Stingray Magazine

WINTER 19/SPRING 20

FASHION FOR THE MAN OF INFLUENCE

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DIRECTOR BILLE WOODRUFF SARTORIALIST GREGORY MICHAEL REAL ESTATE MOGUL MACK MAJOR EVENTS EXTRAORDINAIRE LAWRENCE VON WEIGEL

FASHION FOR THE MAN OF INFLUENCE

DIRECTOR BILLE WOODRUFF SARTORIALIST GREGORY MICHAEL REAL ESTATE MOGUL MACK MAJOR PRIVATE EVENTS GURU LAWRENCE VON WEIGEL

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COVER: ZACHARY LEDREW PHOTOGRAPHED BY DIEGO-MIGU EL VISCA

under the mentorship of entertainment mogul l.a. reid, wrapping up the highly anticipated documentary about the life and times of the queen of soul aretha franklin for the national geographic's tv series "genius" and best friends with pop recording superstar toni braxton, it's no small wonder that film director

B I L L E W O O D R U F F seems like he is living out the life of a movie character

PHOTOGRAPHY BY JAMES HICKS GROOMING BY KISHINA COVINGTON

SHOT ON LOCATION AT THE ICON MIDTOWN APARTMENTS IN ATLANTA, GEORGIA

CAUSING A SCENE Filmmaker Bille Woodruff knows exactly how to get our attention INTERVIEW BY MICHAEL WILSON Back in our college days, you were fascinated by Prince. What was it about him that inspired you to dress and look like him? And who are you inspira�ons in life now? I have always identified with, been moved by and felt a deep connection to Prince. I saw myself in him in so many ways ... just being different and free, being a rebel, standing up for love and for what’s right and, of course, his musical genius. And the magic, the clothes, the look the rock star and the visuals … it just really resonated with me. The first time I saw him and heard him, I just knew I was not alone. No other way to explain it. Prince was bold and daring and he didn’t care what anyone thought. He expressed himself and that is how I was. I knew every lyric, every story, and had his posters all over my bedroom. When I met him for the first time it was in Paris covering his Lovesexy tour for BET. It was one of the most amazing moments in my life. Science-fiction author Octavia Butler is someone who inspires me. The work is brilliant and ahead of its time. My mother, father and grandmother continue to inspire me every day. And the strong, selfless, beautiful people working around the world to combat the damage we are doing to the Earth and to one another are my biggest heroes. What was it about a career in directing that appealed to you and how did you know it would be something you would enjoy for so many years? God blessed me and showed me the path to directing. It isn’t what I initially set out to do, I had a double major in Cultural Anthropology and Film and I thought at different times I would be a singer, fashion designer, artist (painter), lawyer, politician and obviously an anthropologist. I was all over the place, but I got an internship at BET and was able to really explore things hands-on and I found that storytelling in a visual way through direc�ng, wri�ng and producing was my calling. After that internship with Black Entertainment Television, you seemed to quickly dive right into a career directing music videos for new and rising recording artists. How did it all began and who were some of the first musicians who took a chance on a young director? I built great relationships while at BET through my work there under executive producer Jamie Brown who was the first person I worked for. I got to do one-on-one interviews and shoot concerts of legendary artist including Tina Turner, Whitney Houston, Phyllis Hyman, George Michael, Sammy Davis Jr., Luther Vandross, Harry Belafonte, Judith Jameson and the list goes on. The first group to take a chance on me directing their music video was Blaze on Motown Records for the song “We All Must Live Together.” The first big hit that I directed came through my relationship with Jimmy Jam and Terry Lewis. They called me in to direct the first video for the Sounds Of Blackness song “Optimistic” and things really took off from there. Magically, I shot that video at Paisley Park, which has special significance to me because of Prince. In high school I had “THE TIME” painted on the back of my first car so all of this was just too good to be true for me! I left BET in Washington, DC, and went to run the music video department at LaFace Records in Atlanta, which opened up a whole new world for me. I became responsible for visual marketing and the look of the artist. Being instrumental in bringing T.L.C., Toni Braxton, Outkast and Usher to the world was a magical experience. LA Reid and Babyface were incredible to work so closely with and LA really gave me the chance to go to the next level with my craft by believing in me and giving my first chance to work with a big budget.

Are there other directors who helped to shape the way you approach a film, TV or video project you’ve directed? I am a student of Alfred Hitchcock. I spent a lot of time on set with Spike Lee when he was making “Malcom X,” “Mo Betta Blues” and “Do The Right Thing” as I was documenting his process and producing specials on the making of those films for BET. I first met Denzel Washington on the set of “Mo Betta Blues” and he gave me great advice and still does. Wesley Snipes and I became close on that movie as well and he helped me tremendously in ways I cannot thank him enough for. Another person who was super helpful and supportive of me is Eddie Murphy. Richard Donner, who is known for the “Lethal Weapon” movies shared valuable knowledge with me. I tend to be on my own as a filmmaker as I am not really interested in copying anyone else but I am inspired by art and films and life everywhere I turn. Have you adapted any Donner or Hitchcock traits into your own projects? I haven’t really adapted anyone else’s stye into my own. I have always done my own thing and whatever influences are there are subconscious and put through the machinery of my creativity and expressed as something new at least to me. I mean I see things in paintings, in life, in nature, in films that totally affect me but I don’t really keep track. Sometimes, for instance I see something years after I have done a project and realize that I was influenced by it. For instance, I saw a clip of Cher’s old TV show years after doing Toni Braxton’s video “You’re Making Me High” and realized I was partially inspired by Cher. I knew when I wanted to bring Toni fashion-forward and most of it came from my mind but there was something on that Cher show that was in the back of my mind somewhere. How difficult was the transition from creating and directing music videos with dancers and lip-synching performers to full-length feature films? Not difficult for me. It’s all directing and all of it has its own set of challenges. I was doing narrative work, working with actors … with storylines in many of my videos. I studied filmmaking before I ever made a video. The most difficult thing I would say was me rising above all of the prejudice in the film industry at the time against music video directors making the transition and proving themselves, and when I say rising above I mean being a bigger person and letting the work speak and shut them up. If you compare it to music, music videos can be like Jazz improv work and movies are more like structured classical work but there really is no one set of rules. I find movies in some ways easier than videos because there are no rules in videos and I saw firsthand how a lot of directors, cinematographers and production designers who are great at making movies cannot do music videos well at all. No one ever talks about that, they always like to say video directors can just make pretty pictures, but if you are good there is so much more to it than that. I respect all of the art forms. Expression comes out in different ways. How did you prepare for the differences in directing styles and subject ma�er? I am diverse as a creative artist and I am inspired by what it is that I am expressing, I prepare through the point of inspiration, in movies or TV, with the source material or script and in music videos the song or ar�st.

What do you find to be your biggest challenges consistently as a director and how do you overcome them? Every project has its own unique set of challenges and nothing is ever the same. I am always learning to stay open, learn, stay excited and not take it for granted. I feel blessed to be able to do what I do for a living. But when I think about it one thing does stay constant, which is finding ways to be crea�vely the best and s�ll make the budget work. Budgets are always a challenge. Through the years, you’ve quietly earned a wondrous reputa�on with a wide array of talents working in Black Hollywood. Do you find that community to be largely suppor�ve or compe��ve in your experience? Honestly, I have never really felt like I was a part of Black Hollywood or embraced by it. I have been embraced and appreciated by black audiences but I have never felt a lot of support for my work from any organized part of “Black Hollywood” like film fes�vals or organiza�ons, not even BET, which I helped build and is where I started. It’s not an issue for me. No one owes me anything because I am black. And I am my own Black Hollywood because I am always gonna be black and proud! So I’m good . As far as the compe��ve part? I don’t feel it or no�ce it because I just don’t feel like I am a part of it, I feel like I am just out here on my own doing me! Can you walk us through a typical day in the life of a director on a set? There is no typical day on set. Every day is different I wouldn’t know where to begin. Where do you find yourself when not working on a produc�on and what are you doing? I have varied interests. I love to travel and see and learn about the world and other cultures.I love animals and spending �me with my dogs. I want to experience every amazing beach of the world. I love to scuba dive, sky dive and ride roller coasters. I love experiencing all kinds of music and I love to dance. I love good food! And I love to laugh! Oh and I am addicted to World Of Warcra�. We’ve all heard the tales of celebrity personal demands for their dressing rooms and trailers. Do you have any special requests as a director that make life easier for you while you’re working? I just need to have a gym easily accessible when I am out of town and access to healthy food. As a director, you’ve worked with some of the most exci�ng performers in entertainment. Are there personal favorites you’ve enjoyed working on a project together? I have worked with some amazing people and I love all of them but my best friend Toni Braxton has to be one of my favorites, my brother Chico Debarge, Britney Spears and Celine Dion are so amazing to work and the list goes on to the amazing actors like Terrence Howard, Taraji P Henson, William Levy, Tasha Smith… are just the people that feel like family. “Empire” rose to the status of epic television and now over and done. How do you feel about its departure from the FOX lineup and what was your favorite episode to direct? My favorite episode to direct was the last one I did which saw “Cookie” having to come to terms with seeing a therapist and “Lucious” telling her that he is really done this �me as “Andre” is taking the reins of the company. The show had an amazing run and was groundbreaking. It should have had one more season but it went out with a bang. LITERALLY! What major projects do you have coming up this year that you’re excited about direc�ng? I’m working on a series about Aretha Franklin called “GENIUS” that I am very excited about and I am in the process of ge�ng my own original show up and running that I am super excited about. And will 2020 have you working more in the superhero genre at The CW or on the big screen? I am doing some more superhero shows. Thankfully, most people don’t know I have a collec�on of 5,000 comic books. I do not know what my next movie is but I am dying to figure that out now! I need a great script! You come of the Mid-Atlan�c area. How do you feel that has shaped you personally and professionally? It has given me a sense of being grounded, down-to-earth, real. It has kept me sane and I am so thankful for it. Social media pla�orms such as IGTV, Vimeo and YouTube have made it possible for anyone with a cellphone to create programming for the masses. What advice would you give up-and-coming directors about the best way to start in the business? There is no one way to get started just use whatever pla�orm suits you best and keep crea�ng un�l something hits! Is there someone in your life who has been a mentor or guide when you sought guidance? Yes, LA Reid. My father. My Mother. You’ve always had a very eclec�c sense of style: How would you describe how you like to dress and are there any labels you find to be must-haves for your wardrobe? I just go for what I love. Some�mes it is a high-end designer and some�mes it is from somewhere like Zara, I mix it up with my own style. I express myself through clothes, much less now that I have other outlets but it will always be a big part of what makes me me. What do you have your eyes on accomplishing next as a creator? Do you have a dream job or an idea you tried yet? I want to get my own show on the air. I want to do a movie that shows more of my true voice as a filmmaker.

