The Voice-Tribune

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Letter from the Editor

Drivers, Start Your Engines

Luxury rentals with Derby City Dream Cars

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Through a Lens, Brightly The remarkable story of photographer and filmmaker Antonio Pantoja

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The Shape of Fall Sophisticated yet understated looks for fall

45

Pas de Deux Louisville Ballet’s Robert Curran talks ‘Season of Romance’

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A Rustic Romance Elegant looks shot at Alliance Stud Farm 6

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A Kentucky Kind of Welcome

The Frazier History Museum opens the Kentucky Bourbon Trail Welcome Center

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So Sweet

Susan Hershberg shares the savory success of the Wiltshire brand

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The Artful Nature of Home A home in Waterfront Park Place that’s teeming with art and inspiration

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Riders Up! For the Breeders’ Cup

Celebrated writer Bill Doolittle on the upcoming Thoroughbred race

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Vampire Facial A firsthand experience at Corbett Cosmetic

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For Sophisticated Skin A conversation with makeup artist Rick Bancroft

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Fall Gala Calendar

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VOL. 32 • NO. 22

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Letter from the Editor

Photos by Jessa Mayhew.

In 2019, The Voice will celebrate its 70th anniversary thanks to your support and our advertising partners.

As the times have evolved, so have we. Yet, our team remains committed to covering the best of our community and continually refining how we accomplish this heartfelt mission.

We hope you enjoy this issue, which features dream cars in the Derby City, the Louisville Ballet’s new director Robert Curran, an inspiring story from Wiltshire Pantry’s Susan Hershberg, fabulous fashion – some of which was shot by renowned photographer Clay Cook – a special story about Antonio Pantoja, a Louisville gem whose work is putting us on the map, and I experienced a “vampire facial” at Corbett Cosmetic.

I could go on, but I’d prefer to keep it short and dedicate as much space as possible to showing you the people behind the scenes who feel like I do: This is your Voice.

Angie Fenton Editor in Chief Photos by Clay Cook Photography.

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Jason Schmidt.

Drivers, START YOUR ENGINES

By Steve Kaufman Photos by Andrea Hutchinson

S

lide behind the wheel of a Lamborghini Huracán or a Rolls-Royce Phantom. Derby City Dream Cars provides the rental. You provide the fun.

Founder Anthony Miller and Jason Schmidt, whose title is co-founder, understand the allure of fine automobiles.

“As a kid, I remember my nose pressed up against the window of our minivan as the expensive cars drove by,” said Schmidt.

“I could identify all the luxury cars at night, just by their tail lights,” said Miller.

Both went on to other careers, but Miller had a dream: “Why not make the most luxurious automobiles available on a short-term rental basis to people who were interested?”

Easier said than done, however. Miller thought it was a great idea, but the banks, lending institutions, investment groups and insurers? Not so much. “They thought the liability far outweighed any benefits,” he said. Liability for the millions of dollars in depreciating inventory. Liability for the health and welfare of putting these sophisticated cars into the hands of inexperienced drivers. Liability for anyone driving or standing in their way.

“Besides,” he said, “they all wondered whether there was really a profitable market in Louisville for this kind of venture.”

Miller was confident there was. “It’s an image thing,” he said. “To drive a Ferrari down Bardstown Road can be a big thing.

Everyone waves, takes pictures and videos. Any exotic, flashy car – Lamborghini, Ferrari, Maserati – is going to get eyes.”

He finally appealed to a group of investors to get the half-million-to-a-milliondollar seed money he needed.

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Jason Schmidt with fiancée Madison Ewing.

Schmidt had already been providing cars to Louisville for a few years as co-owner of CFI Auto Leasing & Sales out of the physical locations at Hikes Lane Auto Sales and Sellersburg Auto Sales.

THE DREAM CHASERS In April, the gears meshed and the two entrepreneurs took the auto leasing game to a whole new stratosphere when they started Derby City Dream Cars. You can get a Toyota Camry or Nissan Maxima pretty much anywhere. But where else can you get the keys to a Ferrari 458, for the day, the weekend, the week – or even longer?

“Our business model is based on the simple premise of tapping into people’s expensive desires,” Schmidt explained.

“Everybody has the urge for something luxurious, whether a Louis Vuitton handbag or an Armani suit. They didn’t need to spend $2,000-3,000 on a handbag, but they wanted it. The same for a luxury car, only ten-fold.

“Certainly not everybody wants to spend $360,000 for a Lamborghini, whether he or she can afford it or not,” he continued. “But that same person would probably not mind driving one of these cars for a little bit and simply paying for the use of it. We’ve tried to make it very simple. Just drop in, sign a couple of pieces of paper, provide us with what we need, take the keys and you’re gone.”

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SPRING FEVER The business started at the end of winter with an initial trickle of customers.

“But once the cold snapped and the sun broke,” said Schmidt, “we’ve been booked out almost 100 percent.”

Especially during Derby, one would think. Surprisingly not, he said. “That was our thought, to open in time for Derby, when all the high-rollers were in town.

But actually on Derby weekend, people are out late and doing a lot of drinking in large groups, and they’re really more interested in some kind of chauffeur service.

They don’t want to be bothered driving around town, back and forth to parties, restaurants, Churchill Downs, and then to wherever they’re staying.

“We thought we’d crush it, and we didn’t. But the Monday after Derby, we started renting cars like crazy and, by the following week, we were almost completely sold out.”

THE CARS ARE THERE “Sold out” is not always what merchants want to be. Not these merchants, certainly. Schmidt likes to keep six or eight cars on the lot at any one time. But they’re also associated with a twin business – Music City Dream Cars in Nashville – so they bounce cars back and forth. Miller and Schmidt have bought cars to add to their fleet, and they also have a profit-sharing membership arrangement with a local group of like-minded luxury car

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owners who trust Derby City with their dream cars.

“Their travel schedules are so hectic, and they’re out of town a lot,” Schmidt said. “It can be expensive to simply park a bunch of expensive cars for a week at a time. So they let us use their cars, and we pay them for the mileage we use.”

The idea is to keep cream-of-thecrop sedans and sports cars. That’s how credibility is built. “So right now, we have Ferraris, Lamborghinis, Bentleys,” Schmidt said, “a varied selection of styles, colors and sizes, appealing to everybody’s tastes. Enjoy them for what they are – they are a novelty. Fun to drive, fun to be around.”

THE SIX-FIGURE PRICE TAGS Two of Miller’s favorite cars in inventory are a couple of four-door sedans.

One is the Rolls-Royce Phantom, which he calls “the mother ship of vehicles,” and some have pronounced “the most luxurious car ever.”

“The Queen of England is driven around in one of these cars,” said Miller.

The other is the 523-horsepower, 193-mile-per-hour Maserati Quattroporte GTS with a twin-turbo Ferrari engine, a matchup of Italian automobile design and engineering excellence. “It’s the original race-bred luxury sedan,” according to Miller.

“Both cars are well into six figures,” he said. “The Phantom can exceed $400,000.

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Everybody has the urge for something luxurious.”

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— Jason Schmidt

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It’s the most expensive sedan you can buy, which makes it ideal for a more-affordable short-term rental.”

Schmidt said the Lamborghini Huracán, without question, has been their most popular car to rent. “It’s so flamboyant, it’s cartoonish,” he said. “Wherever you go, people are staring.”

But, like most of their cars, the Huracán starts at $200,000 and zooms higher from there. Is it risky to have so much expensive inventory out on loan? No question. A lot can happen to a $300,000 car over a weekend.

Besides, as Schmidt said, these cars are not all easy to manage, especially at high speeds, if you have no experience driving them.

So they’ve built in some rigorous up-front demands.

“For one thing, all drivers must be 25 or older,” Schmidt said. “We also require 50 percent of the total cost up front, a security deposit of anywhere from $1,000 to $2,500 and comprehensive insurance coverage.”

“That security deposit goes up to $10,000 if a customer can’t prove any employment,” Miller added. “We’re letting individuals drive a car that costs more than most homes.”

THE HIGH COST OF INSURANCE Since most people don’t have adequate auto insurance to cover a Lamborghini or Maserati, the company also offers its own umbrella coverage. “That’s where your cost is,” said Miller.

“Your overhead is not the upkeep of these vehicles – it’s the liability insurance.”

When the cars are out on the road, Schmidt tracks them with GPS. “We always know when the car has been turned on, where it is and how fast it’s being driven.” He said they’re also going to start adding dash cameras.

“If I get an alert on my phone in the middle of the night that somebody’s speeding, I’ll text them on the spot: ‘Slow down or I’ll come get you!’ We also have behavior clauses that give us the right to shut that car down and keep their money.”

So meticulous is the care and handling of these cars that there is a strict “No Smoking-No Eating-No Drinking-No Pets” policy. Renters are also asked to use no perfumes, colognes or body sprays in the cars.

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Wherever you go, people are staring.”

— Jason Schmidt

“If there is evidence of any of that,” Schmidt said, “they could be subject to a $500 cleaning fee.”

Not everyone is prepared for just how much car they’re working with, so Schmidt trains all renters beforehand, especially on the Formula One transmissions, “so we know people are ready and well-informed before they get out on the road.”

Rates can climb to $1,500 a day, based on the cost of the car, plus upwards of $10 a mile.

“I’ve calculated out depreciation, maintenance and deduced down to a cost-per-mile on each car,” Schmidt said.

If it sounds like it can cost a lot, it can, but it’s still considerably less expensive than owning and maintaining one of these cars. As Miller said, “A brake job on a car like these can run $11,000.”

One popular iteration on the basic idea has been renting it out to companies for their private events and special days. “Generally, corporations will be able to go out and find their own insurance,” he said.

PLANES, BOATS AND AUTOMOBILES Next up is renting planes and boats.

Schmidt has his own 44-foot river boat that might be the flagship of the fleet. And there’s a Cessna Citation II listed on the web site. “We had some interest from a guy who wanted to fly it to South America for some medical treatment, but the range on that plane for international travel is not sufficient.

We’d have needed a larger aircraft.”

The Cessna has a range of 1,100 miles, which would have meant a lot of stops on the way – “Every time you stop and refuel, especially in a different company, it creates a lot of logistical hurdles. And we want everything to be super easy, in and out. That’s why you fly private.”

It’s also expensive. Renting a private plane would cost almost $4,000 an hour, plus expenses. That would include a pilot, even if the renter is licensed. “So we have to get it right.”

The history (thus far) of this endeavor suggests they’ll get it right.

As Schmidt said, “We’re looking to dive into all aspects of exotic transportation for people who are willing to pay for those things.” V

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By Laura Ross Photos by Antonio Pantoja

THROUGH A LENS, BRIGHTLY 22

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ntonio Pantoja has a shy grin at first that quickly explodes into a Barnum & Bailey, take-no-prisoners, all-in, brilliant smile. “I don’t think my story is that important, but some people can get things out of it.

Others have it a lot worse than me,” he said.

But, what a story it is.

