The Residences at Stanly Ranch offer a rare opportunity to live in a community with effortless connection to Napa Valley’s land, lifestyle, and legacy. Set in Napa, just one hour from San Francisco, these private, design-forward homes are nestled within Auberge Resorts Collection’s Stanly Ranch property, granting owners access to an unmatched collection of services and amenities.
Every detail reflects a life well lived, where home feels like a permanent retreat and every day holds the possibility of something extraordinary.
OWN@STANLYRANCHNAPA.COM STANLYRANCHNAPA.COM
Neither Auberge Resorts LLC nor any of its affiliates or related persons (the “Auberge Group”) makes any representation, warranty or guarantee, expressed or implied, in respect of any statement or information made or contained in these materials. Neither the Auberge Group nor any of its directors, officers, employees or agents has or will have any responsibility or liability arising out of, or related to, these materials or the transactions contemplated by these materials, including any liability or responsibility for any statement or information made or contained in or the use of these materials. Represented by Sotheby’s International Realty DRE #00899496. All Rights Reserved. Sotheby’s International Realty® is a registered trademark and used with permission. Each Sotheby’s International Realty office is independently owned and operated, except those operated by Sotheby’s International Realty, Inc. The Sotheby’s International Realty network fully supports the principles of the Fair Housing Act and the Equal Opportunity Act.
22
Easy Rider
Nearly 200 years after the House of Hermès began crafting saddles, the harmonious connection between horse and rider carries on.
28 Royal Plumes
An impassioned new generation of lei makers is returning to—and reimagining— the ancient craft’s royal techniques.
36
Sands of Time Watch expert Paige Reddinger names the year’s best new water-resistant watches for every adventure.
62
Aegean Gem
Greek fine jewelry designer Nikos Koulis finds inspiration in Santorini’s majestic beauty, unbridled vitality, and revered history.
BESPOKE
76
Alpine Sprezzatura Brunello Cucinelli's co-creative director Carolina Cucinelli shares what she loves about Aspen’s style and spirit.
84 Spirit of Santa Fe
94
The Cinematic World of PierreYves Rochon
The legendary French designer’s theatrical approach to interiors dramatically transforms spaces—and our experiences in them.
CONNECT
104
Texas Modern
A new Texas story is unfolding in Fort Worth, led by the city’s cultured and creative locals.
126
Wild at Heart
160
Napa’s Next Great Generation
Fifty years after the Judgment of Paris catapulted Napa Valley wines to the global stage, the region’s winemakers, chefs, and farmers are preparing for the next 50 years—and beyond.
ESCAPE
178
Classic Game, Bold New Age
48 Driven by Beauty
With deep Florentine roots, the Ricci family celebrates every curve of their city’s heritage and culture.
The Southwest— with its mountain landscapes, mesmerizing sunsets, and earthy gems and minerals—has long inspired artists and designers. These jewels reflect the region’s beauty and history of jewelrymaking, perfectly at home at Bishop’s Lodge, Auberge Resorts Collection.
Nikki Reed trains her lens on the place that brings together all her passions and inspirations: The Lodge at Blue Sky, Auberge Resorts Collection.
SAVOR
140
In Pursuit of Culinary Perfection
Meet the chefs going deeper to bring the bounty of the earth and sea straight to your plate.
At two Auberge destinations, the long-standing traditions of golf are changing— and creating a more hospitable atmosphere for all.
186
Experience the World of Auberge Extraordinary stays, exceptional cuisine, wellbeing journeys, and transformative adventures await at Auberge properties around the globe.
200 Last Call
Craft The Woodward’s Bar 37 cocktail, The Adonis.
Collegio alla Querce, Auberge Resorts Collection
DRIVEN BY BEAUTY
See more of Niccolò and Filippo Ricci’s grand tour through their beloved Florence— including the new Collegio alla Querce, Auberge Resorts Collection.
Discover the world of Auberge and encounter new seasonal stories and films online at aubergeresorts.com/journal.
The city of Florence, home to Collegio alla Querce, Auberge Resorts Collection. Photography by Ellie Thorne
Christopher Bagley
Photographer and writer Christopher Bagley is based mainly in Los Angeles, though he spends much of the year in Europe and South America. His work has appeared in W, Condé Nast Traveler, Travel + Leisure, Architectural Digest, Saveur, and Departures. IG: @mrchrisbagley
Christina Holevas
Christina Holevas is an editor, stylist, and brand consultant with more than a decade of experience in fashion media and advertising. Formerly the accessories director at W Magazine, she now contributes to Vogue and publishes the style newsletter Habiter. IG: @christina_holevas
Korena Bolding
Korena Bolding is a Dallas-based photographer and art director, specializing in luxury travel with assignments taking her across the globe from Antarctica to Bhutan. Her work has appeared in Assouline, British Vogue, Forbes, and Virtuoso, The Magazine. IG: @korenabolding
Brian Klutch
New York–based still-life photographer Brian Klutch is passionate about showcasing the true beauty of an object in its surroundings. His clients include London Jewelers, Oscar de la Renta, and The New York Times. IG: @brianklutch
Yannis Bournias
Greek photographer Yannis Bournias— whose works span fashion, portraiture, and advertising campaigns—put his lens on jewelry designer Nikos Koulis for this issue. Having worked together several times, Bournias says his friend Koulis is at ease in front of the camera. IG: @yannisbournias
Regan Stephens
Regan Stephens is an award-winning writer and editor living in Philadelphia. She regularly contributes to Food & Wine, Travel + Leisure, The New York Times, and Philadelphia magazine, and she’s co-founder of the travel guide publishing platform Saltete. IG: @Regan.Stephens
PUBLISHED BY:
2025 by NMG Network, LLC. All rights reserved. No part of this publication may be reprinted without the written consent of the publisher. Opinions are solely those of the contributors and are not necessarily endorsed by NMG Network.
Volume III May 2025
CEO & PUBLISHER
Jason Cutinella
Jackie Caradonio Global Editorial Director Jill Newman Global Editor-in-Chief
Chelsea Vaccaro Global Design Director & Creative Process
EDITORIAL & CREATIVE
Kyle Kosaki Video Producer & Editor
Contributing Writers
Christopher Bagley, Robin Barwick, Paige Reddinger, Tom Seymour, Regan Stephens
Contributing Photographers
Tim Aukshunas, Christopher Bagley, Korena Bolding, Yannis Bournias, John Hook, Nani Welch Keli’iho’omalu, Brian Klutch, Alessandro Moggi, Ellie Thorne, Chad Wadsworth
Contributing Videographers New Solid, Alec Walsh
Contributing Stylists
Christina Holevas, Miako Katoh
OPERATIONS
Merri Gruesser Chief Operating Officer
Sabrine Rivera Operations Director
Joe V. Bock Corporate Affairs
ADVERTISING
Mike Wiley VP Sales mike@nmgnetwork.com
Claudia Silver VP Global Partnerships claudia@nmgnetwork.com
Marly Graubard Global Brand Partnerships marly@nmgnetwork.com
AUBERGE RESORTS COLLECTION
Callie Stanton VP of Brand
Amalia Ramos Director of Creative Services
Hannah Kibble Director of Content
EASY RIDER
Nearly 200 years after the House of Hermès began crafting saddles, the harmonious connection between horse and rider carries on.
BY JILL NEWMAN
“A saddle is the trait d’union,” says Chloé Nobécourt, director of the Hermès equestrian métier. “It’s what unites a horse and its rider.” Opposite: The new Selle Rouge saddle in action.
Hermès is widely known in fashionable circles for its coveted Kelly and Birkin handbags, but the iconic house began with its first client: the horse. In 1837, Thierry Hermès established a harness and saddlery workshop in Paris, which pioneered light, sculpted, yet remarkably durable saddles—a necessity of the day.
Nearly two centuries later, Hermès continues to craft bespoke saddles using its founder’s original techniques—each made start to finish by a single craftsman at the house’s ateliers in Paris and Normandy. Every saddle begins with the horse, meticulously measured for precise fit. Prototypes are then constructed for specific equestrian pursuits, such as dressage and jumping.
It is an art—one that Mr. Hermès perfected in order to forge a seamless connection between the horse and rider. “Ultimately, a good saddle is one that you forget you’re riding,” says Chloé Nobécourt, director of the Hermès equestrian métier. “Sometimes you get the sense that the horse’s legs are almost your own. It’s an incredible feeling.”
While Hermès’s clients include elite equestrians such as Olympic medalists Jérôme Guery and Rodrigo Pessoa, amateurs also love the house’s heritage saddles—perhaps even more than the style set loves their Birkins. Many clients even return to the Paris atelier to trace the origins of their own saddles, which have been recorded in a handwritten ledger since 1909.
Every bespoke commission is crafted at Hermès’s historic workshop at 24 Rue du Faubourg Saint-Honoré in Paris. At this location and in the Normandy workshop, master saddlemakers spend 25 to 35 hours making a single saddle. The leather is stretched and hammered in place with tacks to ensure a smooth surface. The heritage tools of Mr. Hermès’s establishing trade have not changed over the past 188 years.
All details are handsewn, a skill that requires precision as well as physical strength to pierce the thick leather. The saddles are made from durable cowhide and more supple calfskin to form a beautiful patina over time.
Royal Plumes
A new generation of lei makers is returning to—and reimagining—the ancient craft’s royal techniques.
Lei hulu, or feather lei, were a symbol of royalty in ancient Hawai‘i. Today, the art of making them is perpetuated by only a few devoted masters. Following spread: Auntie Anna Akaka prepares feathers for a lei at Mauna Lani, Auberge Resorts Collection.
Gilded crowns and jeweled tiaras may come to mind as the most precious royal adornments of yore, but in ancient Hawai‘i, bird feathers were the prized embellishment of the monarchy. Coveted symbols of respect, dignity, and strength, they were reserved only for ali‘i (chiefs). Thousands of iridescent, patterned plumes were layered onto intricate kahili (standards), lei, ‘ahu ‘ula (capes), and mahiole (helmets). King Kamehameha I’s own ‘ahu ‘ula—a five-foot-tall, yellow-andred masterwork composed of nearly a quarter-million feathers—is said to have required seven generations to craft.
“In ancient Hawai‘i, feathered adornments and standards not only represented status in society as a royal, but also signified them as gods walking on earth, because birds, of course, are closer to the heavens,” says Auntie Anna Akaka, a lei hulu (feather lei) artisan. “Today, it is still a part of our history that’s very near and dear to us as Hawaiians.”
While flower lei remain a prolific part of Hawaiian culture, says Akaka, feathers have nearly disappeared from the medium. But a new generation of local lei hulu artisans is rejuvenating the ancient craft.
D’Arcie Beytebiere was captivated when she first glimpsed historic lei hulu at the Bernice Pauahi Bishop Museum in Honolulu. “I was amazed by the patterns and colors, and the addition of the texture was just astounding,” says the artist, who formerly worked with mediums such as glass and textiles. Beytebiere began searching for someone who could teach her the craft.
“It’s an art form you have to learn from a master, and it took me a year to find one. I really felt like I was pursuing a dying art.”
Under the tutelage of two artisans—the first a teacher who taught her the basics in an elementary school classroom, and the second Auntie Doreen Henderson, whose advanced techniques and variations have been passed down from generation to generation, orally and manually—Beytebiere was able to master the craft herself.
Today, she is carrying on the legacy of Hawai‘i’s ancient craftspeople, and even innovating it, with modern humu papa (feather bands) to adorn hats and other more contemporary applications. The skills behind each of her creations, however, are virtually unchanged from centuries ago. It’s tedious work, plucking, washing, and drying
PHOTOGRAPHY
Above: D’Arcie Beytebiere’s feather creations span from traditional styles to more contemporary humu papa (feather bands). Opposite: Beytebiere was inspired to take up the art of lei hulu when she saw ancient feather adornments exhibited at a Honolulu museum.
the feathers, trimming them to identical shapes and sizes, and preparing the fibers. Only after these hours of labor will the real crafting begin. Making a single lei may take weeks, even months (and for someone less skilled than Beytebiere, possibly years).
