimated net worth well north of $150 million. De Niro, 73, the wild-child son of boho Greenwich Village artists Robert De Niro, Sr., and Virginia Admiral, is a high-school dropout who found salvation from the streets in acting. Yet his most dramatic role would come in the months and years that followed the attacks of September 11. With lower Manhattan still smoldering, De Niro and his partner in Tribeca Productions, Jane Rosenthal, enlisted real estate investor and philanthropist Craig Hatkoff to launch the Tribeca Film Festival, which would bring people, money, and some desperately needed diversion downtown. “We had thought of doing a film festival before, and if there was ever a time to do it, after 9/11 was it,” De Niro said a few years later. “I hope at this point we’ve accomplished our goals and made a contribution.”
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N I G E L PA R RY/ C P I S Y N D I C AT I O N
The Taxi Driver and Goodfellas star launched the Tribeca Film Festival in 2002, bringing new energy to the downtown neighborhood MAXIM.COM
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go by the wayside, it’s because they’re not up to par. The same with anything that I get involved with. It has to have something that’s special about it, that I could say at least I want to be involved with it.” And De Niro is definitely involved. When he and his partners opened the Greenwich Hotel at the height of the 2008 recession, it reflected the same attention to detail De Niro has shown when developing a character. In this case, the character needed to fit the neighborhood. De Niro’s team, which included Ira Drukier and Richard Born of BD Hotels and his son Raphael, a rising real estate star, made extensive use of recycled materials and hired local craftsmen to work with them. “We worked on this project a long time, to make it as good as we could make it, and make it a place that I want to stay in,” De Niro told New York’s Landmarks Preservation Commission during a hearing over the design of a penthouse roof. “It was a labor of love,” he added. “We’ve really worked quite hard on it, and so anything that would be offensive would be offensive to me.” That didn’t stop some critics of the project from complaining about the $38.9 million or more worth of taxfree Liberty Bonds that were used to finance the ultra-luxury hangout for the Hollywood set. He’s been called a “business bully” by New York’s Daily News, and a planned Caribbean resort recently drew fire for what local residents saw as overly generous concessions by the government. But there will always be critics and complainers, De Niro has noted. He made the point, somewhat bawdily, to graduates of NYU’s Tisch School of the Arts in a commencement address last year. “Tisch graduates, you made it. And…you’re fucked,” he said. “Think about that.” Meaning, in the arts, the rejections come fast and furious, but you just have to keep working. It’s advice De Niro himself continues to follow. He and producer Harvey Weinstein were thrown aside in their efforts to develop a studio in the old Brooklyn Navy Yard. The restaurant business is no picnic either, and De Niro and partners have had some flops. Yet he keeps going. De Niro’s latest venture is perhaps the culmination of everything he’s learned in real estate. He and his partners got approval from London’s Westminster City Council to open an 83-bedroom boutique hotel in the pulsing Covent Garden district, in central London. The property will combine six Victorian and early 20th-century structures and include two restaurants and a spa; it has drawn effusive praise from at least one local council member. “The Wellington Hotel will honor the heritage of the area, while bringing the best of what we’ve done in New York to London,” De Niro said. London’s Covent Garden is hardly the run-down neighborhood Tribeca was when De Niro found it. But neither is De Niro the neophyte developer he once was. The actor and businessman is a man of substance and style, with a respect for heritage. He’ll fit right in.
De Niro has proven an astute investor in real estate and restaurants, including the much lauded Nobu group
T H I S PA G E A N D O P P O S I T E : N I G E L PA R RY/ C P I S Y N D I C AT I O N
It’s clear that he has. Over the years, the hugely popular film festival has injected hundreds of millions of dollars into the local economy. So much so that neighbors in this now-ritzy part of town complain about the influx of movie stars and stargazers—a most ironic sign of success. When De Niro first arrived on the scene circa 1980, Tribeca—the name, which stands for “Triangle Below Canal,” didn’t even exist until the 1960s or ’70s—was largely a forlorn chunk of lower Manhattan, as least as far as real estate development was concerned. Bordered by the Hudson River and its once-bustling docks, the area had long been populated by warehouses that held the foodstuffs uptown dwellers craved. The smell of coffee, spices, roasted peanuts, and chocolate still wafted down the cobblestone streets as the last of those companies hung on. De Niro grew up in nearby Greenwich Village, and like most Villagers, he hadn’t paid much attention to Tribeca. “I came down here initially during Raging Bull to find a space to set up a gym and wound up loving the area,” he said. What De Niro especially loved were the sturdy 19th-century brick and cast-iron warehouses with soaring windows, and the once-elegant townhouses of the same vintage. However, after years of neglect they had fallen into gross disrepair. De Niro’s first major real estate move came in 1988, when he established his film production company, Tribeca Productions. After rehabbing a former coffee warehouse to create a combination film-and-editing studio with a screening room, De Niro sold or rented the rest of the space as office condos. In his mind, the project offered not only the prospect of a second income stream, but a modicum of artistic freedom as well. “It takes years to develop a [film] project for yourself, and then lots of things don’t work out,” he told the New York Times. “Or maybe I won’t want to act for two years. This way I’d have a company that could sustain itself and I could do other things and still have an income.” To feed all those hungry artists and crew members, he teamed with famed restaurateur Drew Nieporent to open Tribeca Grill in 1990, a New American rebrand that is still a landmark in the neighborhood. A few years later, De Niro again changed the face of Tribeca. He had dined at the Beverly Hills restaurant run by Japanese fusion chef Nobuyuki Matsuhisa. Wildly enthusiastic about the food, De Niro told Matsuhisa that if he ever wanted to open a place in New York, he’d help finance it. Matsuhisa wasn’t interested, but De Niro kept at him. In 1994, the pair, along with other partners, established Nobu—a collaboration that would lead to a worldwide collection of Nobu restaurants and, later, hotels. De Niro doesn’t see himself as a celebrity restaurateur, nor does he think that sprinkling celebrity dust over a project is a substitute for smart investing. “Nobu is great because it works on its own,” he once told the Wall Street Journal. “We hear about celebrity restaurants all the time. If they
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From exquisite dining to world-class hotels and exclusive nightclubs, New York has never been sexier. Maximâ€™s guide to the city that never sleeps.
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Grand Havana Room
666 Fifth Ave., 212-245-1600
360 Park Ave. South
Relax with a fine smoke at this private, mahoganypaneled members-only hideaway on the top floor of perhaps the most valuable office tower in the United States. Floor-to-ceiling windows afford breathtaking views of the entire city, and a glassenclosed walk-in humidor room stores cigars at an optimal 70 degrees and 70 percent humidity. Membership is by invitation only; Alec Baldwin and Arnold Schwarzenegger reportedly belong.
Those who’ve outgrown the raucousness of the Meatpacking District will feel at home inside this sexy, just-opened subterranean space. Located next to Madison Square Park, the venue caters to a sophisticated crowd by channeling the classic New York society clubs of decades past.
In a city where the average nightclub life span is estimated to be around 18 months, 1 OAK (an acronym for “one of a kind”) has achieved the unthinkable: It’s managed to stay relevant for nearly a decade. A strict door policy ensures the privacy of 1 OAK regulars including Diddy, Leonardo DiCaprio, and Jay Z, so the best way to guarantee entry is by booking a pricey table in advance.
Soho Cigar Bar 32 Watts St., 212-941-1781
One can easily imagine Dean, Sammy, and Frank enjoying themselves in the corner of this Art Deco–inspired club in the heart of Manhattan’s trendy Soho neighborhood. In fact, that’s them there, in a framed photo hanging on the wall of the clubby, Rat Pack–ish downtown haunt. In addition to the club’s own hand-rolled cigars, which are made in the bar’s local factory, an extensive selection of international stogies is also on offer.
