ELYSIAN Winter 2021/2022

ELYSIAN Women Inspiring Women

DISPLAY UNTIL MARCH 1, 2022

WINTER 2021/22

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Back Study Gray Oil on Canvas 40h x 30w in

By Catherine Woskow

764 MIAMI CIRCLE, SUITE 132 ATLANTA, GEORGIA 30324 (404) 352-8775

www.pryorfineart.com

Torso Frontal Mixed Media on Museum Board, 2020 39h x 20w in

By Catherine Woskow

1969 est.

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www.tirolergoldschmied.it South Tyrol - Italy

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the art of refinement diamond-studdet falconhoods

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MANIFOLD PLISSÉ GOWN

A transparent oker and grey organza are half-wheel plissé-ed and draped into each other with fine brass lines, unfolding into voluminous twists curling around the body.

PHOTOGRAPHY BY MOLLY SJ LOWE

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Une Hypnose Hivernale We take a peek into Dutch fashion designer Iris van Herpen’s futuristic, darkly fantastical aesthetic.

BY SAMANTHA PAIGE

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Ingrid Bergman

BY LAURIE BOGART WILES

FEATURES

The Legend of the Nián

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The customs and traditions of the Chinese New Year.

BY SU WONG JONES

The Winter Horse

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The pride of Iceland. BY HUNTER HOLLIDAY

Inspiring Women Cathy Bissell page 138 Jean Shafiroff page 150 INTERVIEWED BY KAREN FLOYD

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The dog in art. BY VERITY GALSWORTHY

architecture Stark shades of winter. BY CHRISTY NIELSON

DEPARTMENTS

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home&garden

54 food&dining A tribute to the Christmas tree. BY PEARL LUSTRE

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The perfect setting. BY EMMA McCRACKEN

mind&body The wellness of having cats. BY DAINA SAVAGE

164 heritage &traditions Celebrating Hanukkah through tradition, food & light. BY MARCY DUBROFF

philanthropy

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Hélène Grimaud: Bach, Bartok, Mozart & wolves. BY CORDELIA LEAR

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my U-turn

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The heart never strays. BY KIMBERLI SCOTT AS TOLD TO ELYSIAN

back story / the cover

Cover model Jean Shafiroff wearing a gown (not shown) by Oscar de la Renta.

Photographed by Michael Paniccia with hair and make-up by Melissa Morse

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shopping

Puppy love. BY SINDIE FITZGERALD-RANKIN

E publisher

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

Ryan Stalvey

executive editor

Laurie Bogart Wiles chief media director

d i g i ta l m a r k e t i n g m a n a g e r

Cindy Bogart

e d i t o r - at - l a r g e

Ruth Sherlock

editorial director

Rita Allison

director of web design

&

development

Elliot Derhay

s o c i a l m e d i a d i g i ta l d i r e c t o r

Kristin Streetman

social media specialists

Haley Hudson, Andrea McHugh e ly s i a n i m pa c t d i r e c t o r o f p h i l a n t h r o p y

Kelly Nichols

women inspiring women

Karen Floyd

inspiring women editor

Hannah Shepard

contributing writers

Marcy Dubroff, Verity Galsworthy, Hunter Holliday, Pearl Lustre, Su Wong Jones, Cordelia Lear, Emma McCracken, Christy Nielson, Samantha Paige, Sindie Fitzgerald-Rankin, Daina Savage

copy editors

Nancy Brady, Monya Havekost, Diane High, Hadley Inabinet c o n s u lt i n g e d i t o r

Jason Spencer

d i g i ta l s a l e s d i r e c t o r

Michael Uhrinek

advertising director

Nancy Cooper

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

Greg Wolfe

post-production editor

Elise Rimmer

post-production graphics

Ty Yachaina

C h i e f D i g i ta l P r o j e c t s D i r e c t o r

Cory Loken

S p e c i a l P r o j e c t s C o n s u lta n t

Adam Piper

special projects

Jackson Ellett

contributing photographers

Michael Paniccia, Tanya Ptitsyn, Nathan Roe, Cassi Sherbert

stylist

Olga Bailey

comptroller

Anna Christian

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ELYSIAN Magazine is published four times per year by Palladian Publications LLC, 113 W. Main St., Spartanburg, SC 29306.

For subscription information, call 888-329-9534; visit subscriptions@elysianservice.com; mailing address: Subscription Service, Elysian Magazine PO Box 2172, Williamsport, PA 17703 All rights reserved. Printed in the USA.

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At ELYSIAN, pets are as important around our offices as they are at home. Diane High (top) gives office dog Roc a biscuit. Creatorin-Chief Ryan Stalvey with his dog and Editorial Assistant, Yogi. Kristin Streetman has a cuddle with the office cat, Boo, and there’s Roc again with his owner, Becky Kerr, our office administrator. It’s a fact that pets make our lives better. But can they make us work better? You betcha they do. PHOTOGRAPHS BY CASSI SHERBERT

Rob Springer

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DO NOT LET ANYBODY TELL YOU HOW TO LIVE YOUR LIFE. IF YOU HAVE A PASSION, YOU NEED TO GO WITH YOUR PASSION AND DO WHAT YOU FEEL IS BEST FOR YOUR LIFE. BECAUSE NOBODY ELSE CAN TELL YOU HOW TO LIVE YOUR LIFE.” —CATHY BISSELL

ets and holidays trigger endless emotions . . . making this issue one of my all-time favorites. I immediately think of my favorite dog poem by Rudyard Kipling, The Power of the Dog, and my favorite holiday movie, It’s a Wonderful Life.

Kipling laments, “Buy a pup and your money will buy, love unflinching that cannot lie. There is sorrow enough in the natural way, from men and women to fill our day. So why in—Heaven (before we are there), should we give our hearts to a dog to tear?”

And my favorite line in It’s a Wonderful Life: “Strange, isn’t it? Each man’s life touches so many other lives. When he isn’t around, he leaves an awful hole, doesn’t he?”

Though seemingly different, the poem and film share a common theme, something that I think about often.There are uncalculatable risks involved in living and loving completely. Yet, when everything is said and done, it really is all that matters.

ELYSIAN’s brand focuses on women over the age of 40 who understand that life is fleeting and today is a gift.This issue marks two areas that allow the reader to share in the quest to love and live completely. Whether through animals or family and friends during the holidays, in this season of gratitude, my wish is that we might all love with passion and live with intention.

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With love,

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Karen Floyd Publisher

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PHOTOGRAPH BY CASSI SHERBERT

he unconditional love of a dog is captured through an artist’s eyes in the beautiful works that illustrate our opening feature, “The Dog in Art,” and the healing influence feline friends have over their owners is celebrated in “The Wellness of Having Cats.” Then, there is a certain majesty that touches the human spirit in the beauty of wild things, such as the Icelandic horse we celebrate in “The Winter Horse,” and the forceful dedication of renowned international concert pianist Hélène Grimaud to endangered wolves as founder of the Wolf Conservation Center in New York. And Kimberli Scott’s lifelong quest, to embrace stray animals with love and a forever home, is the common heartstring that ties our Inspiring Women, Jean Shafiroff and Cathy Bissell, who both are owned by adopted dogs, to stand at the helm of canine rescue and adoption agencies to actively further the cause.

Surrounding ourselves amongst family and friends—whether we celebrate Christmas, Hanukkah, or the Chinese New Year—is not only a time of joy and gratitude, but it is the time when we can refuel our love from the strength we gain from the love we give and share. Fashion is the outward expression of our inner selves, the view we give others that reflects that which is within, and the holidays allows us to shine the brightest, as Iris van Herpen’s extraordinary haute couture singularly expresses with her unique vision. Likewise, there is creative expression happening at one of Copenhagen’s most avant garde restaurants, Geranimum, where every dish is a work of art. And finally, there is the artistry of one of motion pictures’ greatest actresses, Ingrid Bergman, whose life held as much drama as any of her performances.

And so, we at ELYSIAN have ventured to capture in this issue the inspiration that comes from deep within—the love of a dog to sustain our spirt, the inspiration that fuels creativity and the holiday spirit, the spirit of faith, and of love.

So love: love completely, passionately and with intention. Most of all, love no matter what the risk, knowing that the rewards always ever are so much greater.

It is in this spirit, filled with gratitude, that the ELYSIAN family joins me in wishing you the joy of the holiday season.

STANLEY KORSHAK

SYLVA & CIE

WWW.STANLEYKORSHAK.COM

art&history

Deux Chiens de Chasse Lés à Une Souche (Two Hunting Dogs Tied To A Stump)

by Italian painter Jacopo Bassano. This remarkable 16th century painting is part of Louvre Museum in Paris’s monumental collection of historic and important paintings.

The dog in art

BY VERITY GALSWORTHY

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Beauties Wearing Flowers traditionally attributed to Tang Dynasty painter Zhou Fang Court.

The full horizontal scroll portrays five palace ladies and a maidservant amusing themselves in a garden scene. In the first section (here), two court ladies play with an adorable dog, one teasing it with a duster.

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The og in art is as old as time immemorial.

Ancient rock art discovered in caves on the Arabian Peninsula, dating more than 8,000 years, depicts hunters leading dogs on leashes. A dog mosaic was found in the House of the Tragic Poet, in Pompeii—preserved, amazingly, in volcanic ash for centuries after Vesuvius erupted in AD 79 until the Italian city was rediscovered in the 18th century by archeologists.

Dogs in art in Renaissance Italy often were depicted in portraits commissioned by—alongside their devoted masters or mistresses—and painted by such illustrious artists as Titian, Ucello and, in Holland, the Flemish master Pieter Bruegel the Elder, who famously made sporting dogs the subject of his famous painting, Hunters in the Snow. Spanish artist Francisco Goya, French artist Edouard Manet and Norwegian Edvard Munch, painted dogs. British artists of the 18th and 19th centuries were the best at depicting dogs in art—George Romney, among the countless, famously painted his portrait, Lady Hamilton (as Nature).

George Stubbs and Sir Edwin Landseer were chief among animal artists and, magnificently, Maud Earl, whose father,

uncle and half-brother were also painters of great repute who were specifically known for painting dog portraits. In modern times, there was Winslow Homer, Norman Rockwell, Picasso, David Hockney, Andy Warhol and then, of course, there was Charles Schulz, the creator of the most famous dog of all in (cartoon) art: Snoopy.

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is fascinating to study the dogs that are depicted in art.

These days, standards for purebreds are maintained and carefully registered by the American Kennel Club and, in Great Britain, the United Kennel Club, as well as breed clubs throughout the world. It is, therefore, interesting to note that the American Kennel Club was not founded until 1884 and the UKC 14 years later, in 1898. The magnificent portrait of legendary French stage actress, Sarah Bernhardt (1844-1923), depicts her with her Borzoi. The Borzoi is classified as a sighthound, a fast-running hunting dog bred to track, course and capture fox, boar, hare—and famously, wolf, which is why the breed is also known as the Russian Wolfhound. Its lineage has been traced to 1260 AD, when the Borzoi originated from a cross between a Saluki type dog and a native Russian breed, though the first written description does not appear until 1650.

No matter, this is one of the most elegant, aristocratic dogs— to the extent that after the Russian Revolution, many Borzois were slaughtered because of the breed’s association with the Czars. Some few were sequestered away in isolated kennels and exported to perpetuate the purebred line—most notably

by Mr. Joseph B. Thomas who, when he discovered their existence wrote, “Little did I realize at that time what my fortune was to be. I sent telegraphic requests to visit them (the kennels) which brought favourable replies, in one case, from M. Dmitri Walzoff, who is ‘chef du comptoir’ to the Grand Duke (Nikolai Nikolaivitch). The Borzois acquired by Mr. Thomas produced Champion Rasboi O’Valley Farm, which went on to win Best of Breed at Westminster Kennel

Classical oil painting from the Prague school, Pair of Xolo Dogs, as it is known, features the rare spotted version of the Xoloitzcuintli, one of the oldest recorded breeds of dog in the world, and sacred among the ancient Mesoamerican tribes.

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Opposite: Portrait of a Lady with a Dog by Lavinia Fontana.

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Brown and White Norfolk or Water Spaniel by George Stubbs, painted in 1778. All spaniels were originally regional breeds that, until the formation of the AKC and UKC and the establishment of breed standards, continued to evolve as breeders strove to achieve a dog that excelled in the job they were bred to do. These “lines” developed as breeds were intercrossed to bring out the best and strongest attributes of both. As a result of this progression, certain breeds depicted in art are now considered extinct, though in point of fact, they are forebears of a modern breed.

Such is the case with the Norfolk, or Shropshire, Spaniel.

Deemed extinct since 1903, the breed was a cross of the Sussex Spaniel and a line of curly coated water spaniels.

PHOTOGRAPH BY HERITAGE ART/HERITAGE IMAGES VIA GETTY IMAGES

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A portrait of two sisters seated in a landscape with their pet dog from the Circle of Sir Thomas Lawrence (British, 1769-1830).

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Below: An 1875 portrait of a small dog

by Hermann Gustav Simon.

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Opposite: Portrait of the French stage actress Sarah Bernhardt—born Henriette-Rosine Bernard—with her Borzoi, painted by Georges Jules Victor Clairin.

PHOTOGRAPH BY LEEMAGE/CORBIS VIA GETTY IMAGES

Club, four years in succession. Lady With a Dog was painted c. 1595 by Italian painter Lavinia Fontana, a Golognese Mannerist painter who is regarded as the first female career artist in Western Europe. So popular was her work that her husband served as her agent (besides serving her with 11 children). She is acknowledged as the first woman artist to paint female nudes at a time when it was socially unacceptable for women to be exposed to nudity; had it been proven that she used nude females as models, her reputation would have been ruined. It never was and, as a result, she gained the patronage of Pope Gregory XIII and subsequently appointed Portraitist in Ordinary at the Vatican—the first woman to hold that hallowed position. The puppy in the portrait appears to be a type of setter.

A Spaniel, painted by Dutch artist Paulus Potter in 1653, is very likely a Drentsche Partrijshond, a favorite hunting dog throughout the Netherlands.

This versatile breed that comes from the Dutch province of Drenthe was bred to hunt partridge. The breed is believed to be a mix between the Small Münsterländer of Germany and the Epagneul Français of France.

The precious Portrait of Alida Christina Assink, by another Dutch painter, Adam Kruseman, painted in 1833, shows the child with her Cavalier King Charles Spaniel. One of the most beloved of all breeds, this small, shortlegged spaniel was effectively bred to chase small game, such as rabbits and hare, because of its incredible speed and ability to flush ground game and wild birds. So loving, personable, and cuddly are Cavaliers that they were popularly owned by aristocratic British ladies, who carried them on their laps on wintry carriage rides for their warmth and companionship. Called “comforters,” one regal lady in particular had Cavaliers throughout her long life and from childhood—Queen Victoria, whose first was famously named Dash and, as she professed, was her only friend and companion in those lonely years before she ascended to the throne of England.

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MY LITTLE DOG— A HEARTBEAT AT MY FEET.” —EDITH WHARTON

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From the English School of the late eighteenth/ early nineteenth century, this portrait of a young girl, seated in a landscape with her pet dog, is thought to be the Honorable Mary Legge, afterwards wife of John, 2nd Lord Sherborne.

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Opposite: A Girl with a Cavalier King Charles Spaniel by Carl Reichert, the son of reknown Austrian animal and portrait painter Heinrich Reichert. Carl, born in Vienna in 1836, was to follow in his father’s footsteps and become a painter of genre and town scenes. But he is most famous for his paintings of dogs and cats.

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is not so easy for the writer as it is for the artist. To paint a dog in words is a challenge many have ventured but few have succeeded in meeting. The only one to come close, I maintain, was the English writer Rudyard Kipling (18651936) in his poem, The Power of a Dog. There is sorrow enough in the natural way From men and women to fill our day; And when we are certain of sorrow in store, Why do we always arrange for more?

Brothers and Sisters, I bid you beware Of giving your heart to a dog to tear.

Buy a pup and your money will buy Love unflinching that cannot lie— Perfect passion and worship fed By a kick in the ribs or a pat on the head.

Nevertheless it is hardly fair To risk your heart for a dog to tear.

When the fourteen years which Nature permits Are closing in asthma, or tumour, or fits, And the vet’s unspoken prescription runs To lethal chambers or loaded guns, Then you will find—it’s your own affair— But . . . you’ve given your heart to a dog to tear.

When the body that lived at your single will, With its whimper of welcome, is stilled (how still!).

When the spirit that answered your every mood

Is gone—wherever it goes—for good, You will discover how much you care, And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, When it comes to burying Christian clay.

Our loves are not given, but only lent, At compound interest of cent per cent.

Though it is not always the case, I believe, That the longer we’ve kept ’em, the more do we grieve: For, when debts are payable, right or wrong, A short-time loan is as bad as a long— So why in—Heaven (before we are there) Should we give our hearts to a dog to tear?

No, Kipling’s is not a bright, buoyant declaration. Kipling’s is a stern warning: do not, he cautions, love a dog too well; because if you dare—if he has been the source of devoted, unconditional love and service that fulfilled and comforted you all his days, then when he dies (as one day, he inevitably will) he takes with him a piece of your heart. Inconsolable sorrow is the price we pay for the love of a dog.

Therefore, it is justified to say that the dog in art is limited to the ability of the artist and his media, be it paper, canvas, paint, metal, marble or clay. There is but one way to immortalize a dog.

Safeguard your precious memories, tie the heartstring ever-tight, and store them in that secret compartment deep in your heart.

Then, take them out whenever you wish—and bask in the golden glow of the precious reminiscences of happy days gone-by. ■

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Requiescat by Victorian artist Briton Rivière. Painted in1888, a requiescat is a prayer for the dead and comes from the Latin Requiescat in pace (‘R.I.P.’ – May he rest in peace). Rivière was admired for his talent to portray not only the physical atributes of his subjects, but also to capture within them human virtues such as the devotion shown here in this moving tribute to a fallen knight grieved by his loyal and faithful companion.

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architecture

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The corkscrew chandelier creates a powerful impact through this spiral staircase, offering amazing views from both above and below.

PHOTOGRAPHY BY MEL YATES

stark shades of winter

BY CHRISTY NIELSON

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ne of the most sought-after and influential interior designers in the world, Kelly Hoppen CBE (Commander of the Order of the British Empire), is the proprietor of Kelly Hoppen Interiors headquartered in London. An accomplished author, Hoppen has penned 10 books. Her latest, Essential Style Solutions for Every Home, features top tips alongside tried-and-tested design techniques for every home and budget. Additionally, Hoppen was nominated for a British Academy Television Awards (BAFTA), is a former Dragon on the BBC’s Dragons’ Den

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The antique books appear to be floating inside this translucent glass bookcase. Opposite: The illuminated dining table pedestals and the whimsical chandelier hovering above the table add a contemporary flair to this dramatic dining room.

PHOTOGRAPHY BY MEL YATES

reality show and serves as a GREAT ambassador for Britain’s international tourism campaign.

Hoppen founded her award-winning company four decades ago, and the couture firm’s portfolio includes thousands of spectacular spaces that span the globe and range from residences and commercial spaces to luxury hotels, super-yachts, private jets and cruise ships. Hoppen infuses an East-meets-West style into her designs that delicately and expertly merge neutral tones and clean lines with opulent warmth.

“I love the timeless marriage of the sleek and simple, yet luxurious lines and shapes of the West, with the texture, depth and richness of the East, to create a truly eclectic, balanced and pure look and feel,” Hoppen explains.

Born in South Africa, as a toddler Hoppen moved with her artistic parents to London where she grew up influenced by British and European design. She says her fascination with the East began in a shop on London’s Portobello Road.

“There was this old Chinese trunk. It was deep oxblood red,

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Hoppen says layering up a space is not just about an interesting mix of textures, colors and objects. It is about the effect each element has on the other.

PHOTOGRAPHY BY MEL YATES

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Hoppen gives connecting areas the same design consideration as any other space. Below: This beautifully styled entrance table with interesting objects atop and a statement chandelier above is an incredible introduction to the rest of the home.