Obtaining feathers is one part of the craft that has drastically changed. Centuries ago, warriors collected the delicate plumes for special kahili way up in the forested mountains, gently plucking just a handful of feathers from the most beautiful birds so as not to harm them. Today, many of those sacred animals have gone extinct, and conservation of Hawai‘i’s endemic species remains a vital concern. Thus, Beytebiere and her contemporaries rely on ethically sourced game birds purchased from licensed hunters. Bright yellows and reds come from the Chinese pheasant, the same bird that supplied thousands of feathers for King Kamehameha I’s impressive kahili; iridescent greens and blues come from peacocks; and inky blacks come from the black francolin.
Beytebiere now shares her own lei hulu at the Eva Parker Woods Cottage, a historic shoreside structure at Mauna Lani, Auberge Resorts Collection, where the Artisans of Old Hawai‘i’s Arts and Crafts experience brings local makers together to share their crafts with guests. For Beytebiere, it is the ‘ohana that bonds over these heritage crafts that ultimately breathes new life into Hawai‘i’s old traditions. “As an artist, I am saddened anytime an art form dies out,” she says. “And I see passing lei hulu on to the next generation as my duty—and my honor.”
Above: It can take months—even years—to complete the delicate work of crafting lei hulu and other feather adornments. Opposite: Archival illustrations depict ancient Hawaiian royalty in feather lei, ‘ahu ‘ula (cape), and mahiole (helmet).
sands of
Watch expert Paige Reddinger names the year’s best new water-resistant watches for every adventure. From poolside to deep sea, they’re more than just pretty faces.
PHOTOGRAPHY BY BRIAN KLUTCH STYLING BY MIAKO KATOH TIME
← BREGUET MARINE 9518
“If you’re looking for a stylish timepiece that goes with everything but suggests you’re a true watch connoisseur, look no further than the 18K rose gold Breguet Marine 9518 with a white rubber strap. This model pays homage to Breguet’s legacy of crafting precision watches for the French Navy.” $40,800
ROLEX YACHT-MASTER 40 REF. 126622 ↑
“First introduced in 1992 for yachting and sailing enthusiasts, the Yacht-Master combines performance with sophistication. Water resistant to 320 feet, it showcases a refined design in Oystersteel and platinum with a silver dial and subtle teal accents.” $12,400
BLANCPAIN FIFTY FATHOMS BATHYSCAPHE ↑
“For sporty fun, the high-performance Fifty Fathoms steel dive watch comes with woven nylon NATO straps in bright colors, including peacock blue (pictured), lime green, and denim blue. Introduced in 1953, it was developed with the French Navy’s Combat Diving School and named after the depth rating of 50 fathoms (91 meters)— long believed to be the maximum depth a scuba diver could safely reach.” $10,200
“At 38.8 mm, this 18K rose gold and diamond Aquanaut is sizable enough to demand attention, yet small enough to be the most elegant women’s sport watch in the Patek Philippe catalog. With a rubber strap and water resistance up to almost 100 feet, it makes a splash on land and in the water.” $55,850
PATEK PHILIPPE AQUANAUT
LUCE REF. 5268R →
← HERMÈS CUT
“Clean, sophisticated, and no-fuss luxury is a formula Hermès has mastered for over a century. In that spirit, its new women’s watch exudes a unisex appeal and is perfect for a discerning clientele looking for a durable timepiece they can wear worry-free while jetting around the globe.” $6,525
ULYSSE NARDIN DIVER NET OPS
↑
“Since the mid-19th century, Ulysse Nardin has crafted marine chronometers for naval fleets. Now, the Swiss watchmaker charts a sustainable course with the Diver NET OPS’s case and bezel crafted from recycled fishing nets. Plus, it boasts 984 feet of water resistance.” $13,300
SEAMASTER DIVER 300M ↑
“In a striking array of blue tones, the new Omega model looks as sharp by moonlight as it does on a sunny day at the beach. Its raised indices and skeleton rhodium-plated hour hands light up at night thanks to a unique, light-blue Super-Luminova.” $5,900
PANERAI SUBMERSIBLE GMT
LUNA ROSSA TITANIO →
“As sponsor of the Luna Rossa Prada Pirelli Italian team competing in the America’s Cup, Panerai continues to pioneer innovative waterproof timepieces designed to withstand the whims of the seas, like this new lightweight, waterproof titanium model with four interchangeable rubber straps and a leather option.” $12,300
OMEGA
Filippo Ricci cruises the streets of Florence, en route to Collegio alla Querce, Auberge Resorts Collection. Photography by Alessandro Moggi
DRIVEN by BEAUTY
With deep Florentine roots, the Ricci family celebrates every curve of their city’s heritage and culture.
BY JILL NEWMAN
Driving through the Tuscan countryside’s rolling verdant hills
is a Sunday ritual for brothers Niccolò and Filippo Ricci. Their father, Stefano Ricci, founder of the luxury lifestyle brand that bears his name, taught them to drive on these roads and instilled in them an appreciation for beauty in all things, from stylish vintage automobiles to Florentine craftsmanship.
For the Ricci family, these picturesque roads have long been a lifeline, a great connector of all of Tuscany’s heritage and beauty, as well as their own legacy. In their Aston Martin DB4, they zip through the narrow, winding streets, from the highest peaks overlooking the iconic Duomo, past vineyards and ancient cypresses, then down to the center of Florence, where landmarks like the Ponte Vecchio and Uffizi Gallery are reminders of their home’s—and their family’s—storied history in the arts.
When at last they turn up the drive leading to Collegio alla Querce, Auberge Resorts Collection, they feel a kindred connection to the great minds of the past: The storied 16th-century estate was once the very place
where they studied—a former educational institution where they spent their formative years, as did their father, along with many other notable Florentines. Now, the Riccis return to supplant the memories of their youth with alfresco lunches at Cafe Focolare and classic Tuscan-inspired dinners at the destination restaurant, La Gamella. Negronis at Bar Bertelli, formerly the headmaster’s office, are a new experience entirely (no doubt, cocktails were frowned upon back then), and the former chapel where the brothers received their first communion is now an elegant event space.
“It’s emotional to see Collegio again,” says Niccolò, CEO of the family business since 2007. “It was one of the city’s most important buildings, and now it’s restored and more beautiful than you can imagine.”
Like the historic, frescoed rooms of Collegio alla Querce, the Riccis can trace their own Florentine lineage back several generations. That deep-seated heritage inspired the elder Ricci to dedicate himself to sustaining the city’s historical crafts and cultural institutions.
The road to Collegio alla Querce, Auberge Resorts Collection is familiar to Florentine natives Niccolò and Filippo Ricci, who were educated at the former school.
The Ricci brothers share a passion for vintage cars. Above: Niccolò drives a 1960 Aston Martin DB4. Opposite: Filippo takes his 1966 Jaguar E-Type for a spin.
Niccolò and Filippo Ricci’s Sunday drives through Florence often end at Collegio alla Querce for cocktails and dinner. The brothers learned their love for vintage cars from their father, Stefano Ricci.
Stefano learned about Florence’s silk heritage from his mother, who owned a silk-robe workshop neighboring the family home. In 1972, he began making a collection of silk neckties, which over the years expanded into tailored shirts, suiting, leather goods, and silverware, all made by local artisans.
“These traditional crafts flourished in this region since before the Renaissance,” says Filippo, Stefano Ricci’s creative director. As fewer apprentices joined the trade, the Riccis encouraged a new generation to train with master artisans in their workshops. “We didn’t want to lose the history behind these traditions.” Today, the company employs nearly 400 craftspeople at their workshop just outside of Florence.
The Riccis have also been an active presence in preserving Florence’s culture and heritage. “My dad always says Florence gave him so much, and he wants to give back to his city,” says Niccolò. In 2010, Stefano purchased Antico Setificio Fiorentino, an 18th-century silk-weaving mill that makes fabric for some of Florence’s most beautiful
“My dad always says Florence gave him so much, and he wants to give back to his city.”
—NICCOLÒ RICCI, CEO, STEFANO RICCI
homes, museums, royal houses, and historic palaces—“all on looms that are hundreds of years old,” Filippo adds.
The Ricci family also supported restoration of the Medieval Volumes of Art and Crafts , historic texts documenting Florence’s earliest trade guilds. On the 40th anniversary of their father’s founding of Stefano Ricci, they donated the lighting for the Loggia dei Lanzi in Piazza della Signoria outside the Uffizi Gallery to illuminate the city’s historic sculptures. And on the widely celebrated 500th anniversary of Leonardo da Vinci’s death, in 2019, the family sponsored the lighting of the Ponte Vecchio, where their good friend Andrea Bocelli performed—looking dapper in a Stefano Ricci tuxedo, of course.
The Riccis’ love for their Tuscan roots is more than mere appreciation—it’s an everyday way of life. They hunt for truffles in the countryside and frequent the region’s wine estates (Tenuta Setteponti is at the top of their list). They also indulge in the city’s world-renowned gastronomy. “From simple trattorias to Michelin-starred restaurants, we can enjoy the best of everything,” Niccolò
Florence is at the heart of the Ricci family’s business and lifestyle. They are keeping the city’s traditional crafts alive by training new generations of artisans in their workshops and preserving cultural institutions.
“It’s emotional to see Collegio alla Querce again. It was one of the city’s most important buildings, and now it’s restored and more beautiful than you can imagine.”
—NICCOLÒ RICCI
At Collegio alla Querce, Bar Bertelli is in the former headmaster’s office, where portraits of the school’s top students still hang.
Collegio alla Querce's bright and airy destination restaurant, La Gamella, serves locally sourced ingredients and wines inspired by the Tuscan countryside.
“These traditional crafts flourished in this region since before the Renaissance. We didn’t want to lose the history behind these traditions.”
—FILIPPO RICCI, CREATIVE DIRECTOR, STEFANO RICCI
says. Their favorites, he adds, are the three-Michelin-starred Enoteca Pinchiorri, and the more intimate Osteria delle Tre Panche, which he says is “a truffle haven.”
The brothers’ Sunday drives combine these local pursuits with yet another family passion: vintage cars. “My father has been a car enthusiast all his life, and he passed this tradition to us,” says Niccolò. Stefano’s first car was a gift from his own father—a Porsche 914/6 he received at age 20, which he sold to fund his business, only to repurchase it two years later. Stefano’s wife, Claudia, has raced in Italy’s Mille Miglia in her Jaguar XK140, and Stefano also participated in the race, with his Lancia Aurelia B22.
Niccolò and Filippo favor historic Ferraris, and they share an Aston Martin Le Mans 1933. “This car is really a piece of history,” Filippo says of the Aston. “Only 20 were made and even fewer of them are still running.” It’s one of their chosen vehicles for their Sunday drive traditions, where the sense of heritage and family lineage is just as real as the feeling of the wind in their faces. And now, they have one more stop on their weekly route: Collegio alla Querce, resting on a hillside, with bird’s-eye views of their magical Florence.
Collegio alla Querce’s lightfilled conservatory, with its abundance of greenery, is the perfect place for reflection. Opposite: Niccolò and Filippo enjoy a cocktail in Bar Bertelli.
BY JILL NEWMAN
PHOTOGRAPHY BY YANNIS BOURNIAS
Greek fine jewelry designer Nikos Koulis finds inspiration in Santorini’s majestic beauty, unbridled vitality, and revered history.
“SAEGEAN GEM
antorini has a special energy unlike the other Cycladic Islands,” says Nikos Koulis while sitting at an outdoor kafenio on a sunny spring day. “It’s because it was created when an ancient volcano erupted, leaving a magnificent caldera, black- and red-sand beaches, and lava rocks.”