Nat Sherman Townhouse 12 East 42nd St., 800-MY-CIGAR
“If Yankee Stadium is the ‘House That Ruth Built,’ our store is definitely the ‘House That Nat Built,’ ” proclaims the Nat Sherman website. But this so-called “store” is more of a club—one that just happens to have offered the city’s finest cigars to discerning smokers since 1930. Today, Nat’s son and grandchildren run the operation, which is open from 10 a.m. to 7 p.m. (11 a.m.–6 p.m. on Sundays). —Justin Rohrlich
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453 West 17th St., 212-242-1111
O P E N I N G S P R E A D : D AV I D D R E B I N / T R U N K A R C H I V E . T H I S PA G E , C LO C K W I S E F R O M TO P L E F T: N AT S H E R M A N TO W N H O U S E / N AT S H E R M A N .C O M ; C O U R T E S Y O F G O L D B A R ; C O U R T E S Y O F VA N D A L . O P P O S I T E PA G E : D I M I T R I O S K A M B O U R I S / G E T T Y I M A G E S
CONDUCTOR OF THE NIGHT After nearly 20 years, Richie Akiva still lords over New York’s club scene It’s nearly 2 a.m. when Richie Akiva finally begins his evening. As his chauffeured SUV leaves an invite-only party at Socialista New York, a Cuban-influenced lounge atop Cipriani Downtown, and pulls up to 1 OAK, Akiva’s fantastically successful Manhattan club (other outposts can be found in Los Angeles, Las Vegas, Southampton, and Mexico City), he gazes at the venue for a long moment. Once Akiva is satisfied that everything is in order— security is properly in place, the line is looking good—he steps out onto the sidewalk. Security ushers him directly to his VIP table, located near the DJ booth. After a toast, Akiva hops on the mic to deliver a shout-out to friends and acquaintances in attendance. “People love to hear their names in a club,” he explains. “It’s part of the experience.” Akiva has come a long way since 1996, when New York described him as a “prepschool gangster.” It wasn’t just famous people who went to Akiva’s parties, the magazine said. “It’s famous kids, or kids with famous parents, or kids who are hell-bent on becoming famous.” Today, at age 39, Akiva is the sole owner of the Butter Group, the company that runs the native New Yorker’s global collection of nightspots and restaurants, including the 1 OAK chain. Akiva is now planning additional 1 OAK locations in Dubai and Tokyo. He’s also working on a New York City hotel project. Akiva says that he was drawn to the nightclub business by the “secrecy of another world, the amazement of what happened at night. The girls, the glamour, and the ability to create an experience for all types of people.” Naomi Campbell has said that she doesn’t go to “any other clubs in New York but his.” And while Akiva’s venues do draw high-end crowds, it’s clear this is no accident: “My specialty is putting together people. I put together amazing people of all walks of life and create an amazing energy.” He has described himself, aptly, as a “conductor.” Though Akiva’s life may seem to be one of pure leisure, it’s clear that he’s working, not playing. “I don’t really party unless I go to someone else’s venue,” he says. “This is work to me; it’s my business. I will say: Not much impresses me.” —JR
Opposite page, clockwise from top left: Nat Sherman Townhouse; GoldBar; Vandal. This page: Richie Akiva (pictured here with Maxim’s October cover star, Romee Strijd), once described as a “prep-school gangster,” has become a global nightlife impresario.
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The Blond 11 Howard St., 212-235-1111
Attached to the new 11 Howard hotel in Soho, this hip downtown lounge has become the preferred weekend hangout for socialites and models. The guests are so distractingly gorgeous that most patrons fail to notice the Blond’s other masterpieces—works by contemporary artists Dan Attoe, Nobuyoshi Araki, and Charming Baker are scattered throughout the space.
Provocateur 18 Ninth Ave., 212-929-9036
The Gansevoort hotel’s ground-floor club has maintained its reputation as one of Manhattan’s most exclusive haunts since opening in 2009, and with good reason: When high-profile DJs are in town—the likes of Calvin Harris and Tïësto—you’ll almost always find them spinning at Provocateur.
Vandal 199 Bowery, 212-400-0199
Earlier this year, Tao Group—the minds behind nightlife institutions like Lavo, Tao, and Marquee—introduced Vandal, a “clubstaurant” concept that affords diners the luxury of going from dinner to the club without ever leaving the building.
GoldBar 389 Broome St., 212-274-1568
ROOFTOP BARS The Skylark 200 West 39th St., 212-257-4577
Perched 30 stories above midtown Manhattan, this soaring, multilevel rooftop space offers unparalleled views of the Hudson River, Times Square, and the Empire State Building. Weekends are reserved for private events only, but stop by Monday to Friday after 4:30 p.m. for a cocktail and a seat by one of the bar’s floor-toceiling windows.
O P P O S I T E PA G E : C O U R T E S Y O F S T. C L O U D. T H I S PA G E , F R O M TO P : K R I S TA M B U R E L L O / T H E P R E S S LO U N G E ; S T E V E N M E N E N D E Z /A S C E N T LO U N G E
This Soho hot spot features gold cocktail tables, 12-foot vaulted ceilings covered in 18-karat gold leaf, and 2,400 custom-made gold skulls embedded in the walls. The drinks menu is just as grand. Created by renowned mixologist Tim Cooper, GoldBar’s libations include creative concoctions such as the Porn Star Martini #2, made with Absolut Elyx Vodka, apricot eau-devie, and passion fruit puree. The GoldBar Classic cocktails run $18, and the Gold Standard
collection, made with ultra-premium spirits, are $75 apiece. Bottle service is available from $450 to $12,000. The intimate space (capacity: 175) was immortalized in the song “Dancin’ Til Dawn,” written about the bar by regular customer Lenny Kravitz. —Lindsay Silberman
St. Cloud 6 Times Sq., 212-204-5787
Sip an apricot julep, smoke a fine cigar in the on-site lounge, and nosh on short rib sliders and kampachi crudo by celebrity chef Charlie Palmer at one of Times Square’s only rooftop bars. The best views can be had from one of three VIP “Sky Pods,” which seat 15 to 25 and cost $200 and up to book, plus a minimum spend of $100 per person.
The Press Lounge 653 11th Ave., 212-757-2224
On the roof of the Kimpton Ink48 Hotel, the Press Lounge serves handcrafted cocktails with a side of 360-degree city views. Consistently named one of NYC’s best rooftop bars, there is a no-reservations policy here. There’s also no bottle service; everything is served by the glass.
Roof at Park South 125 East 27th St., 212-204-5222
Enjoy classic cocktails and seasonal, Mediterranean-inspired dishes high above Park Avenue South, while taking in unobstructed views of the city below. The hours are a bit shorter than normal—it closes at 11 p.m. Sunday to Wednesday, and midnight Thursday to Saturday—so get there on the early side.
Ascent Lounge 10 Columbus Circle, 212-823-9770
This lounge in Columbus Circle’s Time Warner Center floats just above the Central Park tree line. Settle into a wraparound banquette and order a cocktail with a “house-made ice cream pop.” Executive chef Jason Harding turns out modern twists on beloved classics, like miso lobster rolls and marinated New Zealand lamb lollipops. —JR Opposite page: St. Cloud offers a view of Times Square. This page, from top: The patio of the Press Lounge at the Kimpton Ink48 Hotel; Ascent Lounge in Columbus Circle’s Time Warner Center.
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NEW YORK HOTELS Four Seasons Hotel New York Downtown 27 Barclay St., 646-880-1999
When the luxury hotel brand unveiled its shiny new downtown location in September, all the hype finally felt justified. Designed by American starchitect Robert A.M. Stern, the 82-story skyscraper is nothing short of spectacular, with 189 oversize guest rooms, a dramatic bi-level spiral staircase suspended in the lobby, and a restaurant by Wolfgang Puck.
The St. Regis 2 East 55th St., 212-753-4500
For a taste of old-school New York, head straight to the St. Regis. It’s been the city’s grande dame since 1904, and while recent renovations have kept the landmark hotel looking fresh, history permeates every nook and cranny. What’s more, each suite comes with a butler on call 24 hours a day.
The William Vale 111 North 12th St., Brooklyn, 718-631-8400
“resort-inspired” high-rise is home to the city’s longest hotel pool (it clocks in at 60 feet) and frequently hosts cultural events for locals and guests. Still, the 183-room boutique hotel doesn’t stray far from its Brooklyn roots: It has a 15,000-square-foot public rooftop park that houses an urban farm. But of course.
The Nomad Hotel 1170 Broadway, 212-796-1500
The moody, dimly lit boutique—housed in a beaux arts building that dates back to the turn of the century—brings a European sensibility to the NoMad (short for “north of Madison Square Park”) neighborhood. There are a handful of intimate places to unwind without ever leaving the building, the best being the Library, a cozy bar that’s tailor-made for a nightcap.
Baccarat Hotel 28 West 53rd St., 212-790-8800
If you’re looking for the most unapologetically ostentatious hotel in New York, you’ll find it on 53rd Street, just across from the Museum of Modern Art. The French glassware company’s flagship property is akin to a crystal palace in the middle of Manhattan, with gargantuan chandeliers that could easily blind passersby.
The Bowery Hotel 335 Bowery, 212-505-9100
Those in search of downtown grit paired with five-star service invariably end up here. The hotel’s location—in the crosshairs of the edgymeets-elegant Bowery neighborhood—makes for prime people-watching, particularly from a perch in the hotel’s sultry Lobby Bar.
