Season of Folly

THE WALL STREET JOURNAL MAGAZINE THE WALL STREET JOURNAL MAGAZINE DECEMBER 2011

SEASON Frippery, Fetes, Feasts, Friends, OF & Frocks Fantasy DECEMBER 2011DECEMBER FOLLY

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COURTESY OF FRANÇOIS CATROUX DECEMBER WSJ. MAGAZINE | ISSUE NO. 21 122 134 106 HowBelgian designerDries Decorator François Catrouxand 122 WithSpainreigningastheworld’s 114 The heirstosomeofEngland’s 98 black tulle,Sophiehallette.com $20,900, 212-759-7676; SophieHallette Paris upon request,212-359-0300; Fendi furcoat request, Boucheron.com; Tom Ford dress,price .com; Boucheronnecklace andring,priceupon [THIS PAGE] [COVER] Cap Ferrat on their wedding day, 1967.

AND IN BETWEEN EATING SPAIN PHOTOGRAPHS BY PHOTOGRAPHS BY THE CATROUX OF PARIS PHOTOGRAPHS BY PHOTOGRAPHS BY UPSTAIRS, DOWNSTAIRS STYLING PHOTOGRAPHS to thestreets ofParis. Glamorously surrealfashion takes SOME KIND OF envy ofthefashionenvy world. Van Notenhasbecomethe doors totheireleganthomes. than f the forefrontofstyle formore his wife,Betty, have beenat has tooffer. this Modernistmovement Culinary samplingthebestthe country critic JonathanGoldtravels across premier fooddestination, visit andhelpfootthebill. invited stateliest homeshave THE INSIDER’S OUTSIDER AND PROVENCE WONDERFUL

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59 52 41 ATION)

“Most owners of stately homes in Great Britain made their money the old-fashioned way: They inherited it. Moats, turrets and drawbridges are splendid to behold, but the upkeep is overwhelming.” —FRANZ LIDZ, ”UPSTAIRS, DOWNSTAIRS AND IN BETWEEN,” P. 106

24 EDITOR’S LETTER 44 RENEGADE Considered a Hollywood 28 BACKSTORY carpetbagger when he took over as artistic 30 MARKET REPORT director of London’s The latest designs legendary Old Vic Theatre, get a metallic sheen, Kevin Spacey shores warm winter whites up his legacy with a turn herald the season, as Richard III and takes the and the beauty products show on the road. guys are stealing from their girls. 48 TRACKED A 19-hour-day 41 SOAPBOX spent trailing the domestic Powerhouse gallerist diva Martha Stewart Barbara Gladstone as she manages reflects on building to shift seamlessly her three-decade-long between farm life, career through good corporate culture and 106 relationships as an evening of

much as good work. Hollywood glamour. CLOCKWISE FROM BOTTOM: PHOTOS BY JOHN SPINKS; ESTELLE HANANIA; SUSANNA HOWE; COURTESY OF GLADSTONE GALLERY (ANDRO WEKUA INSTALL

ONLINE A closer look at Martha Stewart’s busy day; from sketch to fruition, more behind the scenes @WSJ photos of Roger Vivier’s new line; and where to wine and dine in Spain. wsjmagazine.com.

20 December 2011

1211_WSJ_TOC_01.indd 20 10/28/11 12:59:45 AM ©201 1 DECEMBER contents Harry Wi so,Inc. nston, “Have you ever wondered what it might be like to eat a stone? Because it’s probably less wonderful than you might have imagined as a preschooler.” —JONATHAN GOLD, “EATING SPAIN,” P. 114

52 PARTNERSHIP 74 ART TOUR Actor Robert Downey Investing in culture as Jr. and his pal artist much as fashion, the family Tobias Keene riff on behind Max Mara made their long-running an art destination out of friendship with a fair their bucolic hometown. degree of candor and a bit of PDA. 78 GIFTS A perfectly to-the-point 59 MAKING IT holiday wish list to tell From inside the studio, you exactly what men the creation of an iconic and women really want. new look for the exclusive French accessories 140 OPEN SECRET brand Roger Vivier. Far away from big-city brethren, a simple ski 64 JEWELS lodge restaurant in Dramatic portraiture: Calfornia’s Mammoth Lake A distinguished group is serving French cuisine 48 of ladies model big, that rivals the best bold, beautiful diamonds. the U.S. has to offer.