GROUND CONTROL TO MACK MAJOR

WORDS, STYLING & GROOMING BY MICHAEL WILSON

PHOTOGRAPHY BY DIEGO-MIGUEL VISCARDI

Real estate mogul, model and reality television star keeps both feet planted on the ground MW: You, your wife Dr. Britten Cole, and kids Ivy, 9, and Mack Jr., 7, should be finally done with taping for the second season of "Married To Medicine Los Angeles” on Bravo? MM: Yeah, we finished the last one the week right before Christmas. So now we're only down our green screens and talking over what happened during the weeks. This season we're focused on me finally being out here in Los Angeles and Britt dealing with the kids, her new job, and fighting the traffic to get back and forth to work at the different hospital locations, while I am traveling from here to Detroit, Maryland, Florida, and other places for lending and construction projects. Most of our storyline this season is about me getting acclimated and figuring out my life out here, our search for temporary and permanent housing, and making things comfortable for the family. The kids are modeling, dancing, tumbling and learning to play drums and piano. So it is a lot of moving around from hospitals, planes, and dodging through traffic everyday. MW: From the episodes I've seen and social media comments, I think the fans of the show believe you are stay-at-home dad. Does the show plan to change how you're characterized on the show? You're business mogul with more than 30 years of experience in real estate, construc�on, demoli�on and financial lending? MM: Yes, contrary to what people have seen, I am the breadwinner in the family. Don't get me wrong, Britt is highly paid as an anesthesiologist and she's hoping to leverage her exposure on the show to start her own skin care line among other things she wants to do. I'm going to support her in whatever she plans to do. I'm not going to do business here on my own but I will continue to go back and forth to Orlando and Detroit, which is my main sources of business income. Now, I've expanded into Ohio, Virginia, North Carolina, Texas, and Georgia. MW: A�er a couple of decades, you've learned a few things. What do most people get wrong about real estate inves�ng? MM: I see so many people that are actually losing money and squander great opportunities in real estate because they don't really know what you're doing. I've seen people get loans to start a business that never turned into a profitable business because they don't know how to manage it. They treat it like a hobby instead of a business. And a lot inexperienced real estate investors listen to the wrong people as far as the actual after-repair value of the house. Most people flipping houses don't stage the properties properly and so it takes longer for them to sell on time or don't negotiate the proper fees for the realtors of the back side. Within the last year, I've gotten more into the educational side of financing to help people navigate the waters properly. I make myself available to offer mentoring to new investors through my offices, online and through social media like Instagram. MW: Reality shows like "Flip or Flop," "House Hunters," and "Million Dollar Lis�ng," make real estate inves�ng seem glamorous but happens in reality. MM: It might be a disaster. And so the problem is what I try to do is educate people as someone who's done it multiple times and teach them the recipe for success. You know, some people are able to go in the kitchen and not be able to measure anything. They may be to do it by feel or taste because they have experience doing it. However, you can't expect someone who's never cooked in the kitchen to come in and make a wonderful, gourmet meal if they've never never had any training in the kitchen. And that's what is never shown on any reality program and what I teach to most of these first-time investors. How does anyone think that they are go out make a masterpiece when they don't even know the basic parts of what goes into real estate. I'm dealing with a client right now who doesn't don't difference between a casing, baseboard or linoleum tile. If you don't what you're paying for, how are you going to deal with the contractor? I had to show someone I was mentoring that her contractor was charging $2,000 for new cabinets when all he did was paint them.

COMMON AREA

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MODEL BEHAVIOR

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MW: I don't recall seeing anything like that on "Flip or Flop"? MM: So, I'm just saying most people make so many simple mistakes that they wind up losing money.

MW: You've been in the real estate game three decades now. How did how did how did it all begin ?

MM: A childhood friend and I bought a hardware store together right when I was getting ready to go college. We had worked in the store since the 10th grade. We'd go to school but we used to do work there every night. And after we got off work, we would go help people install things like hot water heaters and new faucets that they bought from us. Our customers would come to us and tell us they didn't know how to install what the aid for so I would start studying how to do so at night and learned how to do it. That was actually the start of me getting into the construction business. Another summer back from school, I learned that one of my clients from the store was about to lose their home because of a tax foreclosure situation. They owed about $3,500 and didn't have the money to pay. I had saved about five or six grand for myself during the summer and I gave more than half it to them to save the property. Six months later, they still didn't have the money to pay me back so they signed over the property to me and a buddy to avoid going further in debt. The property was in terrible shape but we put about six months of work into rehabbing the house ... every weekend I would put work into the project since I was still in college but we finally sold the property for $52,000. And so I was like, wow, you know, you can actually try to help people out and actually make money at doing this. The experience led me down the path of financial lending and helping people in need. Unfortunately, the people who signed over the property were not able to keep the property, I was able to make $42,000 profit, and it started the spark for the business I am in now.

MW: I've seen you on IGTV riding a bulldozer and opera�ng a forkli�, right? Standard equipment for construc�on or are you also selling machinery, too? MM: (Laughs) So, no I am not the house husband I've been made out to be. I do have a demolition business. Then, I own a financial lending company. And I spend a lot of hours with my real estate company, which primarily focuses on the buying and selling of properties. The area I specialize in is in distressed assets. That's my target. I don't really do what I will call retail. I usually track down distressed properties that are being put back into service or properties that I can get back into service within a community or neighborhood. That's where real estate investors with me make money while bringing overlooked and neglected neighborhoods back up to a certain level. Revitalizing neighborhoods to support people who live in those communities, who want to stay in the place where they grew up, is not always a bad thing. We're usually bringing back the worst house in a good neighborhood to help bring back property values.

MW: So what has become a�rac�ve about real estate inves�ng now for folks?

MM: People look at real estate as a way to become their own boss nowadays. Plus, there’s a lot of things on television now that show doing DIY projects and getting into upgrading properties and selling them. They look at it people going out and doing things for themselves and they figure that this is a way to do it. You can work on your own schedule. Go out and be creative while making a lot of money doing it. Most people want to be from a 9-to-5 situa�on and real estate can offer that kind of freedom.

MM: The message from home improvement and flipping shows is that your ingenuity can make you rich. What do you think about that?

MM: The message from home improvement and flipping shows is that your ingenuity can make you rich. What do you think about that?

MM: TV has his made real estate investing more appealing over the years, It contributes greatly to people jumping into the game. People think it's a lot easier than what it really is based on what is shown. The programs don’t show money being exchanged or how difficult things really are. Viewers like seeing the excitement of the finished product and all of the drama associated with it. But there's reality TV and then there’s what real. Quick success is not going to be everyone’s reality. TV like this is highly misleading people but I think of it only as good entertainment.

MW: You’re on the show “Married To Medicine Los Angeles” with your wife Bri�en Cole, who is an anesthesiologist. Has it made an impact on your lives together?

MM: I mean the producers asked me that same question the other day. People notice Britt much more than myself. We just finished the taping for the second season so we’ll have to see what happens as the audience gets to see me interact with her more now that we are on the same coast. I don't believe I’ve been impacted at this point in time. People recognize me from time to time but it isn’t any different from when I was modeling decades ago.

MW: Is Bri�en ge�ng what she expected out of the experience? MM: She's enjoying the interaction with the other women and she's enjoying the process of being on reality television show. Her eyes opened up. Britt now needs to put the work into lining up the right products and services that can actually market to her fans. And she's actually diligently working on that piece right now. She has incredible skin and she’s looking into developing a skincare line and beauty products.

MW: How long have you been married?

MM: Nine years.I was introduced to her through my best friend Scott. He invited me to come along to Chicago for the weekend and see a concert there. Britt and I talked throughout that weekend, over the phone for weeks afterwards but the timing wasn’t quite right for us. Fast forward six years and we ended up getting back together during a New Year’s Eve party at her house. Sparks were rekindled. Maybe, ignited is the be�er way to say it.

MM: What was it that you found a�rac�ve about her?

MM: Overall? She had her shit together, really. She's an a�rac�ve woman. A doctor. Smart. She's always been pre�y self-sufficient and definitely well put together.

"Your net worth is determined by your network."