Opposite: A playful take on scale, this bold, oversized pendant gets all of the attention in this room.

PHOTOGRAPHY BY MEL YATES

and I fell in love with it. So, I spent every penny in my pocket and bought it,” she remembers. Keen to understand the country from which this captivating piece originated, Hoppen pored over books about China in her local library. “My intrigue spread to Japan, Thailand, and Asian design, in general. The minimalist serenity and linearity brought a harmony and peace that resonated with me.”

In the years that followed, Hoppen often travelled to Asia, and that tranquility and calmness was reinforced with every visit.

“So I began experimenting and playing around with a global fusion and shaping my own look,” she remembers. “For me, everything hinged around texture.”

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erfect neutrals are a calling card for Hoppen, which provide a quiet, easy backdrop for the materials, furniture and furnishings that she layers into the looks she creates. “The texture is what brings warmth and tactility into a space,”

LIKE THE RAWNESS OF A B&W PHOTOGRAPH, WHEN THE HUES ARE STRIPPED AWAY THE VIEWER IS FORCED TO REACT, TO FEEL SOMETHING—MOOD, DRAMA—UNDISTRACTED

BY THE BUSYNESS OF COLOURS.

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Statement teardrop lights create impact over the massive dining table, which is flanked by a variety of seating options for hosting the perfect dinner party.

PHOTOGRAPHY BY MEL YATES

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Tone-on-tone schemes using only one color family is a calling card for Hoppen. Below: The natural materials in this space create a warm atmosphere that is enhanced by the layers of lighting. Opposite: The ultimate in luxury, this dressing room is an example of Hoppen’s ability to play with light and shadows on every surface, from walls and mirrors to floors and ceilings.

PHOTOGRAPHY BY MEL YATES

she says. “Lighting is also important as it creates and builds the ambiance bringing the whole scheme together and brings to life the feelings that you want to create in a space.”

Hoppen isn’t a believer in design trends. Instead, she says it is important to understand shifts in society that inform new approaches to design. “Some of the things which, for me, are more important now than ever before are sustainability and the need for us all to approach things in a more sustainable way.” She adds that because of the pandemic, people also want greater flexibility to change and adapt their living spaces, which often double as offices. “So modularity and multi-functionality are also key elements we focus on,” she says.

Another pandemic-related design shift is the increasing importance of hygiene, Hoppen notes. “It’s something we have had to factor in in a more obvious way, focusing on using smoother and easy-to-clean textures without grooves or indentations, especially in kitchens and bathrooms, in order to make it easier for people to maintain the higher cleanliness levels.”

The pandemic also has reminded Hoppen of the value of keeping healthy mentally, something that plays to her sensibility and style. “Our need to feel safe, secure, calm and balanced has never mattered more. With this in mind, my style of using a neutral color palette and approach to mindful design has come to the forefront for many more people.”

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oppen says her favorite part of the design process is getting into her client’s head. “This fascinates me,” she exclaims. The secret to Hoppen’s success is asking the right questions and then following her creative instincts. “Being able to design intuitively and letting my instincts guide me is a wonderful and accomplishing experience,” she says.

Working through the design details with her team to bring the vision to life is something that excites her day in and day out. “I’ve always felt at my safest and most natural in my design room, and it’s such a pleasure to be able to take the time to sit with a project, get the creative juices flowing, and give it the time and care it needs.”

Hoppen says she never tires of handing over a completed project to a client when it is perfect and looks amazing. “Nothing beats that feeling of seeing the look of gratitude and delight on their faces. It’s a wonderful feeling of accomplishment when you know how happy they are when they see the finished design.”

Because of a long-time commitment to sharing her knowledge, Hoppen doesn’t believe you have to be a client to benefit from her design philosophy. “I decided early on in my career to share my knowledge as I wanted people to know that they, too, could have a beautiful home and enjoy the space they live in,” she explains.

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The sensation of space is emphasized by a series of chandeliers floating like a dynamic sculpture in the dining room. Below: A bespoke sculptural metal stair makes a dramatic statement in this hospitalturned-apartment. Opposite: This hallway maximizes a feeling of light and space while incorporating Hoppen’s signature style of luxuriously neutral, sumptuous textures and plenty of layering.

PHOTOGRAPHY BY MEL YATES

Essential Style Solutions for Every Home, which Hoppen wrote during lockdown, is the epitome of this pledge. “This book can be used as a notebook, so it’s easy for readers to carry around and use while choosing designs for their homes as it includes an easy index for literally everything needed.” The book has something for everyone, Hoppen says. “Whether you are a young professional renting a flat, a first-time homebuyer or an experienced homeowner, this go-to bible will help readers create beautiful, functional and relaxing homes that suit their individual needs and reflect their personalities.”

Hoppen is an entrepreneur at heart and has collaborated on a number of product lines, including: an extensive fabric collection with Richloom; an exquisite range of rugs with Loloey; a luxurious leather line with Pavoni; a handmade wallpaper series with de Gournay; and the Lick x Timeless Neutrals Paint palette by Kelly Hoppen, which features six hues from warm taupes to grounding greys. Hoppen has several additional new products that will be launching soon. She also has hosted a weekly podcast, which has been postponed due to Covid-19, called The Kelly Hoppen Show. It features candid conversations with fellow businesswomen about business, start-ups and family.

With so many irons in the fire, Hoppen stays focused by starting each day with a workout. “I really need to feel strong and have a clear mind from the start of the day to carry me through,” she notes. “It’s also important to me to switch off when I’m not working and take the time to recharge. We all need balance so we don’t burn out.”

Hoppen uses social media to inspire healthy living, as well as design. “When I started sharing inspirational videos on social media, the response was so positive and I could see how it made a difference to people’s lives, which filled me with joy,” she says. “It also helps me to share and talk about my feelings and remind myself to be positive. I strongly believe that we all need to help each other in some way, shape or form and being able to make someone feel better about themselves, even with small positive messages, especially during these past difficult 18 months, is so rewarding as we all need to be kinder to ourselves and each other.”

As we enter into the winter months, Hoppen offers this advice for creating a cozy, festive feel. “Do not be afraid to have fun and mix textures around your home.

I tend to mix up cushions and throws in various materials such as wool and velvet.

Using a combination of soft, sumptuous textures such as these really adds a touch of luxury and provides that extra comfort.” Some other fabrics Hoppen turns to in the winter months are cashmere and faux fur. Additionally, Hoppen suggests taking a fresh look at your lighting scheme. “Uplighters and lamps will help create a warmer atmosphere as the days get shorter and darker,” she advises. ■ Edotor’s note: To learn more and shop products inspired by Kelly Hoppen, go to kellyhoppeninteriors.com.

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a tribute to the Christmas Tree

BY PEARL LUSTRE

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The hristmas tree heralds the holiday season as nothing else does. Decked with twinkling lights, memory-laden decorations, and presents under the tree, it fills each and every one of us with cheerful anticipation of that one, shining day a year that Dickens pronounced in A Christmas Carol, “ . . . as a good time; a kind, forgiving, charitable, pleasant time; the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely.”

And so, it is fitting we give tribute to the Christmas tree and delve a little into its long and glorious history. Long before the birth of Jesus Christ, boughs of greenery were used by ancient Egyptians, Romans, Celts and Vikings as decoration to welcome the winter solstice. It was not until the seventh century when Saint Boniface—born Winfrid in 675 A.D. in Crediton, Devonshire, England—is credited for the origin of the Christmas tree. A celebrated missionary who built the foundation of Catholicism in central Europe, he is venerated by German Catholics as a unifier of Germanic peoples to this day. He was made Archbishop of Mainz by Pope Gregory III, and in 754 he was martyred for his beliefs. As legend has it, Saint Boniface hung an evergreen tree upside down to signify the Holy Trinity. Henry Van Dyke immortalized the folktale in his short story, The First Christmas Tree.

In 1419, a tree in Freiburg, Germany was decorated with apples, wafers, tinsel, and gingerbread to such delight that, soon after, the demand became so high that even cutting down pine boughs was forbidden. By 1530, a law was passed that limited each household to one tree.

Rural churches in England have records dating from the 15th and 16th centuries that mention how sprigs of holly and ivy decorated the home at Christmastime—the inspiration, of course, for the English hymn, The Holly and the Ivy. Some believe the 16th century Protestant reformer, Martin Luther, first added candles to light an evergreen tree to capture the brilliance of twinkling stars peeking through the piney forests. It is said he believed pine trees represented the goodness of God. The first Christmas tree market was in Strasbourg, Germany, where Weihnachtsbaums—German for Christmas tree—were sold in 1605, brought inside the home, and trimmed with nuts, fruits, berries and sweets.

A Christmas tree is referenced in a historical document dated 1786, in North Carolina. In 1805, Moravian missionaries, who operated a school for American Indians, sent students “to fetch a small green tree for Christmas.” German immigrants who settled in Pennsylvania in the 1830s brought their Christmas tree traditions with them, and those who ventured on to Texas decorated theirs with moss, cotton, pecans, red pepper swags, and popcorn.

But it was Prince Albert of Saxe-Coburg and Gotha (1819-1861), consort of Queen Victoria, who introduced the Christmas tree, as we know it today, in England. In fact, an engraving was published on the front page of the December 1848 issue of the Illustrated London News that depicted the Royal Family surrounding their decorated, candlelit Christmas tree. “This single image cemented the Christmas tree in the popular consciousness, so much so that by 1861, the year of Albert’s death, it was firmly believed that this German prince had transplanted the custom to England with him when he married,” writes Judith Flanders in her book, Christmas: A Biography.

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Winter holiday night view of Washington Square Park with a Christmas tree under falling snow in New York City.

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Opposite: Madison Square Park Christmas tree, New York.

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Below: The White House Christmas tree in the East Room, 1937.

LOC.GOV

the early 20th century, Europeans continued to decorate their trees, which stood no more than four-feet tall, with nuts, fruit, strands of berries laced with popcorn and marzipan cookies.

Americans, who always “think big,” preferred trees that touched the ceiling of their living rooms, and strung with lights and glittering ornaments—then, as now.

To many, the Christmas season begins the day after Thanksgiving. But for New Yorkers, Christmas officially begins when 25,000 lights light up the enormous, fresh tree in Midtown’s Rockefeller Center, usually the first Wednesday of December. (It was Thomas Edison’s assistants who thought up the idea of electric lights on Christmas trees). This tradition began in 1931 when a small tree was placed in the construction site as Rockefeller Center was being built. In 1948, a hundred-foot-tall Norway spruce cut down in Killingworth, Connecticut, was erected—the tallest tree ever—and every Christmas, one tree is felled for the honor of being the most famous Christmas tree in the world.

Farther uptown on Fifth Avenue, on the day before Thanksgiving, the Metropolitan Museum of Art opens to the public its magnificent Neapolitan Baroque Crèche. First created by Saint Francis of Assisi, the patron saint of Italy in 1223, the crèche was a grouping of carved, life-size figures set up in a church to evoke the arrival of the Three Kings at the stable to bring gifts to the baby Jesus, his Mother Mary, and Joseph. The size of the figures became smaller, naturally, as families carried out the tradition in their own homes. The Met’s amazing collection of 18th century Neapolitan figures was given largely

by Loretta Hines Howard, who started collecting the lifelike, silk-robed papier-mâché figures in the 1920s, when she was just a girl. Beginning in 1957, and for more than three decades, Mrs. Howard worked with artist Enrique Espinoza to adorn the majestic 20-foot blue spruce that is situated in Medieval Hall with 50 silk-robed papier-mâché angels.

In Washington, D.C., the National Christmas Tree Lighting Ceremony was first held in 1923, during the presidency of Calvin Coolidge, and was lit the first week of December every year thereafter with the exception of 1963, when the tree was not lit until December 22, when the national 30-day mourning period had ended following the assassination of President John F. Kennedy.

In Great Britain, the Norway spruce is the traditional species of Christmas tree. And, as in Ireland, an angel or star tops the tree along with festive garlands of greens, holly, and ivy, wreaths on the door, and lights—always lights.

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Blue Spruce—also known as the Colorado Spruce—is an evergreen like fir, spruce, or pine that is cut and decorated for the home for Christmas.

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In weden, families wait until Christmas Eve to put up their trees, upon which they hang stars, sunbursts, and snowflakes made of straw, and little, hand-carved and brightly painted wooden animals.

It is the tradition in Norway for parents to decorate the family Christmas tree behind closed doors while the children wait to be admitted. When finally, they are allowed in the living room, all participate in the “circling the Christmas tree.” Everyone joins hands and forms a ring around the tree, singing carols, and also enjoying wonderful foods in a happy, festive, atmosphere topped by the opening of presents.

In Spain, fir trees are cut in the north and pine trees in the south and, in celebration of Los Tres Reyes Magos, the tree trunk is filled with hazelnuts, almonds, toffee and candies to symbolize the gifts of the Magi.

In America, Christmas trees are grown in all 50 states, including Hawaii and Alaska. Ninety-eight percent are grown on Christmas tree farms— Scotch pines, Douglas firs, Fraser firs, balsam firs, and white pines—more than a million acres are planted, with 2,000 trees planted per acre. It takes six-to-eight years for a tree to mature. It’s hard to even think about Christmas without a Christmas tree.

And therein lies the rub. For you see, we spend so much time, energy, expense and anticipation planning for Christmas that we forget what it’s really all about. The brilliant American playwright Robert Sherwood (1896-1955) wrote the screenplay for the 1947 Hollywood film, The Bishop’s Wife, starring David Niven, Cary Grant, and Loretta Young. His words, the final words of the closing scene, say more than all the Christmas trees that ever were, all the presents that were ever given and received—and captures all that praises the true meaning of Christmas. Here David Niven, as the disenchanted bishop, comes to understand that meaning himself when he reads, for the first time, the Christmas Eve sermon prepared by the character of Cary Grant, as his guardian angel, to his congregation: “Tonight, I want to tell you the story of an empty stocking. Once upon a midnight clear there was a child’s cry. A blazing star hung over a stable and wise men came with birthday gifts. We haven’t forgotten that night down the centuries. We celebrate it with stars on Christmas trees, with the sound of bells and with gifts—but especially with gifts. You give me a book. I give you a tie. Aunt Martha has always wanted an orange squeezer and Uncle Henry could do with a new pipe. Oh, we forget nobody—adult or child. All the stockings are filled.

All, that is, except one. And we have even forgotten to hang it up. The stocking for the child born in the manger.

It’s his birthday we’re celebrating. Don’t let us ever forget that. Let us ask ourselves what he would wish for most and then let each put in his share. Loving kindness, warm hearts. . .and a stretched-out hand of tolerance.

All the shining gifts that make peace on earth.” ■

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“Then comes the big night—giving the tree a trim”—a highlight of the Christmas season. Heirloom decorations make for a spectacular show and treasured traditions.

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food & dining

the perfect setting

BY EMMA McCRACKEN

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A work of culinary art titled ”Naked Tree,” which is composed of prunes, dark beer & cream with beech wood.

PHOTOGRAPH BY CLAES BECH-POULSEN

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Geranium, a three Michelin star restaurant— to experience it has been described as “exceptional cuisine, worth a special journey!”

Opposite: An exquisitely displayed plating of razor clams, an example of the detailed, artful dishes orchestrated by Geranium that celebrate Scandinavia’s best seasonal ingredients.

PHOTOGRAPH BY CLAES BECH-POULSEN

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eranium, Copenhagen’s world-class restaurant and Denmark’s first to achieve three Michelin stars, creates an immersive, enriching experience for guests that offers a glimpse into the future of food and dining. With its inventive seasonal tasting menu, modern design and unique locale, Geranium unites modernity and the natural elements in a way that inspires its chefs and has a profound, meaningful impact on guests.

Unexpectedly located on the eighth floor of the National Football Stadium, in a building of minimal yet thoughtful design, the restaurant overlooks the enchanting Fælledparken, or Common Gardens, one of the largest parks in Copenhagen.

Floor-to-ceiling windows and sweeping panoramic views of tree crowns changing with the seasons offer chefs and guests the ability to draw inspiration from their surroundings, using all five senses to appreciate ingredients and their origin, textures, scents and flavors.

The sleek, contemporary dining atmosphere is paired with seasonal tasting menus such as “Autumn Universe” or “Winter Universe,” also offered in light versions of around 12 servings, which feature work-of-art dishes that reflect the current season.

A particularly popular winter-inspired dish, for example, is Geranium’s “Walk in the Forest” dessert, which highlights wood sorrel in the form of a dainty rose disc, and woodruff cream, garnished with a delicate prune tree. Take a bite as you look across the bare winter branches of Fælledparken, taste the earthy tones of the florals, hear the snap of your edible tree, inhale the sweet almond-like aroma of the woodruff cream, and be transported.

Your new-age culinary journey first begins when you step off the elevator into a bright, spacious welcome area and are greeted by receptive hosts who will then lead you to the main dining room—your oasis for the next four or so hours. The Fireplace Table, reserved by special request, seats four at a hightop with remarkable views of the open kitchen, the park and the city. However, with such a spacious dining room and open, airy

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The arrangemnt and visual treatment of earthy ingredients in this dish of grilled quail with pear & pine is reminiscent of the gamebird in its natural enviroment, closely coveyed and nestled into the leaves and bits of the forest floor.

PHOTOGRAPH BY CLAES BECH-POULSEN

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The surprise tasting menu from the open-area kitchen at Geranium features many small, detail-oriented dishes brought to the table in succession; each showcasing the finest organic and biodynamic ingredients combined with the use of the most-modern culinary techniques.

PHOTOGRAPH BY CLAES BECH-POULSEN

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Geranium head chef and co-owner Rasmus Kofoed. The celebrated Danish chef and restaurateur won the gold medal at the 2011 Bocuse d’Or, after previously taking the bronze medal in 2005 and the silver medal in 2007. Two colorful and festively portrayed dishes, crispy fjord shrimp heads with cherry vinegar (below), and crispy leaves & pickled walnut leaves (opposite).

PHOTOGRAPH BY CLAES BECH-POULSEN

kitchen, anywhere in the room offers a great place to enjoy the view of the park and watch the chefs create their masterpieces.

The open-kitchen concept opens the dialogue between guests and chefs. At Geranium, each dish comes with not only an explanation but its own story, many presented by the chefs themselves. In fact, one signature dish was inspired by the chef ’s own childhood memories. Guests are encouraged to ask questions, making the Geranium experience engaging and informative.

You can also choose to keep the mystery alive; your menu is delivered in an envelope sealed with a wax stamp. Open it to reveal a welcome letter on one side. The menu is printed on the opposite side, so guests have the option of getting a sneak peek at what’s to come or letting themselves be surprised with every bite.

Sample and savor an extensive collection of ornate dishes, from light snacks to heartier bites and decadent desserts, that showcase the finest organic and wild Scandinavian ingredients. Depending on the time of year, you could encounter fare such as creamy vegetables with oyster, peas and pickled elderflowers; “The Crispy Leaves,” made of Jerusalem artichoke purée; or marbled hake with caviar and buttermilk.

In

its commitment to “sustainable gastronomy,” Geranium sources its ingredients daily and from local Scandinavian sources whenever possible, using organic and bio-dynamic ingredients.

Most of the dishes are vegetarian or pescatarian, such as the biodynamic onions with chamomile and melted hay cheese, with only a tasting or two that include meat. Each ingredient is held to the highest standard and grown and harvested with utmost respect for its environment.

Following the final course, infusions of fresh and aromatic herbs await you in the lounge, along with green or oolong tea or a selection of digestifs. You also can enjoy a coffee or espresso made from a special, one-of-a-kind blend created by the Geranium team and a local Copenhagen coffee roaster.