T H I S PA G E , F R O M TO P : C O U R T E S Y O F B A C C A R AT H OT E L ; C O U R T E S Y O F T H E S T. R E G I S N E W YO R K . O P P O S I T E PA G E : N I KO L A S KO E N I G / T H E N E W YO R K E D I T I O N
Williamsburg, an area historically characterized by its overpopulation of bearded hipsters, is getting a sophisticated rebranding thanks to the recent launch of the William Vale. The
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Opposite page, from top: The bar at the ostentatious Baccarat; the St. Regis, which remains New Yorkâ€™s grande dame. This page: The New York Edition was designed to feel like a private club.
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Park Hyatt 153 West 57th St., 646-774-1234
Situated on a stretch of West 57th Street known as “Billionaire’s Row” due to its abundance of tony skyscrapers, the Park Hyatt is a tranquil oasis amid Manhattan’s chaos. Even the checkin process is headache-free: Attentive staffers armed with iPads are positioned in the lobby, so you’ll never have to wait in line at the front desk.
The New York Edition 5 Madison Ave., 212-413-4200
If staying uptown seems far too stuffy but you can’t stomach the idea of going below 14th Street, the New York Edition—across from Madison Square Park—strikes the perfect balance. Boutique-hotel mogul Ian Schrager designed the place to feel like a private club, catering to an in-the-know clientele. And with a bar that’s consistently packed with attractive patrons, what more could you ask for? —LS
COCKTAIL BARS The Tuck Room 11 Fulton St., 212-776-8273
Like the three other outposts in Los Angeles, Miami, and Houston that came before it, the Tuck Room’s new South Street Seaport location describes itself as “a glamorous setting for covert decadence.” The cocktail menu will be switched up every few months, inspired by the city’s drinking past.
in the East Village. Once you’re in, look for the unmarked door on the left-hand side that leads to the bar. Parties larger than four will be turned away, and there is no standing allowed. If you don’t feel like waiting for a table, try the “annex” just down the block, upstairs from a restaurant called Sharaku (14 Stuyvesant St.).
Death & Company 433 East 6th St., 212-388-0882
Angel’s Share 8 Stuyvesant St., 212-777-5415
This Japanese speakeasy is hidden behind Village Yokocho, a casual Japanese restaurant
The cocktail menu at this dark East Village mainstay changes quarterly, and is informed by pre-Prohibition-era recipes. Martinis are served in five-ounce goblets; the remainder is left behind in an iced carafe. Try the fries, which come with bacon jam. No reservations.
Little Branch 20-22 Seventh Ave. South, 212-929-4360
Once you find the unmarked door in this nondescript corner of the West Village and head down a flight of stairs, you may not want to leave the cozy subterranean cocktail lounge for a while. The out-of-the-way space is perfect for a first date—or an affair. There’s live jazz Sunday to Thursday, which may inspire bebop fans to order their drinks straight, no chaser.
PDT 113 St. Marks Pl., 212-614-0386
Short for “Please Don’t Tell,” this speakeasyinspired cocktail lounge is accessed through a vintage phone booth inside Crif Dogs, known for its New Jersey–style deep-fried hot dogs. Bar patrons can order dogs to be delivered to their tables, because what goes better with a dry martini than a crispy frank with everything? —JR
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Opposite page, from top: The menu at Death & Company changes quarterly; Angel’s Share is hidden behind a Japanese restaurant. This page: The Blond, in Soho’s 11 Howard hotel, features work by some of the world’s leading artists.
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SUPPER CLUBS Bohemian 57 Great Jones St.
A “secret” Japanese spot in a building once owned by Andy Warhol and hidden behind one of the city’s most high-end butcher shops, Bohemian has no sign out front and its phone number is unlisted. (Psst: 212-388-1070.) Only those who have been referred by an existing customer can make reservations. However, a well-crafted email to email@example.com might do the trick.
Victory Club victoryclubny.com
Twice a month, Stephanie Nass hosts a sitdown meal for eight to 70 people. Everyone brings a friend. Locations vary: Nass has
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arranged everything from lunch at contemporary artist Mark Kostabi’s Manhattan studio and home to oysters, wine, and cake at Philip Johnson’s “Glass House” in small-town Connecticut. Membership can be requested on the website. The criteria? “Active excellence and kindness.”
10 Chairs NYC 814 10th Ave., Apt 1C; 10chairsnyc.com
There’s a private dinner for 10 at the home of chef Patricia Williams most Thursdays, and $80 (plus tip) gets you a seat at the table. Williams, whose “day job” is executive chef of the Smoke Jazz & Supper Club just south of Harlem, has two coveted New York Times stars and shops the city’s farmers markets for ingredients on the day of each dinner, which includes five courses paired with five wines.
Omar’s 21 West 9th St., omar-nyc.com
This elegant Greenwich Village modern American boîte has one dining room with tables available by reservation, Omar’s La Ranita, and one that is strictly members-only, Omar’s. It’s recommended that applicants are proposed and seconded by two current members.
The Whisk and Ladle Supperclub thewhiskandladle.com
A five-course prix-fixe menu is served most Saturday nights in this private Williamsburg loft apartment with 25-foot ceilings and an oak bar. Three chef-servers and a professional bartender attend to guests, and each dinner is preceded by a cocktail hour. The menu changes weekly, and three “unique drink offerings” are available. —JR
RESTAURANTS Charlie Bird 5 King St., 212-235-7133
Sleek and inviting, this standout combines upscale Italian-influenced cooking, dominated by small plates, with an adventurous wine list curated by esteemed sommelier Robert Bohr. Top it off with a soundtrack of old-school hiphop and unpretentious yet attentive service and you’ve got one of the best date destinations in the city. Reservations are recommended, but first-come, first-served bar seats are often available at the last minute. Insider tip: Order the pasta with uni when it’s available, and don’t overlook the raw bar—the razor clams in particular are to die for.
most exciting new restaurants. Paired with Jorge Riera’s remarkable selection of natural wines—funky, organic, and biodynamic offerings from hard-to-find producers in regions like the Jura and Sicily—chefs Jeremiah Stone and Fabián von Hauske Valtierra specialize in simple yet highly creative combinations on an ever-changing, seasonal menu. Notable dishes include a potato Darphin with uni and jalapeño and beef tartare with smoked cheddar and chestnuts. Plates are small, so a group can sample across the varied menu. Reservations are not accepted, but go early, leave your num-
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9 West 53rd St., 212-333-1220
Few midtown Manhattan restaurants offer as perfect a combination of refinement and attitude as the Modern, located at the Museum of Modern Art. With a sleek interior befitting its location and a highly refined wine and cocktail list, the bar is terrific for a post-work drink. The dinner menu can be customized for four or eight courses, and features sophisticated fare beautifully presented—starters like roasted watermelon with whipped crème fraîche and caviar, and mains such as slow-cooked lamb saddle with escarole and sheep’s-milk yogurt.
Upland 345 Park Ave. South, 212-686-1006
Chef Justin Smillie made his name at the highly acclaimed Il Buco Alimentari e Vineria and then struck out on his own with Upland, which features seasonal Californiainfluenced cuisine. Upland balances a rustic and comforting menu with a large and stylish setting that still manages to feel intimate. The menu ranges from starter pizzas (try the ’nduja with stracciatella and passata) and pastas (like the rich estrella with chicken liver and sherry) to more traditional offerings like the Creekstone Farms skirt steak. The beef tartare is not to be missed, nor are any of the excellent vegetable sides.
Maialino 2 Lexington Ave., 212-777-2410
This Gramercy Park institution has been quietly serving some of the city’s best Italian for years. Located in the Gramercy Park Hotel, Maialino is ideal for a business dinner or a first date, and as at all of restaurateur Danny Meyer’s spots, service is exceptional. (Maialino is also now a “no-tipping” establishment.) Kick off the meal with carciofini fritti (fried artichokes) and then go for the pasta cacio e pepe for a beautifully executed take on the cheese-laden Roman classic. Finish your meal with the tiramisu or a bowl of house-made gelato.
Wildair 142 Orchard St., 646-964-5624
Located in a tiny jewel box of a space on the Lower East Side, Wildair is one of New York’s Opposite page: Upland’s extensive wine selection. This page: Charlie Bird combines upscale Italianinflected cooking with an adventurous wine list.
the feeling of Tokyo’s high-end sushi bars. The fish is as fresh as anything in the famed Tsukiji market, but what really sets Ichimura apart is the quality of the rice. That’s right, rice. Often seen as an afterthought, perfectly done rice is the cornerstone of sublime sushi. Here, the rice balances temperature, texture, and the faintest hint of vinegar (a technique that can take a lifetime to master). Ichimura is definitely a special-occasion restaurant; reservations must be made weeks in advance, and the chef’s tasting menu starts at nearly $200 per person (without alcohol). The otoro, or fatty tuna belly, that usually closes out the tasting menu is superb—redolent with fat, it’s an endorphin rush on a pillow of rice. Order the sake pairing, and finish with a glass of rare Japanese whiskey.
