ELYSIAN Autumn 2025 THE GOLDEN ISSUE

ELYSIAN Women Inspiring Women

DISPLAY UNTIL NOV. 25, 2025

khaledmarwan.com

khaledmarwan.com

breton

ELYSIAN VOLUME 11 • ISSUE 3 THE GOLDEN ISSUE / L’ÉDITION DORÉE AUTOMNE 2025

94 La fille en or

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ANN MARGRET. BY MARCY DUBROFF

a Gilded Vision

THE MUSE COLLECTION FROM KHALED AND MARWAN OF MAISON DE COUTURE IS A REMINDER OF WHAT FASHION ONCE WAS—AND WHAT IT STILL CAN BE. BEAUTIFUL. ENDURING. SACRED..

BY SAMANTHA PAIGE

This striking beige strapless gown with a gold embroidered bodice, from Khaled and Marwan’s Muse Collection, features a lavishly ruffled skirt that creates dramatic movement.

The bodice is adorned with an intricate mix of floral and ruby red jewel appliqués.

PHOTOGRAPH COURTESY KHALED AND MARWAN / KHALEDMARWAN.COM

the

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Golden City

THE ART, THE HISTORY, THE ROMANCE OF LAS VEGAS.

BY CLARA SWANSON

150 A Trace of

Glitter

THE GOLDEN WORK OF PABLO PICASSO. MARGAUX SPINNER

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Aspiring Women Haley Hudson page 166 Sarah Hunt page 172 Ivy Mae Anderson page 178

BY LAUREN BULLA

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fashion&style

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Schiaparelli: The Alchemy of Elegance - BY ELIZABETH BETTINGFIELD

food&dining A Golden Season for Fine Dining - BY SONIA HENRY

68 art&history

L’or Dans L’art: The Midas Touch - BY JULES INGRID ADELAR

88essentials

188 mind&body

Luxurious Indulgence - BY SINDIE FITZGERALD-RANKIN

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A Woman’s Reflection on Addiction & Recovery - BY NICOLE LANGLEY

philanthropy

Hearts That Hold the Hardest Stories - BY TOBY MAXWELL

208 back story

ELYSIAN was thrilled to launch its 10-year celebration, “The Sky is the Limit,” with a spectacular two-day event and Summer Anniversary magazine reveal in Spartanburg, South Carolina.

on the cover

Australia-raised model and actress, and world-renowned influencer, Ivy Mae Anderson.

PHOTOGRAPH BY KYLIE SOUTHWOOD

30 architecture&interiors The Modern Revival of Gold in Interior Design - BY HALEY HUDSON

PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

c r e at o r - i n - c h i e f

publisher

Karen Floyd

Ryan Stalvey

production

digital marketing & newsletter

d i g i ta l i n n o vat i o r

comptroller

Nicola Doring

Amber Edwards

Joey Iannetta

Anna Christian

web design

& development

Elliot Derhay

writer

legal

Jason Spencer

Eric Nodine

film

& video

Garrick Lane philanthropy

& i m pa c t

Kimberli Scott Still

p u b l i c a f fa i r s

d i g i ta l s t r at e g y

events

o u t r e a c h c o o r d i n at o r

c o m m u n i t y a f fa i r s

Boone Peeler

Don Bailey

Carolyn Schoepf

Mary Helen Wade

Ann Bible

lead photographer

e d i t o r i a l a s s i s ta n t

photographer

d i g i ta l s t r at e g y

social media

Michael Paniccia

Marcy Dubroff

Joy Smallwood

Christiana Purves

Michelle Young

audio production

office manager

liaison

p r o d u c t i o n a s s i s ta n t

Ark Tofan

Becky Kerr

Rita Allison

Aidan Stanton

inspiring women

aspiring women

Karen Floyd

Dr. Christina Rahm contributing writers

jules Ingrid Adelar, Elizabeth Bettingfield, Lauren Bulla, Marcy Dubroff, Sonia Henry, Nicole Langley Toby Maxwell, Samantha Paige, Sindie Fitzgerald-Rankin, Margaux Spinner, Clara Swanson copy editors

Nancy Brady, Monya Havekost, Diane High p u b l i c r e l at i o n s

printer

c i r c u l at i o n s p e c i a l i s t

c o n s u lta n t

Norah Lawlor

Joe Giuffrida/Mega Mailers

Greg Wolfe

Carmel Fauci

w w w . r e a d e ly s i a n . c o m ELYSIAN Magazine is published four times per year by Palladian Publications LLC., 113 W. Main St., Spartanburg, SC 29306.

For subscription information, call 864-342-6500.

All rights reserved. Printed in the USA.

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BRASS SHINES AS FAIR TO THE IGNORANT AS GOLD TO THE GOLDSMITHS.” —QUEEN ELIZABETH LETTER (1581)

was drawn to Queen Elizabeth’s words, written five centuries ago, because of her capacity to understand the human condition. What we consider valuable (brass or gold) . . . is often a mere illusion . . . and depends largely upon perspective.

In that day in time, in small hamlets, villagers were mentally and physically ground down by repetitive, mindnumbing daily tasks needed to endure harsh winters and cruel conditions. Survival extinguished the human spark.

And it was that “ignorance” the Queen referenced, that could only be changed with knowledge and awareness.

Fast forward to today. Something is happening. If you are paying attention, not just to the headlines, but to people… you also have felt it. You can see it in their glossy stares . . . feel it in public places. The warmth is gone. The spontaneity, the spark, the soul behind the smile . . . missing . . . and in its place are shiny new things to fill humanity’s void.

You might think you are imagining things . . . becoming more aware with age . . . or is it because people are situationally stagnant? But the more you look, the clearer it becomes…this dullness is not random, it is systemic.

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As

ELYSIAN begins our second decade, we purposefully expanded our ELYSIAN Circle of Women through our Aspiring Women, the next generation of female thought leaders. They are truth seekers who intuitively understand the modern-day complexities and their unique responsibility moving forward. I have gleaned from countless interviews; they collectively believe that only through intentional actions and unclouded minds can they find their purpose.

To reignite the human spark, we dream that our daughters will push beyond the glassy eyed, superficial, and automated. They were not raised with hollow mothers and fathers, and they will create their own transformative truth to break the cycle. I have heard their voices, and they are very clear; complacency is death for their generation.

And so, in this our Golden Issue, I think about the metaphor in Queen Elizabeth’s letter. She understood the differentiator between “the goldsmith” and the “ignorant”; it was truth . . . the ability to see past the shine and understand what holds real value. Likewise, the Aspiring Women recognize that if they mimic what they have experienced the past decade, their conscious awareness of injustice, love, and peace will be lost.

There is a circle to life. Whatever we chase we become. I am filled with hope as our Aspiring Women lead the charge to a more aware and conscious world, filled with purpose and passion.

May you rise up to take the challenge led by these women, understanding you are not alone.

Thank you for taking the journey.

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Much love,

Karen Floyd Publisher

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PHOTOGRAPH BY MICHAEL PANICCIA

uring the pandemic, many lives were re-defined by both fear and isolation, resulting in heightened anxiety. Humanity turned inward, relying on technology to fill the void caused by the lack of social interaction. Sadly, the curated content people read was controlled through algorithms . . . whose purpose was to create engagement on meta platforms. Addictive and often mind numbing material was fed to those seeking answers in a time of vulnerability and suffering.

Today, we are living through a post Covid, silent emotional shutdown. The nervous system is overwhelmed and over stimulated. Modern life bombards us with signals, phones, screens, alerts, artificial light and manufactured sound . . . all of which pushes the body into chronic survival mode. In that space . . . you do not connect . . . you protect. Empathy becomes a luxury the brain can no longer afford. People are becoming less human and to combat their dormant existence are seeking shiny objects to fill an inner void…and break the dullness of the modern human condition.

artevey.com

EVEY FINE ART / PALM BEACH

D C SERIES N274, mixed media on canvas, 2023, by Marta Estrems

fashion&style

Schiapa Black velvet maxi dress with Phoenixwing shaped shoulders and an impossible V neckline. The dress is entirely embroidered with hammered gold brass pieces, paied with matching clutch adorned with signature padlock clasp in hammered gold brass, and Egg bracelet in shiny gold palladium and rhinestones.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

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parelli:

the Alchemy of Elegance

BY ELIZABETH BETTINGFIELD

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Jacket in ecru crepe satin with a draped satin and tulle skirt with aerodynamic volume, entirely embroidered with sequins and shiny silver Egg crystals. A black crinoline veil with black velvet headpiece inspired by a vintage shoe, topped with tonal feathers complete the ensemble.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

he subterranean glow of Paris’s Hôtel Salomon de Rothschild, where shadow and splendor entwined in hushed communion, something otherworldly took shape. Daniel Roseberry’s Fall-Winter 2024/25 Haute Couture collection for Maison Schiaparelli— aptly titled The Phoenix—was not simply a fashion presentation. It was an offering, a myth reborn in gold, spun with reverence and audacity. Here, couture ceased to be cloth and thread and became artifact—talismanic, immortal.

If couture is the modern chapel of fashion, then this was its benediction, whispered in a visual language of gold. Roseberry’s latest work summoned both the divine and the surreal, echoing not only the flamboyance of Elsa Schiaparelli’s original provocations, but the spiritual extravagance of haute couture’s golden age. It was theatrical, yes—but not for the sake of spectacle. It was gilded with intent.

From the first look, it was clear: this was not a collection that asked for attention—it commanded it. A statuesque corset of polished bronze-gold resin, molded to resemble a human torso, shimmered beneath the stage lights like a relic unearthed from a cathedral vault. Both erotic and sacred, the bodice flared into pleated lamé, catching light in liquid motion. This was not worn; it was inhabited. The model’s gait was not a walk but a procession.

Gold, in its many incarnations—hammered brass, palladium, metallic embroidery— became the narrative thread, the sinew that linked each silhouette to the next. It was not merely embellishment; it was structural, philosophical, almost alchemical. In Roseberry’s hands, gold was shield and skin, feather and flame, memory and prophecy.

A visual dialect of resurrection.

This reverence for transformation permeated the silhouettes. Exaggerated shoulders suggested phoenix wings; sculpted capes and architectural corsetry echoed both armor and flight. Velvet, wool, and suede served as the canvas—materials with depth and

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ONE FELT, IN THAT AMBER-LIT CHAMBER, THE ECHO OF A BYGONE WORLD—WHEN COUTURE WAS A RELIGION, ATELIERS WERE SANCTUARIES, AND DESIGNERS WERE HIGH PRIESTS OF BEAUTY.”

gravitas against which gold shimmered like heat lightning. Look after look glowed in chiaroscuro: black gowns with molten gold embroidery, corsets adorned with feathered brass appliqués, capes lined with sunlit halos of thread.

Gold danced across the body like a second skin—or perhaps, a soul made visible.

There were surrealist flourishes that called out to Schiaparelli herself. A jacket of interlinked golden hands—each cast from real-life models—clutched one another in a tense embrace, forming a cuirass of uncanny intimacy. It was playful and unsettling, as though Elsa’s spirit had whispered, “Remember me,” from beyond. And remember her, we did. For it was Elsa Schiaparelli who once dared to make fashion irreverent and cerebral, collaborating with artists like Cocteau and Dalí, embracing a sense of humor and high art that few since have captured. Roseberry understands this inheritance not as burden, but as birthright.

Accessories deepened the narrative. Not content with simple adornment, the pieces became relics in their own right. Clutches molded in the shape of anatomical hearts. Earrings shaped like golden eggs—a motif Roseberry has lovingly preserved, symbolizing both fragility and genesis. Ear cuffs like angel wings, gloves that shimmered in golden scales, belt buckles with sculptural lips—every detail a wink, a symbol, a secret. Even the egg, so often humble, was exalted in gleaming palladium, pearls, and rhinestones, as if plucked from a nest woven by deities.

Indeed, what emerged in this collection was a couture mythology. The phoenix—flaming, cyclical, reborn— became the emblem not only of the house’s legacy but of fashion itself: always dying, always resurrecting. Gold, as the eternal element, became its flame. The Phoenix rose not just in name, but in structure and spirit.

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he staging itself amplified the collection’s resonance. Presented in an amber-lit basement, the atmosphere suggested something hidden, sacred—like discovering an archive of dreams long locked away. The models did not parade; they emerged, gliding through shadows as though rising from ashes. Their garments caught the warm glow not merely of the spotlights but of memory—gold shining through the patina of time.

In perhaps the most emotionally resonant piece, a simple dress in black jersey featured a golden fingerprint at the bust. No more, no less. A human touch—intimate, ephemeral, now eternal. One could almost imagine Elsa’s own finger pressed there, marking the garment as hers, as ours. Couture, after all, is the art of presence. Of making memory tactile.

The collection’s climactic look, a cathedral-length cape in gold and pearl mosaic, stood less as closure and more as coronation. When the model appeared, motionless under its weight, time itself seemed to hesitate. The room, lit

Black ball gown entirely embroidered with geometric sequins in black resin and enhanced by a tulle train with aerodynamic volume.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

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Butterfly volume black velvet sleeveless dress with a tonal tulle explosion embroidered w contrasted light pink square-shaped rhinestones on the lining. The embroidery was inspir by the design of the iconic Schiaparelli “Apollo of Versailles” cape from the 1938 Zodi collection. The ensemble features matching embroidered tights and long gloves in bla velvet. The black velvet headpiece inspired by a vintage shoe, topped with tonal feathe

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.C

with red iac ack ers.

COM

Butterfly volume black velvet bustier dress entirely covered with a tonal faux horsehair, sequins and velvet embroidery from the Schiaparelli archives, complimented by a light green crinoline veil.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

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Oversized trompe l’oeil jumpsuit in ecru neoprene jersey fully embroidered with brown toneds sequins and faux horsehair recreating a zebra skin. The Egg wire necklace is adorned in shiny silver palladium and rhinestone. A Midnight blue crinoline veil completes the ensmble.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

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Bi-material bustier dress with dusting-effect embroidery on tulle and black velvet corset. It is embellished with a black satin 3D rose embroidery at the neck, with nude crinoline veil.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

Corset bustier in nude organza with an impossible V neckline entirely embroidered with black contrasted dusting-effect sequins slowly gradating into black fringes and then finishing into a long black velvet skirt. Egg ring in black palladium completes the ensemble.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

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Jacket entirely embroidered with ecru trompe l’oeil feathers tips made in silk organza topped with contrasted black pearls and matching toque. Black wool and mohair cropped trousers complete the ensemble.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

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Black velvet cape with Phoenix-wing shaped shoulders adorned with a 3D chrome trompe l’oeil feathers embroidery and Eggs earrings in shiny silver palladium.

PHOTOGRAPH COURTESY SCHIAPARELLI / SCHIAPARELLI.COM

in tones of amber and shadow, fell reverently still. The cape was not a garment—it was architecture, a shrine. And in that breathless moment, the audience did not merely applaud. They worshipped.

Critics have already hailed this collection as one of Roseberry’s most mature and coherent visions. Gone was the reliance on viral spectacle or gimmick. In its place, a collection steeped in craft, story, and restraint.

Fashionotography spoke of chiaroscuro and celestial shimmer. Vogue praised the structural nods to the 1950s—a time when couture was at its zenith—and the recontextualization of hourglass forms in a modern, metallic palette.

Even the ready-to-wear echoes with golden accents: medallion belts, gilded lips, laminated viscose. The dream trickles down, drop by gilded drop.

This collection, however, is more than praise-worthy. It is meaningful. In an era of excess and instant consumption, The Phoenix dares to be slow, deliberate, spiritual. It’s an invocation of fashion as faith, craftsmanship as sacrament.

Gold, here, is not showy—it’s sacred.

And it is also, always, Elsa’s. That sly smile behind the surreal. That refusal to conform. That embrace of contradiction—where armor is also intimacy, where elegance is also rebellion. Her influence glimmers in every serpentine embellishment, every whispered absurdity made glorious. Roseberry’s genius lies in understanding this not as mimicry, but as conversation. Between past and future. Between earth and myth.

So it was that in the shadowy hush of a Paris basement, beneath vaulted ceilings and beside whispered legacy, gold did not simply adorn. It spoke. It sang. It remembered.

One felt, in that amber-lit chamber, the echo of a bygone world—when couture was a religion, ateliers were sanctuaries, and designers were high priests of beauty. The audience, swathed in silks and silence, bore witness not to a fashion show, but to a rite of passage—for the garments, for the maison, and for Roseberry himself. It was as if the ghosts of Schiaparelli’s past—her wit, her mischief, her mythmaking—had danced once more through goldthreaded veils.

This was not nostalgia. It was reverence reframed. In a world that moves too quickly, Roseberry forced us to pause, to marvel, to feel. And in doing so, he reminded us of what haute couture once promised—and, in the rarest of moments, still delivers.

And as the lights dimmed and the final golden thread slipped from view, one thing became clear: in this house built by a dreamer, couture remains not just alive—it burns. Bright. Undying. Divine. ■

INDEED, WHAT EMERGED IN THIS COLLECTION WAS A COUTURE MYTHOLOGY. THE PHOENIX—FLAMING, CYCLICAL, REBORN—BECAME THE EMBLEM NOT ONLY OF THE HOUSE’S LEGACY BUT OF FASHION ITSELF: ALWAYS DYING, ALWAYS RESURRECTING. GOLD, AS THE ETERNAL ELEMENT, BECAME ITS FLAME. THE PHOENIX ROSE NOT JUST IN NAME, BUT IN STRUCTURE AND SPIRIT.”

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architecture&design

The Modern Revival of Gold in Interior Design

BY HALEY HUDSON

Gold accent furnishings can set off an oppulant spark of brightness and color within an otherwise dark setting as showcased in this master bedroom from a luxury mountain retreat in Mont Blanc.

PHOTOGRAPH COURTESY LUXXU / LUXXU.NET

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—LEO TOLSTOY

old has always reflected the cultural mood of its time. In the Baroque majesty of Versailles, it symbolized divine rule, gilded mirrors, moldings, and chandeliers in sweeping declarations of power. The Rococo and Neoclassical eras softened its presence, favoring delicate scrollwork and classical restraint.

By the Victorian era, gold became more accessible, adorning everything from wallpapers to chandeliers in a display of industrial-era prosperity. The Art Deco movement modernized gold’s role, turning it into polished geometry and glamorously mirrored finishes.

Then came the Golden Age of Las Vegas, a mid-century spectacle where gold met neon. In iconic resorts like the Sands and the Stardust, gold was used theatrically, from glittering casino ceilings to gilded lounges layered with brass and velvet. This era reframed gold not just as opulence, but as entertainment and indulgence, where style was performance.

By the time Hollywood and Palm Beach Regency took the stage, gold

PHOTOGRAPH COURTESY LUXXU / LUXXU.NET

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TRUTH, LIKE GOLD, IS TO BE OBTAINED NOT BY ITS GROWTH, BUT BY WASHING AWAY FROM IT ALL THAT IS NOT GOLD.”

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PHOTOGRAPH BY WACOMKA / SHUTTERSTOCK.COM

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A beautiful room by Covet House with opposing gold accents, dark green chair, and featuring a Soho black console from Boca Do Lobo. PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU • BOCO DO LOBO / BOCADOLOBO.COM The Symphony Sideboard from Covet House makes a bold, golden statement within this dark green interior. PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

embraced playful glamour with bamboo frames, pastel pairings, and whimsical accents. Today, gold is recast with restraint and elegance, appearing in muted brass, champagne tones, and elegant sculptural forms that add richness and a sense of history to contemporary interiors.