The celebrated Greek jeweler has a sensitivity to energy, the kind that likewise emanates from his colordrenched rubies, emeralds, and sapphires, and uniquely cut diamonds. Mystical life forces are rooted in his Greek heritage— and one of the reasons he carries Tahitian pearl worry beads in his pocket.
Koulis, whose flagship store is in Athens’s luxury shopping district, travels more than half the year, visiting high-profile clients around the world. But as soon as he steps off the plane in the Cyclades, he says, he’s at peace. It’s a feeling he’s had since early childhood, when his family traveled extensively throughout the Greek Isles. Santorini has remained a favorite place ever since for its dreamy sunsets, awe-inspiring caldera, and mythological significance.
According to legend, Poseidon’s son Euphemus created the island after dreaming he made love to a nymph; others say Santorini is the last remaining link to the lost city of Atlantis. That mythology
Santorini is one of Greek designer Nikos Koulis’s favorite getaways.
Above: Santorini’s breathtaking cliffs and panoramas inspire Koulis.
Opposite: The tranquil views from Grace Hotel, Auberge Resorts Collection.
Grace Hotel, Auberge Resorts Collection is a tranquil retreat with majestic ocean views and a pool overlooking the sea. Koulis feels a connection to the island’s volcanic energy, especially when working with gemstones like the rare emerald.
Koulis, left, in his Athens flagship store. The designer is known for modern, minimalist fine jewelry, like this necklace and black aluminum, gold, and diamond cuff from his Wish collection.
“Santorini has a special energy unlike the other Cycladic Islands. It’s because it was created when an ancient volcano erupted, leaving a magnificent caldera, black- and red-sand beaches, and lava rocks.”
—NIKOS KOULIS
Previous
is still alive in the island’s enchanting aura, says Koulis, who often goes to the rooftop of one of the island’s churches to gaze down over the sparkling Aegean Sea. On every trip, he makes time to visit Mati Gallery, “a hidden gem showcasing inspiring artists and unique creations,” and he is a regular at Ammoudi, where he takes ouzo with his dinner.
Santorini’s nature—in particular, its dancing winds—is a liberating metaphor for Koulis. “It is freedom to express new ideas, freedom to explore,” he says. At Grace Hotel, Auberge Resorts Collection, that freedom, and the creativity it inspires, is especially strong; it is woven into its cliff-top setting in the quiet village of Imerovigli, in its intimate whitewashed dwellings and layered terraces, and in its dramatic views of the magnificent caldera.
Koulis has that wind to thank for his innovative new Wish collection, which was inspired by the ethereal beauty of a dandelion. “I was captivated by the flower’s fragile texture,” he
says. “You can’t catch the fuzzy white balls; they disappear in the wind.”
As a second-generation jeweler, Koulis could have easily created designs inspired by classic Greek themes, but he took another path, juxtaposing light and dark and smooth and sharp in his sculptural pieces featuring rare gemstones. That distinctive aesthetic extends to his lifestyle too, from his monochromatic uniform composed of pieces from The Row and Loro Piana, to his stylish Athens apartment mixing Art Deco–era furnishings, contemporary art, and vintage light fixtures. Like his jewelry, everything in his life is a combination of unlikely elements that coalesce to create a timeless aesthetic.
It all leads back to the designer’s mythical, magical muse of Santorini. The island’s simple, intangible, natural elements forever imbue his everyday life, no matter where in the world he may find himself. And every return is like an instant jolt of inspiration. “The light is different, the air is different,” he says. “The energy makes me happy.”
A native of Athens, Koulis opened his stylish flagship store last fall in the city’s luxury shopping district. The store’s façade, designed by Bureau de Change, is made of marble and textured aluminum to reflect the city’s past and future.
spread: Panoramic views of the Aegean Sea from Grace Hotel’s restaurant, Varoulko Santorini.
Dazzling jewelry inspired by the heritage and culture of Santa Fe, photographed at Bishop’s Lodge, Auberge Resorts Collection. Photography by Brian Klutch
From top: Marlo Laz turquoise and 14K gold beaded necklace, $18,000. marlolaz.com Daria de Koning Aqua/Black No. 2 necklace with aquamarine and black tourmaline beads, fossilized opalized wood, and 18K gold, $6,400. dariadekoning.com K. Brunini necklace of cameo shell and carved sawo wood acorn beads, price on request. kbrunini.com
ALPINE Sprezzatura
Brunello Cucinelli’s co-creative director
Carolina Cucinelli shares what she loves about Aspen’s style and spirit.
When Carolina Cucinelli arrived in Aspen for the first time, it was an idyllic winter day—and she instantly felt at home.
“I felt a wonderful sense of harmony,” says the vice president and co-creative director of the iconic Italian luxury brand her father founded in 1978. “The natural elegance of the people and their respect for the town’s spaces closely reflect the Brunello Cucinelli style.”
The picturesque mountains, untamed beauty, and welcoming spirit reminded her of Solomeo, the 13th-century hamlet in the heart of Umbria’s scenic hills, where she was raised and still lives. There, her father instilled in her a heartfelt commitment to fostering community and preserving nature and heritage. (The senior Cucinelli famously spent decades restoring his beloved Solomeo, his wife’s hometown, and nurturing both his business and village community with the development of artisan trade schools, venues for the arts, parks, and more.)
In Aspen, Carolina Cucinelli discovered a similar kindhearted spirit.
“Authenticity and quality are two characteristics I found everywhere in Aspen—in the places and the people—and these are precisely how we came to define ‘gentle luxury’ at Brunello Cucinelli,” she says. The company opened a store in town in 2012, and its laid-back luxury—evident in plush cashmere sweaters and jackets, softly tailored coats, and layers of cream-colored sportswear—epitomizes Aspen’s elegant ease.
In this mountain town, Cucinelli sees echoes of her small Italian village, where innovation for the future resides alongside tradition. “Growing up in an environment where design and craftsmanship took center stage taught us to view the world with curiosity,” she says.
The nonprofit Aspen Institute, for instance, is a favorite spot for its programs exploring some of the most challenging topics of the day. The Aspen Art Museum is another one of Cucinelli’s must-visit places for its great selection of contemporary art, “housed in a
Aspen’s chic style and warm spirit remind
Brunello Cucinelli co-creative director
Carolina Cucinelli of her Italian home of Solomeo, Umbria.
modern building that blends perfectly with the town’s ambiance.” She also visits her friend Nick Fouquet’s namesake shop, where she recently found new hats to take back to Italy.
Aspen’s historic downtown—with its pedestrian cobblestone shopping streets, sprawling green park, and well-preserved buildings, like the Wheeler Opera House—is another part of the city with which Cucinelli feels a personal affinity. That’s one reason she was drawn to Hotel Jerome, Auberge Resorts Collection, built by Jerome Wheeler in 1889. Constructed during Aspen’s mining heyday, the hotel has been at the center of this town’s social scene since its early days and has maintained its Western charm. A cocktail at Hotel Jerome’s J Bar “offers moments of relaxation in an elegant and sophisticated atmosphere,” she adds.
With every visit, Aspen’s breathtaking natural beauty invigorates and inspires Cucinelli. “I vividly remember the beautiful trail we hiked to the Maroon Bells,” she says. “The peaks reflecting in the waters of the surrounding lakes made everything feel suspended in time.”
It’s that natural splendor, that easygoing spirit, that sprezzatura, that Cucinelli relishes—and that lingers long after she’s returned to Italy.
Nick Fouquet crafts hats in his Aspen atelier. Opposite: The Living Room at Hotel Jerome, Auberge Resorts Collection.
“The peaks reflecting in the waters of the surrounding lakes made everything feel suspended in time.”
—CAROLINA CUCINELLI, CO-CREATIVE DIRECTOR,
BRUNELLO CUCINELLI
Above: The Aspen Museum of Art.
Opposite: The majestic views along the Maroon Bells trails.
LEFT: RICH MARTELLO; RIGHT: DANIEL PÉREZ
Growing up in a close-knit Italian family in the small village of Solomeo, sisters Camilla and Carolina Cucinelli were immersed in the family’s cashmere business—even at a young age, when the girls would visit their father’s design studio and workshops and share meals in the company canteen.
Naturally, both women joined the family business, along with their spouses, and this spring, the sisters unveiled a signature handbag, the BC Duo—the result of months of collaboration.
“The idea was born from the desire to celebrate what unites us by creating something elegant and timeless, yet also contemporary,” says Camilla, vice president and co-head women’s creative director. “This project mirrors our bond, our shared vision, and the belief that together we can create something that transcends individuality.”
Designed in the company’s sleek, minimalist style, the shopper bag is constructed with geometric panels stitched together to create a sculpted shape in buttery leather, suede, or denim, and dyed in the elegant neutral tones the brand is known for.
Here, the sisters discuss their collaboration.
How did your father’s style influence you?
CAMILLA: “Brunello’s approach is rooted in tradition, while we strive to translate it into a more modern and functional perspective.”
What inspired the BC Duo?
CAROLINA: “We felt the need to design something that represented our shared journey. We wanted to create an accessory that expressed our way of perceiving beauty: authentic, functional, and capable of engaging with the present.”
What does the BC Duo represent to you?
CAMILLA: “The BC Duo reflects our duality: aesthetics and function, tradition and modernity, united in a single creation.”
Tell us about the design process.
CAROLINA: “Our work together is built on constant dialogue and exchange. Every phase of the process stems from the fusion of our ideas and those of a team of 20 people with whom we meet, discuss, experiment, select materials, and test prototypes.”
Above: Brunello Cucinelli’s new BC Duo handbags. Opposite: Sisters Carolina and Camilla Cucinelli collaborate in their Solomeo, Italy, studio.
spirit of
The Southwest—with its mountain landscapes, mesmerizing sunsets, and earthy gems and minerals—has long inspired artists and designers. These jewels reflect the region’s beauty and history of jewelry-making, perfectly pictured at Bishop’s Lodge, Auberge Resorts Collection.
santa fe
STYLING BY CHRISTINA HOLEVAS
PHOTOGRAPHY BY BRIAN KLUTCH
AT BISHOP’S LODGE, AWASH IN NATURE AND LIGHT
mahnazcollection.com Silvia Furmanovich shell earrings with diamonds, turquoise, mother of pearl, onyx, and 18K gold, $10,560. bergdorfgoodman.com
Clockwise, from top left: Harwell Godfrey Totem earrings with tanzanite, garnet, opal, and pearls, $29,500, borsheims.com Mahnaz coral, lapis lazuli, turquoise, wood, and 14K gold shield ring by Charles Loloma (Hopi), circa 1970, $20,000.
IN THE BUNKHOUSE, UNDER THE GLOW OF THE ANTLER CHANDELIER
Above: Mahnaz sugilite and sterling silver beaded squash blossom necklace by Carol and Wilson Begay (Navajo Diné), circa 2006, $5,500. mahnazcollection.com
Opposite: K. Brunini Brutalism one-of-a-kind necklace with 18K white gold, sterling silver, diamonds, opals, rubellites, bicolor tourmaline, rutilated quartz, and copper starburst, price on request. kbrunini.com Lisa Eisner 4-drop chrysocolla casper earrings with bronze and gold-filled wire, $3,600. brokenenglishjewelry.com
Above: Daria de Koning Isthmus bracelet with Starry Night jasper, spessartite garnet, king conch beads, fossilized coral, and 18K gold, $22,000. dariadekoning.com
Opposite: Uniform Object hand-carved fossilized mammoth Bull Pendant with diamonds and 18K gold, $14,950, and solid 18K gold chain with 7.8 carats of diamonds and diamond spur clasp, $43,500. uniformobject.com
IN SKYFIRE RESTAURANT, WHERE THE SCENT OF PIÑON FILLS THE AIR
Above, from left: Future Reference Vintage 1990s era 20K gold, turquoise, and pearl brooch, $8,320. twistonline.com; Mahnaz turquoise and sterling silver cluster cuff by Frances M. Begay (Navajo Diné), $3,300. mahnazcollection.com
Opposite: Lisa Eisner Simbercite Jupiter bronze pendant on black leather cord, $4,200, and Ojai earrings in bronze and gold-filled wire, $1,200. brokenenglishjewelry.com
DISCOVER THE ART OF SILVERSMITHING
Join Bishop’s Lodge, Auberge Resorts Collection’s hands-on, beginnerfriendly workshop to craft your own jewelry masterpiece. Celebrate New Mexico’s vibrant artistic heritage and learn essential techniques, such as shaping silver sheets and stone setting, to create a custom ring, pendant, or keychain. Inquire via bl.adventures@aubergeresorts.com.