MAKE ME AN OFFER

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MW: You both have a ton of stuff going on all the �me so what do you do to ensure that you have a balanced life?

MM: Our main objective is to ensure that our kids have a great life and never suffer because of any business decisions that we make. Sometimes we may lose focus on the balance that we have to keep in our relationship, but we’ve never screwed up the balance with the kids. We’re always on top of where the children need to be so we’re always asking each other who’ll be in town when and what the schedule needs to be like any given week. Running a business that dictates traveling, she’s always asking me when am I coming back and do I have to be there three days? Why not two? So we make sure that the kids are taken care of probably more so than we do ourselves. My wife wanting to be here in Los Angeles puts a lot more stress on our family but she believe you only live once. And she wants this is an opportunity. I want to support her in this chance to follow her dreams and be the best person she can possibly be.

MW: I’ve known you for 30 years and you’ve always been a planner. Who does what in order to get things done?

MM: (Laughs) She doesn’t do shit! I'm sure she would say the same thing about me, actually. She actually likes to straighten up the house nonstop then we have a housekeeper to come and clean. She has everything put on automatic bill pay and we'll both make sure the money is in the bank account. We talk quite a bit about planning our work around the kids’ scheduled activities and it hasn’t hampered either one of our business aspira�ons.

MW: What are the kids like?

MM: Ivy is in that prepubescent stage. She's sometimes laughing when she should be crying and crying when she should be laughing. Kids gravitate to her and she wants to be super nice. Mack Jr. is extremely hyper, wants to be loved constantly and needs your undivided attention. He just wants he just wants to be loved and just wants attention no matter how he has to get it. They love each other like white on rice and are each other’s best friend.

MW: Your daughter has started to follow in your footsteps in one of your careers?

MM: SHe’s just getting started, going on modeling and acting auditions. She has a wonderful personality and lots of great pictures but she hasn’t gotten over the hump yet. Yesterday, she had an audition for Sherwin-Williams paint company. She's con�nuing to go and she's ge�ng opportuni�es. We’re just hoping she's comfortable being uncomfortable … to build her character up.

MW: What piqued your interest about modeling in the Nine�es?

MM: I was this rugged, rough football and basketball player in high school who knew he wasn’t going to go into professional sports but I like the idea of being able to travel the world. I got talked into doing a fashion show at a mall in Detroit for some extra money. All the models in the show went out to a club afterwards and I ran into modeling agent Jerome Martine from Page Parkes in Miami. He talked to me about the industry and the potential opportunities. I was just this kid from a single-parent home trying to earn cash for college tuition. The idea of making money for just looking good appealed to me. Next thing, he flew me down to Miami to take pictures and then I started traveling to Dallas, Atlanta, Paris and Milan.

MW: Why did you give up on modeling?

MM: I didn't enjoy it as much as I thought I would at the time. While I was making two to three times as much as my corporate job at the time, it became a case of the grass looking greener on the other side. Even though I was clearing thousands of dollars a week, there were guys still making 10 times more than I was and I was somewhat envious. They were doing so by making and building relationships. Being extroverts. Going out to parties and even doing inappropriate things with the clients. I was someone taking a break from engineering studies. I was an introvert. And I wasn’t into playing games. I felt very isolated because I wasn't into doing things that would have made me as successful as I could have been. I had the proper guidance from a career standpoint but the emotional side wasn't being taken care of. At 21, traveling the world alone. I don’t smoke. It was certainly a case of my net worth equaling my network.

MW: Net worth being �ed to one’s personal network is one of your business ideologies, right?

MM: True. New investors don’t know how to get things done. The quickest way is through people you know, or through the people that your friends know … someone who has access to a list of properties you can buy cheaper than the ones you can find or a contractor who does great work. You have to u�lize all your rela�onships to get a flip done properly and cost-effec�vely You might need somebody for stage and you might need a good realtor to help you sell it.

MW: What is the best way for a novice to start inves�ng in real estate?

MM: The easy way is to get educated by someone who knows the business. That could mean investing in a class or watching videos. Then there’s the hard knocks way of jumping in and losing money and time doing it incorrectly and learning from your mistakes. What I try to do is teach you what to do versus what not to do.

MW: What's the best approach to financing a flipping or rehabbing a property for a first-�me investor?

MM: I encourage people, if they if they have a good relationship with someone, that they can actually go into a partnership with someone. Sometimes, two heads are better than one mind. And it allows people who may not have that income to work together to get things done quicker instead of struggling alone. .

MW: What has been your biggest challenge so far in real estate?

MM: I work on distressed assets typically in inner cities. Most investors aren’t interested in saving or investing in distressed areas so there's a plethora of opportunity in changing buildings that are condemned or abandoned into tax generating properties. Cities and counties don’t want to do it either. I try to encourage investors to bring the structures back in service, but the governing bodies don't provide any special programs or offer funding for it. A simple plan for me would be dedicating these buildings for returning citizens who need housing … released prisoners, veterans, especially women coming back from military service who might have suffered some kind of trauma. My biggest challenge is connec�ng with the people who can provide me with access to government officials who will help me get it done.

OPTION TO BUY

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WINDOW OF OPPORTUNITY

MERINO WOOL SUIT, SILK TIE, SILK POCKET SQUARE: DIOR MEN COTTON SHIRT: CALVIN KLEIN LEATHER BELT: COACH WATCH: TAG HEUER

MW: Essentially, you’re fighting gentrification in some ci�es? MM: It’s a constant struggle. Mayors and governors talk about providing funding to nonprofits to help solve housing issues in the inner cities but it is never much more lip service. Then, private company comes in, gentrification takes over and then people who were central to that region have to move away because they can’t afford to live in the community where they grew up. MW: There are so many moving parts in your life. What do you do when you don't have anybody else around you? MM: Spanish. MW: You mean you’re learning to speak it? MM:Yeah. I’m starting to do a lot more business in Texas. Lots of the contractors there are Spanish and they serve a Spanish-speaking clientele. Learning it allows me to listen and understand what's going on and know all of the intricate details of what was being said. MW: Are you getting me out of being on the reality show? MM: There is a windfall of people who have seen my wife on the show. on the show. I'm supporting her what she wants to do and ultimately she would like to get a show out of it her own or move to a different type of show as a host. For me, I would say just exposure to talk more about the real estate market. This season, we all talked a whole bunch about it, but it's important that people find out what I do and start following me on social media. Then I believe they’ll want me to educate them on investing properly and seek me out to finance their projects. MW: Are you interested in hosting your own program about real estate inves�ng? Yeah, there's so many pieces that have to be mentioned that people don’t get to see with the current programming. People see what property is bought and then sold for… and maybe a couple construction issues but no one shows the full scope of what is involved. I would like to show all the ups and downs, trials and tribulations, along with the fun side. I think it should be educational, informative and entertaining. I don't know if I have the ability to do it but I'd like to think that I do. I'm not, you know, over-the-top energetic and all the rest of it, but I do know the business.

OIL CONCRETE MUSTARD

INK BLOOD MUD

DASTARDLY SHAD� THAT INSPIRE MEN TO DR�S ...

LIKE A CARTOON

VILLAIN PHOTOGRAPHY BY DIEGO-MIGUEL VISCARDI STYLING & GROOMING BY MICHAEL WILSON

CONCRETE EVIDENCE

MERINO WOOL SUIT: NAUTICA VEST: BRIONI SHIRT: BEN SHERMAN TIE: SAINT LAURENT BY ANTHONY VACCARELLO TIE CLIP: KENNETH COLE

INK SPOT

COAT: BURBERRY JACKET: TOMMY HILFIGER VEST: GUCCI SHIRT: CALVIN KLEIN TIE: GIORGIO ARMANI SCARF: MICHAEL KORS GLOVES: DIOR MEN BELT: PRADA

BLOOD IN THE WATER

COAT: HELMET LANG BLANKET: WOOLRICH HAT: SAINT LAURENT SCARF: STINGRAY COUTURE GLOVES: DIOR MEN PANTS: VERSACE BOOTS: GIVENCHY

CAN'T CUT THE MUSTARD

SUIT: NAUTICA SHIRT: POLO BY RALPH LAUREN TIE: KENNETH COLE REACTION CUMMERBUND: STINGRAY COUTURE SHOES: JOHN VARVATOS SOCKS: CALVIN KLEIN

YOUR NAME IS MUD TO ME

SUIT: KENNETH COLE HAT: SAINT LAURENT TIE: BEVERLY HILLS POLO CLUB SHIRT: CALVIN KLEIN POCKET SQUARE: CHRISTOPHER SCHAFER CLOTHIER SHOES: GIVENCHY BELT: DOLCE & GABBANA SOCKS: POLO BY RALPH LAUREN

OIL SLICK

COAT: LEVI STRAUSS & COMPANY VEST: PHANTOM SHIRT: CALVIN KLEIN BOOTS: HUGO BOSS PANTS: DOLCE & GABBANA BELT: KENNETH COLE GLOVES: L.L.BEAN

MODEL: ZACHARY @ MATINEE MODEL MANAGEMENT

MATERIAL THINGS PHOTOGRAPHY BY BRYAN HAYNES

STYLING BY PASCALE LEMAIRE

Time-honored tartans, plaids, tweeds, houndstooths & jacquards weave themselves into fresh interpretations of nonchalant, country elegance

