L'OFFICIEL ST BARTH 6

ST BARTH WINTER 2020 / SUMMER 2021

THE FUTURE IS BLUE The Fashion Cruise Issue ADÈLE FARINE IN LOUIS VUITTON

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L’Officiel St Barth

Editor’s Letter

OUR FUTURE IS

BLUE

To make the magazine you hold in your hands, we didn’t cut a tree, the paper you touch is recycled and the ink is organic.

We have relocated our production, from the depths of the Italian countryside to the coast of Florida, allowing us to considerably reduce our carbon footprint.

To help us think about our future, we invited the visionary Cyrill Gutsch, the founder of Parley for the Oceans, the international media organization which fights and raises awareness and the American artist Doug Aitken who uses landscapes both as subject and as medium.

We also collaborated with Utöpia, a sustainability project supporting the international artistic community, Utöpia is participating in the movement for ocean protection and awareness by turning ocean waste into flags.

As the fashion industry moves towards a more responsible future, as the luxury sector redoubles its initiative, we continue to stage conscious and therefore radically changing fashion.

Starting with the brands most concerned, such as Vilebrequin, which not content to manufacture swimsuits in recycled fiber from waste recovered from the oceans, is perhaps proud to announce that already more than half of their models are now made with sustainable materials.

Because the world goes mad, more than ever and now, we must protect our Paradise, so that the charm and recklessness endure on our fragile island.

Welcome to the future, Raise a flag for the oceans…

- Philippe Combres, Publisher

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Contributors

CAMELLIA MENARD PHOTOGRAPHER

Olivia Junières started her journey in the fragrance and fashion industry in Paris.

She fell in love with St Barth and decided to launch her own creative consultancy « O Agency » last year, specializing in branding, communication, PR, and influencer marketing. She collaborates with luxury brands such as the new Hôtel Barrière Le Carl Gustaf, Shellona Beach Club, Lolita Jaca, La Guérite, Fouquet’s, or the tropical restaurant Le Tamarin, as well as VIP visitors and influencers. As an insider and networker what’s truly magical to her is that St Barth is gifted with ambitious, innovative, curious, passionate, fearless and free-spirited women, craving to create and make this island brighter than ever @oliviajnrs @ocreativeagency

ISABELLE LINDBERGH

PHOTOGRAPHER

CONSULTANT & PR

OLIVIA JUNIÈRES

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Isabelle Lindbergh is a Parisian native who studied graphic arts at Penninghen.

She then specialized in photography at the prestigious Ecole des Gobelins in the city of lights. Very well-known in the luxury industry, she collaborates regularly with Saint Laurent, Swarovski, L’Oreal and many other brands. Her artistic projects brought her to her next show in St Barth, to tell the story of her grandfather, the legendary pilot… to discover more, follow her @isa_linsbergh

Photographer Camellia Menard, is of FrenchAustrian origin, living and working in St Barth. She showed early promise in her teenage years with her paintings and her drawings garnering considerable praise.

After graduating from school with a four-year degree in photography, she set out on her own from her base in Paris. She has also directed and photographed numerous campaigns and some of her work has been acquired by private collectors. Camellia is known for eliciting the best from her subjects with her gentle and collaborative demeanour. Her work has been featured in L’Officiel Belgium, Vietnam, and Austria. She is currently at work on a book and some of her work can be seen on @camelliamenard

SAMANTHA ARCHIBALD

MODEL

L’Officiel St Barth

Meet Samantha Archibald, her modelling talents are known from some of the most prominent fashion weeks, working with reputable brands like Marc Jacobs, Miu Miu, Bottega Veneta, Prada, and Helmut Lang. During her career, she has shot with worldrenowned photographers for publications such as Vogue Italia, Harper’s Bazaar, L’Officiel, and Interview Magazine, and has appeared in multiple campaigns for Victoria’s Secret, MAC Cosmetics, and Miu Miu. You must be wondering, where is home for her? Samantha divides her time between her homes in New York City and Miami, follow her journey on @samanthaarchibald

* Founded in St-Tropez in 1971

Fondé à St-Tropez en 1971*

SUSTAINABILITY

— page 14

Editor’s letter

— page 29

Parley for the Oceans Special feature

— page 16

Contributor

— page 30

State of the Oceans with Doug Aitken

NEWS — page 38

Art for the Oceans with Cyrill Gutsch — page 42

Beyond the Sea with Nigel Cooke — page 46

Make Waves with Julio Le Parc

FASHION

— page 22

Man Made — page 24

It’s Time

STILL LIFE — page 52

Master Pieces

— page 62

Blue Dreams with Adèle Farine — page 100

Cruise Fashion

COVER Adèle Farine in Louis Vuitton

by Skylar Williams Samantha Archibald in Louis Vuitton and Chrome Hearts by Camellia Menard

— page 108

Lily On the Beach with Lily Collins

Doug Aitken, Underwater Pavilions with Parley for the Oceans Photographer: Patrick Fallon

* Founded in St-Tropez in 1971

Fondé à St-Tropez en 1971*

L’OFFICIEL ST BARTH N° 6 — WINTER 2020/SUMMER 2021

Publisher & Editor-in-Chief

L’OFFICIEL GLOBAL

PHILIPPE COMBRES phil@lofficielstbarth.com

Creative Director

JENNIFER EYMÈRE jen@lofficielstbarth.com

Art Director & Editorial Director

JENNY MANNERHEIM jenny@lofficielstbarth.com

Stylist

JAY MASSACRET KENZIA BENGEL DE VAULX PHOTOGRAPHERS

SKYLAR WILLIAMS SAM TAYLOR-JOHNSON CAMELLIA MENARD ISABELLE LINDBERGH MICHAEL GRAMM PATRICK FALLON AMI SIOUX CLAIRE DORN JENS ZIEHE Contributeurs

CYRILL GUTSCH - PARLEY ALBER ELBAZ JOSHUA GLASS Editor

EDVARD LUKER Published by Saint Barth Media Group Quai du Yacht-Club, 97133 Gustavia, Saint-Barthélemy

Publishing Directors Jennifer Eymère & Philippe Combres

DIRECTION

Global Co-Chairmen and Members of Executive and Administrative Boards MARIE-JOSÉ SUSSKIND-JALOU MAXIME JALOU Global Chief Executive Officer, Director of Executive and Administrative Boards BENJAMIN EYMÈRE Global Deputy Chief Executive Officer, Member of Executive and Administrative Boards MARIA CECILIA ANDRETTA Global Chief Creative Officer STEFANO TONCHI Global Artistic and Casting Director JENNIFER EYMÈRE Global Editorial Committee GIAMPIETRO BAUDO JENNIFER EYMÈRE STEFANO TONCHI Executive Assistants CÉLINE DONKER VAN HEEL GIULIA BETTINELLI

INTERNATIONAL & MARKETING

Director International Licensees and Brand Marketing FLAVIA BENDA Global Head of Digital Product GIUSEPPE DE MARTINO Global Digital Project Manager BABILA CREMASCOLI Global Media and Marketing Strategist LOUIS DU SARTEL Global Editorial Content and Archives GIULIA BETTINELLI

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MAN

Sustainability

made OCEAN ready Designed for active lifestyles, MAN has made the perfect eco-friendly swimwear, combining recycled materials with first-class design, providing everything you need in a swimsuit.

Photography ISABELLE LINDBERGH Every year, the average household sends 30kg of clothing to landfill. Spun using fine 100% recycled yarn, MAN swim shorts are made from 80% recycled textiles and 20% plastics, salvaged

by Mediterranean fishermen. This innovative fabric helps tackle one of the most important problems in the fashion industry, while also preserving the coasts. Each pair gives new life to 200g of plastic waste. A drop in the ocean? Perhaps. But every wave begins with a ripple.

Not only eco-friendly, the new shorter-fitting MAN swim shorts mix sustainability, style, and practicality. Available in a range of colours, these swim shorts are made from a lightweight but durable fabric. Pocket free, they are slit at the side for ease of movement. The waistband embroidery ensures a snug fit. MAN is exclusively available at the Vilebrequin Store.

Vilebrequin has called the world’s oceans home for almost fifty years, and created a new eco-friendly label – ‘Save The Oceans’ – dedicated to sustainably made garments by using recycled or recyclable materials. A first step towards change.

WWW.VILEBREQUIN.COM @VILEBREQUIN

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It’s

TIME!

Tom Ford 002 Ocean Plastic Watch Case made from 100% ocean plastic with stainless steel case-back plated in black dlc, stainless steel crown plated in black dlc with ocean plastic inlay. Matte black dial with super luminova numerals, diamond cut white super luminova painted hands, sapphire crystal with anti-reflective coating on top. Case dimensions: 40mm round.