“I’M A PERUVIAN-ITALIAN HORROR FILMMAKER AND CONCEPTUAL FINE ART PHOTOGRAPHER.” It’s hard to sum up Pantoja, a complicated, creative force who is a photographer, videographer, filmmaker and budding artistic genius.

Today, he sits in the uber-stylish office of a colleague and humbly, yet excitedly, tells the tangled story of his life thus far. It hasn’t been an easy ride for this 34-year-old, who has a backstory out of a Hollywood playbook. He’s lived a lot of life and has much more to tackle.

Dozens of professional awards herald his current work as a filmmaker and photographer. His cinematic wedding videos are coveted by brides across the country. His avant-garde fashion photography is stunning, provocative and in high demand on both coasts. His music videos set the soundtrack for a generation. His passion for horror films would chill even Steven King and bring a nod of approval from Linda Blair of “The Exorcist.”

The young Antonio, beset by a broken family riddled with addiction and poverty, never dreamed any of that would be possible. His mother suffered from addiction and mental illness, and his father, a Peruvian immigrant, was a laborer who was rarely home. “I was out of the house and homeless by the time I was 14 years old,” Pantoja explained. “I lived in a car, which was crazy. I didn’t go to school; I just worked from that point on. I was driving by age 14 illegally, and I was couch surfing with friends’ families just to sleep somewhere.”

He had nowhere to go. With only an eighth grade education, he sought out odd jobs. “I was 15 and sleeping in my car,” he said. “One night, it was dripping rain on me and eventually the rain stopped, and I thought, ‘Man, this is awful.’ I heard kids behind me, and they were all dressed up beautifully, probably headed to a party, and I thought, ‘God bless, how different our lives were. They’re partying, and I’ll wake up tomorrow and wonder, will I eat today?’ That was such a big division and I knew how different my path was.”

He never veered into the “street life,” but instead, sought out mentors who were older. “They probably felt bad for me. They gave me a lot of good advice that I keep close today – most importantly,

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always be nice,” he said. “That’s fundamental to who I am today. I was the guy with no place to go, and I saw things people should never see. That was my reality. I would go to a friend’s house and think, ‘This is crazy, is this how families operate?’”

He worked at random places so he could eat and survive. “I met all kinds of people and that helped fuel my creativity,” he said. “My photos and videos today draw inspiration from those life experiences.”

As his teen years faded, he continued to work hard. He joined the military and served in the Army National Guard. As he entered his early 20s, life evolved rapidly for Antonio Pantoja.

A chance meeting in a restaurant set his destiny in motion. “I was working in a restaurant playing music, and I saw this server. I said she was the most beautiful person I’d ever seen, and if she’d just give me a chance, I’d marry her in a heartbeat,” he laughed. “I lied and told her I was in a band that played all the time. I was horrible, the worst bass player of all time. I had no business playing music, but I liked it, and amazingly, she gave me a chance.

I got the craziest opportunity ever with her.”

That server, named Jordan, became his wife in 2010. In time, his daughters Mia, 10, and Echo, 4, were born. “I’d have a million of them if I could,” Pantoja said. “I love parenthood; it’s all I live for. I want to be there for everything and I want to support them 100 percent.”

He also landed his first “real” job as a sales trainer at Sprint during this time. He borrowed a suit for the interview and scooped up the entry-level job with gusto. “I thought, ‘Holy crap, I’d clean the trash out of this building if I could.’ I’d never had an opportunity like that. I got the job and I’d stay after hours and I worked nights, weekends and holidays,” he said.

He also met his boss and now mentor and friend, Lee Kiper. “I have watched Antonio grow personally and professionally for nearly a decade and to be honest, it has been one of the greatest honors of my life,” said Kiper, general manager of Sprint Business. “His stamina for work is unrivaled. His positive outlook is something I admire. No matter the size of the challenge he must overcome, he walks through it with an equal amount of confidence and humility. That is extremely hard to find in talented people.”

His hard work paid off when Pantoja was promoted to sales manager and given a team of 15 employees. “I looked at it as I was helping people like myself find work,” he said. “If I could help another person get a paycheck, I’d work as hard and as long as I could to make that happen.”

Life was working out for Pantoja, but he wanted more.

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“The Cylinder and the Cellar” by Antonio Pantoja. Hair and makeup by Raina Trimble. Model: Bethany Hood.

Right: “You are the ocean and I am drowning” by Antonio Pantoja. Styling and setup by Heather Rous Weeks.

Makeup by Nicole Mclinnahan. Model: Katherine Lewellyn.

“LOSING TEACHES YOU SO MUCH MORE THAN WINNING.” Simultaneously, Pantoja faced older demons. He had recently reconciled with his father, who passed away eight days before Pantoja’s wedding. “I was devastated when my dad passed,” Pantoja said. “I realized I only had a few seconds of video of him, and through video, you become immortal. I’ve watched that video a million times. Your story will always go on. If you capture that moment, that image stays long after they are gone.”

He also realized that he desperately wanted images of his infant daughter, Mia. “I thought my wife was going to kill me, but I dropped $600 for my first camera,” he said. “I learned how to use it and begged people to let me shoot them.”

With this, he found his calling. He began shooting weddings and branched into video work. He convinced his wife Jordan to leave her accounting profession and join him in photography. Together, they worked as a team, with Jordan shooting photos and Pantoja videoing weddings. They caught the eye of wedding planner Lauren Chitwood just as her high-end wedding and event business was taking flight, and he partnered with

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Chitwood, shooting many of her events nationwide.

He then landed a job as creative director at WDRB-TV. “I sent in a reel of my video work, got connected with people in the industry and it just took off,” he said. “Then, I started shooting weddings and music videos and commercials, and I did fashion and fine art photography on the side. Everything is through connection, and Louisville is the perfect place for that.”

But, the excitement came with a price. “Two years into it, I had to make a decision,” said Pantoja. “My daughter drew a picture and it had my wife, my other daughter, the cat and the dog. But, not me. I was working so much. I said ‘Where’s your daddy?’ She said, ‘Daddy, you’re always at work.’ I thought, ‘Oh man, I’ve lost my baby.’ So, I quit my job (at the TV station).”

It was a risk he knew he had to take. “I’ll choose my daughters every time,” he said. “I didn’t want my girls growing up without a family like I had done. Now, I do my own thing on my own schedule. I take work as it comes and spend as much time as possible with my family.”

And the work comes. As Pantoja’s reputation grows, he has quickly accumulated countless clients and

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dozens of photography and video awards. He works coast-to-coast and is highly respected in the visual arts community.

“Antonio’s constantly striving for perfection is what truly makes him tick,” said Kiper. “He feels like an underdog the majority of the time, which keeps him hungry, but helping others achieve and grow gives him sustenance.”

“The awards put you in an awkward position,” said Pantoja. “You want to put it out there professionally because that’s what people expect. I lose more than I win, but losing teaches you so much more about yourself than winning.”

“ONE MUST FALL” “At some level, I was always creative,” said Pantoja.

“I’ve always loved movies. It was the one thing we did together as a family when I was little. My dad would get my brothers and me on the couch, and we’d watch horror movies. It’s funny, but that’s the only family unity I remember.”

A part of Pantoja always nurtured the dream to write and produce a horror film, perhaps as a throwback to

those memories. His wife encouraged him, and with prodding, Pantoja went after that dream one year ago.

“She took the kids to Florida and I locked myself inside and wrote the script in a week,” he laughed. “Then, I spent months cleaning it up.”

He pulled from old memories to plot the film, titled, “One Must Fall.”

“I was alone all the time as a kid,” he said. “I decided I wanted to be a priest, so I read the Bible and I came across (the Book of) Revelation and it scared me to death. I changed my mind about becoming a priest then! Revelation is scary, but by the same token, I fell in love with the horror aspect of it and now, later, I’ve even based one of my film characters on it. I think the passages can be interpreted as scaring you into doing the right thing. It all comes from somewhere – very dark places with redeeming stories. Inspiration is weird.”

Pantoja picked the horror genre from a strategic perspective: It typically doesn’t rely on an “A-list” actor and most audiences watch horror based on the concept. “One Must Fall” is set in the 1980s and follows the story of a woman who experiences sexual harassment at work and is wrongly fired. She teams

Antonio and Jordan with daughters Mia and Echo.

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Right: “Clavos” by Antonio Pantoja. Makeup/SFX/Hand by Matt Goodlett. Hair by Rian Miller.

Model: Amanda Terry.

Below: Antonio is well known in Louisville’s creative community for sharing his processes in free classes he offers.

Class photo by Gary Barragan.

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Behind the scenes of “One Must Fall,” which was filmed in Louisville.

Below: Antonio with mentor Lloyd Kaufman of Troma films.

Photos by Steve Squall.

up with a friend and together, they create a crime scene cleanup business. A serial killer is on the loose, and the team finds themselves locked in a warehouse with the killer while they are cleaning up a recent crime scene.

The film was shot entirely in Louisville, mostly in a warehouse in Portland. But, even with local ties, Pantoja used his industry connections to build national support and participation in the film. Special effects artists, directors and film professionals who’ve worked on blockbusters like “Rocky” were part of the production team.

Pantoja traveled the country, painstakingly

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picking up vintage 1980s accessories to ensure authenticity in the film.

He created a business plan, started a crowdfunding campaign and approached mentors and industry professionals for support. It all worked.

Louisville-based entrepreneur and film producer Gill Holland took note. “I stumbled across his work and his visual flair struck me immediately,” said Holland.

“I basically became a fan and thought, ‘Wow, I really need to figure out a way to meet this creative genius.’ As soon as I found out he was working on a film, I told him I would do anything I can to help

him make it have the best possible outcome in the film industry.”

As Pantoja puts the finishing edits on the film, Holland is helping line up the film’s journey on the festival circuit. If all goes according to plan, “One Must Fall” will hit screens by the end of the year.

“EVERYTHING GOOD IN MY LIFE HAS COME TO ME BECAUSE I WAS NICE TO SOMEONE ELSE.” Sometimes, all this success scares Pantoja. “I wake up with nightmares that I’ll lose everything,” he said. “I’ve been at that point, but then I realize this is my

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Posters by Nathan Thomas Milliner, illustrator for “Halloween II,” “Halloween III,” “Dawn of the Dead” and other horror films.

“It ’s all about the path you take. Just because you’re dealt that hand, it doesn’t have to be your destiny.” reality now. I’m lucky. The success is terrifying (because) I don’t want to let anyone down.”

In those quiet, dark times, Pantoja knows life could be much different. “What stopped me from becoming another negative statistic was love for people and what I’m doing,” he said. “If I was lucky enough to get this opportunity, maybe there is someone else out there who needs the same kind of opportunity. Maybe I can help them.”

“I see Antonio achieving whatever he desires,” said Kiper. “He has overcome so many things in his life where most people 28

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would have folded. He smiles through the tough times and always moves forward with optimism and positivity. He is one of the best human beings I know, and I cannot wait for the world to know the Antonio I do.”

“Antonio is one of the hardest working folks I know,” added Holland. “He is a key part of the amazing creative fabric of Louisville. Like the directors Richard Linklater and Robert Rodriguez are to Austin, or John Waters is to Baltimore, I predict that Antonio can have that same kind of success for Louisville.”