78 134 114 CLOCKWISE FROM TOP: PHOTOS BY RICHARD CHOI; THIBAULT MONTAMAT; ANNABEL ELSTON; NIGEL SHAFRAN

Get a Saturday-only subscription to The Wall Street Journal for a weekly fi x of smart style and culture. GET WSJ Includes OFF DUTY, a guide to your not-at-work life, REVIEW, the best in arts, books and culture, and, SATURDAY of course, the monthly WSJ. Magazine. 1-888-681-9216 or www.subscribe.wsj.com/getweekend TM

22 December 2011

1211_WSJ_TOC_01.indd 22 10/28/11 12:59:48 AM DECEMBER editor’s letter

SEASON OF SPARKLE HE CHANGE IN WINTER WEATHER ELICITS two simultaneous yet diametrically opposite impulses: stay in and get cozy—I’m envision- ing my family, all in pajamas, watching a movie T and cooking up something hot and sticky—or dress up and shine and hit the town. It is the latter desire—for glamour, beautiful objects and dreamy faraway places—that inspired this December issue. This year has been rough in many ways, and so we bid it goodbye with a sense of fantasy and folly. We jet to Paris with the beautiful young model Chanel Iman for a portfolio that celebrates all the pretty excesses of fashion (page 98). We follow food critic Jonathan Gold on his gastronomic grand tour through Spain’s best restaurants (page 114). We step inside some of England’s grandest homes, where paying Americans can party like royals for a night or two (page 106), and visit with François Catroux, one of France’s leading decorators (page 122). And don’t miss “The Wish List” (page 78), our salute to the magazine tradition PUT ON YOUR DANCING SHOES of the “gift guide.” We hope Roger Vivier’s you want everything we do. artistic director, Here’s to a stupendously Bruno Frisoni, happy 2012. sketched these stilettos on his iPad using an app Deborah Needleman called Brushes. [email protected]

EDITOR IN CHIEF Deborah Needleman MARKET EDITOR Andrew Lutjens EUROPEAN EDITOR PUBLISHER Anthony Cenname CREATIVE DIRECTOR Patrick Li PHOTO EDITOR Damian Prado Rita Konig GLOBAL ADVERTISING DIRECTOR DEPUTY EDITOR Michael Caruso ASSOCIATE EDITOR Adrienne Gaff ney CONTRIBUTING EDITORS Stephanie Arnold MANAGING EDITOR Brekke Fletcher PRODUCTION MANAGER Leah Phillips Michael Clerizo, Sara Ruffin Costello, ASSOCIATE PUBLISHER/EUROPE FASHION NEWS DIRECTOR JUNIOR DESIGNER Alex Konsevick Maura Egan, Joshua Levine, Charlotte Claudio Piovesana Whitney Vargas FASHION ASSISTANT Mariana Belo Moss, David Netto, Kevin Sintumuang, BUSINESS MANAGER PHOTO DIRECTOR Nadia Vellam ASSISTANT TO THE EDITOR Dana Thomas Julie Checketts ART DIRECTOR Pierre Tardif Alainna Lexie Beddie CONTRIBUTING COPY EDITOR SENIOR MARKETING MANAGER EXECUTIVE STYLE EDITOR David Farber WEB EDITORS Allison Lichter, Robin Kawakami Christine Glancey Jillian Maxwell

WSJ. Issue 21, December 2011, Copyright 2011, Dow Jones and Company, Inc. All rights reserved. See the magazine online at www.wsjmagazine.com. Reproduction in whole or in part without written permission is prohibited. WSJ. magazine is provided as a supplement to The Wall Street Journal for subscribers who receive delivery of the Saturday Weekend Edition and on newsstands. WSJ. magazine is not available for individual retail sale. For Customer Service, please call 866-WSJ-MAGZ (866-975-6249), send email to mag.feedback@wsj .com, or write us at: 84 Second Avenue, Chicopee, MA 01020. For Advertising inquiries, please email us at [email protected]. For reprints, please call 800-843-0008, email [email protected], or visit our reprints Web address at www.djreprints.com.