IN THE HILLTOP CHAPEL, BUILT IN 1874 BY THE ARCHBISHOP JEAN-BAPTISTE LAMY
Above: K. Brunini Skipping Stones earrings with petrified palmwood cabochon stones, diamonds, 18K gold, and black oxidized silver, price on request. kbrunini.com
Opposite: Ataumbi 18K gold cuff etched with patterns inspired by Kiowa beadwork, with diamonds, $20,000, and Southern Plains gold vermeil earrings, $600. ataumbi.com
THE CINEMATIC WORLD of
PIERRE-YVES ROCHON
The legendary French designer’s theatrical approach to interiors dramatically transforms spaces—and our experiences in them.
“Design is not just a profession,” says Pierre-Yves Rochon. “It is a way of seeing the world.”
This perspective has guided the revered Parisian interior designer throughout a career spanning more than four decades. In following this simple—though certainly not easy—premise, he has shaped the world of interiors, defining the very concept of living beautifully through his mastery of five-star hospitality and luxury residential design.
Raised in Brittany, on the rugged Atlantic coastline of northwest France, Rochon was a natural artist and a lover of music and film. Though his nascent dreams of becoming a film director were dashed when he failed to meet the math requirements to attend the Institut des Hautes Études Cinématographiques, he soon discovered a new passion for interiors, at École Nationale Supérieure des BeauxArts et Arts Appliqués in Paris. There, he learned to craft spaces much in the way a filmmaker creates a mise-en-scène.
In 1979, Rochon established his eponymous firm on that very notion: to design permanent movie sets. Nowhere would his dramatic style become more compelling—or transformative— than in hospitality. “[My hotels are] high drama, impactful, and always set the scene for social engagements,” he has said.
If his newest hotel, The Woodward, Auberge Resorts Collection—an urban oasis in the heart of Geneva designed in collaboration with The Bastion Collection—were a movie, its title might be La Grande
Illusion. The historic lakeside property is intimate and classical, paying homage to Geneva’s artistic legacy, yet it embraces the city’s contemporary side too. It’s a careful balance, the kind that Rochon has turned into a trademark. “Luxury is not about excess,” he says. “It is about harmony and an unwavering attention to detail.”
Indeed, like any good film, it is the fine details that create the big picture—and, in Rochon’s world, they must always connect to their setting. At The Woodward, the Alpine landscapes were an obvious source of inspiration, but Rochon went deeper, tapping into the city’s history and cultural identity. “Geneva’s legacy of craftsmanship and artistic sophistication shaped our material choices,” he says. “The use of rich wood finishes, deep green tones, and finely detailed fabrics reflects Geneva’s watchmaking tradition. The effect is one of discreet luxury, deeply rooted in place.”
One of the greatest challenges in creating The Woodward, he says, was reimagining its post-Haussmann-style limestone building— designed in 1901 by French architect François Durel—for a modern guest. “The structure originally lacked the openness needed for a contemporary hospitality experience,” Rochon says. Reconfiguring the interiors maximized natural light and created a fluid, welcoming layout; adding bespoke furnishings, rare artworks, and a sophisticated color palette breathed new life into the historic spaces.
Opposite: Views over Lake Geneva from a terrace of The Woodward, Auberge Resorts Collection.
Previous, from left: Pierre-Yves Rochon’s design for Le Jardinier at The Woodward gives plants and nature pride of place—a reflection of The Bastion Collection restaurant’s seasonal menu; Rochon at his Paris design studio.
“Luxury is not about excess; it is about balance, harmony, and an unwavering attention to detail.”
—PIERRE-YVES ROCHON
well as The Bastion Collection’s L’Atelier Miami.
Above: In The Woodward’s Royal Suite, Rochon added bespoke furnishings, rare artworks, and a sophisticated color palette. Opposite: Rochon collaborated with the late French chef Joël Robuchon on the global design concept for his L’Atelier Robuchon restaurants, including Geneva’s only two-Michelin-starred restaurant, located at The Woodward (shown), as
Though Rochon is best known for designing luxurious hotels like The Woodward, his oeuvre is remarkably diverse, ranging from restaurants to residences and even a private yacht, Arados, but all possess the same drama and flair as his hospitality projects—and all of them follow the designer’s own personal tenets of good design. “We don’t design for trends,” he says unequivocally. “While the industry often moves through cycles, our focus remains on creating interiors that go beyond fashions.”
When it comes to residences, one gets the sense that Rochon believes his clients have a right to live every day as comfortably and exceptionally as they would at one of his hotels: Home should exhibit the same sense of balance between familiarity, comfort, emotion, and creative audacity as the most beautifully crafted penthouse. Building on the classic adage of form equals function, he argues that “every element must work together seamlessly, from functionality to architecture to materials, furniture, and art. A design is successful when it feels natural.”
That’s evident whether home is an Art Deco villa in Saint-Jean-Cap-Ferrat—which Rochon designed with soft and creamy blues, greens, and yellows to reflect the Mediterranean landscape—or a modern residential tower in Miami, with miles of marble and glass in sinuous lines and soaring ceilings. However unique the style of each project may be, they always resonate “on an emotional level,” he says.
Rochon’s approach to restaurants, meanwhile, relies on the more theatrical
design of his inner director. His signature concept for L’Atelier de Joël Robuchon restaurants around the world, for instance, was a collaborative effort with the late Michelin-starred chef that creates a cinematic dining experience with a stage-like platform in the open kitchen and dramatic materials like black lacquer. Even, and especially, here, functionality plays its part, not just for the chefs—for whom the lighting must be just right as they craft le boeuf Wagyu and lapin ballotine—but also for the diners: The focus is always on the dish, Rochon says.
The award-winning restaurants at The Woodward, which include The Bastion Collection’s L’Atelier de Joël Robuchon and Le Jardinier, are, in many ways, a perfect melding of all of Rochon’s guiding tenets: culturally relevant, unwaveringly hospitable, cinematically inspired, and even residential. Le Jardinier, in particular, showcases how Michelin-starred fine dining can be both comfortable and elegant, with its vibrant dining room, dressed in gentle blues and greens, opening up to a tree-fringed veranda hovering above Lake Geneva—a perfect spot for whiling away a long afternoon.
It’s all part of a script, so to speak, one whose carefully executed language encourages us to see and experience the world in a completely new way. Only in this film, there is no final scene, no rolling credits, no end. “True luxury is timeless, and part of that is ensuring that designs endure,” Rochon says. “The most successful interiors are those that tell a story that remains relevant for generations.”
The Woodward Suite combines classic postHausmannian-style architecture with elegant details like a Murano glass chandelier.
Abraham Alexander in the Goodnight Suite at Bowie House, Auberge Resorts Collection. Photography by Korena Bolding
TEXAS MODERN
A new Texas story is unfolding in Fort Worth, led by the city’s cultured and creative locals.
BY JACKIE CARADONIO PHOTOGRAPHY BY KORENA BOLDING
You may think you know the Lone Star State.
But look closer, and you’ll realize this state is a Texas-sized paradox. On one hand, it is a caricature of itself: big boots, big ranches, big hair, big everything. And certainly, the hype is real—around here, those stereotypes aren’t just valid, they’re proudly embraced, the collective result of generations of shared culture, community, hard work, and values.
Yet there’s another Texas, a multilayered and sophisticated Texas, where Hollywood stars, global entrepreneurs, and visitors seeking out some good old-fashioned fun don cowboy hats at the rodeo, and bona fide ranchers with spurs on their boots and silk scarves around their necks hold court at the best table in the best restaurant in town.
Nowhere are those dualities more evident than in Fort Worth. Meet the movers and shakers who make this big little city a microcosm of Texas complexity.
Jackie Chieffalo, co-owner of Chieffalo Americana, at her Camp Bowie Boulevard store.
Previous: The Billet Room at Bowie House, Auberge Resorts Collection.
COUNTRY STRONG
Academy Award–nominated musician Abraham Alexander’s star is rising fast, but no matter where it takes him, his heart is always in Fort Worth.
Growing up in Greece, Abraham Alexander knew from an early age what it felt like to be an outsider. His parents immigrated to Athens from Nigeria before he was born and, there, the family didn’t always feel welcome. “We were treated as second-class citizens,” he recalls.
Nonetheless, he loved his first adopted home, especially the beaches, where he and his four brothers would battle the waves while their mother looked on from the sand. “I just remember the air being crisp. I remember the freedom to explore,” he says. “The Acropolis and the Parthenon were my playground.”
But it wasn’t enough; the family began to search for another home where they would feel more included. They found it in Texas.
There was an adjustment period of course—no beaches! no Acropolis!—but soon, Alexander began to feel accepted in a way he’d never felt before. “Texas gave me a welcoming embrace,” he says. “It just felt so authentic, and it gave me an opportunity to rediscover myself.”
Alas, he would encounter more struggles in his second adopted home: the tragic death of his mother, who was killed by a drunk driver; estrangement from his father. Yet Texas—and Texans—continued to embrace him, and even adopt him, as a friend’s family took him in after the loss of his mother. In Fort Worth, attending Texas Wesleyan College, he found another tribe in soccer. But it was a chance encounter with music that would change his life forever.
“I was nursing a soccer injury when a friend gifted me a guitar, and it was like another piece of the puzzle of my life was suddenly added,” Alexander says. “With this new outlet, I felt like I could finally understand who I was.”
Enamored with the power of music, he played obsessively—“eight, nine, 10 hours a day,” he says. When he wasn’t playing, he was immersing himself in the local music scene, where he discovered a passion for blues and epic guitarists like Stevie Ray Vaughan and Bobby Womack. In 2015, a chance encounter with Leon Bridges, then still an up-andcoming musician, resulted in Alexander humming backup for a track on the
Alexander strums his guitar in the Goodnight Suite at Bowie House, Auberge Resorts Collection.
Alexander was thrust into the national spotlight—and became a Fort Worth hometown hero—when his song “Like a Bird,” co-written with Black Pumas’ Adrian Quesada, was nominated for an Academy Award.
“When everything else fades away, the people you want to share your biggest moments with are the people from home.”
—ABRAHAM ALEXANDER
Grammy-nominated album Coming Home “He encouraged me to pursue my music,” Alexander says of Bridges. “He became my mentor and one of my best friends.”
And so, with the support of his many adopted Texas families, he took off. He released an EP of four original songs, blending blues, R&B, pop, and even gospel, with deeply personal lyrics such as Tell me if I go too far / Would I become the lonesome lone star? / Would I ever find my way back?—and picked up gigs all over Texas, opening for Ginuwine at Dallas’s House of Blues, performing with Black Pumas, and recording “Summer Moon” with Bridges and fellow musician Kevin Kaarl (the song is about their local Fort Worth coffee shop).
In 2022, he released Sea/Sons, his debut album and a vulnerable ode to family, tragedy, and those endless summer days on the beaches of Athens with his brothers. “A lot of the album was expressing the pain that I’ve experienced in my life,” he says. The album debuted at 42 on the Billboard chart and led to a whirlwind of dream performances— Stagecoach, South by Southwest, touring with Gary Clark Jr. and The Lumineers.
Then came an even bigger break: a text message from Black Pumas guitarist Adrian Quesada, and a link to an early trailer for Sing Sing, a film, based on a true story, about Sing Sing prison’s Rehabilitation Through
the Arts program. “Adrian said, ‘Watch this, and I dare you not to cry,’ and sure enough, I’m tearing up,” Alexander says. “I knew that the message within this film was important, and I wanted to be part of it.”