Guests may also be invited to take a tour of the restaurant. Stroll through the impressive wine cellar and get an epic view of the soccer field from the window of the main kitchen, where the day’s mise en place, or pastry kitchen, is done. You also can visit the iconic Inspiration Kitchen. Not only is it a space for hosting exclusive private dining with large groups of up to 16 guests, but it also serves

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A kingdom of earthly delights and sensational seafare: quail with thyme seeds & pickled pine (left), oyster pearls, kelp & rygeost (below) and grilled white asparagus, söl, dried mussels & pickled seeds (opposite).

PHOTOGRAPH BY CLAES BECH-POULSEN

as the creative workspace of some of the world’s finest chefs. It is where masters like Geranium’s co-founder, co-owner and head chef, Rasmus Kofoed, hone their craft and conceptualize innovative new flavor combinations.

Chef

Kofoed, the only chef to have won bronze, silver and gold in the prestigious Paul Bocuse’s Bocuse d’Or cooking competition, is known as one of the world’s most-decorated chefs. The World’s 50 Best Restaurants shares: “[Chef Kofoed’s] meticulous approach to seasonal Danish cuisine has seen Geranium climb its way up The World’s 50 Best Restaurants list from number 49 in 2012 to number 5 in 2019,” where it resides today.

Competitive and ambitious, Chef Kofoed continuously strives to be a better version of himself by learning from challenges, growing and changing. And like the natural world, Geranium, too, is constantly evolving. In his interview with Aspire Lifestyles, Kofoed explains, “We are similar to the flower, and that’s why we chose the name Geranium. Because it is a plant, and a plant is alive.

I see the restaurant continually growing as a living being.”

Kofoed’s passion for plant life began when he was just a child.

The eldest of five children born to a vegetarian mother, young Rasmus would spend his days foraging the countryside for wildgrown ingredients and fishing for crayfish, eel or pike to smoke for lunch or dinner. Chef Kofoed’s connection to and appreciation for nature and its bounty is evident in every aspect of Geranium, from the venue to the ambiance to the ingredients and beyond.

The concept-forward restaurant got its start in 2007 when Kofoed and long-time friend Søren Ledet combined talents in

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an effort to create an aura, an intrigue, surrounding the earth and its wild ingredients. Ledet initially worked as a chef, but quickly found his home on the restaurant floor where he serves as Geranium’s award-winning sommelier, co-founder and coowner, and general manager.

During the Star Wine List of the Year Denmark 2020, Geranium won best overall. In the interview following the announcement, Ledet reveals, “I consider the wine program at Geranium to be a hybrid, where traditional and modern, more funky wines can co-exist.

And, when contemplating the world of wine, I look back and see a long history of greatness, tradition and technique, which leads me to a genuine appreciation of why wine is as it is today. When I look to the future, I see evolution, innovation and a movement towards a more minimalistic approach.”

The most recent Star Wine List was released in September of this year, in which Geranium was awarded The Grand Prix: Best Wine List in Denmark as well as the Best Sparkling and Austrian selection.

To this dynamic pair of visionaries, vegetable-focused foods are our future. Geranium, where the urbane and the natural collide, embodies that concept and brings it to life. As a guest of this revolutionary restaurant, you will leave with a new interpretation of and appreciation for different flowers, herbs, roots and other greenery and vegetables that only nature can provide and only we can protect. ■

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One does not create a masterpiece without an extreme level of thoughtfulness; an artistic trait apparent in Geranium’s beluga-sevruga caviar, water & pumpkin seeds, a dish that looks as though it would’ve taken days, even months to cook and construct.

PHOTOGRAPH BY CLAES BECH-POULSEN

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mind & body

the

Wellness of having cats

BY DAINA SAVAGE

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their

reputation precedes them. Throughout history, cats have been revered and reviled, honored as divine symbols in ancient Egypt and hunted as witches’ companions in Medieval Europe.

Characterized both as aloof, crafty predators and snuggly, lap companions, they remain a top choice for U.S. pet owners, with 90 million domesticated cats living in nearly 35 percent of homes.

Their appeal may lie in their complicated personalities, of which the writer Rudyard Kipling notes in his Just So Stories origin fable of “The Cat that Walked by Himself ” as he explains that of all the animals, “the wildest of all the wild animals was the Cat. He walked by himself, and all places were alike to him.” The story demonstrates the symbiotic relationship between humans and cats that researchers say led to their domestication.

In

a 2017 study published in Nature Ecology & Evolution, an international team of researchers examined DNA from the bones and teeth of more than 200 ancient cats, discovering that as Kipling posits, cats really did seem to domesticate themselves as hunter-gatherers made the shift to agrarian societies. According to researchers, our domesticated companions all originated with one subspecies of wild cat, Felis silvestris lybica, native to northern Africa and southwest Asia. Their usefulness to Fertile Crescent farmers in patrolling grain stores for rodents helped them make the transition from wild animal to a mutually beneficial domesticated relationship. Later in Egypt, these useful predators became revered as protectors in this world and beyond, mummified in tombs. Remains found at Viking trading ports point to the notion that cats kept grains safe on trading ships, which also led to their dispersal throughout the world.

Their ferocity in hunting pairs with their docile playfulness for an irresistible combination that keeps them not only as agricultural necessities but also as beloved pets. Once firmly established in our households, their benefits have expanded well beyond their mice and rat catching skills. In Kipling’s story, Cat discovers a way into the household once a baby arrives who “is fond of things that are soft and tickle” and “fond of warm things to hold in his arms

I BELIEVE CATS TO BE SPIRITS COME TO EARTH. A CAT, I AM SURE, COULD WALK ON A CLOUD WITHOUT COMING THROUGH.”

― Jules Verne (author, Journey to the Center of the Earth)

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when he goes to sleep” and “is fond of being played with.” Cat earns a place in the home by making the baby coo with tickles from his “paddy paw” and fluffy tail. Cat earns a place by the fire by playing with yarn to make the baby laugh and by purring “loud and low, loud and low,” singing the baby to sleep.

It’s in this story, too, that no matter how much the cat appears to want to walk by himself, the desire for companionship is too strong. This soft side of cats engenders much of their endearing traits, like the purring, kneading, licking, rubbing—even headbutting behaviors that seem to ask for attention. While the selfsoothing benefits are impressive (studies have shown the purring frequencies in domestic cats can stimulate tissue and bone regeneration), these behaviors also soothe and heal us (studies have shown that cuddling with a purring cat helps promote bone density and helps heal minor muscle injuries).

The physical benefits of cat ownership extend to heart health as well. A 2009 Journal of Vascular and Interventional Neurology study noted a link between cat ownership and a decreased risk of dying from heart attack or stroke by about 30 percent. On average, cat owners have lower blood pressure, which is not surprising as stroking a cat or listening to it purr releases calming hormones like oxytocin that reduce stress levels and lower heart rates. By reducing blood pressure and stress, cat owners have an overall lower risk of cardiovascular problems throughout their lifetime, even if they no longer own a cat. The study notes an additional cardiovascular benefit. Having a cat can help lower cholesterol and triglycerides which, in turn, may extend your life.

Reducing stress extends beyond physical benefits. Cat ownership extends to positive mental health outcomes as well.

In a 2015 study published in Anthrozoos, cats serve as a source of emotional support and play a key role in reducing anxiety through their calming presence. Studies also have noted that cat owners are more psychologically heathy, happy and confident than those without pets. By reducing feelings of loneliness and isolation, cats can help ward off symptoms of clinical depression in children and teens, and even lower the risk of Alzheimer’s disease in older people. Cuddling and caring for a pet offers love and a sense of purpose. For those who live alone, a pet offers many of the social benefits of living with another person.

Indeed,

a number of studies show that cat owners have more developed communication skills, enhancing their relationship with human friends by being more socially sensitive and able to trust others more. The benefit of enjoying a pet’s affection results in a person’s sense of self-worth. A 2014 Carroll University study found that cat owners may be more introverted, but they also are more open-minded, sensitive, and even scored higher in intelligence than dog owners.

Although cats don’t require daily walks in the same way that dogs do, cats still encourage their owners to get up and play. Cats relish time to practice their hunting skills with a variety of toys. Their fierce prey drives can have them jumping for a feather on a string, pouncing on a stuffed toy, or chasing a laser pointer light for hours. Many cats even like to play ball, batting it about the room until invariably it rolls under IVAN KRYVOSHEI / SHUTTERSTOCK.COM

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a piece of furniture and must be fished out. Some cats don’t mind being walked on leashes to explore the outdoors, but be ready for plenty of meandering and waiting while butterflies and grasshoppers must be stalked.

Cats also are masters of self-care and lead by example. Masters of cat naps, when curled on a lap, they encourage their owners to rest as well.

In a 2015 Mayo Clinic Center for Sleep Medicine study, 41 percent of people reported sleeping better with their pets in their beds (especially cats who cuddle and purr). A number of studies in the United Kingdom found that people who prefer to snuggle with their cats over their partners, also report getting a better night’s sleep.

Although cats sleep for an average of 16 hours a day, their schedules may not necessarily align with the humans in their households. Early morning demands for food and late night “wildings” are as characteristic of cats as their sweet snuggles.

The noises of their nocturnal antics are the more amusing vocalizations, complementing the common meows and even insistent chirps that also are entertaining. Even if a cat is not in your own household, witnessing the adventures of felines online in charming social media posts or video clips has its own health benefits.

According to a 2015 study, simply watching cat videos resulted in an instant mood lift, boosting energy and positive feelings. Their inherent wildness continues to amuse us.

It’s that wildness that domestication can’t completely tame. Kipling concludes his tale with this observation: “But the Cat keeps his side of the bargain too. He will kill mice and he will be kind to Babies when he is in the house, just as long as they do not pull his tail too hard. But when he has done that, and between times, and when the moon gets up and night comes, he is the Cat that walks by himself, and all places are alike to him. Then he goes out to the Wet Wild Woods or up the Wet Wild Trees or on the Wet Wild Roofs, waving his wild tail and walking by his wild lone.” ■

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shopping

Puppy love

1.

2.

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5.

BY SINDIE FITZGERALD-RANKIN

Tis

no surprise that people who are owned by dogs spend a great deal on them. According to statistics, the estimated lifetime expense of a dog can be anywhere between $18,000 to a staggering $100,000—and even more. That may seem inconceivable—unless you are loved by a dog. When you are, you know the meaning of unconditional love. And you can’t put a price tag on that. ■

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3.

4.

1. LOUIS VUITTON Designer-Inspired Dog Carrier ($2,355) louisvuitton.com 2. CUCCIOLETTO Orchidea Luxury Dog Lounge in Cream - (price upon request) cuccioletto.com 3. VERSACE Medusa Gala Feeding Bowl for Dogs - ($770) versace.com 4. PAGERIE Babbi Harness - ($720) pagerie.com 5. JUDITH LEIBER COUTURE Luna Puppy Dog Minaudiere Clutch Bag - ($4,995) bergdorfgoodman.com

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74 POETIC GRACE WITH QUIET REALISM

by Laurie Bogart Wiles

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BERGMAN WAS BORN to a German Jewish mother, Frieda Henriette Auguste Louise Adler, and a Swedish father, Justus Samuel Bergman, in Stockholm on August 29, 1915. Europe was engaged in the second year of the Great War and, though Sweden had declared neutrality, the country was nonetheless hostage to the wages of war. Raised in a stronghold of the middle class in the heart of Stockholm, she and her parents lived on the top floor of a respectable townhouse that also housed her father’s art and photography studio. The only one of her parents’ three children to survive infancy, a few photographs and misty memories are all the child would have of her mother, who died at the age of 34, when Ingrid was yet three-years-old.

Even before his wife’s death, she was the center of her father’s universe. Justus led a Bohemian lifestyle and encouraged Ingrid to be artistic and a free and independent thinker, while simultaneously raising his only child to co-exist easily among formal, well-bred society.

The widower and single parent documented his beloved daughter’s life, faithfully photographing her birthdays and special moments. “I was perhaps the most photographed child in Scandinavia,” Ingrid would recall.

Ingrid was a cheerful, though shy, child who blossomed whenever she dressed up and acted for the camera. She loved to mimic animals, play characters, and being in front of the lens became her comfort zone. Her father wanted Ingrid to be a great opera singer, but Ingrid wanted to be an actress. She attended Palmgrenska Samskolan, a prestigious girls’ school in Stockholm, but proved to be a poor student and an unpopular one, besides. Nonetheless, those were happy days with her father but they were short-lived. Justus was 59 when he died of stomach cancer, leaving his 14-yearold orphaned daughter to the care of his sister, Ellen; tragically, Ellen died just six months later. Ingrid was then sent to live with her mother’s sister, Hulda and her large family, and at other times with her • hiver / édition de other maternal aunt, Elsa.

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THE BEGINNING OF THE REST OF HER LIFE HEN INGRID WAS 15, she auditioned to be an extra on a film. The lights, the excitement, and the cameras enthralled her. A block from her childhood home was the Royal Dramatic Theatre and Drama School, where Greta Garbo had studied. The young, aspiring actress applied for a scholarship and was accepted.

“She was a very different kind of person,” observed one of her childhood friends, looking back. “This was at a time when women were not supposed to have ideas of their own, but not so Ingrid. She got disappointed in school because she felt she didn’t come forward early enough, she wanted to get into the work as fast as possible, which is why she left the school.”

At 18, Ingrid was cast in a supporting role in a minor Swedish film, but her gentle, earthy beauty and ease that captured audiences soon led to leading roles. Even in those early days, she was unwilling to settle for superficial parts and yearned for greater challenges as an actress. When the opportunity arose, and she was cast as a severely disfigured woman in A Woman’s Face, audiences were horrified—at first—but gave her rousing accolades for her performance. Ingrid made eleven films in Sweden from 1935 until 1938. During this time, she met and married a handsome dentist ten years her senior named Petter Lindström. A supportive, protective, and devoted husband, he took a backseat to Ingrid’s career, even to the extent of raising their daughter, Pia, as a de facto single father. Content with the arrangement, Ingrid completely devoted herself to her career.

Ingrid’s first career break was Intermezzo, a highly acclaimed Swedish film about an ill-fated love affair. Her riveting performance garnered her international acclaim and caught the attention of one of the greatest producers in the history of motion pictures, David O. Selznick. At the time, he was filming Gone with the Wind, so he sent Hollywood talent scout Kay Brown to Sweden to sign the promising young actress who exhibited star quality. “I was kind of worried whether this was a wise decision,” said Kay Brown, who later became Ingrid’s agent and trusted friend. “I had the courage to

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Ingrid Bergman in Arch of Triumph, the 1945 film adaptation of the Erich Maria Remarque (All Quiet on the Western Front) novel of the same name.

The story of displaced refugees in Paris before World War II, it is the first of two films Bergman would make with French actor Charles Boyer.

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Ingrid Bergman and Humphrey Bogart in Casablanca (1942), universally considered one of the most important films to come out of the World War II era. The romance drama about American expatriate Rick Blaine, owner of “Rick’s Café Américain,” who must choose between love and patriotism won the 1942 Academy Award for Best Picture.

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bring it up and I asked her, ‘Are you sure this is the right thing? You have a wonderful husband and a lovely baby and all the work you want.’ Yes, it was, she answered because she wanted challenges in life and in work.”

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THE HOLLYWOOD YEARS MAY OF 1939, Ingrid arrived in Hollywood with a single suitcase. When she appeared for her first screen test, she was horrified to learn the studio wanted to change her eyebrows and her teeth. She refused, saying, “These are my eyebrows, these are my teeth. God gave them to me and if you don’t like it, I’m perfectly willing to leave.” That screen test would capture her precisely as she was, without makeup, and establish her as the Hollywood ideal of wholesome, natural beauty.

As Anthony Quinn observed at the time, “There wasn’t a man that came within breathing distance of Ingrid that didn’t fall in love with her. I had met her once having a malted milk on Rodeo Drive in Beverly Hills.

She was sitting at this soda fountain, and I fell headover-heels in love with her without even sitting down.”

Indiscreet was renamed Intermezzo in the 1939 Hollywood version, and Ingrid played opposite Leslie Howard (“Ashley Wilkes” in Gone with the Wind). (The British nationalist would die three years later, a hero, in a covert war operation.) Intermezzo was a tremendous success. “She is sensational,” was the sentiment of the cast and everyone on the set. The New York Times called the statuesque, fair newcomer unique among Hollywood leading ladies for her “freshness and simplicity and natural dignity.” The New York Tribune gushed, “by using scarcely any makeup, but playing with mobile intensity, she creates the character so vividly and credibly that it becomes the core of the narrative.”

Compared to stars such as Joan Crawford, Bette Davis and Marlene Dietrich . . . well, there was no comparison.

Ingrid had carved out her own niche—one that she, and only she, would fill the rest of her career.

Selznick wrote to his publicity director, William Hebert, his first impression of the captivating 23-yearold: “Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that she thinks of absolutely nothing but her work before and during the time she is doing a picture . . . She practically never leaves the studio, and even suggested that her dressing room be equipped so that she could live here during the picture. She never for a minute suggests quitting at six o’clock or anything of the kind . . . Because of having four stars acting in Gone with the Wind, our star dressingroom suites were all occupied, and we had to assign her a smaller suite. She went into ecstasies over it and said she had never had such a suite in her life . . . All of this is completely unaffected and completely unique, and I should think would make a grand angle of approach to her publicity . . . so that her natural sweetness and consideration and conscientiousness become something of a legend . . . and is completely in keeping with the fresh and pure personality and appearance which caused me to sign her.”

Selznick signed Ingrid to a seven-year contract.

Being under contract meant getting his rising star the right parts. Ingrid was leant out to other studios and made Adam Had Four Sons, with Warner Baxter, and Rage in Heaven, opposite Robert Montgomery.

“I remember,” longtime friend Ann Todd said, “that she was very happy (in those days) with Petter and their child but, at the same time, she was not quite satisfied with her work in Hollywood. She always hated typecasting and she wanted to go beyond. She didn’t want to be exactly a Hollywood cliché. Dr. Jekyll and Mr. Hyde would be her breakout role from the cliché.

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IRECTED BY VICTOR FLEMING (Gone with the Wind, The Wizard of Oz), Dr. Jekyll and Mr. Hyde cast Ingrid opposite the legendary Spencer Tracy in the 1941 screen adaptation of the Robert Louis Stevenson novella. “She displays a canny combination of charm, understanding, restraint, and sheer acting ability,” would be said of her interpretation of the rape victim of the evil Mr. Hyde. The film was a commercial and critical success.

But it was as Ilsa Lund in Casablanca, filmed the following year (1942), that would become Ingrid’s most famous role of all. Unexpectedly reunited with the love of her life, Rick Blaine, played by Humphrey Bogart, and forced by circumstances to decide between love and her duty to her husband, Victor Laszlo, and country, Ingrid played the part to perfection. And yet, the film was not one of her favorites. Rumors of tension between the two stars were kept quiet, which she quietly alluded to when she later said, “I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart.” Indeed, for generations to come and to this day, Casablanca would be called the great screen love story of our time.

In her next film, Ernest Hemingway personally chose Ingrid as the perfect Maria, the terrorized Spanish girl, to play opposite Gary Cooper, as Robert Jordan, in the celebrated American author’s tragic testament to the Republican guerrillas during the Spanish Civil War, For Whom the Bell Tolls. The second-highest grossing film of 1943, Ingrid received her first Academy Award nomination for her spellbinding performance.

Then World War II came and, with Pearl Harbor, the United States finally entered the war. Ingrid did her part, addressing rallies, touring military bases and factories, and made a film for the War Office called Swedes in America for the country that had embraced her so completely.

Ingrid would win her first Oscar for the 1944 psychological thriller, Gaslight, playing opposite French actor Charles Boyer and Joseph Cotton

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Sweden’s “Light Queen,” Kerstin Ornoe (right), complete with a crown and silk dress, shares the spotlight under a huge tree with movie star Ingrid Bergman and her son, three-year-old Robertino. Ingrid, who is married to movie director Roberto Rossellini, had the “Queen” as a special guest at a Christmas Party. The Light Queen was in Italy to attend official “Lucia” festivals.