24 December 2011

1211_WSJ_EdLetter_02.indd 24 11/1/11 11:19:49 AM DECEMBER backstory

“He’s kind of a ham, but he’s I LOVE YOU, MAN p. 52 good at it. “Hey, you should talk to Robert Downey Jr. about my art,” Tobias Keene said He’s unguarded to writer Susan Michals, who is also a television producer at NBC, when they and charming.” ﬁ rst met. “He’s one of my biggest fans.” And thus our Partnership between artist and patron was born. Always supportive of his longtime friend, Downey made the piece come together in just a few days, taking a break from ﬁ lming “The Avengers” (out in May) to come to L.A. for our shoot, which is “pretty From left: Howe; amazing considering Downey’s [one of the] biggest movie stars in the world Michals; Downey; right now,” says Michals. Photographer Susanna Howe also enjoyed working “The Boy” by Keene with Downey. “He’s kind of a ham, but he’s good at it.” (2008) from Downey’s personal collection.

From left: photographer Amy p. 64 Troost; a Leviev necklace from the PORTRAIT OF A LADY shoot; Buck and Royt on set; For our jewelry story, four real women with impeccable style a Stephen Russell bracelet; Buck. modeled the most magnifi cent diamonds in the world. On set, there were $60 million of gems, accompanied by 16 armed “Joan Juliet guards—more than enough for stylist Natasha Royt to achieve Buck had the “tough-yet-chic look” she was going for. After more than a me breaking decade working with magazines like Vogue and W, Royt says down and that the jewelry for our shoot was “some of the most exquisite” dancing she has ever worked with. About the women, she adds, all around “they were all beautiful, empowered and kind without any kind the set!” of self-consciousness or insecurity in front of the camera.” UX; N/C. “I half-expected to run into Wodehouse’s UPSTAIRS, DOWNSTAIRS AND IN BETWEEN p. 106 Percy Pilbeam.” Touring some of England’s grandest private estates, writer Franz Lidz couldn’t help but feel like he was wandering through a fi ctional castle from the pages of author P.G. Wodehouse. “I half-expected to run into Wodehouse’s prickly Duke of Dunstable, the brain-specialist Sir Roderick Glossop, or Percy Pilbeam, the fi nder of lost pigs,” says Lidz. Similarly, photographer John Spinks enjoyed exploring the surreal grounds freely with his camera. “There were all of the kind of things you might imagine,” says Spinks, “from secret doors that opened From left: Spinks; out onto enormous, beautiful chapels, to slightly frightening—but in the end, the dining hall at friendly and accommodating—butlers.” Castle Hill; Lidz visiting the estates.

THE CATROUX OF PARIS AND PROVENCE p. 122 Clockwise from left: When contributing editor David Netto spotted the elusive decorator François Halard; Catroux’s Catroux at a party in L.A. last year, he instantly begged the opportunity to portrait by Halard; YSL and Betty Catroux (mid- do a story on him and his homes. “I immediately hopped on a ﬂ ight to France 1970s); Netto. thinking it was now or never.” French photographer François Halard, on the other hand, has been friends with Catroux and his wife, Betty, since 1982, when they all traveled together with Yves Saint Laurent to Russia for YSL’s couture collection. “I’ve photographed François’s projects for many years,” Halard says. “It’s always a pleasure to have a moment to share with them.” “I’ve photographed François’s projects for many years.” TOP ROW, FROM LEFT: N/C TOP FROM (2); SUSANNA ROW, LEFT: HOWE; TOBIAS KEENE “THE OIL BOY” 2008, 72”X60”, ON LINEN. SECOND N/C; FROM COURTESY OF ROW, LEFT: COURTESY PIERRE LEVIEV; OF TARDIF; STEPHEN RUSSELL; THIRD AMY N/C; FROM JOHN ROW, TROOST. LEFT: SPINKS N/C; FROM (2); FRANÇOIS BOTTOM ROW, LEFT: HALARD; COURTESY OF FRANÇOIS CATRO

26 December 2011

1211_WSJ_Backstory_02.indd 26 10/31/11 4:42:12 PM DECEMBER on the cover CINDERELLA MOMENT Our cover girl Chanel Iman’s destiny was clear at age 9.