Over the next 48 hours, Alexander penned “Like a Bird,” an emotional track that touched on his own experiences with pain and alienation. Alexander and Quesada recorded it together—remotely—“and the studio loved it,” Alexander says. “Like a Bird” perfectly captured the desperation and hope of Sing Sing, and as the film drew nominations—BAFTA, Critics’ Choice— Alexander’s evocative song became the anthem for its message of redemption.
That led to his biggest break of all (so far): the Academy Award nomination for Best Original Song. When it was announced in January, the city and people of Fort Worth celebrated the honor as if it were their own. And in many ways, Alexander says, it was.
“I went to Bowie House not too long after it was announced, and everyone there was rallying around me, congratulating me,” he says. It was the familiar Texas embrace he’d felt countless times before—and it meant more than ever. “When everything else fades away, the people you want to share your biggest moments with are the people from home. I feel so lucky I get to share these moments with Fort Worth.”
Alexander poses in front of a collage by American artist Ingrid Dee Magidson in the Goodnight Suite at Bowie House.
MODERN COWBOY
Artist Jon Flaming paints a new vision of the Wild West.
In 2018, when Jon Flaming showed his Modern Cowboy series for the first time, collectors took note—one way or another. The paintings depicted all the classic cowboy virtues: the 10-gallon hat, the boots, the spurs. A puff of smoke escaping from a cigarette. A trusty steed galloping through the desert. But this was no classic Western art, none of the false light of Frederic Remington or the cowboys-and-Indians tropes of Charlie Russell. Flaming’s canvases were graphic, colorful, with dungarees and oil derricks and cacti and bucking broncos rendered in blocks of vibrant orange and green and blue and red. It was new. It was different. It was Western … and it wasn’t.
“It was really something unlike anybody had done in the Western art genre. Some people loved it, and some people hated it,” Flaming says. “It was like I was riding a fresh horse down a new trail.”
That’s not to dismiss the original masters (“I’m standing firmly on their shoulders,” Flaming says of Remington and Russell). In fact, the artist looks at his work as an homage—a tip of the hat, if you will—to the painters who pioneered the genre and, even more so, their iconic subjects. “I just want to put it on a canvas in a way that nobody else has before.”
Flaming’s own trail started much in the way of his subjects: on a cattle ranch—his grandfather’s in Wichita, Kansas. “My earliest memories were of seeing these cowboys and ranchers and farmers working, and that just did something to me,” he says. When his family moved to Dallas, he sought out—and quickly found—solace in the city’s rural outskirts, on long drives that took him to the ranches and grasslands that made him feel at home.
But modern life took over, as it so often does. In college, he studied graphic design and eventually went on to run a branding and design firm, where he created campaigns for Neiman Marcus, American Airlines, and FedEx. He was married with three children when the ranching life came back to him through art. “After I put the kids to bed, my second life would start,” he recalls. In his garage, blank canvases on easels awaited. “I realized, if this is my dream, nobody is going to come along and do it for me.”
Twenty-five years of moonlighting later, Flaming retired his business and officially launched his second act with Modern Cowboy. It marked an evolution—“my early work was more Impressionistic,” Flaming says—and a melding of styles, combining
Flaming sketches in his art studio just outside Fort Worth.
the Western art genre with his graphic design and abstract expressionist influences. It was Remington and Russell meets Paul Rand and Saul Bass (and even Pablo Picasso, whose work Flaming references often). “That blending and juxtaposition of shapes and subjects was intriguing to me.”
However graphic Flaming’s paintings are, they’re never flat. Using various tools, he scrapes and scratches molding paste over his canvases to create an appropriately rugged texture. When he scumbles paint across it, little indentations cause gradations in the color. It’s a careful process that adds depth and nuance to his bold shapes.
Seven years since “going pro,” Flaming’s art is shown all over Texas and beyond. His Pump Jack – Jack Rabbit hangs permanently in Fort Worth’s Amon Carter Museum of American Art, and this September, he will exhibit alongside other contemporary Western artists like Mark Maggiori and Le Fawnhawk at the second Far West pop-up gallery, taking place this year in Austin.
Meanwhile, Flaming’s interpretations of the Western genre are evolving. Lately, he’s been working with oil crayons. Skulls are another current obsession, rendered in a Cubist style, often on a deep-red background. He also recently showed a series of paintings featuring small-town iconography— signs from drug stores, Dairy Queens, taxidermists, and the like. Each is a new path, another fresh trail that Flaming is exploring. “I’ll ride it for as long as I can,” he says.
Above: Flaming’s studio brims with inspiration, from personal photos and artifacts from his childhood to Western memorabilia. Opposite: A new piece sits on his easel.
EVERY DAY’S A RODEO
Jo Ellard and her coterie of friends share one special muse: their hometown of Fort Worth.
Jo Ellard came to Texas by way of Mississippi, and for years, Dallas was home. It was where she raised her two sons while her husband built his insurance business. Just 45 miles north of there, she purchased a ranch, where she bred a herd of mares—the Magnificent Seven, she called them—and honed her own equestrian skills, enough to be inducted into the National Cutting Horse Association Non-Pro Hall of Fame.
That endeavor led her to stray from her Dallas base to nearby Fort Worth, where equestrian competitions at the Will Rogers Memorial Center kept her in town for at least 75 days a year, all of which she spent in hotels. She grew fond of the city—its museums and culture, its people, and, of course, its legendary rodeo—but there was one thing she believed it was missing: “I wanted a really special hotel, five-star luxury, and I wanted it in the Cultural District.” So, ever the overachiever, she did it herself.
Thus, Bowie House, Auberge Resorts Collection was born. Located within walking distance of all the Cultural District’s attractions—Will Rogers Memorial Center (where the Fort Worth Stock Show and Rodeo takes place) and seven museums—it is the hotel Ellard wished for all those years on the road.
“Bowie House isn’t formal, it’s not antiquey, it’s not exactly contemporary or Western
as a whole,” Ellard says. “It’s just Jo’s style.” Indeed, like Ellard, Bowie House is a little bit country, a little bit modern, and completely original. More than 400 pieces of art—all personally collected by Ellard—fill the bold urban retreat, and few, if any, fit the tropes of the classic Western theme. Instead, you’ll find Kenyan Thandiwe Muriu’s vibrant patterned portraits, Dutch Max Zorn’s trick-of-the-eye tape art, and American Hijack’s street-art pieces that seem to jump off the canvas.
Still, there’s plenty about Bowie House that’s unmistakably Texan: rustic wood accents, rock crystal chandeliers, cowhides, and longhorn mounts. More artifacts come with a backstory, real or imagined: the beautifully finished vintage bar that had been secreted away in a warehouse for decades before Ellard rescued it; the antique pool table with burn marks on the rail (Ellard claims with a wink that one of them was made by Dean Martin’s cigarette).
But Bowie House is as much for its creator as it is for all of Fort Worth. It is a hotel, of course, and thus it is for visitors, but it has become a beloved gathering place for locals too—where they go for dinner before the George Strait concert or late-night cocktails after the rodeo, where local celebrities like Taylor Sheridan and Leon Bridges sidle up to the bar next to real-life ranchers in Wranglers.
Rodger and Jackie Chieffalo dress many of those locals, as well as out-of-towners who
Jo Ellard’s Bowie House, Auberge Resorts Collection is as stylish as its pioneering creator.
Above: Executive chef Antonio Votta elevates classic Texan dishes at Bowie House’s destination restaurant, Bricks & Horses. Opposite: The Bar at Bowie House’s centerpiece is a dramatic vintage bar Ellard sourced from an auction house in Waco, Texas.
Above: Belt buckles, bolos, and other vintage finds are given a modern update at Chieffalo Americana. Opposite: Jackie and Rodger Chieffalo with their dog Luccio at their flagship store on Camp Bowie Boulevard.
want to look the part. The couple’s curated Western-wear shop, Chieffalo Americana, is a stylish manifestation of everything Fort Worth, starting first and foremost with Rodger’s short-brim hats. A Fort Worth native since the ’70s, he was introduced to the iconic Shady Oak hat—a status symbol of wealthy ranch owners made famous by President Lyndon B. Johnson—when he inherited a vintage example. It led to a small side business for the real estate developer: “I would source these antique 100% beaver felt hats and gift them to clients,” Rodger says.
One thing led to another, including a fortuitous meeting with Jackie, a handbag designer from Los Angeles, and today, the couple is the enviable picture of cowboy core, him in a fringe duster and boots and her in a fitted Western blouse and a bolo layered with vintage chains studded with diamonds and turquoise. Their two shops—one at Bowie House and another up the road—invite others to embrace the style too, brimming with an impressive collection of heritage pieces (a studded leather attaché, antique belt buckles, and those custom Shady Oak hats) as well as new finds (the couple recently convinced one of their California-based denim designers to start making boot-cut jeans—he sold out before he could fill their order).
The Chieffalos, like Ellard, are driven by the same authentic and uniquely multifaceted
character of their hometown. “Fort Worth is refreshingly old-fashioned, but its people are sophisticated and philanthropic and educated,” says Jackie. Rodger adds: “And what they all appreciate is good style.”
That unique blend is evident in Fort Worth’s dining scene too, says Antonio Votta, executive chef at Bowie House’s destination restaurant, Bricks & Horses. Votta hails from Las Vegas and admits to being initially surprised by the locals’ welcome attitude to culinary experimentation. “Yes, steak and potatoes still reign supreme for most,” he says with a laugh. “But people are expanding their palates.” Votta nurtures their curiosity via Texas classics with a newfangled twist: the elevated pigs in a blanket made from puff pastry and Wagyu sausage from nearby Santo, Texas; the fish fry with an Asian flair, featuring buttermilk-soaked halibut, kimchi tartar sauce, and nori hush puppies.
Local sourcing is another value driving Votta’s menu: All the meat and most of the produce is sourced within 200 miles (neighboring by Texas standards), including at Taylor Sheridan’s 6666 Ranch in Guthrie. The locavore trend isn’t a trend at all in Fort Worth, says the chef; it couldn’t be more ingrained around these parts. “Some of these ranches are going on six generations, and some are more artisan-style ranches,” Votta says. “That’s the beauty of Fort Worth: It’s still Cowtown and yet it’s not quite typical or expected. I hope that never changes.”
“Bowie House is a work of art in and of itself.”
—JO ELLARD, OWNER, BOWIE HOUSE
Bowie House is filled with more than 400 works of art—all personally collected by Ellard herself.
BY JACKIE CARADONIO
WILD AT HEART
Nikki Reed trains her lens on the place that brings together all her passions and inspirations: The Lodge at Blue Sky, Auberge Resorts Collection.
There are multi-hyphenates, and then there are those who are truly multi-talented.
Nikki Reed is the latter. The American actress first rose to fame for her role in Thirteen, which she co-wrote at age 14, before starring in The Twilight Saga, among other blockbusters. But her off-screen roles—photographer, animal rights activist, and jewelry designer, to name just a few— are, in many ways, her true passions. One might even say they feed her soul. And they all converge in the great outdoors.
“To me, there is nothing more peaceful than a walk in nature with my camera in hand,” Reed says. “Photography forces us to be present in the moment, which is a luxury in a time when we are constantly being told to speed up, to move faster.”
Equine Healing Foundation. “Meeting Barb at The Lodge at Blue Sky was like reconnecting with an old friend—the kind of friend that you can spend hours talking to before realizing that you haven’t even stopped for a sip of water,” Reed recalls. “We shared story after story about horse rescue, and I have endless admiration for how devoted she is to this way of life.”
“Photographs make us feel, and
they make
us think,” says Nikki Reed, shown opposite at The Lodge at Blue Sky, Auberge Resorts Collection. “There is so much reflecting to be done when looking at an image, which is part of why they bring us so much joy.”