MAKEUP BY LAURETTA MCCOY HAIR STYLING BY LATRICE STRADER LANDSCAPE PHOTOGRAPHY BY MICHAEL WILSON MODELS: ZANE @ MATINEE MODEL MANAGEMENT, ANASTASIA @ CIMA TALENT MANAGEMENT

WHEN IRISH EYES ARE SMILING

ON HIM, SHEARLING COLLARED COAT, ARGYLE VEST, TIE: AMALGAMATED COSTUME & DESIGN STUDIO GLEN PLAID SUIT: CHRISTOPHER SCHAFER CLOTHIER N HER, GLEN PLAID FRINGE COAT: SEVENTY PLAID PANTS: WEEKEND MAXMARA BLOUSE: DOROTHEE SCHUMACHER. ALL FROM RUTH SHAW FUR, GLOVES, BELT: PANDORA"S BOX VINTAGE

DANNY BOY

TARTAN COAT, FAIR ISLE SWEATER, TWEED CAP: AMALGAMATED COSTUME & DESIGN STUDIO FLORAL SHIRT, PAISLEY TIE: CHRISTOPHER SCHAFER CLOTHIER

“Those who bring sunshine to the lives of others cannot keep it from themselves.” - J.M. Barrie (1860 – 1937)

CHECKMATE

HOUNDSTOOTH SPORT COAT, CHECKERED SHIRT, PAISLEY POCKET SQUARE: CHRISTOPHER SCHAFER CLOTHIER TARTAN TIE, FAIR ISLE VINTAGE SWEATER: AMALGAMATED COSTUME & DESIGN STUDIO GLOVES: PRADA

SUNSET SONG

JACQUARD SILK FLORAL DRESS: TOPSHOP, NORDSTOM BELL SLEEVED TOP: WILD FABLE, TARGET ROSE FASCINATOR, NECKLACE: JILL ANDREWS GOWNS RACOON FUR COAT: ALBERT SILVER, AMALGAMATED COSTUME & DESIGN STUDIO GLOVES, SUEDE SANDALS: PANDORA'S BOX VINTAGE IVORY SOCKS: HUE, DSW

CLASH OF THE TARTANS

PLAID JACKET, SKIRT, QUILTED HOODED DICKEY: VERONICA BEARD FLORAL BLOUSE: ISABEL MARANT CAP: RAFFAELLO BETTINI; ALL AT RUTH SHAW KNEE_HIGH SOCKS: HUE, DSW MOHAIR WRAP, WICKER HANDBAG: AMALGAMATED COSTUME & DESIGN STUDIO

HIGHLANDER

BLACKWATCH TARTAN BALMACAAN TOPCOAT, TIE: POLO BY RALPH LAUREN, AMALGAMATED COSTUME & DESIGN STUDIO SPORT COAT, SWEATER: ZARA JEANS: LEVI'S 501, MACY'S CAP: POLO BY RALPH LAUREN, NORDSTROM

“Love is an affection which carries the attention of the mind beyond itself, and is the sense of a relation to some fellow creature as to its object.� - Adam Ferguson, Atholl, 1723-1816

THE SCOTSMAN

PENDLETON PLAID CAR COAT, DOUBLE-BREASTED PINSTRIPED SUIT: AMALGAMATED COSTUME & DESIGN STUDIO; SHIRT: FREDRICK MARTIN TIE: CHISTOPHER SCHAFER CLOTHIER, BOTH AT CHRISTOPHER SHAFER CLOTHIER

“Life is no definite thing with a beginning and an end, a growth and a climax; but a basket of fragments, passages that lead to nothing, curious incidents which look of importance at first, but which crumble and break into pieces, dropping into ruins.� - Margaret Oliphant, Wallyford 1828-97

DAUNDER

QUILTED COAT, GLOVES: BALMAIN PLAID SHIRT, PANTS, TIE, TWEED CAP, LEATHER SATCHEL: AMALGAMATED COSTUME & DESIGN STUDIO

OUTLANDER

PLAID GOWN, CASHMERE SWEATER, FAUX FUR WRAP, CAMEO NECKLACE: JILL ANDREWS AT JILL ANDREWS GOWNS

FIELD OF DREAMS

VELVET JACKET: RALPH LAUREN TWEED TROUSERS: DONNA KARAN GLOVES, VINTAGE SUITCASES: ALL FROM PANDORA'S BOX VINTAGE BOOTS: MADRAG

“To be kind to all, to like many and love a few, to be needed and wanted by those we love, is certainly the nearest we can come to happiness.” – Mary Stuart, Queen of Scots (1542 – 87)

HIGH PLAINS DRIFTER

VINTAGE DRESSING COAT: AMALGAMATED COSTUME & DESIGN STUDIO FRINGE SCARF: MISSONI LAMBSWOOL SWEATER, TROUSERS: ZARA FEDORA: GOODFELLOW & CO, TARGET LEATHER BOOTS, GLOVES: DOLCE & GABBANA

WILD IRISH ROSE

HOODED PLAID SWING COAT: AMALGAMATED COSTUME & DESIGN STUDIO TURTLENECK, GLOVES: PANDORA'S BOX VINTAGE TWEED CAP: BLARNEY WOOLEN MILLS, JILL ANDREWS GOWNS SKIRT: RALPH LAUREN, NORDSTROM

BRAVEHEART

TWEED JACKET, VEST, SHIRT, MOHAIR SCARF: AMALGAMATED COSTUME & DESIGN STUDIO TURTLENECK: JOSEPH ABBOUD JEANS: LEVI'S BELT: KENNETH COLE BOOTS: TIMBERLAND BERET: PANDORA'S BOX VINTAGE

LEFT GOOD JOB A

IN THE

CITY

PHOTOGRAPHY BY JAMES HICKS STYLING & GROOMING BY MICHAEL WILSON

CAREER OPPORTUNITIES

POLYURETHANE JACKET: CALVIN KLEIN CASHMERE SCARF: JOSEPH ABBOUD JEANS: POLO BY RALPH LAUREN

MICROFIBERS, NYLONS AND RUBBERIZED FABRICS ADD A SLEEK FINISH TO TRADITIONAL SPORTSWEAR

WALK ON THE WILD SIDE

BRUSHED COTTON JACKET: LEVI STRAUSS & COMPANY SPANDEX ZIPPERED PULLOVER: CALVIN KLEIN COTTON SHIRT: BURBERRY SILK TIE: MICHAEL KORS SUEDE BELT: KENNETH COLE REACTION TWILL PANTS: MOSSIMO SUPPLY COMPANY LEATHER GLOVES: COACH

MOVING ON

POLYESTER JACKET: ANDREW MARC SILK SHIRT: JOHN VARVATOS SILK TIE: VALENTINO LEATHER GLOVES: DIOR MEN JERSEY PANTS: RAG & BONE LEATHER BELT: CALVIN KLEIN

GONE, BABY, GONE

POLYURETHANE JACKET: RAINS COTTON SHIRT: PERA COTTON TIE: HART SCHAFFNER MARX LEATHER GLOVES: DIOR MEN LEATHER PANTS: BALMAIN WOOL CAP: DRAKE'S

EVERTHING MUST CHANGE

NYLON-GOOSE DOWN JACKET: MONCLER BRAIDED COTTON SWEATER: TOM FORD

KEEP IT MOVING

JACKET: NAUTICA SILK SHIRT: RALPH LAUREN SILK TIE: VALENTINO SWEATER: SAKS FIFTH AVENUE JERSEY PANTS: JOHN VARVATOS LEATHER BELT: CALVIN KLEIN

MODEL: AARON @ MATINEE MODEL MANAGEMENT

NO GOOD AT GOODBYES

WOOL JACKET: BOSS STRETCH COTTON SHIRT: PRADA CASHMERE SCARF: VALENTINO LEATHER BELT: JIMMY CHOO WOOL PANTS: HERMES COTTON SOCKS: FALKE SUEDE SHOES: BRUNO MAGLI

WALK ON BY

LEATHER JACKET AND PANTS: DIOR MEN CASHMERE TURTLENECK: GIORGIO ARMANI WOOL SWEATER: BOSS LEATHER GLOVES: RAF SIMONS LEATHER SHOES: FENDI TWILL CAP: ZARA

CHANCELLOR

SUIT, VEST, POCKET SQUARE: RALPH LAUREN SHIRT: BEN SHERMAN TIE: GEOFFREY BEENE GLOVES: URDSTADT SWAN SUNGLASSES: TOM FORD