ALL IN A DAY’S WORK Clockwise from left: The team on set in Paris; Iman in Bernard Willhelm’s mirror headpiece (to see the look stylist Sabina Schreder was going after, turn to page 98); Gaga in glam; Elsa Schiaparelli’s 1937 lobster dress; designer muse Daphne Guinness; photographer Hans Feurer.

Art’s Costume Institute will feature the iconic work of Miuccia Prada and Elsa Schiaparelli. While Prada MAGICAL has continued to push the boundaries of good taste, REALISM Schiaparelli off ered up the absurd in her day. The late Behind the scenes of our cover story, Italian designer hung out with Surrealists such as Jean Cocteau and Salvador Dalí, with whom she collaborated where unicorn hats and horsehair in 1937 on the famous lobster dress (a silk gown featur- pants make a surreal appearance ing a large crustacean) and shoe hat. To capture this sense of ebullient frippery for this ERHAPS IT’S NOT SO RARE TO SEE A WOMAN month’s cover story, Swiss photographer Hans Feurer strolling the Place de la Bastille with a unicorn teamed up with New York–based stylist Sabina Schreder hat sprouting from her head. This is Paris, where and model Chanel Iman. In our shoot, a Ralph Lauren chi- fashion is treated like an art form and practically noiserie tuxedo jacket is paired with Ann Demeulemeester P a religion, something to be revered and worshipped. horsehair pants. Next, a pleated silk Hugo Boss gown is Daily life consists of displaying your most rareﬁ ed self. accessorized with a purple fur boa and a mirror attached What better place to capture the spirit of decadence and to Iman’s head, courtesy of designer Bernard Willhelm. eccentricity dancing in the air this season? Iman, for her part, loved all the instant glamour. “I like Fashion has its various stylistic ﬂ ings, and right doing this kind of more glamorous, sophisticated lady,” now surrealism is it. Designer-muse-of-the-moment says the model, who turns 21 this month. “I used to do a Daphne Guinness spends her average day in black veils lot of jumping and smiling in fashion shoots, but Hans is and lace bodysuits, her black-and-white hair streaked like a director. He really makes you get into character.” like Cruella de Vil. Lady Gaga continues to step out So when it comes to dressing throughout the holi- in bedazzled costumes that would make a superhero days, let joyful surrealism be your inspiration. After all, HEAD GEAR Salvador Dalí’s wife Gala in 1938, wearing a

jealous. And this spring, the Metropolitan Museum of it’s the season of surprises. shoe hat created by Schiaparelli from a Dalí design. N/C (ON PHOTOS BY: SET); COURTESY CHANEL COURTESY PHILADELPHIA IMAN; JAMES MUSEUM MIKE DEVANEY/WIREIMAGE; OF MARSLAND/WIREIMAGE; ART; ANDRE CAILLET FILS “GALA WEARING THE CREATED BY ELSA SHOE-HAT SCHIAPARELLI FROM A DALI DESIGN” SALVADOR 1938, GELATIN SILVER 23” X 28.6”, DALI. COURTESY PHOTOGRAPH. FUNDACIO GALA-SALVADOR

28 December 2011

1211_WSJ_BackstoryCover_02.indd 28 10/31/11 4:46:34 PM DECEMBER market report www.dior.com 3

Pae White, whose cotton tapestries meant to look like foil were a standout at the recent Frieze Art Fair, also designed this “Metafoil” curtain (above) for the Oslo Opera House.

THE SHINING Metallic works of art and design are the modern solution for a brighter 4 interior, especially in the darker months

7 1 Yves Béhar for AEsir AE+Y 18k gold phone, $60,700 Aesir- copenhagen.com 2 Zikmu Parrot by Philippe Starck limited edition speakers $3,400, Ron Robinson for Fred Segal 877-476-6762 3 Tom 6 Dixon Void Light Mini $450 each Tomdixon .net 4 Joost van Bleiswijk clock $5,500 Mossonline.com 5 Hervé van der Straeten Piercing console $125,000 5 Ralphpucci.net 6 Bec David Smith’s cubist sculptures are on view at the Brittain light $9,200 Whitney Museum of American Art until January Mattermatters.com 8. (David Smith, “Cubi XIX.” 1964. Stainless steel, 7 Zafirro Gold razor