In 2023, Reed became the first woman to direct and produce a global campaign for Leica. She used the opportunity to highlight another cause she holds near and dear: Return to Freedom, a nonprofit committed to the protection of America’s wild horses. It was a pivotal accomplishment that led to another meaningful connection—a new friendship with Barb Phillips, owner of The Lodge at Blue Sky, Auberge Resorts Collection, and founder of the Saving Gracie
Reed was equally captivated by The Lodge at Blue Sky itself, and she found herself connecting just as deeply with the rugged landscapes, horses and mountains, and jawdropping sunsets. Those experiences made such a lasting impression that she returned to the property this year to launch The Western Collection for her sustainable fine jewelry brand, BaYou with Love. Inspired by her many loves—horses, heritage jewelry, and the spirit of the American West—the new collection, “in many ways, feels similar to The Lodge at Blue Sky in its rustic beauty with a traditional essence,” she says.
On a recent visit, Reed captured The Lodge at Blue Sky with a photo essay that portrays how this special place unites all her passions and pursuits.
“In my next life, I’d like to come back as a horse in Barb Phillips’s care. She has a heart of gold, and the world is better because of it.”
—NIKKI REED
Reed wears BaYou with Love’s Diamond Ocean Tide Cigar Band and Diamond Turquoise Water Ring.
“All the inspiration I find for design comes from nature.”
—NIKKI REED
“From the rugged landscapes and the reclaimed wood to the feeling of stepping into a cold plunge in the middle of nature after doing breathwork in the most beautiful tent, The Lodge at Blue Sky feels like the kind of place you never want to leave,” says Reed (shown here at the resort’s Edge Spa).
“Add in some horses and a mountain, and I can’t think of a better way to spend a sunset.”
“With the perfect blend of luck and coincidence, the stars aligned, and I was able to make it for a Harvest Farm Dinner—the last one of the season—sharing the table with some of the most wonderful humans and getting to know my new hero, Barb [Phillips],” Reed says of the annual dinner series at Gracie’s Farm.
“Connecting BaYou with Love with The Lodge at Blue Sky felt like a no-brainer,” Reed says. “The synergy was there from the moment we all met.” The new Western Collection echoes the spirit of the American West through traditional hand-engraving, pattern work, and silversmithing.
“BaYou with Love’s ethos fits perfectly with the mission of The Lodge at Blue Sky, from supporting our local communities to continually reusing resources and working toward zero waste and giving back to the environment.”
—NIKKI REED
The Western Collection—including the Turquoise Beaded Ring and Flower Turquoise Large Cuff—mixes recycled 14K yellow gold with sterling silver set with diamonds “to weave together rugged elegance with refined craftsmanship.”
Photography: Stoffer Photography Interiors
Solbar executive chef Gustavo Rios’s Canned Crab at Solage, Auberge Resorts Collection . Photography by Tim Aukshunas
In Pursuit of Culinary Perfection
Meet the chefs going deeper to bring the bounty of the earth and sea straight to your plate.
BY REGAN STEPHENS
BY NANI WELCH KEL I IH O OMALU, TIM AUKSHUNAS & CHAD WADSWORTH
PHOTOGRAPHY
Chef Rhoda Magbitang, Mauna Lani, Hawai‘i MAGIC MUSHROOMS
At any given time, the menu at CanoeHouse—the open-air, oceanfront restaurant at Mauna Lani, Auberge Resorts Collection, set on the Big Island’s Kohala Coast—features maitake, shimeji, and king oyster mushrooms. The ingredients aren’t just local; they’re deeply personal for the restaurant’s executive chef, Rhoda Magbitang.
“I just love mushrooms in general,” says Magbitang, whose résumé also includes working for chefs like José Andrés and Josiah Citrin and overseeing the culinary program at The Inn at Mattei’s Tavern, Auberge Resorts Collection, in Los Olivos, California. “They are one of my favorite things to cook, because they are a blank canvas. You can really influence the flavor so easily, but at the same time, they have their own distinctness.”
But one local mushroom was an intriguing mystery to the chef when she arrived at Mauna Lani in 2024: lion’s mane, a spherical white fungus that sprouts with long, delicate tendrils so magical they almost appear like something conjured from Jim Henson’s imagination. That is, until they appeared in her kitchen.
It all began when Benjamin Lillibridge, founder of the Big Island’s Malama Mushrooms farm, was dining on Magbitang’s seasonally focused, Japanese-inspired cuisine at CanoeHouse and noticed a
preponderance of mushrooms on the menu.
“I knew that whatever genius was behind the creation of it was a mycophile,” he says.
Lillibridge founded Malama Mushrooms in 2015, after studying environmental science and learning about the myriad benefits of fungi for health and the environment. It was inspiring enough to urge him to start growing mushrooms in a lava-tube cave in South Kona, Hawai‘i. Today, he operates out of temperature-controlled warehouses 30 miles from Mauna Lani. On an island with year-round warmth and sun, the stable, ambient environment with a consistent temperature and humidity helps Malama cultivate consistently perfect mushrooms.
In the warehouse, the mushrooms grow in a highly controlled fruiting area—more scientific lab than idyllic Hawaiian locale. But the result is a steadfast, sustainably grown ingredient. To harvest the mushrooms, Malama’s farmers walk through dark rows of shelves, using a knife to cut and gently twist off fully grown fungi before boxing them up for delivery.
Inspired by Magbitang’s apparent obsession with mushrooms, Lillibridge brought in his own samples—including the striking lion’s mane—for the chef to try. The gift was an opportunity for her to flex her creative muscles. To enhance the mushroom, she created a new barbecue sauce incorporating
Opposite: Chef Rhoda Magbitang of Mauna Lani, Auberge Resorts Collection and Malama Mushrooms founder Benjamin Lillibridge examine lion’s mane mushrooms at Lillibridge’s cave in South Kona.
Previous, from left: Fresh Dungeness crab at Monterey Fish Market; a trio of dishes at Commodore Perry Estate’s destination restaurant, Lutie’s, featuring artisanal grains from Barton Springs Mill.
Magbitang and Lillibridge view the bounty of Malama Mushrooms, including the prized giant lion's mane.
koji, a fermented rice product, with Maui pineapple, onions, chili, and maple syrup. The lion’s mane has its own distinct flavor, while soaking up all the flavors of the tangy barbecue sauce. “It really took on this amazing flavor profile,” she says. The dish was a revelation, and today, Malama’s lion’s mane is exclusive to Magbitang’s kitchen.
Every week, Lillibridge personally drops off the shaggy white pom-poms to the CanoeHouse kitchen. “He knocks on the back door of the restaurant and delivers everything himself, which is so cool,” says Magbitang, who then transforms them into her signature side dish, Local Mushrooms, which also happens to be vegan. The lion’s mane is prepared with Ali‘i (king oyster) mushrooms for texture, plus aromatics like shallots, garlic, and thyme, and sake and olive oil. She finishes it off with her house-made koji barbecue sauce, toasted cashews, and pickled shallots.
Of course, CanoeHouse is also known for more widely expected seafood specialties—Kona kampachi and Kauai shrimp, for instance—but it is Malama’s beloved mushrooms that add something delightfully unexpected to the menu.
“You don’t see a lot of lion’s mane on menus,” Magbitang says. “I wanted to set us apart by presenting something that’s just unique to us.” Also, she adds, “It’s just a fun way to introduce people to new things.”
At Mauna Lani’s CanoeHouse, Magbitang features lion’s mane in her signature side dish, Local Mushrooms, which is prepared with Ali‘i mushrooms; aromatics like shallots, garlic, and thyme; and sake and olive oil. She finishes it off with her house-made koji barbecue sauce, toasted cashews, and pickled shallots.
SHELLING OUT FLAVOR
Chef Gustavo Rios, Solage, Napa Valley, California
The freshest crab experience usually happens around a newspapercovered table, wielding crackers and picks to scoop out sweet meat from steamed, brick-red shells. But at Solbar, the sun-drenched restaurant at Solage, Auberge Resorts Collection, executive chef Gustavo Rios offers a delightful alternative: cracking open his signature Canned Crab.
The playful dish arrives in an actual tin, filled with sweet chunks of Dungeness crab meat doused in chili-lime vinaigrette with pickled and fresh Persian cucumbers, garnished with a sprinkle of matcha and fresh herbs like mint, cilantro, and basil. Guests open the lid while gathered around outdoor firepits with panoramic views of the Vaca Mountains in the heart of Calistoga. The vibe is “a little more whimsical, creative, and fun,” says Rios. The dish is only available in season (generally from February to April).
The chef, who originally hails from Baja, Mexico, has long had an affinity for all varieties of crab—including stone and blue claw—inspired by a childhood spent on both the East and West Coasts of the U.S. for his father’s job as a marine biologist. Now, he celebrates the local Dungeness crab, which he sources from his favorite seafood supplier, Monterey Fish Market.
The nearly 50-year-old market is a mainstay of San Francisco’s Pier 33, having long
lured the region’s iconic chefs, such as Alice Waters and Thomas Keller, with its consistently fresh seafood straight from the source. Rios was introduced to the venerable company in 2005, when he worked at Keller’s Bouchon in Yountville, California, and has been a devoted client ever since.
“I always made sure that Monterey Fish Market was one of our vendors, because they support the local fishermen,” he says. “They have great product, they know what we expect, and if it’s not up to quality and standards, then they’re not going to sell it.”
The market comes alive before the sun rises. There, hauls from all over the Bay Area converge, with workers in long orange aprons processing seafood that ranges from tiny pink smelt and slim, silver razor clams to massive bluefin tuna that require a wheeled trolley to maneuver.
Rios sources a range of seafood from the market, including black cod (which he marinates in sake), rockfish (served in an aromatic coconut-lemongrass broth), and, of course, Dungeness crab for his Canned Crab. “The meat is sweet and firm, and just has this nice umami flavor to it,” he says.
So enamored with the Dungeness is Rios that he features it in other dishes. It goes into his Crabonara, a play on spaghetti carbonara that’s inspired by
At Solage, Auberge Resorts Collection’s destination retaurant, Solbar, executive chef Gustavo Rios relies heavily on fresh seafood from Monterey Fish Market.
Following spread: Early mornings at Monterey Fish Market, where Dungeness crab comes fresh off the boat.
Crab Backs, another acclaimed dish served at the historic San Francisco seafood counter Swan Oyster Depot. At Solbar, Rios gives the delicacy a twist with traditional cheese-and-butter sauce.
“We clean the crab and save all those juices and all that butter, and then we blend it with the eggs and cream,” Rios explains of his Crabonara. “So now you have this concentrated crab flavor.”
The sauce goes atop tender strands of bucatini pasta—made from scratch—all of which is stuffed back into the crab shell and garnished with breadcrumbs, flecks of bacon, and a flurry of parmesan. Rios’s fluffy sourdough Parker House rolls are served on the side as a vehicle for scooping up every last ounce of the rich sauce. The rolls also pair well with the Canned Crab.
In fact, from the early morning Monterey Fish Market bustle to the serene evening service at Solbar, Rios’s Canned Crab represents something quintessentially Californian—fresh, local ingredients transformed by creativity. “If you like crab,” he says, “this is an experience that you have to try.”
Above: Solage’s destination restaurant, Solbar. Opposite: Rios’s Crabonara, a play on spaghetti carbonara featuring Dungeness crab with bucatini pasta in a traditional cheese-and-butter sauce.
GRAINS OF TRUTH
Chef Bradley Nicholson, Commodore Perry Estate, Austin, Texas
The AT Ferrell Clipper at Barton Springs Mill, located 22 miles outside of Austin, Texas, in the agricultural town of Dripping Springs is a relic. The 1930s-era machine removes harvest debris from corn, exactly the way it was done 100 years ago. Despite its long tenure, the heritage apparatus does its job— preparing the grain for use as cornmeal, grits, and polenta—in a way that modern equipment has yet to fully replicate.