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hiver / édition de vacances 2021/22 • readelysian.com • (with whom she would again co-star in Hitchcock’s 1949 thriller, Under Capricorn). Gaslight is the story of a naïve wife who is gradually being poisoned by her murderous husband, Boyer, before Cotton intervenes just before it’s too late. The motion picture featured a young English actress by the name of Angela Lansbury, in her first onscreen role. “I was extraordinarily lucky as I was signed a supporting role to play with the great Ingrid. I was absolutely struck by her extraordinary ability to portray a transparent vulnerability on the screen. Stars didn’t talk to supporting players,” she reminisced, “but she was interested and had the most infectious laugh and enjoyed the scenes we did together. I was a 17-year-old upstart, and she was a very tall woman—I am, too. She was taller than Boyer. He was the most elegant man, but it was always said if you worked with him, you had to walk in a ditch.”

Followed was Saratoga Trunk (1945) opposite Gary Cooper and, that same year, Alfred Hitchcock’s masterpiece, Spellbound, with Gregory Peck. But it was her third film that year that would reveal her ability to play comedy. Having played opposite many of Hollywood’s handsome leading men, Bing Crosby proved to be one of her most popular onscreen partners when Ingrid played Sister Mary Benedict in the Leo McCarey directed/written/produced film, The Bells of St. Mary’s. It is the story of a priest (Bing Crosby) and sister superior (Ingrid Bergman) who fail to agree on most things over the management of the Catholic school that falls under the nun’s administration and Father O’Malley’s jurisdiction. The film was a sequel for Bing after his smash hit, Going My Way, in which he also played Father Chuck O’Malley. Both films have become holiday favorites that are aired every year.

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A FAIRY TALE LIFE COME TRUE

NGRID’S LIFELONG FANTASY of becoming a world-renowned star who lived in a glorious mansion had finally come true. She was constantly filming and happily challenged by the roles she played.

Audiences put her on a pedestal. Honors were heaped upon her, and she couldn’t have been more deserving. But her fairytale life was far from real: her marriage was coming apart.

YOU MUST TRAIN YOUR INTUITION—YOU MUST TRUST THE SMALL VOICE INSIDE YOU WHICH TELLS YOU EXACTLY WHAT TO SAY, WHAT TO DECIDE.” Ingrid Bergman and Alfred Hitchcock in London on the set of Under Capricorn (1949).

She would make three motion pictures with the English director—more than any other actress other than Grace Kelly, who also made three Hitchcock films.

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HITCHCOCK . . . AND BEYOND

ERGMAN WOULD MAKE THREE FILMS with the great director, Alfred Hitchcock: Spellbound (1945) opposite Gregory Peck, Notorious (1946) with Cary Grant, and again with Joseph Cotton in Under Capricorn (1949). The director adored Ingrid, and she adored him, and the two would develop a friendship that would last the rest of their lives.

With Hitchcock, Ingrid was never afraid of pushing the bar. In 1946’s Notorious, she and Grant brazenly challenged Hollywood’s stringent Motion Picture Production Code when they prolonged the duration of an onscreen kiss far beyond the rules. The chemistry behind that kiss remains one of the most sensual in the history of motion pictures.

Ingrid’s contract with Selznick expired after Notorious. Now she was a free agent and was keen to choose roles that were not carbon copies of her earlier successes. She was reunited with Charles Boyer in Arch of Triumph (1948) and, later that year, Joan of Arc, which she was enormously committed to; but both films proved failures at the box office, though Joan did win Ingrid an Oscar nomination.

After Under Capricorn, her final film with Hitchcock, she continued to search for roles that would fuel her growth as an actress.

The next role would condemn her for years to come.

ROSSELLINI AND THE DARK CHAPTER

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BRILLIANT NEWCOMER to the international film scene was Italian director Roberto Rossellini. His method was completely unique from any other director. Rossellini filmed without a script.

What’s more, he didn’t use professional actors, instead

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Ingrid Bergman and Gregory Peck in Alfred Hitchcock’s 1945 psychological thriller, Spellbound.

Based on the 1927 novel, The House of Dr. Edwardes, by Hilary Saint George Saunders and John Palmer. Bergman’s role blossoms from the overly composed as psychoanalyst Constance Petersen develops into a passionate woman consumed by love and purpose, as only Bergman could portray—though how hard could it be to make love to a man like Gregory Peck?

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picking out ordinary people in the streets. This singular way of working and improvising was the only way he would make pictures. Ingrid was captivated by this new art form and felt that working for Rossellini was the career opportunity she had longed for. “She saw this as a chance to play a peasant, not a glamorized queen of celluloid,” Jose Ferrer observed.

Ingrid wrote to Rossellini—and he replied. “She had a lot of lovely parts,” Ann Todd recalled, “but this man writing to her to say he wanted her to come (to Rome) meant new excitement, new ideas, and she could start again. She was brave. She was a very brave lady.” Immediately she bought a one-way ticket to Rome, leaving her husband and child behind in Los Angeles. It would be more than six years before she would be reunited with her daughter, and she never saw Petter again.

Ingrid arrived in Italy in 1949 to star in Rossellini’s film, Stromboli.

With no shooting script and a local fisherman with no acting experience as her husband, Ingrid found herself engaged in a spontaneous and exciting environment that was entirely unfamiliar to her. More exciting than she could imagine was unexpectedly falling in love with her director, very early on in the filming. Shortly after the affair began, Ingrid discovered she was pregnant. The news got out, setting the front pages of tabloids around the world afire with news of her indiscretion.

Petter, who had been accepting of Ingrid’s many affairs, no longer could tolerate the emotional damage his wife had inflicted on him and their daughter and he filed for divorce. Rossellini and Ingrid’s son, “Robin,” was born the day after her divorce was finalized and the couple married.

The court awarded Petter full custody of Pia. Throughout the scandal, Ingrid received letters of support from Cary Grant and Ernest Hemingway, among others. It was unthinkable that Ingrid, who was admired for the honesty she brought to her roles, was the correspondent in the “sex scandal of 20th century Hollywood.” Her fans were let down. She was brutally ostracized by the international press and, in her homeland, newspapers alleged she had also tarnished Sweden’s reputation, let alone her own.

In 1950, American Senator Edwin C. Johnson gave a blistering attack on the actress, maintaining that “under the law, no alien guilty of turpitude can set foot on American soil again” and that Bergman had “deliberately exiled herself from this country that was so good to her,” compelling Congress to never permit her to set foot on American soil for abandoning her family. The adulation abruptly ceased. The world turned their back on Ingrid. She was publicly vilified over her private life and her career was over.

“A lot was going on behind the scenes that the reigning arbiters of Hollywood, Louella Parsons and Hedda Hopper, refused to accept,” said Jose Ferrer.

“When Ingrid fell in love with Rossellini, she was pilloried, the Virgin Mary of films had betrayed, and she was crucified for being truthful and honest.”

Rossellini and Ingrid would have two more children together—twin daughters, Ingrid and Isabella— and make six films together, all failures. Even then, “There was something always positive in Ingrid, even when she was suffering,” observed Anthony Quinn.

“She never lost that wonderful sense of hope.” The marriage ended in divorce in 1957.

Ingrid’s friend, Kay Brown, later observed, “The Italian years were not wasted years. I think Ingrid learned a lot about Italians, love, hard work, failure, a lot of things she never knew before and grew very much as a result of all the hardships she went through.

She grew up in that period.” Ingrid moved to Paris where, after a separation of so many bitter years, she was happily reunited with her daughter, Pia. Though Rossellini had sued her for custody of her children, in Paris, for the first time, Ingrid had all her children together, at last.

THE RETURN OF THE PRODIGAL DAUGHTER

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EANWHILE back in Hollywood, Kay Brown, who was still working for Selznick, was asked to attend an executive meeting and give her opinion about “the situation with Miss Bergman,” and whether she should be considered for the lead role in Anastasia. Kay recalled she acted a little huffy as she took her seat at the long table in the board of directors’ room at Twentieth Century. “I told them that I thought Miss Bergman was very well-suited for Anastasia and they were very lucky if they got her. As far as her conduct was concerned, I did not care to discuss it and I thought she should have the picture on the merit she was a great actress, and I got up and left.”

Ingrid would costar in the 1956 film with dynamic Russian-American actor Yul Brynner. Her role as the sole survivor of the executed family of Czar Nicholas by the Bolsheviks during the Russian Revolution restored her to her rightful place and Ingrid won a second Oscar. It was a comeback in more ways than one. It was none other than the incomparable television host Ed Sullivan who opened the door for her return to America. “I know she is a controversial figure,” he said as he spoke straight into the camera to America on the most influential live variety show in the history of television, The Ed Sullivan Show, “so it’s entirely up to you. I wish you would drop me a note and, if not, it is your decision. I would like to get your verdict on it. I think a lot of you think this woman has done her seven-and-a-half years of penance.”

In July 1966, Ingrid flew to New York to receive the New York Film Critics Award for Anastasia. She was met

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Opposite: One of the most influential and controversial actresses in the history of film, she was nominated for seven Academy Awards and won three, and eight Golden Globe Awards, winning four.

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Bergman played Sister Mary Benedict opposite Bing Crosby as Father Chuck O’Malley in The Bells of St. Mary’s (1945). The endearing film about the rivalry between a priest and nun who share a common cause remains a popular Christmas classic to this day.

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by a swarm of reporters; but a group of fans were also waiting, holding placards that read: “Welcome, Ingrid!” “We tried to make as much noise as we could to distract the negative press,” said one among the band of devoted fans. “For twenty minutes we started our screaming and jumping until we were recognized. When the press saw the reception, they changed their approach. At the end, she was received with the respect she deserved.”

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directed by Ingmar Bergman (not a relation) playing opposite rising Swedish star, Liv Ullman. “She had a wonderful way of never looking back,” Liv said of her mentor. “She would smile and laugh. It was her laughter I remember most; the room would fill up with laughter.” It was Ingrid’s final major motion picture.

RETURN TO HOLLYWOOD

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NGRID WAS MARRIED A THIRD and final time in 1958, to Lars Schmidt, a Swedish theatrical producer. The marriage would last 17 years and end amicably. That same year, she reunited with leading man Cary Grant in Indiscreet and later, that same year, filmed what many consider her finest performance as a British woman who becomes a missionary and runs an inn for travelling merchants in China during the Japanese Invasion, The Inn of the Sixth Happiness.

Time was passing, but her physical beauty now radiated from within.

She made a series of movies, though none would equal her earlier triumphs: The Visit (1964) and A Walk in the Rain (1970), with Anthony Quinn, The Yellow Rolls Royce (1964), with Rex Harrison, Cactus Flower (1969), with Walter Matthau and a very young Goldie Hawn, among others. According to Liv Ullman, “Because she lived, her face was a lived face, her face was everything she had lost, everything she had loved, everything she had experienced. It was a real face.”

This sentiment is clearly seen in Ingrid’s role as Greta, the missionary who had been nursemaid to the murdered child in the 1973 adaptation of Agatha Christie’s Murder on the Orient Express, for which Ingrid would receive her third Oscar. The all-star cast included Albert Finney as Hercule Poirot, Lauren Bacall, Sean Connery, Vanessa Redgrave and Sir John Gielgud among the luminaries. Producer Richard Goodwin later commented that “All the way through it, Ingrid was incredibly professional, never late, always knew her lines, which was astonishing in that respect because she had just learned she was ill of the disease she died of subsequently. I don’t believe anyone on the set knew. It was astonishing that she was able to keep this to herself.”

No one did know. The woman who said, “I did not find acting; acting found me,” persevered through breast cancer, quietly and courageously undergoing multiple surgeries in London. She starred in Autumn Sonata,

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TIME WAITS FOR NO ONE 1981, INGRID APPEARED in the American television production of A Woman Called Golda, for which she was awarded an Emmy—posthumously— accepted by her daughter, Pia Lindström: “It has been said that a great actor never worries where the klieg lights are. The light is inside them. Very few have it. Ingrid glowed from inside. She treated success and failure as imposters and she knew that this radiance could never go out, and it didn’t.”

Forty-eight films, seven Academy Award nominations and three wins. Three Primetime Emmy nominations with two wins. And winner of the 1947 Tony Award for Best Leading Actress in a play. Three husbands and multiple lovers. Four children. And yet, there was, when all was said and done, a simplicity to Ingrid Bergman’s chaotic life that cannot be denied.

She lived. She lived with complete honesty. She stood up for herself, for what she had achieved, for what she had done—the men she wanted to love, the children she chose to have—always aware the sun would rise again, and so would she. On the day of her 67th birthday, she made her final exit. She knew it was time to go—and that it was all, all right. ■

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“I have done what I felt like, I was given courage and a sense of adventure and a sense of humor and a little common sense. It has been a very rich life.” - INGRID BERGMAN, August 29,

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Cary Grant and Ingrid Bergman made two films together, Alfred Hitchcock’s tale of espionage, Notorious (1946), and pictured here, the lighthearted film Indiscreet (1958), directed by Stanley Donen. Both films exude an undeniable, instant, urgent chemistry that few paired actors have ever accomplished. Great friends off-screen, Grant publicly supported Bergman during her professional exile from Hollywood over the Rossellini affair.

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Thean Hou Temple, where hundreds of lanterns are hung across the courtyard in preparation for the coming Chinese New Year.

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Nián The Legend of the

by Su Wong Jones

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Long ago,

when ancient times were young, there lived a ferocious monster who had the head and tail of a lion, fearsome horns, jagged teeth, elephant tusks and the body of a dragon. Everyone feared him and whispered his name in hushed tones. He was called The Nián, which means year in Chinese, because the monster only emerged from his watery home deep in the dark depths of the sea only one day a year—New Year’s Day. On that day, he would awaken from his underwater slumber, rise from the sea and clamber onto shore, raging and bellowing as he ransacked the village in search of food, destroying everything in his devastating path. So hungry was he, after a year of hibernating, that he would devour every man and every woman, every cow, horse, goat, lamb, and chicken and, if any unfortunate children were playing outside, they too would be eaten. The villagers lived in such fear that every New Year’s Eve they would gather what belongings and food they could and escape to the mountains to avoid The Nián’s attack.

One New Year’s Eve, a mysterious old man came into the village. He wore tattered rags and worn-out sandals, and was bent with age; and yet, his long white hair and beard gleamed like silver, and though he hobbled with the aid of a walking stick, his eyes were bright and penetrating. The village was in utter chaos as the frantic villagers crammed their bags with food and warm clothing, bolted their doors and windows, and set off to hide in the high mountains. In the pandemonium, no one took heed of the old man except for a kindly old widow, who had just finished packing her things and was about follow the throng. She approached the mysterious old man and could not understand the bemused look in his eyes.

“Do you not know that death awaits anyone who remains in the village tonight?” she warned, urging the old man to flee with her. “This is the night of terror! The Nián comes!”

But instead, the old man turned to her and calmly replied, “Why do you fear this creature?”

“The monster is ferocious and destroys everyone and everything in his path!” the old lady cried despairingly. “He will consume every living creature in the village! There is no time to waste! He comes!

We must leave at once if we hope to live!”

The old man stroked his long silver beard. Instead of accompanying the old woman he said, “If you will allow me to lodge in your house tonight while you are away, I will rid your village of this beast Nián forever.”

The old woman shook her head disparagingly, certain the old man had lost his mind, and one last time

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pleaded kindly, “Come with me. I know of a warm cave high up in the mountains where we will be safe. I have fresh baked buns, plenty enough for us both, but we must set off now! Night is falling!” But he refused.

“Then stay in my house, certainly, but I promise you no safety from The Nián.” And with that, the old lady ran off, shaking her head at the foolishness of this old man, certain she would never see him again.

The full moon hung high and bright in the cloudless night sky as The Nián came out of the sea, snorting and sniffing with greedy anticipation of the hearty feast that awaited him among the villagers and their livestock. As he approached, however, he sensed a change. Always the entire village would be cloaked in a shroud of darkness and silence, and human fear would permeate in the air. This time, something was different—very different. The village was empty! No human or animal was about!

Suddenly, he noticed that one of the houses was brightly lit! With fiery, flashing eyes and a terrific roar, The Nián lumbered toward the house, thrashing, gnashing his teeth, snarling loudly and savagely.

But as he neared the house, he saw huge red banners and cloths hung over the doors and windows, and the fiery flames of many candles illuminated the inside of the house. The beast froze in his tracks and trembled at the strange scene before him. The color red and the fiery candles filled him with fear, something he never had experienced before. A moment later, he heard the loud cracking sound of burning bamboo exploding in the courtyard. Suddenly, the front door flew open and there stood the old man, wearing a vivid red gown and roaring with laughter.

The Nián howled in terror! Never before had he seen such a fearsome man! He turned and fled, his tail between its legs and, like a flash of lightning, disappeared into the darkness of the night and returned to his home in the depths of the sea, never to return again.

In the morning the villagers returned, bracing themselves for the inevitable destruction that met them every year. Amazingly, everything was intact and undamaged! Nothing was harmed! Then, the door of the old lady’s house opened and out stepped the old man. The old lady cried out in delight and beckoned the villagers to come around her.

“This old man is no ordinary man, my friends! He has saved us from The Nián! Come and see!” The villagers flocked to the old lady’s house and saw the red banners, cloths, and papers the old man had hung on the doors and windows, the candles in the house and the burnt bamboo sticks in the courtyard.

“Indeed, he has saved us from The Nián!” they all cried.

Holding out his hands to quiet the joyful crowd, the old man then spoke.

“I cannot protect you forever, my friends. But you can protect yourselves. The monster only has power over you because you fear him. The Nián is not as powerful as you think. It is Fear that is powerful. Control Fear, and you become powerful.” The villagers nodded their heads in understanding. “Understand that The Nián

A street view of the decorations adorning the buildings and rooftops along downtown Shanghai during the Chinese New Year or Lunar New Year. Although Chinese New Year officially only lasts for one week, many factories and businesses shut down about ten days before to allow time for workers to travel home.

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In Chinese lore, the lion symbolizes power, wisdom, and superiority. It is believed to be an auspicious animal capable of delivering good luck to someone. The lion dance is one of the most important traditions of Chinese New Year with hopes of it bringing good fortune and chasing away evil spirits. Performed in a lion costume, and accompanied by the music of beating drums, clashing cymbals, and reverberating gongs, the lion dance imitates a lion’s movements.

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fears the color red, and he is terrified of strange-looking creatures, fire and loud noises. Therefore, every year, on New Year’s Eve, spread red across your village. Hang red signs on every door, drape your home with banners, and make decorations with colorful paper. Make loud noises with drums, cymbals, and loud music! Set off firecrackers and fireworks, day and night! And to protect your children, dress them in red, give them facemasks made to look like tigers and lions; give them lanterns! Do these things, and you will never be troubled by The Nián again.” Then, he disappeared.

The villagers did exactly as the old man instructed and, true to his word, The Nián never, ever returned. Every New Year’s Eve, the people dressed in red clothing as did the old man. They decorated their houses with red banners in the windows and on the doors, and put up colorful lanterns, lit candles, burned bamboo, and set off firecrackers to ward off the evil Nián. The entire village would be ablaze with lights and people stayed up to welcome the New Year at midnight.

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hese traditions have continued to this very day. The Chinese New Year means surviving— surviving The Nián’s attack, surviving another year gone by. The first day of the Chinese New Year is always in January or February, whenever the first new moon of the year appears. In 2022, the Chinese New Year is February 1. It is also known as Spring Festival, because the first new moon of the year also heralds the coming of spring. People dress in new red clothes and visit their family and friends to welcome in the New Year with joy and expectation. Children often present two oranges to their parents—one for Mother, one for Father—to wish them sweetness in their lives. Adults present the children with red envelopes that contain money for good luck. The gift money comes to an even number, and the red envelope must be presented with two hands, as is the tradition.

Whether in China at the first moon of the year, or in Europe, the Americas, or anywhere in the world where the New Year is welcomed on the first day of the calendar year, it is a time of celebration; a time of gathering, of unions and reunions, of feasting and merriment. It is a time of letting go of the past—and welcoming the future.