286.4 x 148.0 x 101.6 cm © Estate of David Smith). $18,000 Zafirro.com ESTATE OF DAVID SMITH/LICENSED BY VAGA, NEW YORK, NY. LONDON/ARTTATE, RESOURCE; COTTON/POLYESTER, PAE WHITE, PHOTO“METAFOIL” 2008, BY: ERIC 76’ BERG,X 36’, COURTESY NEUGERRIEMSCHNEIDER, BERLIN (CURTAIN); COURTESY OF VENDOR (1-7)

30 December 2011

1211_WSJ_Market Report_Metal_02.indd 30 10/31/11 5:06:44 PM DECEMBER market report

2 7) 6, 5, 3, (1, VENDORS OF COURTESY ); ANPAOLO FOR DOLCE AND GABBANA ANPAOLO THE

5 MAKEUP AT SEE MANAGEMENT; MODELS: NICOLE HOFMAN, JULIA VALIMAKI, NATALIE HOCKEY (TRUMP MODEL MANAGEMENT); F. MARTIN RAMIN (2, 4 F. HOCKEY MODEL (TRUMP MANAGEMENT); NATALIE MODELS: HOFMAN, NICOLE JULIA VALIMAKI, SEE MANAGEMENT; MAKEUP AT Above (left to right) The Row PHOTO BY: JEFFREY GRAETSCH (FASHION) STYLING: BRYLIE FOWLER; HAIR: MAX PINELL FOR BUMBLE & BUMBLE AT SEE MANAGEMENT; MAKEUP: GI sweater $5,900 Barneys.com; Max MMara skirt $450, 212-879-6100; Just 6 Cavalli purse; Burberry Prorsum sweater $4,995 and Burberry London pants $375 Burberry.com; Alejandro Ingelmo shoes; Delfina Delettrez ring; Max Mara jacket 7 $1,590 and pants $595, 212-879- 6100; Calvin Klein Collection blouse $395, 212-292-9000; Alejandro Ingelmo shoes. 1 Smythson stationery $90 for WINTER WHITE set of 10 Smythson.com 2 The Vladimir Collection porcelain Herald the season of excess with the flowers $6,300 Vladimircollection rarest shade of them all, from porcelain .com 3 Montblanc fountain pen $1,095, 800-995-4810 4 Santa flowers and mink sweaters to Maria Novella body milk $74 Lafco.com 5 Moncler jacket $1,375 down puffers designed for the snow Moncler.com 6 Dior Christal watch $2,800, 866-675-2078 7 Tod’s bag $2,165 Tods.com

32 DecemDecemberber 20112011

1211_WSJ_MRKT_Frocked_02.indd 32 10/31/11 4:36:12 PM DECEMBER market report ©2011 P&G STRONG ENOUGH FOR A MAN BUT MADE FOR A WOMAN MEN ARE FINALLY GETTING WISE TO THE POWERS OF THE PRODUCTS on the other side of the sink. The known instances of husbands nicking their wives’ La Mer, one of the most coveted moisturizers in the world, seem to be steadily rising. In the spirit of the holiday, we rounded up a few other luxuries well worth sharing—from Chanel’s musky sandle- wood-scented Sycomore and its fresh citrusy eau de cologne to Kiehl’s 1 fragrance-free lip balm. CONSISTENTLY CLEAR SKIN.

3 PROVEN TECHNOLOGY TO REDUCE AND HELP PREVENT FRUSTRATING BLEMISHES AND BREAKOUTS. 2

1 Sunday Riley Ceramic Slip cleanser $45 and Charisma Crème cleanser $45 Sundayriley.com 2 La Mer Crème de la Mer moisturizing cream $250 Lamer.com 3 Chanel Les Exclusifs de Chanel Eau de Cologne $210 and Sycomore eau de toilette $210 Chanel.com 4 Philip B Peppermint and Avocado shampoo $40 Philipb.com 5 Kiehl’s Since 1851 Lip Balm #1 $7 Kiehls.com NEW OLAY PROFESSIONAL PRO-X CLEAR. In medicine cabinet (from left): La Prairie Cellular Pro-X Clear is a total skin care solution. Designed by a team of leading dermatologists and skin scientists, it helps Microdermabrasion Cream $255 Laprairie.com; stop the frustrating cycle of breakouts and blemishes. Their professional expertise, together with Olay’s skin- Clinique Skin Supplies for Men face scrub $17 Clinique transforming experience, provides an answer with clinically proven technology to reduce and help prevent blemishes. .com; Burberry Brit eau And, additionally, even texture and minimize the look of pores in as little as 4 weeks. See the proof at Olay.com/clear de toilette for men $73