IN A

MANOR OF SPEAKING PHOTOGRAPHY BY JAMES HICKS

STYLING & GROOMING BY MICHAEL WILSON

ESQUIRE

SUIT: NAUTICA SHIRT, TIE: TOMMY HILFIGER SWEATER: DIESEL GLOVES: URDSTADT SWAN HAT: FENDI BOOTS: UGG BAG: TUMI

YOUR SERENE HIGHNESS

COAT: IKE BEHAR JACKET: RALPH LAUREN SWEATER, TIE: CALVIN KLEIN SHIRT: JOHN VARVATOS PANTS, SHOES: BEN SHERMAN

YOUR LORDSHIP

JACKET: TOMMY HILFIGER SWEATER, PANTS: JOSEPH ABBOUD TIE, SHIRT: NAUTICA GLOVES: URSTADT SWAN SCARF: MICHAEL KORS

EMINENCE

COAT: LONDON FOG SUIT: PERRY ELLIS SWEATER: CALVIN KLEIN SCARF: ZARA SHIRT, TIE: TOMMY HILFIGER GLOVES: DIOR MEN

SECRETARY OF STATE

SUIT: SALVATORE FERRAGAMO SHIRT: ERMENEGILDO ZEGNA TIE: RALPH LAUREN JACKET: IKE BEHAR SCARF: MICHAEL KORS

PROFESSOR EMERITUS

SUIT: BURBERRY PULLOVER: RALPH LAUREN SCARF: STINGRAY COUTURE EYEWEAR: OLIVER PEOPLES

MODEL: TYRONE

AMBASSADOR

SUIT, VEST: HART SCHAFFNER MARX SHIRT: LUCKY BRAND TIE, GLOVES: CALVIN KLEIN SCARF: BURBERRY HAT: FENDI

CAPTAIN OF INDUSTRY

COAT: BARNEYS NEW YORK SUIT: SAINT :LAURENT BY ANTHONY VACCARELLO SHIRT: JOHN VARVATOS TIE: BRUNO PIATTELLI

GRAND MASTER

JACKET: TOMMY HILFIGER SHIRT, TIE: BEVERLY HILLS POLO CLUB CUMMERBUND: EMPORIO ARMANI TUXEDO PANTS: CALVIN KLEIN

HIS ROYAL EXCELLENCY

JACKET: NAUTICA SHIRT, BELT: RALPH LAUREN TIE: JOSEPH ABBOUD PANTS: JOHN VARVATOS POCKET SQUARE: BARNEYS NEW YORK

IMPERIAL HIGHNESS SUIT, VEST, SHIRT: CALVIN KLEIN TIE, GLOVES, SCARF: GIORGIO ARMANI

IMPERIAL HIGHNESS SUIT, VEST, SHIRT: CALVIN KLEIN TIE, GLOVES, SCARF: GIORGIO ARMANI

MASTER OF THE SACRED PALACE

SUIT: TOMMY HILFIGER SHIRT: ERMENEGILDO ZEGNA VEST: STINGRAY COUTURE HAT: FENDI POCKET SQUARE: RALPH LAUREN

THAT'S A WRAP

CABLE-KNIT SWEATER: POLO BY RALPH LAUREN CASHMERE TURTLENECK: ERMENEGILDO ZEGNA TWILL PANTS: ZARA LEATHER BELT: DOLCE & GABBANA LEATHER SHOES: KENNETH COLE WATCH: BREITLING BRACELET: JOHN HARDY

VERSATILE PERFORMER

PHOTOGRAPHY BY BILL DEUSTER

STYLING & GROOMING BY MICHAEL WILSON

SWEATER STYLES IN SOFT FABRICATIONS HELP FORMAL TRANSFORM INTO CASUAL

PULLOVER, BUDDY

RIBBED SWEATER: HERMES LEATHER PANTS: LUDOVIC DE SAINT SERNIN WOOL CAP: DOLCE & GABBANA LEATHER GLOVES: ETRO LEATHER BOOTS: HARLEY-DAVIDSON FOOTWEAR

TIGHT FIT

WOOL CREPE SUIT: SAINT LAURENT VICUNA CASHMERE SWEATER: BRIONI LEATHER SHOES, BELT: LOUIS VUITTON

NECK BRACE

RIBBED TURTLENECK, SUEDE PANTS: DIOR MEN LEATHER GLOVES: URSTADT-SWAN SUNGLASSES: TOM FORD

ZIP IT

LEATHER VEST: HARLEY-DAVIDSON SUEDE PANTS, LEATHER GLOVES: DIOR MEN CABLE-KNIT WOOL ZIPPERED SWEATER: DIESEL WOOL FELT TRILBY: STACY ADAMS EXERCISE ROPE: TSA

COVER ME

ZIPPERED MERINO WOOL HOODED SWEATER: CALVIN KLEIN SHETLAND WOOL V-NECK PULLOVER: GIORGIO ARMANI LEATHER PANTS: LUDOVIC DE SAINT SERNIN FELT HAT: FENDI

SHOULDER RESPONSIBILITY CAMEL HAIR TOP COAT: CORNELIANI RUGGED MERINO WOOL ZIPPERED PULLOVER: CALVIN KLEIN CABLE CREW KNIT SWEATER, MERINO WOOL TROUSERS: ZARA CASHMERE GLOVES: ETRO NUBUCK SUEDE BOOTS: UGG WATCH: ROLEX

ON THE DOCK SIDE Cruise wear for anywhere PHOTOGRAPHY, STYLING & GROOMING BY MICHAEL WILSON

SEA LEGS

SHIRT: NAUTICA PANTS: RALPH LAUREN SHOES: NIKE

DOCKYARD SHIRT: NAUTICA PANTS: FILA SHOES: NIKE

SHOT ON LOCATION AT THE WEST RIVER YACHT CLUB, EDGEWATER, MARYLAND

OFFSHORE

SHIRT: GIVENCHY WATCH: MOVADO

TINY BAUBLES

WATCH: FOSSIL CUFFLINKS: KENNETH COLE FLASH DRIVE: BENTLEY

SEA QUEST

SHIRT: NAUTICA

ALL ABOARD

SUIT, TIE: NAUTICA SHIRT: BEN SHERMAN SHOES: POLO BY RALPH LAUREN

CRUISE CONTROL

SHIRT: CALVIN KLEIN SHORTS: MOSSIMO SUPPLY COMPANY

A GIRL IN EVERY PORT

TIES: NAUTICA, CALVIN KLEIN, RALPH LAUREN, TOMMY HILFIGER

SAFE HARBOUR

PULLOVER: CALVIN KLEIN SHORTS: HURLEY TIE: NAUTICA SHOES: PUBLIC OPINION

FOUND TREASURE

CUFFLINKS, CLIP: KENNETH COLE

BELOW DECK

SHIRT, TOUSERS: LUDOVIC DE SAINT SERNIN

24K GOLD NECKWEAR: PRIMA GOLD

SHORE THINGS

BRIEFS: EMPORIO ARMANI USA SLIDES: HURLEY

MARINER

ROBE, TOWEL: POLO BY RALPH LAUREN

SET SAIL

HOODED TANK: CALVIN KLEIN

MODEL: ZACHARY @ MATINEE MODEL MANAGEMENT

LAWRENCE VON WEIGEL Former Aerosmith chef rocks the District's private party scene PHOTOGRAPHY BY BRYAN HAYNES

GROOMING BY KIM REYES

HEAD of ESTATE

Perry Belmont House coordinator showcases history and luxury INTERVIEW BY MICHAEL WILSON What is your background in hospitality and how you came about becoming the event coordinator at one of the most pres�gious private func�on venues in the District? I’ve dedicated my life to the pursuit of the arts and working with events, providing an unforgettable experience of art, architecture, music and food is a culmination of a lifetime of experiences. After I decided to leave Drake University where I was studying music education I changed majors and began studies in Culinary Arts at Johnson & Wales University. The two seemingly disparate venues actually converged at Johnson & Wales. While working as an Executive Chef at various private clubs, and for Aerosmith I was keenly involved with all event planning while merging food and music. After a few decades I left the back of the house and began learning the front of the house management to broaden my skill base and worked for Chef Geoff's Downtown. Next, I managed the historic Occidental Grill for eight years, overseeing the service staff and the wine and bar program. The grandeur of that historic place, the expectations of an incredible dining, musical, and architectural experience paired with the right wine left a lasting impression on me. In those formative years, I had been assisting the Perry Belmont House with various charity events pro bono for years with a variety of concerts, fundraisers and social events. The most rewarding has always been the Patriot’s Thanksgiving Day Dinner for our active duty servicemen, women, and veterans. A former Marine and I created the event as a respite for those in need and witness near miraculous outcomes from that special day. It has been so successful that the Order of the Eastern Star (the governing body of the Perry Belmont House) has adopted it as mandatory and we are now in our sixth year of serving those who serve this na�on. These early and scalable events didn’t go unnoticed by Perry Belmont House leadership. They asked me to consider becoming their events coordinator and later promoted me to the International Headquarters Administrator where I oversee full operations of the mansion, its preservation and restoration projects. The splendor of the mansion was opened to the public for the first time since 1937 as it was previously members only. Where did you grow up and what childhood interests do you s�ll maintain today? I am descended from a rich German heritage of hard work ethic provided me by my late father and tireless mother in Iowa. I developed an early connection to plants, to the land and where wholesome and nutritious foods could be made explosively delicious in the right hands. Soils and nutrition were a daily discourse for the farmers in the area that seemed commonplace then but I loved the natural cycle of the earth in that capacity. I spent my youth simply and usually outdoors; hiking, kayaking, music, gardening and photography, much of which I still retain. I still love hiking and have done product photography for Anna Weatherly and her magnificent hand-painted porcelain, and food photography for a holistic cookbook I’ve tinkered around with for years now.