Traditions are carefully observed. Spring cleaning must take place before New Year’s Eve. Every corner of the entire house must be thoroughly cleaned. It also is the time to throw away anything that is broken, old or unwanted. This signifies throwing out all the bad luck of the year so good luck can enter the home. On New Year’s Day, however, you must never sweep or throw away garbage because, if you do, you are at risk of throwing out your good luck and good fortune.

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Opposite: Traditional red lanterns displayed during the Chinese New Year at one of the temples in Jonker Street, Malacca.

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Above: Chinese New Year is a time for families to gather, often accompanied by vocal and instrumental music and special songs to welcome the new year’s arrival and start of a new season.

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Durian moon cake with egg yolk is a Chinese bakery product traditionally eaten during the Chinese New Year festival.

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102 After cleaning, people will go shopping. They will buy new plates, new furniture and new clothes, from headto-toe (including underwear), because this symbolizes fresh hope for the New Year.

Almost all decorations for Chinese New Year involve the color red. Red not only keeps away The Nián, but it symbolizes luck, health, and prosperity. There is red everywhere—red lanterns, red banners, red paper ornaments, red everything.

Peach wood tablets carved with the gods’ names hang on every door to safeguard the house. Decorations with calligraphy also are important. The most common word is fú, meaning happiness or fortune, and is usually hung upside down.

There’s a reason. Legend has it that in the Ming Dynasty, an Emperor ordered every household to paste fu onto their doors. On New Year’s Day, he would send his soldiers to check every house. One year, they found that one illiterate family had pasted fu upside down on their front door. Angered, the emperor was about to order the family to be put to death when his wife, the Empress, intervened. She came up with the explanation that when it’s upside down, it means that fu is here. The family was set free and, from that day forward, fu is hung upside down to invite good fortune into the home.

A reunion dinner is held on New Year’s Eve. Called Shou Sui, people stay up to feast well past midnight and celebrate with lanterns and fireworks. This is when families and friends gather. Special foods are served.

Pineapple means fortune. Prawn symbolizes happiness, and fish means prosperity. It is important that there are leftovers. Leftovers signify extra and abundance in the year to come.

At midnight on New Year’s Eve, the first thing to do is to set off firecrackers, like the old man in the legend, to keep away monsters and evil. Chinese New Year means 15 days of celebration, parades and dances. A dance lion (that is, a person dressed in a lion costume) means wisdom and superiority. A dragon dance, where many people form the head and tail of the costume of a dragon, means prosperity. ■

Traditinal dishes for Chinese new year: steamed flower dumplings and chinese sweet rice balls.

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Opposite: A child helps with preparations for the Chinese New Year, a seasonal highlight for both young and old.

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The Chinese New Year holiday culminates with the Yuan Xiao, or Lantern Festival, celebrated on February 15th, 2022. A festival that began over 2000 years ago, it has evolved into many meanings. It honors family and society, upholding ancient spiritual traditions. Ultimately a celebration of love, it is also called the “true” Chinese Valentine’s Day. I LOVE PHOTO / SHUTTERSTOCK.COM

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SPHEROID DRESS

The dichotomies of natural and architectural inspirations, hard and soft, structural and organic, uniquely define van Herpen’s artistic vision of the female form. With Spheroid Dress, transparent blue organza hemispheres are multilayered forming larger spheres that weave into each other by fine black cyclic boning lines that are laser-cut and heatbonded, fading the relationship between surface and substance.

PHOTOGRAPHY BY MOLLY SJ LOWE

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Fashion is a mercurial thing. On one hand, it is ever-changing and ever-adapting; on the other, it is ever-purposeful—for fashion, no matter how inspired, must clothe.

It is, therefore, curious and always refreshing to come upon a designer who is more artist, even philosopher, than clothier.

This is true of Dutch fashion designer Iris van Herpen, heralded as one of fashions most forward-thinking couture designers. Trained in classical ballet, van Herpen contemplates “movement as a metamorphic force,” and centers the body as the core of the multi-dimensional silhouettes she creates, coupled with her interpretation of the “beauty, mystery and chaos” of nature that perpetuates “a deep sense of organic presence.” Yet, at the same time, she is an engineer who not only constructs her designs, but the fabric from which they are made, as well.

Une Hypnose Hivernale

by Samantha Paige

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EPLICYCLE DRESS

One of 19 “silhouettes,” as van Herpen calls the dresses in her Omniverse Collection, she creates a multi-layered effect with semitransparent appliques, made from the ancient silk moiré weaving technique, to interpret the illusory nature of human perception. Called “Eplicycle,” this dress is constructed by multilayering luminous organza spheres around the body to create an illusion of infinity.

PHOTOGRAPHY BY MOLLY SJ LOWE

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OPPOSITE: FRONTSTAGE PHOTOGRAPHY BY GIO STAIANO

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DICHOTOMY CAPE-DRESS

“The ‘Hypnosis’ collection is a hypnotic visualization of nature’s tapestry, the symbiotic cycles of our biosphere that interweave the air, land, and oceans.

It also reflects the ongoing dissection of the rhythms of life and resonates with the fragility within these interwoven worlds.”—IRIS VAN HERPEN With Dichotomy Cape-Dress, fine black suminagashi lines are printed onto silk to then be heat-bonded to mylar and laser-cut into contrapositive waves. All the dissected patterns are heat-pressed to hundreds of white silk wave-panels that are meticulously layered by hand and stitched to fine tulle, creating counter movement inside reversed fluidity.

PHOTOGRAPHY BY MOLLY SJ LOWE

OPPOSITE: FRONTSTAGE PHOTOGRAPHY BY GIO STAIANO

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OMNIVERSE DRESS

‘Omniverse’ explores the relationship between womankind and nature and intertwines with infinite expansion and contraction the expression of a universal life cycle.“The meditative movement of the design is the portal for the collection,” the House of van Herpen states, and is designed to give the wearer the semblance of being in a state of hypnosis. Here, white cotton is heat-bonded to mylar and laser-cut in thousands of 0.8 mm fine waves that each are interlinked, then stretched open into a doublelayered voluminous halo, creating illusionary wings of moiré that hover around the body.

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PHOTOGRAPHY BY GIO STAIANO

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OPPOSITE: PHOTOGRAPHY BY MOLLY SJ LOWE

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HYPNOSIS DRESS

Thousands of cyclical seeds were laser-cut from black foil and meticulously transferred by hand onto transparent mylar to then again be laser-cut in thousands of 0.8 mm fine waves that each are interlinked, dissecting the dress by each movement.

The motion of walking creates an illusory distortion and retraction of the seeds that hover in full transparency onto the skin. In collaboration with Philip Beesley.

PHOTOGRAPHY BY GIO STAIANO

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INFINITY DRESS

A ‘barely there’ snow white organza sheath dress of sheer overlapping cutouts that cover the body as if with feathers. An engineered skeleton of aluminum, stainless steel, and bearings is embroidered with a delicate layering of feathers in cyclical flight. Revolving around the body core, van Herpen subjugates the wearer and the adornment at the behest of her vision.

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PHOTOGRAPHY BY MOLLY SJ LOWE

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SUMINAGASHI DRESS

Employing the venerable art of Suminagashi, the Japanese art of floating ink on water, fabric is lasercut into dyed silk, and heatbonded onto transparent tulle to flow over the body.

PHOTOGRAPHY BY GIO STAIANO

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1 11 81 9 SYNTHESIS CAPE-DRESS

Duchesse-satin and transparent organza are oppositely gradientdyed from shuiro red into white to then be heat-bonded and laser-cut into gradient-sized waves. All the dissected waves are heat-pressed to the hundreds of transparent organza wave-panels that are meticulously layered by hand and stitched to fine tulle, creating contrary color gradients.

PHOTOGRAPHY BY GIO STAIANO

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DICHOTOMY STRAPLESS GOWN

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The “Dichotomy” fabric is laser-printed, heat-bonded and laser-cut into contra-positive waves pressed onto hundreds of ripple-like panels that ebb and flow on hand-sticked silk organza. Developed in collaboration with Professor Philip Beesely, the process requires tens of thousands of plotter-cut mini ripples that continuously dissect the dress through each movement of the body.

PHOTOGRAPHY BY MOLLY SJ LOWE OPPOSITE: FRONTSTAGE PHOTOGRAPHY BY GIO STAIANO

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The Winter Horse

by Hunter Holliday

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he Icelandic horse is as sturdy, hardy and colorful as the Icelandic terrain itself, which features hulking glaciers, powerful waterfalls, snaking fjords, crystallin lakes, simmering volcanoes and verdurous grasslands. The history of the breed—one of the purest in the world—dates back to the ninth century when Vikings brought the compact mounts on their longships across the rough Atlantic Ocean where the horses assumed their role as “the most indispensable servant” on the remote Nordic island.

“The Icelandic horse is the manifestation of Icelandic nature: unique, pure and genuine,” explains Jelena Ohm, project manager of Horses of Iceland, an international marketing initiative for the Icelandic horse that is funded by the Icelandic government and the industry worldwide. “The breed is charming, but also immensely powerful, spirited and versatile,” she adds.

Icelandics have a presence in Norse mythology where many of the gods rode the horses, including the chief god, Odin, who had an eight-legged horse named Sleipnir.

Additionally, in the well-known Icelandic Sagas—the narrative legends based on the historical events of the ninth, tenth and eleventh centuries—the horses contribute in a range of roles from working horses to prized war and race horses. To pay homage to this history, many riding clubs and horse herds in Iceland are named after the mythical beasts.

A national symbol of The Land of Fire and Ice, the sure-footed Icelandic horse was historically the main means of transportation, which is why an emphasis was put on their smooth, four-beat gait called the tölt, which is not only easy for the horse to maintain for long stretches, but also comfortable for the rider. The other signature gait for the Icelandic horse is the flugskeið (flying pace) or “fifth gear” as it is

dubbed. This fast stride enables the animals to reach speeds of up to 30 miles per hour, making it popular for racing.

Traditionally, the horses were also relied upon to carry and pull carts, which is why a good work ethic has always been important.

Today, the horses are primarily used for pleasure riding and sport competitions, though their versatility enables them to perform well in everything from therapeutic riding to carriage pulling, endurance racing, and dressage.

“The Icelandic horse opens up a magnificent world of adventure,” notes Ohm. “As a riding horse, the Icelandic horse grants access to a community of people where friendship, good company and enjoyment of life are key.” Ohm adds that the Icelandic horse also provides riders with an intimate link to the natural world. “This new role is perfectly suited to the breed’s original characteristics and nature,” she says.

The Icelandic horse is featured prominantly within the annals of Nordic history and mythology. The Valkyrie by Peter Nicolai Arbo. Valkyrie, also spelled Walkyrie, Old Norse Valkyrja “chooser of the slain,” in Norse mythology, a group of maidens who served the god Odin and were sent by him, riding horseback on their great Nordic stallions, to the battlefields to choose the slain who were worthy of a place in Valhalla. Above: The Romanesque style Valþjófsstaður door is a medieval carved church door in the National Museum of Iceland. It depicts a version of the Lion-Knight legend in which a knight, atop his noble Icelandic steed, slays a dragon, freeing a lion that becomes his loyal companion.

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A herd of wild horses in front of the Kerlingarfjoll mountain range in the Icelandic Highlands. The mountain range is a part of a volcano system with numerous hot springs and rivulets in the surrounding areas.

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Iceland there are 80,000 Icelandic horses, compared to the 356,000 humans that inhabit the island. The horses are raised in the Icelandic wilderness and often not handled much until they start their training at three and a half years old. “We want them to be raised in a natural environment that makes them strong and smart and in a herd, which ultimately makes them easier to train because they react like horses naturally would,” Ohm explains.

There are approximately 400,000 Icelandic horses registered globally in the online database, WorldFengur, which traces their ancestry for many generations and ensures the names registered into the system follow Icelandic

75 naming traditions. Because of their amazing adaptive abilities, Icelandics can thrive in cold climates like Alaska and Greenland, but also do well in warmer weather environments like Australia, New Zealand and Hawaii.

“The Icelandic horse is known worldwide for its genuine and welcoming character,” says Ohm. “The horses are friendly, adventurous, smart and quick to learn. They are usually very easy to handle, cooperative both on the ground and while being ridden, yet also powerful and with a great will to work.”

The size of Icelandic horses can vary considerably, from just about 12.3 hands (51 in/130 cm) on the highest point of the withers to over 14.3 hands (59 in/150 cm).

The average size of horses shown in breeding evaluation is now 13.3 hands (55 in/142 cm) to the withers, which is considerably taller than 30 years ago, something Ohm chalks up

to better feed and selective breeding.

All Icelandic horses have one of four basic colors: bay, red/chestnut or black, and even the white horses (unless they are albino), are born red or black and turn white with time. But with over 40 hues and up to 100 variations of coat colors, which contribute to the charming look of these friendly ponies, the breed is one of the most colorful in the world. “Not only are all colors allowed in the studbook, but variety is encouraged, as the official breeding goal is simply to preserve all colors naturally occurring in the breed,” Ohm points out. The horses also often have very unique markings, and some even have light blue-colored eyes.

The international umbrella organization for the Icelandic horse is the International Federation of Icelandic Horse Associations, which represents Icelandic horse associations from 23 countries in Europe, North America,

Australia and New Zealand, with the biggest groups being in Germany, Denmark and Sweden. Horses of Iceland is an international marketing project with the specific objective to make more people aware of the good qualities of the Icelandic horse with a focus on the horses, services and Icelandic-horse related products.

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reat effort has been made by these groups and the Icelandic government to protect the purity of the breed.

Due to the geographic isolation of Iceland, very few horse diseases are present and, remarkably, no vaccines are needed.

Only Icelandic horses whose parents are both Icelandic can be registered. Furthermore, once a horse leaves Iceland it can never return, and

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A turtleneck mermaid dress and matching corset with an accentuated waistline of intricately detailed hand embroidered Solstiss lace.

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no horse (nor semen) can be imported into the country. The Icelandic government has laws in place to help visitors protect the Icelandic horse from infectious disease, as well. Importing used riding equipment—including saddles, bits, bridles, nosebands, pads, rugs, riding gloves or even riding shoes—is prohibited. All riding clothes must be cleaned in a washing machine prior to entering the country.

For those interested in acquiring an Icelandic horse for themselves, Ohm advises contacting your local Icelandic horse association which can assist with all questions about purchasing an Icelandic in your own country or the process of exporting one from

Iceland. For those who want to celebrate the breed, mark your calendar for May 1, which is International Day of the Icelandic Horse and offers a way for fans to share their love for Icelandics on social media and beyond.

There also are many ways for travelers to interact with the curious and friendly equines when visiting Iceland. Horse activities include everything from stable visits to horse shows. Riding tours, hosted by companies country-wide, are exceedingly popular and present visitors a quintessential Icelandic experience. The rides can accommodate all levels of experience and range from halfday jaunts to 10-day (or longer!) immersive

experiences. Visitors also can make plans to take part in the country’s oldest agricultural tradition, the annual horse and sheep roundups, which take place every September and October. More information is available at www.visiticeland.com.

“The horses of Iceland are the best ambassadors for our little island in the north,” Ohm says. “They represent the country and culture well and encourage their human friends to visit Iceland at least once, if not regularly.” ■ Editor’s note: To learn more about this iconic breed, visit www.horsesoficeland.is.

Since its introduction into Iceland around 900 AD, the Icelandic horse breed has had to change and adapt to its surroundings; seasonally sporting a thick winter coat making the breed subsequently undaunted by wintry winds and snowstorms, while capable of wading frigid glacial rivers and crossing rugged terrains.

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A dramatic three-piece look made up of lightweight crepe trousers and an Egyptian inspired overskirt with a dramatic hand embroidered tulle turtleneck bodysuit in nude.

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THE WOMEN WHO INSPIRE US INTERVIEWS

BY KAREN FLOYD

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Our Inspiring Women have been selected because each has carved out a unique path through life that is recognized by others as exceptional. You will see a commonality in the interviews. These remarkable women have achieved greatness by following their internal compasses while facing the circumstances they are dealt in life. None had a road map.

Interview videos are available to watch at elysianwomen.com

GOWN BY OSCAR DE LA RENTA / PHOTOGRAPH BY MICHAEL PANICCIA HAIR BY HENRY DE LA PAZ WITH MAKE-UP BY KIMARA AHNERT

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CATHY BISSELL Founder of BISSELL Pet Foundation (BPF); Director of Corporate Affairs for BISSELL Inc.; Co-founder of LostPetUSA.net; Launched BISSELL’s Partners for Pets program and the Empty The Shelters initiative; Philanthropy Expert on The CW’s Save Our Shelter Season 2; Has helped raise millions of dollars for animal welfare organizations and touched the lives of nearly 400,000 pets; Is expanding her animal saving programs internationally in Germany, Canada and Australia.

JEAN SHAFIROFF American philanthropist, author and advocate; Serves on multiple national and regional philanthropic boards, including The New York Women’s Foundation®, American Humane Society, NY Mission Society, JBFCS, French Heritage Society, The Couture Council, and more; hosts the television show Successful Philanthropy on LTV; Has chaired numerous galas including the New York Women’s Foundation, NYC Mission Society, American Cancer Society, and more; Author of Successful Philanthropy and has been published in Social Life Magazine, Hamptons Magazine, and Gotham Magazine; Has raised millions as a volunteer fundraiser. for various causes.

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Cathy Bissell at home with her two dogs KC and Bo, both who have since passed away.

cathy Interview Date: October 7th, 2021

CATHY BISSELL is on a mission to save pets’ lives and she is coming

at it from all angles. In 2011 she founded the BISSELL Pet Foundation (BPF) to help reduce the number of animals in shelters by bringing awareness to animal welfare and the importance of pet adoption. In the past 10 years since its inception, BPF has raised millions of dollars for animal welfare organizations and has touched the lives of nearly 400,000 pets across the globe.

Most recently, she also launched subsidiary programs through BPF to impact pets from adoption to spay/neuter programs. More than 5,400 animal welfare organizations across the U.S. participate in the Partners for Pets programs through BISSELL Pet Foundation and Cathy is now expanding her animal-saving programs internationally with projects in Germany, Canada, Australia, The Netherlands and The United Kingdom. What’s next for Cathy? Saving more lives.

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You have always been drawn to animals. Is there a first memory when you connected with pets in a unique way?

As a child, my family had Irish Setters, a beautiful breed you rarely see today. One dog, in particular, was named Patrick and he would stay outside all day long in his dog run. But at nighttime, my parents would leave him outside. It was not common for dogs, at that time, to be house pets. However, I was saddened by it, and would regularly sneak Patrick into the house, and he became my best friend. Looking back now, I think he carved out a little piece of my heart and that began my love for animals.

Did your father or mother ever discover that you were sneaking the dog in? Did they allow you to continue once they knew what you were doing?

They did realize what I was doing and, after a while, they actually allowed him to stay inside with me at night.

You attended Miami of Ohio for college. How did that experience impact you?

Yes—I left my home in Michigan, just outside of Detroit, and attended Miami University, or Miami of Ohio, located in Oxford, Ohio. It is a wonderful university, but when I attended it was a bit smaller. It has truly grown in size since then, especially its beautiful campus. My youngest son actually decided to go there as well. It was a fantastic experience for me as I studied liberal arts and, in my spare time, would work at a local veterinary clinic.

Tell me more about your experience at the vet clinic.

At that time, I really wanted to go into that profession and become

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a vet. I loved animals, and I felt that was the path I was going. I really enjoyed my experience there, working with all kinds of animals including cows and pigs, or whatever animal we were helping. The vet I worked with was an incredible man who also cared deeply for pets.

It changed for me, though, when one day when I was working in the office and a family brought in their dog, who I must add was a perfectly healthy dog. They were moving and they wanted the veterinarian to put the dog to sleep because they couldn’t take the dog with them.