Burberry.com PHOTO BY: DAVID SLIJPER/TRUNKARCHIVE.COM; MARTINF. RAMIN (1-5) FIND IT WHERE YOU FIND OLAY SKIN CARE PRODUCTS. POTENT. PROVEN. PROFESSIONAL. 34 December 2011

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The LaTesTfrom Luxury’sBesT ON THE ROCKS: ACELEBRATION OF MEN’S On the RocksBartenders Cole McDonagh, Liam Kolb and STYLE |OCTOBER 6 Adrian Zuniga flanking Deborah Needleman Fashion forward Manhattan men ascended to the luxury floor featuring made-to-measure clothing at Barneys New York for On The Rocks: A Celebration of Men’s Style and WSJ. Magazine’s Men’s Style Issue. Guests enjoyed catering by Fred’s and custom cocktail-creations by notable New York bartenders who had posed for Barneys’ Fall men’s mailer. They also viewed an installation of portraits entitled The Sapeurs of Congo, by celebrated fine- art photographer Jackie Nickerson. DJ Harley Viera-Newton provided an eclectic downtown mix of music for the occasion.

Photos by: Neil Rasmus/BFANYC.com

CharlotteBlechman and AnthonyCenname TomKalenderian, David Farber and Mark Lee

RodManley,Christian Langbein and Miles Freeland

Jackie Nickerson photographic exhibit Bar-mosphere

Andrea Campagna installation

John Patrick perusing On The Rocks Darrell Hartman Harley Viera-Newton Monique Pean GET ON THE LIST. BECOME AWALL STREET JOuRNAL INSIdER.journalinsider.com

The LaTesTfrom Luxury’sBesT

TuXEdO PaRK auTumN BaLL 2011 STaRS OF dESIGN OcTOBER 8 OcTOBER 12 Giorgio Armani sponsored this fall affair at the Charles S. Cohen hosted an intimate black tie Tuxedo Club, which revived the annual Autumn Ball dinner to celebrate the fifth annual Stars of Design in Tuxedo Park and commemorated the 150th at the Decoration and Design Building during anniversary of the tuxedo. The event also hosted the DDB Fall Market. The ceremony honored a cross- London College of Fashion students who designed section of industry elite, each selected for their updated versions of the tuxedo for an international significant achievements in, and contributions to, exhibition in conjunction with the Ball. their respective design disciplines.

Photos by: Owen HoffmanPatrickMcMullan.com and Michael Bloom Photos by: Jonathan Zeigler/PatrickMcMullan.com

Jesse Carrier,Michele OkaDoner and Tucker Viemeister

Charles Hunt, Lady Liliana Cavendish and Geoffrey Bradfield

Charles S. Cohen and Clo Cohen MatthewPatrick Smyth and VicenteWolf

‘maRGIN caLL’ dEBuT NY ScREENING OcTOBER 17 The Wall Street Journal and Forevermark co-hosted a screening of Roadside Attractions’ film Margin Call written and directed by J.C. Chandor, at the Sunshine Graziano de Boni Angus and Simon Cundey Landmark Cinema. The evening concluded with an exclusive after-party at the LievSchreiber revered Top of the Standard.

Demi Moore(in Forevermark diamond jewelry) and Kevin Spacey Penn Badgley,Zachary Quinto, Simon Baker,Paul Bettanyand Stanley Tucci Students who tailored the topupdates on the tuxedo design

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CREATION THEORY Veteran gallerist Barbara Gladstone has nurtured the careers of many artists, including Matthew Barney, whose latest work, “DJED,” is shown above.