What were the challenges in transitioning from an executive chef to restaurant manager to event coordinator? This has always seemed a natural merging of creative ideas for me. The three positions require a decorum and composure but a real desire to provide an exceptional experience for even the most discerning guest. Seeing beyond the immediate challenge, seeing beyond the gaffe that will occur without exception, to the larger exceptional experience, the lingering memories food and place can provide has been a touchstone I’ve learned from spirituality and from the exceptional leaders of our past. It is always my goal to resolve any issue and to transi�on the guest experience

from challenged to exceptional seamlessly. Is it a challenge? Assuredly. The leadership at the Perry Belmont mansion has given me the right tools to meet these challenges and address them in kind. That has been the key to the transition and, frequently, this job requires that I s�ll maintain all three of these hats. You have a culinary background? How did that all began and where were you trained in the culinary arts? I would have to credit that to one of my family first - Iowa kitchens are the height of competitive cooking! Then, my high school teachers. At the time, I was completely focused on music and sports, two tickets out of Iowa which every kid dreams about, wherever they are. I recall one supportive soul who took an interest in me and it changed my life. After one of the cooking requirements of the class, Mary Petersen pulled me aside with great confidence and said, “Larry, I think you should consider a career in culinary arts.” My response was, “what’s culinary arts?” I thought about it a bit and dismissed it knowing I wanted to teach music. She was right, since after a year I changed my major. As I mentioned, a profound impact on me was the Iowa soil, the nature of living there. Some of my earliest childhood memories are planting and harvesting produce from our garden and helping prepare food for my large family. I learned at a very young age how to cook and bake. I was involved with raising our own livestock. Participating in the growth of flora and fauna gives a more emotional connection to the land. There is a much more profound or esoteric impact when you are a part of a creature’s cycle from farm to table and for our nourishment. It is impossible to be in the culinary arts with no connection to how the creature is raised and the impact of a healthy environment for that animal in preparation, in the quality and taste of the dish you prepare. With that in mind, I support small local farmers who farm organically so the natural ecosystem can flourish. After leaving music and beginning my culinary career I was privileged to live and study with Georges Pralus (inventor of Cuisine Sous Vide). That was 20 years before Cuisine Sous Vide became popular in the U.S. with top chefs. I later studied with famed culinary titan Roger Vergé in Mougin, France. It was in France where I was moved spiritually. Unlike in the States at that time, the food industry seemed to focus on bottom dollar results and the majority of food was overly processed. When I was in Verge's kitchen the scallops came in the shell, rabbits arrived with fur, pheasants' with feathers. It felt very close to my childhood in Iowa. There is more of a glimpse into the creatures lives and their majesty and beauty and I realized my obligation to humanity as a chef was to respect that in food preparation, the growers and farmers. It sounds cheesy but focusing on the fact that each creature’s life nourishes our bodies and feeds our passions so that we may be inspired to fulfill our individual destinies and manifest for the greater good of all humanity comes directly from that kitchen! I recall walking to the herb garden to clip fresh bay leaves or pluck citrus, noticed the scallop shells are imbedded in the masonry of the steps, their beauty a constant reminder of a chef's obligation to those creatures in a much vaster picture of food. Personally, each dish I prepared there was a testament to all the cooks who cut those same herbs time immemorial, making those same traditional fare dishes of France. I was a completely different person when I returned from France and that �me is embedded in my heart, in my cooking.

Does having prior experience as a chef aid you in your current posi�on and do you currently par�cipate in menu planning and food prepara�on for the events at the Belmont? I believe we do not have experiences that are wasted. With any event, the food, the music, the wine, it all must synchronize. My past definitely helps when communica�ng or offering guidance to event planners and clients regarding their wishes on how to maximize the experience of the Perry Belmont House. I recall that each of its illustrious rooms were designed with a purpose, a French and European cadence of art and architecture - an unwri�en musical score for the consumer. Infusing this purpose into the food and menu planning is an important part of the overall experience and this purpose also assists in guiding the caterers to prepare and stage the food. Perry Belmont House is an architectural triangle built around rooms appointed with European an�ques. Its unique layout demands I spend �me with clients to walk their guests through the flow of their event so that it is flawless and has the greatest impact and wow factor which the place was designed for. I am not involved with menu planning for clients unless they inquire. For internal events, I keep these tenets in mind for planning and execu�on. How does the lodging experience at the Belmont differ from a guest staying at one of the higher-end hotels in the area? The Perry Belmont House was uniquely designed for entertaining and not for overnight guests - with some notable excep�ons, of course! The House is unable to offer lodging in that capacity, however, it does have 14 bedrooms on the upper floor exclusively used by the board of trustees and two first floor rooms for the “Most Worthy Grand Matron and Patron” when they are in residence for mee�ngs. What unique offerings do you believe elevate the guests’ experience when staying at or hos�ng affairs at Perry Belmont? Simply put, it is a maestro, a gorgeous symphony of art and architecture. Every room is unique and from a different architectural style. Mr. Belmont selected the very best examples of Austrian Baroque, English Classical, Vene�an Renaissance and Classic Louis XIV. Each room adds a level of enchantment to the guest experience. The house is big enough to accommodate larger groups but s�ll has an in�macy and sophis�ca�on. Some of the furnishings such as a magnificent Louis Comfort Tiffany art glass collec�on, a gold gilded an�que Steinway and other period furnishings add a level of splendor to all affairs. I describe the interior as "restrained exuberance." It boasts remarkable cra�smanship but is also uniquely American as it isn't over the top like a German or French palace. I try my best to ensure the client has a memorable experience and assist or guide them on how to express the specific emo�ons that they want to convey to their guests. The mansion has a lot of rich history and famous guests who must have extraordinary expecta�ons. What are the challenges in maintaining the decor and what major renova�ons have been scheduled or might be underway to improve the decor? The main reason the mansion was not open to the public as a venue before my tenure was due to the members’ fear of damage being done to the structure or contents - a very real concern as these items are irreplaceable treasures. It is a personal honor to oversee these masterpieces and the house has a sophis�cated system in place to make certain nothing goes awry, but a too must be eagle-eyed and fas�dious in overseeing all events to ensure all set protocol is followed to protect the structure and contents from any erroneous damage. The home was built for entertaining and we want this grand dame to sing arias for decades if not centuries to come for our discerning clients’ events. Many venues just offer a space. I strive to offer an experience for every guest that crosses the threshold. I act as a docent to convey the mansions illustrious history to clients’; I o�en pour champagne for client walk-throughs or private tours. As a steward of the mansion and representa�ve of OES, I feel an obliga�on to con�nue the Belmont's famed hospitality. I want guests to leave feeling be�er than when we first met and inspired and strive to be the best that they can be. Our clients are the world’s elite, �tans of industry, diplomats, foreign leaders. Everything must be perfect for the client and their guests from entering the mansion un�l they leave. Myself and all the vendors are an extension of the clients level of taste and quality so I have a very �ght list of preferred vendors who respect the house and share the same philosophy regarding our guests experience. With every great house there are remarkable expenses. When faced with restora�on or conserva�on, I meet with na�onal experts to ensure the work is done as it would have been in 1909 to maintain the integrity of the work. We try to schedule work in the slowest months. We are considering a na�onal campaign to raise funds for needed restora�on and conserva�on of plasterwork, gold gilding, and upholstery of the walls and furniture and are in the process of moving collec�ons so that the mansion is more historically correct with how it was first appointed, including accep�ng masterworks of the period to enhance the original taste of the House. Many collec�ons have been offered and a few have been accepted. We have in house a catalog of its original contents we use as a guide in accep�ng masterworks.

PHOTOGRAPHY BY MICHAEL WILSON

WARDROBE PROVIDED BY STITCHED, MGM GRAND, NATIONAL HARBOR, FORT WASHINGTON, MARYLAND

How many rooms are available for private events and how many suites can be used for lodging? No rooms are used for lodging. There are four entertaining room on the 2nd floor; the Petite Salon (Austrian Baroque) with a domed ceiling in ornate gilded plaster and five 18ft windows that bathe guests in this most delicious filtered sunlight. It is really marvelous for day use and in�mate evening gatherings. The larger events are reserved for the Ballroom (English Classical), which was the original picture gallery for the Belmont’s remarkable art collection and boasts the largest mirror in North America when it was installed. We have had an Irish tenor concert there for St. Patrick’s Day and the acous�cs will make you weep! The State Dining Room (Venetian Renaissance) is so dramatic and sumptuous, completely covered in scarlet silk wall coverings with floor to ceiling hand carved marble. Recep�ons there feel like you’re ensconced in a decadent present. And there’s the Grand Salon (Classic Louis XIV) which is a delicious conceit of gilded plaster festoons, of deep relief and hand painted panels of exotic birds and botanicals. A gleaming gold gilded Bacchus keeps watch from above and is really the WOW factor for the salons. Every occasion there feels like a European vaca�on. On occasion I do make exceptions for some extremely select clients who need a green room and allow rooms not on the tours to be used. What kind of commi�ee runs the Perry Belmont and what is their main objec�ve for this building? We have a board of trustees that oversees the mansion and its contents. Their objective is to protect the contents and the structure, making improvements through thoughtful preservation to bring the mansion to the exceptional level of beauty in which the original owners created in 1909 and for the mansion to be used. We allow the mansion to be used by students and professional architects researching Beaux Arts architecture and use of the magnificent spaces by nonprofits for concerts and various events. Also, we’re committed to bringing attention to Service Dogs, our worldwide charity, for our goal is to raise $2 million by 2021. Who originally owned this manor and what was it originally used for? The mansion was built by then-Congressman Perry and Jessie Belmont in 1909 and used during the winter political and social season. They entertained the world's political and royal elite. They were famous for providing the most lavish entertaining in the District and the house reflects that opulence today. For one event, Enrico Caruso, the famous Italian tenor, performed for guests but I have hundreds of stories - some of them completely modern. Can you give any specific details about your most opulent event in recent history? What kind of event was being held? How many people were invited? What were the costs involved? Any unusual menu requests? I believe this is a question that is best suited for the clients who have held events here. I mentioned the tenor who gave a gallery performance that was breathtaking. It was a perfect blend of music, light, architecture and food and drink. We have had exclusive model events that match any in European runway collection showing. Past events have been marvelous but elegantly subdued. We have entertained ambassadors and royalty. The opulence of the event is a mirrored reflection of the guests who a�end and the house simply reflects the taste of the client. No unusual request as of yet. How would you describe the society scene in Washington DC in comparison to places like Los Angeles, New York and Miami? What sets DC apart and how do you think what you’re hoping to accomplish with Perry Belmont will have an impact on the social set? DC is known to be more conservative regarding fashion and events. Politicians and socialites being judged for being too flashy keeps the District’s fashion events restrained while New York, Los Angeles and Miami are unapologe�cally fashion forward. My goal is to unleash some of that conservatism here, to be unapologetically lavish, to wow the crowd. I want to bring back the Old World charm to events that are designed to elicit gasps from the audience. I want clients to walk in and know that “this” is the place where taste, history, grandeur meets their desire for an exceptional event, one that will leave a lasting impression. We are very supportive of the fashion world who have been receptive to this ideal and the Belmont House’s regal interiors lend to more lavish and spectacular events. We want to set DC society apart in this manner. We believe it is quite acceptable, celebrating works of beauty and craftsmanship so at the Belmont, as my friend Anna Weatherly once said in her charming Hungarian accent, “More is more, darling.” How involved are you in the dressing and table setting for private dining functions? What’s typically involved in the planning, pacing and atmosphere for the meal? Regarding client events, they are 100 percent in control of the table-scape and décor. They use me as a consultant regarding flow but the theatre is left for them to create. I am however, in the process of planning a jaw dropping unique art installation with a respected ar�st that would make George Takei silently mouth, “Oh my.”