La Grenouille 3 East 52nd St., 212-752-1495
ber, and head to nearby Ten Bells for a glass of winemaker Brendan Tracey’s punk rock– inspired reds while you wait.
Ichimura at Brushstroke 30 Hudson St., 212-791-3771
Located at a small counter inside chef David Bouley’s acclaimed Japanese restaurant Brushstroke, Ichimura is an incredibly intimate dining experience and one of the few spots in New York to truly replicate
This midtown Manhattan legend has been turning out classic French cuisine and white-tablecloth luxury for more than 50 years. More important, it’s managed to stay relevant—and remain wellreviewed—in an age that prizes fast casual over fine dining. The prix-fixe dinner menu (at $154) leans toward the rich, with an appetizer selection that includes traditional French mainstays like foie gras and escargots and main courses like frog’s legs and flambéed veal kidneys. For a slightly less formal experience, try the à la carte lunch menu (perhaps with a martini or two)—a nostalgic nod to the Mad Men era during which the restaurant first opened. —Michael Magers
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NEW YORK The Daily Show host, with a memoir out this month, has found a home in the country’s most impatient city
hough Trevor Noah has only lived in Manhattan full-time since July 2015—he calls the West Side neighborhood of Hell’s Kitchen home—the Daily Show host can sum up what it means to be a New Yorker in one word: “impatience.” Since taking the reins from Jon Stewart in September 2015, Noah has exhibited some of that himself with his searing takedowns of well-known journalists, which included calling out Matt Lauer for failing to challenge Republican presidential nominee Donald Trump on his support for the Iraq War during a presidential forum. Fans can expect more provocati0ns from the 32-year-old comedian this month with the release of his upcoming memoir, Born a Crime: Stories from a South African Childhood (out November 15 from
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Spiegel & Grau). The book begins with his birth—which, in fact, was a crime, since he was born in 1984 during apartheid to a white Swiss father and a black Xhosa mother—then moves through his restless journey to adulthood. While New York is certainly far from his hometown of Soweto, which he visits several times a year, Noah is making do with the vibrant food offerings of the city that never sleeps. “My favorite restaurant is Blue Ribbon Sushi,” he says. “Papadam, on the Upper East Side, is my favorite for Indian. I always order the curry.” Still, Noah hasn’t been so taken with the local shopping scene—despite his penchant for slim, navy blue suits. “I shop online,” he says resolutely. “Most everything one needs can be found on Amazon, including groceries, often delivered the same day. Why would I leave my apartment?” Spoken like a true New Yorker.
The Daily Show host calls Hell’s Kitchen home now, but he returns to his native South Africa several times a year
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Te x t b y P R I YA R AO
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Jimmy 15 Thompson St., 212-201-9118
A James Franco sighting could be the only thing to distract you from the spectacular view that comes with every cocktail at this rooftop bar perched on the 18th floor of Soho’s swanky James New York hotel. There’s teak decking and a pool (open seasonally), and a fairly strict door policy due in no small part to the space’s intimate size. Specialty cocktails run $18; there is a selection of snacks and small plates available if you’re feeling peckish.
Clocktower 159 Pioneer St., Brooklyn, 212-233-1096
Franco’s first solo art show, called “The Dangerous Book Four Boys,” was held at the Clocktower’s old space on Leonard Street, but the downtown vibe remains even after a dispersal to the boroughs. His work, which included experimental film, photography, and drawing, “deconstruct[ed] the reality of fame in a subtle, bare, and elemental way, sparing expected clichés,” raved the Village Voice.
NYU Tisch School of the Arts 721 Broadway, 212-998-1900
The renaissance man that is James Franco not only graduated from Tisch but taught film there (“Directing the Thesis I”) during the 2011–12 academic year. He’s no longer on the faculty, but Franco’s connection to the school remains—he recently produced and starred in Yosemite, a feature film directed by Gabrielle Demeestere, one of his former classmates.
Landmark Theatres Sunshine Cinema 143 East Houston St., 212-260-7289
On the trail of a man about town James Franco is not a full-time New Yorker, but the star of Pineapple Express, 127 Hours, and Milk spends plenty of time in the city. Here are a few places where you might bump into the hyperproductive Franco during his infrequent downtime.
Barbiere 246 East 5th St., 646-649-2640
Get a traditional straight-razor shave from Lello Guida, the Italian-born master barber at the shop where Franco has entrusted his Oscarnominated face. It’s an old-school Italian-style
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place in a historic East Village carriage house; you’ll be offered a drink when you arrive. Need a trim, too? You’re in luck—Guida was dubbed the “Michelangelo” of haircuts by New York’s Daily News.
Smith & Mills 71 North Moore St., 212-226-2515
This small, sophisticated Tribeca “hipstaurant”—as described by New York magazine—is a prime destination for Franco-spotting in NYC. The raw bar offers a nice selection of market oysters, and the burger is top-notch. After a few drinks, you’ll definitely want to visit the bathroom, which is situated in a turn-of-thecentury elevator cabin.
Strand Books 828 Broadway, 212-473-1452
Franco has been spotted among the stacks at this legendary store (“18 miles of books”) while doing multiple author events. In June, Franco spent three hours meeting fans and signing his latest book, Straight James/Gay James, a poetry collection that the Strand described as “break[ing] down the many personas of James Franco as only the man himself could.” He’ll be back on November 5 to sign copies of Magic Mountain/ Home Movies, which contains reworked elements of his thesis in visual art from the Rhode Island School of Design, where he earned his MFA in digital media. —JR
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THE FRANCO GUIDE TO NYC
Goat, Franco’s latest movie, held its NYC premiere at this Houston Street art-house theater in September. It’s the same screening room at which 2014’s The Interview was also meant to premiere, before showings were canceled to avoid further inflaming tensions with hackers holding likely ties to North Korean leader Kim Jong-un.
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PRIVATE PARTY Exclusive social clubs still draw New York’s power players Although many have disappeared as times have changed, a handful of sumptuous, old-line private social clubs still exist in New York City. Once proudly all-male, the city’s private clubs were forced to start admitting women in 1988, when the Supreme Court upheld the fiercely contested Local Law 63—a piece of legislation one group of club members argued would “break down the effortless, unconstrained companionship” among men. Although both sexes are now allowed to join, none of the clubs are open to the public, so make friends with a member now.
breadth of interest and qualities of mind and imagination make them sympathetic, stimulating, and congenial companions in a society of authors and artists.” Members have included the author Lewis Gaylord Clark, painter Winslow Homer, and landscape architect Calvert Vaux, the cocreator of Central Park. Mark Twain was an early member of the Lotos Club (5 East 66th St., 212-737-7100), which was founded in 1870 and is named for the poem “The Lotos-eaters” by Alfred, Lord Tennyson. Housed in a French Renaissance– style townhouse originally built as a wedding present for a granddaughter of William H. Vanderbilt, the Lotos is where George Harvey, the editor of Harper’s Weekly, proposed Woodrow Wilson for president in 1906. Members
New York Times art and literary critic Charles De Kay founded the National Arts Club (15 Gramercy Park South, 212-475-3424) in 1898 with a mission to “stimulate, foster, and promote public interest in the arts and to educate the American people in the fine arts.” Presidents Theodore Roosevelt, Woodrow Wilson, and Dwight Eisenhower have all been on the club’s membership roster, as have Martin Scorsese, Uma Thurman, and Robert Redford. The Arts Club often holds exhibitions, performances, and readings that are open to the public. Jackets are required, although in keeping with the club’s slightly looser “downtown” vibe, ties are optional. The Explorers Club (46 East 70th St., 212-628-8383) was founded in 1904 by journalist, historian, and explorer Henry Collins Walsh. Famed polar explorer Adolphus Greely served as the club’s first president; Charles Lindbergh, Buzz Aldrin, and Roald Amundsen were all members, as was Roy Chapman Andrews, an explorer said to be the basis for Indiana Jones. Nonmembers can access the club’s research collection by appointment, and can pay to attend the annual Explorers Club Annual Dinner. If you go, expect to see a vast collection of historical artifacts, including a coffee table made from a hatch cover from the U.S.S. Explorer, one of only seven ships to survive the 1941 attack on Pearl Harbor; a pair of sealskin mittens worn by Matthew Henson, who was arctic explorer Robert Peary’s first mate; a lion killed by Theodore Roosevelt; a replica of a supposed Yeti scalp; and a stuffed whale penis donated to the club in 1977. —JR
HOW TO DRESS LIKE A NEW YORKER Glenn O’Brien on the city’s finest menswear stores Founded in 1861, the University Club (1 West 54th St., 212-572-3415/16) boasts a reading room with ceiling frescoes modeled after the Papal Apartments in Vatican City, opulent, walnut-paneled dining rooms, and one of New York’s great private art collections. Members and their guests also have access to seven squash courts, a full gym, a swimming pool, and 97 overnight rooms. Jackets and ties are required at all times, while the “display of business papers” is strictly prohibited in the public areas of the Clubhouse, as is cell phone use and photography of any kind. The Century Association (7 West 43rd St., 212-944-0090) was founded in 1847 by journalist and poet William Cullen Bryant to “promote the advancement of art and literature.” According to the house charter, the membership is drawn from “any occupation, provided their
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have included Walter Chrysler, Gilbert and Sullivan, and Dwight D. Eisenhower. Today, a visitor might run into Stephen Sondheim, Tom Wolfe, or former New York City mayor David Dinkins, who are all reportedly current members. The Metropolitan Club (1 East 60th St., 212838-7400) was formed in 1891 by J.P. Morgan for friends who had been denied membership at the Knickerbocker Club, two blocks north. The clubhouse, a grand marble palazzo fronted by a gated courtyard, was purchased from the Duchess of Marlborough by Cornelius Vanderbilt, a founding member. The price? It was $1.7 million—about $43 million today, adjusted for inflation. Like most private clubs in New York, jackets and ties are mandatory at the Metropolitan—and “turtlenecks and ascots are not acceptable,” according to the house rules.