Its recent comeback in high-end design reflects a deeper shift, as gold is being embraced as a warm and soulful alternative to chrome and stark black. In a world saturated with cold minimalism, gold offers something richer. It brings back soul. There’s more to gold than its gleam. It offers a feeling of lasting presence, a nod to tradition, and a softness that elevates the everyday.

New Gold Standard

From antique finishes to contemporary accents, gold is once again reigning as the quiet symbol of warmth, sophistication, and enduring glamour in today’s most elegant interiors. Once seen as dated, gold and brass are finding their way back into the spotlight, now interpreted as subtle elements that bring depth and luster to interiors.

What once was synonymous with 1980s excess, gold has since been refined through a modern lens of elegance and restraint. Muted finishes, a sense of movement, and sculptural details now define the look. This is gold redefined through a lens of intention and elegance, far from a retro revival.

When layering gold into a space, it is less about the shine and more about the shape. I am drawn to the sculptural language of Deco-era forms such as scalloped edges, vertical fluting, and quiet sunburst motifs that introduce rhythm, structure, and a sense of enduring elegance. A lacquered sideboard with stepped geometry and subtle brass inlay evokes the glamour of the era while maintaining a clean, modern edge. An antique brass-framed mirror brings sculptural balance while adding timeless character to the space. Even a hint of fan-patterned upholstery, especially with subtle gold detailing, adds a layer of texture and softness, offering just the right amount of visual interest in a quiet yet unexpected way.

The key to using gold today lies in restraint or in a deliberate, artful wash that feels intentional and refined. It is not only about making a statement. It can be used to add depth and emotion. Gold should feel like part of the room’s rhythm, never its punctuation.

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This mid-century lighting design was inspired by the American trumpet player as a tribute to jazz music.

Its unique and design make it perfect hanging lamp and golden accent to display within a mid• automne 2025shape • l’édition dorée • the readelysian.com century modern living room or a sophisticated hotel lobby. PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

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PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

Inspired by the richness of traditional Venetian mirrors, the Addicta mirror makes an opulent statement. Its subversive glamour is unforgettable and addictive, mesmerizing its onlooker with hand-carved glass.

PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

Opposite: The Newton bathtub is an outstanding moment of design inspiration. This bathtub features a curved lip style shape, a timeless detail that conveys comfort, made out of gold-painted Fiber glass, revealing its entire golden interior. The high-gloss black and gold lacquered spheres make the perfect combination to make this a sculptural and artistic piece that will enhance your new master bathroom design.

PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

Rooms That Radiate

Gold works best when it feels purposeful, not contrived. The most radiant rooms do not just include gold. They know how to host it.

Few design choices bring instant impact quite like the glow of aged brass in a kitchen. Paneled into a Shaker-style cabinet, whether on the island or framing a wall of cabinetry as a wet bar, it creates a moment of sculptural elegance and visual intrigue. The soft luster of the aged brass offers complexity and dimension, catching the light in a way that feels both timeless and modern. Paired with natural stone featuring a statement veining pattern and rich wood tones, it becomes a curated vignette that brings a golden glow to the entire room.

In the dining room, gold becomes more than a finish. It sets the mood. Gold finds its place through storied heritage pieces that whisper rather than shout. A French antique Louis XVI credenza, adorned with delicate gold leaf detailing, offers a traditional yet restrained way to introduce gold, bringing elegance, history, and a touch of gilded charm to the space. Even small touches, like gold-rimmed glassware, can elevate the ambiance with a soft, luminous glow. Gold in the dining room is not about excess. It is about creating an atmosphere that feels both gracious and inviting.

Powder rooms are the perfect canvas for a touch of drama and offer an opportunity to let wallpaper take center stage. A hand-painted, gold-accented Art Deco design by de Gournay turns the space into a showpiece that is bold, layered, and unapologetically glamorous. Paired with scalloped-edge mirrors, brass fixtures, and even a contrasting black trim, the room becomes a curated jewel box. In this setting, gold pairs beautifully with blush tones, warm neutrals, and deep accents that offer the perfect contrast, enhancing its presence and lending quiet drama to even the most intimate spaces.

Entryways offer one of the most powerful opportunities to introduce gold with intention. As the first impression of a home, even a refined touch can speak volumes. Incorporating gold through an architectural detail, such as a brass inlay in the flooring, adds a bespoke layer of sophistication. Whether outlining the perimeter or forming a patterned motif, this subtle shimmer underfoot creates a sense of arrival that feels both artful and enduring. A golden welcome, quite literally, begins at the threshold.

While gold adds depth and richness to a room, its presence should feel curated. Avoid using gold in every space or on every surface of a room. It quickly shifts from elegant to overstyled. The most compelling use of gold lies in restraint, where each placement feels considered rather than expected.

The Collector’s Eye

Gold in interior design is most captivating when it carries a sense of story. Beyond its luster, it speaks to heritage, craftsmanship, and the quiet elegance of pieces that have stood the test of time. Whether lovingly inherited, discovered in a Paris flea market, or artfully reproduced, these golden elements lend a sense of permanence and provenance to a space.

Consider the graceful lines of a French 1930s bar cart, where gilded frames and mirrored surfaces recall the polished exuberance of the Jazz Age. Or the delicate brilliance of Lalique glassware, accented with gold and etched crystal—pieces that transform hosting into an art

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PHOTOGRAPH COURTESY LUXXU / LUXXU.NET PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

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PullCast inspiration took part in one of the most aesthetically pleasing sights in nature, the honeycombs phenomenon.

Marveled by the angular perfection that bees can form, we have drawn a circle shape, a perfect form completely in harmony with nature. A luxury Door Knob is perfect for your luxury door designs.

PHOTOGRAPH COURTESY COVET HOUSE / COVETHOUSE.EU

form that transcends trend. Even mid-century brass-inlaid credenzas, with their clean silhouettes and subtle gilded detailing, bring a sense of tailored sophistication to today’s interiors.

The influence of these legacy pieces echoes in today’s most sought-after design houses. Jonathan Adler channels mid-century irreverence with bold gilded forms. Kelly Wearstler blends sculptural drama with metallic finishes in spaces that feel both curated and lived in. Cullman & Kravis balance classical proportion with contemporary comfort, often incorporating gold through curated antiques, decorative lighting, and elegant architectural detailing. At R and Company, design becomes collectible art, often accented with metallic detail. Even Martyn Lawrence Bullard plays with gold in exotic, layered interiors that reference Hollywood regency and global design heritage.

To temper the richness of gold and ensure it feels inviting rather than ornamental, I pair these statement pieces with textured linens, layered neutral tones, and soft ambient lighting. The interplay of shine and softness creates a space that feels thoughtful, never excessive. Gold becomes not the main character but the thread that quietly connects the past to the present.

The Gilded Life

Gold, when thoughtfully used in the home, becomes more than a material. It becomes a memory. It adds emotional depth and quiet luxury, creating a sense of permanence that transcends trends. For many women, gold holds a unique resonance. It speaks to tradition, confidence, and the kind of elegance that unfolds slowly over time.

More than any other finish, gold has the ability to enrich a space with meaning. It appears in the small, intentional rituals that shape our lives. A gold-rimmed glass brought out for evening cocktails. Candlelight flickering across a brushed brass tray. A gilded frame that preserves a family photo for generations to come. These elements are subtle, but they anchor the room in comfort and memory. Gold makes these moments feel lasting.

In entertaining, gold enhances not only the visual experience but the atmosphere itself. A dining table set with gold-rimmed glassware, linen napkins stitched with metallic thread, and soft candlelight feels gracious and considered. Gold does not compete for attention. It complements it. Even the act of gifting becomes more meaningful when it includes something golden, like a monogrammed tray, a vintage keepsake, or a delicately framed heirloom that honors the beauty of legacy.

Restored furnishings, heirloom mirrors, and vintage barware with original brass or gold detailing speak to a deeper desire to preserve beauty with history. It is often the presence of gold itself, whether in its warm patina, soft gleam, or timeworn luster, that transforms these pieces into something more than decorative. Gold carries a visual memory. Its softened edges and gentle irregularities reveal a history that gives these pieces their soul.

The softened contours, subtle wear, and enduring glow of gold remind us that beauty does not always lie in what is flawless but in what is cherished. In this way, gold becomes a keeper of stories. It is a material that honors the past while enriching the present.

This is the essence of the gilded life. Gold is not simply a detail. It is a feeling. It enriches spaces with history, enhances everyday rituals, and turns the ordinary into the enduring. When introduced with thoughtfulness, gold becomes the connecting thread between beauty and belonging. ■

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food&dining

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A GOLDEN SEASON FOR FINE DINING

BY SONIA HENRY

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ONE CANNOT THINK WELL, LOVE WELL, SLEEP WELL, IF ONE HAS NOT DINED WELL.” — VIRGINIA WOOLF

rom the shimmer of candlelight dancing off a coupe of Champagne in Budapest’s art-nouveau MÚZSA bar to the intoxicating scent of miso and wagyu rising from a teppanyaki grill in Hong Kong, dining and drinking at the Four Seasons is not simply an act of sustenance—it is a sensorial odyssey. For decades, the brand has curated moments of joy, indulgence, and cultural reverence through every bite and sip. Across continents and cuisines, the Four Seasons transforms eating and drinking into elevated acts of storytelling, regional tribute, and exquisite hospitality.

To dine at the Four Seasons is to surrender to elegance. To carouse there is to travel the world through terroir, texture, and technique. From modernist bars to Michelin-starred temples of cuisine, the Four Seasons ethos is both timeless and forward-thinking: refinement without rigidity, luxury with a sense of place.

Global Journeys in a Glass

Cocktail artistry at the Four Seasons has blossomed into an emblem of experiential travel. Take Caprice Bar at Four Seasons Hotel Hong Kong, where the “Terroir Volume Two” menu leads guests on a tasting tour of France. With drinks like La Vanille Bleue, which marries volcanic vanilla from La Réunion with tequila and verjus, and Old Caramel, a Brittany-inspired salted caramel Old Fashioned, the bar becomes a portal into France’s diverse terrain and taste memory. Crafted under the vision of Anyss Saintilan, each cocktail evokes a region, a feeling, a story—presented with polished flair and surprising depth.

In Geneva, Le Bar des Bergues recently collaborated with Avra Bar from Four Seasons Astir Palace Hotel Athens for “A Taste of Athens,” a pop-up celebrating Mediterranean flair and Greek cocktail artistry. Mixologist Manon Kapfer crafted cocktails with vibrant botanicals such as orris root and dandelion, each paired with Greek-inspired small plates. Signature creations such as a pine-andmezcal blend or a bourbon-apple cocktail were sipped alongside Aegean tuna tartare and Serres buffalo sliders, all enjoyed on a terrace overlooking Lake Geneva’s Jet d’Eau. At MÚZSA in Budapest, cocktails are inspired by modern art itself. Head Bartender Anett Schurina’s creations pay tribute to artistic giants, transforming their visions into liquid expressions.

The FAME cocktail channels Andy Warhol’s pop palette, while VALENCIA evokes Frida Kahlo’s fiery soul with tequila, citrus, and a twist of rebellion. Every glass is a canvas—the garnish a brushstroke, the aroma a signature, the first sip a revelation of intent.

In Kuala Lumpur, Bar Trigona continues its eco-conscious legacy, embracing local honey, sustainable botanicals, and even recycled paper menus. Signature drinks like The Wagyu or The Elysian are multilayered and purposeful, each as much a conversation about ecology as about taste. Bar Trigona’s honey is harvested from adopted hives, and each sip is a nod to biodiversity and community. Guests often linger longer here, drawn in by the quiet conviction that sustainability can indeed be sensuous.

Meanwhile, Seoul’s Charles H. Bar offers “Around the World in 20 Drinks,” a tasting passport that

As the flavours of spring bloom across the city, Four Seasons Hotel New Orleans is embracing the season with fresh, vibrant new menu offerings at Miss River and Chemin à la Mer. Inspired by local ingredients and the bounty of the Gulf, these seasonal additions highlight bold flavours, peak produce, and one of Louisiana’s most celebrated springtime delicacies, crawfish.

PHOTOGRAPH COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

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The oppulent ambience of the restaurant at Four Seasons Hotel Kyoto.

PHOTOGRAPH COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

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The Ingenious and flavorful·Spring charm of West Lake: Jin Sha at Four Seasons Hotel Hangzhou uses the secret key of time to open the poetry of Jiangnan taste. Above: The cocktail lounge at Four Seasons Hotel Kyoto.

PHOTOGRAPHS COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

spans Amalfi to Casablanca. Cocktails like the Queen of Diamonds, made with Amalfi gin and redistilled Campari, or the nostalgic Birthday Boy, reimagine the classics through storytelling and spectacle.

In Chiang Mai, Ratree Bar leans into Thai vibrancy with creations like Wild Kitchen, a lemongrass gin blend with fresh berry liqueur, and the Bee’s Knees, which hums with the sweetness of longan honey. The bar’s open-air setting and view of the Thai countryside heighten each sip’s sense of place, and the whisper of nearby cicadas becomes part of the ambiance.

And in Whistler, SIDECUT’s cocktail program evokes alpine serenity with drinks like Fraser River, made with black teainfused gin, and the spiced Third Pole, inspired by Himalayan herbs and warming bourbon.

Icons of the Culinary World: The Chefs Behind the Scenes

The Four Seasons culinary tapestry is woven by visionary chefs whose philosophies transcend borders.

In Hangzhou, the Michelin-starred Jin Sha showcases the poetry of Chinese cuisine. Spring dishes such as Sea Urchin with Fava Bean Purée and Fried Broad Beans with Sea Moss and Shrimp celebrate seasonal brevity, crafted with elegance by chefs who see food as both nature and narrative.

At Shun, the refined Teppanyaki • Tempura restaurant in Hong Kong, Chef Nobuyasu Kamiko’s Miyazaki wagyu Chateaubriand melts with buttery tenderness. Chef Masashi Hongo’s tempura transforms seasonal seafood into golden, ephemeral masterpieces.

In Miami, guests experience NUNA, a Nikkei concept by Peruvian Chef Jaime Pesaque. The menu includes Ceviche Limeño and Saltado al Wok—each dish a bold yet harmonious marriage of Japanese precision and Peruvian flair.

In Tokyo, Chef Guillaume Bracaval’s culinary voice is refined, minimal, and deeply seasonal at best. French methods meet Japanese restraint: scallops with yuzu, duck smoked over cherry wood, and plates that whisper rather than shout.

And now in Kyoto, EMBA KYOTO CHOPHOUSE joins the pantheon of destination dining. Officially opened in 2024 and guided by an elite international culinary team, EMBA is a vibrant new presence at Four Seasons Hotel Kyoto.

This dynamic restaurant presents an artful selection of world-class grilled meats, seasonal local vegetables, and seafood, creating a menu that bridges fire, finesse, and Japanese terroir. In a city already revered for its exceptional cuisine, EMBA raises the bar with bold sophistication and lively energy.

In Mexico City, Zanaya’s culinary identity lies in marrying Mexican heritage with Pacific seafood, crafting dishes that celebrate the zest and boldness of coastal living.

In Seoul, the Michelin-recommended Boccalino delights with classic Italian sensibilities and Korean produce.

Executive Chef Vincenzo di Tuoro plays with contrasts: a burrata salad dressed with yuzu oil, and wood-fired pizzas elevated by house-fermented dough and heirloom tomatoes from nearby farms.

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In spring 2025, Four Seasons Hotel Miami introduced its new dining concept NUNA, a limited-time only dining experience created by acclaimed chef Jaime Pesaque, a pioneer in modern Peruvian cuisine.

Taking over the Edge Brasserie space for dinner service, NUNA introduced Miami to Pesaque’s refined interpretation of Nikkei, blending the delicate precision of Japanese culinary techniques with the bold, bright flavours of Peru. Chef Pesaque—whose flagship Lima restaurant Mayta has earned a coveted place on The World’s 50 Best Restaurants list—is known for his ability to blend contemporary culinary techniques with the rich traditions of his home country.

PHOTOGRAPH COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

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Last winter, Global Link Dining Club announced the opening of Teppanyaki • Tempura Shun, a new Japanese fine dining concept at Four Seasons Hotel Hong Kong. Shun sources fresh, seasonal ingredients directly from Japan and offers omakase courses that combine the art of refined teppanyaki with traditional Edomae-style tempura, bringing premium ingredients and expert techniques to the forefront.

PHOTOGRAPH COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

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“At NUNA (Four Seasons Hotel Miami), we’re taking Nikkei cuisine beyond the expected to present a more contemporary, thoughtful approach,” says Chef Pesaque. “This concept is about balance – between Japanese traditions and Peruvian influences, between heritage and innovation. Every element is intentional, from the brightness of the flavours to the ingredientforward compositions that define each bite. Miami’s cultural diversity and dynamic energy is the perfect place for NUNA’s debut, and Four Seasons Hotel Miami, known for its excellence and hospitality, is the best setting to bring my vision to life.”

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PHOTOGRAPH COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

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Caprice Bar at Four Seasons Hotel Hong Kong features Terroir Volume Two, a remarkable cocktail menu designed to guide patrons on a sensory exploration across France.

Opposite: Bentley’s Bar at Four Seasons Hotel Baku features an exciting new cocktail menu and an expanded cigar selection that’s already making waves in the city’s nightlife scene. Following its exclusive “Roaring Funk” season-opening event, Bentley’s Bar now invites all guests to experience these premium enhancements in an ambiance that marries vintage sophistication with contemporary flair.

PHOTOGRAPHS COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

Morning Rituals and Culinary Reveries

Breakfast at the Four Seasons is no mere afterthought; it is a ritual of renewal. At Café Boulud in Riyadh, diners wake to croissants worthy of the Rive Gauche, shakshuka laced with saffron and labneh, and seasonal fruit that seems kissed by desert sun. In Tokyo, breakfast is offered as an artful bento, where tamago, rice, and tsukemono arrive in serene balance.

In Dubai, Shai Salon at Four Seasons Resort Jumeirah Beach offers a seasonal indulgence steeped in French tradition: the Galette des Rois.

Available each January to celebrate Epiphany, this dessert of crisp puff pastry and orange-almond frangipane by Chef Nicolas Lambert includes a hidden fève and a paper crown for the lucky guest. Rich in heritage and perfectly laminated layers, it is a festive bite of culinary joy.

TRUSS Restaurant + Bar at Four Seasons Napa Valley showcases vineyard-to-table with fire-roasted chanterelles and heirloom vegetables paired with vintages that whisper of soil and sun. The golden light that floods the terrace transforms each breakfast into a quietly profound meditation on abundance.

In the Maldives, guests at Baraabaru enjoy traditional Indian breakfasts by the sea, from masala dosa to rosewater lassi. While in Paris, La Galerie serves golden viennoiseries with just-churned butter, as soft piano notes drift through the air.

In Geneva, a signature truffle omelet served with aged Gruyère makes morning feel like an evening indulgence. And at Four Seasons New York Downtown, avocado toast is elevated with smoked salmon rosettes and microgreens—urban wellness on a plate.

Design, Culture, and the Spirit of Place

Beyond food and drink, the Four Seasons creates atmospheres of aesthetic harmony. MÚZSA’s Art Nouveau elegance tells a story of Budapest’s gilded past, while Florence’s Il Palagio invites guests to dine beneath frescoes in a Renaissance villa.

In Bangkok, the Jan x Caprice collaboration brought together French refinement and Thai spice, offering a menu where foie gras met fish sauce and galangal danced with champagne.