How does Pantoja define passion? “It’s

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Photo by Steve Squall.

doing something you love unconditionally,” he said quietly. “I didn’t realize that growing up. I met my wife and learned what unconditional love is. If you can find passion, whatever it is, you must go full force on it. You’ll cry. You’ll want to give up on it most of the time, but if you find it, it will give you life if you let it.”

He stared off into space for a moment and then said, “It’s all about the path you take. Just because you’re dealt that hand, it doesn’t have to be your destiny. Every decision you make could be one that changes your life forever. Don’t ever give up on what gives you life.” V FALL 2018

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7 For All Mankind jeans, $169; Lauren by Ralph Lauren white puff sleeve top, $80; Vince Camuto side ruched gown, $188. Available at Dillard’s. Jerome Dreyfuss metallic handbag, $655. Available at Circe + SWAG: Southern Wear and Goods.

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PAS DE DEUX A “Season of Romance” blooms for Robert Curran and Louisville Ballet

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By Laura Ross Art Direction: Cherie Pérez Photography: Sam English Make Up: Jessica Kelley Styling: Miranda McDonald

H

e thrilled audiences worldwide for more than a decade as the principal artist for the Australian Ballet. He then took a professional leap beyond his dancing career, which landed him in Louisville in 2014 as the artistic and executive director of Louisville Ballet. His passion for dance, thirst for education and spirit of collaboration spurs him forward every day. His name is Robert Curran.

A native of Australia, Curran, 42, began dancing as a child. He later trained at the Australian Ballet School and enjoyed a career as a star and principal artist of the Australian Ballet. During his time with that company, he also gained three academic degrees in business, theater and teaching. He retired from professional dance in 2011.

Louisville Ballet’s charming and affable yet enigmatic leader is happy to promote his company of dancers and staff. “We made a choice early on that it was about the artform and company, not me,” he said. “I had my great time in the spotlight in Australia for 16 years.

Our focus is on this generation of dancers.”

With his wildly successful career that spanned worldwide stages, Curran’s entry into a city the size of Louisville was a challenge. “I was working in New York City, and prior, had my career in Australia,” he said.

“Coming from the population centers of Melbourne and Sydney, with around nine million people and a budget that’s more than ten times what it is in Louisville, was bold.”

He added, “I came with that background of what is possible with what can be achieved. I knew I had to do it differently here, but the boldness comes from that worldwide experience I have. I’ve danced in the U.S., Europe, Australia, Southeast Asia and China, and seeing what the rest of the world is doing with ballet has really informed what I feel is possible here. Louisville is one of the few cities its size in the U.S. that has that potential to be great.”

With that in mind, Curran is excited to launch the ballet’s new “Season of Romance.” It premieres Sept. 7 and 8 at the Kentucky Center for the Arts’ Whitney Hall with an ambitious world premiere of “Romeo + Juliet,” reimagined in a modern setting. It will be the first show held in the Kentucky Center since its devastating

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Louisville Ballet’s “Season of Romance” • Romeo + Juliet – Sept. 7-8 • Mozart – Oct. 12-13 • The Brown-Forman Nutcracker – Dec. 8-23 • Choreographer’s Showcase – Jan. 31-Feb. 3 • Human Abstract – Feb. 28-March 3 • Cinderella – April 5-6

fire in June 2018. “Romeo + Juliet” is followed by an evening of ballet inspired by the powerful music of Wolfgang Amadeus Mozart and the return of the raw and emotional “Human Abstract.” The season also includes the holiday tradition of “The Brown-Forman Nutcracker,” as well as the timeless classic “Cinderella.” In 2019, the Choreographers’ Showcase brings audiences an intimate look at the ballet’s extraordinary dancers in a new setting in collaboration with the Kentucky College of Art + Design.

The romantic theme for this season is a natural choice. “Relationships don’t come perfectly wrapped,” said Curran. “They can be tough. This ‘Season of Romance’ is a love letter from our company to our community.”

Curran argues that romance in all forms binds people together. “Whether you’re the prince in ‘Cinderella,’ you’re Romeo or

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Juliet or you’re in a same-sex relationship like ‘Human Abstract,’ romance is key,” said Curran. “It’s tragic, hopeful, progressive, brave – it’s all a part of what makes us human. I look at myself in the mirror.

I’m a single guy, far away from home, and my humanity is the same as anyone else’s.

I don’t want to be alone forever. We can all relate to those feelings.”

“Romeo + Juliet” is choreographed by Adam Hougland, with a classic musical score by Sergei Prokofiev and performed live by the Louisville Orchestra.

“In a world that is becoming increasingly polarized, I cannot think of a more relevant piece than ‘Romeo + Juliet,’” said Hougland. “Two feuding families whose children end up paying the ultimate price could be a headline from today’s paper.”

Curran works closely with choreographers like Hougland, and he is also stepping into the role, as well, for Mozart. “I

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want to create innovative dance programs,” said Curran. “I call on my international network to bring their perspective and creative process here to educate me and others and take this community into the global conversation in a way they might not think they should.”

Curran acknowledges that breaking the mold and boldly moving Louisville Ballet toward a more collaborative and experimental model can be uncomfortable for people. “I don’t compromise my standards, I commit to new work and I don’t apologize for how fast I want to go,” he said.

“I think some people might be a little put off by that, but it’s not intentional. There’s stuff I need to get done now, and tomorrow I can move on to whatever comes next.”

Part of that effort is by fostering collaborations with other arts organizations and building new audiences. “The traditional ballet companies of the past were so stuck

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“

I have a level of impatience and a hunger for wanting to shake the city and say, ‘Come on, catch up, we can be extraordinary.’

— Robert Curran

in their lane, they never really realized what was possible in terms of cross-genre collaborations, which is strange, because you go back a century ago and that was what it was all about,” Curran said. “It was mixing visual arts and dance and design and fashion. But, then, we fell into this rut of siloed mediocrity.”

Curran believes strongly in joining forces with others. “We built into our strategic plan that we will collaborate with a major performing arts group every year for one of our main stage productions,” he said.

“Our city has so much to offer with its rich arts scene across multiple genres. It’s at the core of how we operate. It’s what Louisville Ballet is all about.

“You can’t do that in every city, especially in the big cities, where getting the institutions to work together is too difficult,” he continued. “I don’t think Louisvillians realize how much they’ve

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got right here, and how exciting it is to have that vibrancy in the arts. We’ve got to move faster, think globally and we can’t sit back and rest on our manners and how it was always done previously.

“It’s not OK for us to roll out the same productions every year,” he said. “A commitment to new work inspires our company and speaks to a new generation. We can re-contextualize the classics, but we also must tell today’s stories. Once you’ve seen three ‘Sleeping Beauties,’ you’ve seen them all. We need to create the ‘Sleeping Beauties’ of tomorrow.”

On reflection, he said, “I’m lucky, in some senses, that I have had an international career; lucky I got to be a principal dancer with one of the world’s most important companies; and lucky I had support through the educational degrees I have. But it comes with a dark side as well.

I’m still coming to terms with retiring from

dancing. I started when I was four and retired when I was 35, and it’s almost like a breakup, with a mourning and grieving period for that time in your life.”

But, there is no more time to grieve.

Curran is ready to take Louisville Ballet to the next level. “I’m so proud of what this company has achieved over the last four years,” he said. “I have a level of impatience and a hunger for wanting to shake the city and say, ‘Come on, catch up. We can be extraordinary.’ We can do it better than others. I’ve seen the arts scenes in other cities explode and carry them forward. If anyone can do it, we can. Let’s go!” V Subscription packages to the Louisville Ballet’s 2018-2019 Season of Romance, start at just $63.50 for only two shows, and are available at Louisville Ballet’s website (louisvilleballet.org), box office or by phone at 502.58.DANCE.

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FALL 2018

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Welcome

A KENTUCKY KIND OF

Andy Treinen, Penny Peavler and Brigid Witzke.

The Frazier History Museum launches Kentucky Bourbon Trail Welcome Center and permanent ‘Spirit of Kentucky’ exhibition

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A

By Remy Sisk Photos by Kathryn Harrington

project years in the making has at last been completed. As of Aug. 30, the Frazier History Museum is the official starting point to the Kentucky Bourbon Trail and now asserts itself as such with the Kentucky Bourbon Trail Welcome Center and the permanent “Spirit of Kentucky” exhibition. True to its slogan, “Where the world meets Kentucky,” the Frazier is now a sort of gateway to one of Kentucky’s most renowned and recognizable assets, providing a place where locals and out-of-towners alike who are interested in America’s native spirit can come and begin their journey of discovery. While the welcome center may be a convenient resource for those looking to experience the Kentucky Bourbon Trail, the exhibit is a robust anchor for the museum, elevating its identity and illustrating its commitment to showcasing the best of Kentucky’s past and present.

The Kentucky Bourbon Trail Welcome Center is a completely free experience located in the lobby of the Frazier. There is always a knowledgeable concierge on-site who is ready to offer advice and suggestions to folks thinking about heading out onto the bourbon trail. Prior to opening, the staff conducted deep research so that team members would be ready to help out with whatever was needed by guests, whether it be transportation, restaurants or sights to see along the way. Additionally, they are poised to help build the perfect experience that’s completely suited to one’s needs. Should you, for example, only have a few hours, they can make informed recommendations that guarantee you’ll get the most out of the time you have to spend.

Moreover, there are interactive monitors visitors can use to virtually explore the bourbon trail, as well as a DRINKiQ station that helps guests learn how much alcohol they can safely drink along the way. The already impressive gift shop has expanded to include more bourbon-themed items for sale as well as plenty of bourbon itself. And

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all of this experience is, again, completely free of charge.

Before the welcome center opened, there was no formal start to the Kentucky Bourbon Trail. But four or so years ago, the Kentucky Distillers’ Association decided there should be a physical place where the Trail could commence. Consequently, a host of individuals and organizations eventually came together to name the Frazier as the venue that would host the Kentucky Bourbon Trail Welcome Center.

“There was a variety of forces coming into play here,” recounts Frazier President and CEO Penny Peavler, “and a lot of synergy among the (Louisvile) Convention

and Visitors Bureau, the Mayor’s Office, the Kentucky Distillers’ Association, the Downtown Development Corporation and ultimately the Frazier Museum when the Frazier was selected to create this.”

Peavler emphasizes that, much like the Scotch Whisky Experience in Edinburgh or the Bordeaux Wine Experience in France, having this welcome center and exhibit really highlights how the history of Kentucky intersects with the history of bourbon and how that intersection has come to bring the bourbon story to fruition. “What these centers have done is really galvanized all the greats working in the tourism space around a common

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goal and common theme that is true and authentic to the sense of the place,” she says. “What I mean by that is bourbon is much more than a spirit to us in Kentucky. It’s about the people, it’s about the culture and it’s about the history. And when you start layering in the stories of hospitality, which we are well known for here, and our wonderful and diverse food ways and food traditions, it’s really a rich and multilayered story. And it’s a story that can be enjoyed by all generations.”