“The kind of production and variety that you get from Barton Springs Mill is just nothing I’ve ever seen before in Texas,” says Bradley Nicholson, executive chef at Commodore Perry Estate, Auberge Resorts Collection. Nicholson is a regular around the mill, frequently visiting to pick up grains for the dishes he’s been creating at the hotel’s destination restaurant, Lutie’s, since it opened in 2020.
Before the corn can make the journey from Dripping Springs to Austin, it must first, in a sense, go back in time. That was the idea behind Barton Springs Mill’s creation: First opened in 2016 by Texas native James Brown, the granary mills heirloom grains like wheat, corn, rice, rye, and spelt, as well as lesser-known heritage grains like Red Fife wheat and Mediterranean flour—the latter a revived Colonial-era wheat that was grown all over Texas in the early 20th century. The commitment to these grains
isn’t just for the sake of flavor; it also benefits local communities by connecting small farmers with chefs like Nicholson.
“They’re bringing back all these heritage and ancient grains that aren’t normally on some farmers’ lists to grow,” says Nicholson. “It has really opened up a lot of different opportunities for chefs in Texas.”
Nicholson is partial to Barton Springs Mill’s cornmeal, rice flour, and blue corn meal, as well as a few rarer whole wheat grains, such as Yecora Rojo—a bread flour with a buttery, malty flavor profile—and Rouge de Bordeaux, which is prized for its deep, nutty character and standout fermentation properties.
While Barton Springs Mill’s grits remain a Lutie’s menu staple, reflecting Nicholson’s Southern upbringing in Jackson, Mississippi, they also appear in more innovative dishes that harken back to the chef’s time in kitchens in San Francisco and Denmark, including the Chickpea dish, flecked with blue corn that the chef puffs into corn nuts, and the Blue Crab Custard made with eggs and smoked fish broth, lacquered with a seaweed glaze and set atop grits. But the granary’s grits feature most deliciously in Lutie’s signature Estate Bread, a collaboration between Nicholson and his wife, executive pastry chef Susana Querejazu.
The estate bread draws inspiration from Nicholson’s days at chef Matt Orlando’s
At Commodore Perry Estate, Auberge Resorts Collection’s destination restaurant, Lutie’s, executive chef Bradley Nicholson prepares his Chickpea dish with heritage grains from Barton Springs Mill, plus green corn and fermented herbs.
Opposite and top: Nicholson examines heritage corn and other grains at Barton Springs Mill with founder, James Brown.
Above: Nicholson and executive pastry chef Susana Querejazu at the entrance of Lutie’s at Commodore Perry Estate.
acclaimed Copenhagen restaurant, Amass, where the potato bread was made using fermented potatoes folded into the dough. When he thought about what Lutie’s version should be, a base of grits made sense, both as a Texan dish and an ode to his Southern roots.
Nicholson’s bread starts with grits, cooked in buttermilk and salt and fermented for about a week at room temperature before they’re folded into sourdough English muffin dough. “There’s this really awesome sourness that you get from the corn and a little bit of the texture as well on the outside,” he says. “It gets charred on the grill—it’s super delicious.”
Most of all, for the chef, sourcing grains from nearby fields isn’t about convenience at all; it’s about creating a menu that celebrates the Texas terroir and agricultural heritage. The journey from field to mill to Lutie’s kitchen is short, but it connects diners to the land, history, and community of central Texas. As Nicholson puts it, “quality of ingredients and freshness of ingredients go hand in hand.”
Above, from top: Fresh wheat from Barton Springs Mill; Nicholson’s Estate Bread, made with fermented corn grits from Barton Springs Mill. Opposite: Nicholson’s Blue Crab Custard, a version of the Japanese dish chawanmushi featuring grits from Barton Springs Mill.
Napa’s Next Great Generation
It’s been nearly 50 years since the legendary Judgment of Paris catapulted Napa Valley wines to the global stage. Now, the region’s forward-looking winemakers, chefs, and farmers are preparing for the next 50 years—and beyond.
WRITTEN & PHOTOGRAPHED BY CHRISTOPHER BAGLEY
Afew years ago, the owners of Stag’s Leap Wine Cellars did something that struck some observers as crazy. On a two-acre parcel in one of the world’s priciest wine-growing areas in the heart of Napa Valley, they brought in backhoes and tractors to pull out their cabernet sauvignon vines and replace them with a lake. Notably, the lake was not a decorative water feature for guests in the winery’s glass-walled tasting room. It was a reservoir, filled with groundwater and ready to protect the rest of Stag’s Leap’s vines against future heat waves.
“When you need water, you need water,” says Marcus Notaro, Stag’s Leap’s head winemaker. “For us it was worth sacrificing some pretty nice cabernet to have our own stable and sufficient water supply.”
Nearly half a century ago, Stag’s Leap shocked the French establishment—and the world—by beating every Bordeaux to win the top prize at the 1976 blind tasting known as the Judgment of Paris. Since then, Napa Valley has become synonymous with America’s biggest and boldest wines. But at a time when winemakers worldwide are facing not only the unpredictable hazards of climate change but also the fickle tastes of drinkers young and old, how are the next 50 years shaping up in Napa?
Another enticing clue lies at Promontory, the cult winery hidden behind an unmarked gate in the hills of Oakville. In 1984, when Bill Harlan founded the now-iconic Harlan Estate, he said he was thinking two centuries ahead, with a plan for a family business that would last for generations. His son, Will, now oversees all of Harlan’s labels, including 16-year-old Promontory, with an approach that blends his father’s high-minded, terroir-is-everything philosophy with the latest science.
Geologists from Stanford University, brought in to analyze the depths below Promontory’s wild, heavily forested terrain, found large quantities of metamorphic rock, which makes the vineyards’ soil extremely variable, even from one vine to the next. That discovery sparked a plan to build detailed data profiles for each individual plant. Every season, drones fly through the rows of vines, capturing photos of the different growing stages to help determine precisely how each vine should be pruned and how many bunches of grapes it should hold.
“We thought, if we could really treat each vine as an individual, rather than prescribing a set of practices for all of them, we might get to a whole new level of expressing this place—and a new level of wine growing,” Will says.
from
Right: The fermentation room at Promontory.
Previous spread,
left: A view of the vines from Promontory; Hudson Ranch sits on 2,000 acres in the Carneros district.
From left: Hudson Ranch; Stag’s Leap Wine Cellars; downtown Napa; a private tasting at Promontory.
Delighted wine critics clearly think the approach is working: Promontory’s 2018 vintage, hailed as “just a brilliant wine” and “nothing short of spectacular,” received multiple perfect scores.
A few miles down Highway 29, on the outskirts of the city of Napa, a different vision of the valley’s future is on view at the 1960s-inspired winery and tasting room Ashes & Diamonds. When it launched in 2017 in a retro-modernist space, its program celebrated wine as a communal beverage—something that’s always meant to be shared with people and paired with food. Although the ambiance is loose and laid-back at the winery’s tastings and events, owner Kashy Khaledi is no lightweight. A former L.A. music executive whose parents own the nearby winery Darioush, Khaledi is a serious student of Napa’s history. He’s recruited acclaimed winemakers like Steve Matthiasson, a specialist in regenerative farming, to produce a range of minimally processed wines that appeal to contemporary drinkers while hearkening back to Napa’s early days. “Everything here is a tribute to what Napa Valley once was,” Khaledi says.
Today, throughout the valley, even the legacy wineries have been stepping up their tasting experience. Bella Union, a younger offshoot of esteemed stalwart Far Niente, bills its
“Our vision was always one of preservation, but there needs to be room for change.”
—LEE HUDSON, CO-OWNER, HUDSON RANCH
new space as a “playground for the wine curious,” with an outdoor tasting bar that welcomes walk-ins. That pedigreed-butnot-fussy vibe is also bringing new life to the local restaurant scene. Chef Elliot Bell, Thomas Keller’s longtime right hand at The French Laundry, recently opened Charlie’s, an instant hit for its top-notch fried chicken, brick-oven flatbread, and convivial horseshoe bar. Down the road, Michelin-starred chef Philip Tessier, of Press fame, has just unveiled Under-Study, a casual, 4,500-squarefoot cafe and market that shares a space with the Napa Valley Museum of Art & Culture.
When it comes to balancing Napa’s past with its future, few places set a better example than Hudson Ranch, the idyllic 2,000-acre farm and winery in the Carneros district. Here, flocks of well-fed sheep and goats wander among the vines, watched over by a Pyrenean mountain dog. In some ways, owners Lee and Cristina Hudson are throwbacks to the sustainableby-default winemaking families of old, overseeing everything on their estate, from planting and pruning to bottling and selling. But they are also addressing a key challenge for Napa Valley right now: maintaining its reputation for quality while making its offerings more varied and accessible. The couple knows that one important step is loosening some of the county’s rigid permitting rules and other restrictions that
Hudson Ranch owners Lee and Cristina Hudson.
Above and opposite: Ashes & Diamonds Winery. Previous spread, from left: Hudson Ranch co-owner Cristina Hudson; the ranch is home to 2,000 acres of vineyards, farmland, and vegetation.
they once favored but now see as outdated. “Our vision was always one of preservation, but there needs to be room for change,” Lee says. Cristina, a veteran of Chez Panisse who has also worked in Japan and is well-connected in the design world, has added hikes and picnics to the options at Hudson’s chic tasting room. She notes that community ties are especially important in a place like Napa Valley and that attracting young people to the region is crucial. “There’s a perception that young people—the dreamers and bootstrappers—don’t come to Napa, but there are plenty of them,” she says. “You just need to know where to look.”
These days, downtown Napa—a short drive from Stanly Ranch, Auberge Resorts Collection’s newest property in the valley—is where many of those younger folks can be found. Thanks to the area’s superior talent pool, even some of the sandwich makers here have trained in the kitchens of Michelin-starred restaurants. If you’re wondering why that croissant you had at artisan bakery Moulin was so perfectly flaky and buttery, it’s because co-owner Zach Kaylor learned breadmaking in the French Alps and mills his own flour daily. Around the corner at the gourmet deli Contimo, the two owners, veterans of haute food temples like Per Se, pickle their own cucumbers and cure their own meats. There’s also Benevolent Neglect, one of a crop of groovy
“We’re moving away from merely trying to emulate the wines and practices of the Old World and really developing an intimate connection to our own plots of land.”
—WILL HARLAN, MANAGING DIRECTOR, PROMONTORY
new tasting rooms in the city center—this one serving its own minimal-intervention wines and doubling as a vinyl lounge. Come nightfall, the industry crowd schmoozes at wine bar Cadet or goes for cocktails at buzzy Chispa, where the small plates are expertly paired with tequilas instead of wines.
Of course, this is Napa, where the vineyards and fields are never far away. Guests at Stanly Ranch, before sitting down for a meal of local quail or Miyagi oysters at the restaurant Bear, often swing by the chef’s produce garden to ogle the organic chard or feed the rare-breed chickens. And what about grapes? There are young vines growing all over the 700-acre resort. Their yields can already be sampled at Bear in the form of chardonnay sorbet and a fizzy pét-nat blend made from 100% pinot noir.
All of Napa’s wine producers, big and small, seem to agree that the new range of offerings is a welcome sign of evolution in a region that’s still young, progressive, and on the rise 50 years after its big moment at the Judgment of Paris. “I think we’re moving away from merely trying to emulate the wines and practices of the Old World and really developing an intimate connection to our own plots of land here,” Will Harlan says. “I’m really bullish on the future of Napa Valley.”
Tending to the vines at Hudson Ranch.
Live Among the Vines
Call Napa Valley home at Stanly Ranch, Auberge Resorts Collection’s new Villas and Vineyard Homes.
Nestled in the heart of Napa Valley’s wine country is Stanly Ranch’s collection of new luxury residences and amenities. Offering all the comforts and privacy of a luxury home—but with access to the Auberge Resort Collection property’s 700 secluded acres—each of the residences offers serene views of rolling vineyards and the Mayacamas Mountains.