It used to be that people traveled to shop. If they stayed at home, the stores were just momand-pop. Where did they go? Well, New York was always a big favorite, being America’s stronghold of style. But most American cities had stores with something special—made perhaps by a regional factory, or catering to a local cultural style or industry, like fishing and forestry. Things made for the woods or the beach. But today every big city has practically the same lineup of stores. Mom and Pop sold out to the big chains, or were priced out of the mall. But New York still offers things you won’t find most anywhere else. Here are a few of our favorite New York gems. Supreme (274 Lafayette St., 212-966-7799) is the coolest of the cool brands. Starting out as a skate shop, it began making clothes for the extreme-sports, hip-hop “in” crowd. Its own
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label is designed to make the statement that its quality is aces, using top manufacturers and military outfitters, and for years it has been collaborating with great brands from Nike to North Face to Comme des Garçons. It’s made mainstream brands like Carhartt and Woolrich hip, and has partnered with artists like Richard Prince, Larry Clark, Christopher Wool, Damien Hirst, and Harmony Korine on skateboards and Nike and Vans shoes. It’s easy to find the store: It’s the one with a line to get in that runs around the block. And the New York store is one of only two in the U.S. You go to Supreme; it’s not coming to you. Kith (644 Broadway, 347-889-6114) is sort of Son of Supreme, founded by veteran designer Ronnie Fieg, and it’s also a purveyor of limited-edition, super-cool collaborations. Kith isn’t as determinedly exclusive as Supreme; one rarely has to stand in line, it carries a lot of merch, a lot of brands, and its new Brooklyn
location has a cereal bar and ice cream. Maybe streetwear culture is turning friendlier. In and around Freemans Alley on the Lower East Side there is a good, hip restaurant and men’s boutique, Freemans Sporting Club (8 Rivington St., 212-673-3209), with a barbershop in the back, that offers lots of cool accessories as well as tailored clothing featuring rare fabrics made in collaboration with Brooklyn’s master tailor, Martin Greenfield. The Freemans experience makes a guy feel manly in a good old-fashioned way, with cool clothing and accessories, personal service, a couple of drinks, and a good old-fashioned blade shave. Alan Flusser is one of the great authorities on menswear, having authored several books on the evolution of men’s fashion. He’s also a custom tailor whose bespoke creations are classic yet subtly distinctive; his fabrics and details are perfect for men who cultivate a unique, individual look. There are no rules
Opposite page: The Explorers Club has included members such as Charles Lindbergh and Buzz Aldrin. This page: Nobody does American dandyism like Alan Flusser.
in men’s style, but if there were, Alan Flusser would have written them. No shop offers more exquisite fabrics than the Alan Flusser Custom Shop (3 East 48th St., 212-888-4500), and his cosmopolitan taste is that of a man who has truly seen it all. Nobody does American dandyism like Alan Flusser. Dover Street Market (160 Lexington Ave., 646-837-7750) is a department store in the Japanese mode, where dozens of great designers, especially the most innovative, are available under the same roof, without compromising their individual visions, while the overall mix defines the state of the avant-garde. The original Dover Street Market was created by Comme des Garçons designer Rei Kawakubo, and its comprehensive, all-genius mix makes it a onestop proposition for men who dare to be stylish. You don’t have to travel to London, Paris, or Milan to find exceptional shoes. America has a few footwear gems of its own. The 132-year-old Alden Shoe Shop (340 Madison Ave., 212-6873023) offers true shell cordovan shoes, made from the finest horsehide. It takes a full horsehide to make a pair. You also don’t have to go to Belgium to have Belgian shoes; in fact, they can be had in a little shop off Park Avenue called, yes, Belgian Shoes (110 East 55th St., 212-7557372). Founded in 1955 by Henri Bendel, better known for lending his name to a large and fancy department store, it offers only elegantly casual slipper-like loafers. We often see them in black with tuxedos, but they’re also offered in an extraordinary range of colors and patterns, from tartans to lizard and ostrich skin to colors rarely seen on our gender, often trimmed in a contrasting piping—say claret and lime, or pea soup and pink. Nothing else says “I don’t care” with such panache. Thrift shops? In New York? How would they ever pay the rent? Vintage is what you find on rainy days on vacation, no? Well, New York prides itself on offering the best of everything, and that goes for thrift shops, too. New York does have the thrift shop of thrift shops in Melet Mercantile (76 Franklin St., 212-9258353). The best old, experienced, and trashed denim and motorcycle jackets that look like maybe the Harley didn’t make that bend. You’ll find camouflage of all nations and just about anything a film stylist might dream about. How do they do it? Well, by charging big money for the rare, the historical, and maybe slightly ragged rarities that professional stylists spend their lives chasing down in small towns, flea markets, and yard sales. In fact, Bob Melet has dressed historical epics, providing authentic reference materials for costume designers, and many a vintage-looking item that has been reproduced for the traditional-looking brands of America. —Glenn O’Brien
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HOT WHEELS Book a vintage ride at Classic Car Club Manhattan Classic Car Club Manhattan 1 Pier 76, 408 12th Ave, 212-229-2402
As the plane begins its descent into New York, you catch a glimpse of the world-famous skyline out the window. The possibilities seem endless, and for the most part they are—unless we’re talking about the dreary selection of rental cars you’ll soon be choosing from. Skip Avis and grab a cab to Classic Car Club Manhattan on the Far West Side’s Hudson River Park, where members can drive their pick of roughly three dozen supercars, sports cars, and classics, including a 2015 Lamborghini Huracán, a 2016 McLaren 570S, a 2015 Ferrari 458 Spider, and a ’68 Dodge Charger, which one might recognize as the ride that Steve McQueen’s Mustang famously chased through the streets of San Francisco in Bullitt. The club caps driving memberships at 400 (there are other clubhouse memberships), and all members pay a flat fee of $180 per month. Cars are then loaned out according to a point system that determines how much car you’re entitled to, and for how long. Membership director Adam Miller says an annual outlay of $8,000 to $10,000 translates to about 25 total days of drive time, depending on which vehicles you choose. Insurance is included, but members are required to return their cars with as much gas as they left with. —Justin Rohrlich 66
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john turned a tiny clothing company run out of his motherâ€™s home into a $350 million-a-year empire.