Water-resistant to 10 atm. Tf signature braid strap engineered

and hand braided out of 100% ocean plastic with stainless steel buckle plated in black dlc. Recyclable packaging made from 100% ocean plastic, recycled paper box and interior. Swiss made, quartz movement.

WWW.TOMFORD.COM @TOMFORD

ST BARTH

Doug Aitken, Underwater Pavilions Photographer: Patrick Fallon Courtesy of the artist and Parley.

Oceans

The oceans cover 70% of our planet’s surface, house more than 99% of the biosphere and play a vital role in sustaining the health of all life – on land and in the seas. We all depend on the oceans, without them, we simply would not exist. Earth would be uninhabitable. Yes, still, everyday, human impacts have damaged almost every swath of this vast ecosystem — filling it with toxic waste and discarded plastics, killing the creatures that have lived here for millions of years and emptying it of natural resources.

In this special feature of L’Officiel St Barth ‘Oceans’ edition, we collaborate with the Parley for the Oceans, a new form of environmental organisation that brings together creators, thinkers, and leaders across brands, governments, creative communities and environmental groups to raise awareness for the beauty and fragility of the oceans and collaborate on projects that can end their destruction.

State of the OCEANS

Parley for the Oceans was founded in the heart of the art community and has collaborated on projects ranging from artists’ unique works to site-specific installations, like Doug Aitken’s Underwater Pavilions that will soon be installed in the Caribbean sea in St Barth.

Cyrill Gutsch and Parley collaborator, artist & filmmaker Doug Aitken discuss the state of the oceans.

By PHILIPPE COMBRES Photography AMI SIOUX

Cyrill: Hey Doug. Let’s dive in. The first time you went to an island with Parley for the Oceans it was to Catalina (off the coast of Los Angeles), for the creation of Underwater Pavilions, can you explain the installation a bit?

Doug: The Underwater Pavilions is an installation of underwater artworks. Three sculptural forms that float below the surface of the ocean. These are living artworks that the ocean moves and circulates through, and the viewer is really asked to go under the ocean surface to explore them. Once you’re swimming, you discover these reflective mirrored sculptures. They’re very surreal and hallucinatory. And you also find yourself in this landscape that there’s a complete democracy between sea life and yourself as a viewer. And I think that’s one of the things that’s very powerful about that experience.

Cyrill: The Underwater Pavilions installation happened at the same time as your retrospective at the museum MOCA in Los Angeles. There was a certain link between the timing, can you explain a little bit how this whole thing came together? Doug Aitken, MOCA, Parley, Catalina Island?

Doug: It was a very interesting moment in time for me. We were putting together this large museum show in Los Angeles.

And I had a desire to create some kind of artwork that was outside of the museum or gallery in a different way. And I really wanted to work with the ocean. The ocean has been absolutely integral to my entire life. And I find myself gravitating towards it

constantly. I live a block away from it. But the ocean is often seen as this large anonymous space, which we know so little about, it’s fascinating.

With the ocean it’s very difficult for the viewer to have a starting point. When they see it, they see basically a blue horizon. The Underwater Pavilions was really an artwork that would provoke the viewer and would ask them to go into the ocean and into an area that was very foreign to them, a different realm. This was the starting point for this incredible collaboration with Parley for the Oceans.

Cyrill: And that is something that, in a way, didn’t fit into the regular context of the museum.

Doug: I think it’s very interesting because the way we see art classically, is that art exists inside architecture. It exists inside a museum space. It’s on a wall or it’s freestanding, but we don’t really expect art to be living. We don’t expect art to be something which is changing continuously. We don’t imagine artists working with ecosystems. And for me, I think that this is really much of the frontier of where art can go.

Cyrill: You have worked a lot on escaping from the traditional formats and the traditional spaces of art...

Doug: It’s been a continuous fascination, what can art be?

What spaces can it occupy? And the ocean was a very fascinating challenge for all of us. It created an enormous collaboration with Parley for the Oceans. All of a sudden, you and I became

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AN ISLAND FOR ME, IS THE SMALLEST FORM OF HUMAN ECOSYSTEM, and it’s also a confrontation of humans with nature. YOU HAVE TO CO-EXIST THERE, YOU’RE SURROUNDED, YOU’RE OBVIOUSLY A VISITOR. And that’s an experience that you normally don’t have because we live on these big stretches of land AND WE DON’T SEE THAT THE OCEANS ARE BIGGER THAN US. close friends. We were able to access people like Sylvia Earle, oceanographers, marine biologists, ocean engineers. And I think in a lot of ways, this project created a bridge that allowed many different people who have different interests to come together and merge over creating a new artwork and a new place for culture to exist.

Cyrill: So the first pieces of the installation were made close to your studio in Los Angeles?

Doug: Yeah. It was an incredible challenge because when you think of this idea of, what is art? In general, art is something which is made to never change. When it leaves the artist studio, it’s meant to never be adjusted or altered. And in this situation, we’re trying to create an artwork that can be under the ocean where there’s pressure and movement, there’s swells, and at times it’s violent. And you ask yourself, how can you create this artwork, that will not be annihilated? How can it withstand these elements?

Suddenly, there’s a completely different set of criteria for how the artwork needs to live. I think that question is fascinating, we found ourselves in collaboration with deep ocean, sub-marine

fabricators, with so many different specialists. But I think for them, it was really a celebration. It was an incredible experience, because they could step outside of the norm, and find themselves engaged in something that was more experiential.

Cyrill: For you, you’re a surfer, and you live by the sea, but you never dived, correct? How wonderful was it the first time you put on scuba gear and learned to dive?

Doug: It was really quite touching. Our entire studio took scuba classes together and went to this island, and we wanted to be part of every stage of the project. And I think we are aware of the earth’s surface, but what’s below the ocean surface. And we don’t really think about what’s underneath the sea, but over 70% of the planet is underwater?

So for every mountain and canyon that we are aware of in our landscape, there are many more below the ocean’s surface. There’s so much to explore and that we have very little idea of. The ocean is one of the most essential assets to our planet.

Cyrill: For a lot of the visitors, and journalists who were there at the launch, it also turned into a very personal challenge because they were afraid of going into the sea. They were afraid

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of confronting themselves with an environment that is not made for them to easily exist. Did you witness that? Did you observe that? Did you see how people transformed or changed by being lured into the sea and conquering their fears?

Doug: I did. I saw that happen throughout the project. And I think that one of the things with the Underwater Pavilions that was for me, very profound, was that this is the work that’s for anybody out there. There is no admission or security. It’s something that anyone can experience at any time. I would swim under the ocean surface, and suddenly feel this incredible release, and I felt this connection and oneness with the landscape around me.

The school of fish that passed in front of me while I’m swimming could care less that I was there. The kelp forest, the movement and reflections of the sculpture, watching sea life start to live on it and grow and create their own ecosystems. To me, these are things which are fascinating, but they’re also in some ways quite foreign to what our preconceived notion of what art is.

Cyrill: When you put these artworks out there and you know that they’re there, and you have lost control over them, is that exciting or is it frightening, or how did you feel about that?

Doug: I think it’s both. You have a fear of letting go, but with that, you also have this liberation. And I was so fascinated with this project, and the idea that we could create this installation that could actually start living and creating its own experiences.

By creating this project, and collaborating with Parley for the Oceans an Ecological, an environmental group, it allowed the artwork to cross over in very unique ways, where it was simultaneously an artwork that a viewer could experience, but also a more community-based project that could create dialogues and shared moments, workshops and connect different people, voices and interests. Seeing that come together on a large scale, on an international scale, was really quite moving.

Cyrill: So this process of collaboration and of making the artwork, became an invitation for people who would otherwise never meet, to connect.

Doug: Very much. And I think when art has the power to change, and the power to initiate conversations and dialogues, energy happens. One of the most interesting aspects of an artwork is when it goes beyond itself, and it’s still longer insular, but it’s a connective tissue. It’s a bridge and a way of sharing.

Cyrill: What is the next phase for the future of the project? We are collaborating with the Italian yacht maker, Rossinani, who helped fabricate the new set for our next leg of the long-term journey. How was that when you started collaborating with the Rossinavi team, the yacht builders?

Doug: The Underwater Pavilions as a project, became nomadic, and it became something that we really wanted to share in different places, and to let the piece move into different oceans.

And the second set of sculptures, we created in Northern Italy with an amazing boat builder. And we were able to refine the sculptures more and create new collaborations.

I think that is very interesting when an artwork can move through different landscapes and connect different cultures. The second installation in St. Barth will be quite phenomenal. The Caribbean is the antithesis to the North Pacific. You have warm, clear water and stunning sea life.