With such an opulent atmosphere, how do you screen the hundreds of requests from film directors, photographers, magazines and commercial producers daily who desire to shoot at this prime loca�on? What is the criteria for your approval? A lady or gentleman are always well mannered and hold themselves with dignity. Any unsavory verbosity or behavior rarely gets a second chance. OES supports numerous charities and the arts and humanities, so we have to select a wide demographic to support. We must also take into consideration any endeavor that could potentially damage the property or contents. We allow shoots that bring attention to the organizations or causes we support. Also, our operating expenses are incredibly high so we do have to draw the line at some point and charge appropriately, which is a natural deterrent for most. All inquiries approved by me are then sent to the board of trustees who review and give or decline approval. What are the ways in which you promote and publicize the offerings at the Belmont? And is the price range within reach for the masses or more suited to diplomats and nobles? I work on building long lasting relationships with the event planners in the District and our preferred vendors. Since we have been closed to the public for 80 years we are considered the new hidden gem venue in the District and we are commanding that presence in an exclusive manner. We priced the venue at respectable fees to let the public know that the Belmont is available but only for the right events. We weed out the inquires that aren’t a natural fit for the House brand. We will revisit and adjust the pricing when needed. What do you hope to accomplish in your current role? Do you have plans to expand the clientele or increase involvement in local chari�es within the community? My hopes are that I am known as a good steward and bring attention to the house as an architectural celebration of masterful Beaux Arts work and to raise enough awareness of the mansion, OES and the remarkable charity work that the organization is committed to. I want to ensure we raise appropriate donations for the foundation to restore the entire mansion to its previous glory for the next 100 years. I do plan on increasing some of our local charity involvement. We do our best to participate, contribute, and support while trying to maintain an equilibrium of self-care for the property.

How would you describe your own personal style?

Are there surprising facts about the mansion or the rooms that are not known to the public?

Hmm. Unabashed and stately. Old World.

Under the foyer is a squash court that you reach by descending down marble stairs to a split spiral staircase and on that floor is also a 20-ton vault. Prince Edward of Wales stayed for 10 days in 1919. The Emperor of Japan gave a breathtaking imperial hunting scene screen which is hand embroidered silk as a thank you gift for allowing the Japanese diplomats to reside in the mansion in 1910 and 1917. Mrs. Belmont was very well known for being a fashionista and donned the famous Belmont Emeralds and had over $22 million just in pearls. There were a number of state dinners held at the mansion and the ballroom which was then the picture gallery was known to have been the best dance floor in DC.

What designers or brands do you follow and incorporate into your daily wardrobe? I’m good German stock and the clothes must fit accordingly. A sleek and pared down look more dictates what I choose. I don’t want to be in competition with the house or in my personal life but also want to reflect a confidence in good quality materials and fabrics without patterns usually. I enjoy Stitched, Valentino, Hugo Boss, Tom Ford, and my favorite is DC local custom tailor Gregory R. Michael of Gregory Howard Tallgeese Sartorial Artisan Group. Greg is a sartorial genius who trained under Saville Row �tan Andrew Ramroop of Maurice Sedwell Ultra Bespoke Tailors. How vital is your personal style statement when giving tours and mee�ng with poten�al clients? I act as the ambassador to one of the finest homes in America with an illustrious history so I need to be elegant but not compete with the exceptional furnishings, which can be lavish. Having a personal fashion style communicates confidence to the client. I have a sense of humor so I use cufflinks and lapel pins for any extra splash of personality. I love jewel tones and color but am taken aback that so many men are afraid of color. A simple addition of color to a pared down look can be a bold statement, command attention, without being garish or tacky. Men are more bold now in these statements in their everyday lives and it is a welcome change. Do you believe that your appearance can make a difference in garnering new clientele? My clients are incredibly discerning and I know if I do not dress well they’ll notice. Meeting a client on their level, in their house, so to speak, invites that individual to the common table, that you have the ability to command the event they are expecting. Your taste must reflect their taste, their passion for an event that will linger in their guests mind. How you present yourself speaks volumes about passions, and respect for the client and their event. By being present, I am an extension of them by associa�on.

What are your other crea�ve pursuits and the things you are passionate about in life? I have so many passions I can't keep up with them. My passion for collecting 18th-century furniture often gets put on hold by my partner more than I like but compromise seems to be a difficult but effective equation that works. Cooking and entertaining is naturally very important. I am inspired by ingredients when they are in their seasonal full glory. I love landscapes, still-life, and food photography. When I am behind the camera I am in another world and find it grounding. I like to capture nature as it is with all its perfect imperfections. Society today is nearly intolerant of true nature and view with forced filters and adulterations. I am also an avid gardener. I will soon be working on master gardener coursework and to get my new property listed as a certified wildlife habitat. Japanese gardens touch my soul and I feel out of the entire planet Japan is the one country that truly understands and expresses the highest level of conscious connection with nature through their gardens. I deeply love formal French and English gardens. If I ever change careers I would become a landscape architect. Who would be your ideal client and what type of event would you hope that this person has in mind to see you are your masterful best? That would be a guest who would never utter the words “all-purpose glassware” and possess a willingness to do a table-scape with vintage Van Cleef and Arpels, Bulgari and Car�er jewels. A client willing to embrace a dinner with various performers and fearless installations like Marjorie Merriweather Post of Hillwood on a week’s worth of espresso. The table is a blank canvas that should be painted masterfully without reservation. Who wants to endure the hellish torment of mediocracy? Honestly.

ARBITER OF STYLE Bespoke tailor Gregory Michael advocates for the return of timeless elegance in men's wardrobes

PHOTOGRAPHY BY JAMES HICKS STORY BY MICHAEL WILSON

SHOT ON LOCATION AT THE MGM GRAND, NATIONAL HARBOR, FORT WASHINGTON, MARYLAND

A

handful of things usually come to mind the first �me you meet the gentleman known as Gregory R. Michael. You see, it doesn't take more than second to realize that he commands a�en�on whenever he walks into a room. Possibly, he has combed his hair so it stands nearly 12 inches above his nearly 6-foot-4 frame? Maybe, it's his larger-than-life handlebar moustache that'll remind you of the sidewinding character who �es the damsel in distress to the train tracks in the silent films? Of course, it could be that he's dressed head to toe in a technicolor velvet double-breasted suit that he personally hand s�tched and tailored flawlessly to complement his body -- reminiscent of the finest haberdashery of Savile Row in London? Actually, he'll graciously accept anything onlookers have to say about his appearance just as long as it sparks a conversa�on about what men should be wearing for every occasion. Much in the manner of how the iconic English style arbiter Beau Brummel and Irish poet and playwright Ocsar Wilde, Gregory uses his stylish ways to confidently demonstrate how men's made-to-measure clothing should look, feel and fit. Gregory, 34, isn't wearing one of his stylish velvet suits and wihtout a wool felt homburg on his head this par�cularly day when we meet at the DC Commission on the Arts and Humani�es offices in Southeast Washington. He is dressed a li�le more conserva�vely in a blue pin-striped suit, starched white co�on shirt, and a paisley silk �e as he appears from a locked door behind the security checkpoint. Today, he is wearing one of his other many hats -- as educator to fellow District residents who aspire to become bespoke tailors. Gregory's mission is to inspire an en�rely new breed of custom tailors to reach the standards taught to him by mentor and master tailor Andrew Ramroop, the current owner of the long-standing Bri�sh clothing company Maurice Sedwell Ltd., and director of the Savile Row academy (SRA), an elite training ins�tu�on for bespoke tailors. And as the Arbiter of Elegantarium of Tantallon and the U.S. representa�ve for Maurice Sedwell Ultra Bespoke Tailors, Gregory is adamant making the District of Columbia the second center for custom-made clothing.