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THE PRODIGY FROM QUEENS FUBU founder and Shark Tank star Daymond John is a true New York success story Te x t b y daV i d gaU V e y H er B ert
n i g e l pa r ry/ c p i s y n d i c at i o n
aymond John traces his success—and his ability to sew—to his friends hand-produced a limited run of XXL and XXXL shirts and his mother’s penny-pinching. Growing up in Hollis, Queens, gifted them to the bodyguards of Ralph McDaniels, producer of the in the 1980s, he needed to alter his pants to make it easier to influential TV show Video Music Box. John knew the men’s bulky physiques break-dance. A tailor cost $4, and his mother refused to let her limited their fashion choices and figured they would end up wearing his son waste his money on such frivolities. After all, there was a perfectly good shirts often. He was right. The result? The bodyguards served as sewing machine right at home. 300-pound FUBU billboards surrounding the industry’s biggest rappers. Years later, when John’s mother spotted her 20-year-old son sporting a As the business began to take off, John leveraged credit cards, mortnew wool beanie, she taught him to make his own so he wouldn’t throw gaged his mother’s home for $100,000, and continued waiting tables to away any more cash at some overpriced Manhattan store. John spent $40 bankroll his growth. The gamble finally paid off in 1996, when John cut a on fabric and ended up with more hats than he would ever need. So on deal with Samsung’s textile division to underwrite manufacturing. a chilly March morning in 1989, he hawked the surplus outside a mall in With FUBU gaining popularity, brands like Jay Z’s Rocawear and Jamaica, Queens, making $800 in a single day. Margins were good—workDiddy’s Sean John followed suit. But by the mid-aughts, FUBU and simiing out of his mother’s house saved on overhead—and John soon expandlar brands had lost their buzz. ed into T-shirts, screen printing them for $6 and selling them for $20. “Fashion comes and goes,” John says with a shrug, noting that the That shoestring operation would become FUBU, a $350 million-a-year industry’s boom-and-bust cycles have affected plenty of other major clothing company. And today, John, now 47, has achieved fame as one of brands, from Levi’s to United Colors of Benetton. the stars of ABC’s Shark Tank, reaching an average of almost 6 million A shrewd businessman, John has diversified well beyond apparel. He viewers an episode. Hollywood is full of wealthy on-screen talent, but has written three books, including the best-selling The Power of Broke, when you visit the show’s set for lunch and find John in the chow line jawabout using a thin bankroll to make you think creatively and efficiently, ing with his costars, it is dizzying trying to calculate all the zeros in their and he reportedly earns up to $75,000 per speech on the lecture circuit. collective net worth. You might still be doing the math when, an hour His place in popular culture was all but cemented when John joined Shark later, John shovels chocolate cake into a paper cofTank in 2009. Today, his net worth is reported to fee cup and rushes back to the Shark Tank stage. A be $250 million. DaymonD John’s quarter of a billion dollars and 3,000 miles from Yet the time John spends on the production new york Queens, John can still be a man of democratic lot represents just a fraction of his Shark Tank tastes. commitments; managing all the investments he’s Relaxing: John is on the road for most John and FUBU didn’t take off immediately. made on the show—61 deals worth $8.5 million of the year, but he gets to spend about Early on, John struggled to keep his nascent busiover 100 episodes—takes up more than half the two months fishing and snowboarding ness afloat. He shut down production three times year. Of those, John says he’s most excited about near his cabin in upstate New York. for lack of operating capital and waited tables at Innovation Pet, which makes chicken coops and When he’s in the city, he still likes to be Red Lobster to pay the bills. When he wasn’t at interactive pet toys. outside, whether biking at midnight the restaurant, John drove a “dollar van” for comDespite his glowing celebrity, John’s passion for through Central Park, up to Harlem, muters and sold Nerf Super Soakers at street fairs. business still burns bright. In the next few months, then back down the West Side Highway, For John, failure wasn’t an option; business suche will launch blueprint + co, a coworking space or “trying to get my little 10,000 steps in” cess was a way out of Queens. At the time, crack in midtown Manhattan that he describes as “a by wandering the city at all hours. cocaine was fueling a crime wave across New York little glossier” than industry leader WeWork. John City. One of John’s best friends joined the notoriwants to see startup culture at work—and perhaps Eating out: “It’s the same 10 restaurants,” ous Supreme Team drug gang. Four guys from the even install some of his Shark Tank protégés on-site. he says. At Blue Ribbon, John likes the neighborhood appeared on America’s Most Wanted. John has the even-keeled, aloof manner of a caviar and chicken wings. Cipriani and The allure of honest money was stronger than man constantly being badgered for money, and he Nobu are also in the rotation. the pull of the streets. While his drug-dealing insists that when he loses a deal to a costar, he has friends were getting arrested, John saw his friends no regrets. But when there’s blood in the water, the A night out: Even with a new baby, in the music business touring the country earning shark in him sometimes can’t hide his emotions. John tries to hit clubs three times a week, millions, driving luxury cars, and surrounded by Between bites of steak, he explains that he networking at Marquee, Vandal, and gorgeous women. embraces a Zen-like approach to lost deals. But Avenue. “I still need to be out,” he exJohn decided to use hip-hop as a marketing that last entrepreneur, the one who went with plains. His drink? Tito’s vodka soda. vehicle for his designs. But without an advertising Kevin O’Leary over John before lunch? “He made budget, he needed to get creative. So he and an absolutely stupid decision.”
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Mayor Michael Bloomberg, at the 9/11 memorial in Manhattan, took office four months after the attacks
MOGUL Michael Bloomberg made billions with a great idea, determination, and nonstop hustle Te x t b y J u s t i n ro H r l i c H
f r o m l e f t: r a i n e r H o s c H / t r u n k a r c H i v e ; e d wa r d H a u s n e r / t H e n e w yo r k t i m e s
n 1981, when Michael Bloomberg first launched the company that would make his name famous throughout the business world—then called Innovative Market Systems—he was repeatedly told that the venture would fail. The big idea? Bring live financial data to desktop computer terminals across the globe. “Remember, this was before people had desktops,” Bloomberg later wrote. It was also before most people knew who Mike Bloomberg was, and getting his brand-new, as yet unproven product in front of the right people would be tough. But as he once explained, the “best time to strike is when the gatekeepers aren’t there.” So that’s precisely what he did. At 6 a.m. each day, a full three and a half hours before the stock market’s opening bell, Bloomberg would go to a deli across the street from Merrill Lynch’s New York headquarters and buy several cups of coffee, some with milk, some without, and several cups of tea, also with and without milk. A few extra sugar packets in hand, Bloomberg would then head over to Merrill’s HQ and roam the halls looking for executives to pitch. “I’d walk in and say, ‘Hi, I’m Mike Bloomberg. I bought you a cup of coffee. I’d just like to bend your ear,’ ” he explained to Gillian Zoe Segal, author of 2015’s Getting There: A Book of Mentors. “Nobody is going to say, ‘Get outta here’ if you just bought him or her a cup of coffee. When someone would occasionally say, ‘I don’t drink coffee,’ I would say, ‘Well, then have a tea.’ ” Needless to say, Bloomberg’s persistence paid off. The future tycoon, mayor, and would-be presidential hopeful’s first home in New York City was a 600-square-foot studio apartment on a lonely stretch of the Upper East Side, for which he paid a monthly rent of less than $150.
Today he lives in a 12,500-square-foot mansion steps from Fifth Avenue and is worth an estimated $40 to $50 billion, making him the eighthrichest person in America—not bad for the son of a bookkeeper who never earned more than $6,000 a year. And at 74, Michael Bloomberg is back at the helm of his eponymous company and he’s still hustling. Born on Valentine’s Day, 1942, Michael Rubens Bloomberg was raised in Medford, Massachusetts, a staunchly blue-collar suburb of 57,403 near Boston. His parents, William and Charlotte, both firstgeneration Americans, came from hardworking Eastern European stock. Although Medford now proudly trumpets its connection to Mayor Mike, the community wasn’t always so welcoming to Jewish residents. When the family moved to town in 1945, their Irish lawyer had to buy the house the Bloombergs wanted, then immediately sell it back to them. Bloomberg has never made a secret of his desire to escape Medford, but “making it” in Boston was not his goal, either. For Bloomberg, New York, New York, was the only place to be. A straight-C student in high school, Bloomberg still managed to get into Johns Hopkins University in Baltimore, where he paid his tuition via loans and moonlighting as a parking lot attendant. He kept his C average at Hopkins, from which he graduated in 1964 with a degree in electrical engineering, but still managed to get into Harvard Business School. (“I’m not the smartest guy, but I can outwork you,” he said in 2013.) In 1966, the newly minted MBA arrived in New York City and took an entry-level job at Salomon Brothers, the now-defunct Wall Street investment bank. The 24-year-old Bloomberg was assigned to “the cage,” a poorly ventilated former bank vault where he counted securities by hand. It was hot, tedious work, and Bloomberg, who earned a salary of $9,000 a year, often stripped down to his underwear to cool off. He made partner in 1972, eventually working his way up to the head of equity trading and sales. In 1979, caught in a power struggle between two of the firm’s higherups, Bloomberg was forced off the equities desk and put in charge of the company’s information systems. Though this was widely seen as a banishment to corporate Siberia, Bloomberg instead turned it into an opportunity. He knew from experience how inefficient the firm’s trading technique was, so he developed a networked computer system that Salomon soon installed at every trader’s desk. For the first time, comprehensive, up-to-the-minute data was available to all, and Bloomberg’s invention naturally resulted in better trades and bigger profits. Roughly two years later, he was fired. Salomon Brothers had been sold, and an executive committee was formed to decide who would be kept on and who would be let go. “One of the committee members did not like me—my crime being that I had been the assistant to his nemesis—and he convinced everyone else to vote against me,” Bloomberg told Segal. “[That critic] was later killed in a plane crash.”