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And for us, you and I, we have a new version of the sculptures, and the idea that you could just go and dive into this sultry ocean and swim through the turquoise water and see the sky above reflecting off sculptures will be amazing. It’s going to be completely different artwork from anything before. The Underwater Pavilions is very much based on reflectivity. So the work absorbs the light that surrounds it and reflects the ocean scape and transforms into this large kaleidoscopic space under the ocean. It will become the Caribbean and it will become something which is ever changing.

Cyrill: It allows people to see the oceans in a very different perspective, to step out of these traditional ways of looking at life on the water, and also connect it with all the media that we absorb our whole life. I feel that’s just opening a totally new window towards the sea.

Doug: We’re in a crossroads as a society right now. And we’re straddling the space between the physical world and the digital world, and how much time we spend on screens absorbing images and information. And the counterpoint to that is looking outside at the physical world, taking a walk, touching the soil, walking through a forest. In many ways, the Underwater Pavilions is an offering to return to the real. It’s really asking the viewer to step into a space which is a physical and natural ecosystem, and to make this your own experience.

When I dove into the ocean to experience this work, and swam into the work, what I saw was more unreal than anything I could ever imagine in the digital world. It felt so heightened and strange. My senses were activated and there’s a sense that you’re completely in the present. You’re engaged only in what is in front of you. I think that that’s a very, very valuable quality to have in today’s world.

Cyrill: I find that the Underwater Pavilions is like this magnifying glass that allows us to zoom in and not be caught by how we think the oceans are, how we think nature is, but really discovering, really opening our eyes and really developing an individual relationship to it.

Doug: What you said just completely sums it up. When we look at something immense like a huge sprawling forest, a jungle like the Amazon or an ocean, we see something that to us on a sensory level is almost anonymous. It’s almost an endless pattern, and the pattern appears to repeat and repeat. But the beauty is actually in the variety and difference. The beauty is in the details and how every tree is unique. And that’s where we find meaning.

I think that one of the issues with the ocean right now is, the ocean is obviously under siege in terms of its treatment and we, as a society, need to have a greater connection and understanding of it.

Cyrill: Massive destruction is happening at the coast.

Doug: But one of the keys to that is sharing and education. And one of the keys to that is to really create a sense of empathy and understanding. The only way that will happen is if one really has a personal encounter, and to really start to experience and have moments where they’re looking at it afresh and the oceans are no longer a vast abstract blue horizon, but it’s something that’s unique and personal. Those qualities are things which a project like the Underwater Pavilions can help to develop further.

Cyrill: There is a very personal experience that you have when you

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dive through the Underwater Pavilions, but there’s also a group aspect to it, like meeting other people, starting conversations, using that moment of being there as a collaboration, a moment where you’re ready to experience new perspectives and to have new thoughts.

Doug: Very much and Cyrill you’re very much a conductor and you bring people together and create talks, events and happenings. One of the things that I know you’re really looking forward to with this project is, create a series of conversations and events on land that feed into the artworks, which are under the ocean surface.

Cyrill: Yeah, I dream of a world ocean tour with the Underwater Pavilions, touching all seven oceans, but also ideally touching every big and small country that has a coastline, and connecting people through that experience and using the moment when they open up and they find the innocence through the beauty to discuss new ideas and to change the way we’re doing things on this planet, because we are running out of time.

I’m very optimistic about our role on this planet, but it’s not looking too good right now. And at Parley, and with governments, inter-government organizations, we have this timeline in front of our eyes like a ticking clock.

I find it so important that we’re thinking global and not shying away from very ambitious thoughts, because these problems that we’re facing today, they are gigantic. And we cannot solve them by doing one little step after the other. So in my dream, the Underwater Pavilions live in so many places and around them,

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they spawn spaces of collaborations, innovation and change. It could be the ignition spark of stations all over the world and convening points.

Doug: I love it. There’s no denying what you’re saying and that it’s absolutely relevant. Art can be something that is not passive, art can be something that can change, travel and activate different people and societies in different ways, for me, that’s fascinating.

In the Underwater Pavilions we’re floating, weightlessly in salt water. We’re moving through shafts of light, and passing ecosystems that perhaps we’ve never experienced before, we’re interacting.

We want to be engaged with our senses activated. And I think that is a profound desire at this moment in time. We’re living in a post COVID world of quarantine, separation, and isolation.

And the idea to break free and back into a natural system and to see it heightened.

Our work is almost like a meteorite rolling slowly across the ocean sharing with different communities.

Cyrill: You mentioned the pandemic. We’re sitting in spaces and confinement. I feel that we are going to highly appreciate being out there in the sea or the forest, to actually discover nature.

And I find that there’s no better way than to be guided than by an artistic idea. This is such a perfect way of giving people an opportunity to stay a little longer in the abstract, and allow them to completely redefine how they’re moving forward in life, and how they’re probably even putting the oceans into their heart.

The ocean and it’s creatures need our support and attention.

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I FEEL AN ISLAND CAN BE A PROVOCATION FOR US TO REDEFINE THE WAY WE’RE LIVING. You pretty much have to organize yourself quite well. If you’re going to an uninhabited island and you’re starting from scratch. YOU HAVE TO THINK ABOUT THE MOST BASIC THINGS. Where’s the electricity coming from? Where’s the water coming from? Where’s the sewage going towards? I THINK AN ISLAND ALLOWS YOU TO INVENT EVERYTHING FROM SCRATCH, AND REINVENT THE IDEA OF LIVING ON THIS PLANET AND WITH NATURE. — Doug Aitken

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Doug Aitkens’s UnderwaterPavilions Doug Aitken’s Underwater Pavilions, Pavilions, a kaleidoscopic observatory for the viewer on the seascape, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.

Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans. The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience.

Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.

Italian yacht builder Rossinavi and Parley joined forces to pioneer a new era in Ocean Exploration. The partnership between Rossinavi and Parley unites the worlds of art, design,

space, science and technology by collaborating on projects that change the ways we explore, understand and ultimately protect the Oceans.

Underwater Pavilions engages the living ocean ecosystem as the viewer swims into and through the sculptures, which create reflective abstractions. The work operates as an observatory for ocean life, creating a variety of converging perceptual encounters.

The sculptures will continuously change due to the natural and manmade conditions of the ocean, creating a living presence and unique relationship with the viewer. Both aesthetic and scientific, Underwater Pavilions puts the local marine environment and the global challenges around ocean conversation in dialogue with the history of art, inviting the viewer to write a contemporary narrative of the ocean and to participate in its protection.

Doug Aitken Underwater Pavilions will be part of his upcoming exhibition in St Barth at the Wallhouse museum.

Doug Aitken, Underwater Pavilions, Utรถpia x Parley flag, Size: 5 x 3 FT. Edition of 100. Courtesy of the artist and Parley.

Photographer: Isabelle Lindbergh.

Art for the

OCEANS

Founded in 2012 by designer Cyrill Gutsch, Parley for the Oceans is a new form of environmental organization. What began as a series of talks that first launched at artist Julian Schnabel’s home in New York has now become a worldwide movement for change.

By PHILIPPE COMBRES

Philippe: How long have you been interested in the environment and ocean protection, and what triggered you to start Parley?

Cyrill: Parley started on June 16, 2012. Eight years ago. That day I met Captain Paul Watson, founder of Sea Shepherd, the legendary ocean conservation group. He was imprisoned in Germany for protecting wildlife out there in the sea. A mutual friend told me about the situation he was in and my first thought was ‘He gets arrested for something we should all do, get out there and protect life’. When I met him in this little office of the law firm, I asked him about the state of the oceans. He answered that we have already entered the next, the sixth mass extinction event and the oceans would most likely be dead by the year 2048. I googled it and found a study commissioned by the United Nations which confirmed the deadline. The oceans will be clinically dead in 36 years unless we act. Our generation would leave behind a dead sea, a legacy of destruction. Learning this shocked me, I couldn’t believe why people wouldn’t crowd the streets and protest, why such a catastrophic outlook wouldn’t dominate the news. So I called my partner Lea in New York. We were running a design firm together at that time. It was a short conversation where we both decided to stop our company and

become an environmental organization. To do whatever we can, to turn things around. To work for the oceans as our new client.

Philippe: At the beginning, how did you bring together a collaborative network, along with volunteers to support and fund your mission to protect the oceans?

Cyrill: We got to work immediately and tapped into our network of journalists, artists, designers, entrepreneurs and brands to recreate the wake up call we just received ourselves, to make people aware, to get the key influential forces of society behind the cause. We found the biggest support in art and fashion and soon organized Parley Talks, then started our own impact programs around marine plastic pollution, climate change and illegal fishing. When we started, we were environmental beginners, newbies really. That’s why we focussed on what we could do best and that was communication, networking and innovation. It was clear that solving the complex environmental issues we are facing today would need more than protesting, more than trying to shame people. It would need empathy, creativity and collaboration. The deeper we worked our way into the cause of ocean conservation, the more we understood how important the oceans are for the overall, interconnected ecosystem of our

Katharina Grosse produced 20 individually painted surfboards with proceeds going to Parley’s Global Clean Up Network.