That story is told – and told beautifully – in the “Spirit of Kentucky” exhibition, which is included with museum admission. The exhibit, Peavler describes, has four goals: to position Kentucky as the authentic home of bourbon, to celebrate its makers, to spread the passion for bourbon and to become the encyclopedia of bourbon. In collaboration with the Kentucky Distillers’ Association, as well as creative design firm Imagination, the Frazier team has achieved those goals extraordinarily.

The 9,500-square-foot highly interactive exhibit is divided into three chapters – Enchanted, Gracious and Refined, all three of which are aspects of bourbon.

You enter it all across a bridge surrounded by sight and sound monitors that play a seemingly endless loop of video showcasing the beauty of rural, natural Kentucky.

This not only shows visitors there’s more to Kentucky than bourbon and Louisville, but also that our spirit is completely derived from the natural earth.

In the first section of the exhibit, the focus is on all of the natural elements of Kentucky that make it the perfect place to produce bourbon. There’s information on the limestone and the water as well as the methods of transportation the industry

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Bourbon is much more than a spirit to us in Kentucky; it’s about the people, it’s about the culture and it’s about the history.

— Frazier History Museum President and CEO Penny Peavler

has used over the years. There’s also a sensory experience where guests can smell charred oak, brown spice and orange peel – three common bourbon tasting notes – and see if they can connect those aromas to bourbon. And for fun, you can even stack your own (miniature-sized) bourbon barrel and learn how the pieces come together to make the whole.

The second chapter of the exhibit – Gracious – is without question the centerpiece of “Spirit of Kentucky.” In the center of the room is an enormous dining room table that actually is one gargantuan screen with which visitors can interact for hours. “If you know the people involved in the industry, there have been several examples of how if somebody has a problem, the others help them out,” offers Frazier Director of Marketing Andy Treinen. “So, how better to tell that gracious story than with a huge dining room, the place where we all meet? And at the center is this huge dining room table that is also a massive computer and content provider, and this is the technological marvel of the whole exhibition.”

Indeed it is. There are 10 individual stations at the table, and on the screen, portraits, logos and other images relating to bourbon history float by. When you see one you want to learn more about, you can pull it in to you and dive deep into the history and culture surrounding it.

And if your friend has, say, George Garvin

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Brown pulled up and you have Jim Beam, a link will appear between the two stations explaining how George Garvin Brown and Jim Beam are connected. There are over 300 entries – all historically accurate – and the Frazier hopes for this to become the true encyclopedia of bourbon as it is representative of the spirit’s entire overarching history. Though all stations can run independently, there is also a driver function, which allows teachers or bourbon educators to lead seminars where every screen shows the same information.

Next is the Refined space in the exhibit, which features vintage bottles, branding and bourbon advertisements. It is also in this area that guests will discover the bottle wall – a stunning backlit display of every single bourbon currently in production in Kentucky. The room was designed with a forced perspective that makes it easy for visitors to get a photo in the room – the only place anywhere that you can get a photo with every bottle of Kentucky bourbon. And if you show the picture you take to certain distilleries once you hit the Kentucky Bourbon Trail, you’ll be able to receive special deals and discounts. The exhibit concludes with a stop in the speakeasy, but you’ll have to find the way in for yourself.

Without question, this exhibit will be a glorious new anchor to the museum that locals will want to show off to their friends and family. “It’s highly interactive, it’s

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differentiated and it’s repeatable,” asserts Peavler, “so I hope it will be a place where Louisvillians will bring their out-of-town guests to give them a little experience of Kentucky hospitality and learn a little bit about the bourbon trail before they go out to one of the member distilleries and try the product and see how it’s made.”

The experience, as Peavler mentions, is eminently repeatable. There’s such a vast wealth of information that no two visits will be the same, and as Chief Curator Brigid Witzke hopes, once visitors get a taste of what the exhibit has to offer, they’ll want to keep coming back for more. “As I’ve learned more about bourbon, I just want to know more, so I’m hoping that our visitors, when they come, will feel the same way – the more that they see, the more that they uncover, the more they’ll want to learn about it,” she enthuses. “And I hope that they get a

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different experience here than what they get at (other) visitor centers. There, you’ll get the brand’s story, and you see how they make their bourbon and why their bourbon is special, and those are great stories.

But who’s telling the overarching story? We really want to be that place, and I hope that with this exhibit and the welcome center that we’re going to do that.”

The final aspect to this bourbon launch of sorts at the Frazier is improved bourbon programming. Treinen says that they hope to offer something bourbon-related every week, whether that’s bourbon education, tastings or bottle signings. But as he points out, everything here is only supplemental to what you’ll discover on the trail itself – its an enhancement to the experience, not a substitute for it.

“Everything we’re doing is only additive to the Kentucky Bourbon Trail,” he

affirms. “They already tell people how to make bourbon and they do an outstanding job of it. We’re adding value to that and adding to those experiences.”

The museum has established an unparalleled kickoff point, but it is only meant to set visitors on a path toward greater discovery.

“What I think the Frazier’s really becoming is a place that is truly a welcome center to Kentucky where you can come and learn about all the things Kentucky has to offer and then find out where else you can hear the rest of the story,” Peavler maintains. “For instance, in the Kentucky Bourbon Trail Welcome Center, you will come in and learn about those member distilleries, and then if you want to learn how bourbon is made and you really want to experience bourbon, then you must go out on the bourbon trail.” V

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WEEKDAY BREAKFAST, LUNCH, DESSERTS, CARRYOUT, CATERING

605 W. Main St. | 883-3398 | AtlanticNo5.com

Ask about group tour discounts!

Now through January 13, 2019 revolution.

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A d e e p S e tory at th Art meets his Support for the exhibition is provided by A. Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Elizabeth W. Davis Corporate support for the Speed Art Museum’s exhibition season is provided by

Image: Ernst Ludwig Kirchner, German, 1880 –1938 Boats on the Elbe near Dresden, 1910 –1920 Oil on canvas Overall: 24 3/8 x 34 3/4 in. (61.9 x 88.3 cm) Jane and Roger Wolcott Memorial, Gift of Thomas T. Solley Eskenazi Museum of Art, Indiana University 75.34

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

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“

You can grow, but if you don’t have a team to sustain it, your quality will suffer. I’ve been very fortunate to have very few executive chefs.

— Susan Hershberg

Photo by Whitney Neal.

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So Sweet

Wiltshire Pantry spreads wings to meet needed neighborhood niches

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By Mandy Wolf Detwiler Photos courtesy of Wiltshire Pantry

usan Hershberg epitomizes the age-old philosophy that loving what you do daily helps you thrive. Sure, there are setbacks – such as nearly every bank in town using the ugly word “no” and running out of square footage more often than not. But where there’s a will there’s a way, and Hershberg could teach a class on perseverance.

Hershberg’s family moved to Louisville when she was a teen after her father took a position with the University of Louisville. “I’ve always loved cooking and I worked my way through high school and college working in restaurants, coffee shops and pastry shops and bakeries, and I just loved it,” she says. “For me, it was kind of a natural fit to go into the food industry. I never had a master plan for ‘OK, this is what

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I’m going to set out to do – start with A and expand to B.’ We have just sort of seen the company organically grow.”

Hershberg originally opened a small tea room in St. Matthews where, “I would change the menu every day, and we just had fun with it,” she says. Soon, the need for more space – and perhaps a larger menu – led her to a spot in NuLu in 2009, Wiltshire on Market, where the current gentrification had just begun its renaissance.

It took about six years for Wiltshire as a brand to gain success. What helped them take off? They started doing catering at Gardencourt and nearby Whitehall.

“Those two venues really brought us into a different league in terms of the types of catering we were doing,” Hershberg says. “It allowed us to see some pretty rapid growth. Years one to five were just a big struggle.

Year seven we took off, and now we’re where we are.”

She also credits much of her company’s momentum thanks in part to local PR expert Merrily Orsini of CoreCubed, who made sure every food publication in the area knew about

Photo by Original Makers Club.

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Photos by Dan Dry.

the Wiltshire brand. “We doubled our sales in a year, boom,” Hershberg snaps her fingers. “She did a fantastic job, and we got amazing press.

People who had never visited the restaurants suddenly came to taste. And with venues like the Muhammad Ali Center, we were doing two to three weddings in a weekend for 200-300 people.

It was huge, and some way or another, we managed to keep up with it.”

In 2014, the bakery and café opened on Barrett Avenue, an area that straddles historic homes and businesses, and by 2016 Wiltshire had won the bid for the Speed Art Museum.

Surprisingly, each business operates autonomously, with separate chefs helming each kitchen. At the dinner-only Wiltshire Market, Chef Roy O’Connell creates new dishes nightly, such as the 3-D Valley Farm New York strip steak with grilled Woodpecker Chase Peaches, Rootbound Farm Shishito peppers, N&J summer squash and Chimichurri Rojo ($25) and the Kenny’s Fromage Blanc Gnudi: Rootbound Farm beet butter, roasted Prayer Mountain oyster mushrooms, red veined sorrel and parmigiano-reggiano ($18).

At Wiltshire Pantry, Executive Chef Jonathan Exum serves up fresh soups, sandwiches and

wild shrimp salad featuring garlic and lime panroasted wild shrimp, local greens, sweet corn, roasted poblano, ancho cauliflower, pepitas and a house-made tomato-like vinaigrette ($14 full; $9 half).

The menu is rarely the first item that catches the eye. The tour-de-force pastry chef is Patricia Kelley, who whips, dips and well, chocolate chips everything from French almond cake ($6 a slice), lemon blueberry mini cakes ($8) and mousse bombes dipped in white chocolate and rolled in sprinkles and silver dragees ($4). They’re all on display – mouthwatering and difficult to ignore.

Wiltshire uses a commissary, but all of the chefs have some modicum of autonomy to give them creative license in their own kitchens.

With the businesses operating successfully and at the beginning of the farm-to-table movement, Hershberg turned her attention to catering, which she is able to do out of the bakery/café location on Barrett, affectionately dubbed “the mothership.”

“I never intended to have a restaurant,” Hershberg admits. “I always wanted to stick with catering because (with) catering, you know how many people are coming, and you know what they’re having for dinner, and then they go home.”

Photo by Original Makers Club.

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Photo by Nerissa Sparkman.

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The building she’d found in 2007 was perfect but had a failing tenant – a sandwich shop – that closed, and in 2013 Hershberg opened the eight-seat Wiltshire Pantry, with the catering section in the rear. Hershberg made a risky move after being turned down by most banks – she financed Wiltshire Pantry on credit cards, but paid it off within two years.

“You can grow, but if you don’t have a team to sustain it, your quality will suffer,” Hershberg admits. “I’ve been very fortunate to have very few executive chefs.” In nearly 30 years, she says she’s only had about six executive chefs.

When the economy soured, Hershberg worried about laying off the very employees who had built her brand loaf by loaf. Low turnover and autonomy seem to keep the machine well oiled, and some of Hershberg’s employees have worked with the company for decades. Catering, it seemed, was just the ticket, using the Barrett Avenue location to supply the Market shop every weekend. The idea behind it? Catering 101, which eventually turned into 25 percent of Wiltshire’s business.