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Fortunately for Bloomberg, his star had risen high enough at Salomon that he was given a $10 million severance package on his way out the door. When he failed to receive even a single job offer, Bloomberg, who was then 39, used about $4 million of his payout from Salomon to strike out on his own. He hired six programmers to help develop what would eventually come to be known the world over as the Bloomberg terminal, but found little interest among major Wall Street banks for his product. Bloomberg has quoted as inspiration Woody Allen’s assertion that “80 percent of success is showing up,” and the coffee and tea gambit eventually bore highly lucrative fruit. In 1982, Merrill Lynch became Bloomberg’s first customer, leasing 22 of his Market Master terminals, as they were then called. In 1986, Innovative Market Systems was rechristened Bloomberg L.P., and by 1987, there were 5,000 Bloomberg terminals on trading desks around the world. By 1997, Bloomberg L.P. was worth about $2 billion, according to the New York Times. In 2013, it was a $27.7 billion company. Today, it has more than 15,500 employees in at least 73 countries. From the original 22, there were 325,000 Bloomberg terminals in use by 2014, processing more than 60 billion pieces of market data daily. Despite his dizzying success, Bloomberg worked up an appetite for a new challenge. As he told biographer Joyce Purnick, author of Mike Bloomberg: Money, Power, Politics, “I’d been running my company for twenty years; it was time to go on.” In his 1997 autobiography, Bloomberg by Bloomberg, he wrote that politics were not in his “current plans,” but his close friends believed Bloomberg had become bored. In 2001, he decided to run for mayor of New York City. He would later speak about making local government “quicker, leaner, stronger, better,” with a pro-business, albeit socially progressive, bent. He was endorsed by outgoing mayor Rudy Giuliani, who said that Bloomberg was just the man to lead New York after the 9/11 attacks, and picked up the support of former mayor Ed Koch and two-term New York State governor Hugh Carey, as well. On January 1, 2002, Bloomberg was sworn in as the City of New York’s 108th mayor. He self-financed all three of his mayoral campaigns, spending a combined estimate of $270 million in personal funds. Mayor Bloomberg ran New York like a CEO, using data analysis and results-driven incentives to manage the city. And aside from the tight financial ship he captained, city officials soon discovered things would be different with a financial tycoon in City Hall. “I went to Miami with the mayor for a meeting once,” former NYPD commissioner Ray Kelly remarked toward the end of Bloomberg’s first term. “And when we were ready to fly back, there was some problem with the mayor’s plane. So we got on his other plane. That was pretty good.” Still, close associates say Bloomberg’s almost unimaginable wealth has not altered the core aspects of his personality. He entertained union leaders at his East Side townhouse (“It’s a fancy place, but he’s a regular guy. He put on a good spread,” the secretary treasurer of Laborers’ Local 731 told a reporter). Marc La Vorgna, who served as both Bloomberg’s press secretary at City Hall and communications director for the Bloomberg Media Group, describes the former mayor as one of the “most loyal” people he has ever met. And Bloomberg famously rode the NYC subway to work most mornings (though only after being driven to the expresstrain station by his security detail). Bloomberg controversially convinced legislators to change New York City’s term-limit rules, and was voted into office a third time. To avoid the appearance of any conflicts of interest, Bloomberg had appointed someone else to run his business while he ran the city. He said he never intended to go back to Bloomberg L.P., but after 12 years, when he vacated City Hall to make way for incoming mayor Bill de Blasio, Bloomberg couldn’t resist returning to his ever-expanding enterprise. It was widely assumed around the office that Bloomberg’s input would be limited, says one former employee who spoke on the condition of anonymity so as not to violate the multiple nondisclosure agreements
Bloomberg L.P.’s New York headquarters, designed by famed architects Cesar and Rafael Pelli
o p p o s i t e pa g e : a l l c a n a d a p H oto s /a l a m y s to c k p H oto.
the company makes new hires sign. After all, Bloomberg was 72 years old, had more money than most people know what to do with—the interiors of his Bermuda mansion reportedly used so much wood that a spike in demand for cedar caused a shortage on the island, according to the New York Observer—and no one could fault him for wanting to take it easy. But Bloomberg dove back in, full bore. Bloomberg Media, his pet business unit, has grown by leaps and bounds: TV and digital are up 15 percent; radio’s up 30 percent; event sponsorship revenue has nearly tripled. And Bloomberg continues to be intimately involved—some might call it “micromanaging”—in his company’s day-to-day operations.
“There is no detail too small for him, from snacks to corporate to travel to, really, everything,” says the former staffer. “Every core product group has a regularly scheduled group call, and 35 minutes into this one conference, all of a sudden there’s Mike Bloomberg, who had quietly dialed in, asking very specific and direct questions about why they were doing this and why they were doing that. Everybody in the room just about fell out of their chairs; no one even knew he was on the call.” It was just Bloomberg being Bloomberg. “Over the years, people have said to me, ‘You can’t do everything,’ ” he once remarked. “That is total bullshit. You certainly can do everything.”
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Rod Emory broke all the rules when he customized the classic Porsche 356
Te x t b y Dan c ar n e y
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Rod Emory’s friends nicknamed his modified Porsches “outlaws”—an epithet he embraced
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c h r i s g r e e n w o o D. o p p o s i t e pa g e , i n s e t: i D e av i l l e
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utlaw. It was meant as a joking epithet by Rod Emory’s friends, imagining the horror of Porsche purists at what they saw as Emory’s uncouth modifications to the precious Porsche 356. He embraced the diss, branding his custom vintage Porsche the 356 Outlaw and spawning a widely used, all-encompassing term that’s now applied to any classic Porsche modified from the way it left Stuttgart decades ago. The 356 was Porsche’s first production model, and it shared many of the design themes founder Ferdinand Porsche used on the Volkswagen Beetle, including a rear-mounted engine derived from the Bug’s air-cooled four-cylinder power plant. This left ample opportunity for Emory to make improvements in the car’s performance and appearance. Between 1948 and 1965, Porsche built 77,361 units of its pioneering sports car, a machine that established lightness and responsiveness as Porsche hallmarks. The 356 frequently defeated bigger, more powerful cars on racetracks worldwide. It was hot enough to attract the attention of Steve McQueen, who bought an open-top 356 Speedster in 1958. The Porsche was McQueen’s first racecar, and though it briefly passed into the hands of a classic car collector, McQueen bought it back in 1974, and it still belongs to his son, Chad. Emory Motorsports officially opened its doors in 1996, though Emory himself had already spent a few years customizing Porsches for clients before formally making it his business. The restomodder’s car-customizing roots run deep, as does his connection with Porsche. Neil Emory, Rod’s grandfather, opened Valley Custom Shop in Burbank in 1948, where he specialized in slicing porky Detroit iron into sleeker styles that pleased his eye, before moving on to work on Porsches and Volkswagens in 1962. Neil’s son, Gary, lusted after a Meyers Manx fiberglass-body dune buggy, but what he had was a crashed Volkswagen Beetle. With a bit of Neil’s help chopping and modifying, what might have been the first high-riding, knobby-tired, off-road-style “Baja Bug” was born. After starting out at the same Porsche shop as Neil, Gary launched his own business, Porsche Parts Obsolete, specializing in selling parts for classic Porsches. This gave Rod Emory the chance to learn metalwork from his grandfather and the catalog of Porsche’s historical parts from his father. By the late ’80s, Porsche 356s from the 1950s and early ’60s were revered classics, but they weren’t excessively expensive yet, so he was able to obtain one and immediately modified it to suit his tastes, reshaping sheet metal and bolting on parts from Porsches of other vintages. Pedigreed Porsche-philes were aghast at Emory’s irreverence, accusing him of ruining the car and leading to the “outlaw” appellation he embraces. Today, some of those purists seem to be on board, given that the Porsche 356 Registry has even created an Outlaw class for its car shows. Two years ago, Emory Motorsports relocated from its base in Oregon to North Hollywood, only two miles from where Neil Emory’s old Valley
Car customizing runs in the Emory family: Rod learned metalwork from his grandfather and the catalog of Porsche’s historical parts from his father
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Custom Shop sat. The higher-profile location has bolstered Emory’s reputation; in August 2015 he was featured on Jay Leno’s Garage. What’s so special about the cars Emory builds? Only two things: their outside and their inside. Outside, Emory Motorsports massages the cars’ lines just as Neil did for American hot rods decades ago, in some cases actually using Neil’s old tools to do the work. The object is to refine and customize the cars’ appearance, without changing their gestalt. Among Emory’s signature modifications are fog lights, a gas filler cap that protrudes through the center of the hood, and leather straps that secure the hood. These cues appeared on racing cars of the 356’s era, and Emory likes to apply them to his Outlaws today. Emory says it’s his aim to produce a car that looks better than it did originally, but that is changed so subtly that observers are hard-pressed to identify the alterations. He achieves this by doing things like snugging the bumpers right up close to the body rather than leaving them jutting out far from the sheet metal. “It’s really about making subtle changes that are hard to pick up on, and making it look like it was supposed to be that way,” Emory says.