In Cairo, tea is poured beneath arched colonnades; in Sydney, rooftop oysters are served with views of the harbor. Every touchpoint reflects the rhythm of its locale.

At Four Seasons Tamarindo in Mexico, jungle and architecture embrace one another. Guests dine under palapas on ceviche and mezcal vapors while waves echo in the distance. In Megève, fondue is served fireside after a day of skiing, the scent of pine and cheese mingling in the alpine air.

In Johannesburg, guests sip rosé on tiered terraces overlooking jacaranda-lined streets, while chefs craft Cape Malay curries and grilled bream with lemon butter. And in Kyoto, the refined grace of Fuju Lounge offers a serene pause. Now, with EMBA KYOTO CHOPHOUSE open just steps away, the culinary contrast is invigorating: from whisper-soft matcha rituals to the sizzle of premium meats and seafood grilled to perfection, Kyoto offers both contemplation and celebration.

Gastronomic Milestones and Guest Memories

The Four Seasons is the setting for life’s luminous chapters. A proposal over soufflé in Paris, an anniversary marked by Dom Pérignon in London, a birthday crowned with a chocolate trolley in Geneva. Guests recall not just what they ate, but how they felt—seen, celebrated, indulged.

In Bora Bora, a honeymooning couple was treated to a surprise beach barbecue with tiki torches and a dessert etched with their initials. In Chicago, a weary executive found solace when a bartender remembered her rye whiskey preference—without asking.

Guests often describe their Four Seasons culinary memories as multi-sensory postcards. One couple recalled a wine dinner in Provence where local vintners narrated each pairing by candlelight in the vineyard itself. Others recount a rainy afternoon in Seattle when the pastry chef sent up a warm lavender scone “just because,” with a handwritten note that read, “Rain calls for comfort.”

These stories are not rare. They’re ritual. In Maui, an impromptu ukulele serenade accompanied a couple’s sunset dinner, while in Buenos Aires, a dance between flamenco guitar and wood-fired steak captured Argentina’s passion on a single plate.

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Terroir Volume Two, Caprice Bar at Four Seasons Hotel Hong Kong, builds upon the celebrated success of its inaugural edition, this collection features 10 distinctive cocktails, each inspired by six diverse French regions, all the way from the mystical Outre-mer to the historical Limoges. Anyss Saintilan, Caprice Bar Manager, masterfully presents a variety of French terroirs, spotlighting not only well-known produce but also the lesser-recognised aspects of French culture and tradition through this immersive menu.

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Highlighting Bentley’s new menu, at at Four Seasons Hotel Baku, is a carefully curated collection of signature cocktails. Guests can indulge in standout creations such as the Macallan Collins, a modern twist on the classic Collins, and the vibrant Pomegranate Fizz, perfect for those seeking a refreshing burst of flavour. For a tropical escape, the Tropicana brings a taste of the exotic, while the Salt Night offers a unique fusion of savoury and sweet that’s bound to intrigue. Opposite: Múzsa, awarded Bar of the Year 2024 at the Dining Guide Gala and featured in the 50 Best Discovery collection, introduces Echoes of the Muses, a cocktail menu inspired by mythology and the creative spirit. Located in the historic Four Seasons Hotel Gresham Palace Budapest, Múzsa draws on the city’s rich cultural heritage as a crossroads of European art and culture. The menu channels the muses through mixology, storytelling, and artistic expression.

PHOTOGRAPHS COURTESY FOUR SEASONS RESTAURANTS AND HOTELS / FOURSEASONS.COM

Sustainability and the Culinary Future

The Four Seasons’ culinary vision now includes a serious commitment to sustainability. Bar Trigona’s hive adoption program and Caprice Bar’s waste-free martinis exemplify a broader movement: mindful menus, regenerative agriculture, and compostable luxury.

Chefs increasingly source from local fishers, small farms, and organic co-ops. In Lisbon, rooftop herb gardens season daily specials; in Costa Rica, solar-powered kitchens craft zero-waste tasting menus. Indulgence and ethics, once opposing ideas, now harmonize on the plate. The result is a new kind of luxury—one steeped in purpose.

Even the kombucha in It’s Thyme! is bespoke.

A Final Toast: The Long Table of Belonging

What binds these experiences is not just the luxury or the beauty—it is the humanity. The look exchanged over a first bite of truffle risotto. The delighted laughter when a dessert arrives flaming, or floating, or cleverly hidden under a dome of spun sugar.

The gentle nod of appreciation between strangers seated side by side at a communal table.

In this way, the Four Seasons does more than serve. It connects.

It connects cultures through cuisine, strangers through shared moments, and memories to place. It is no accident that across decades and destinations, people return not just for the view or the wine list—but for the feeling. The sense that, at this table, in this moment, everything is as it should be.

Let us raise a glass—to the sommeliers who remember, the chefs who surprise, the servers who see without being seen. To the places that take our breath away, and the dishes that give it back with every bite. To the soft light of evening that catches a crystal rim, to the stories poured in amber and stirred with care.

Dining and carousing at the Four Seasons is not a service. It is a gift. It is a shared moment between people who understand that taste is more than flavor—it is memory.

From Milan to the Maldives, from morning espresso to midnight champagne, every meal tells a story of hospitality, of intimacy, and of the elegance of time well spent. Wherever you are—on a vineyard terrace, beside a city skyline, or on the shore of a sapphire sea—you are not just a guest. You are a cherished participant in a grand, unfolding narrative.

Because in the end, we dine not to fill our stomachs, but to feed our souls.

Here’s to the next meal. May it be shared, remembered, and worthy of the telling.

Bon appétit. ■

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art&history

l'or dans l'art:

The Midas Touch

BY JULES INGRID ADELAR

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Portrait of Adele Bloch-Bauer by Gustav Klimt.

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The Virgin and Child by Ronaldo da Siena, painted circa 1365–75.

COURTESY THE PICTURE ART COLLECTION / ALAMY STOCK PHOTO

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old, with its radiant sheen and enduring mystique, has played a pivotal role in the history of painting across cultures and throughout the ages. More than just a luxurious material, its use in painting is deeply intertwined with religious beliefs, societal power structures, and the artistic techniques developed to capture its captivating qualities.

Gold, the precious metal, with its unique properties, has held a prominent place in painting throughout history, not only for its aesthetic appeal but also for its profound symbolic significance. Artists have employed gold in various ways, from embellishing religious icons and illuminated manuscripts to adding a touch of grandeur and luxury to portraits and modern artworks.

Symbolism and Significance:

For millennia, gold has been imbued with profound symbolic meanings, representing concepts like divinity, immortality, and wealth. Ancient civilizations, like the Egyptians, associated gold with the sun god Ra and considered it the “flesh of the gods.” They used

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The Wilton Diptych (made c. 1395–1399) is a small portable diptych of two hinged panels, painted on both sides, now in the National Gallery, London.

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Emperor Humayun, 18th century, Mughal Empire, opaque watercolor on paper.

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it extensively in funerary masks and tomb decorations, symbolizing the deceased’s journey to the afterlife.

In Byzantine art, particularly in icons and mosaics, gold leaf became a cornerstone, representing the divine light and the heavenly realm. The shimmering gold backgrounds of these works created a sense of otherworldly splendor, drawing viewers into a deeper spiritual connection with the sacred figures depicted. The incorruptible nature of gold also made it a fitting symbol for the eternal and the divine.

Later, in the Renaissance, gold continued to hold spiritual significance, particularly in religious art commissioned by the Church. Gold leaf was used to adorn halos, depict divine light, and accentuate sacred objects, reinforcing the holiness of the subject matter. The reflective quality of the gold allowed artists to create a dynamic interplay with light, further enhancing the transcendental nature of these works.

Beyond Western traditions, gold holds significant spiritual meaning in various cultures. In Buddhism, gold leaf is applied to statues to symbolize enlightenment and the Buddha’s radiance. Hinduism also incorporates gold in the adornment of deities and temples, believing its purity and brilliance attract positive spiritual energy. In Islamic art, while figurative depictions were often discouraged, gold found its place in intricate calligraphy and geometric patterns, conveying spiritual concepts and divine beauty.

Ancient Civilizations:

Egypt: Gold leaf was used to decorate statues of gods, amulets, and funerary objects in pharaoh’s tombs.

Byzantine Empire: Gold was central to Byzantine art, particularly in mosaics and icons, where it represented divine light. The Hagia Sophia mosaics exemplify this use of gold.

Asia and Middle East: Gold held significance in Persian miniature paintings, symbolizing wealth and power, according to Art UK. In Japanese art, gold represented natural elements and ethereal beauty.

Techniques of Application:

Artists have used several techniques to incorporate gold into their paintings: Gold Leaf: This is perhaps the most well-known technique, involving the application of incredibly thin sheets of gold to a surface prepared with adhesive. The delicate nature of gold leaf requires careful handling, often with soft brushes and cotton gloves, to ensure a smooth and even application.

Gilding: This term generally refers to the process of applying a thin layer of gold or another metal to a surface. In paintings, this could involve applying gold leaf or using gold powder mixed with a binder.

Shell Gold: This technique, mentioned in connection with an altarpiece at the National Gallery, refers to a form of gold paint created by mixing gold powder with a binder.

Water Gilding: A traditional technique that creates a smooth, reflective surface by applying gold leaf to a water-based adhesive.

Gold Paint: Powdered gold mixed with a medium can be used to create gold paint.

Embossing: Gold can be pressed into the surface to add texture and depth.

The Virgin and Child

Ronaldo da Siena’s The Virgin and Child circa 1365–75, is a striking example of late Gothic Italian devotional art. One of the most compelling features of this work is the extensive use of gold, which plays both symbolic and aesthetic roles. Gold leaf, meticulously applied to the background and highlights, serves to elevate the divine status of the Virgin Mary and the Christ Child. It transforms the scene into a heavenly vision, detaching it from earthly concerns and emphasizing its spiritual significance.

The gold background, characteristic of Sienese painting of the time, reflects light in a way that enhances the otherworldly presence of the figures. This radiant surface not only captures attention but also represents divine light and purity, reinforcing theological themes central to Marian devotion. In the garments and halos, gold is used with intricate tooling and punchwork, adding texture and depth while showcasing the artist’s craftsmanship. The luminosity of gold also contrasts with the rich blues and reds of the figures’ clothing, drawing focus to their sacred forms.

Overall, the use of gold in this panel is not merely decorative—it is integral to the function of the painting as an object of veneration, inviting contemplation and reverence from its viewers.

Wilson’s Diptych

The use of gold in Wilson’s Diptych plays a crucial role in shaping the devotional and symbolic impact of the work. Though created in a much later period than medieval panels, the artist’s deliberate application of gold evokes the sacred visual language of early Christian and Gothic art, linking the contemporary piece to a long-standing religious tradition. The diptych format— traditionally associated with private devotion—enhances this sense of continuity, and gold becomes the medium through which the spiritual intent is most clearly expressed.

Gold leaf is used not only to create a luminous background but also to delineate haloes, enhance textures, and separate the divine from the earthly. Its reflective surface captures ambient light, creating a shifting radiance that imbues the figures with a sense of transcendence. This effect mirrors the way gold was employed in Byzantine icons and Gothic altarpieces to represent divine illumination. In Wilson’s Diptych, gold operates both symbolically and visually: it signifies holiness, purity, and timelessness, while also inviting a meditative engagement from the viewer.

By recontextualizing this ancient material, the artist bridges historical modes of worship with contemporary sensibilities, making gold not just an ornamental choice but a powerful conduit for spiritual reflection.

18th century, Mughal Empire

In the 18th-century painting Emperor Humayun, produced under the Minghai Empire, the use of gold serves as a powerful visual device to assert imperial grandeur, divine authority, and cultural sophistication. Gold is applied with meticulous precision, accentuating the emperor’s robes, throne, and surrounding motifs, elevating the figure of Humayun beyond mere portraiture into an icon of celestial rule. The shimmering surfaces communicate not only immense wealth but also the idea that the emperor’s authority is divinely sanctioned.

Gold in this context does more than embellish—it operates symbolically, reinforcing the ideological connection between the emperor and cosmic order. The Minghai court, like many Islamic and Central Asian traditions, employed gold to signal a ruler’s proximity to the divine and to visually distinguish the court from the ordinary. The reflective properties of gold also add depth and dynamism to the composition, making the emperor appear radiant and timeless.

In manuscripts and court art, gold was often reserved for the most prestigious figures and commissions. Here, its lavish use affirms Humayun’s elevated status while aligning the work with established traditions of royal portraiture. The technique reflects both artistic mastery and political messaging, ensuring that the image functions as a lasting symbol of imperial power and divine right.

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Teignmouth is an 1812 landscape painting by the British artist J. M. W. Turner.It depicts a view at Teignmouth, a port town in the south of Devon.It was based on sketches Turner had produced during a visit to the county in 1811. It looks southwards along the River Teign. In the foreground a young woman is shown with some cows. A ruined abbey can be seen, and in the very far distance is Teignmouth itself.

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NATURE’S FIRST GREEN IS GOLD. HER HARDEST HUE TO HOLD. HER EARLY LEAF’S A FLOWER. BUT ONLY SO AN HOUR. THEN LEAF SUBSIDES TO LEAF. SO EDEN SANK TO GRIEF. SO DAWN GOES DOWN TO DAY. NOTHING GOLDEN CAN STAY.” —ROBERT FROST FROM THREE POEMS

William Turner

J.M.W. Turner, often lauded as the “Painter of Light,” harnessed the transformative power of color, particularly golden hues, to convey profound emotion and atmospheric dynamism in his landscape paintings. Far exceeding mere decorative elements, the color gold served as a key component of Turner’s artistic language, reflecting his fascination with the interaction of light and atmosphere and establishing him as a precursor to movements like Impressionism. Turner’s late landscapes are particularly notable for their increasing use of golden light, often blurring the lines between reality and imagination as form and detail dissolved into luminous fields of color.

Turner’s use of gold in his landscapes wasn’t merely about depicting sunlight; he explored its potential to evoke a sense of warmth, radiance, and even a fleeting, transcendent beauty. His skies, whether stormy or serene, would often feature thick applications of yellow and white paint, creating a powerful sense of light even when the sun itself remained unseen. This technique, evident in works like The Fighting Temeraire, where a blazing orange sky transitions into pale yellows and silvers, allowed him to imbue his paintings with emotional depth and dramatic intensity, reflecting not only the visual but also the emotional impact of the scene. The golden glow in paintings like The Alcove, Isleworth also speaks to a serenity and idealized pastoralism, suggesting a tranquil and peaceful aspect of nature. Conversely, in a painting like Light and Colour (Goethe’s Theory)—The Morning after the Deluge, the golden yellow represents the first color transmitted from light, but it is a transient morning light, highlighting the fleeting nature of this beauty.

Turner’s innovative approach to color was, at times, met with criticism from contemporaries who favored more traditional, detailed representations. However, his bold use of golden tones, especially in his later works, proved to be revolutionary. The dissolving forms and

emphasis on the interplay of light and color that characterized these paintings profoundly influenced later artists. Ultimately, Turner’s mastery of golden hues and their ability to capture the ephemeral beauty and raw power of nature solidified his position as one of the most significant landscape painters in history. His work remains an enduring testament to the profound emotional and atmospheric possibilities inherent in the use of color in landscape painting.

Victorian and Renaissance Portraiture

In both Victorian and Renaissance portraiture, gold plays a crucial role in conveying status, wealth, and symbolic meaning, though its use differs in style and intention across the two periods. During the Renaissance, gold was often used literally—in halos, backgrounds, and decorative elements—particularly in early religious portraiture.

It signified divinity, virtue, and eternal presence, elevating the subject beyond the earthly realm. Gold leaf and gilding adorned frames, clothing, and jewelry, reinforcing the subject’s nobility and spiritual importance. In secular Renaissance portraits, gold was also used to emphasize lineage and affluence, with sitters often depicted wearing gold-embroidered fabrics and elaborate jewelry.

In Victorian portraiture, the use of gold became more restrained and symbolic, often integrated subtly into compositions through accessories, jewelry, and ornate furnishings rather than as a dominant background. The rise of realism and photography influenced a more naturalistic approach, yet gold retained its significance as a marker of prosperity and refinement. Frames in the Victorian era were often elaborately gilded, reflecting the sitter’s social status and aligning the artwork with classical traditions. In both periods, gold functioned as both material luxury and symbolic language— representing power, divinity, and the sitter’s place within a broader cultural and moral order.

This portrait, attributed to Herman van der Myn, portrays an unknown lady wearing a yellow satin dress, likely from the early 18th century. The oil on canvas reflects the fashion and elegance of the period.

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• automne 2025 • l’édition dorée • readelysian.com Water Serpents II by Gustav Klimt. Here, the artist utilizes gold leaf as a key element of his “Golden Phase” style. This imparts a sense of opulence and mystique to the painting’s depiction of water nymphs.

The gold’s shimmering effect contributes to the artwork’s Art Nouveau character. It also served a practical purpose, allowing Klimt to explore themes of sensuality within the social constraints of the time.

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Portrait of a Lady

In Alesso Baldovinetti’s Portrait of a Lady (dated 14-26-1499), gold is subtly employed to convey elegance, status, and refinement.

While not dominating the composition, gold appears in the delicate embroidery of the sitter’s garments and in her jewelry, highlighting her wealth and aristocratic standing. The restrained use of gold reflects the Florentine taste for balance and harmony, aligning with Baldovinetti’s detailed and naturalistic style. Rather than overwhelming the portrait, the gold accents enhance the realism and draw attention to the sitter’s refinement, serving both as decorative detail and a symbol of cultural and material sophistication during the Renaissance.

Gustav Klimt

Gustav Klimt’s use of gold in his paintings, particularly during his renowned “Golden Phase” (roughly 1898-1909), was far more than a decorative choice; it was a fundamental element imbued with symbolic, sensual, and artistic significance, setting his work apart and contributing significantly to his enduring legacy. Gold leaf, traditionally used in religious iconography and medieval illuminated manuscripts to signify divinity and otherworldliness, was employed by Klimt in a revolutionary way, making gold modern and changing the course of 20th-century art. His father’s profession as a gold engraver undoubtedly fostered an early connection with the material, allowing it to become deeply integrated into his artistic vision. This personal connection was further amplified by a pivotal trip to Ravenna, Italy, in 1903, where Klimt was captivated by the glittering Byzantine mosaics. The Byzantine use of gold to represent the eternal realm and divine light resonated with Klimt, inspiring him to incorporate gold leaf into his own work to create a distinct luminescence and a sense of timeless infinity. However, while Byzantine art used gold to signify heavenly transcendence, Klimt’s application of the precious metal often celebrated earthly pleasures, particularly the intimacy and sensuality of human relationships. He famously declared, “All art is erotic,” and his paintings, filled with glittering gold, undeniably reflect this belief, exalting human love and desire.

Klimt’s “Golden Phase” produced some of his most recognizable works, including The Kiss (1907-08) and Portrait of Adele Bloch-Bauer I (1907). Both are stunning examples of his innovative techniques.

In The Kiss, gold envelops the couple like a divine halo, lifting them from earthly concerns and placing them in a transcendent realm of love and spirituality. The ornate golden robes worn by the lovers, along with the cosmic gold background, create a mystical and transcendental effect, suggesting their ascent into an infinite cosmos. Similarly, the opulence of gold leaf in Portrait of Adele Bloch-Bauer I creates a visually striking surface that evokes both wonder and sheer beauty. Klimt’s meticulous use of gold leaf, seen in the varied decorative forms and textures in The Kiss and Adele Bloch-Bauer I, showcases his inventiveness. He incorporated various stylistic influences, including Byzantine mosaics, Egyptian gold jewelry motifs, ancient Mycenaean art spirals, and East Asian folding screen patterns. This fusion of influences resulted

in a distinctive style that blended symbolic, erotic, and allegorical subjects against glowing gold backdrops.