“Catering is hard to generate press for,” Hershberg says. “I feel like publications love to write about restaurants, and all of a sudden we

had a restaurant that magazines and newspapers wanted to write about. We saw a big jump in our catering business since Wiltshire on Market was our own little press entity.”

Today, Wiltshire Pantry serves as a commissary, but Hershberg also rents a commercial kitchen off of River Road solely for the cakes, cookies, pies, tarts, breads and other delicacies that supply her businesses. There’s something new each day, but regulars will recognize cult favorites well.

They sell homemade breads and pastries made by hand at the Douglass Loop Farmers Market. (Get there early – there’s usually a line.)

With each business running under the tutelage of their executive chefs, Hershberg now allows herself some downtime. Still, she’s not one to sit back on her laurels. She’s got a project in the works in Shelby Park’s upcoming Logan Street Market and a mobile unit called Wiltshire on the Go. “That’s a lesson that I’ve learned now: I kept my eyes open for opportunities throughout the course of Wiltshire Pantry’s existence and that’s what’s really allowed us to grow,” Hershberg says.

“I’ve always found that if you’re doing what you love to do and you’re doing it well, you’ll be happy and have happy employees. And that’s going to lead to growth and expansion.” V

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Changemaker Kathleen Kelly Janus Coming To Louisville Changemakers

Our call to action is to boldly step outside our comfort zones and harness the energy in our community to catalyze meaningful change, as nonprofit, corporate, and private sector leaders.

Join the Center for Nonprofit Excellence and Kathleen Kelly Janus at Changemakers 2018, for her keynote, The Fundamentals of Nonprofit Success, along with other amazing speakers.

October 9th Louisville Marriott Downtown

Register today at cnpe.org/annual-conference

KATHLEEN KELLY JANUS STANFORD LECTURER AUTHOR SOCIAL ENTREPRENEUR

The University of Louisville School of Music Presents the 26th Annual

Faculty Gala Concert Featuring School of Music faculty artists in both solo and chamber music ensemble performances.

Friday Evening September 14, 2018 8:00pm Comstock Concert Hall Free

University of Louisville | School of Music | 105 W Brandeis Avenue | Louisville, KY 40292 | 502.852.6907 louisville.edu/music | facebook.com/uoflmusic | twitter.com/uoflmusic | youtube.com/uoflschoolofmusic The University of Louisville is an equal opportunity institution.

BE A FORCE FOR GOOD DONATE ONLINE

SEPTEMBER 13

GiveForGoodLouisville.org

SPECIAL THANKS TO OUR SPONSORS & PARTNERS

THE GHEENS FOUNDATION

Partner. Resource. Steward.

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The Artful Nature of Home

I

By Janice Carter Levitch Photos by Kathryn Harrington

nterior design is intoxicating with its unique power to reflect personality in the elements of place while always keeping architecture within the peripheral vision of the overall plan.

To be afforded the luxury of forming and fine-tuning every aspect of a home for those who will inhabit it every day is a designer’s ultimate challenge and happiest responsibility. Therein lies the possibility of realizing the ideal – a home instilled with heart and brought to life in the surroundings.

Perched above the Ohio River, panoramic views of downtown Louisville are only the beginning of the experience you encounter upon entering the Waterfront Park Place condominium owned by Gus Goldsmith and Kim Delaney. Lesa Buckler, owner and principal designer of Details Furniture Galleries & Design, along with in-house designer Christa Rose, have manifested the unexpected for the homeowners.

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Christa Rose and Lesa Buckler.

“We connected with Gus and Kim after Homearama 2015 and they were ready to update the residence in their downtown Louisville condo building,” Buckler explained. “The space is the ideal place to show off an art collection.”

The moment you open the door to the condominium, you are drawn in by the luxurious view of the city just beyond the glass walls. The marble floor has a custom-designed fleur de lis mosaic as a nod to the Seal of Louisville. Buckler knew she needed to revamp the interior by utilizing the current palette of color inspired by all of the art.

“The homeowners collect art from around the world, and that was our starting point to begin the design process,” she commented. “The open living space of this floor plan in such a premier building allows you to enjoy a view of Riverfront

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Park and the new bridge. (Here) you have a feeling of what it’s like to live well in downtown Louisville.”

The existing vibrant colors and mix of artwork inspired Buckler to create a neutral canvas of wall color and fabrics that would elevate the art displayed throughout each room. Adding a neutral palette almost as an emotional balm to connect the homeowners with each piece of art allows a resonance to emerge. The specifics of each selection and choice influences the other. Slowly, as you walk through the open space, you get the sense of color along with a vast mixture of textures and fabrics.

Located in the main living space – above the custom-designed Emerson Bentley sofa sectional positioned for gatherings around the fireplace – is a chandelier by Visual Comfort that illuminates

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the painting displayed above the fireplace

by Leftbank Art. The sofa and chairs are surrounded by lush pillows in Colefax & Fowler and Texture fabric choices. In the far corner of the room, Bernhardt metal chairs gleam with a bounce of light that dances around the room, catching a sparkle here and there from the Murano glass accessories.

The adjacent kitchen has modern appeal, designed with dark brown/black cabinetry that evokes a sleek yet approachable attitude. Buckler covered the Ambella bar stools in a custom sapphire and steel-gray fabric by Texture. Spectacular hanging lights by Crystorama Lighting brighten the island. Just a few steps from the kitchen, is the dining room, which features deep sapphire and azure tones with chairs upholstered in Osborne & Little fabrics that provide stately appeal.

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“The homeowners love bold color, so while your eye may land on the cobalt dining chairs, it doesn’t hold you there,” Buckler explained. “You still notice all the other design statements such as the console by Global Views Furniture, zebra hide mirror and the Murano glass horse sculpture. The room takes on a sophisticated attitude with a pop.”

The homeowners have an affinity for all things tropical that remind them of being near the water, and the blue tones are a way of expressing that within their home. An artful buffet/console made with pewter steel footing reflects the light from the Visual Comfort chandelier.

“Replacing all the light fixtures in the residence also infused it with a modern flair,” Rose said. “With every fixture seen throughout this open-concept space, we had to make sure they were cohesive yet spectacular for their individual area. Although, without a doubt, the dining room chandelier is the show stopper.”

The theater room is Goldsmith’s favorite.

Massoud Furniture chairs and a sectional in Fabricut fabric and JF Fabrics provide exceptional comfort. Martini tables by World’s Away and sconces by Arteriors set the mood for cinematic enjoyment in this cocooning space that is ideal for moviegoers.

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The master bedroom provides serenity with design choices that also reflect the homeowners’ idea of relaxation. Buckler stayed the course with neutral tones that, again, showcase the silhouette of the architectural elements of the room.

“We went with a subdued palette in the master bedroom but not without the same luxurious feeling through layers and layers of fabric and textures,” Buckler recounted.

The luxurious bed is from Christopher Guy in a JF Fabric, which continues the neutral tone on the matching duvet and pillows by Texture.

Bernhardt nightstands and mirrors punctuate the John Richard lamps and wall sconces. In the adjacent sitting area, the sofa is upholstered in fabric by

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Romo and well lit by chandeliers and sconces by Cyan Design.

An oasis is to be found in the master bath with rugs and towels by Abyss & Habidecor. White quartz countertops and white glass tile reflect the light flowing into the room from the large window, which provides plenty of natural light for the vanity area. The black-and-white Stria marble flooring and Brizo RSVP facets are the right touch to create a spa-like setting.

“Throughout the design process, we worked alongside Gus and Kim to ensure the designs were strong and well executed,” Buckler said. “We are into the little details, and inspiration can strike with just a swatch of fabric or a single chandelier.” V

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T

By Bill Doolittle

he Breeders’ Cup is one of those things that has worked out almost exactly as envisioned – a season-ending set of championship races with plenty of racing action and a touch of class.

As the show returns to Churchill Downs for the ninth time in 34 runnings, the Breeders’ Cup remains a dressed-up day – actually, two days – at the races with the stars of the sport flashing to fame and fortune.

All that was expected and hoped for, though there is one trend that wasn’t expected that could be an easy handicapping hint if you’re headed to the track Nov. 2 and 3. And we’ll come to that in a minute.

The Breeders’ Cup began in 1984 as a one-day affair of seven races but has grown to 14 races over two days. This year’s modification – a pretty darn good one – is to turn the five races on Friday into a showcase built just for 2-year-old horses. A day for the young debs and dashing beaus to strut their stuff before an audience that’s always interested in young horses. It is the Breeders’ Cup, after all.

Here in Kentucky, we’re all about improving the breed – and did I mention we have some nice ones for sale?

For racing fans, it’s always the chance to glimpse the future stars of the sport.

That’s on Nov. 2.

Then, on Saturday the older horses take the track for some real rock ’n‘ roll. Such is the acceptance of the Breeders’ Cup, that the best horses are particularly pointed for these races, with the winners very often receiving Eclipse Awards as the best performers of their sex and age for that year.

Plus, that bit of élan, the touch of class.

Tweed jackets and fall fashions. A table in the

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Clubhouse. Nights out in Louisville restaurants.

Mornings at the backside barns as the big horses and their people arrive at famous Churchill Downs. The bourbon flows, hotels fill up and sharp “handicappers” pore over morning workout reports and exotic “figs” to conquer the betting fiesta that comes with offering exactas, trifectas, superfectas, pick threes, fours, fives, sixes – plus good old-fashioned win wagers that often roll through the windows in five-figure increments.

Full fields of top horses in nearly every race get the arithmetic cooking and the tote board smoking.

Plus the horses themselves, which include the stable stars of both coasts – New York and California, East vs. West. But also the often-overlooked hard hitters of the midlands of the U.S. and Canada, that every once in a while take down the tony Ivy Leaguers and surfside superstars.

Then out at the airport, plane loads of stars swoop in from Ireland, Britain and France.

High-bred Thoroughbreds with manes and tails trimmed straight across like brunette bangs.

It’s a really good show.

Back in the original Breeders’ Cup days in the 1980s, the races were simply open to all those nominated and entered. When there was an overflow, they had a committee of experts to narrow the fields to a manageable size. And still do. But today there are an increasing number of “winand-you’re-in” races leading up to the Breeders’ Cup. They’ve got them at Churchill and at tracks like Santa Anita and Saratoga. There are a bunch scheduled at Keeneland on the first weekend in October, plus overseas. New this year is a winand-in race in Brazil and one in Argentina. It’s similar to college basketball teams playing to get into the NCAA. Or the way 3-year-old colts earn points in Derby Preps to qualify for the Kentucky Derby. The extra benefit for racing is it extends

Blame, ridden by Garrett Gomez and trained by Albert M. Stall Jr., narrowly hangs on to defeat Zenyatta, ridden

by Mike Smith and trained by John A. Shirreffs, for the win in the Breeders’ Cup Classic at Churchill Downs in 2010.

Photo by Scott Serio/Eclipse Sportswire.

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Riders Up!