Photographer: Jens Ziehe Š Katharina Grosse and VG Bild-Kunst, Bonn, 2019. Courtesy of the artist and Parley.

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planet. We understood that our lives depend on them, because they are providing the chemistry, the conditions life on this magical blue planet needs. They provide the life support system that allows us humans to exist. But we also understood that the traditional approach of activism and environmentalism would not be what we can only rely on. We would need to bring opponents together, unite them, show how it can be beneficial for everyone to collaborate and proof that protecting the oceans would be a better business than destroying them. Today, the network of Parley consists of the creative industries, scientists, corporations, governments, intergovernmental organizations, high net worth individuals, environmentalists, youth and athletes.

Philippe: Tell us about the name Parley?

Cyrill: The world has its roots in the French language, the verb ‘parler’ which means ‘to speak’. Parley is a peace conference, a negotiation between enemies. For us, it’s a negotiation of peace between humanity and the oceans. We bring together opponents, people with different interests and from different cultures.

Our objective is to unite them with powerful ideas and form a new economy together. One that is leaving the old mindset of exploitation behind and builds on a deep understanding that economies of the future will be based on creativity collaboration and eco-innovation.

Philippe: St Barth is a very unique destination, and there seems to be an affluent international population who is really focused on sailing and oceans. How can we bring awareness to this special population?

Cyrill: Being in St Barth, being with the oceans and exposed to its breathtaking beauty is the best moment to join the movement.

Because all what you experience in this exact moment is in reality very fragile. The list of threats is getting longer, as is the list of sea life that is driven into extinction. Art can play a crucial role in creating a conversation, creating a new view on the sea but also raising the funds needed to protect them. At Parley, we collaborate with very committed artists - they often donate pieces or give us their artworks for editions. And then we are working on site specific art installations with artists like Doug Aitken.

The Underwater Pavilions will come to St Barth and will help to connect, help to invite locals and visitors to the cause. And we might explore the idea of creating a permanent Parley Station, a place of art and science, a place of inspiration, collaboration and convening. The most important part is collaboration, to engage with people who live and work in St Barth, who know the island and its marine life. Together we might develop a mutual vision, a moonshot that turns St Barth into a Symbol of Change, a blueprint for others to follow.

Philippe: Your logo is painted by artist and filmmaker Julian Schnabel, you work on several projects with the American artist Doug Aitken, along with a series of artists flags with artists Julio Le Parc, Jeppe Hein… Why does art play such an important role at Parley?

Cyrill: Artists are fully transparent about their agenda. They

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want to make great art and to do so, they often develop very powerful collaboration skills which allow them to excite people who can help to bring their vision to life. The artist also has this unique role in society. People want to be confronted, provoked, questioned, inspired by an artist. That makes art a precision tool for change. Invited by an artist, invited into an artist home or studio allows the participant to enter with an open mind, ready to be surprised. Artists are often very impactful communicators and they played a role in pretty much all the big revolutions. And that’s what we are driving here, the Material Revolution. It all starts in our minds, it all starts with a new intention to create a form of living with nature that is built on empathy, respect and collaboration.

Philippe: We will be very happy to welcome in St Barth, Parley’s amazing project with Doug Aitken, the Underwater Pavilions. What is their function, and how do they raise public awareness?

Cyrill: Producing Underwater Pavilions with Doug Aitken was a long, eventful and exciting experience. It still is, because this project is still just at its beginning. We will not rest until we touch every ocean with them. This project does everything that you can imagine. And more. It’s a collaboration booster and an educational instrument, a door into the oceans and also an update for our perception of the sea. Once you experience it, you gain a new view, a new perspective on the magic underwater universe.

It’s an outer space experience that overwrites all what we have in mind from the oceans, overwrites the old idea of the oceans.

You dive down there and spend up your air tank, bedazzled by the endless changing reflections of these strange, alienesque objects. You watch the interaction of life. The pavilions are like an interface between the worlds of mankind and the oceans.

Philippe: What are your expectations / hope from this new project in St Barth on the border between art and science?

Cyrill: My expectations are to form an ongoing relationship between Parley and St Barth and turn what began as a conversation into a manifestation of people’s willingness to have a positive impact on the oceans. In my dreams, we turn St Barth into this place of peacemaking, knowledge and eco-innovation.

A place that seduces you for a future that is far away from using exploitative and harmful methods. A place that proves that living in harmony, in collaboration with nature is a way better life, a more modern life, a truly prestigious life. A place that proves our vision, that ‘Purpose is the new luxury’.

Philippe: We have local associations here, such the Coral Restoration St Barth, and the Agence Territoriale de l’Environnement de Saint-Barthélemy (ATE) who are in charge of the marine nature reserve, do you see a possibility of collaboration?

Cyrill: Corals are the canary in the coalmine. If they die, we know something really bad is happening. We are extremely committed to coral restoration and it would be an honor to work with the local associations, to collaborate with all of you on this.

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PARLEY GLOBAL CLEANUP NETWORK Central to Parley’s call to arms is the Parley Global Cleanup Network. It works to protect marine environments from plastic pollution and other threats. Through collaborative cleanups with local businesses and organisations, we intercept plastic waste from beaches, remote islands, rivers, mangroves and coastal communities. With dedicated coordinators and volunteers in 28 countries and counting, the network also works on local education, awareness campaigns and government engagement to drive change. Each country coordinator shares the vision for healthier oceans globally, and works locally to champion the Parley AIR Strategy in their nation.

As of 2020, Parley has worked with over 750 collaborators, engaged almost 250,000 volunteers and conducted more than 4000 cleanups.

AIR: PARLEY’S STRATEGY TO COMBAT OCEAN THREATS Every second breath we take comes from the sea. The oceans give us life. In return, we give them plastic and other toxins. Take the AIR pledge today and join the global oceans movement.

AVOID single use plastics and other harmful materials that impact our oceans

INTERCEPT plastic, pollution and other potential threats before they harm marine life

REDESIGN new materials and rethink the harmful systems destroying our planet

Initially presented at the United Nations in 2015, the Parley AIR strategy was created to address the fast-growing threat of marine plastic pollution. As our focus has widened to include other ocean threats like climate change, illegal fishing and toxic pollution, the concept can be applied to other problems facing our planet.

The AIR strategy has been adopted by individuals and groups alike, including brands, organizations and even governments. After pioneering the strategy at a national scale in the Republic of Maldives, Parley signed an agreement with the World Bank in 2020 to roll out a program across eight countries in South Asia with the AIR Strategy as a guiding principle.

Join the movement and share your Parley AIR Pledge today at air.parley.tv

Beyond

THE SEA

With an energy taken from Nigel Cooke’s regular swims in the sea, interpretations of myth, and the lyricism of ballet, his artworks weave together reflections on natural forces and the unpredictability of painting in oceanic tones of blue. The works are at once meditations on the sea and responses to characters in Homer’s Odyssey Odyssey..

By JENNY MANNERHEIM Jenny: Can you tell us about your recent move from figurative to abstract painting?

Nigel: There are times when your work doesn’t figure life, when there’s a difference between where you’re going and what you can see in front of you. In a way, what developed was the idea that I was just trying to break something apart. I felt like a fixed image with a defined contour was not an appropriate message for the world we live in. I wanted my work to feel like it was made now, timeless too, but with the thinking that I am subjected to by being around in the present. I thought a concrete image would be a bit rigid. There seems to be something toxic about people putting themselves at a distance from others. Everyone I could see separating themselves from others was creating a bad energy in the world and a bad precedent for social behaviour. I wanted these paintings to be about being people but also about how that’s quite a porous notion. That’s not a marble edifice or icon, but more of a network or a basket of porous materials. Fixed and figurative painting felt like the wrong thing. It felt like it didn’t belong. I wanted to get myself away from any idea that a person is a fixed thing.

Jenny: The ocean came to have an important place in your practice because you’re living close to it?

Nigel: Yeah it’s two miles up the road from my studio. I started to notice the influence it was having on me. I realised that one of my very first paintings was of the sea. I think that there’s an interesting thing that painters have of always trying to go back to their first painting. In a way all you do is the same painting over and over again, because at first you fall in love and then you can’t get to the end of it, so you’re kind of cycling around the same thing again and again.

Also, in literature, and particularly in Homer’s Odyssey, there’s often this image of the sea as what’s beyond and what you need to cross to

get home. Being separate from people and things due to lockdown, the ocean started to take on this quite melancholic, metaphorical presence in my imagination. You go to the sea and you come back but you’re never getting anywhere, you’re always coming back to the same place. And normally I like to get away but this year it’s harder to get anywhere. The sea is also like the night, it’s very mysterious, it’s a secret. When we get bored of this life, here, the sea feels almost like another planet. There’s so much to explore.