Beyond its symbolic and aesthetic impact, Klimt’s use of gold leaf also aligned with the principles of the Vienna Secession movement, of which he was a key figure. The Secessionist artists sought to break from traditional art norms and explore new forms of expression. Klimt’s use of gold, an unconventional material for painting at the time, was a form of artistic rebellion. His work, with its liberal use of gold, gave the paintings an “object-like” quality, bringing them into conversation with the design and decorative arts of his time, reflecting the modern sensibilities of the Vienna Secession. He embraced cross-disciplinary inspiration, incorporating elements from textiles to architecture, a quality exemplified by the use of gold in the Secession Building itself. The glittering background and ornamental extravagance of his works, while initially criticized by some as excessive, became hallmarks of his signature style.

Klimt’s use of gold went beyond pure aesthetics; it conveyed deep emotions and complex themes. In paintings like Hope II, the glistening, egg-shaped gold elements adorning the pregnant figure emphasize her significance as a symbol of future life, contrasting with the skull above her belly, representing mortality. Similarly, in Judith I, the gleaming gold robe highlights the subject’s beauty and sensuality, while the presence of the severed head subtly introduces violence and psychological tension. These examples illustrate how Klimt used gold to enrich his symbolic interpretations of life’s complexities, adding layers of meaning and emotional depth to his already evocative portrayals.

In essence, Gustav Klimt’s use of gold in his paintings was crucial to establishing his artistic identity and creating a unique and influential body of work. It was a conscious artistic choice rooted in personal history, inspired by ancient traditions, and aligned with the innovative spirit of the Vienna Secession.

Klimt’s gold leaf imbued his paintings with luxury, spirituality, and timelessness, elevating everyday scenes and universal human experiences to a realm of beauty and symbolic depth. His “Golden Phase” marked a pivotal period in modernism, leaving a legacy that continues to inspire artists and captivate audiences.

Van Gogh

Vincent van Gogh, a towering figure in the Post-Impressionist movement, is celebrated for his vibrant and expressive use of color, with yellow in particular holding a significant place in his work. While the use of actual gold leaf or metallic paint in his compositions is not a hallmark of his style, the golden tones he achieved through his masterful handling of yellow pigments are central to his artistic vision and carry a rich symbolic weight.

Van Gogh’s love affair with yellow intensified during his time in Arles, in the South of France, around 1888. Inspired by the intense Provençal sunlight, he began to experiment with the color, flooding his canvases with varying shades and hues. He described yellow as the color of sunshine and found beauty in its radiance. This period,

Van Gogh’s Sunflowers are renowned for their vibrant and abundant use of yellow, including rich golden tones. He employed a range of yellows, from lemon to deep gold, to convey warmth, light, and vitality in his paintings. These golden hues symbolized happiness, hope, and gratitude for Van Gogh. His skillful use of these colors, often in thick brushstrokes, aimed to create a sense of intensity and express the essence of the flowers and his emotional connection to them. Sadly, some of the specific yellow pigments Van Gogh used, like certain chrome yellows, have been found to be light-sensitive and are slowly fading to brown over time.

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The Yellow Cow by Franz Marc, circa.1911.

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often dubbed his “yellow period,” saw him create iconic paintings like Sunflowers, The Yellow House, and Café Terrace at Night, where yellow takes center stage.

The discovery of new chrome yellow pigments in the 19th century played a role in Van Gogh’s exploration of the color. These brighter and more vibrant yellows allowed him to capture the luminosity of the Arles light and imbue his sunflowers with an intense radiance.

While these pigments were a favorite of Van Gogh’s, they are sadly prone to fading over time, altering the original brilliance of his works.

Yellow held a profound symbolic meaning for Van Gogh, representing happiness, energy, and hope. He expressed his deep connection to the color, writing, “How wonderful yellow is. It stands for the sun.” In paintings like Sunflowers, yellow embodies life and vitality, capturing the essence of the flowers in various stages of their life cycle.

The golden tones in Van Gogh’s landscapes, such as the wheat fields in Arles and Saint-Rémy, evoke a sense of belonging and tranquility.

He used yellow ochre to create warm, golden hues that conveyed a feeling of peace and serenity. These luminous, expansive scenes bathed in sunlight reflect his deep connection to the rural landscape.

In his portrayal of peasant life, Van Gogh often incorporated a gleaming golden light, aiming for a sense of spiritual meaning. This ethereal glow made his subjects appear almost heroic and blessed, as seen in works like The Sower.

Van Gogh’s use of color was always deliberate and integral to his expressive style. He employed complementary colors to create striking contrasts and heighten the emotional intensity of his paintings. For example, in The Night Café, he used contrasting reds and greens, along with shades of yellow, to create a jarring atmosphere that mirrored his feelings of unease.

The iconic golden swirls and halos in paintings like Starry Night have been the subject of much speculation. While some theories suggest a link to medical conditions like xanthopsia or glaucoma, the consensus amongst experts is that Van Gogh’s color choices were deliberate and not a result of visual impairment. The swirling blues and yellows in Starry Night evoke a sense of wonder and contemplation, with the golden stars symbolizing hope and eternity.

Van Gogh’s yellow phase demonstrates his artistic growth and his willingness to experiment with new colors and techniques. His fascination with Japanese prints, known for their bold colors and graphic compositions, may have also influenced his use of color, including yellow.

In conclusion, Van Gogh’s use of golden tones, achieved through his masterful handling of yellow pigments, was a key element of his artistic style and emotional expression. Whether depicting the radiant sunlight of Arles, the tranquility of a wheat field, or the ethereal glow surrounding a peasant worker, yellow served as a powerful symbol of happiness, energy, and hope. By infusing his canvases with these warm, golden hues, Van Gogh created a body of work that continues to resonate with viewers and inspire artists to this day.

I Saw the Figure 5 in Gold

In Charles Demuth’s I Saw the Figure 5 in Gold, the use of gold is multifaceted, serving not just as a color but as a symbol of impact, modernity, and even the divine, reflecting the painting’s subject and Demuth’s artistic style. The golden “5,” prominently placed, acts as

a visual anchor, drawing the viewer’s eye and conveying the central motif of the poem it represents. Beyond its visual prominence, the gold’s association with prestige and value elevates the everyday subject matter, suggesting the transformative power of art and the significance of a fleeting moment.

Demuth, a key figure in the Precisionist movement, employed a style characterized by sharp lines, geometric forms, and a focus on the modern industrial landscape. In I Saw the Figure 5 in Gold, the painting depicts a fire truck with the number 5 emblazoned on it, inspired by a poem by William Carlos Williams about a similar experience. The use of gold, particularly in the central “5,” is crucial to this Precisionist aesthetic.

It’s not a subtle, blended color; it’s a bold, flat plane, emphasizing the geometric forms and the clean lines of the composition. The stark contrast between the gold and the other colors—the reds, blues, and greens—makes the “5” stand out, drawing the viewer’s attention to the central subject and its symbolic weight.

The gold also carries connotations of value and importance. In art, gold has historically been associated with divinity, nobility, and luxury, according to Tavex Bullion. While Demuth’s painting is not overtly religious, the use of gold elevates the subject matter, transforming a mundane scene into something significant. The golden “5” isn’t just a number; it’s a representation of the poem, the fire truck, and the energy of the city all rolled into one. It suggests that even the most fleeting moments of urban life, captured in a poem and then in a painting, can possess a kind of golden aura.

The gold in I Saw the Figure 5 in Gold also contributes to the painting’s sense of modernity. Demuth, living in the era of burgeoning industrialization, was fascinated by the dynamism of the city. The painting’s sharp angles, geometric shapes, and bold colors, including the gold, reflect the aesthetic of the modern age. The gold, in its starkness, becomes part of the language of modernism, emphasizing the clean lines and precision that were hallmarks of the Precisionist style.

Finally, the golden “5” acts as a visual bridge between the poem and the painting. Williams’s poem, with its vivid imagery and focus on the visual, is brought to life by Demuth’s painting, according to Singulart. The golden “5,” a focal point, draws the viewer into the painting and encourages them to engage with the poem, making the connection between the two art forms. In this way, the gold not only enhances the visual impact of the painting but also serves as a symbol of the power of art to translate experience and to create a lasting impression.

F

rom its early use in ancient funerary masks to its presence in contemporary art installations, gold has been a constant presence in the world of painting. Its captivating brilliance, coupled with its profound spiritual and cultural significance, has made it a material of enduring appeal for artists and audiences alike. Whether used to represent divine light, signify earthly power, or comment on societal values, gold adds a unique dimension to painted surfaces, transforming them into objects of beauty, contemplation, and meaning. The glint of gold in a painting is more than just a visual element; it is a thread connecting us to a rich history of human creativity, belief, and aspiration. ■

The use of gold is crucial in Charles Demuth’s I Saw the Figure 5 in Gold. The golden “5” is central, representing the fire truck from William’s poem and embodying New York City’s energy. Gold, often linked to wealth and glory, also contributes to the painting’s modernist theme, symbolizing a bright future. The shimmering quality of the gold leaf adds to the overall impression of movement and speed within the composition.

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La fille en or

by Marcy Dubroff

Actress and singer Ann-Margret poses for a portrait session on March 9, 1972 in Los Angeles, California.

PHOTOGRAPH BY HARRY LANGDON/GETTY IMAGES

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There are stars, and then there are women like Ann-Margret—luminous, eternal, and utterly unforgettable. If one were to chart a constellation of classic Hollywood glamour, artistic reinvention, and emotional depth, Ann-Margret Olsson’s star would blaze across the firmament. Her life, like her career, has been defined by an unyielding blend of resilience, curiosity, and grace.

Born in the frosted stillness of Valsjöbyn, Sweden, on April 28, 1941, Ann-Margret was the only child of Gustav and Anna Aronsson Olsson. Her early life was one of modesty and movement. Her father, who had immigrated to the United States ahead of his family, worked in the construction industry. The family reunited in the small town of Wilmette, Illinois, in 1946, seeking the promise of a better life. “I was this little Swedish girl who didn’t speak a word of English,” she would later recall in interviews. But language barriers meant little to a child who could already speak in music and movement.

She began taking dance lessons at age five and was soon performing in local talent shows.

Music, motion, and presence were already part of her language. In one early interview, she recalled tap dancing on kitchen floors and mimicking Gene Kelly routines from the TV screen. At Northwestern University, she studied drama, but quickly found herself pulled toward the stage in a different way—through music. She joined a jazz combo called “The Suttletones,” which performed regularly in nightclubs in the Chicago area and then Las Vegas, where her sultry voice and expressive performance style caught the attention of none other than George Burns. He added her to his Vegas act, and her career took off.

Burns, always one to spot incandescent talent, remarked, “She had that spark— like she’d swallowed a spotlight and it was glowing out of her eyes.” It didn’t take long before Hollywood followed suit. From smoky lounges to sound stages, she brought a magnetism that refused to be ignored.

Her breakthrough came in 1961 with a role in Frank Capra’s Pocketful of Miracles, but it was her turn as Kim McAfee in Bye Bye Birdie (1963) that made her a household name.

Columbia Pictures famously recut the film to open with her rendition of the title song, recognizing that her screen presence was simply magnetic. She was both ingénue and powerhouse—delicate yet dynamic. That scene, with her singing directly to the camera in an orange dress, remains one of the most memorable film openings of its time. “It was electric. You could feel it through the lens,” a Columbia executive once said.

That same year, she was paired with Elvis Presley in the film Viva Las Vegas, a collaboration that has since become the stuff of legend. Their on-screen chemistry was electric, and offscreen, a brief romance blossomed. Though she rarely spoke in detail about it, her memoir

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Ann-Margret Olsson, known professionally as Ann-Margret, is a Swedish-American actress, singer, and dancer whose career has spanned seven decades. Before turning 21, she signed a recording contract with RCA Victor and a seven-year movie deal with 20th Century Fox. Ann-Margret became a Hollywood leading lady after starring with Elvis Presley in the 1964 film Viva Las Vegas.

PHOTOGRAPH COURTESY © GLOBE PHOTOS/ZUMAPRESS.COM / ALAMY STOCK PHOTO

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Ann-Margret starring opposite French leading man Alain Delon in Once a Thief, a 1965 crime, drama, thriller set in San Francisco.

PHOTOGRAPH BY UNITED ARCHIVES GMBH / ALAMY STOCK PHOTO

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In the 1964 musical film Viva Las Vegas, AnnMargret stars alongside Elvis Presley as Rusty Martin, a vivacious swimming instructor. She is a memorable leading lady in the film, showcasing her dancing and singing talents, particularly in the song Appreciation. Her performance alongside Elvis, including the duet The Lady Loves Me, solidified her place as a key figure in Elvis’s Hollywood career.

PHOTOGRAPH BY DONALDSON COLLECTION/GETTY IMAGES

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acknowledged the depth of their bond: “Our relationship was very strong, and very serious, and very real,” she wrote. “But it was a different time.” Their affection endured even after the romance ended; she was the only co-star invited to Elvis’s funeral. In a 2022 retrospective interview, she described him as “gentle, funny, and deeply misunderstood.”

Beyond Viva Las Vegas, Ann-Margret built a formidable career in film throughout the 1960s and 70s. She starred in The Pleasure Seekers (1964), a film that showcased her comedic timing and singing talents. In The Swinger (1966), she played a free-spirited magazine writer with a wink and a shimmy, challenging the era’s notions of femininity and independence.

The Train Robbers (1973) saw her hold her own opposite John Wayne, playing a widow determined to recover stolen gold. She was more than a pretty face—she brought strength, vulnerability, and intelligence to every role. Critic Pauline Kael noted, “Ann-Margret had more verve and bite than Hollywood knew what to do with.”

In interviews, she often reflected on the tension between what studios wanted and what she longed to do: “They always tried to put me in a box. But I’ve never been a box kind of girl.” Her determination to avoid being typecast pushed her toward increasingly challenging and layered roles.

The 1970s marked a significant turn toward more serious dramatic work. Her role in Carnal Knowledge (1971), directed by Mike Nichols, was a revelation. As Bobbie, a woman trapped in a cold relationship with Jack Nicholson’s character, she delivered a performance that was raw, haunting, and deeply human. It earned her an Academy Award nomination and a Golden Globe. That year, she also received a standing ovation at the Cannes Film Festival—a rare honor for an American actress known first for musicals.

Her

fearless turn in Tommy (1975), the film adaptation of The Who’s rock opera, further cemented her dramatic credibility. The image of her drenched in baked beans, champagne, and foam during the iconic “smash the mirror” scene became symbolic of her willingness to take risks. For her performance, she received another Oscar nomination. The New York Times described her performance as “a hurricane of maternal madness and musical hysteria.” Throughout the decade, she pushed herself artistically, appearing in everything from dramas like Joseph Andrews to westerns and even campy comedy such as The Villain.

She was equally magnetic on stage. Her Las Vegas shows became legendary, blending sultry choreography, powerhouse vocals, and dazzling costumes. Ann-Margret became one of the city’s top headliners, and she toured regularly through the ‘70s and ‘80s. Her routines often blended classic showgirl spectacle with rock-and-roll energy, a combination that felt both nostalgic and defiantly modern. “I just love the energy,” she once said. “When the lights go up, it’s electric.” Elvis, ever her admirer, sent her flowers before every show. In a 1997 interview, she shared, “There was a bouquet every single opening night. And I always knew who they were from.”

Her star persona was not just about glamour—it was about dynamism, adaptability, and a refusal to be limited. Directors admired her professionalism and ability to transform on screen. “She could be playful one moment and devastating the next,” said one contemporary director. “She didn’t play characters—she embodied them.”

Offstage, Ann-Margret maintained close friendships with other Hollywood luminaries, including Shirley MacLaine and Lucille Ball. These relationships were not just social; they reflected a mutual respect and camaraderie among women navigating the pressures of fame in a male-dominated industry. Lucille Ball once said of her, “She has more guts and grace than anyone I know in this business.”

However, her personal life was not without its challenges. In 1972, she fell 22 feet from a platform during a performance in Lake Tahoe, suffering severe facial injuries and multiple fractures. Her jaw was wired shut, and doctors feared permanent damage. Yet within ten weeks, she was back on stage. The media dubbed her “The Bionic Woman,” but friends and fans knew it was sheer grit and determination. In her memoir, she recounted lying in the hospital and whispering, “I have to dance again.” And she did.

At the heart of her story is her long marriage to actor Roger Smith. They wed in 1967 and remained together for 50 years, until he died in 2017. Roger left his acting career to manage hers, and she credited him with providing stability and love. “He believed in me when I didn’t believe in myself,” she said. Their relationship, often kept out of the spotlight,

102 1 Poster art for the trippy British film, Wonderwall, starring Jane Birkin, 1969.

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Ann-Margret’s portrayal of Kim MacAfee in Bye Bye Birdie made her a major star. She captivated audiences with her singing and dancing, turning the role into a personal showcase. Her performance embodied a vibrant mix of youthful exuberance and emerging sensuality, contributing significantly to the film’s success. She received a Golden Globe nomination for Best Actress.

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104 EVER SINCE I WAS FOUR YEARS OLD, I LOVED MAKING PEOPLE SMILE, MAKING THEM THINK, MAKING THEM FEEL GOOD, FEEL SOME KIND OF EMOTION.”

was one of mutual support and deep affection—a rare thing in Hollywood.

Friends described them as inseparable. When asked once what made their marriage last, she simply said, “We liked each other. Every day.”

Their home in Beverly Hills was filled with laughter, music, and animals—cats, dogs, even a few rescued birds. Roger, ever devoted, was often seen backstage, making sure everything ran smoothly. “He was my manager, my partner, and my biggest fan,” she once shared. “I couldn’t have done this without him.”

Her television work in the 1980s and 90s offered another showcase for her talent. She starred in numerous made-for-TV movies, many of which drew wide acclaim. In Who Will Love My Children? (1983), she played Lucile Fray, a terminally ill mother seeking adoptive families for her ten children. The role earned her an Emmy nomination and solidified her place as a serious dramatic actress. In The Two Mrs. Grenvilles (1987), she portrayed a glamorous socialite entangled in scandal and murder. Her performance was praised for its restraint and emotional intelligence. The 1990s brought roles in Queen: The Story of an American Family and Life of the Party: The Pamela Harriman Story, for which she earned yet another Emmy nod.

Throughout her career, she has won five Golden Globe Awards and received ten nominations, spanning comedy, drama, and musical categories. In 2010, she was honored with the Screen Actors Guild Life Achievement Award, a moment that prompted a rare standing ovation and left her visibly moved. “It means more to me than I can ever say,” she told the crowd, her voice catching with emotion.

Even in her later years, she never stopped working. She appeared in popular shows like Law & Order: SVU, Third Watch, and Ray Donovan, demonstrating she still possessed a captivating screen presence. In 2021, she appeared in the romantic comedy Queen Bees, charming a new generation of fans. The film, which explored love and friendship in a retirement community, gave her an opportunity to show wit, warmth, and a touch of rebellion.