The vet offered to take the dog himself and gave them other options instead of putting the dog to sleep. They said, “Nope, it’s our dog, and we want you to euthanize it.” I said to the vet, “I am not going to be around for that. I will not be in the room or physically present.”

And he said, “No, you have to stay in the room and assist.” The family, incidentally, also made their 10-year-old son stay in the room, and it was heartbreaking. For me, that was a life-changing moment. I realized that I can’t do this, and this is not what I signed up for. So, I went in a different direction, but my love of pets remained.

You have made a tremendous impact on animals. Has life gone full circle?

Interestingly, it has. Even though I stepped away from animals directly and went in a different professional direction for several years, I’m back in the animal world, just not in the way I thought it would be.

After some time at Miami of Ohio, you then transferred to the University of Michigan and, at a football game, your brother introduced you to the man who is now your husband of 40-plus years. Did you ever expect life to twist and turn like that?

HOW CAN YOU DO BOTH— EXTEND BEYOND THE FIRSTHAND EXPERIENCE, THE PROVERBIAL BUBBLE—AND NOT BE AFFECTED BY WITNESSING HORRIBLE THINGS THAT ARE DONE TO ANIMALS?

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I truly wasn’t expecting it, but I couldn’t be more grateful. Our relationship and partnership have been so important to me and, of course, our work with BISSELL Homecare and also the BISSELL Pet Foundation.

After you met Mark and were married right after college, where did you end up?

We went on to live in New York City. I was working in fashion at the time and loved the experience.

You worked for Harper’s Bazaar as an assistant to then the iconic . . .

Senior fashion editor, Nonnie Moore.

Tell me about her.

Nonnie was a phenomenal woman. In a city like New York where people are always wanting to be at the top, she was at the top, and still, she held true to her family always coming first. Not only was she my boss, but she also happened to be my neighbor, so we formed a deep bond. We went to work together, and I would ride home with her at night. She was a phenomenal mentor for me and, although she had two sons, I was almost the daughter she never had.

Did you know immediately that she was exceptional?

Nonnie, yes. I was fearful because she was the leader, the senior fashion editor. Working for somebody like her in a powerful position who decides fashion is fantastic, but also hard. But she was phenomenal in every way. She was so smart and very relaxed. Designers loved her because she was not trying to be anything she wasn’t.

What did you learn from her, your takeaway from working for an iconic trendsetter?

To always try and stay young. Not because you want to embrace youth, but because you want to understand youth. Nonnie always told me that young people are the ones you will learn from, and I think that is true. She always said, “Ride the subways. Don’t take cars or taxis when you can, but stay in the subways because you can see what is going on.”

I think that lesson is part of what puts me in the shelters today, because I want to stay current and experience it firsthand. I want to understand what is going on. I want to see how animals are being treated.

I learned that from her, to stay current, understand what’s going on, to never stop learning.

How do you stay current in the pet rescue world now? Also, how do you witness firsthand the treatment of animals and still protect yourself from some of what you see in the shelters and rescues?

You must compartmentalize your thoughts. If you take too much home with you, it can be really difficult. I do take a lot home, and I have changed a lot because of it. It can be heartbreaking to see these homeless pets in shelters, but it’s also incredibly wonderful when their lives are changed, when they get adopted, when they get the help they need.

When I started the foundation, I just wanted to help animals by giving money and making a difference that way. But my work grew because I became personally involved—first in Michigan and now across the country. I could really see firsthand what was

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MY MOM ALWAYS TAUGHT ME TO BE STRONG. SHE HAD FIVE GIRLS AND ONE BOY, AND SHE WANTED HER GIRLS TO BE STRONG.

ELYSIAN Publisher, Karen Floyd (opposite), takes a moment to play with Zoey at the BISSELL Homecare corporate offices in Grand Rapids, Michigan, during the Inspiring Woman interview Cathy Bissell (right).

PHOTOGRAPH BY NATHAN ROE

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Cathy Bissell at home with her four dogs: (from left) Taz, Roxy, Riley and KC.

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going on and all the work that is going in to saving lives.

Shelter people are wonderful, and they are doing so much good for the animals they serve. To make a sustainable difference, we need to work through communities and understand how to change communities, and to get involved.

How can you do both—extend beyond the firsthand experience, the proverbial bubble—and not be affected by witnessing horrible things that are done to animals?

Understanding that we’re helping is important and keeps me going. It’s of course very difficult, especially in emergency response to witness these situations, but you must remember to be strong. My mom always taught me to be strong. She had five girls and one boy, and she wanted her girls to be strong.

With every person you touch, I see a deepening or conversion of sorts to pets.

What was your mother’s conversion? How did that happen?

We are a very close family, and we all have a lot of dogs. In order to be with us, she had to be around our dogs and cats. She may have been forced into it; she was frightened of pets when she was younger, and growing up we had several animals. My dad was an animal lover, and we always had three dogs and other animals, including chickens.

My mom wasn’t really interested, but when she comes to see us and stays with us, she’s surrounded by them and has grown to love them.

Speaking of your family, you and your sister started a lost animal website?

Yes, it was called Lost Pet USA, a site dedicated to reuniting pets with their owners. It started from a personal experience for my sister who found a lost cat. At first, she gave the cat to her neighbor and I said, “You can’t just give somebody’s cat away.” She explained, “I’ve had signs out, and nobody’s come for it, and I’m assuming it’s nobody’s pet.” We took the cat to a vet to scan for a microchip, and it had one, and it belonged to the home next door. So, that was how we started Lost Pet USA. There were people like us out there who mistakenly might think it was better to give a pet away or leave a pet at a crowded shelter when they found it. We started the site to make an example out of our experience and try to do something positive, and work to reunite families.

Is Lost Pet USA still in existence?

We have since closed the website. At the time, the site was necessary, but now more people are aware of microchips and are scanning them, usually before they come into the shelter or return them home.

So, the antidote to lost pets is now the microchip?

Yes. Microchips are imperative for helping lost pets. Every single pet that we, BISSELL Pet Foundation, touch must have a microchip; I’m insistent upon that. Some shelters say they can’t afford them, so we will supply them with the microchips. Every pet deserves to find its home.

Moving back to speaking about pets, in particular your dogs. I think every pet owner has one animal that stands out above the others. Who was yours?

I have loved all my dogs equally, but the one that changed my life the most was the first dog that I adopted, Bear.

Tell me about Bear. I know he was six years old when you adopted him, but tell me about how he became part of your family.

I was hosting a charity event for animals here in Western Michigan, and the proceeds went to our local humane society.

The director, at the time, brought this dog up to me as I was standing with my two black labs. I watched with surprise because he, the dog, had no reaction to my two dogs. He was just perfect.

He was gorgeous inside and out.

I asked where Bear came from, and they said, “Somebody dropped him off at the shelter.” I could not imagine who would drop such a gorgeous dog off at a shelter. I was so upset that someone would give up a dog so beautiful, so regal and so perfect, to a shelter for no valid reason. I was told the family gave him up because they got a puppy, and Bear was too old. It was heartbreaking.

“I am taking him home,” I told my husband that evening, who said, “Oh, no, you’re not taking that dog home.” I replied, “Okay,

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well, you’re going out of town tonight. So have a great trip.”

I went home and he called me, and he asked, “Did you bring the dog home?” And I told him, “Yes, I did. And he’s sitting with his head on my lap.” Mark said, “You have to take the dog back.”

But, of course, I didn’t. I just couldn’t. Bear was part of the family instantly and I wasn’t sending him back to the shelter.

When Mark came back on Monday, it was his 50th birthday, and while we were celebrating, I took a beautiful picture of the three dogs together and said, “Happy Birthday.”

Your husband eventually fell in love with Bear.

Yes. He definitely fell in love.

Was the adoption of Bear as significant or transformative for your husband as it was for you?

I am not sure where Mark transformed or at what point he changed, but he did. Honestly, he did not have a choice really. He just had to go with the flow and was transformed right along with me. We work that way.

He is just very accepting, luckily, and that’s what makes our bond so special. I mean, he did realize that this was a sad situation, but he does not get as emotionally attached as I do, because it is hard for people. I understand that. It is hard for me. So, he accepts, and he learns, and he listens, but he doesn’t go as far or deep as I do.

In 2011, what prompted you to start the BISSELL Pet Foundation?

I was supporting an animal welfare organization locally, and I decided to help raise funds for them. Our balance became substantial—more than one shelter really needed—so I decided we Cathy Bissell at the Pointe Coupée Parish Animal Services shelter.

Above: Cathy at BISSELL Headquarters for Empty the Shelters in April 2017.

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should spread this wealth a little bit to other shelters in the area. We did that, and seeing the impact it was making, I decided the best way to help rescue animals was to start a foundation.

In the past 10 years, the foundation has continued to grow, focused on four pillars—Adoption, Emergency, Spay/Neuter and Microchipping.

We support adoption and spay/neuter programs which are so important for keeping the homeless animal populations down.

Microchipping is a part of what we believe in, as well as emergency care. Now we’re involved with transporting pets across the country.

You also have partners across the United States and beyond—not only in the state of Michigan?

We started small, but then we grew appropriately. We have touched almost 400,000 animals across the country, and internationally, through our programs and grants.

During COVID, what was your focus?

We still promoted adoption with the shelters that had enough staff to keep operations going. During COVID, many of the shelters lost their staff—people were sick, people weren’t coming to work.

Shelters were shutting down and closing their doors, and some of them still had pets in their care. So, we devised a way to do an adoption event where you could do everything safely online, limiting in-person interaction. Adopters could fill out all their information online. You could select a pet that you liked, and they would arrange a time for you to meet that pet separately. The process was created to ensure people weren’t coming into the shelters and making it unsafe.

Adoptions were also taking place outdoors, which really helped.

In some metropolitan areas like Manhattan, by way of example, there were no animals left in the shelters after so many people adopted the pets. Were you able to help?

We were, actually. There was some transport going on, moving pets from one shelter that was full to another that had open space.

We do larger transports today than we did then, but we were still transporting into metropolitan areas. I did hear New York City shelters were empty. I said to myself, yet there are so many homeless pets in the South. We worked to move as many pets to different parts of the country, but we still hit some roadblocks.

That was the hard part, with everybody being shut down. We

did what we could, and we reminded partners to reach out to other shelters in their area if they were struggling. At that time, fewer people were surrendering animals to shelters. People had to keep their pets at home. The ones that had to surrender an animal could, but only if a shelter was open.

Your passion started at an early age. What advice do you give to people trying to ascertain their passion?

I think you have to go with your gut. What does your heart tell you? If you’re passion-driven, you will figure out a way to do it and accomplish your goal. It takes time, and it takes perseverance. But if you really want to make a difference, you can.

How many hours a day do you work on pet-centric philanthropy?

Well, if you asked my husband, too many, but I do work a lot. I am always working. As a matter of fact, last night he asked me, “How do you stand it?” But when you love what you are doing and you know are saving lives, you do it.

It would be remiss for me not to mention BISSELL vacuums. You personally have a dog patent for a shedding tool.Tell me about it.

We don’t promote it, but we have it available to purchase online.

The ShedAway idea came about from my own need as a pet owner. I would brush my three black Labradors, Bear being one of them, and when I would brush them, there would be hair everywhere in my yard. It looked like I killed an animal. I said, “This is ridiculous. We’re in the vacuum business. I need to innovate a tool to take the shedding hair and have it sucked into a vacuum before it goes everywhere.”

I worked hard on it, working alongside our talented team of product developers and engineers, and it came together perfectly.

BISSELL was started in 1876, but there weren’t vacuum cleaners in the 1800s. What did the company start as?

It started as a carpet sweeper company. It began with the push sweeper that we still make today actually! We bought our first vacuum company, Singer Vacuums, which is what moved us toward the vacuum market, and here we are now more than 140 years later.

You have been on television to promote the pet component of BISSELL. Do you enjoy doing the commercials and being on TV? At first, I have to admit, it was pretty scary because television can be intimidating. There are a lot of people in the wings—a lot of laughing in the background and, you think, what did you do? What did you say?

Are they laughing at me? But that’s just the chaos of a busy set.

In the end, it is a great tool for getting a message out, and it’s important to tell people about our mission. I really am on television to promote the foundation. I love any chance to promote our message across the country.

The BISSELL company gives money to undergird the foundation. Did you see a lot of impact from that capital infusion?

I am always pushing for the animals, and my husband luckily supports me and sees the great work we are doing to save lives. So, he supports our efforts and the people at the company also support it. We regularly hear people buy BISSELL products because of the donation to our foundation, and a lot of our employees are dedicated to the foundation as well.

And while yes, BISSELL is one of our primary financial supporters for the foundation, they do not support all of our work.

We rely heavily on private donors and sponsors to help us make the impact that we make every day.

BISSELL headquarters in Grand Rapids, Michigan, epitomizes a pe- friendly company. Is that your influence or was that employee driven?

There’s two parts to that, actually. There’s BISSELL as a global company focused on making products that are absolutely pet-friendly and yes, our corporate offices for our employees are also pet-friendly.

BISSELL makes great products to clean up after pets, which obviously has played into everything that we produce. We sadly learned that people were giving up their pets because they couldn’t clean up after them. We needed a solution that should go hand-in-

Cathy Bissell and her daughter Alissandra at home with Alissandra’s dog Logan (in background) and Cathy’s dog Roxy (black Lab in front of Cathy).

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hand with pet ownership and pet adoption. Even our marketing became focused on pets and the foundation. We started putting adoptable animals on our vacuum packaging, specifically the boxes.

We got behind the message.

I wanted everyone to know that my dog Bear, a rescue, was not just on a box, but he was on my ShedAway tool. I wanted everyone to know that you should adopt—look at these beautiful faces. The company got behind the products and the awareness messaging. We kept developing better and better pet products for cleaning carpets; we even used the statement: There’s no better stain than a pet stain to inspire us.

Then, the company itself evolved. One day I said, we should become an open campus. My husband said, “Nope, that’s not going to happen because people aren’t going to buy into that.” So, we started slowly making it pet-friendly in one area, and our employees loved it. They all wanted to bring their pets. They were so happy not have to leave their dogs home alone because they were at work.

We opened the entire campus, and we built a pet spot. It’s an indoor-outdoor kennel where people can feel safe to leave their pet while they’re at a meeting in an area where people might not want a pet in the space.

Let’s talk about your life here in Grand Rapids, beyond the foundation. You raised three pretty amazing kids. How old is your youngest? And I heard he has a unique story behind his name?

My youngest is 26, Merrick. We call him “dream baby” because I dreamt the name. I dreamt both his name and the spelling.

Do all your children live in Michigan?

No, my youngest son lives in Chicago. But my two older children are here with their families.

Do all your children work for BISSELL? My oldest son, who was my second child, works here, and my sonin-law also works here. It’s fantastic actually to have them all part of the family business.

What is next for you?

To save more lives with the foundation. We’re celebrating 10 years this winter, and the next 10 years are what’s next for me.

How are you planning for that?

It has really been interesting, because it has been 10 years now and, at the five-year mark, we conducted an analysis of the work.

“Are you doing enough good?” “Is it counting?” We were making a difference because every life counts.

Now that we have reached our 10-year anniversary, we really kicked into full gear. We must stay focused in the areas that I talked about—the adoption, the spay neuter, all key things—the microchips, helping with emergencies. As I have been out there in the field and working for the shelters trying to help them, I realized that there are large challenges ahead like heartworm, a new area of concern. A lot of dogs in the South have that disease, and it needs to be addressed.

Helping educate and conquer the issues surrounding heartworms is a priority for our team, and we now have dedicated grant programs to treat and prevent heartworm.

We have grown our transport initiative and efforts. It’s a large production, but it’s strategic because it fits within the plan to save more lives.

Being a smaller team, we are flexible and can adjust quickly. It happens because we are in the field with boots on the ground. And since I am the one in the field (with my team who is amazing), and I’m seeing situations firsthand, it’s easier for me to shift and say, “Let’s do it,” and meet the need.

Do you think the BISSELL Pet Foundation will be around in 20 years?

Absolutely. Stronger and bigger than ever, I hope.

The level of awareness and education, unfortunately in the South, is lacking

Cathy at the BISSELL Homecare offices with her dog Zoey.

comparatively to other areas in the United States. What key states are focal points?

Yes. I am really focusing on key states, even though we reach across the country. Arizona, which has a lot of animals in the Maricopa County area, and Texas, which is equivalent to four states, need a lot of help. They are struggling with a lot of issues including overcrowding.

Other places we are focused on include Arkansas, Louisiana, Mississippi, Alabama, and other southern states, like South Carolina.

How have shelters in the South really impacted you?

Louisiana always has my heart because that is where I learned a lot, and have seen a lot, after Hurricane Katrina. I got involved in the shelter world there due to the impact of Katrina’s devastation. Before 2005, I had never been in a shelter in my life. Can you imagine?

After the hurricane, I went to take photographs of the animals that were being evacuated up to Michigan. I went into the shelter for the first time in my life, and to see everything was heartbreaking.

Do you have memories of neglected and marginalized animals?

Yes, I have definitely seen some horrific situations, but I always remember the beautiful moments as well. I try to focus more on the thousands of lives we’ve saved and impacted instead of the sadder memories.

Animals heal.

They are healing in every way, physically and mentally. They are good for your heart and lowering your blood pressure. I think the American Heart Association even came out with saying pets are good for you. You get out and walk, so they encourage exercise. They’re your best friend and provide much needed companionship, which is why we love pets.

What was the transition from Louisiana, which was your introduction to the shelter world, and your sweet spot, to international efforts?

We do some international outreach. It started because Canada was reaching out to us saying, “We have been following your work.

Can we do some of your adoption events?” So, we started that, because we are an international company and it made sense. As the company changed and became very pet-focused, our international companies said, “We want to be involved and to make a difference here in our respective countries.” Just today, in the Netherlands, several young women reached out to us wanting to be able to give out grants and help their communities. We have projects in Germany, Canada, Australia, and it continues to grow.

Have you done anything in the Middle East or developing countries yet?

We have explored the Middle East, but it’s difficult with grant distribution and tracking details, and I want to be able to track the saved animal lives. Kabul has been a very interesting topic recently—with the animals left behind—and there are lots of funds being raised to help. Any way I can help, then I help. I just cannot take that project on, unfortunately.

What is your primary focus, here forward, in the next half of your life?

Everybody has their area of focus. As a family and as a company, we are involved in philanthropy surrounding education and children.

For me personally, the pets are and have always been my heart. My husband feels the same way. We give the most there, but we continue to donate in other sectors as well.

What piece of advice would you give a young woman, the age of your youngest?

I would tell any young person the advice that I read belonging to a quote from Steve Jobs. I have the quotation hanging in my kitchen. I have botched it up over the years because I keep repeating it differently. But the message is the same. Do not let anybody tell you how to live your life. If you have a passion, you need to go with your passion and do what you feel is best for your life. Because nobody else can tell you how to live your life. ■ Editor’s note: Cathy Bissell founded the Bissell Pet Foundation in 2011, whose goal is to help its growing network of animal welfare organizations in all 50 states find a loving home for every pet.

She is also co-founder of LostPetUSA, a searchable nationwide database established to help reunite lost pets with their families.

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Jean Shafiroff, pictured here in an exquisite Zimmermann dress.

PHOTOGRAPH BY NICK MELE PHOTOGRAPHY HAIR AND MAKE-UP BY SALON MARGRIT, PALM BEACH

jean Interview Date: July 19th, 2021

Gracing magazine covers and hosting galas in beautiful ballgowns would give the impression that JEAN SHAFIROFF lives a glamorous life. Behind the curtain, she is a zealous philanthropist, often volunteering her days and nights as the leader of several charitable causes. Jean was raised in a household that prioritized education, hard work and giving back—traits that she uses today to serve on multiple national and regional philanthropic boards, chair countless galas each year and raise millions towards the causes she is particularly passionate about: fashion, women, animals and health care. She has been described as “one of the first ladies of philanthropy” and, time after time, she is honored by organizations for her impactful actions and contributions. Recently, Jean served as the national spokesperson for the American Humane Society’s Feed the Hungry COVID-19 program. She currently hosts the LTV television show Successful Philanthropy, which was inspired by her book of the same name where she teaches “how to make a life by what you give.” With close to a million followers on Instagram, Jean uses every platform available to her to promote the concept of philanthropy and show how others can help. She plans to raise the bar again soon with dreams of bringing her television show to a national audience.