FOR THE BREEDERS’ CUP

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THE ONE OUTLIER OF OUTCOMES IS THAT A HANDFUL OF JOCKEYS WIN MOST OF THE BREEDERS’ CUP RACES. AN ELITE HANDFUL. SOMETIMES JUST A COUPLE OF JOCKS DIVVYING UP THE MILLIONS.

the Breeders’ Cup excitement back into the season.

The Breeders’ Cup is not like the Kentucky Derby, which enjoys a fan base far beyond horse racing. The Derby is one-of-akind: one horse, on one day, hoping for one shot at history.

The Breeders’ Cup is about ALL horses of all ages. At sprint distances and going longer.

Races on dirt and grassy turf. It’s got races reserved for two-year-olds. Fillies have their own races. Something, in other words, for everybody, capped with a grand Breeders’ Cup Classic that carries a purse of $6 million, run at one-and-one-quarter miles.

A handy distance under the Twin Spires.

ON THE ROAD AGAIN There’s a well-practiced feel now to the Breeders’ Cup. Since the first one at Hollywood Park in 1984, the Cup has made stops at a slew of revered tracks, with names like Woodbine, Arlington, Monmouth, Hollywood, Belmont, Gulfstream, Del Mar, Keeneland, Santa Anita and Churchill Downs. But currently, the series seems to be settling into to a nucleus rotation of the two top tracks in California – Santa Anita and Del Mar – and the top two in Kentucky – Keeneland and Churchill. Places where the crowds are big, the enthusiasm is solid and the weather is – well, it’s usually pretty good. (Though this scribe believes the weather would be better in the middle of October than the first week in November.)

But there are reasons (read that territorial turf and college football) that the championships must wait for November. That’s no problem here. November is a traditional Fall Meet racing month in Louisville, and Churchill Downs is all set up for it.

And you know those Euro steeds, they like a little cut in the air as they prefer a little cut in the turf – and they get both in Kentucky.

The Breeders’ Cup founders would certainly like to see more press coverage, more television and the event sparking a growing base of day-to-day fans at all tracks. But the Breeders’ Cup itself is a resounding success.

A crowd of 70,000-plus can be expected for this year’s edition at the Downs. The turnstiles still spin for the sport’s top events and best venues, and the Breeders’ Cup’s biggest fans are racing’s most ardent followers.

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THE RACE TO THE RACE But, as noted, there is a surprise.

And it’s not about horses. Or tracks.

It’s the jockeys.

The one outlier of outcomes is that a handful of jockeys win most of the Breeders’ Cup races. An elite handful. Sometimes just a couple of jocks divvying up the millions.

It’s a surprise, considering that the influx of so many top horses requires an influx of top riders. And that’s happened. You look down the program and the jock’s column is a virtual list of the top riders in North America. But it seems just a handful of those win a majority of the races.

The opinion here is there is tremendous competition among trainers to sign the tip-top riders to guide their cream-of-thecrop horses in the Breeders’ Cup. And the elite handful have the most choices. That’s true in everyday racing, but super-so in the Breeders’ Cup. The best riders are on the best horses. And that might not be apparent in the odds.

Back in the 1990s, two jockeys, Jerry Bailey and Pat Day, dominated the Breeders’ Cup jockeys standings, ranking 1-2 in Breeders’ Cup races won and 2-1 in

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cash earned by their mounts. Bailey and Day rode far out in front of everyone else.

Even years after that pair retired in the early 2000s, they remain third and fourth in alltime standings in money earned. Day is still tied for second in wins with current rider John Velazquez at 15 each.

But there’s a new sheriff in town. Today, Mike Smith is a clear No. 1. He’s won 26 Breeders’ Cup races and $35 million in earnings for the owners of the horses he’s ridden. Velazquez is now slightly ahead of Day in earnings at $23 million.

Beyond Velazquez, a number of jockeys in the standings are retired, or nearing retirement, as the 53-year-old Smith must be. Though it certainly doesn’t seem that way. There is another short list of jockeys vying to become the new go-to Breeders’ Cup riding elite.

To this writer, it looks like six are in stride.

Those include Smith and Velazquez (who is 46), Javier Castellano (40), Joel Rosario (33), Irad Ortiz Jr. (26) and Jose Ortiz (24).

The Ortiz Brothers both ride in New York but have gotten the attention of racing people everywhere. Trainer Bill Mott says there’s a reason: “They show up on the big days.”

Covering our bases, we could note young California prospects Flavien Prat and Drayden Van Dyke, both 26. Prat was born in France, Van Dyke in Louisville. Maybe those two more for next year when the Breeders’ Cup is run at Santa Anita.

The top European rider in the Breeders’ Cup is Ryan Moore (34), who rides “first call” for Coolmore and trainer Aidan O’Brien, who annually send over the most European contenders for the Breeders’ Cup. Moore is a definite for the list, which gives us seven jockeys.

We’ll see if that’s the new right list. The list you can take to the betting window at Churchill Downs.

What’s interesting is the elite riders’ story may offer an inside look at the sport of the Breeders’ Cup. It starts by working backwards. That’s what the trainers of the top prospects do.

They circle Nov. 2 and 3 on the calendar, then work the schedule backward. Maybe planning a race for a month out in late September or early October and a race maybe three weeks before that. Owners will wish to see the horses run at Saratoga or Del Mar. Before that, the trainers might pencil

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in a month off in June to rest up for a fall campaign. That’s after a spring campaign to begin the calendar. The trainers are thinking about distance and competition and maybe zeroing in on one of the win-and-you’re-in races. Along the way, they’re blending in workouts to build stamina or hone speed.

All that is plotted backwards from the date of the Breeders’ Cup. The jocks and their agents, however, are looking forward. They’re dotting around, riding prospects and entertaining requests to commit for the Breeders’ Cup.

No. 1 MIKE SMITH And so, here’s Mike Smith with 26 Breeders’ Cup wins. On the lookout for more.

“We want to ride high quality horses, and help prime them for their big races,” says Smith. “A lot of times you have conflicts of one horse or another (for longtime clients), and one date or another, and we (he and agent Brad Pegram) have to be good at making it work and keeping everybody happy.”

Eventually, Smith makes his choices, and concentrates on preparation for the Breeders’ Cup. “I can’t wait,” says Smith, whose first Breeders’ Cup winner was Lure in 1992 for Claiborne Farm and trainer Shug

McGaughey. “I get pumped up for these kind of races. When you get to prepare for the Breeders’ Cup, that’s what it’s all about.

But you’ve got to handle all that energy. If you can slow things down and focus, great things happen. But in saying that, you have to be on the right kind of horse.”

But not necessarily practice with the horse. Top riders often win big races the first time they get boots in the stirrups.

“Sometimes the first time you ride a horse is the best time,” Smith says. “You know you just get along with them and don’t worry about any of it.”

Of more concern is the competition – the rival riders.

“I’ve got to handicap the rider as much as I do the horse,” Smith says. “I know who’s in there and who’s tough when the money is down. And in a lot of cases, they’re coming well mounted.

“You keep your eye on them, you know.”

A WILD DAY

Jockey Ryan Moore rode Alice Springs #3, trained by A P O’Brien, to win The Coolmore Fastnet Rock Matron Stakes on Champion Stakes Day at Leopardstown Race Course on Sept. 10, 2016 in Dublin, Ireland. Photo by Aindreas Lynch/Eclipse Sportswire/Getty Images.

And speaking of first time in the stirrups, we go back to Pat Day and Jerry Bailey to see how they did it.

Day won the very first Breeders’ Cup Classic in 1984 on Wild Again, a 31-1 shot that he had not been riding.

That first Breeders’ Cup was run on a warm, sunshiny day at Hollywood Park, with the final quarter mile of the Classic full of back-and-forth, close-quarters action.

The Daily Racing Form chart caller noted that Wild Again was “rated” on the pace for six furlongs, then “resisted gamely when challenged by Slew O’ Gold around the final turn, brushed repeatedly with that one through the final quarter mile, was severely bumped near the finish but held the advantage.” Meanwhile, Gate Dancer, ridden by Laffit Pincay, came from behind, but “lugged in” on favored Slew O’ Gold, ridden by Angel Cordero, causing Slew to

bump Wild Again. Gate Dancer finished second, but was placed third by the stewards for interference behind Wild Again and Slew O’ Gold.

This scribe was down on the rail near the finish, but I couldn’t tell which of the three had won, especially with the banging around that left them separated at the wire.

I remember the jocks riding all hell-bent for leather, the horses flying. Day was a little harder for me to see on the rail across the track on Wild Again. He was a horse I hadn’t considered and expected him to get caught. The big noise was Gate Dancer thundering from behind. You could hear his hooves. I remember being shocked that Wild Again was hanging around to finish with the well-regarded favorites. Why was this unknown horse still alive after a rough mile-and-a-quarter?

“I’VE GOT TO HANDICAP THE RIDER AS MUCH AS I DO THE HORSE.” – Jockey Mike Smith Mike Smith during the Rood & Riddle 2017 Breeders’ Cup Post Position Draw at Barn at the Beach at Powerhouse Park on Oct. 30, 2017, in Del Mar, California.

Photo by Scott Serio/Eclipse Sportswire/Breeders Cup.

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Jockey Mike Smith says a prayer before joining other jockeys in honoring cancer survivors during the Survivor’s Parade on Kentucky Oaks 2018 at Churchill Downs. Photo by Scott Serio/Eclipse Sportswire/Getty Images.

Pincay and Cordero were already famous. Now, Day was getting his name called.

There was a photo, then an inquiry, then the numbers went up: Wild Again, $64.60.

AR-KONG! Of course, that was just peanuts compared with Bailey nine years later in the ’83 Classic at Santa Anita. The horse was Arcangues – a French horse that you, me and everybody else had never heard of.

I think he was kind of an unknown even in France.

Bailey tells the story that he didn’t have a mount in the Classic, but prominent French trainer Andre Fabre was bringing over some grass horses for the turf races with this Arcangues – pronounced Ar-KONG, if you can believe that – entered to run in the $2 million classic. Apparently Fabre had no rider for Arcangues and simply wrote in Bailey’s name when he entered the horse.

Which was all right with Bailey. But come race day, he still hadn’t talked with Fabre about the horse.

“When I came into the paddock for the saddling, Andre (Fabre) wasn’t there,” said Bailey. “The ‘lad’ 90

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had the horse saddled, but he only spoke French, so I was waiting for some instructions and didn’t even have any hints.”

Finally, it’s time for “riders up,” and the French lad gives Bailey a leg up into the saddle aboard Arcangues, and off they go for the $2 million race.

“All of a sudden I hear, ‘Jer-ree,’ and it’s Andre waving at me from the crowd along the way to the track. He’s saying, ‘Good luck, Jer-ree,’” Bailey allowed Arcangues to coast along near the rear in a field 13. Coming off the backstretch, Bailey got Arcangues rolling and steered him to the inside to pass horses around the turn for home, splitting more horses into the stretch and finally running right by 6-5 race favorite Bertrando to win going away – at 133-1.