And then came 2023—at age 81, Ann-Margret released the rock album Born to Be Wild. Featuring covers of classic hits and collaborations with legends such as Joe Perry, Pete Townshend, and Steve Cropper, the album

Actress Ann-Margret dons a shiny star-spangled banner bodysuit, as she rides a chopper motorcycle in the desert outside Las Vegas PHOTOGRAPH BY DOUGLAS KIRKLAND/CORBIS VIA GETTY IMAGES

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When all else fails try your cat, and that’s what Ann-Margret playfully attempts: but her cat “Tuffy” wants no part of it as he struggles to jump. Ann-Margret has appeared in 17 motion pictures to date, and has established herself as one of America’s film favorites.

PHOTOGRAPH BY BETTMANN / CONTRIBUTOR / GETTY IMAGES / GETTYIMAGES.COM

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was no novelty—it was a testament to her enduring love of performance. “People always expect me to retire,” she told Rolling Stone. “But I don’t even know what that word means.” The album debuted in the Top 10 on Billboard’s Rock Albums chart, a feat few performers half her age achieve. “She sounds like she’s having the time of her life,” one critic wrote. “And so are we.”

Style has always been an integral part of her persona. Her flame-red hair, feline eyeliner, and formfitting ensembles became iconic in the 1960s. She managed to balance sex appeal with sweetness, toughness with vulnerability. Designers adored her. Photographers chased her. And yet she never seemed to chase trends—her glamour was her own. Madonna, Christina Aguilera, and even Lady Gaga have cited her as an influence, noting how she blended theatricality, femininity, and power.

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nn-Margret’s impact on pop culture cannot be overstated. Her life and work have inspired documentaries, tributes, and stage productions, with many younger actresses naming her as an icon of determination and grace. In recent years, she has become a beloved figure not just for her past achievements but for her continued zest for life. She has spoken at film retrospectives, participated in charity galas, and even made surprise appearances at Elvis-themed fan conventions, where she is treated like royalty.

One of the most enduring qualities of Ann-Margret’s presence is her ability to connect with people, not only through the screen or stage, but in person. Fellow actors describe her as warm, generous, and endlessly curious. “She’s one of the most down-to-earth legends I’ve ever met,” said one co-star from Ray Donovan. “She never acts like a diva. She’s just Ann.” Her influence continues to echo across modern pop culture, appearing in parodies, references, and retrospectives. Television comedies like The Simpsons and late-night hosts have playfully nodded to her signature style and screen presence. The fact that her name still evokes instant recognition across generations is a testament to her staying power. She remains not just an actress or singer, but a touchstone of American entertainment—a woman whose career has spanned the golden age of Hollywood to the era of streaming platforms.

She has also taken on the role of mentor and inspiration to aspiring performers. At charity events, film festivals, and private workshops, she often encourages young talent to pursue the arts with heart and tenacity. “Keep doing what makes you feel alive,” she once told a group of high school theater students. “And never apologize for shining.”

In recent years, she has also lent her voice to causes close to her heart, including animal welfare and arts education. Her philanthropic work has largely flown under the radar, but those who’ve received her support speak of her generosity with deep gratitude. “She showed up for us when the cameras weren’t rolling,” said the director of a small animal rescue organization in California. “That’s the kind of person she is.”

Today, Ann-Margret continues to make public appearances and speak with warmth about her life and career. She is often seen at fan conventions, where she greets long lines of admirers not just with autographs, but with hugs and kind words. “You made my childhood magical,” one fan told her at a recent event. She smiled and said, “Well, you made mine, too.”

Ann-Margret’s legacy is not just one of beauty or talent—it is one of authenticity. She survived the ruthless demands of Hollywood, reinvented herself again and again, and remained true to her craft. She sang. She danced. She hurt. She healed. And she gave generations of audiences reason to believe in something dazzling and real.

Even now, as she enters her ninth decade, she reminds us that true artistry does not dim. It evolves. It glows from within. And in Ann-Margret’s case, it still dances. ■

Ann-Margret toured Vietnam multiple times with the USO, performing for American troops. She responded to a petition from troops in 1966 and traveled with her band, considering it a moral responsibility. She returned in 1968 with Bob Hope’s Christmas show. Ann-Margret began her music career in 1961 with RCA Victor, releasing pop/rock albums. Her song I Just Don’t Understand reached the Top 20 in 1961. She was nominated for a Best New Artist Grammy in 1962. She has released albums in various genres, including a Grammy-nominated gospel album and a 2023 classic rock covers album, Born to Be Wild.

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a Gilded Vision In a world that moves faster each day, where fashion is often disposable and attention fleeting, the work of Khaled al Saifi and Marwan Madi of Maison de Couture is a reminder of what fashion once was—and what it still can be. Beautiful. Enduring. Sacred.

Gold, in the Muse Collection, appears not as display but as devotion. It shows itself in the piping along a deep purple taffeta cape; in the embroidered vines coiled at the hem of an elegant light-blue gown; in the hand-stitched bodice shaped to the waist like ancient armor. A long-sleeve gown in a soft beige shade holds hundreds of individual golden sequins, each applied by hand to catch the faintest light—so subtly, so sparingly, they resemble morning dew struck by the sun. In their hands, a dress becomes not just an object, but a talisman. Gold becomes not just a color, but a light. And a woman— already luminous in her own right—becomes something eternal.

Maison de Couture is not of the moment. It is beyond the moment. It is legacy wrapped in silk, hemmed in light, and stitched—always—with gold.

by Samantha Paige

Striking beige strapless gown with a gold embroidered bodice , featuring a lavishly ruffled skirt that creates dramatic movement. The bodice is adorned with an intricate mix of floral and ruby red jewel appliqués.

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An off-the-shoulder gown with voluminous pleated sleeves and a structured bodice with shimmering gold embroidery and crystals. The flowing skirt creates an elegant silhouette, with an emphasized drapery at the hips.

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Dramatic black crop top and skirt featuring an off-the-shoulder design with voluminous feathered sleeves. The fitted top glimmers with intricate black beadwork on top of pleated tulle, while the skirt is designed with vertical striped embroidery, creating a striking contrast.

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Left to right: A statement black gown with a plunging neckline and structured bodice, featuring ruby red embroidery at the waist. The dress flows gracefully, with an exaggerated hips statement while offering a sophisticated silhouette.

A majestic black gown featuring a high embellished neckline and dramatic puffed sleeves, crafted from a sheer black tulle fabric. With a detailed gold embroidery on top of the black lace corset, creating a bold and glamorous look. Elegant black gown with a golden embroidered high neckline and long cut-out sleeves, highlighted by a stunning embroidered bodice in rich gold tones. The flowing skirt includes a side pocket.

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Elegant black gown with an off-the-shoulder design and dramatic sleeves with gold embroidery at the center of the bodice. The dress features a striking white ruffled organza train contrasted by black feathers, creating a bold yet refined silhouette.

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Left to right: Flowing rose A-line gown with an exaggerated 3-D floral collar and a fitted bodice. The soft drapery of the fabric creates a graceful look, complemented by sparkling silver embroidery around the neckline and waistline. Chic fitted light pink gown with a deep corseted neckline design featuring silver embroidery extending to the waistline. Long off-shoulder sleeves and a flowing train add a dramatic flare to the overall look.

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Elegant long-sleeve beige gown with intricate floral embroidery and shimmering crystals. Features a fitted bodice with a high neckline and sharp shoulders, flowing into a delicate tulle skirt that adds a romantic touch.

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Chic long-sleeve gown in a soft beige shade, featuring graceful bell sleeves that enhance its elegant silhouette. The bodice has golden crystal embroidery at the center, adding an exquisite touch of sophistication.

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Left to right: Full-length purple gown with an off-shoulder draped taffeta cape with sleeves, intricately embellished with shimmering gold beadwork and crystals. The fitted bodice transitions into a sleek, flowing skirt, exuding sophistication. A flowy purple floor length gown with a gold embroidered bodice complemented by an elegant cape, sleeves and intricate gold detailing. A rich purple mermaid gown featuring a fitted bodice adorned with purple and gold embroidery. The rich purple gown with fitted long sleeves, flares at the bottom adding a touch of drama.

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Left to right: A charming light blue gown featuring a square neckline and long bishop sleeves.

The soft blue fabric is adorned with a colorful mix of blue and bronze floral embroidery, creating a whimsical and romantic look. An elegant light blue gown with a classic silhouette and delicate long bishop sleeves. The light blue fabric is intricately embroidered with gold detailing, forming a grid-like pattern that adds sophistication to the overall design.

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The fountains outside of the world-famous Bellagio, a luxurious 5-star hotel and casino on the Las Vegas Strip, famous for its choreographed dancing fountains. It features a Tuscan-inspired theme, aiming to recreate the elegance of Italy’s Lake Como. Notable attractions include the Conservatory and Botanical Gardens, Bellagio Gallery of Fine Art, and the Cirque du Soleil show “O”. attraction for visitors.

PHOTOGRAPH BY ROLF_52 / SHUTTERSTOCK.COM

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the Golden City

by Clara Swanson

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Las Vegas boasts a dazzling skyline, a blend of architectural wonders and iconic neon signs. Skyscrapers and resorts like the Bellagio and Caesars Palace shimmer amidst the desert landscape, especially at night. Neon signs, once central to attracting visitors, continue to light up areas like Fremont Street and are preserved at places like The Neon Museum. PHOTOGRAPH BY EGD / SHUTTERSTOCK.COM • Center: The Bellagio Hotel in Las Vegas features a stunning glass ceiling sculpture by Dale Chihuly, titled Fiori di Como. This masterpiece, located in the hotel’s lobby, consists of over 2,000 hand-blown glass blossoms, creating a vibrant and captivating display. The sculpture, completed in 1998, was commissioned by Steve Wynn and is a major attraction for visitors. PHOTOGRAPH BY KARPOVKOTTT / SHUTTERSTOCK.COM • RIGHT PHOTOGRAPH BY SERGII FIGURNYI / SHUTTERSTOCK.COM

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Vegas is a city one cannot simply visit. One must encounter it. With the same alertness of mind one brings to a painting, or a lover.

People speak of it often—too often—as though it were a vulgarity: a spangled interruption of the American landscape. But to speak of Las Vegas only in terms of its vices is to misunderstand it entirely. Las Vegas is not a den of sin, darling. It is a stage, a myth, a shimmering fabrication of desire. And like all well-made illusions, it requires artistry, history, and a subtle, sly kind of grace.

I have seen women arrive in Las Vegas with disdain in their handbags. Women of breeding, women of cold opinions. They dismiss it at first glance—the neon, the gin, the endless rattle of slots—and then they vanish, quietly, into its glittering nights, only to reemerge softened. They have learned something. They have remembered something. Or they have chosen to forget.

I first arrived in Las Vegas at twenty-five, freshly divorced, wearing a pale silk crepe suit the color of almond milk and carrying a gold lighter I hadn’t yet had the courage to use. My train stopped in the dry outskirts. The air hit me like perfume from an open bottle—dusty, floral, impossible. It was a city that seemed not to be built, but conjured.

And, indeed, it was.

Las Vegas was born not with the deliberation of most cities, but with a kind of seduction. The Spanish called it Las Vegas—the meadows—because of the natural springs that bubbled beneath the cracked Nevada soil. But there is little pastoral about this place. It is not green. It does not whisper. It shouts, in neon and diamonds and confidence.

It became a city when the railroad came. It became an empire when the dam was built. But it became a legend—our legend—when the artists arrived. The entertainers, the dancers, the gamblers, the crooners. The women in feathers. The men in tuxedos long after midnight. It became a city of acts—onstage, at the tables, in the mirrors.

To love Las Vegas is to understand the beauty of the artificial. We are taught, especially as women, to revere the natural. But naturalness is only one kind of truth. Las Vegas is the other: the beauty of fantasy. The brilliance of the adorned. The pleasure of things that know they are made.

And the city was made—intentionally, extravagantly, like a woman dressing for her own amusement.

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Red Rock Canyon National Conservation Area features a 13-mile one-way scenic drive, offering stunning views of the red sandstone cliffs and desert landscapes. The drive allows visitors to explore the area’s natural beauty with numerous pullouts for hiking and photo opportunities. It’s a popular way to experience the canyon’s unique geology and vibrant colors.

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The architecture tells you everything. One need not be an academic to read it: the hotels are theaters, every chandelier a flourish. The Strip itself is a boulevard of dreams, rising from the sand like a Roman fever dream. Caesars Palace does not so much reference antiquity as reinvent it, remaking the gods in gambling form. The Stardust does not twinkle—it pulses, like a constellation on amphetamines.

And the art, darling—don’t let them tell you there is no art in Las Vegas. It is all art. The signs alone are masterpieces of typography, of shape and scale. To see the original Stardust sign lit at night is to witness sculpture in motion. The script of the Sands, the bold red of the Flamingo, the cheeky futurism of the Sahara—these are the fonts of American dreams.

here is something so deeply American about the city, yes—but not the hard, puritanical America of business suits and small towns. Las Vegas is the other America, the one that worships chance, reinvention, and pleasure. It’s the America that believes in costume changes. It’s the America that forgives.

Because above all else, Las Vegas is a city of second acts. No one here asks where you came from. The woman beside you at the baccarat table might be an heiress or a housewife, an actress or a fugitive. No one minds. Here, identity is fluid. Luck erases biography. And glamour—true glamour—requires no explanation.

In my first week there, I met a woman named Collette who claimed she had once danced with Josephine Baker and married a European prince. Whether it was true hardly mattered. In Las Vegas, truth is measured by the elegance of its telling.

The shows in those days were balletic madness: white tigers, high-kicks, feathers taller than a grown man. I remember watching the Follies at the Tropicana with a cigarette trembling in my hand. There was something ancient about it—the ritual of female beauty displayed, exaggerated, deified. It wasn’t crude. It was operatic.

The giant neon shoe at the Neon Museum in Las Vegas is a restored sign from the Silver Slipper Casino. It is a 12-by-17-foot, three-dimensional high heel that originally sat atop the casino and symbolized the city’s commitment to preserving its historical main attractions. When it was first created, it featured over 900 incandescent bulbs and 80 bulbs on the bow. It was later relocated and now sits on a pole as part of the museum’s collection. When it was restored, specialists ensured its accuracy by analyzing photos from the 1950s and 1960s to determine the original blue color of the shoe. PHOTOGRAPH BY BRUNOCOELHO / SHUTTERSTOCK.COM • Top: The Circa Resort & Casino is a luxury, adults-only resort in Downtown Las Vegas, notable as the first new hotel in the area in 40 years. Its Stadium Swim® rooftop pool amphitheater and the world’s largest sportsbook are signature attractions. The resort also offers a variety of dining and entertainment options. PHOTOGRAPH BY KIT LEONG / SHUTTERSTOCK.COM

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Performer with Venetian style mask at the Carnevale experience festival in the Venetian Hotel in Las Vegas on July 16th, 2013. PHOTOGRAPH BY KOBBY DAGAN / SHUTTERSTOCK.COM • The Clark County Government Center in Downtown Las Vegas is a large complex offering various public services. Designed by Fentress

Bradburn and opened in 1995, its desert-inspired architecture features sandstone exteriors and geometric shapes reflecting Nevada’s landscape. It also includes a six-story administration building, commissioner chambers, a community facility, and an amphitheater. PHOTOGRAPH BY FAINA GUREVICH / SHUTTERSTOCK.COM • The statue of Augustus Caesar is seen in the lobby at the Caesars Palace Las Vegas, a luxury hotel and casino on the Las Vegas Strip in Paradise, Nevada.

PHOTOGRAPH BY TADA IMAGES / SHUTTERSTOCK.COM

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I fell in love once in Las Vegas. I will not name him. Some things deserve to be private, even now. He was older than I was, with a laugh like low thunder and hands that knew how to touch you without hurting. He wore a carnation every day. We danced until dawn in an empty lounge while the pianist played Misty just for us. We did not last, but we were real—for those nights, in that city, we were a movie. And that, too, is love.

People say Las Vegas is not romantic. They are wrong. It is perhaps the most romantic city of them all, because it asks you to believe—not in permanence, but in the moment. It is the place where a look across a roulette wheel means everything. Where a dress matters. Where a stranger buys you a drink and it changes your life.

It is not about the money. Never was. Money is the stage prop. What matters is what happens when the curtain lifts. The choices. The yeses. The surrenders.

I have watched women find themselves in Las Vegas—not in the casinos, but in the decision to do something wild. To wear something they’d never dared. To kiss someone they shouldn’t. To laugh louder than they’re supposed to. I once saw a widow from Connecticut win $10,000 at the slots and buy herself an emerald bracelet before breakfast. She told me, “I feel alive again.” And I believed her.

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he city is not for everyone. It is too bright, too fast, too much. But for those who get it— truly get it—Las Vegas is freedom in rhinestone form. It is champagne for no reason.

It is pink neon against a violet desert sky. It is silence at 5 a.m. in a suite that still smells faintly of perfume and dust.

And oh, that desert. People forget the desert. Las Vegas is not just lights and liquor. It is surrounded by something ancient. Drive twenty minutes and you are in red rock silence, the kind of silence that erases all falsehood. I once stood barefoot in the sand outside the city with my hair down and the wind in my teeth and thought: This is what it means to be a woman. Free. Vast. Untamed.

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14 The Venetian Resort Las Vegas is an Italian-themed luxury hotel on the Las Vegas Strip. It features replicas of Venetian landmarks, including a canal with gondola rides. With its sister property, The Palazzo, it’s one of the largest hotels globally. The resort boasts numerous suites, a large casino, diverse dining options by celebrity chefs, a spa, pools, and shopping at the Grand Canal Shoppes. It’s a popular spot for conventions and entertainment, including its connection to the Sphere.

PHOTOGRAPH BY MELISSA HERZOG / SHUTTERSTOCK.COM

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Las Vegas offers an extravagant luxury shopping experience on the Strip. Notable destinations include The Forum Shops at Caesars, known for its Roman-themed architecture and designer brands like Gucci and Versace. The Shops at Crystals at Aria features exclusive retailers such as Chanel, Dior, and Louis Vuitton. Wynn Plaza also offers high-end decor and fashion. For unique pre-owned designer finds, consider Reunited Luxury. P HOTOGRAPH BY KOBBY DAGAN / SHUTTERSTOCK.COM

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The Las Vegas Natural History Museum is a non-profit museum located in Downtown Las Vegas. It is dedicated to promoting understanding and appreciation of the natural world and sciences. It features exhibits on dinosaurs, marine life, mammals, and ancient Egypt, with interactive elements for all ages. A Smithsonian Affiliate, it also serves as a repository for fossils and artifacts. PHOTOGRAPH BY KIT LEONG / SHUTTERSTOCK.COM • Las Vegas boasts a truly spectacular fine dining scene. You can find exceptional restaurants showcasing diverse cuisines from around the globe, many featuring awardwinning, celebrity chefs. Experiences range from the luxurious French fare at Joël Robuchon to innovative, globally inspired dishes at places like Sparrow + Wolf. Expect impeccable service and unique ambiance, making for truly memorable meals. PHOTOGRAPH BY PIETRUSZKA / SHUTTERSTOCK.COM

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ou cannot live in Las Vegas forever. Not really. It is a place for chapters, for honeymoons

and holidays and getaways that turn into revelations. But if you have truly lived there— even briefly—it leaves its mark. I know women who left the city twenty years ago but still keep a jar of glitter in their drawer, just in case. I know women who return in dreams.

As for me, I stayed six months that first time. Long enough to learn. Long enough to lose. Long enough to love.