Jenny: How did you decide which painting you were going to select as a print edition for Parley?

Nigel: The show and the print are both called Oceans because that’s the title of the painting that it’s based on. In a way, this year because of the virus, I started to think about how I could attach a beneficial thing to each show, how I could give back each time in a new way.

One show had an NHS donation button. This cause with Parley tied in so well because it’s a cause that I find quite a stressful one with my own location to the sea. My studio is a kind of ecological hub and I drive an electric car, so this project just slotted in nicely with my own efforts.

Jenny: How can you change your whole practice as an artist towards something more eco-friendly?

Nigel: It’s difficult. My studio building uses solar energy and renewable fuel. It’s very well insulated. It’s the first passive house workspace in Britain. It’s built to a high standard of air-tightness which means that it doesn’t really have bills; it works on sustainable fuels for a couple of months a year, and for the rest of the year all the fuels are renewables. All the materials the building was made from are ecologically graded. In terms of the actual work, that’s a bit more difficult. In terms of shipping the work I try and lighten the load so that it’s easy to transport. It’s a long process.

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I HAVE BECOME A KEEN SEA SWIMMER DURING THIS PAST YEAR, WHICH OVER TIME HAS FORCED ME TO CONSIDER THE HEALTH OF THE OCEAN AS AN ECOSYSTEM. You are not an observer but a participant, and this logically suggests the ethics and scope of that participation. AM I DOING ENOUGH? Am I doing what I can to contribute to the preservation of this part of our planet?”

— Nigel Cooke

Nigel Cooke, Oceans, 2020, Pigment print on paper, Limited Edition Prints. Edition of 35. $3,500 USD. 100% of proceeds help fund plastic interception, education and communication, material science and eco-innovation.

The print is a reproduction of the painting Oceans, 2020 oil and acrylic on linen.

No. 75147 Photo: Robert Glowacki. © Nigel Cooke, courtesy Pace Gallery

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Make

WAVES

Franco-Argentinian artist Julio Le Parc, a pioneer in “op” and kinetic art, has created an artist flag for Parley x Utöpia in support of the battle against the global plastic crisis.

By CYRILL GUTSCH Photography CLAIRE DORN

Starting in the 1960s, Le Parc underwent a radical break from traditional art, away from static pictorial work and towards dynamism and constant change. His kinetic installations change the space and permanently recreate it, immersing the viewer fully in the artwork. Cheerfully, Le Parc lifts us into a shimmering, hopping and swinging kaleidoscope, whose grace and beauty overwhelms us and hardly lets us go. The profoundly humane and equally political aspect of his art lies in its rigorous denial of any claim to absoluteness. It can be seen as anti-authoritarian and democratic – an art of mutual respect.

Julio Le Parc was immediately enthusiastic about Parley x Utöpia’s joint flag project. As one of the oldest forms of mass media in the world, the flag nowadays occupies a renewed place in public space. This is increasingly true in virtual public and online social networks. As a new media, it invites us to raise our heads to the sky. The flags of artists have become vectors of communication.

Our collection of artist flags combines statements of resistance against the destruction of the oceans and climate change. Every minute the equivalent of one garbage truck of plastic is dumped into our oceans, interrupting the most important ecosystem on our planet and directly threatening the survival of many species of sea life as well as humanity. The purchase supports Parley’s Global Cleanup Network.

Cyrill: What makes waves so fascinating for your art work?

Julio: Waves, in surface, suggest movement, which is a leitmotiv in my work.

Cyrill: What inspired you to choose the rainbow wave for your flag for Utöpia?

Julio: I conducted a whole series of research within a 14 colour range. Among them, one set of works is titled Waves. Waves = Ocean = Movement = Origin of Life = Future. The rainbow = committed hope.

Cyrill: Do you have a favourite memory of the oceans from your childhood?

Julio: Being born 1100km away, at Mendoza, Argentina, at the foot of the Andes mountains, I found myself as preteen frequently turning my back to this gigantic mountain, looking towards the east, dreaming about the ocean.

Cyrill: How do you see the duty of the ecologically engaged artist today?

Julio: Within my limited capabilities, that goes without saying.

I have five grandchildren, and soon also great-grandchildren.

For them and for humanity, the Earth will not be the Earth anymore without the oceans.

Cyrill: Are there certain artistic strategies that are more fruitful for resistance than others?

Julio: Let’s remain standing!

Cyrill: What are you working on next?

Julio: My projects to come? First and foremost, to have a little bit more time in my life to work with more freedom in a changing world that doesn’t scare me.

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I have five grandchildren, and soon also great-grandchildren. FOR THEM AND FOR HUMANITY, THE EARTH WILL NOT BE THE EARTH ANYMORE WITHOUT THE OCEANS.” – Julio Le Parc

Julio Le Parc, Ondes 142 n°8, 1974. Acrylic on canvas. 150 x 50 cm | 59 1/16 x 19 11/16 in. Photographer: Guillaume Ziccarelli. © Julio Le Parc / ADAGP, Paris & ARS, New York 2020. Courtesy of the artist and Perrotin.

Julio Le Parc, Ondes 106 B n°12, 1972. Acrylic on canvas. 150 x 50 cm | 59 1/16 x 19 11/16 in. Photographer: Guillaume Ziccarelli. © Julio Le Parc / ADAGP, Paris & ARS, New York 2020. Courtesy of the artist and Perrotin.

L’Officiel St Barth

Julio Le Parc, Ondes 110 n°8, 1974, Utöpia x Parley flag, Size: 5 x 3 FT. Edition of 100.

Photographer: Skylar Williams. Courtesy of the artist and Perrotin.

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Julio Le Parc, A partir de Longue Marche, 2019. Acrylic on canvas. 200 x 400 cm | 78 3/4 x 157 1/2 in. Photographer: Guillaume Ziccarelli. © Julio Le Parc / ADAGP, Paris & ARS, New York 2020. Courtesy of the artist and Perrotin.

Julio Le Parc, Ondes 110 n°8, 1974, Sketch for color references for print. Courtesy of the artist and Perrotin.

Julio Le Parc, Ondes 110 n°8, 1974, Utöpia x Parley flag, Size: 5 x 3 FT. Edition of 100. Courtesy of the artist and Perrotin.

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KAWS, PERMANENT VACATION, 2014, ACRYLIC ON CANVAS, 72 X 52 INCHES, UNIQUE, COURTESY THE ARTIST & PERROTIN GALLERY. FROM THE EXHIBITION PERMANENT VACATION AT EDEN ROCK - ST BARTHS, NOVEMEBR 2014.

@ARTSAINTBARTH KAWS

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Daniel Arsham, Blue Sand Circle 30,48 x 30,48 x 15,24 cm only at Eden Rock - St Barths Boutique Photographer: Camellia Menard

Curated

Master

PIECES The pleasure of giving, the joy of receiving, give and receive, and make love in all.

Photography ISABELLE LINDBERGH

Cœur St Barth by artist Roger Moreau “Would humans exist without a heart? They roll under our feet, our eyes catch a shape coming from the sea, we grab it delicately and discover that it’s a heart shape. It is symbolic of a love achievement, of sharing smiles and love, of happy times. I am helping nature call on us, make us pay attention to the value of sharing which itself encapsulates a string of symbols” – Roger Moreau Agapi Dimitri, Bronze, 16 inch high On sale exclusively at Space Gallery St Barth

ART

ART

Crystal Relic 001, artist Daniel Arsham Crystal Relic 001 is a sculpture made of cast resin. Inspired by 18th century Archaeological objects made of crystal, this to-scale replica of a baseball hat captures light in its transparency. CRYSTAL RELIC 001 comes in studio designed housing with a metal identification card, die-cut foam, sealing label, and a pair of white art handling gloves.

41 x 31 x 18 cm On sale exclusively at Eden Rock - St-Barths Boutique

Robe polo en maille jacquard effet trompe-l’œil game on et derby à talons ouvert en cuir de veau LOUIS VUITTON

Eroded Attaché Case White, 2019 artist Daniel Arsham Hydrostone and glass sculpture with aluminum attaché case.

Executed in 2019, this work is from an edition of 500, and is accompanied by its original boxes with owner’s manual, authenticity card and sticker, as well as a 5-year Rimowa Guarantee Certificate.

The accompanying Owner’s Manual, co-published by Daniel Arsham Studio, New York, and Rimowa, Cologne.

Sculpture: 20 x 29 x 9 cm. Attaché: 38 x 45 x 14 cm On sale exclusively at Eden Rock - St-Barths Boutique

FOOD

The Pear is a creamy ganache flavored with tonka bean and inside it features pear cubes in a tonka pear gel.