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How did your father play such a significant role in your educational journey?

My father was a schoolteacher and he taught music to grammar school children, as well as high school students. He studied at The Juilliard School and then Columbia Teachers College where he earned a master’s degree. During his educational pursuits, he went into the army to serve during World War II. He performed in the army’s band, which traveled around the country but was never posted overseas. He truly loved teaching and instilled in our family that education was vitally important.

My dad wanted me to be a nursery or kindergarten teacher because he thought it would be an easier life. I started college as pre-med, but I did not care for chemistry or physics. I liked math and biology, so I decided to pursue a career in physical therapy and then, later, a career as an investment banker on Wall Street.

You have a Bachelor of Science as well as an MBA from Columbia University, correct?

I have an undergraduate degree in physical therapy from the College of Physicians and Surgeons at Columbia with a BS in physical therapy.

I also have an MBA with a major in finance, from the Graduate School of Business at Columbia University. My aptitude in math, calculus, and statistics was useful for the MBA. I enjoyed Columbia and worked hard to get good grades and to earn my degrees.

How did your work as a physical therapist impact your career decisions?

I worked at St. Luke’s Hospital, an inner-city hospital, where I witnessed a lot of human suffering. Many of my patients were living at or below the poverty level and experienced problems with physical health. Seeing how so many people lived in such hardship and what they went through certainly changed me. After a short career as a physical therapist, I decided that I wanted to combine my work as a physical therapist with an MBA in finance. I thought I would be able to do more for people and make a better living for myself. I had to contemplate the future, so I went back to Columbia where I earned an MBA at the Graduate School of Business at Columbia University. I then went on to work as an investment banker on Wall Street. My career on Wall Street taught me many skills that I use for the philanthropic work I am involved with today.

How and when did you enter the world of philanthropy?

My interest in philanthropy stems from my upbringing. I attended 12 years of Catholic school where the nuns taught us the importance of giving back. I will add that all religions teach the importance of giving back. Whether you are Christian, Jewish, Hindu, Muslim, or Buddhist—there is something in the precepts of every religion to give back.

My father would come home after a day’s work and talk about how important the students’ education was to him. My mother was always involved in bake sales for charity and also did volunteer work. When my daughters entered school, I was a class mother for several years and must have made 2,000 brownies right in our Manhattan apartment for all the bake sales. I also got involved with volunteer fundraising for the Dalton School. In addition, I served on a few charity boards while my daughters were growing up. Today, I serve on eight charity boards and am about to add a ninth board to the list.

Your mother also worked outside of the home?

Before she had a family, my mother worked as a textile designer in New York City. After she was married and became pregnant with me, she gave up her career to raise the family. I was the first child and I have two younger brothers.

Your childhood was full of activity, correct?

I took ballet lessons and acrobatics at that time. Then I was also on the gymnastics team and was a cheerleader. In high school, I was president of the Leaders Club and as a junior voted most likely to succeed. I studied very hard because that was an integral part of the family. My parents insisted on us getting a good education. I enjoyed studying and learning.

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ELYSIAN Publisher, Karen Floyd, with Jean Shafiroff at her home in Southampton, New York, during the Inspiring Woman interview.

PHOTOGRAPH BY HALEY HUDSON

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No doubt, education was central to who and what you are.

Did you pass that foundational belief to your daughters?

I would like to think so. My oldest daughter has a master’s in social work. She serves on a charity board and does a great deal of volunteer social work. Our younger daughter is a college graduate and also is a graduate of the International School of Photography (ICP).

She worked as a photojournalist for Reuters for a few years. Several years ago, she started her own charity called Global Strays. She is the volunteer president and works day and night for this cause. I am proud of both of my daughters and love that they are young philanthropists.

Philanthropy must pass from generation to generation.

One of the eight charity boards I serve on is Global Strays. We

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raise funds and contribute monies to help animal rescue groups in developing nations. Our work includes funding education on the proper care of animals, spay and neuter programs, veterinary care, and other animal-related work. Right now, Global Strays is focused in Latin America and sends funding to groups located in Nicaragua and Colombia, where there is great need. Global Strays will expand to other countries in the future.

How important was it for you to be a stay-at-home mother?

I was fortunate in that I had the option of being able to be a stay-at-home mother.

Early in our marriage, my husband and I were both working on Wall Street and had exceedingly long hours. I was getting home from work at 9 p.m. to 10 p.m., and my husband’s hours were exceptionally long. After I became pregnant, 18 months after getting married, I realized that it would be difficult for me to do everything. If I continued to work, I would never see my children and that they would be raised by nannies, so I left my career. As I look back, I think I did the right thing because that time spent with my daughters was invaluable to who they are today.

Many women do not have that choice. They must work and they must juggle a fulltime career while raising a family. Those women do an amazing job. For me, I do not regret my decision to be a stay-at-home mom. I would have never been able to spend time with my daughters with the career I had on Wall Street. Even if you are a stay-athome mom and do everything right, a lot is up to fate.

How did you meet your husband?

I was a student at the Columbia Graduate School of Business and attended a party at the Park Avenue Squash Club for alumni and students. My husband was not involved with the Columbia Graduate School of Business at all, but he was playing squash at the club. We were introduced and when everyone left, he asked me out. I was unsure, so the first thing I asked was if he was married because I wasn’t going to date anyone who was, of course. When he said no, I gave him my phone number. A few weeks later we went out, but not until I had completed my final exam in statistics because I was very serious in graduate school. I knew that there was no question I had to complete my academics. There were many Saturday nights when I just stayed in my graduate school apartment and studied, but I didn’t care. I wanted to get good grades and I wanted to graduate so that I could get a top job.

Was it love at first sight for you?

I think on the second date I fell in love with my husband. I honestly admired him. We are very different people and have very different personalities. But we are both driven. Presently, he is a vice chairman of Stifel, which is a large investment firm based in St. Louis. He works nonstop and I have accepted that. When I married him, I knew I would marry a man who loved to work. He has tremendous integrity, a good work ethic, and is a family man.

Do you and your husband share the same religion?

No, I am a Catholic and he is a Reform Jew. We have never had one argument over religion.

Were your daughters raised in the Jewish or in the Catholic religion?

One daughter goes to church and the other daughter is Jewish. We raised them with an understanding of all religions. Initially, they studied Judaism. I encouraged my daughters to follow whatever path they wanted to follow.

Did they attend Hebrew school?

They went to Temple Emanuel Nursery School and, subsequently, the Dalton School. My older daughter graduated from Dalton and the younger one, after eighth grade, transferred to Columbia Prep. My older daughter was always very academic and loved the arts. The younger daughter was a real athlete and her first year at Columbia Prep she played on the varsity volleyball team. She was involved with all sports and thrived academically in that environment.

How much time do you dedicate to your work daily?

Most of my day is spent working. I have a lot of responsibilities and I take them very seriously.

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WHEN PEOPLE LOOK AT YOU, THEY SEE A PERFECT LIFE—A BEAUTIFUL WOMAN WITH AN IMPACTFUL PROFESSION.

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Jean Shafiroff wearing an Oscar de la Renta floral tube-style gown with pink satin-wrapped bodice. The satin bow detail at the back makes a subtle statement as an abbreviated train.

PHOTOGRAPH BY MICHAEL PANICCIA HAIR BY HENRY DE LA PAZ MAKE-UP BY KIMARA AHNERT

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Jean wears a cornflower blue tulle gown with white cutout overlay at the bodice in her New York City apartment, a stylish backdrop with the reception room’s tapestryupholstered Louis XIV gilt furniture, Aubusson carpet, swag valance and formal drapes.

PHOTOGRAPH BY MICHAEL PANICCIA HAIR BY HENRY DE LA PAZ MAKE-UP BY KIMARA AHNERT

YOU ARE VERY KIND. I AM A HARD-WORKING WOMAN AND LOVE THE VOLUNTEER WORK I DO . . .

THE RESOURCES THAT GOD HAS GIVEN TO ME, I MUST USE WISELY, AND I MUST HELP OTHERS . . .

I AM NOT PERFECT. WE ALL MAKE MISTAKES. Your mother was a textile designer. Do you think that her interest sparked your attraction to style and fashion?

It might have, yes. I remember some of her drawings. She would make renderings with women wearing beautiful clothing. They were 1950s style, reminiscent of the cover of Vogue. I think, as a result, my interest in fashion peaked. I love beautiful clothing because it gives a woman a chance to express who she is. I will add, even if you do not have the finances, you can be stylish on a low budget. I admire that ability; you just need time to put it all together.

On a side note, you have a tremendous Instagram following of almost a million followers.

I have about 800,000 Instagram followers. I work with someone in London who uploads the posts, but 99.9 percent of the time I create the content because what you put on social media represents you. It is your message. Instagram is a platform where I promote philanthropy and positive living. I also use it to give my followers a glimpse into my life.

Do you work a calendar month out or post every single day as part of your routine?

Daily, because my life is always evolving. I am involved as a chair and host of many charity events, and I attend many philanthropic functions. I think Instagram should be inspirational. If you want to find out about somebody, just go to their Instagram or their Facebook accounts.

I think part of being a public person is to give people the ability to look at your life a little and see what you do. Sometimes the posts might be a little silly. You might also ask followers for input. Just put on a pair of sunglasses and you can engage your audience by asking, “Do you like these? Should I buy them?”

People are very interested in giving their opinion.

What is your intended purpose for social media?

I am very involved in philanthropy. I also host a TV show called Successful Philanthropy. I wrote a book entitled Successful Philanthropy: How To Make A Life By What You Give. The purpose of my Instagram account is to promote philanthropy, good values. and the work I do. I try to be inspirational and to send a positive message. It is a powerful platform. Once you become a philanthropist, I think the next step is to promote others who do good works. To help recognize their efforts, I bring philanthropic leaders on my TV show. I also do that with some of the writing I do. I make no salary, so everything I do is as a volunteer.

Why do you do it?

I feel very fortunate and have been blessed with a good life.

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Those who have great resources have an obligation to give.

At the end of my life, I want to feel that I did something of importance and that I didn’t just take from this world, rather that I was helpful to others. Everyone should want to feel this way.

When people look at you, they see a perfect life—a beautiful woman with an impactful profession.

You are very kind. I am a hard-working person and love the volunteer work I do. I hope to continue my philanthropic work for as long as possible—until the day I cannot do it any longer. It is a great blessing to be able to do it. The resources that God has given to me, I must use wisely, and I must help others. I must do my very best to be a good role model. I am not perfect. We all make mistakes, but I love my work and I want to continue doing it.

Tell me something that no one knows about you.

I don’t think people realize that I am constantly working. I don’t think people think that Jean Shafiroff would be up in the middle of the night working or that she would spend many days never leaving her home because of the volunteer work she does.

I often work on my computer from the moment I wake up to the moment I go to sleep. The only way to achieve success in this world is through hard work.

I would like people to also know that I really believe in kindness. The first step to becoming a philanthropist is by being kind to others, and the second step is to share resources.

Do you think that kindness is somehow perceived as weakness?

It could be, but I gravitate towards kind people versus gossipy people. I stay away from those that enjoy gossip. I’ll be nice to them, wave, and say hello. But I do not want to spend much time with them.

Do you think with age, you have purposefully pulled yourself back?

I think that as I have become more of a public person I have become more guarded. I interface with all types of different people, but still do not like gossip. I was raised in a household where gossip was not tolerated. My mother did not like it. My father did not like it. I remember in grammar school that the girls were very gossipy.

And after being the recipient of serious gossip in the sixth grade, I decided I never wanted to be that way to anybody.

If you could ask God one question, what would that be?

Why is there so much suffering in this world, and will the suffering end after this lifetime? I hope it will.

Is your husband equally involved in the charitable endeavors that you have selected?

My husband supports my work and believes in it. However, he works full-time. He does not have the same amount of time to

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Jean wears a delicate Oscar de la Renta tulle gown in blush rosebud pink with off-theshoulder neckline and gold-embroidered bodice.

PHOTOGRAPH BY MICHAEL PANICCIA HAIR BY HENRY DE LA PAZ MAKE-UP BY KIMARA AHNERT

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dedicate to the causes I have chosen. He serves on a few charity boards, and he supports my work. He thinks I work too hard and thinks I should do less, but he supports me wholeheartedly.

What are your primary areas of philanthropic focus?

There are really four main philanthropic focuses: underserved populations, women’s rights, health care, and animal rights.

Presently, I serve on eight charity boards: American Humane, New York Women’s Foundation, NYC Mission Society, Southampton Hospital Association, French Heritage Society, Couture Council, Global Strays and Southampton Animal Shelter Honorary Board.

As a Catholic, I served as a trustee of the Jewish Board, the largest mental health charity in the state of New York. I now serve as an Honorary Trustee of the Jewish Board.

I understand you love fashion.

Yes, fashion and style are a passion of mine. I serve on the board of the Couture Council, which raises funds for the Museum at FIT (Fashion Institute of Technology). I enjoy serving on this board, which also promotes education.

Tell me about some of these?

The New York Women’s Foundation is more about creating a just world and empowering women out of poverty. It works to elevate women and families. It embraces women’s issues and women’s rights. The New York City Mission Society works with underserved children of New York City. We provide after school and summer programs, many of which are educational.

Tell me about your support of your French heritage?

I serve on the French Heritage Society board. This is a charity that fosters a friendship between France and the United States. Our purpose is to help preserve some of the historic buildings in France and the United States. We also have a scholarship program.

You also serve on the board of the American Humane.

I love the American Humane. It is the oldest humane charity in the United States, founded in 1877. We work to ensure that all animals have a proper life. We advocate for farm animals and we work in Hollywood on movie sets for the protection of animals.

These are just a few things that American Humane does. I think our work with the war veterans is also very important. We unite the veterans coming back from overseas with support dogs. So many of them come back with post-traumatic stress disorder. We work all over the world to create a just world for animals. And we have a wonderful leader, Robin Ganzert, our CEO, and president.

Recently, I served as national spokesperson for American Humane’s Feed the Hungry COVID-19 program, which raised $1 million to feed one million hungry animals across the United States. I truly enjoyed being the national spokesperson and was also involved in raising quite a bit of money and awareness. Of course, I donated generously to the program too.

Ten years ago, I became involved with the Southampton Animal Shelter and now serve on the honorary board. I have been chairing their summer gala for about the past 10 years. I love the work of the Southampton Animal Shelter!

Health care?

Health care is also especially important to me. I serve on the board of the Southampton Hospital Association. In 2010, 2011 and 2013, I chaired the hospital’s galas. Those years we raised a total of $5.4 million from the three events. Chairing those three events was a lot of hard work as I engaged in a great deal of volunteer fundraising to help achieve their high goals. In 2019, the Stony Brook Southampton Hospital honored my husband and me for our service at their Summer Gala.

Style, fashion, women, heritage, animals, and health care; you have taken on a broad spectrum of philanthropies. With that comes responsibility.

Yes, my volunteer work is a full-time job, but some of the work is seasonal.

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You were recently honored by the Samuel Waxman Cancer Research Foundation, a prestigious and important charity.

Yes, it is a wonderful organization. Samuel Waxman is a cancer research physician who treated my father for cancer many years ago. I have supported the work of this charity for many years.

In the fall of 2021, I will be honored by Health Advocates for Older People at their event in New York City. This charity also does wonderful work.

You have been honored by countless organizations, but what does that mean?

Why is a person selected to be honored?

When you are honored by a charity, it is not just because you are a good person, but because of what you can bring to that charity. It might be a donation or your contacts. Generally, it is a combination of both. You are being honored, obviously, because you have done something special, but you also have an obligation to help that charity. A good honoree works to bring new people to a charity and usually makes a generous donation to the charity. Being honored is a wonderful thing, but it is like chairing an event. A good honoree must work to make an event successful.

Is bringing awareness to your charities important?

It is very important. I believe in promoting philanthropy and the work of many different charities.

When you speak to young women, what piece of advice do you give?

This same piece of advice is for men and women, but especially for women. Believe in yourself and do not let anyone ever tell you that you can’t do something. And if you are in a place where someone is putting you down all the time, do everything possible to get out of that environment. You should strive to be in a positive work environment where people motivate you, where people are kind to you and where people believe in you. Likewise, you must treat others with dignity and respect. You must also try to be helpful and try to motivate others.

I suggest to everyone that they try to get a good education or learn a trade. If going to college and graduate school isn’t for you, you might think about going to a trade school. For example, go to beauty school. Never underestimate the possibilities of what you can do. Someday you might start your own business and be very successful. You might become a billionaire. You never know. Find something you love doing and where you can make a living. I think you must combine the practicality of what you want to do with the education it takes to accomplish it.

Do you aspire to anything in this next chapter of your life?

I aspire to be a better me, to work harder, and grow to a new level.

I would love to have a national television show about philanthropy.

That would be my dream. I think it would be immensely helpful to other people and I hope that this happens. I also aspire to write more books. I want to continue doing charity work and maybe do more public speaking.

For what do you want to be remembered?

I want to be remembered for the good work I did. Legacy should not be about the golf game you played, the tennis you played or the business you created; but for the mark you left to help others. There is so much suffering in this world and there is great disparity. We see a divide in every single country. It would be nice to be part of the movement to reduce that. How do we do that? By getting ourselves out of our comfort zone and giving back. ■ Editor’s note: Jean Shafiroff is an American philanthropist, animal advocate, social influencer, style icon, and socialite who has served on multiple national and regional boards. She is the ambassador and spokesperson for the American Humane Feed the Hungry Program. She has been called “New York’s First Lady of Philanthropy.”

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Jean with her adopted pit bull, Daisy, which the family rescued. Jean wears a Kate Spade white poplin dress with black floral cluster appliques.

PHOTOGRAPH BY MICHAEL PANICCIA HAIR BY HENRY DE LA PAZ MAKE-UP BY KIMARA AHNERT

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heritage& &traditions

Celebrating Hanukkah through tradition, food & light

BY MARCY DUBROFF

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On a cold, clear Friday night in December, members of Lancaster, Pennsylvania’s Congregation Shaarai Shomayim gather in the temple’s century-old sanctuary for a cherished ritual. It is the first Friday during the holiday of Hanukkah, also known as The Festival of Lights, and more than 200 people typically show up to celebrate the holiday at a traditional Shabbat service.

Each family brings a menorah or hanukkiah (a candelabra used specifically for this holiday) which is carefully placed on a long, foil-covered table at the front of the darkened room. Some menorahs are treasured family heirlooms, some are fashioned from ornate metal or glass, and some are simple children’s ceramics projects in brightly painted colors. As the service begins, one member from each family comes forward to light candles on their family menorah, chanting the age-old blessing that ushers in the season. The candles bathe the building in warmth and light as the congregation sings together,

oil miraculously lasted for eight days until the Jews could make more to keep the eternal flame in the sanctuary lit.

According to Paskoff, scholars believe that the holiday was originally celebrated earlier in the year, but was moved to coincide with the pagan celebration of the winter solstice.

“Adding light to the darkest time of year seemed like a good time to celebrate the miracle light,” says Paskoff.

Like Lancaster, Pennsylvania, Jewish communities around the world celebrate Hanukkah with candles, food, games, family and friends, and the beauty of the holiday is magnified on each subsequent night as additional candles are added to the menorah.

Hanukkah’s proximity to Christmas also has increased interest in both the art and ritual of the holiday, as well as gift giving.

Rosanne Selfon, former president of the Women of Reform Judaism, emphasizes that Hanukkah is not the Jewish Christmas, but there is a tradition of giving small gifts on each night.