And when I left, I took only one souvenir: a photograph of myself in a red satin dress on the balcony of the Dunes Hotel, holding a martini and laughing with my head thrown back. The city behind me glows like a story that knows it is being told.

When people ask about Las Vegas, I tell them this: It is not a city. It is a mirror.

It shows you what you want. Sometimes it shows you what you fear. But it never lies.

And for women—especially women—it offers something rare and dazzling: the right to be a character. To walk into a room like a question mark. To be rewritten.

Las Vegas has changed, of course. The old hotels are gone. The showgirls are fewer. The style is slicker, more polished. But the soul of the city—the hum beneath the glamour—it’s still there.

And sometimes, on a lonely evening, when the light catches just so on a sequined gown, I swear you can still hear it.

That sound.

That call.

The echo of the dice, the clink of the glass, the voice of some long-lost crooner asking you to take a chance.

And if you listen closely, darling, you might just say yes. ■

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a Trace of Glitter

by Margaux Spinner

Spanish artist, sculptor and painter, Pablo Picasso (1881-1973) pictured smoking a cigarette as he examines one of his sculptures at his house near Cannes in France circa 1960. Versions of Picasso’s painting Les Demoiselles d’Avignon can be seen along with other works on the wall behind the artist.

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During Picasso’s Rose Period (1904-1906), he created numerous works like Head of a Woman (1905), featuring circus performers and artists. These works, like the Head of a Woman (Fernande), often depict his mistress and model Fernande Olivier, translating her features into the faceted, fragmented language of Cubism. In this bronze sculpture, light interacts with the planes of her face, suggesting movement and changing volumes. The work’s significance lies in being a key example of the emergence of Cubism and Picasso’s stylistic experiments with primitivism.

PHOTOGRAPH BY NIDAY PICTURE LIBRARY / ALAMY STOCK PHOTO

ablo Picasso, the elemental firebrand of 20th-century art, was less a man than a myth in motion, a tempest of vision and color, a force who did not so much paint as he did possess the canvas—make love to it, wrestle it, haunt it, exorcise its stillness with the volcanic energy of his mind and, through it all, always, always return to the source: the eye, the hand, the body, and the ineffable alchemy of gold. Born in Málaga, Spain, on an October day in 1881 when the light must have danced on the Mediterranean like a secret, Picasso seemed to arrive in the world already drawing, already challenging what the world believed a picture could be. His first words, it is said, were “pencil”—the myth beginning even then—and from the small hands of a prodigious child spilled line and form with unsettling precision. He grew up beneath the brush shadow of his father, José Ruiz Blasco, a painter and professor of art, but young Pablo outpaced him with the ruthless inevitability of genius, his talent like a lion in a parlor, impossible to ignore and entirely too wild to domesticate. By the time he arrived in Paris at the turn of the century—young, broke, hungry, and incandescent—he had already devoured academic tradition and spat out a style that would fracture the 19th century open and pull modernity through the crack.

Paris: the crucible of his transformation. Here he shed his Andalusian skin and stepped into the costume of the century’s greatest provocateur. Blue, then Rose, his periods were not merely phases of pigment but emotional states, evanescent and moody as the smoke curling up from absinthe in a Montmartre café. The Blue Period— spare, melancholic, haunted—was like a mournful dirge for the lost, the broken, the forgotten. Then came Rose, sweeter, tinged with romanticism and tinged too with the soft blush of circus tents and love-struck performers. But this was only the overture. In 1907, Picasso pulled art inside-out with Les Demoiselles d’Avignon, a brutal kaleidoscope of fractured faces and jagged bodies, its women staring back with the ancient, unyielding power of Iberian masks.

It was a scandal, a revolution, a riot in oil and flesh and geometry. Cubism had arrived, and Picasso, along with Georges Braque, split reality into planes, dissected it like a scientist with a razorblade of intuition. In Cubism, the world became angular and exploded into possibility. The colors dimmed to monochrome—sepias, charcoals, earth tones—but what shimmered in the cracks of those surfaces, what danced in the tension between abstraction and recognition, was the idea of gold—not yet literal, but metaphorical, a radiant inner logic, the gleam of reinvention.

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1 54 The Pinakothek der Moderne in Munich hosted a significant exhibition titled “Women - Picasso, Beckmann, De Kooning,” exploring the artists’ depictions of the female figure. This exhibition, described as one of the museum’s most expensive, featured a substantial collection of paintings by Pablo Picasso, Max Beckmann, and Willem de Kooning.

Curators aimed to move beyond clichés and showcase the multifaceted representation of women in their art. The show highlighted the women’s power, fascination, and their role as reflections of broader social and political issues.

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In Woman With A Blue Hat (1901), Picasso utilizes a vibrant palette, with warm orange and yellow hues forming the backdrop against the striking blue hat. However, the painting itself does not feature gold as a color in the composition. While some framed versions might include a gold leaf frame or a gold inner mat, the artwork’s color scheme centers on the bold contrasts of blue with orange and yellow. PHOTOGRAPH BY LANA RASTRO / ALAMY STOCK PHOTO • Opposite: Picasso’s 1937 painting, Woman in Hat and Fur Collar, depicts Marie-Thérèse Walter, his lover and muse. This oil on canvas artwork showcases his distinctive Cubist style, merging frontal and profile views of the face. It is celebrated for its dramatic color balance and expressive brushwork, demonstrating Picasso’s evolving style and exploration of emotional intensity through distortion. PHOTOGRAPH BY PHOTO 12 / ALAMY STOCK PHOTO

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1 58 In Still Life with Compote and Glass, Picasso uses rich yellows and golden hues to evoke light and warmth, reminiscent of the Mediterranean sunlight and ochre landscapes that influenced his palette. These colors also add symbolic depth, hinting at Spanish traditions and mimicking the luminosity of gold, a nod to Renaissance and Baroque artistry.

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icasso was not a man of stillness, not an artist content to labor in one style or even one mood for too long. Where others refined, he erupted. Where others polished, he shattered. In love as in paint, he was prolific, insatiable, dangerous.

Women flowed through his life like muses, models, obsessions, heartbreaks: Fernande, Olga, Marie-Thérèse, Dora, Françoise, Jacqueline—their names are history, their faces eternal, their bodies recast endlessly in line and shadow and light, sometimes tenderly, sometimes cruelly, but always through the lens of possession. For Picasso, women were both the canvas and the subject, the myth and the raw material. And through these relationships, through their chaos and fire, emerged some of his most complex works, emotional landscapes filtered through stylistic phases like Surrealism and Neoclassicism, filtered too through political tumult, for Picasso was never isolated from the world’s flame. Guernica, painted in 1937 in the aftermath of the Nazi bombing of the Basque town during the Spanish Civil War, is agony made manifest, a cry in black, white, and grey, massive and unflinching. No gold here, but the absence of it—the sacred color withdrawn, stolen, denied, as if even radiance had fled the horror.

But gold would return, inevitably, because for Picasso, gold was more than a hue—it was a language. Gold signified myth, memory, reverence. It was inheritance, both artistic and cultural, connecting him to the Byzantine mosaics of Ravenna, to El Greco’s altarpieces, to the icons of Spain’s religious past. In later works, especially post-war, gold began to surface with more overt intentionality, luminous and symbolic. It glowed in ceramics, radiated in engravings, shone in the lavish decoration of his Vallauris period. By the 1950s, when the artist settled into the sun-drenched South of France, gold emerged not as a symbol of wealth, but as an echo of the Mediterranean itself, of light on stucco, of ancient coins and shattered idols. In pieces like La Femme à la Montre or his various depictions of bathers and fauns, gold is the breath between lines, a whisper of the eternal. His sculptures, too, began to embrace the metallic luster—bronze and gold leaf catching sunlight like secret smiles. Gold became his nod to timelessness, to gods, to immortality.

For make no mistake: Picasso was obsessed with time. He fought it, flirted with it, toyed with it like a bullfighter with fate. He wanted to conquer death with productivity—his output staggering, obscene, volcanic.

Paintings, drawings, ceramics, lithographs, sculptures—tens of thousands of works, each with the signature hunger of the maker. And yet, despite the multiplicity of his styles, his work remained unmistakably his: bold, cruel, curious, endlessly inventive. Even into his eighties and nineties, he painted with the feverish urgency of a man half in love with dying and half convinced he could seduce eternity. His late works, often dismissed at the time, now gleam with a raw emotional honesty that feels almost childlike, unfettered by the burden of expectation. In these pieces, the color gold returns once more—not always literal, but felt, implied, in the glow of line and motion, in the assurance of someone who no longer seeks approval, only release.

Pablo Picasso died in 1973 at the age of 91, but death could not contain him. He is everywhere: in the museum halls where children gape at the geometric wildness of his women, in the textbooks that trace his ceaseless reinvention, in the auction houses where his works sell for sums so astronomical they might make even the master himself chuckle. But more than that, he is in the bones of modern art, in the DNA of every artist who dares to deconstruct beauty, who dares to paint not what is, but what could be. And somewhere, always, there is gold. The gold of legacy, the gold of genius, the gold of a man who understood that color was not just pigment, but philosophy. For Picasso, gold was not merely shine—it was substance, sun, seduction. It was Spain and myth and memory. It was a crown and a halo and a dagger.

It was the truth he never said aloud but always painted: that greatness must glitter, and glitter always leaves its trace. ■

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The Musée Picasso is a renowned art museum located in the historic Hôtel Salé in the Marais district of Paris, France.

It houses a vast and comprehensive collection of works by the Spanish artist Pablo Picasso, showcasing over 5,000 pieces including paintings, sculptures, drawings, ceramics, and prints. The collection was largely formed through donations from Picasso’s heirs. Notably, the museum holds the only collection in the world that presents Picasso’s complete painted, sculpted, engraved, and illustrated works, along with a detailed record of his creative process.

The museum also features Picasso’s personal art collection, which includes works by other notable artists like Matisse, Cézanne, and Braque. The Hôtel Salé itself is a magnificent 17th-century mansion, considered one of the most beautiful in Paris, adding to the cultural richness of the museum experience.

PHOTOGRAPH BY HEMIS / ALAMY STOCK PHOTO

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COMPLETING THE ELYSIAN CIRCLE

From powerful and motivational “Inspiring Woman” interviews that showcase the journeys of successful, influential, and exceptional women, to heartfelt stories of perseverance, courage, and personal growth shared by “Aspiring Women” striving to reach their highest potential, the Elysian Circle forms a vibrant and empowering community. It is through this dynamic blend of achievement and aspiration that the Circle becomes whole—a celebration of women at every stage of their journey toward becoming their very best selves. BY LAUREN BULLA

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ASPIRING WOMEN:

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Women Inspiring Women . . .

fter a decade of building a robust readership targeted to women aged 38 and above, ELYSIAN is entering a new chapter. The publication’s reinvigorated purpose aims to connect the dots between generations, creating tangible pathways for mentorship and community. Now, honing its energies toward a generation of younger, aspirational women—the publication engages a wider audience with different perspectives. New understandings, growth, and transference of knowledge by way of highlighting these younger voices, will be what unites and emboldens us.

Committed to connecting women, through curated content (print, digital and film) and creating purpose-driven change, ELYSIAN’s founder, Karen Floyd, built a unique ecosystem.

Designed to celebrate women, the publication highlights those who overcome and rise, take a road less traveled and, oftentimes, persevere through untenable odds. Their stories inspire.

From the beginning, the magazine selected aspirational young women as covers in an effort to partner their pursuits of career, personal growth, and creative achievement with inspirational women. Today the magazine is honing resources to expand its’ reach, creating opportunities between mentor and mentee in a way that is longstanding and emotionally viable. This additional focus aims to provide connections between those at the beginning of their journey, or already well into their careers—creating communities built upon shared struggles, success, and opportunities. This perspective aims to encourage women to learn from one another, allowing leaders to emerge regardless of age, experience, or discipline. “Women need to mentor women. Mentorship is about providing the emotional, mental, spiritual and sometimes financial support that women need to thrive. ELYSIAN is about really being there for the aspiring women, helping them grow, and ensuring they do not quit when the going gets tough,” said Dr. Christina Rahm when asked why she decided to champion the effort of growing the younger demographic.

Despite being more digitally connected than ever, that connection is artificial and, ironically, truly disconnecting is no longer an option. In today’s age of fast moving micro-trends and chronically online digital footprints, many struggle to find meaning. Women who have grown up in an era of constant internet access have faced heightened, more insidious criticism about everything, including their own beauty standards.

The results are new founded anxieties and challenges affecting their entire self-perception and well-being. With hyper-curation, comes false narratives. There is no perfect person. So, by presenting unrealistic carousels of only retouched photos or “fake” perfect moments, digital platforms like Instagram and TikTok have created an illusion. The viewer is led to believe perfection is both sustainable and exists. And because it does not, the result is a perceived failure and rejection, common experiences for aspiring women.

ELYSIAN is facing these challenges head on. With true leadership comes an inherent generosity, a passion for helping others realize their talents, aiding in overall success. “We hope to pave new paths . . . that will provide support, mentorship and empower the next and the next generations . . . so that the torch will be seamlessly passed,” says ELYSIAN publisher Karen Floyd.

After speaking with some of the aspiring women of ELYSIAN, it became clear that shared values of openness, community, and innovation are undoubtedly imbued throughout each of their early careers. With a mutual affinity for learning, they are always seeking new ways to interpret their surroundings and embrace opportunities toward unforeseen kinship. Instead of fixating on shortcomings they will inevitably experience, there is an understanding between them: The ability to refocus in moments of failure or rejection is integral to a successful career and bountiful life. In a world that pushes us to accept unrealistic standards of perfection and hyper-independence, an inclination to pivot in uncertain times is the antidote. ■

haley ELYSIAN Cover Model Winter 2020

HALEY HUDSON’S “Aspiring Woman” journey began five years ago when she was featured as the cover model for ELYSIAN’s Winter issue. Since then, she has become an interior designer known for blending timeless elegance with livable comfort. A Parsons School of Design graduate, she brings thoughtful innovation to residential spaces through her studio, Haley Hudson Design.

Inspired by mentorship and community, Haley champions collaboration over competition, crediting ELYSIAN for helping her embrace a generous, growthfocused mindset. She believes authenticity and vulnerability lead to meaningful connections and career success. Through setbacks and perfectionist tendencies, Haley remains resilient—viewing failure as a lesson—and encourages others to stay open, pivot when needed, and build a life rooted in creative purpose.

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aley Hudson is a residential interior designer, focusing on honing her craft as a small business owner. Her vision blends contemporary style with timeless design.

Working to create interiors that feel both as refined as they do attainable, she cements her personal style within the framework of effortless comfort. Haley’s work solidifies the notion that you do not have to sacrifice the feel of a cozy, livable environment at the expense of elevated materials, colorways, and decor. Haley Hudson Design studio is based in South Carolina, working with clients that are after functional yet quietly elegant furnishings, ornamented with decadent details that whisper luxury. The transformative power of thoughtful interiors in her practice was cemented by her education at Parsons School of Design, known for its excellence across disciplines. Therefore, her time at college firstly inspired this approach to design, embodying a fresh perspective. Haley is proud to take residential practicalities and turn them into something extraordinary. Her youthful perspectives bring fresh flair and innovative problem solving to the intricate and complex world of interior design.

Like many of us, Haley has directly benefitted from relationships she’s built with older, inspirational women. These connections have assisted in carving a pathway to understanding her own skill set, able to employ these lessons to benefit her career and life aspirations.

Joining ELYSIAN in 2020, she feels this empowered her to move forward with her own business and, therefore, expand her personal network of creative, professional women. Haley says, “Starting my career at ELYSIAN allowed me to see that when women come together, especially with their differences, we can actually rise so much higher,” she continues, “We’re not meant to compete with each other, we’re meant to come together and collaborate.”

Speaking further about the ways she acts on this sentiment, “I will enter any environment with the mindset of ‘how can I help?,’ ‘how can I give?’ and I think that always comes back in return.”

The more open you are to sharing connections, opportunities, jobs, and otherwise with others—the more those very things come ricocheting back in your direction. We’ve been fed the false notion that everyone is best off when they’re only looking out for themselves. It seems the aspiring women of ELYSIAN are among many who are actively choosing to shift the narrative.

When we go into spaces with a degree of earnestness, there is a risk of being underestimated or not taken seriously. This is the symptom of a hardened job market that previously established cutthroat mentalities and isolating perspectives over community morals. The aspiring women of ELYSIAN believe that, actually, the more authentically you arrive, the more comfortable others feel in doing the same. Haley touches on the fact that powerful women who are established in their careers are usually generous and willing to help. She stated, “When I step into a room where there is a woman who has a lot of success or is in a role of power of some kind, I find they’re the most generous . . . women who ‘sit with you’ on your level, speak and give you honest insight into their struggles . . . you find so much common ground with them.” Often false depictions of success platformed by social media, trick us into forgetting that when someone is outwardly successful online, they usually have an entire team of people behind them who helped support their journey. When women show up earnestly, Haley continues, “You’re able to truly see how they’ve gotten to that

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place and it’s through collaboration.” Those who often appear to live the most abundant lives, with successful careers online, are usually working with other people to curate their existences. The internet only shows us one side of this very complex coin. This is where rhetoric about building community in person and getting offline (in social media’s colloquial terms, “go touch grass”) comes from. Thus, highlighting the importance of reconnecting with a reality that isn’t born of blue light and doomscrolling.

Getting offline is necessary to build confidence and snap out of what many young women experience as imposter syndrome.

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his phenomenon is especially felt in today’s digital age as every single part of these many influencer personas, that women look up to online, are curated. Near achingly perfect. Additionally, until recent years, it’s uncommon to get vulnerable online—and rightly so. Inordinate amounts of criticism come from all sides, making it even scarier to be earnest in those virtual spaces. If you are to take a breath, and step into realtime in-person connection—it’s not all so scary after all. Haley says, “Women that I look up to are willing to give so much of themselves, specifically their time . . . It’s impacted me so much and I want to pass that on.” The catch here is when people take your kindness for granted, or worse—when they take advantage of it. What Haley and many others have realized is that moments of this will come, but you’ve got to rely on the positive experiences you’ve had to guide your perception. Most people are looking for avenues to understand authentic connection and organic career growth, as opposed to looking for the next person they can betray. It’s a fine line and takes some finessing in order to learn how to both “protect your peace” and look out for yourself while simultaneously remaining open.

There’s always a risk that people will take our kindness for granted at some point, but it is imperative that we do not let past wrongs jade us. Leading with fear and assumption inadvertently stunts your own growth and capacity for life-changing connections.

In some cases, a change of environment is what we need to grow—Haley grew up in Spartanburg which is a small town in South Carolina. Then she decided she needed a shake up, “I ended up moving to New York City . . . it’s two opposite environments… but it really did teach me to embrace relationships that maybe before would have made me uncomfortable.” When it comes to different career paths or life trajectories, it can sometimes feel as if the people we find ourselves surrounded by do not notch into our understanding of the world. More times than not, this could not be farther from the truth. On the sheer basis of being human alone, there will always be a connecting point. Haley says, “You would be surprised who you can find commonalities with,” she continued, “Where you stretch yourself, you stretch your perspective.”

Personally inflicted confirmation of what you lack can sometimes become a limiting variable as we meet new people. Haley says, “You have to learn how to show up in environments where people are very different from you, just being comfortable and seeking those environments where people are more successful than you.”

With the transference of knowledge and connection that can often be a positive result of social media, many are realizing that age is not the defining line of inherent wisdom or success. As it turns out, there is much to gain from either side of this relationship between many aspiring and inspiring women.