The SIN GARDEN project was born from the meeting between two talents and two universes which rub shoulders in the world of luxury: Beauty and the Good. Djordje Varda, designer and Artistic Director internationally renowned, recognized and awarded for his floral work for the most prestigious palaces in Paris and Marine Urbain, a young prodigy of gastronomic pastry,the best apprentice in Belgium, she was trained by Herman Van Dender, the official chocolate maker of the Cours de Belgique, Marine has worked with the greatest pastry chefs in the world.

On sale exclusively at SIN GARDEN by MARINE URBAIN

Robe polo en maille jacquard effet trompe-l’œil game on et derby à talons ouvert en cuir de veau LOUIS VUITTON

BEAUTY

IDALMI ST BARTH X EDEN ROCK - ST BARTHS Inspired by the infinite color palette of the sea, sky and sand of St Barth, IDALMI ST BARTH nail polishes offer a wide range of 50 unique colors to illuminate your nails. The exclusive collaboration with Eden Rock transcribes the legendary Red of the Palace.

Easy to apply, the water-based textures incorporate natural garlic extract and natural lavender extract in their composition to strengthen the base and strengthen the nails. Long-lasting quality products made with non-toxic, vegan ingredients for a Tropical Beauty Chic lifestyle. IDALMI ST BARTH varnishes are guaranteed: 7 free (free of Toluene, Formaldehyde, Formaldehyde Risen, Camphe, DBP, Xylene, Ethyl Tosylamide). Not tested on animals, Non toxic, Recycled glass, Long lasting, Vegan, Eco-Friendly On sale exclusively at Eden Rock - St Barths and Idalmi St Barth

Highly nourishing body cream, GABRIEL COUZIAN Emulsion of water in plant-based oil, olive oil, beeswax, vitamin E, bisabolol, aloe vera, urea and glycerine. Made from 98% natural ingredients: does not contain parabens, phenoxyethanol or silicone.

A significant innovation based on particle movements +151% hydration* 8 hours after the initial application and +72% hydration 24 hours after the initial application. A multi-active formula designed to repair dry skin.

On sale exclusively at VARDA ST BARTHS

BEAUTY

Resurrection Aromatique Hand Balm, AESOP Mandarin Rind, Rosemary Leaf, Cedar Atlas. A blend of fragrant botanicals and skin-softening emollients that delivers rich hydration to labour-wearied hands and cuticles.

Sage & Zinc Facial Hydrating Cream SPF15, AESOP Zinc Oxide, Tocopheryl Acetate, Sage Leaf. A hydrating SPF15 formulation enhanced with calming botanicals and mineral-based Zinc Oxide, which forms a barrier to reflect sunlight without clogging pores.

On sale exclusively at VARDA ST BARTHS

Robe polo en maille jacquard effet trompe-l’œil game on et derby à talons ouvert en cuir de veau LOUIS VUITTON

Alabaster Sumi Hinoki by OFFICINE UNIVERSELLE BULY Porcelain box, scented stone and Sumi Hinoki refill. The most beautiful, efficient and durable way to perfume the ambient air.

The Alabaster is a novel mode of fragrance diffusion, heat-less and steam-less, imbued with great perfuming power. Its name derives from the Greek vases that were once used to preserve the fragrant oils necessary for body care – the earliest perfumes – whose porous terra cotta would hold in the exquisite emanations. The Alabaster is made up of a painted porcelain box and a frugally carved piece of exceptionally porous sedimentary stone whose structure is extremely finely honeycombed. The impressive absorption coefficient of this layered mineral makes it both the best and simplest of containers.

SUMI HINOKI: frankincense and the dark fire of sacred Hinoki wood under the summer rains of Shôno. The noble fragrance of flame-charred temples, lacquered black with smoke, of cypress chests in which silks, swords and calligraphy scrolls slumber. In the green steam of cedar and camphorwood baths, near Tokaido’s Torii, images of the floating world anchor the rumble of the torrent and the flight of the autumn leaf.

Head notes: Cypress essence, Juniper berry essence Heart Notes: Hinioki burnt wood Skin, oral and body care, body oil and soaps OFFICINE UNIVERSELLE BULY are on complimentary at HÔTEL BARRIÈRE LE CARL GUSTAF

Rivieras Saint - Barthélemy Rue du Roi Oscar II, Gustavia 97133 Saint-Barthélemy

Game On jacquard knit polo dress with trompe-l’oeil effect, LOUIS VUITTON

Blue

DREAMS Adèle Farine’s Life in Eden with the resort collections at the dazzling spots of Eden Rock - St Barths new villa Rock Star & Columbus, Columbus, and at St Jean Beach...

Photography SKYLAR WILLIAMS Styling KENZIA BENGEL DE VAULX

Game On jacquard knit polo dress with trompe-l’oeil effect, LV Beaubourg open-heeled derby, calfskin, LOUIS VUITTON

BLUE IS THE WARMEST COLOR

ADÈLE FARINE IS THE GIRL NEXT DOOR AND SHE’S ON THE RISE. BARELY IN HER EARLY TWENTIES AND ADÈLE FARINE IS SHAKING UP THE FRENCH ART SCENE. IT IS NOT SURPRISING THAT THE YOUNG WOMAN FASCINATES SO MUCH: WITH HER CANDID FACE, HER LOVELY POUT AND HER NATURAL ELEGANCE, SHE EMBODIES THE PARISIAN PAR EXCELLENCE EXCELLENCE..

IN FACT, MANY AGREE THAT HER AUTHENTIC CHARM WOULD HAVE MADE HER THE PERFECT LEAD IN A GODARD FLICK. IT IS ALSO SAID THAT HER AZURE EYES ARE JUST AS CAPTIVATING AS A MODERN-DAY BROOKE SHIELDS. IT SEEMS OBVIOUS THAT THE MOST TRENDY FRENCH BRANDS HAVE CHOSEN HER AS THEIR MODEL. MARCIA, ROUJE, YASMINE ESLAMI, BREAKFAST CLUB PARIS: ALL OF THEM MAKE HER THEIR MUSE. BUT SHE’S MUCH MORE THAN JUST A FACE OR A LOLITA LOOK. ADÈLE CULTIVATES A KEEN TASTE FOR ART. WITH A PHOTOGRAPHER FATHER, A PAINTER GRANDMOTHER, AND AN ARCHITECT MOTHER, SHE LEARNED TO DEVELOP MULTIPLE TALENTS. SOMETIMES A DESIGNER, OTHERS A MODEL OR AN ACTRESS, ALWAYS DEEPLY AN AESTHETE, SHE LIKES TO ACCOMPLISH HERSELF IN ALL FIELDS: “THE “THE CONFINEMENT WAS AN OPPORTUNITY TO COMPENSATE FOR MY LACK OF INTERACTIONS WITH A LOT OF MUSIC, DRAWINGS, COLLAGES . . . I TOOK THIS TIME TO REFLECT AND DEVELOP MY IDEAS.” IDEAS.” BECAUSE SHE IS AN AWAKENED SOUL, THE PARISIAN IS ALSO VERY SENSITIVE TO THE ENVIRONMENTAL CAUSE: “I TRY TO FIGHT GLOBAL WARMING ON MY OWN SCALE. THIS INVOLVES SMALL ACTIONS SUCH AS SORTING MY WASTE, FAVORING WALKING, OR REDUCING MY MEAT CONSUMPTION.” CONSUMPTION.” IN THE CURRENT CONTEXT, ADÈLE REPRESENTS A TALENTED NEW GENERATION, BUT ALSO A GENERATION AWARE OF THE CHALLENGES OF TOMORROW. SHE BREATHES A NECESSARY WIND OF HOPE. AND THAT FEELS GOOD.

T-shirt in cotton CELINE BY HEDI SLIMANE Striped cotton shirt ISABEL MARANT ÉTOILE Polyamide Swimsuit ZIMMERMAN Blue embroidery tote DIOR Aviator sunglasses Havana color frame and temples with incrusted wood effect, GUCCI at OPTIC ISLAND, Bracelet with diamonds Ice Cube Pure Bracelet Exclusive Bracelet by CHOPARD for EDEN ROCK ST BARTHS Limited Edition of 10

Poplin dress with camellia print DOLCE & GABBANA

Galaxy print cotton dress, Louis Vuitton, Jewelry left hand Amedeo right hand Laura Sayan at Eden Rock - St-Barths Boutique

Recycled polyamide swimsuit CHUFY, Aluminum suitcase RIMOWA

Star mini dress with belt LOUIS VUITTON

Grey cotton t-shirt COPERNI, jewelry ring DIOR

Virgin wool knit t-shirt ROCHAS Printed bikini ANJUNA at Eden Rock - St-Barths Boutique

Sleeveless beige wool sweater LACOSTE

Italian fabric swimsuit with shiny appearance YASMINE ESLAMI, linen & cotton skirt LEMAIRE, Facing page: compact cotton-knit skirt BOTTEGA VENETA

‘Louis Vuitton’ printed cotton t-shirt, New Cabas Zippe GM in Monogram Eclipse coated canvas and Monogram Eclipse Reverse coated canvas, Louis Vuitton

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Model Samantha Archibald Make up Idalmi Perez Roy Hair Brianne Smith Shot at Hôtel Barrière Le Carl Gustaf and at Villa ‘O’ Ouanalao

With the release of her new David Fincher flick Mank Mank,, the actress looks inward. Here, she virtually rendezvouses with fashion legend Alber Elbaz to consider the extraordinary influence of Emily in Paris and both creatives’ next big steps.