The collection brings a new way to experience all that Napa Valley has to offer. Designed to embrace the California indoor-outdoor lifestyle, the expansive, two-bedroom, fully furnished Villas feature open-plan interiors with soaring ceilings, spacious courtyards, and outdoor dining areas. In the secluded threeto six-bedroom Vineyard Homes, alfresco living reigns, with roomy interiors that spill out onto lush courtyards, private pools, and outdoor fireplaces.
Just steps away, residents can enjoy Stanly Ranch’s award-winning amenities, including three wellbeing centers—Halehouse, Springhouse, and Fieldhouse— which work in concert to provide everything from sleep, hydration, and mindfulness programs to targeted experiences and exercises that optimize the mind and body’s potential. The resort also offers tailored activities like fishing excursions on the Napa River, artisan craft workshops, and falconry presentations.
Stanly Ranch’s culinary destinations offer homeowners more local immersion, both on-site and in-residence. Seasonal menus are inspired by the resort’s farm, which also contributes to the mixologist’s botanical cocktails. The best of Napa Valley’s wines are in view, and residents can experience private wine tastings and tours that bring the wine country right into their own home.
Clockwise, from opposite: Inside a Vineyard Home at Stanly Ranch; outdoor living space at a Vineyard Home; Stanly Ranch’s Sky Villas, featuring two bedrooms and extensive indoor-outdoor space.
Whale watching is favorite activity at Chileno Bay Resort & Residences, Auberge Resorts Collection, in Los Cabos, Mexico. Photography by Chad Wadsworth
CLASSIC GAME, BOLD NEW AGE
As golf modernizes, its long-standing traditions may no longer be par for the course. Robin Barwick tees off in two Auberge destinations where the rules of the game are changing—and creating a more dynamic atmosphere for all.
Dress codes are easing. Old rules are being rewritten. Pressure is dropping, and, consequently, enjoyment is rising.
The official list of golf rules, regulations, and etiquette is nearly as lengthy as the history of the sport itself. From its earliest inception (dating all the way back to 15th-century Scotland), the “gentleman’s game” was dictated by a strict dress code of heavy knickers, thick wool jackets, and ties—even in the sweltering heat, as was the case in 1892, when more than a few players at that year’s Open Championship suffered from severe dehydration. Modern golfers have been known to adhere to the staunchest of codes, too: In an excessive observance of the unwritten rule of remaining still during a player’s swing, all-time great Ben Hogan once famously refused to hit a shot until a spectator 400 yards away stopped fidgeting.
But the grass is suddenly looking greener for more casual players, as courses—even championship ones—begin to take a more laid-back approach to the sport. Dress codes are easing. Old rules are being rewritten. Pressure is dropping and, consequently, enjoyment is rising. Driving it all: a come-one-come-all attitude that’s luring a whole new generation of eager athletes.
For a (literal) taste of the new game, look no further than the first hole at the members-only North Course at Chileno Bay Club in Los Cabos. There, among
dramatic views of the Sea of Cortez and Sierra de la Laguna Mountains, players can tee off with a refreshment that sets a festive tone: a shot of tequila. That’s only the beginning of the old-school rule breaking, according to Paolo Ibba, resort manager at Chileno Bay Resort & Residences, Auberge Resorts Collection.
“Chileno Bay is one of the best golf courses in Mexico, but the atmosphere is not stiff like a traditional club,” he says. “There is no real dress code, so golfers can play barefoot if they want. They have premium comfort stations with bartenders”—even a mini–tiki bar at the 12th hole—“and mandatory caddies are included in the green fee.” The result? “Everyone is very friendly. It is an amazing experience.”
Nonetheless, Chileno Bay is for serious golfers too: The par-72, 18-hole championship course is, after all, designed by the legendary Tom Fazio. And it’s easily the most coveted game in Los Cabos. (In fact, only club members and guests at Auberge’s Chileno Bay Resort can tee off at the Mexican golf idyll.)
“With its dramatic elevation changes, grand views of the ocean, and the ‘wow’ factor of its setting, Chileno Bay is truly special,” Fazio says. “From the moment you drive
Opposite: The golf course dress code of yore was hardly comfortable: stiff knickers, heavy wool jackets, and ties. Previous spread: Mauna Lani’s South Course.
through the gates, everything is amazing— no matter your age or whether you play golf.”
In many ways, Fazio’s design concept for the North Course was conceived to reflect the sport’s new relaxed mentality—a task, the course architect says, that required plenty of outside-the-box thinking.
“We start every project as a new thought, as if we are writing a new book,” he says. The free-flowing layout with broad landing areas on many holes was created to foster a welcoming environment for anyone, regardless of their handicap. Even so, advanced players will be tested as the course gets more challenging around the greens. It’s a fair trade in golf terms, and one that allows players of all skill levels to tee off together.
The North Course is a clear indication of the new golf culture, as well as the direction experts like Fazio believe the sport will continue to go. He is once again rewriting the rules of course design with his next project: Chileno Bay’s South Course, set to open later this year. “Chileno Bay is casual and friendly and has a way of doing things that you don’t see at traditional clubs like the Royal and Ancient Golf Club.” (Indeed, woe betide anyone who turns up to the revered Scotland club wearing flip-flops.)
Three-thousand miles away, Hawai‘i’s Mauna Lani is another golfer’s paradise where laid-back doesn’t mean a subpar playing experience—quite the contrary, according
Above, from top: Mauna Lani’s South Course; Chileno Bay’s North Course. Opposite: Chileno Bay’s North Course overlooks the Sea of Cortez.
to some of the game’s biggest names. The South Course here came to particular fame as the venue for the PGA Senior Skins Game throughout the 1990s. Raymond Floyd, who won the event five times in a row, described the course as “marvelous.”
Arnold Palmer won the tournament three times in four years, and once said, “I just think the golf course is fun. It is interesting, and it provides opportunities for birdies.”
A few years later, Hale Irwin—three-time U.S. Open champion in his heyday—also won the Senior Skins, and recently returned to play Mauna Lani with friends. “He said that the Senior Skins was the most relaxing and enjoyable tournament he ever played in,” says Ross Birch, general manager, Golf and Sports, at Mauna Lani, Auberge Resorts Collection. That’s true for everyone—not just the pros, he adds. “Your heart rate slows down once you get your first tee shot away, and you relax more and more as your round goes on. There is a sense of solitude out there. It is very peaceful.”
Hugging Hawai‘i’s Kohala Coast shoreline, Mauna Lani features two championship courses—North and South—and offers more oceanfront golf than any other course in the state. “Golfers can even
“Your heart rate slows down once you get your first tee shot away, and you relax more and more as your round goes on. There is a sense of solitude out there.”
—ROSS BIRCH, GENERAL MANAGER, GOLF AND SPORTS, MAUNA LANI
combine a round with whale watching,” Birch says. That’s how the pros do it: The aforementioned Senior Skins tournament was even formatted for the views, splitting just 18 holes over two days to allow plenty of time for players to enjoy Mauna Lani in the same way amateurs and guests do.
Further emphasizing the easygoing and inclusive nature at Mauna Lani is the resort’s nine-hole Wikiwiki Course. “Anyone can play on this course. It’s great for families or a group of guys who might play the entire course in a one-club challenge,” Birch says. “You can get around the course in less than 90 minutes, and if guests want to play in their swimwear and barefoot, they can.”
It’s just another link in golf’s long history, and though it’s underscored by a fresh and fancy-free new attitude, it reinforces the spirit the game was built on centuries ago. After all, the Dutch word kolf, from which the sport’s name is derived, means “club.” And this is a club that’s more welcoming than ever.
“For me, golf is about friendship, community, and relaxation, and that is what we promote to everyone on the resort,” Birch says.
We’ll tee off to that.
STAY AND PLAY
Experience unparalleled golf getaways with Auberge Resorts Collection.
Chileno Bay Resort & Residences, Auberge Resorts Collection is the only hotel in Los Cabos that provides guests access to Chileno Bay’s private championship golf course. For more information and to arrange a tee time, contact cbr.reservations@aubergeresorts.com.
Guests of Mauna Lani, Auberge Resorts Collection can book reservations at Mauna Lani’s three courses up to 60 days in advance for individual play. For more information and to arrange a tee time, call 808.885.6655.
For a more classic round, Primland Resort, Auberge Resorts Collection’s 18-hole course promises new challenges with every tee-off. For more information and to arrange a tee time, contact pri.golfshop@aubergeresorts.com.
Experience the WORLD of AUBERGE
Auberge du Soleil, Napa Valley, California
Bishop’s Lodge, Santa Fe, New Mexico
Bowie House, Fort Worth, Texas
Chileno Bay, Los Cabos, Mexico
Collegio alla Querce, Florence, Italy
Commodore Perry Estate, Austin, Texas
Domaine des Etangs, Massignac, France
Element 52, Telluride, Colorado
Esperanza, Los Cabos, Mexico
Etéreo, Riviera Maya, Mexico
Goldener Hirsch, Deer Valley, Utah
Grace Hotel, Santorini, Greece
Hacienda AltaGracia, Costa Rica
Hotel Jerome, Aspen, Colorado
Madeline, Telluride, Colorado
Mauna Lani, Hawai‘i
Mayflower Inn and Spa, Washington, Connecticut
Primland, Blue Ridge Mountains, Virginia
Sleeping Indian Lodge, Ridgway, Colorado
Solage, Napa Valley, California
Stanly Ranch, Napa Valley, California
Susurros del Corazón, Punta de Mita, Mexico
The Dunlin, Kiawah River, South Carolina
The Inn at Mattei’s Tavern, Los Olivos, California
The Lodge at Blue Sky, Park City, Utah
The Vanderbilt, Newport, Rhode Island
The Woodward, Geneva, Switzerland
White Barn Inn, Kennebunk, Maine
Wildflower Farms, Hudson Valley, New York
COMING SOON
Cambridge House, London, United Kingdom (2026)
Shell Bay, Florida (2026)
The Knox, Dallas, Texas (2026)
Moncayo, Puerto Rico (2027)
Shore Club, Miami Beach, Florida (2027)
The Birdsall, Houston, Texas (2027)
“Wild at Heart” was photographed at The Lodge at Blue Sky.
Mauna Lani is featured in “Classic Game, Bold New Age,” “In Pursuit of Culinary Perfection,” and “Royal Plumes.”
“Spirit of Santa Fe” was photographed at Bishop’s Lodge.
“In Pursuit of Culinary Perfection” spotlights Solbar at Solage in Napa Valley.
Bowie House in Fort Worth is featured in “Texas Modern.”
Aspen’s Hotel Jerome is shown in “Alpine Sprezzatura.”
Stanly Ranch’s new collection of luxury residences is spotlighted in “Napa’s Next Great Generation.”
The Commodore Perry Estate is featured in “In Pursuit of Culinary Perfection.”
The new Collegio alla Querce in Florence is featured in “Driven by Beauty.”
The Woodward in Geneva is featured in “The Cinematic World of Pierre-Yves Rochon.”
The golf course at Chileno Bay Resort & Residences in Los Cabos is shown in “Classic Game, Bold New Age.”
The Grace Hotel in Santorini is shown in “Soul of Santorini.”
THE WOODWARD’S BAR 37 ‘ADONIS’
Serves 1
INGREDIENTS
2 oz. sherry fino
1 oz. 9 di Dante sweet vermouth
1 oz. Marsala Superiore Florio
2 dashes orange bitters
1 orange peel
1 lemon peel
DIRECTIONS: Add all ingredients into a mixing glass with ice. Stir vigorously for 10 to 15 seconds and strain into a cocktail glass.
FINISHING TOUCHES: Garnish with a twist of orange and lemon, first squeezing the peels above the glass to extract the oils.
VARIATION: Macerate 3.5 oz. vermouth with four to five strawberries in a water bath at 140°F for 2 hours, then stir together and strain before using the mixture in the cocktail.