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IF WE ARE TO LOOK AT OUR ASPIRATIONS AS A CONSTANTLY MOVING GOAL POST AS OPPOSED TO A FINAL WAVING CHECKERED FLAG, IT MAKES THE PROCESS OF GETTING TO EACH NEW CHECKPOINT MUCH MORE SUSTAINABLE.”

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hen talking about her inspirations, she mentions the publication’s founder, “It’s an easy answer, she’s just such a generous woman, she’s always looking to connect women.”

Karen was candid with Haley about her personal journey with the magazine, giving her valuable insights about the journey to success, and how it often isn’t linear. It’s validating in one’s personal journey to hear that even the most successful people have hurdles to surpass. When she started ELYSIAN, Karen had been very open about her personal story in learning about the publishing world and its many interweaving parts. Haley continues, “She’s talked about how she didn’t have much knowledge of how to start a magazine… She approached it with an honest vision that you could really tell was from her heart.” It is paramount for young aspiring women to have the opportunity to learn about individual struggles and setbacks that those they seek inspiration from have experienced. A more common phenomenon—in the last few decades or so—has positioned women to become more radically vulnerable with strangers in spaces that may have previously cost them appearances or opportunities. Now, what we’re seeing is a cultural shift among young women, one that more commonly praises notions of openness as the way forward. Speaking further on this, Haley noted, “That’s how women can connect, just being honest with one another and being honest with our authentic selves.” In a world of many false notions of superiority, actually, the only currency that translates across industries, experiences, and aspirations is authenticity.

When it comes to chasing your aspirations and allowing them to turn into tactile dreams that you can build a life around, you’ll need to accept failure and rejection as part of the natural process.

In Haley’s journey of curating a brand and attempting to build a reputation for herself in the interior design industry, this is a common experience she’s had to accept. She remarks, “You just learn the hard way, you have to learn that ‘yes’ means 50 to 100 ‘no’s’ . . . you’ve got to get those nos to get the yes.” In moments of uncertainty, we see most people give up. The “in-between” if you will, is the most uncomfortable part of self-discovery and career progression. Having the initial idea, and the subsequent attainment of that goal are the most satisfactory parts. While the middle, when you don’t know how it’s going to happen or when, is the unavoidable—unsettling bit. Very commonly, without proper mentorship or guidance in place, it can become too much to take. This is where we see aspirational women defect to lesser desired opportunities that are presently ready to accept—

instead of pushing toward their harder-to-reach, most authentic dreams. If we are to look at our aspirations as a constantly moving goal post as opposed to a final waving checkered flag, it makes the process of getting to each new checkpoint much more sustainable. This way of guiding personal development is a tangible way of avoiding the woes of burnout and self-rejection.

As an aspiring interior designer, Haley feels her perfectionism can often get in the way—which is a common experience for young women with big goals. She says, “I can tend to be a perfectionist and want everything to be perfect. I was approaching friends and family, quickly trying to figure out ‘where do I find my place in the market?’ so I pivoted more into the digital space, targeting renters in that market.” Haley thinks that a way of evading the negative feelings of failure’s grasp comes down to figuring out ways to change the connotation. She thinks you must “learn to love it, and learn to see it as just a lesson.” The difficulty presents when we put all of our eggs into one basket.

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we channel every ounce of our creative energy into one project or one idea, there is a lot more room to become absolutely inconsolable if it isn’t accepted or doesn’t pan out the way we hope. If instead, we action a series of projects around the same idea or concept, the rejections which inevitably come will be much less likely to cut us off at the knees.

For example, if you have an idea for a brand partnership and were to email a singular company only to get rejected, it will be easy to conclude that the idea has no merit and, therefore, you should give up. Instead, if you were to take that pitch and submit it to hundreds of brands, surely one will come back with a positive reaction.

If it doesn’t, then it’s time to try again and submit to hundreds more. Or maybe it comes down to a revision, or getting another perspective from someone you trust, and then trying something else. Ultimately, each of these failures and rejections are much easier to navigate when you realize that these parts of creative and career development are a normal, necessary part of the process.

Haley continued, “Doubt is always going to come . . . facing that and realizing we don’t have to accept those thoughts—we can choose to be positive about the situation.” Discovering what doesn’t work, leads you faster to what does, and the same for learning about what you don’t like, as you’re quicker to determine what you do. If we spend our lives staring at the doors that close in our faces, we won’t have noticed all the ones opening down the hallway All you have to do is turn around and pivot. ■

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PHOTOGRAPH COURTESY KIMBERLY WORD

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ELYSIAN Cover Model Summer 2015

sarah SARAH HUNT, raised in rural North Carolina, grew from humble beginnings to become the first cover star of ELYSIANmagazine. Her early experiences as a wrestler and student shaped her resilience and dedication. After studying math and earning a master’s in data science, Sarah became a passionate advocate for mentorship, learning, and community. Influenced by her mother’s strength and Native American roots, she believes success is amplified through shared support. Sarah now leads a life rooted in curiosity, empowerment, and vulnerability, inspiring others to grow by embracing their unique paths and uplifting one another.

PHOTOGRAPH BY TODD KUHNS

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fter spending her first 12 years in a rural town in North Carolina, Sarah Hunt found herself engulfed in various depictions of success. Raised on values of resilience, purpose, and tenacity, she feels her growth is owed to the women who encouraged her from an early age to persevere and remain strong in moments of uncertainty, all with a fervor for life that could only be considered unwavering. After a happenstance meeting with ELYSIAN’s publisher, Karen Floyd, in a downtown retail operation in Spartanburg, South Carolina, Karen asked the young 15-year-old and her parents if Sarah would consider “sitting” for the first cover of ELYSIAN print magazine. At the time, Sarah was a competitive wrestler, navigating the commitments and difficulties she faced by dedicating a significant amount of time to practice and tournaments. Organizing between schedules ahead of the shoot was understandably difficult. Considering how young Sarah was at the time, it would be very difficult to understand how a cover would boost her sense of confidence and elevate her future goals. As the banner fluttered down the side of the building and eyes were transfixed on her, it all became clear.

Sarah finally realized what she had achieved at the launch event held at ELYSIAN’s headquarters on Main Street in downtown Spartanburg, SC. The debut cover was expanded to an oversized version, the poster came cascading down—inciting a ripple effect of tremendous expansion in Sarah’s personal trajectories. Before she knew it, her life would be forever changed.

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hough already a powerful moment of personal achievement, the magazine launch shifted the way that Sarah viewed herself, and the possibilities of her future. She says, “That moment marked the beginning of a limitless journey—one filled with opportunities waiting to be claimed. From that point forward, I never doubted my ability to accomplish what I set my mind to.” Sarah went on to be accepted at her top choice college, Clemson University. Earning a bachelor’s degree in mathematics, she would later go on to achieve a master’s degree in data science and analytics. Expertly showcasing that two things can be true at once—Sarah was praised for her natural beauty and simultaneously went on to commit to a life of learning, indefinitely expanding her worldview and developing meaningful community ties. After the magazine’s debut with Sarah gracing the cover, she has continued her affiliation with the magazine, going on to become an official member of the team. She expressed that, “None of this would have been possible without the extraordinary women who raised me, and the inspiring women I have been fortunate enough to meet along the way.” Having a positive role model or guide who can share similar experiences with you is invaluable, further establishing that ELYSIAN’s move to incorporate a younger audience’s perspectives into their work will push all audiences forward. If we are to seek more ways to connect, aid in each other’s struggles, and support the successes, we all soar to brand new levels of achievement we never previously never thought possible.

Though every one person is on their own path, our lives

inevitably interweave and what we realize is that much more can be achieved with a community-oriented mindset. This understanding of personal mobility allows hard maintained walls of isolation and gatekeeping to come down. It’s a simple analogy, but consider the meager ant: This insect is tasked with bringing food back to the nest—if it were to find a particularly large bounty, it is very unlikely this could be attained single-handedly. If you were, instead, to take a group of ants who are working together toward a collective goal (in this analogy the food is creative or career opportunities), they are able to move the piece seamlessly, and all at once. If operating from a scarcity mindset and taking off a small chunk, keeping the find hidden—the ant will eventually come to realize that the remnant of food, for all its’ worth, cannot be moved alone. It will either have to be chipped away at (reducing its impact/value) or abandoned entirely. In recent years, we have seen a surge of women come to occupy powerful positions, establish life changing career developments, and become community builders who are actively extending opportunities to newfound talent amongst women across industries. Sarah touches on this occurrence, “It would be super lonely to do it all by yourself,” she states, “If someone’s cup is empty and mine is overflowing, I’m going to pour into their cup.” If you take this metaphor about ants and consider it in the way that inspiring women have the chance to connect with and aid aspiring women, what we suddenly begin to see manifest is a mindset of abundance. Often young women are looked down upon as unable to understand the many complexities of life, told that “you’ll understand when you get older.” Sarah thinks that women would tremendously benefit, societally, if we moved to embrace a standard of being graceful with every woman you meet, regardless of age. This allows pathways for shared vested interest in growth and empowerment of others to take root—as opposed to individually looking out for oneself. There is so much more that can be achieved when we open ourselves to vulnerability and offer a hand to those who may be in need of assistance or guidance.

Sarah shares that she intentionally leads a life focused on expanding her worldview, dedicating herself to learning in an ongoing and tangible way. She says, “Being open to everything around you creates a happier life, ideas, people, new places. You can never really stop learning. I think when you continually strive for knowledge it just makes it easier to make connections.” Aspiring women are dedicated to learning about themselves as they reflect off the world around them, mentorship comes into play here as a mutual exchange.

An existence driven by the desire to learn is what will push our lives forward, dotted by achievements never previously envisioned for ourselves. Sarah continues, “You can never really stop learning, I just continually learn about new topics, whether it be my current job or not.” Enrolling this standard throughout her life, she believes, “If I’m 50 or 60 years down the road, retired, I’m still reading a new book. When you continue to strive for knowledge, it just makes you more palatable for society as a whole.” A person dedicated to understanding the differences between them and other people, either personally or creatively, is far more likely to expand. This openness dispels the likelihood of arbitrarily removing oneself from potentially beneficial scenarios and relationships due to fear of the

ELYSIAN “Aspiring Woman,” Sarah Hunt, from her original ELYSIAN cover shoot ten years ago.

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unknown. Seeking an understanding of the world is not only going to enliven your perception of the types of relationships you can build and benefit from, but also adjust your understanding of what achievement looks like for you, into new configurations.

With each commitment to new perspectives, you’ll be forced to diversify your definition of success—for the better.

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PHOTOGRAPH BY TODD KUHNS

hen it comes to the next generation of aspirational women, it seems the days of gatekeeping are slowly waning. Sarah Hunt says, “I’m more than happy to share, ‘this is exactly step by step how I got here’ . . . I feel some women think other women are threatening, I don’t really believe that. I think that other women are the people that will help us the most.” In a world that in many ways is still focused on uplifting men first, there are remnants of a time where women were in constant competition with one another, vying for limited seats at the men’s table. It takes active acknowledgement in order to remove these negative thought patterns that have become commonplace in spaces where women are seeking career growth. Much of the narrative has previously focused on women’s achievement, almost exclusively as a result of men’s success. Women of all generations are starting to realize that their story of personal achievement doesn’t have to hinge on someone else’s accomplishments. Rather they can carve their own path. A big contributing factor to Sarah’s ability to push through difficulties is the result of her mother’s guidance and influence over her life. Sarah shares, “I’m Native American and that culture is a matriarchy,” when talking about her mom who’s one of her biggest inspirations, “She had a bachelor’s degree, when I was born, but by the time I was 10-years-old she’d gotten a master’s and a PhD while raising two children on her own.” Sarah’s mother instilled a standard of flexible excellence from a young age, “She’s always pushed me to do my best.” Sarah recalled a memory, “One time in high school I cried because she found my report card. I thought she was going to be upset with me but instead she said ‘did you do your best? . . . then, that’s all you can do’.”

When it comes to mentorship, each of these aspiring women have had positive relationships with people who committed to their growth throughout their lives. Further proving that ELYSIAN’s move to support rising voices—already has roots.

When women support each other, their skills and offerings become amplified. Though many may not have a close tie to their mother or family members, there are so many other avenues that we can achieve meaningful mentorships. A necessary part of forming these foundations comes down to becoming comfortable with vulnerability. Many women still struggling

with this often have experienced unfortunate circumstances where their vulnerability was weaponized against them. It makes sense that many may feel wary of opening up emotionally, though what lies on the other side of earnestness is boundless understanding. In Sarah’s case, beginning her journey at college was not the easiest adjustment. She expressed, “I had a lot of suppressed feelings about things that happened in my life before high school, when I got to college it all hit me.” She continued, “I just wasn’t prepared for the type of work I needed to put in to be successful in college, so I didn’t do well my freshman year at all.” Sometimes it takes readjustment of our goals to achieve a better outcome than we’d planned. Sarah’s parents worked in higher education and, therefore, she had a set idea of what her college experience would look like. When she first started studying, “The plan was to do environmental science and get a doctorate in genetics . . . it’s so crazy that 18-year-old me was thinking that.”

When her experience hadn’t panned out as expected, she decided to change her major to mathematics. This was striking to her, “Somehow I landed on math, which is really crazy because my late father was the head of the math department at the college in the town I used to live in.” Sometimes unforeseen challenges lead us to exactly where we need to be. The common turn of phrase “everything happens for a reason” is employed in instances like this, but sometimes things are more complicated than that. Often what ends up happening is not always “for a reason” and rather we choose to “make the reason” as the only real control we have over our circumstances is how we choose to react. Having a solid support system is how women can effectively maneuver the ups and downs, while remaining active participants in their own lives.

This is not an uncommon experience for aspiring women.

Sometimes the personal goals and expectations we set ourselves become some of the most difficult barriers to overcome. Sarah notes that after navigating so many pitfalls throughout her life, she now occupies a more relaxed perspective, “When people ask me what I want to do, I say I’ll see how it goes.” Starting over can be very difficult but it can also be a necessary part of our personal process of growth. In Sarah’s case, it’s exactly what she needed to kickstart other achievements she didn’t know were ahead of her. Sarah shared that in college, though she didn’t experience direct mentorship, she found it through various relationships to women her age experiencing new struggles and similar difficulties. She says, “Freshman year was really tough for me . . . I didn’t really have mentors. I didn’t have my mom, so I turned to my girlfriends. We had the best group of friends. You could call on any single one of us.”

Having a mentor to help guide you away from negative and self-destructive tendencies, can make the difference between pursuing one’s dreams and leaving them to fizzle. ■

SOMETIMES IT TAKES READJUSTMENT OF OUR GOALS TO ACHIEVE A BETTER OUTCOME THAN WE’D PLANNED.” automne 2025 • l’édition doréee • readelysian.com •

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Ivy ELYSIAN Cover Model Autumn 2025

IVY MAE ANDERSON, a New Zealand-born, Australia-raised model and actress, rose to fame through early talent discovery and international modeling success. Known for roles like Amelia in Netflix’s To The Beat! Back 2 School, she’s also a travel-focused influencer and mental health advocate. Trained in acting, she now mentors young women, promotes authenticity, and challenges societal expectations. Ivy is currently writing a book on anxiety and pursuing neuroscience coaching to further empower and inspire others.

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orn in Auckland, New Zealand, Ivy Mae Anderson was raised in Australia. Ivy entered a state-wide talent search contest where she was initially discovered at the age of six. The model-turned-actress experienced international recognition as her modeling and cheerleading work began to overlap, bringing with it a variety of opportunities for career and creative growth. Working with brands like Rebel Athletic and Tourism Australia, she also has previously walked at New York fashion week. Working on Netflix’s 2020 show To The Beat! Back 2 School, she experienced her first acting role as Amelia. Ivy is well known across social channels as a travel-focused internet personality (@ivymaemae). Her young and expansive career is backed by training with Australia’s prestigious NIDA and Marnie Cooper School of Acting. Lately, Ivy has honed her focus on travel, where she shares cultural insights and perspectives when visiting popular international destinations. Some of her most palpable work centers around her efforts to inspire young women to grow into their confidence, pushing for more substantial and ongoing ways to manage anxiety. She also is working on her first book which aims to tackle this very topic, hoping to influence the next generation of young women to be braver, stronger, and more self-assured. In addition, she is currently working on her international qualification as a neuroscience coach with the ICAHP & IPHM—organizations focused on holistic health.

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ocial media can be a very difficult space to navigate for aspiring women and their peers.

Ivy offers a unique perspective as someone who not only has a large presence online, but utilizes it to expand her career prospects, which just so happen to focus on uplifting other women. As many young women with large platforms online tend to experience, Ivy can be misinterpreted and underestimated due to her occupation. When reflecting on this phenomenon she says, “What pushes me to be better, the most, is being underestimated—the opportunity to surprise others with my knowledge and experience.” Expanding on this she adds, “Because of my early success in social media I am quite often stereotyped and I enjoy that I can prove these assumptions wrong.” Based on her life of international travel and awe-striking modeling opportunities many may not realize that Ivy came from “humble beginnings.” Ivy says, “I’m not from a wealthy family, but I was dedicated at a young age to succeed in what interested me, which was modeling and acting.” She continues, “The success in my career has afforded me the opportunities to work and relate to many remarkable women from all ages and walks of life.” These relationships not only offered invaluable insights into the different lived experiences of other women, but allowed her to effectively learn how to support

her peers and seek guidance from those who inspire her.

As women we are always in a state of constant perception. Whether you venture into your city and meet people in real life, or expand your communities online, there will rarely be moments of being able to merely exist.

Especially with the advancements of social media, it is increasingly harder to avoid the infringement of society’s proclivity for restraining women and their sense of selfworth. From a very young age, external beauty is taught as an invaluable characteristic, above intelligence or innovation. The aspiring women of ELYSIAN’s tomorrow routinely prove that they can exist between realities.

Achievements and success continually arrive to them and their individual practices. Embodying grace and quick wit, there is something to be said about being able to turn false perceptions on their head. “A lot of people say they stand for something but rarely do they take action. What I admire about Karen is that she uses her platform to spread positive messages of hope and courage which uplifts not only women but everyone around her.”

When it comes to community and building meaningful relationships, Ivy shares that her greatest inspiration comes from witnessing transformation. “It’s is an invaluable skill, rising a level above give-and-take affiliations,” she says. “I find joy in helping others overcome obstacles.” Navigating connections from a position of authenticity creates avenues of opportunity. The energy you put into the community and mentor-style connections, comes back tenfold. The inclination to hold opportunities to oneself, in Ivy’s words, is “a common problem, it’s human instinct to gatekeep when you have fear that you will lose something.” Though we can make sense of the reasons which preclude this behavior—she instead objects, “I have always found that an outlook of abundance results in more opportunities and a mindset of fear and scarcity results in loss, not gains.”

The idea that sharing opportunities is a risk, often comes from a scarcity mindset and personal insecurities—be it a result of betrayal, imposter syndrome, or previous failures.

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vy tells ELYSIAN about her upcoming book which is designed to help young women overcome anxiety. “I aim to inspire others by being a relatable role model who embodies resilience and authenticity.” With the book, she hopes that the younger generation will be able to look to her as a beacon of insight into what it means to follow your aspirations to the fullest extent. Pushing past fears of not being good enough to see what lies on the other side of “what if ” is the only way to avoid stagnancy and lost opportunity. Ivy says, “My hope is to foster a positive exchange where the next generation feels empowered to trust in knowing that women, like myself, are future innovators and leaders that are worth mentoring and investing in.” One’s youth does not negate their valuable insights about life, she continues “I am often presumed not

Ivy in the Emirates and Türkiye, working in collaboration with the Shanghai La hotel chain and Go Türkiye tourism.