By JOSHUA GLASS Photography SAM TAYLOR-JOHNSON Styled by JAY MASSACRET

When Lily Collins arrived in Paris over a year and a half ago to start filming Emily in Paris—the overight Netflix feelgood sensation—the city was not as she’d expected. Born in Surrey, England but raised in LA, the daughter of Phil Collins has long been a Francophile, but upon returning to the French capital as Emily, an American hopeful trying to infiltrate the world of high fashion, the city seemed quieter.

With August’s heat seducing most Parisians to Biarritz or Provence for holiday, Collins and crew found themselves in a world of their own—until the rest of the world took notice.

Signatured by his oval-shaped frames and unperturbed glee, Alber Elbaz had a similar experience when he first immigrated from New York. “I was like, where is everyone?” recalls Elbaz, who moved across the Atlantic to work under Guy Laroche in the mid ‘90s. The fashion designer, who would later go on to Yves Saint Laurent before forging his legacy by reshaping the house of Lanvin—and contemporary women’s fashion as we know it— was, however, home that summer. Fate in the form of a mutual friend brought Elbaz and Collins together, and the two continued to run into each other in the weeks that the Darren Star–created series filmed. “At one point I was like, am I in this show?” he

laughs. Elbaz was, in fact, not, but the pair’s parallelity was sealed.

Many months of internet memes and record-breaking numbers later, Collins, with her beret temporarily retired, is neither Emily nor her old self. Newly engaged, the actress is embarking on what might be the most important phase of her career with Mank, David Fincher’s new biographical drama about Citizen Kane screenwriter Herman J. Mankiewicz and his notorious feud with director Orson Welles. Demure but biting, Collins plays Rita, the wispy secretary to Gary Oldman’s Mankiewicz and voice of reason to the overlooked writer’s domestic chaos.

The black-and-white film was written by Fincher’s late father, Jack, and glorifies Old Hollywood drama. Elbaz is tiptoeing on the cusp of newness, too. Since his departure from Lanvin in 2015, the influential designer has purposely kept himself out of fashion, collaborating instead on beauty, footwear, and cinema projects—that is, until now, with the slow launch of his Richemont-backed fashion startup, AZ Fashion, launching in January. Displaced from the cobblestones of Paris, the actress and the designer reconnect to discuss their shared excitement for one another, creativity in quarantine, and joy ahead.

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There’s BEEN SO MUCH TIME to BE QUIET and SIT STILL THAT I THINK THERE’S GOING TO BE A VERSION of A RENAISSANCE AFTER THIS, WHERE PEOPLE ARE just DYING TO be CREATIVE. Emily in Paris satirizes so many different things, but at its core the show is really about being an outsider—to an industry, to a point of view, to an attitude. What does that feeling mean to each of you?

LILY COLLINS: There’s no transformative scene in the show where Emily goes into a dressing room as Emily in Chicago and comes out as Emily in Paris. She stays who she is throughout the season while learning and growing. Every time I go on a new set, I still feel a bit like this—like a fish out of water. It’s the experience of going into a new environment and having to bring whatever it is you prepared to the table. It was interesting to play a young woman in a foreign situation who has to adapt but maintain who she is. I think many people can relate to that.

ALBER ELBAZ: I think the message for me ultimately is that it pays to be nice. Because you could be a bitch, Lily, but you weren’t.

You as Emily were a good girl with good values. You didn’t understand why people didn’t cooperate with you. But it was also very much a culture shock. I’m reminded of the immigrant experience. I’ve been an immigrant a few times in my life: I was born in Morocco, raised in Israel, and then I went to America.

In New York City I had an apartment the size of a table and two roommates, one of them named Muffin. When I arrived, I was not only an outsider—I was nobody.

JOSHUA GLASS:

JG: No one could have predicted how incredibly popular the show would become, and Lily, it’s easily your widest-reaching role yet. Alber, in your long career have you had an Emily in Paris moment?

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AE: Once when I was in New York I came across these gorgeous roses, and I said, “Wow, they’re beautiful!”

The florist told me, “18 dollars.” I didn’t even ask the price.

A few months later I was in Paris, and I came across another stand. “Wow, these roses are gorgeous,” I told their owner.

“These are roses named Piaget,” he said back. “And they grow only one time a year. Smell them. They grow in the sun!”

I asked, “So how much are they?” And he said, “We are not sure of the price.” It’s little things that show the difference between people, cities, and cultures. In Paris they invented perfume, so there is always that sense of dreaming. My mother used to say about perfume: “Just smell it, don’t ever drink it.”

LC: Too much of a good thing?

AE: Yes, and it also applies to success. One of the biggest dangers of success is when you start to believe that you are too fabulous, I always bring it back to that moment of perfume. I tell myself, Don’t drink the perfume. Just sniff it.

JG: Almost similarly, you’re both turning the pages of two very big chapters in your lives. Lily, your new film, Mank, directed by David Fincher, just premiered on Netflix, while Alber, your new fashion startup, AZ Fashion, launches next month. Where do you two find yourselves emotionally?

LC: I never thought I’d get to work with David. The idea that he believed in me to take on this character was a real gift.

David is a genius. He knows exactly what he wants but he’s also open to collaboration. He respects you, while the whole crew have immense admiration for him. When you’re a part of something like that, it changes the bar you’ve set for yourself. We filmed it at the same time we were filming Emily, so it was such a dramatic contrast to go between the two. Flying back and forth from Paris to Los Angeles, I was exhausted, but I felt so creatively fulfilled.

AE: For every artist the blank page is the scariest thing to face. I don’t know how it is with acting, but I feel like sometimes what I do is almost like the birth of a baby. It begins and you aren’t like, Oh, wow, life is gorgeous! It’s more like, Ouch, ouch, ouch! But then it comes out and you forget the pain. But to get into it and then leave it, is really hard. [After Lanvin], I decided not to do fashion for a few years because I was not in love anymore. But it was the only thing I knew how to do. I had all these offers from all these big fashion houses, and I didn’t want to be a diva, but I felt that something wouldn’t let me start again so soon. I started to teach. I went to all these amazing schools around the world to understand what was next and where the world was going—this is before COVID-19, of course. Then I signed with Richemont, and I began this startup.

LC: First of all, congratulations, it’s so exciting, and I mean there’s very little that anyone knows about it, so I’m curious; what can you share?

AE: There is a big difference between creating and recreating, and in the past my job was often about not only recreating but replacing.

This time I wanted to start from scratch. I’ve been observing women for the last five years; looking at everything that they are going through, the changes in their lives. I’ve always said that if I was ever a producer in Hollywood, the next James Bond would

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be Jane Bomb, and she wouldn’t be an ex-model. She would be a smart woman that has no age and no size, because it doesn’t matter.

Looking at the lives of women today, you can see them running in ten different directions trying to be the best mother, the best wife, the best colleague, etc. I had to start working on a solution, so that’s what I’m doing now. I’m introducing new technology, but I’m also trying to go a little bit deeper. I’m trying to listen to women to see what I can do to bring them their dreams, because at the end of the day, we are just not living in a world of data and algorithms or instinct and emotion. We can put them both together as yin and yang.

JG: How does it feel to be working on such momentous projects when the world has never been more different from how we’ve known it?

LC: I think it’s been really interesting for all of us within the industry to experience quarantine. I’ve loved it, actually, but it’s very different. I miss the social element: going out on photoshoots and being around people, but it’s been really lovely to experience the joy and the laughter and the smiles that Emily has brought, because it came out just when we needed it. Quarantine has been a great way of separating work and personal life, right? I got engaged during quarantine, and even though I have Mank coming out, I didn’t have to leave for weeks to go on a press tour for it. I’ve been able to talk about the movie from home. It’s been really amazing to be at home and watch Emily in Paris become this global sensation that no one expected but also humbling to not have it become my everything.