You’re on a mission to educate and expose the masses bespoke tailoring? Very much so. It is one of the oldest cra�s and unfortunately we’re going the way of the cobbler or the milliner. People don’t understand these days the difference between the fashion industry proper and serious, style sartorialism. My main goal is to strive to bring the Savile Row Academy here to DC. We have the clients and the environment, not to men�on the ateliers and the haberdasheries. There is just no unifica�on of prac�ce and standards. It all exists here and right now DC is not known for anything unfortunately. One minute DC is trying to be New Yor, Atlanta or St. Louis. There are so many diverse people that live here but there is no unity in our world of satoria.. All we need to do is bring awareness to show what this is on a macro level. ` What are the responsibili�es as the representa�ve of the Maurice Sedwell brand? Client reten�on, interac�on, organizing detailed fi�ngs, being the brand ambassador, media development and coordina�on, white glove concierge service. I will travel to clients to assess a need that [Andrew] can not facilitate directly. Making the U.S. government aware on a macro level what [Maurice Sedwell] is developing here. I am also a regent of the Savile Row Academy, so I do symposiums to promote and bring awareness of the academy’s training program. And I obviously speak on behalf of Andrew and his interest in this country, developing his will as the boots on the ground in this country. Department stores and fashion designers garner new customers through major adver�sing campaigns but how does a sartorialist a�ract new clients? Our business is very much structured around word of mouth and that only comes from having a solid reputa�on, doing good work, exceeding expecta�ons and providing a level of service that caters to the lifestyle of the individual. Addi�onally, the client has to have ease of access to the product and your services. Authen�city is extremely important. Don't make it a transac�on base mee�ng. You are in service to this individual so come to the mee�ng without ego. This allows people to draw into you a lot deeper. You have to approach bespoke tailoring in the same way as a long-term personal rela�onship since it normally takes about eight to 16 weeks for garment building. How do you retain this type of par�cular client? By making sure that the appropriate product is what they were expec�ng when it finally shows up for them. It can be nearly 18 months to complete an en�re wardrobe so you have to pick fabrics seasons ahead. And you have to make sure the interac�on is a lot different from walking into a department store. Do your research on the person, understand what they do on a daily basis. I start by asking exploratory ques�ons in a subtle way to assess why they came to you and what was it that resonated with them to make them choose me. Be accurate. Be precise. The beauty of sartorialism is mainly about being dis�nct and having an understanding that you want to be taken seriously in a wardrobe that will be �meless and debonair today as well as 20 or 30 years from now. And do you dress a certain way in public to a�ract new clientele? When people see me at events and social ou�ngs, I become a walking, living adver�sing of what I do. The conversa�on starts because of the different pa�erns, colors and fabrics I wear, because some�mes you do have to embellish what you wear in order to start a conversa�on. However, when I do professional consulta�ons, I wear what is relevant to my clientele, which is more navy and charcoal suits. It’s really about doing good work, being humble and respec�ve of people’s �me, and mindful of the cost of the product. People innately want to share a good thing but you have to earn it. What type of clients are interested in bespoke tailoring? Na�onally, the vast majority of my clients are in Chicago, Las Vegas and Los Angeles and they work as venture capitalists or Silicon Valley guys who like to be dandies. I do work with some entertainers, too. Here, in DC, mainly congressmen and lawyers but I’ve worked with public figures like Trea Turner, shortstop for the Washington Na�onals, Braden Holtby and Alex Ovechkin the Washington Capitals, Vernon Davis from the Washington Redskins, Maryland Governor Larry Hogan, and renowned makeup ar�st Axel Velazquez of the reality TV show “American Beauty Star.” Jennifer Lopez’s makeup ar�st was interested in bespoke tailored clothing? Actually, he was a contestant on the TV show and he approached me about dressing a female model for the show’s finale and was inspired by recording ar�st Prince. His concept was related to doing makeup on a specific model and he wanted her to have an androgynous look. Alex needed me to create a suit for this woman who was going to capture Prince in all of his glory.

In your opinion, what's the most popular fabrica�ons on Savile Row moving into Winter 2020? And do you see the bespoke client experimen�ng mostly with colors or pa�erns these days? Spalla Camicia or the natural so� shoulder garment has been a favorite of Pi� Uomo for the majority of the last two years. And I do not see the trend diffusing any�me soon. The build of the modern man is more inclined to a sloped shoulder and the musculature is more emphasized in a so� shoulder. As far as experimenta�on, we stay tradi�onal and adhere to season, so earth tones for the fall will be embellished subtly. Expect to see emerald or hunter green herringbone ensembles or the hopsack rus�c merlot, burgundy and taupe. What's the most misunderstood aspect about what you do? And how would you put it in terms so that the average person can then know the difference between a sartorialist and a tailor? The most misinterpreted aspect of my �tle as arbiter is my adherence to tradi�on and formality. Simply, people interpret my job to be a stylist or fashion maven. My job is more technical and cumbersome than that. I provide gentleman and ladies with �meless elegance, free of whimsy, trend, or disposability. We are more serious, and definitely more conserva�ve than the overall fashion industry. To also clarify the la�er point, tailoring is a trade, job, or a task that is done. It can be done ar�ully and we specifically indulge frequently. The sartorialist is one who has an interest in ma�ers of or rela�ng to the tailoring of clothing. One does not necessarily have to be a tailor to be a sartorialist, just as one being a sartorialist does not make one an arbiter elegan�arum, as I, as an arbiter, am not a master tailor yet. What is the average age of the bespoke clientele? The average age of my clients are star�ng out at 38 to 56. The average age for the industry is 29 to 45. I have different specs just because of the level of cra�smanship and the cost of the product. I have clients from wide backgrounds but there is a revolu�on happening in our industry. Younger people want choice. They want op�ons and want something made for them. What I am trying to do in accordance with my master Andrew and Sedwell Academy is to provide them with higher quality standards. Bespoke clothing is meant to last for decades. What specific advice clients regarding the wearability and care of these garments cos�ng thousands of dollars? That is very specific to what we are doing with the educa�on piece from the academy. We wouldn’t want to create a $10K wool worsted suit that is eaten up within weeks by silverfish and moths in a closet. I instruct people to think about these clothes as a long-term investment and not a frivolous item. Mostly, I men�on that suits should be kept above room temperature in the majority of fabrica�ons and stored and kept sealed in a garment bag so that �me and exposure to sunlight dull the fabric. This is meant to be �meless elegance so clients have to keep in mind that proper care always entails proper fit. Constant wear also means that you end up having wear and stress points. Garment should allow you to be comfortable and that doesn't mean skin �ght. You need to be able to move in this garment and you should be able to lose or gain 20 pounds without having to make significant changes to a garment. Is bespoke clothing essen�ally another version of couture for men? Couture for men does exist but this is a serious style with a purpose. This is you dressing for an objec�ve and you personalizing your brand and how to walk into a room and to be able to invoke change in your life. To give you that innate confidence and a marked level of professionalism. How would you describe you personal style and what are the must-have staples in your wardrobe? I would define my style as swarthy, rakish, u�litarian. Staple cores of sartoria with a Johnny Depp-esque edge at �mes, but func�onal and mul�faceted. Must-haves for me are tweed, kid mohair, linen and silk blends. In par�cular, Scabal Positano, Silverstone, Portofino IX, and Harris Tweed Regalia. If you could pick your ideal dream client, who would you select and how would your bespoke wardrobe for this individual impact what he or does personally and professionally? Ideally, I would choose an individual who has shown the capacity to inspire those to hope by showing the best facets of themselves. My choice would be in that case Barack Obama, because his message is one of virtue, a message I would wish for our pres�ge to be associated with.Did you come to work directly Andrew Ramroop a�er you studied at the Savile Row Academy in London? I'm not a direct student of the academy. I sent him a personal message through LinkedIn online while I was a territory manager for a tailored clothing store in the United States but I never thought I would ever work for him or even meet him but he responded about three months later. He was surprisingly approachable and to meet him, for me, was like mee�ng Michael Jackson. It was about eight months a�er our ini�al communica�on that he men�oned he was coming to the United States. I sat in the lobby of the Mandarin Hotel for two hours while he was taking consulta�ons and mee�ng clients. And he told me what I needed to do to become successful. For two more years, I con�nued to meet with him for two years to learn from him each �me he came here. I became the rep in February 2019 for the Maurice Sedwell brand. What appealed to you about him that prompted you to reach out? Not only the reputa�on of the Maurice Sedwell brand but Andrew Ramroop is the first person of color to own a haberdashery on Savile Row. He quickly became my personal inspira�on to keep me going in this industry. He is at the pinnacle of the business and a person who made sure he gave back along the way. He spent many years as a board of directors of a group of master tailors trying to convince them to develop an accredited program to train and develop people just for their need of professionals on Savile Row and they couldn't come to terms on how they would do it. Despite their objec�ons, he persevered and created the Savile Row Academy. You see, a lot of venerable tailors don't pass on what they learn nowadays. There is such severe brain drain and we have so many unsavory concepts floa�ng around due to 40 or 50 years or so of people who didn't pay a�en�on to nuances. Now we're trying to bring some of the formality and the process back to bespoke tailoring thanks to Andrew’s efforts and academy. What other career did you think about if you didn’t become a bespoke tailor? I thought I was going to be a professional wrestler. Outside of doing this, I am a father. I got into this because I wanted to be a more present father. I love my children and love being a father. For me, I used to be a workaholic. I wasn’t passionate about what I was doing before and now I have the luxury to be ever present in their lives.

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WINTER 19/SPRING 20

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FASHION FOR THE MAN OF INFLUENCE