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to be capable due to my young age. I don’t believe any age should be a barrier. It is about mindset,“the ability to remain consistent in effort but open enough to pivot quickly when needed has always helped me succeed.” This sentiment harkens back to comments by Haley and Sarah, further cementing that learning how to accept failure, but always looking for ways to innovate around these circumstances, is what will ultimately create pathways toward success.

Despite having many meaningful relationships with very inspiration-worthy women throughout her life, Ivy says, “The first woman that comes to mind is my mother. If I could have half her wisdom in my life I will be very happy.” The relationships that aspirational and inspirational women are building become the guiding light away from these otherwise turbulent dynamics. Those whose insecurity overtakes better judgement and the unsavory impulse to degrade other women out of fear or scarcity mindset, appear. Instead, Ivy thinks “Building community is all about showing up authentically and offering opportunities for growth, a value I try to embody in both my personal and professional life.” As she began to see the ways the interweaving components of who she was could positively impact her surrounding community, she realized, “I create connection by sharing my knowledge, experience, and support. I invest time mentoring aspiring women in my industry, offering insights from my studies to help others navigate challenges.” This kind of unabashed shedding of ego in order to allow vulnerability to come to the fore of our connections is necessary on both sides. It is how aspiring women of the next generation will continue to learn their capacities for success, and do the same for others.

When we are able to shed the falsities of a culture that aims to keep women quiet, to themselves, and only looking out for those with their immediate understanding of the world, we reach previously unforeseen destinations in both our personal and professional lives. The biggest hurdle one must overcome is the arbitrary self-rejection that so many of us struggle with and never get the chance to name—as few talk about it. Often, before we receive an answer at all, many tell themselves “no” as a subconscious self-preservation impulse. This happens when the fear of rejection or failure becomes too great.

Depriving oneself of opportunities in this way could not be more of a disservice to the upward trajectory of one’s goals. These levels of human connection which, yes, include rejection are what help us ultimately determine where we want to focus our energy and how we learn to lead our lives. It is necessary that we break past barriers to information and knowledge as a result of mentorships with those older than us. Ivy says the generation above should, “Spend as much time as you can with the younger generations. There are so many mixed messages out there for young women. Current successful women need to share their wisdom. The flip side to that is young women offer new fresh perspectives to modern issues.”

Regardless of personal experience, background, or age,

we individually come to the table with different types of experiences and knowledge to share.

When talking specifically about community, Ivy shares her thoughts on what it takes to grow and create impactful professional relationships. She says, “For me, community is a cycle of inspiration by uplifting others. I’m continually inspired to grow, learn and give back.” You cannot have community in absence of circular relationships, with not at least one that is rooted in authenticity. In order to maintain reciprocal ties, a lot of this comes down to one’s ability to uplift others in moments of singular achievement, even when they are not celebrating anything. Watching others excel can feel like a personal affront. Suddenly, it’s easy to perceive yourself as sitting still, in opposition to someone else’s achievement. This again, is a natural inclination, we compare ourselves to others inherently and constantly. Though this is common, part of the personal development that is necessary in achieving authentic connection is not only acknowledging this—but in some cases sharing it. The ability to break down one’s own difficult emotions allows others to do the same, as a lot of these negatively charged reactions are not inherently bad. It, of course, is human to feel jealous, to feel left behind.

The important particularity here lies within one’s ability to healthily process it and not deflect onto other people.

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his comes down to a process of re-training the brain to not see other women as inherent competition. Rather, if we learn to understand any achievement across the community as positive, the whole network is suddenly better for it. In order to ensure that her community is tended to, “I show up for my community by listening, sharing my own journey and creating a safe space where others feel comfortable to communicate.” This connection is not limited to in-person interactions. When speaking about her online presence, Ivy says “I engage with my followers by sharing inspiration and beauty, sparking meaningful conversations.” When you uplift others in moments of growth, the same will boomerang back in your direction when your inevitable achievements arrive. In moments of self-doubt, will we let this consume us and negatively impact our actions toward others, or will we take responsibility for how we feel and shift away from it— choosing a more positive reaction instead? This process of self- reflection is integral toward getting closer to achieving one’s goals while emboldening others to do the same. In reality, we are all on individual paths toward success and no one journey looks the same.

Growth is not parallel despite the prevailing narrative.

The younger generation comes from a perspective of inherent innovation, where the “way we always do things” meets immediate questioning. The aspirational women of today hold an innate desire to grow and expand, merely maintaining is no longer good enough, and we can all learn from them. ■

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WHEN WE ARE ABLE TO SHED THE FALSITIES OF A CULTURE THAT AIMS TO KEEP WOMEN QUIET, TO THEMSELVES, AND ONLY LOOKING OUT FOR THOSE WITH THEIR IMMEDIATE UNDERSTANDING OF THE WORLD, WE REACH PREVIOUSLY UNFORESEEN DESTINATIONS IN BOTH OUR PERSONAL AND PROFESSIONAL LIVES.”

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mind&body

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Reflection on Addiction & Recovery

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’ A Woman s

BY NICOLE LANGLEY

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ddiction, in all its insidious forms, does not discriminate. It can seep into the quiet hours of motherhood, masquerade as glamorous rebellion in youth, or cloak itself in the sophisticated rituals of social drinking and weekend indulgences. For women, the narrative of addiction is not merely one of substances or habits—it is a deeply gendered experience, shaped by societal expectations, personal trauma, biology, and emotional labor. To break the chains of alcohol, drugs, or gambling is not only to reclaim one’s life from chemical or behavioral dependence, but also to reclaim identity, autonomy, and dignity in a world that often demands our silence.

The Seduction and Subtlety of Addiction

No one begins life intending to become addicted. For many women, the path toward dependency is not a sudden plunge but a slow, seductive erosion. Alcohol, for instance, often starts as a coping mechanism—just a glass of wine to take the edge off after a long day of parenting, caregiving, or navigating the relentless demands of a career. It’s marketed as selfcare, wrapped in pastel Instagram quotes and mimosa brunches. But gradually, that one glass becomes two, then three. The line between leisure and necessity begins to blur.

Drugs, too, are rarely introduced with malicious intent. A prescription for painkillers after childbirth or surgery can morph into something far darker. The numbing of emotional pain becomes indistinguishable from the relief of physical pain. And gambling—so often underestimated in its destructiveness—can begin as a harmless indulgence, an occasional thrill, especially when combined with the emotional high of temporary success or escape.

But it can swiftly spiral into compulsion, driven by shame, loss, and the illusion of control.

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For women, addiction is often bound up with silence. We are expected to maintain appearances, to nurture others even when we ourselves are unraveling. The shame associated with addiction is profound—particularly for mothers or women in caregiving roles. Admitting dependence feels like admitting failure, not only as an individual but as a woman. This societal expectation makes the path to recovery all the more treacherous.

The Intersection of Trauma and Dependency

It is impossible to talk honestly about women and addiction without acknowledging trauma. A staggering percentage of women with substance use disorders report histories of physical, emotional, or sexual abuse. Addiction becomes a survival mechanism, a way to dissociate from memories too painful to face sober. The act of using—whether it’s a drink, a pill, or a bet—becomes less about pleasure and more about escape.

This trauma is often compounded by the pressures of invisibility. Women are taught to perform resilience. We smile through exhaustion, minimize our suffering, and apologize for needing help. We are caregivers, nurturers, multitaskers.

When addiction enters the frame, it challenges every narrative we have about who we are supposed to be.

Breaking free, then, is not just about putting down the bottle or resisting the urge to gamble. It is about excavating the hidden wounds that fed the addiction in the first place. For many women, the process of recovery is a process of returning to oneself—of reclaiming buried emotions, forgotten dreams, and a voice that has too long been muted.

The Complexity of Recovery

Recovery is rarely linear. It is not a neatly staged process but a deeply personal and often chaotic journey. For women, it is further complicated by practical realities: childcare, financial dependence, lack of access to treatment programs tailored to female experiences. Many rehabilitation centers remain designed with male-centric models, failing to address the specific needs of women, such as trauma-informed care, childcare support, or domestic abuse services.

Moreover, the emotional labor women perform—both in families and in society at large—can make the recovery process even more isolating. There’s often guilt involved in prioritizing healing. Taking time away from work or family to attend rehab can feel selfish, even reckless. Yet, it is a necessary reclamation. Recovery demands not just sobriety, but space, time, and unrelenting honesty.

Twelve-step programs, therapy, medication-assisted treatment, spiritual practices—there is no single path that guarantees success. What matters most is the creation of a life in which addiction no longer has the final word. This may involve building new relationships, establishing healthy routines, and cultivating emotional resilience. It almost always involves confronting uncomfortable truths and learning, often painfully, to sit with feelings without numbing them.

The Role of Connection and Community

Isolation feeds addiction. Connection heals it. This is particularly true for women, whose social bonds can either sustain or sabotage recovery. Shame thrives in secrecy; it begins to die when exposed to the light of empathy. Women’s recovery groups—spaces where stories are shared without judgment—can be profoundly transformative. In such circles, we are reminded that we are not alone, that our pain is not unique, and that healing is not only possible but collective.

These communities dismantle the myth of the “perfect woman”—the one who manages everything effortlessly, never falters, never needs. In their place emerges a more honest archetype: the resilient woman, the one who has stumbled, fallen, risen, and continues to rise. Recovery, in many ways, is a radical act of self-love in a culture that often equates a woman’s worth with her utility.

Online support networks, women-led recovery podcasts, literature, and even art become avenues through which healing can be imagined and enacted. By telling our stories, we shift the narrative from shame to strength, from secrecy to solidarity.

The Longing for Wholeness

At its core, addiction is a longing—for wholeness, for peace, for a way to silence the inner cacophony. Breaking addiction, then, is not just about willpower; it’s about learning to meet that longing in healthier, more authentic ways. For many women, this means addressing old wounds, reimagining identity, and rediscovering passions and joys that were lost in the haze of dependence.

It may mean dancing again, painting, running, writing, singing, or simply sitting quietly without needing to escape the moment.

It means learning to forgive oneself, not as an act of absolution but as a step toward freedom. And perhaps most of all, it means recognizing that recovery is not a destination but a continual act of recommitment.

The Woman in the Mirror

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I write this not as an expert or clinician, but as a woman who has stood at the edge of herself and chosen, again and again, to return. I have seen the devastation addiction can wreak—not just on individuals but on families, friendships, and futures.

But I have also seen the quiet triumphs: the first sober morning after months of darkness, the trembling decision to walk into a meeting, the courage it takes to say, “I need help.”

There is no shame in falling. The shame is in pretending we haven’t. In the end, addiction is not the opposite of strength.

Silence is. And breaking addiction, in all its forms, is perhaps the most courageous act a woman can undertake—not just for herself, but for every other woman who thinks she is alone in her pain.

In the mirror, I no longer see a woman defined by her addiction. I see someone in recovery—not just from substances or behaviors, but from a lifetime of silencing herself. And that, more than anything, is worth fighting for. ■

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philanthropy

HEARTS THAT HOLD the HARDEST STORIES

BY TOBY MAXWELL

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TO WAIT IS NOTHING— BUT TO WAIT IN SILENCE IS UNBEARABLE.”

remember, when our men and women in uniform vanish into the mists of captivity or imprisonment, it is not only their own hearts that ache, but also those of the families left behind. In that aching space, philanthropy finds both purpose and passion. It is the courage of women—the wives, the mothers, and the daughters—and the resilience of their children that breathes life into movements that demand justice, accountability, and healing.

A Legacy Forged in Grief

In 1966, Sybil Stockdale and a few Navy wives gathered around kitchen tables in California to form what would become the League of Wives. At a time when families of POWs were expected to remain silent, these women raised their voices. They organized press conferences, met with lawmakers, and demanded answers. That grassroots activism helped spark the founding of the National League of POW/MIA Families, and their efforts continue to echo in every black-and-white flag flying across the United States.

Today, that legacy is carried forward in a new and urgent context. In Ukraine, where war has shattered lives and displaced millions, the Women of Steel—wives and mothers of the captured Azovstal defenders—are writing a new chapter of courage. Each week, they gather in Kyiv’s central square, holding photos of missing loved ones. They speak to international press, meet with officials, and refuse to let their stories fade. “I speak because my daughter deserves to know I tried,” said one young woman, Mariia, whose husband remains in Russian custody. Their strength mirrors that of their American predecessors—grief harnessed as fuel for justice.

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—SYBIL STOCKDALE CO-FOUNDER OF THE LEAGUE OF WIVES

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The Children They Fight For

Behind every captured or fallen soldier stands a family—often children too young to understand the depth of their loss, but old enough to feel it. War leaves them vulnerable, and the support they need goes far beyond words of sympathy.

In Ukraine, the nonprofit Save Ukraine has helped reunite hundreds of deported children with their families. Led by former children’s ombudsman Mykola Kuleba, the organization also provides housing, therapy, tutoring, and care at its Hope and Healing Centers. Each mission to retrieve a child is high-risk and highimpact, and each backpack handed to a returning child—filled with essentials and comfort items—is a quiet gift of dignity.

In the United States, Foreverfamily has long been focused on children impacted by incarceration. Based in Atlanta, the organization runs child-friendly prison visit programs, afterschool enrichment, and mentoring efforts designed to keep families connected and children confident. Their message is simple and profound: when a child’s parent is gone, the community must step in.

Education as Restoration

Few investments are more transformative than education. And for children who have experienced the trauma of parental loss through imprisonment or war, access to school and college can provide both stability and purpose.

ScholarCHIPS, founded by Yasmine Arrington, provides scholarships and mentoring for students with incarcerated parents.

Ava’s Grace, based in the Midwest, and Give Something Back, which has awarded more than $35 million in aid, are also helping young people rewrite their futures. The Creative Corrections Education Foundation, UNCF, Jack Kent Cooke Foundation, Gates Millennium Scholars Program, and Sallie Mae’s Unmet Needs Fund form a broader safety net, making sure that no student with promise is left behind because of a parent’s absence.

In Ukraine, that commitment is reflected in the Heart of Azovstal initiative, created by philanthropist Rinat Akhmetov. It supports children of severely wounded or captured soldiers through therapy, housing, and university tuition. More than 22,000 acts of support have already been delivered—from prosthetic fittings to school grants.

These are not mere statistics; they represent lives being gently mended.

When War Comes Home

Some children are left behind not by imprisonment, but by death in service. The Special Operations Warrior Foundation provides cradle-to-career education for the children of fallen Special Operations personnel, along with mentoring and academic coaching.

One graduate described it as “a silent partner in everything I did.”

Semper Fi & America’s Fund offers broad family support— caregiver resources, housing assistance, medical help, and youth programming. Last year alone, the fund served more than 11,700 service members and relatives. Their approach honors service with service, ensuring no family has to navigate loss alone.

Quiet Advocacy, Lasting Impact

While dollars fund the immediate needs of children and caregivers, advocacy ensures long-term change. The International Committee of the Red Cross (ICRC) continues to work behind the scenes to gain access to POWs and monitor their treatment under international law.

The National Alliance of Families for the Return of America’s Missing Servicemen presses for accountability and recognition, reminding lawmakers that “unaccounted for” is not an acceptable end point.

These advocacy organizations—quiet, persistent, and often led by women—make it clear that philanthropy is about more than generosity. It’s about bearing witness and demanding better.

A Community of Givers

Much of the philanthropic momentum in this space is driven by women, not only as donors, but as founders, mentors, and organizers.

Giving circles, book clubs, community networks, and virtual fundraisers have become powerful engines for change. They allow individuals to pool their resources and focus their giving on targeted efforts: a scholarship fund, a trauma counseling initiative, a child’s journey back to school.

Groups like Partners in Hope USA extend this spirit globally, pairing donors with children of incarcerated parents in Uganda and supporting education, faith development, and counseling. It’s one more example of what happens when people come together with both heart and strategy.

Why It Matters Now

In Ukraine, more than 7,500 soldiers remain unaccounted for.

Tens of thousands of children have been displaced or separated from their parents. In the United States, nearly six million children have experienced a parent’s incarceration. These are not abstract statistics.

Each number represents a child who may need tutoring, a mother waiting on word, a teenager wondering if college is still possible.

Philanthropy may not be able to undo loss, but it can change what comes after. It can make the return home less lonely. It can turn trauma into growth. It can say, in ways both quiet and bold, you are not alone.

A Living Quilt of Compassion

The League of Wives, the Women of Steel, and the countless organizations working today all form part of a larger, enduring story. It’s a story stitched together with letters, scholarships, therapy sessions, welcome-home banners, and care packages. Every act of giving becomes a thread in this living quilt—a quilt made not only of sorrow, but of strength.

When we choose to support these women and children, we’re not just responding to tragedy. We’re investing in the resilience of families, the restoration of futures, and the belief that love and community can outlast even the deepest loss.

Let that be our contribution. Not charity, but solidarity. Not sympathy, but sustained commitment. And above all, the hope that, one day, no child will have to grow up wondering if someone remembered. Because we will. ■

Ukraine: For the Children. Released in 2024, this documentary shifts focus to the children of Ukraine—those most vulnerable in the ongoing conflict.

Inspired by a powerful mural in Kiev depicting three pairs of hands—symbolizing the protection of children—the film underscores the importance of Ukraine’s future, which Floyd believes rests with the nation’s children. Ukraine: For the Children – which so far has garnered an impressive 25 international film festival awards – held its European premiere in Rome in conjunction with the World Changers Ethical & Innovation Summit at the Vatican in November 2024, where it was used to spark critical discussions about the role of women in conflict prevention and peacebuilding.

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back story

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LYSIAN’s 10th anniversary celebration, The Sky’s the Limit, was nothing short of extraordinary. Over two unforgettable days, the brand’s hometown of Spartanburg, South Carolina, transformed into an exclusive hub for female thought leaders, business innovators, and philanthropists from around the world. The festivities began with a dazzling couture fashion show by Merci Dupre Clothiers, where luxury met purpose in support of the Spartanburg Humane Society. Guests were treated to an intimate screening of ELYSIAN’s awardwinning documentary Ukraine: For the Children, highlighting our commitment to global change.

As the evening unfolded, the 10th anniversary issue of ELYSIAN was revealed, a testament to the magazine’s legacy of curating the world’s most inspiring voices.

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ay two featured an immersive retreat, sparking transformative discussions around leadership, success, and the power of women supporting women. Many left the day with new friendships that will last a lifetime. ELYSIAN’s expansion to include both Inspiring and Aspiring Women marked a thrilling new chapter in our story, demonstrating that ELYSIAN isn’t just a brand—it’s a movement, connecting women to create a future where there are no limits. ■

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Glamour took center stage as stunning models in luxurious Merci Dupre creations dazzled the runway at the ELYSIAN 10-Year Anniversary celebration and magazine launch at Spartanburg Downtown Memorial Airport. Guests were warmly welcomed by chic hostesses dressed as flight attendants, setting the tone for an unforgettable evening. Bottom row, third photo: Karen Floyd, ELYSIAN’s Founder and Publisher, shares a moment with Dr. Christina Rahm. Day two of the celebration unfolded with ELYSIAN Connects, a dynamic event sparking conversations around leadership, success, and the next chapter for ELYSIAN. Bottom row, left: Pamela Evette, South Carolina Lieutenant Governor, takes the stage as a guest speaker.