“I think that Hanukkah has become a much bigger holiday in recent times because it comes at the same time of year as Christmas,” says Selfon. “As Jews became assimilated into the culture of the United States, Jewish families wanted their children to feel that there was a holiday at that time of year that was just as important and joyful as Christmas was to their gentile neighbors.”

Selfon believes that is why gift-giving at Hanukkah has become a tradition for many modern Jewish families. In most homes, the gifts are small items such as books, socks and foil-covered candy, known as gelt. In particular, gelt is one of the most sought-after treats during the holiday, as it is often the currency used during spirited games of dreidel (a four-sided spinning top) and also represents the Jewish tenet of using a portion of a family’s money for tzedakah—or charity. In recent years, the latter has translated into a tradition that designates the sixth night of Hanukkah as Ner Shel Tzedakah (Candle of Righteousness), a night devoted to learning about the problem of poverty. Families are encouraged to donate the value of the gifts, or the gifts themselves, that otherwise would be exchanged on that night to organizations that assist the poor within their own communities or around the world.

“This is a night to take the message away from the ‘stuff’ that we are inundated with at this time of year,” says Paskoff.

“Blessed are You, Our God, Ruler of the universe, Who made us holy through Your commandments and commanded us to kindle the Hanukkah lights.”

The service is a highlight of the eight-day holiday, according to the congregation’s Rabbi Jack Paskoff. “It is a beautiful night for us,” he says. “Each year is different, as we know that sometimes there will be only two candles, and in others, nine. But the real gift is that we get to celebrate together and watch the wonder on the faces of our children as the sanctuary is filled with light and song.”

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hile the beauty of The Festival of Lights is unmatched and brings light to one of the darkest times of the year, in fact, Hanukkah is a fairly minor holiday on the Jewish calendar. The celebration commemorates the victory of a small group of Jewish rebels, led by Judah Maccabee and his brothers (known as the Maccabees), over the armies of Syria in 165 B.C. who forced the Jews to worship Greek gods. The rebels fought for their freedom and reclaimed their holy temple in Jerusalem.

In order to rededicate the temple, they needed sanctified oil to light a menorah, but they could only find enough to keep the flames burning for one night. However, as the story goes, that

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I think that Hanukkah has become a much bigger holiday in recent times because it comes at the same time of year as Christmas,” says Selfon.

“As Jews became assimilated into the culture of the United States, Jewish families wanted their children to feel that there was a holiday at that time of year that was just as important and joyful as Christmas was to their Gentile neighbors.”

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hiver 2021/2022 • édition de vacances • readelysian.com • A beautiful, traditional table setting for Hanukkah.

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Traditional elements of the Jewish holiday; donuts in the box and a wooden dreidel (spinning top).

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“Focusing on giving and those who are less fortunate allows us to add light to the world and to add justice.”

Selfon’s family has embraced Ner Shel Tzedakah, and she has particularly enjoyed either giving her young granddaughters money to donate to causes they care about, or talking with them about where they would like her to make a donation on their behalf.

“I hope one of the things that we have imparted to our children and grandchildren is that giving is always more important than getting,” she said. “This is important all year long, but the holiday of Hanukkah has played a big part in that.”

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uch of the beauty of Hanukkah also centers around some of the culinary customs, in particular foods that are prepared in oil. While not exactly heart-healthy, holiday favorites that include latkes (potato pancakes) smothered in either apple sauce or sour cream; sufganiyot (jelly doughnuts); fried chicken; and yes, even pizza, have become much-beloved traditions— so much so that Jews cannot imagine celebrating the holiday without them, as these foods have taken on a sacred meaning.

“Many of these foods were traditionally the foods of the poor,” explains Paskoff. “For instance, everyone had a potato, an onion, and some flour. From those basic ingredients, we were able to make something wonderful, and also teach a lesson about the holiday. Food is love, food is family, and much of life happens in the kitchen,” said Paskoff. “At Hanukkah, food is more than sustenance, it’s a celebration.”

“I think that one reason Hanukkah is so special is because we get to celebrate it primarily in the home, and we get to eat wonderful food,” said Selfon. “You really don’t need to go anywhere to celebrate the holiday, but you definitely need to bring your appetite.”

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ut really, one of the most wonderful things about Hanukkah is its celebration of light. There is an old Jewish proverb that says, “A little bit of light pushes away a lot of darkness.” During Hanukkah, as each candle is kindled, a little more light comes into the world.

For many Jewish families, this love of light has translated into a hobby of collecting menorahs—in fact, many families light more than one when they are together.

“When I was a little boy, we started with one menorah—my grandmother’s silver hanukkiah,” said Ryan Ulrich, a member of Shaarai Shomayim. “But as I grew older, our family began collecting other menorahs. I remember getting a beautiful ceramic one with animal candleholders as a gift from my father’s family when I was about four. My mother then began getting interested in decorative arts and we ended up with several menorahs by well-known Judaica artists such as Gary Rosenthal and Alicia Kelemen. Some use candles, some use traditional wicks and oil, and we now light a different one on each night of the holiday.”

Selfon vividly remembers the first menorah that she bought, which was the beginning of her collection that now numbers almost 60. She was attending the Reform Judaism biennial conference in the early 1980s, and she had never seen so much Jewish art in one place. She spied a menorah that she remembers, “I just had to have.

It was $250, which back then was so much money! I remember calling my husband and telling him about it, and wondering how I could justify spending that much money on something. But he laughed and said to me ‘Rosanne, if you like it that much, get it.’”

As it turns out, that menorah was definitely a collector’s item.

The piece, by Robert Lipnick, was eventually featured on the cover of Hadassah magazine and has a special place in Selfon’s dining room. Over the years, she has continued to collect pieces, ranging from traditional to modern and serious to whimsical—the latter best represented by her beloved Betty Boop menorah.

“Some are works of art,” said Selfon, “and some just speak to my likes and dislikes. This is one area of Jewish art in which our whole family has been able to participate. We have all seen menorahs that we have loved and collected. It is just something that we have enjoyed doing together.”

Back in the sanctuary at Shaarai Shomayim, the menorah candles begin to flicker and burn low.

“Even as the candles wane, the light continues to dance off the sides of the room,” muses Selfon. Paskoff calls this phenomenon “divine sparks.”

As the light fades, the congregation joins together in singing the song Light One Candle by Peter Yarrow before heading home.

“Don’t let the light go out!

It’s lasted for so many years!

Don’t let the light go out!

Let it shine through our love and our tears.” ■

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philanthropy

Hélène Grimaud:

Bach, Bartok, Mozart & Wolves

BY CORDELIA LEAR

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Virtuoso pianist Hélène Grimaud with wolves that she helped to raise in her efforts to preserve the endangered animal through the Wolf Conservation Center in New York, which she founded.

PHOTO BY PIERRE PERRIN / SYGMA VIA GETTY IMAGES

Below: Celebrated French pianist Hélène Grimaud performs Piano Concerto No. 1 by Johannes Brahms during a public rehearsal in Rudolfinum in Prague, Czech Republic.

CTK / ALAMY STOCK PHOTO

élène Grimaud, internationally acclaimed French pianist, has been lauded for an artistic selfexpression that “extends far beyond the instrument she plays with such poetic expression and peerless technical control.” Part of her core, however, goes beyond music; she also is a compassionate human rights activist, writer, and committed wildlife conservationist whose diversity has earned her recognition as a “renaissance woman.” But there is an aloneness to the woman lauded as one of the greatest pianists of her time, a desperation; a woman who, in her professional and personal life, sought refuge—in words, in social order, in music . . . and in wolves.

Born in 1969 in Aix-en-Provence, at an early age she began studying piano at the local conservatory before going on to study with Pierre Barbizet in Marseille. She was only 13-years-old when she was accepted into the renowned Paris Conservatoire, where she excelled, and had the privilege to continue her studies with Hungarian pianist, writer and teacher, György Sándor (1912-2005), internationally respected for his interpretation of modern composers such as Bartok and Prokofiev, and American classical pianist, conductor, and pedagogue Leon Fleisher (1928-2020), called “one of the most refined and transcendent musicians the United States has ever produced.” In 1987, she gave her debut recital in Tokyo to great acclaim and, that same year, performed with the Orchestre de Paris under the direction of celebrated conductor Daniel Barenboirn, which launched a concert career with most of the world’s major orchestras and many celebrated conductors.

It was 1995, during her debut with the Berliner Philharmiker, under the baton of the great Italian conductor Claudio Abbado (1933-2014), that she was moved to establish the Wolf Conservation Center in upstate New York. Her love for the endangered species came about when she unexpectedly encountered a wolf in northern Florida. It was a life-changing moment: “To be involved in direct conservation and being able to put animals back where they belong,” she says, “there’s just nothing more fulfilling.” By the time she was to perform in 1999 with the New York Philharmonic under legendary German conductor Kurt Masur (1927-2015), she had begun to lay

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New York is a place where the first movement is one of anxiety: so many stressed people—hundreds, thousands, millions—dashing through the streets, whose only purpose seems to be to keep the city going. No social connections, no friendliness. There, you don’t feel the weight of history or of what is to come: everything is in the here and now, in a permanent, futureless present. Above all, you understand what it means to be alone in the middle of a crowd. You live with a premonition of catastrophe, but an elated premonition, hanging at the edge of madness.” ― Hélène Grimaud, Wild Harmonies: A Life of Music and Wolves

the foundation for the Wolf Conservation Center.

The mission of the Wolf Conservation Center is to teach people about wolves, their relationship to the environment, and mankind’s obligation to protect the future of this magnificent animal. Founded by Grimaud in 1999 as a 501(c)(3) not-for-profit environmental education organization, the Center focuses on two critically endangered species, the Mexican gray wolf and the red wolf. Through science-based education, advocacy, and participation in the federal recovery and release programs, the organization has made vast inroads into ensuring the fragile future of the wolf in America. Incredibly, there are only nine red wolves known to exist in the entire continental United States, and less than 18,000 gray wolves populate the nation—of which 11,000 are in Alaska and the remaining 7,000 are in the southwest, western Great Lakes states, and Pacific Northwest. The list of educational programs the Wolf Conservation Center offers is impressive, from local community outreach programs to scout, summer camp and school group programs for youth. To learn more, log onto www.nywolf.org.

As

if her busy life is not busy enough, Grimaud also is a member of Musicians for Human Rights, a worldwide network of musicians that promotes a positive culture of human rights and social change. In addition, she has written three books: Her first, Variations Sauvages, appeared in 2003, followed in 2005 by Leçons particulières, and in 2013 by Retour à Salem, both semi-autobiographical novels.

What motivates and sustains Grimaud in her music is her desire to deeply touch her audiences emotionally. In addition to being a soloist and recitalist, she is a chamber musician who has performed widely at prestigious festivals and cultural events in collaboration with such greats as Sol Gabetta, Rolando Villazón, Jan Vogler, Truls Mørk, Clemens Hagen, Gidon Kremer, Gil Shaham and the Capuçon brothers. Her extraordinary contribution to music was recognized by the French government when she was admitted into the Ordre

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National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight).

Hélène Grimaud has been an exclusive Deutsche Grammophon artist since 2002. Her recordings have been critically acclaimed and awarded numerous accolades, among them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, Record Academy Prize (Tokyo), Midem Classic Award and the Echo Klassik Award. Her albums include: Credo and Reflection, one of her earliest recordings; Chopin and Rachmaninov Sonatas; The Third Piano Concerto by Bella Bartok, with the London Symphony Orchestra under the direction of conductor Pierre Boulez; Her Beethoven recording with the Staatskapelle Dresden under the baton of Vladimir Jurowski was chosen as “one of history’s greatest classical music albums” in the iTunes “Classical Essentials” series; Bach’s solo and concerto works, in which she directed the Deutsche Kammerphilharmonie Bremen from the piano; a DVD release of Rachmaninov’s Second Piano Concerto, with the Lucerne Festival Orchestra under the direction of maestro Claudio Abbado; a solo recital album Resonances, showcasing the music by Mozart, Berg, Liszt and Bartók (2010); Mozart’s Piano Concertos Nos. 19 and 23 (2011); a collaboration with singer Mojca Erdmann of Mozart’s Ch’io mi scordi di te?; Duo, recorded with cellist Sol Gabetta, which won the 2013 Echo Klassik Award for Chamber Recording of the Year; an album of the two Brahms piano concertos, one recorded with Andris Nelsons and the Bavarian Radio Symphony Orchestra, and the other with Nelsons and the Vienna Philharmonic (2013); Water (January 2016), a live recording of performances from “tears become . . . streams become . . . ,” which features works by nine modern composers: Berio, Takemitsu, Fauré, Ravel, Albéniz, Liszt, Janáček, Debussy and Nitin Sawhney; Perspectives (2017) a two-disc album of Grimaud’s personal selection from her Deutsche Grammophon catalogue, including Brahms’s Waltz in A flat and Sgambati’s arrangement of Gluck’s Dance of the Blessed Spirits; Memory (2018), a selection of evanescent miniatures by Chopin,

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Debussy, Satie, and Valentin Silvestrov which, in the pianist’s own words, “conjure atmospheres of fragile reflection, a mirage of what was—or what could have been;” The Messenger (2020) in which Grimaud has created an intriguing dialogue between Silvestrov and Mozart. “I was always interested in couplings that were not predictable,” she explains, “because I feel as if certain pieces can shed a special light on to one another.” Accompanied by the Camerata Salzburg, Grimaud also plays Mozart’s Piano Concerto K466, Fantasias K397 and K475 and, in a solo performance, Silvestrov’s Two Dialogues with Postscript and The Messenger—1996.

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rimaud has performed in Philadelphia and at Carnegie Hall with the Philadelphia Orchestra led

by Yannick Nézet-Séguin; MusicAeterna under the baton of Teodor Currentzis, in Luxembourg and Munich; in Germany, with the Bamberger Symphoniker under Jakub Hrůša; a European tour with Camerata Salzburg, and has performed with the Los Angeles Philharmonic at the Walt Disney Concert Hall and the San Francisco Symphony at Davies Symphony Hall. Earlier this fall, she performed with the Pittsburgh Symphony Orchestra under Manfred Honeck; in Montreal with the Orchestre Métropolitain under Conductor Yannick Nézet-Séguin; and with the Palm Beach Symphony under Gerard Schwarz.

On November 19, 20, and 21, she will appear with the Houston Symphony Orchestra conducted by Matthias Pintscher; December 2 and 4 with the Seattle Symphony Orchestra under Peter Oundjian; and on December 9 and 11 with the Naples Orchestra under Andrey Boreyko. For more on Grimaud’s appearances, log onto www.helenegrimaud.com As for Grimaud and her beloved wolves, a DVD was filmed

by Reiner Moritz called Hélène Grimaud: Living with Wolves and released in 2009. A boxed set of her book, Wild Harmonies: A Life of Music and Wolves, captures her passion—indeed, her obsession with wolves and antipathy toward mankind. ■

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my U-turn

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the

heart never strays

BY KIMBERLI SCOTT AS TOLD TO ELYSIAN

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g rowing up in rural South Carolina, where strays were common, my family was ardent about rescuing abandoned dogs and cats, so caring for animals in need was a part of my life from an early age. My time and efforts mostly concerned canine rescues and the older I got, the more dogs I sheltered.

Although I always had my own “designated dog” growing up, it wasn’t until 2004, when I was in my senior year of college, that I decided to start my own “home” for homeless dogs in need of care and nurturing. I started with one, then three, which soon became five, then that became eight and, the next thing I knew, I had a dozen.

When I got married, I had 12 dogs and four cats. As you can well imagine, there aren’t many houses built to accommodate sixteen pets.

Incredibly, we chanced upon the perfect solution: a five-and-a-halfacre property that would suit our needs. . .well, almost. I’m an “outof-box thinker,” and it soon became clear that what we needed was a separate house just for the animals. Happily, my husband agreed and we began to lay plans. I knew what concept I wanted and I knew what was needed to function smoothly on a daily basis. It went beyond the caring and feeding of our motley crew. You see, when I rescue an animal, she invariably is in need of attention. Each dog I have ever taken in is undernourished and traumatized. Most have been injured or need urgent surgical attention. To make my plan work, I needed a designated area for post-surgery recovery, and an isolation area for the intake of new rescues, so they could be assessed and ensured there was no contagious condition or disease the other animals could contract. Importantly, there needed to be a common area where the animals could be introduced and learn to socialize.

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Even though we had a lot of land, I had to address sound abatement so my neighbors would not be bothered by barking dogs.

There were other considerations, as well. The new structure would have to add to, not diminish, the value to the property in the event that one day we decided to move. It had to be aesthetically pleasing and conform in style, appearance and materials with the main house.

Obviously, a project this size was a major commitment. It is a challenge to take on an emotionally disturbed dog and requires time and patience to gain the trust and love of an abused animal.

Financially, this was a serious investment and, while I do not think it is a solution most dog owners would consider, I do think it is a good model for a dog daycare facility and could be expanded as a prototype for a shelter or rescue center.

If it’s an idea that you might want to consider, let me tell you a few things you need to keep in mind. Before you even begin, you have to plan around the characteristics of your dogs. For example, a high-energy dog, such as a sporting, working or herding breed, needs outdoor time and ample space to run. I’m always outside with my dogs and we take long walks around the property, but we also created a wonderful fenced-in courtyard where they can go whenever they want to relax and get some fresh air.

Puppies are invariably chewers and so are some adult dogs. For that reason, we used reclaimed metal for the walls—the best thing I ever did!—and epoxy for flooring for easy clean-up. Usually, senior dogs have hip problems and need special floor coverings designed for traction. While these are very specific needs, in the greater scheme, everything I designed had to be utilized in a multitude of ways.

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Having a bath is obviously not a favorite activity of this pup, but the custom-designed dog spa makes bathing—and cleanup—quick and easy. Cats, too, have a special place in Kimberli’s heart—and animal retreat. Here, some of her feline family lounge in their own special lair.

Bottom: Three members of Kimberli’s canine family prepare to settle down on one of the many dog comfortable beds by Animals Matter. The dogs’ living room has some human creature comforts as well: a small sofa and a television, where the whole “family” can relax and watch movies.

PHOTOGRAPHY BY COREY GIBSON

Opposite: Kimberli with Dale and Skinzy, two members of her forever canine family.

PHOTOGRAPHY BY ELIZABETH LANIER

Today

our dog’s house is an extension of our home. There’s a sofa and television so my husband and I can watch a movie after dinner while our dogs surround us, curled up in their Animals Matter bedding (some of the best dog beds on the market because they are designed to provide orthopedic support and comfort, and actually are amazingly great to decorate with). Inside the utility rooms, I have Kuranda beds, which are off-the-ground orthopedic beds that provide terrific support, and each has a snuggly blanket.

I also work with dog rescues and shelters to foster dogs and restore them to health until they are ready to go to a good home. I volunteer to transport abused dogs found in critical condition that require emergency care. I drive them to Columbia, four hours from where I live, to get the proper care. Not long ago, nine motherless puppies were discovered abandoned. They had every disease imaginable: parvo, coccidia, infections, worms. I transported them, traveling back and forth many times to visit them, believing I could give them a fighting chance if they knew somebody cared. I would whisper in their ears, “If you live, you’ll have a wonderful life. I promise.” Nonetheless, only five survived.

The weakest puppy was in the canine ICU for five weeks. One day, the vet called to say there was no hope, the puppy had to be euthanized, I immediately jumped in my car. I couldn’t let her go! Somehow, I had to let her know I would love her and give her the forever home she deserved—if only she would try to live. Today, Parvo is happy and healthy. There’s a special bond between us. As much as I love her, she loves me with that unconditional love that only exists between a dog and the person she owns.

Like Parvo, I have personally rescued all of my dogs. I found them as strays and yet, sometimes I think they found me. Each of my rescues came into my life unexpectedly, each in a different way, each with his own story. All had medical needs and suffered emotional trauma. All the time, energy, compassion, and expense I spent has paid off more than I ever could imagine. After all, you can’t put a price on the love of a dog.

Today, we have 10 dogs. Who knows what tomorrow will bring? ■

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