That’s right, 133-1. The payoff on a $2 win ticket was $269.20.

What does it all prove?

Well, who knows?

But maybe this Breeders’ Cup we’ll have more of an eye out for the riders. Could use a little of that 133-1, myself. V FALL 2018

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A first-hand experience with the

‘Vampire Facial’

I

By Angie Fenton Photos by Kathryn Harrington have a confession to make: I am a closeted Kim Kardashian fan. I find the reality star-turned-mogul fascinating with her flawless makeup and hair, enviable boldness, and I’m pretty sure that despite the criticism and online cattiness constantly hurled her way, she’s laughing all the way to the bank.

I once sat listening to Mozart on 90.5 WUOL while reading about Kim K’s favorite wigs (I’m a fan of those, too) and stopped mid-sentence to laugh at myself. But hey, who says a gal can’t be enthralled by a pop culture icon and appreciate classical music?

Even though I’d never cut it as a Kardashian – I rarely take the time to get a manicure or color my hair and have whittled my morning routine down to less than 30 minutes – I’ve been known to try out a beauty product or two when Kim has given it her seal of approval. But when she endorsed what’s known as the “vampire facial,” I got a little queasy...and immediately wanted to try it.

Thankfully, you don’t have to head to Hollywood to try out what’s become one of the hottest procedures. Corbett Cosmetic Aesthetic Surgery and Medi Spa offers the treatment, so I made an appointment to experience it myself.

When I arrived at Corbett Cosmetic, I was greeted warmly by Practice Manager Misty Perschau, who is one of the loveliest people I’ve ever met. I knew that the facial involved getting poked in the face hundreds of times with 36 micro needles, which made me nervous for obvious reasons, so Misty’s calm kindness was much appreciated. I took a moment to look around the gorgeous lobby before changing into a spa wrap. It was time to begin.

Licensed Aesthetician Allyson Beam gently cleansed my face as I lay on a table so comfortable that had I not been conducting an interview throughout the procedure, I would have fallen asleep.

Next, Allyson applied a numbing cream to my face as Misty explained that Corbett Cosmetic doesn’t use a typical numbing cream but instead has a compound created so it is basically extra strength. “You will want to use a straw when drinking over the next few hours,” Misty instructed. (A couple hours later, I forgot to heed her advice and wound up dribbling water all down the front of my dress.)

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ABOUT DR. CORBETT

A

Trinity High School graduate, Dr. Corbett earned his undergraduate degree from Vanderbilt University and his doctor of medicine degree from the University of Louisville. He completed his general surgery and plastic surgery residencies in Tennessee. Dr. Corbett joined Dr. Florman in private practice in 1998. He established his cosmetic surgery practice, Corbett Cosmetic Surgery, in 2003.

Certified by the American Board of Plastic Surgery in 1999 and re-certified again in 2007, Dr. Corbett offers years of experience and a thorough knowledge of the latest techniques in plastic surgery. While Dr. Corbett performs all types of cosmetic procedures, his areas of special focus include cosmetic breast enhancement, cosmetic facial surgery, body contouring surgery, Mommy Makeovers, cosmetic surgery following weight loss surgery, cosmetic laser procedures, as well as non-surgical techniques including Botox® and injectable wrinkle fillers.

Dr. Corbett is a diplomate of the American Board of Plastic Surgery and an active member of the American Society of Plastic Surgeons. He is a past president of the Kentucky Society of Plastic Surgeons. Dr. Corbett is also on the clinical faculty of the University of Louisville Division of Plastic Surgery.

For more information, visit Corbett Cosmetic Surgery, 13125 Eastpoint Park Blvd. #102, go to corbettcosmeticsurgery.com or call 502.721.0330.

During the 25-30 minutes we waited for my face to numb, Misty and Allyson explained benefits of the treatment and the procedure itself. Clients could expect improved skin texture and tone, diminished age spots and discoloration, reduction of fine lines and wrinkles and even diminished scars.

Using a Collagen P.I.N. containing a sterile, disposable needle cartridge containing 36 micro needles, Allyson would use the tool to glide across my skin while allowing it to induce micro injuries, which help to stimulate collagen and elastin production. While Kim K’s facial involved injecting platelet rich plasma extracted from her own blood – hence the name “vampire facial” – Corbett Cosmetic’s offers something even better, SkinMedica’s TNS Recovery Complex, a highly potent (albeit safe) skin treatment formula containing growth factors. “It is liquid gold,” Misty enthused. After the initial microneedling, the TNS would be applied directly to my skin, which meant it would quickly seep into the mini “injuries” created by the microneedles and increase the formula’s already proven effectiveness.

Ecstatic that I wouldn’t have to get a vial of blood drawn from my arm and excited to try the liquid gold, I was ready.

And, I couldn’t feel my face.

Allyson began and at first I couldn’t feel anything, but when she got near my cheeks and chin, I began laughing.

It tickled like the dickens. I was being poked in the face by three dozen needles and it tickled. That numbing cream was no joke. (Kim Kardashian recently admitted she’d never do a vampire facial again because it was so painful. That’s because she didn’t use ANY numbing cream! She underwent the procedure just after finding out she was pregnant.

Do not do what Kim K did. Use the numbing cream.)

The whole facial took about 30 or so minutes. I looked a little red but couldn’t feel a thing. Before I left, Misty handed me a care kit containing cleanser, moisturizer, a hyaluronic acid blend, TNS and sunscreen. She instructed me to use it for four days and told me I could start using

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Dr. Lee Corbett established Corbett Cosmetic Surgery in 2003.

The Collagen P.I.N. contains 36 micro needles.

“It is liquid gold.”

– Misty Perschau

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TRUNK SHOW

Sept. 13th | 10am - 6:30pm

Corbett Cosmetic Practice Manager Misty Perschau.

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4505 Shelbyville Road (502) 895-9934 True to Louisville since 1947!

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RoyalFineJewelers.com

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makeup as soon as I wanted to, though I opted not to for 48 hours.

The numbness in my face began to wear off after a couple hours. By evening, I felt like I had a sunburn and was really red. I returned to my regular hue by the morning but still felt like I had a sunburn. It didn’t hurt, but my skin was tight. Misty had told me to expect that, but the sensation would decrease over the next few days. There were a few areas – the tip of my nose, around my eyes – that looked like I had minute abrasions, but it was nothing a little foundation couldn’t cover.

Faithfully, I followed the after-care instructions and by day five, my skin started to feel normal again, albeit smoother. One week later, I saw a perceptible decrease

FALL 2018

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4814 Brownsboro Road | BCTAILORS.COM 502.897.1361 | info@bctailors.com in lines near my eyes. I was thrilled – and the results are expected to increase even more over the next three to six months as my skin produces new collagen and elastin.

Corbett Cosmetic’s vampire facial starts at $425 and you’re advised to have three to six treatments spaced four to six weeks apart for the best results. And, unlike Kim K, I’ve already made my next appointments. Count me among those who are vampire facial fans. V

FACE IT Corbett Cosmetic’s Vampire Facial starts at $425 and involves microneedling and an application of SkinMedica’s TNS Recovery Complex, skin treatment formula containing growth factors (a .63 ounce bottle can be purchased for $179). Call 502.721.0330 to make an appointment.

FALL FESTIVAL OPEN HOUSE 4 to 8 p.m. Oct. 18 Corbett Cosmetic Surgery 13125 Eastpoint Park Blvd. #102 Corbett Cosmetic Surgery will host its fourth annual Fall Festival Open House from 4 to 8 p.m. Oct. 18. Enjoy exclusive pricing on Dysport, fillers, spa services and products, live demonstrations cocktails and hors d’oeuvres. Several local boutiques will set up shop at the event. Throughout the evening, Corbett Cosmetic will give away $10,000 worth of prizes, including a Gucci bag.

FALL 2018

Hours: Tuesday – Friday 10a – 6p | Saturday 10a – 4p | Monday by Appointment Only

Anniversary Sale ONE WEEK, ONLY!

SATURDAY, SEPT. 8 - SATURDAY, SEPT 15!

20% OFF

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ENTIRE NEW FALL INVENTORY PLUS custom clothing and special orders

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Southwick • Jack Victor • Empire • C.W. Denbars • Aristo 18 • Berle Bills Khakis • Gitman Bros. • Robert Talbott • Robert Jensen • Peter Millar Scott Barber • Alan Paine • Alden Shoe • Smathers & Branson • Torino • Byford SALE HOURS: DAILY 10-6 • THURSDAY 10-7 • SATURDAY 10-5

Glenview Pointe Shopping Center 2420 Lime Kiln Lane (502) 423-6700 • thefashionpost.com Lifetime alterations provided at no additional charge.

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Changemaker Terri Lee Freeman Coming To Louisville Changemakers Our call to action is to boldly step outside our comfort zones and harness the energy in our community to catalyze meaningful change, as nonprofit, corporate, and private sector leaders.

Join the Center for Nonprofit Excellence and Terri Lee Freeman at Changemakers 2018, for her interactive presentation, The Civil Rights Movement Today, along with other amazing speakers.

Louisville Marriott Downtown

October 9th Register today at cnpe.org/annual-conference

TERRI LEE FREEMAN PRESIDENT

NATIONAL CIVIL RIGHTS MUSEUM

invites you to join us for the

2018 Fall Issue Launch Party Thursday, September 6 5 – 8 PM Kick off the fall season at the first event to be held at the newly renovated Frazier History Museum — now the official start of the Kentucky Bourbon Trail!

The Voice-Tribune reminds you to enjoy our events in moderation. The event is for those over the age of 21.

Check our Facebook and Instagram page for more details!

For Sophisticated Skin A conversation with makeup artist Rick Bancroft

By Janice Carter Levitch Photos by Andrea Hutchinson

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R

ick Bancroft is a renowned makeup artist who has worked with several celebrities and oodles of local notables. Over the years, he developed a skin care and makeup philosophy for women over the age of 40 who have what he calls “sophisticated skin.” Well versed in the art of conversation, Bancroft has the ability to help clients relax as he leads them through private makeup application and skin care lessons.

We got up close and personal with the expert to get his input on how best to address sophisticated skin.

Do you recommend powder or no powder?

“Yes, but it should be used carefully. What worked when you were 20 or in your 30s isn’t going to work in your 40s, 50s or 60s. I have clients who are 70 and older who wear a full face of makeup and look fantastic as long as they use the correct blending and powdering techniques. I think you should pick a formulation that works for your skin type. If you have oily skin, lightly powder the oily areas. If you have dry skin, avoid powdering those areas unless you have used a good moisturizer and hydrating foundation prior to applying powder.

Even then, powder sparingly so that it doesn’t become too thick and unflattering.

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accentuate areas you would rather soften.

I believe as we age that less is more, but it doesn’t necessarily mean you should wear nothing. The main thing is making sure you don’t try to follow the trends too much.”

Which trends should be avoided?