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Emory massages the carsâ€™ lines and adds signature modifications to the Specialsâ€™ bodies
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o p p o s i t e pa g e : D r e w p h i l l i p s . t h i s pa g e : D r e w p h i l l i p s ( 5 ) . n e x t s p r e a D : c h r i s g r e e n w o o D
Porsche running gear. He’s even had the opportunity to do a puristapproved restoration of the first Porsche racer that placed at Le Mans. The shop turns out six or seven completed cars a year, most of which are the Emory Outlaw and the Emory Special. The Outlaw hews closely to Emory’s long-standing recipe of reworked mechanics: more powerful engines, improved brakes, and modernized suspension. These machines take a year to complete and cost about $250,000, plus the price of the donor car. The Emory Special gets extreme body modifications, such as even
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Inside, he exploits Porsche’s penchant for continuity, which means that some parts from the very newest models are still similar to those on the old cars, making them adaptable to Emory’s classics. This has meant that engine parts from the 1990s and suspension parts from the 1980s can be repurposed to make ancient cars drive with a little more precision. Over the years Emory Motorsports has rebuilt more than 150 cars. About 80 percent of them have been his signature 356s, though there have been other Porsche models, too, as well as some VWs souped up with
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better chassis hardware and a four-cylinder version of the Porsche 911’s sixcylinder engine. Specials take roughly a year and a half to complete, at a price of about $350,000 to $400,000 on top of the cost of the original. Is a company that specializes in classics that ceased production in 1965 doomed to fade into history as its products age? Maybe not, thanks to a lifeline to the future from Porsche. The Stuttgart sports car maker’s latest models use thoroughly modern turbocharged, water-cooled engines in the brand’s traditional flat, horizontally oriented arrangement. And critically
for Emory, the cylinder count in these new engines is four rather than six, making them the correct size for use in a 356. “It is my responsibility to continue to evolve that 356 design using all the parts Porsche has to offer,” Emory says, “to improve both styling and performance using the latest Porsche technology to accomplish that, be it water-cooled engines or hybrid-electric technology.” Putting such technology into a classic 356 should keep the Outlaw label legit for the foreseeable future.
1962 Emory Special 356 Roadster
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One of only six Specials produced by Emory Motorsports, it features a four-cylinder “911-4” engine, essentially two-thirds of a traditional Porsche flat-six. Developing between 185 and 200 horsepower, the engine produces more torque and a throatier sound than a traditional 356 engine. The Special also receives a rear suspension from a 911, brakes from a Boxster, and a 5-speed transmission. Weighing between 1,850 and 2,000 pounds, this car was originally a Notchback Coupe but has had its roof removed while adding such features as a Speedster windshield, a custom convertible top, and design elements from the iconic Porsche 550.
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a l l p h oto g r a p h s c o u r t e s y o f pa l z i l e r i
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Pal Zileriâ€™s new creative director, Mauro Ravizza Krieger
Italian menswear maker Pal Zileri may be known for its formal roots, but today the brand is looking to the future with a contemporary global style that’s reaching sartorialists from London to Mexico City Te x t b y p r i ya r ao
alancing the traditional tenets of menswear—think staples like slim-cut windowpane-check suits—with, say, athleisure is tricky. But that’s how the world’s most stylish men dress these days, and even conservative menswear makers have taken note. That intentional mastery of mixing and matching is at the forefront of 36-year-old Italian fashion house Pal Zileri’s approach to style: This is a
The Italian fashion house is modernizing its classic designs to appeal to a global clientele
luxury brand playing with the idea of avant-craft, the seamless combination of the past, the present, and the future. Pal Zileri was founded in 1980 by textile entrepreneurs Gianfranco Barizza and Aronne Miola. The duo had established Forall Confezioni SpA in 1970 on the founding principle of “democratic tailoring,” which means fashion-forward, handcrafted pieces accessible to all kinds of
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customers. (Forall is literally taken from the words “for all.”) In the 1980s and ’90s, the firm cornered the formalwear market, including made-tomeasure clothing, but nowadays, under new owner Mayhoola, the Qatari group that owns Valentino and Balmain, it’s making a more fashionable play with the help of recently anointed creative director Mauro Ravizza Krieger. His mission is straightforward: “We want to present pieces that are never too classic or predictable.” That ethos plays out in looks like quilted, mahogany-colored bomber jackets paired with pleated black pants, and sharp blazers coupled with marled turtleneck sweaters. Ravizza Krieger cites among his influences Bauhaus artist Josef Albers and his signature series Homage to the Square. This season’s line is filled with geometric touches—and lots of color. But Ravizza Krieger can do subtle, too: His navy blue suits, handcrafted by artisans in Quinto Vicentino, are traditional and smart, yet painstakingly crafted. A suit takes more than eight hours and about 180 steps to make. These days, Pal Zileri is making noise outside of Italy, in cities such as London, Mexico City, and Abu Dhabi, thanks to its newfound fashion-forward point of view. To reach a wider audience, the firm has embraced not only livestreamed shows, the new norm when it comes to runway presentations, but also social media—it has more than 22,000 followers on Instagram. It’s collaborated with celebrities like Hands of Stone star Edgar Ramírez. “We live a faster life with technology, and it is true that we want to direct our attention to new, modern-minded, and digitally plugged-in buyers,” says Ravizza Krieger. Still, the house’s core consumer remains the same. “Pal Zileri’s man is a bold, in-control, and fashion-minded one—a doer and a maker,” says Ravizza Krieger. “Men are more and more savvy, especially ours. They want to look good and comfortable on every occasion, and our product is an expression of that attitude.”
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Pal Zileri’s Fall/Winter 2016-17 collection
“Men are now more savvy,” Ravizza Krieger says, “especially ours”
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BODY of WORK Diamonds & Pearls is a monument to the late Belgian art photographer Marc Lagrange Te x t b y s ar ah h o r n e g ro s e
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P h oto ÂŠ M a r c L a g r a n g e . a L L r i g h t s r e s e r v e d, w w w. M a r c L a g r a n g e .c o M
hen photographer Marc Lagrange passed away in 2015 at just 58, the art world lost an epic talent. Born in what was then called the Belgian Congo, he trained as an engineer, and lived and worked in Belgium. Lagrange turned to photography as a
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second act, honing the craft of large-format Polaroid imagery. Inspired by old-school maestros like Irving Penn and filmmaker David Lynch, Lagrange brought his highly trained, scientific mind to the studio, creating portraits that evoke fairy tales with more than a hint of suspense. For Lagrange, life was an epic, poetic costume drama. In Snow White, for example, a group of tuxedoed gentlemen feast around a nude sleeping beauty; in The Last Supper, semiclad models cavort on an elegantly set banquet table. Although Lagrange completed projects
for commercial clients, including the heritage leather goods brand Delvaux, his first love was fine art, and his pictures bring to mind works by Northern European old masters. In his book, Diamonds & Pearls, published by the New York house teNeues, Lagrange is at his stylized best, less voyeur than master of the fantastical. The lowering chandeliers, decadent tiled palaces, vintage cars, and abundance of dark tones in his images suggest a rarefied world. His models appear draped in jewels, voluptuous, mysteriousâ€”and acutely aware of their own power.
ÂŠ Diamonds & Pearls by Marc Lagrange, published by teNeues ($95); www.teneues.com
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P h oto ÂŠ M a r c L a g r a n g e . a L L r i g h t s r e s e r v e d, w w w. M a r c L a g r a n g e .c o M
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In Lagrangeâ€™s world, life is poetic costume drama
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P h oto ÂŠ M a r c L a g r a n g e . a L L r i g h t s r e s e r v e d, w w w. M a r c L a g r a n g e .c o M
Lagrangeâ€™s models are acutely aware of their own power
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â€œI am a great believer in luck, and I find the harder I work, the more I have of it.â€? T h oma s J ef f ers on