AE: Everything about COVID-19 has been so depressing and horrible. What I miss more than anything else at this time is being hugged and the ability to hug others. I don’t even want to sit in a café, just physical contact. Yet, I think this moment that we’re living in will also take us to a different place.

It’s kind of a detox.

LC: This has been such an intense experience of self-reflection and identity crisis. It can be scary, especially when you’re surrounded by the same space and have to look inward to face the things about yourself or your future that you really hadn’t had to before.

There’s the metaphorical mirror everyday of: Who am I? What do I want to accomplish? What makes me happy without distraction? Aside from that, it’s been a really important time to think about greater issues in the world like COVID-19, Black Lives Matter, and politics in America. There’s been so much time to be quiet and sit still that I think there’s going to be a version of a Renaissance after this, where people are just dying to be creative.

AE: I read recently that [actor] Roberto Benigni said that poverty was the best heritage one could get. I think that we are all going through a sense of poverty today because we are without a lot—friendship, people, family, work, etc. Lily, the fact that you met the love of your life during quarantine is so symbolic because you met when you were really you.

No decoration.

LC: What’s interesting is that Charlie [McDowell] and I met just before Emily in Paris, and we got engaged this September.

Quarantine has made and broken up a lot of people, but the time together just solidified what we already knew about each other.

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It’s BEEN REALLY AMAZING AMAZIN G TO BE at HOME and WATCH Emily in Paris BECOME THIS global SENSATION THAT NO ONE EXPECTED but ALSO HUMBLING to NOT HAVE IT BECOME MY EVERYTHING. We’re all really getting back to the core of who we are without the layers of society. When you’ve seen someone at their best and at their worst and you’re still right there with them, that’s a beautiful thing.

AE: Lily, you know, I’ve designed 32 wedding dresses.

LC: No way!

AE: Thirty-two in my previous life, and 31 are still married. You better call me when you need a dress!

A final question either of you would like to know?

Alber, setting out on an adventure like this is scary and nerveracking, but you must be excited, too?

AE: I’m sure that as an actress, there are moments that you’re on set surrounded by all these people and you’re told, “Oh, wow, it’s amazing.” But we ask ourselves internally, Is it really? Are they going to get it? Are they going to love it? Because it’s not if they’re going to love it, but if they’re going to love me. We have become the it of whatever we do. But yes, I’m very excited. You know, I’m not the vacation type. I hate the sand. I can’t stand boats. But the first day I entered my new office here I said, “God, vacation just started.”

LC: What a wonderful way of thinking of it. You are one of the most beloved people in the world, and everyone is just cheering you on. You talked about Emily as someone who is so nice and warm and stays herself, but that’s who you are, Alber. I’m so excited to see what’s next because you always make people and women feel so powerful and good about themselves.

JG: LC:

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LE CARL GUSTAF

All eyes on the NEW KID IN TOWN

Nestled on a gentle spur, the Hôtel Barrière Le Carl Gustaf recalls the bow and deck of an anchored yacht, you’ll feel soaked in tropical elegance and relaxed luxury.

Photography FABRICE RAMBERT & MICHAEL GRAMM

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LIVE Let’s say it right away, the Hotel Barrière Le Carl Gustaf is the only hotel on the island boasting panoramic views of the port of Gustavia.

Here, with its 21 rooms, suites and bungalows, on a gentle promontory and with the appearance of the bridge and prow of a yacht at anchor, the hotel lies moored in the Caribbean, offering luxurious accommodation in the land of the trade winds. Villa Diane with its 5 rooms is a pure wonder, a true jewel on the island, never seen before.

Le Carl Gustaf is a space that welcomes friends. Its own friends.

Amid tropical elegance that creates an ambience of wellbeing, relaxation, and letting go – it is the perfect place for a romantic holiday, or for spending time with family and friends, enjoying the simple pleasures of being with your loved ones.

Within the century-old walls and terraces of Le Carl Gustaf, designers Gilles & Boissier have created a charming ambience where filtered sunlight creates ever-changing reflections of light and shade. Simple fabrics and natural materials, such as wood and stone, add to the appeal, as does the hotel’s setting on a low hill standing above the stunning landscapes of sea and sky like a tropical altana roof terrace. Exceptional materials and furniture in a chic colonial spirit, marble is present in every bathroom, not to mention the exquisite designs of mini-bars, the mirrors, and Caribbean wallpapers.

Everything you need is close by: the idyllic private beach of the hotel, Shell Beach, and its superb Shellona beach restaurant, the perfect setting in which to unwind, is just 3 minute’s walk away, right down the street; the lively port, with its tranquil alleyways and romantic, sophisticated boutiques. Or, you may prefer to take advantage of the snorkelling equipment available

at Shell Beach, allowing you to explore the superb marine life in the waters around the hotel.

Not forgetting the renowned Le Fouquet’s restaurant and Iconic Brasserie, which has made the journey from Paris to offer guests its delicious and exciting cuisine. Created by 3-star Michelin chef Pierre Gagnaire, he reinterprets Caribbean dishes with his own special twist, alongside French classics such as Tartare de boeuf Fouquet, Rum Baba and Millefeuille.

Think of a house within a house. 386m2 of luxury inside and out in a Royal Loft, with terraces overlooking the hotel, three suites, with a jacuzzi on the roof, a corner pool on the terrace and 180° views of Shell Beach, the port, and Gustavia’s colourful streets and surrounding hills, the penthouse has a very special feel with its play of light and shade, and its discreet, unfussy ambience.

Everywhere you can feel the details of the luxury experience, at the Spa Diane Barrière, with its all over marble, the aim is to identify guests’ individual Skin Instant©, so that the most appropriate treatment with the innovative Biologique Recherche line can be recommended.

Constant but discrete attention will give joy to your stay, like the pillow menu to select your favorite texture or an electric bike to explore the street of Gustavia. Honestly, when a Officine Universelle Buly cosmetic line is complimentary in your suite, how could you not feel that you are in the right place? @HOTELBARRIERELECARLGUSTAF @FOUQUETS.STBARTH HOTELSBARRIERE.COM/SAINT-BARTH/LE-CARL-GUSTAF

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KINUGAWA

JAPAN nostalgia

Photo: Isabelle Lindbergh

Our island is lucky to welcome the Japanese spirit of its Parisian elders with the latest addition to the Blackcode Group, after two summers spent in St Tropez, we now welcome Kinugawa to Saint-Barth!

FOOD

Located opposite the Port of Gustavia, secretly called ‘the left bank’ by those in the know, the newly-open Kinugawa St Barth should be your first calling point. Through its excellence in Japanese gastronomy combined with the French art of living, in the restaurant you will sink into the elegant and glamorous light wood setting while looking out to the orange sunset and azure hues of the port.

THE COURSE As soon as the sun goes down, the cocktail bar opens its doors. In a space tailor-made for conviviality, the shades of blue and dark green of the artisanal ceramics of the Italian house Bottega Nove, designed by Cristina Celestino, mingle with the warmth of exotic woods. Walking from the bar to the restaurant room, you will feel at home in the tranquil dining area, spruced up with trellises and tropical greens.

Arranged in alcoves, the benches are coiled to form a central island under the majestic roof, revealing the Caribbean sky, perfect for dining close to the light of the stars.

THE KITCHEN In the kitchen, chef Takeshi Hoshino and his team offer dishes that combine tradition and his visionary gastronomy.

After many years as chef at Nobu in New York, Hoshino joined the Blackcode group in 2015, first working at Kinugawa Matignon. His contemporary Franco-American experience makes him the perfect candidate to take the lead in the cuisine of Kinugawa Saint-Barth, with one foot in each continent and his heart in Japan.

On the menu, we find the signature dishes that make the brand: the now unavoidable Crunchy Pancake, Sliced Salmon with a hint of white truffle, the Gourmet Beef Tataki with nori truffle sauce, or the tuna tartare with caviar. That’s before we have even mentioned the miso-marinated Black Cod, which will keep you coming back. The King Crab salad, prepared in front of customers, stands out with its originality, and the grilled tomahawk offers one of the many opportunities for sharing that defines the spirit of Kinugawa.

The kitchen also showcases local fishery products, such as the lobster rolled in rice paper or a majestic wahoo sashimi, served with citrus sauce and dried miso.

THE COCKTAIL BAR The extremely talented mixologists offer a selection of original Franco-Japanese cocktails: from the Kinu Mule, to the Japanese Tiki, and the Ginger Love Yuzu, Japanese ingredients find themselves infused with Mediterranean influences, classic recipes are spiced up through contrasts and intriguing surprises. We stop at the bar as soon as it opens before heading to the restaurant. Or, why not try one more cocktail before you leave? You will find a festive and relaxing atmosphere among the yachts and sunset skies, with DJ Hugo M playing every night. We can drink to that! @KINUGAWASBH WWW.KINUGAWA.FR

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