“The trends that should be avoided are those highlighters that have a solid coverage or are heavy looking. (They) actually have an aging effect and do not look good on the fine lines around the eyes and the texture lines on the cheek. I highlight with a liquid foundation or concealer that is lighter in color than the natural skin tone color. That brings out the more natural highlights and the result looks just as nice without all that heavy frost and intense look. I think sometimes the frosty-looking highlighters have the opposite effect: Rather than smoothing out and having a more natural look, it can age the skin because of the way the light reflects off of it.

What are the techniques clients need the most help with?

“Most of the time, it really is a technique issue and not what someone wears. A lot of time it’s not a color issue; it’s actually placement. So where someone places eyeshadow can make their eyes look heavier and weighed down versus if they place it in a different way that can make their eyes look more open. You really want to have an upward, softer look instead of a heavy (one).

And, of course, the more open your shadow makes your eyes appear, the younger you will look.”

What are some of the common mistakes made?

“Mistakes can be made in several areas.

One issue is that people follow trends too much, and that has an aging effect. Usually the trends are for a much younger face.

Another issue is that far too many people believe they can’t wear any color and they go straight for the matte finishes in neutrals and brown tones. I see that all the time: a lack of color and a lack of a soft shimmer. On the cheek area, just the right shade of color can make such a positive difference. What we need to stay away from is the thicker, more solid frost application.”

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What is the difference between a frost and a shimmer?

you can angle it from the outer corner of the eye to the outer edge of the brow. With one end of it resting on the lower edge of the nose, that is where the brow should end. It is amazing how much it can change your look by filling in your brows.”

“Frost is a silvery, metallic-looking shade that takes on an almost solid-looking foil quality. A gold, silver, white or pearl tone doesn’t allow the natural light to pass through easily and reveal some of the surface of the skin. Shimmer is more refined, super soft with tiny flecks of a reflective glitter. It has to be ever so tiny. The shimmer looks more like a subtle glow where frost or metallic is more like a gold foil and is too shiny.

A refined shimmer allows natural light to reflect off of the skin with a more transparent, softer, youthful and healthy-looking quality.”

How do you select a foundation for clients?

“Many people make the mistake of choosing a foundation that is actually too light. A lot of people match the skin tone on their face when choosing a color, but they also need to be aware of the neck and chest area. If someone has been wearing sunscreen just on their face and not other areas, they are going to have different skin tones. The best solution is to warm up the foundation a little for the face so it has a more youthful look about it.

“Take the foundation up at least one shade darker and start by applying it in the center of the face. Blend it up and out with a buffing brush or beauty blender. Be sure to continue buffing and blending lightly on down the neck area as well. Sunscreen doesn’t stop at the face, and it should be applied to the neck and chest area. If the skin on your face is lighter, remember to select a foundation shade that is slightly darker. It will blend and won’t create such a stark difference between the skin tones. It will definitely add a more youthful glow.”

What are the rules for lip color?

“Rules are meant to be broken and that certainly goes for lip color. I don’t think people play enough with lip color and it should be fun. Everyone should have a red lipstick, even if you think you can’t wear red lip color. You can put it on with a white shirt, a pair of jeans and heels and you’ll be surprised how stylish you will look. It can change your entire look.

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What are your thoughts on eyeliner?

“People are afraid to do that because some may think it looks garish when it gets too bright and bold. The truth of the matter is that you want to wear the lipstick; you don’t want the lipstick to wear you. Make sure the lipstick is a bold color that you can handle according to your skin tone and overall coloring. One of my famous sayings is, ‘Get out of your box and get out of your comfort zone because after this life, you’re in a box for a very long time.’ I just think lip color should be fun. There are rules but they can be broken.”

How should we treat our eyebrows?

“I have found that most women do not fill their brows in enough and use a shade that is too light, which actually ages them.

They start going too soft because their brow is naturally getting lighter and thinner. Don’t be afraid of being too dark or too strong when filling in the brows. It can make you look five years older if the brows are left too light or thin. They don’t have to be extremely dark, but fill them in with a shade that complements your natural color.

Taupe or medium brown is always a good color to start with if you don’t know which one to choose.

“Measure your brow accurately to complement the shape of your eye. Start at the inner corner of the eye. Up from there is where the brow should begin. The highest arch of the brow should be over the outer edge of the iris and toward the outer edge of the eyelid. If you use a makeup brush with a thin handle,

“Don’t use liner on what we call the waterline, which is the area under the lash line near the eye, unless you’re going for a smokey look. This can close the eye up and it won’t look as bright. I prefer the top to be lined with a black pencil. You can brush in and blend after you apply it. Then on the bottom, just line the outer edge because it opens the eye up the most.”

How important is a good skin care routine?

“Your makeup will look awful if your skin isn’t cared for. If you don’t exfoliate bi-weekly, apply daily moisturizer and a use good sunscreen, the most expensive makeup won’t help.”

How do your step-bystep lessons work?

“I have a face chart that is used and everything is written down on it as I go through the lesson. The client does one side of the face as I do the other side. I watch the clients through the lesson and offer a list of products. I also help my clients with the products they currently use and find out ways they need to improve. Step-by-step instructions arm them with a little more information, and it helps them be more open to trying new things. I find that clients walk away from my lessons with a new attitude. Sometimes, I will run into someone that had a lesson with me and they have more eyeshadow color on. And let’s face it, makeup can be washed off and it goes down the drain. Who cares if it was just one day that you wore red lipstick? That’s why I am passionate about what I do. I love to help clients discover something new that they love too.” V To contact professional makeup artist Rick Bancroft, visit makeupbyrickbancroft.com or email rubeautyinspired@gmail.com.

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gala

FALL 2018 SEPT

8

The Romeo & Juliet Gala

For: Louisville Ballet Where: Omni Hotel When: 5:30 p.m.

Price: Individual Seat – $350 + tax Info: louisvilleballet.org

SEPT

8

CALENDAR

Field & Fork For: The Parklands of Floyds Fork Where: Brown-Forman

Fall fun is upon us, Louisville. Unpack your warmer clothes or head to your favorite local shop for some new fall formal wear.

Now is the time to buy your tickets and mark your calendars so you don’t miss a moment of the exciting autumn ahead.

Silo Center When: 6 p.m.

Price: Inquire for pricing and sponsorship info Info: theparklands.org

Photography by Kathryn Harrington, Tim Valentino and Bill Wine

PRESENTS

Field &Fork

BENEFITING THE PARKLANDS OF FLOYDS FORK SEPTEMBER 8, 2018 • BROWN-FORMAN SILO CENTER

Thank you

SUPPORTING SPONSORS

PRESENTING SPONSOR AFTERGLOW SPONSORS

TO OUR GENEROUS 2018 EVENT SPONSORS:

Mr. & Mrs. Randall B. Hockensmith The Lechleiter Family

VALET SPONSOR MORE INFO AT WWW.THEPARKLANDS.ORG/FIELD&FORK. 102

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OCT

6

Bourbon Bash

For: KMAC Museum Where: 715 W. Main St. When: 8 p.m.

Price: Tickets – $100; Raffle Tickets – $25 Info: kmacmuseum.org

OCT

12

Pink Prom 2017.

SEPT

21

Celebration of Education Gala

For: Family Scholar House Where: Omni Hotel When: 6 p.m.

Price: Sponsor a Graduate for the Gala – $250; Individual Reservation – $400; Sponsorships available, Chancellor’s level (eight included) – $5,000; Dean’s level (eight included) – $2,500; Bachelor’s level (two included) – $750 Info: familyscholarhouse.org

Norton Cancer Institute 99.7 DJX Pink Prom

For: Norton Cancer Institute Where: Mellwood Art Center When: 8 p.m.

Price: Single Ticket – $50; Couple Ticket – $90 Info: thepinkprom.com

OCT

19

Fall into Fabulous

For: Younger Woman’s Club of Louisville Where: The Marcus Lindsey When: 7:30 p.m.

Price: Inquire for price Info: facebook.com/YWCLouisville

Get quality service provided by trained and skilled automotive technicians.

Have your vehicle repaired to the highest automotive standards available.

Fleet maintenance and repair services by ASE certified technicians.

Our Team is Here for YOU! unt & KnigHt HAutomotive Technicians

2701 Watterson Trail | Bluegrass Industrial Park, Louisville, KY 40299 | (502) 267-5160 | Hours: 8a – 5:30p Mon – Fri | huntandknight.com

FALL 2018

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OCT

19

New Voices of Philanthropy

For: Various charities Where: Speed Art Museum When: 6 p.m.

Price: Individual Tickets – $25 Info: voice-tribune.com

NOV

3

The Patron Circle Party

For: Speed Art Museum Where: Speed Art Museum When: 8 p.m.

Price: Invitation only Info: speedmuseum.org

NOV Stephen Reily and Emily Bingham at 2017 Patron Circle Party.

7

Cedar Lake Gala

For: Cedar Lake Where: Louisville Marriott East When: 6 p.m.

Price: $175 per guest, $1,750 per table of 8 Info: 502.495.4943

Kick up your heels and kick off the fall season at

Snow Ball 2017.

NOMINATE The VoiceTribune and the Community Foundation of Louisville are SEEKING NOMINATIONS for the Next Class of

Our committee of local philanthropists will select three New Voices of Philanthropy BETWEEN THE AGES OF 21 & 35 based on the following criteria: • Devotes substantial time, talent or treasure to a nonprofit 501(c)3 organization in Greater Louisville • Demonstrates innovation, courage and inclusivity in volunteering and leadership in philanthropy.

We are also accepting nominations of individuals UNDER THE AGE OF 21 to recognize as our Future Voices Go to of Philanthropy. m co voice-tribune.

NOMINATE:

401 Wallace Avenue, Louisville • (502) 649-5204 stellasresale@gmail.com • stellasresale.com Open: Tues – Fri 11am – 5pm • Sat 10am – 4pm

Buy and gracefully consign at Stella’s.

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THE VOICE OF LOUISVILLE

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Application De

SEPT. 16

FALL 2018

NOV

8

Signature Chefs Auction

NOV

17

For: March of Dimes Where: Omni Hotel When: 5:30 p.m.

Price: Sponsorships available, inquire for details Info: signaturechefs.org/louisville

NOV

9

For: Jennifer Lawrence Foundation Cardiac Intensive Care Unit at Norton Children’s Hospital Where: Omni Hotel When: 6 p.m.

Price: Individual Ticket – $400; Crystal Table of 10 – $4,770; Silver Table of 10 – $5,300 Info: nortonchildrens.com

Louisville Tourism Annual Gala & ROSE Awards

Where: Kentucky International Convention Center When: 11 a.m.

Price: Single Tickets – $50 per person; Corporate Table – $500 per table of 10 Info: louisvilleroseawards.com

NOV

10

DEC

1

Brain Ball

For: Brain Injury Alliance of Kentuckiana Where: Marriott Louisville Downtown When: TBD Price: Inquire for price Info: biak.us

FALL 2018

Snow Ball

Candle Glow Gala

For: Hosparus Health Where: Omni Hotel When: 6 p.m.

Price: Gala Dinner Tickets – $250; Lounge Tickets – $75 Info: hosparushealth.org

VO I C E -T R I B U N E . C O M

| THE VOICE OF LOUISVILLE

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