SOAPBOX BARBARA GLADSTONE This art world pioneer opened her first gallery when she was 40 and has remained on top for three decades by making relationships as important as the work

ARBARA GLADSTONE WAS A 40-YEAR-OLD, TWICE-DIVORCED MOTHER OF one of her biggest names, jumped ship to rival dealer Larry Gagosian. While the last three when she gave up teaching art history at Hofstra University to open a few years have seen the overheated art market turn into a multibillion-dollar global tiny art gallery in Manhattan in 1980. Today she represents an international industry, Gladstone has maintained a steady reign. “This isn’t like selling real estate roster of big-name artists that includes Matthew Barney, whom she gave his or stock. We deal in personal relationships.” For Gladstone, the artists come fi rst. fi rstB New York show (“I knew he had a destiny after talking to him for 15 minutes”), They don’t just hang works in her gallery, but turn it inside out—whether it’s Thomas Shirin Neshat, Anish Kapoor, Carroll Dunham and the estate of Keith Haring. Along Hirschhorn transforming the space into a cardboard cave or Matthew Barney climb- with her two Chelsea spaces, she now has a European outpost, a townhouse gallery in ing the gallery walls naked for his fi rst piece back in 1991. Brussels. “It’s very domestic and I always loved spaces with a kind of humanity. Work Now in her 70s, she is an industry matriarch who has a strong eye, but more sig- looks diff erent there than in a white cube.” nifi cantly, a strong code of ethics. “In the art world, we do everything with a hand- Gladstone’s path to prominence has had its share of heartache. After the fl ush shake. It’s the last bastion of old-fashioned values. Someone can buy something for times of the ’80s, she rode out the bust of the ’90s only to lose her son, Stuart Regen, $3 million and not one piece of paper changes hands, no lawyer is involved. One’s

MATTHEW BARNEY: “DJED” SEPTEMBER “DJED” MATTHEW NEW 17-OCTOBER BARNEY: 22, VIEW: GLADSTONE YORK 2011 GALLERY, © INSTALLATION MATTHEW BARNEY a Los Angeles art dealer, to cancer at the end of that decade. In 2008, Richard Prince, word is one’s bond.” By Linda Yablonsky

Photograph by Dean Kaufman December 2011 41

1211_WSJ_Soapbox_04.indd 41 11/2/11 2:02:18 AM Ideas People SOAPBOX

’VE HAD A GALLERY FOR 31 YEARS, BUT OPENING later, when they’re sucked dry one was a kind of sideways move. After my sec- by demand. It takes some wis- ond marriage, I moved to Manhattan and found so dom to steer a path through much to be curious about and be active in. I didn’t what everyone else wants SSELS thinkI I could run a business myself, so I started with a you to do and what serves you woman who had experience selling prints. best. Each situation is diff er- ORK ORK AND BRU ent. There’s no formula. I trust my instincts. I opened the second gallery in Chelsea in 2008 and the one NEW GALLERY, Y in Brussels a few months later. I have always had a strong relationship with European artists, and it seemed natural to have a place close to them and our European clients. Brussels allowed me to do it

in a more personal way. So 4 X 274 INCHES, COURTESY GLADSTONE

I have this house that has an apartment where artists 106 3/ who are installing exhibitions can stay. It allows me to travel quickly to London, Paris and Cologne to see art- PERSONAL TOUCH ists and clients. Brussels isn’t trendy to live in, but it’s Clockwise from top full of good collectors. left: Matthew Barney’s The gallery was the size of a shoebox and the rent was Many galleries have women at the helm today, but “Drawing Restraint $700 a month. I never had a backer or borrowed money. traditionally these were not really seen as businesses. 9: Occidental Guest (groom)”; Anish Kapoor’s , GOUACHE AND INK ON PAPER The real deal for me was to work with artists one-to-one. When Peggy Guggenheim or Betty Parsons had galler- “Tall Tree and the Eye” at I believed that this was something ies, it was considered something London’s Royal Academy I was meant to do—that there was dilettantish and not commercial. of Arts; the gallerist “Success means you in 2008; Gladstone in

a role to play in helping artists It was a genteel, suitable activity (DETAIL) 1982-1984 make decisions about their careers, have the freedom for a woman. I think it changed 1979 just before she opened her gallery. something I enjoyed doing every to do what you want. with Mary Boone in the ’80s. She day and still do. was the fi rst art dealer who was There’s a relationship between I’m not in love as ambitious and determined, as H HARING, “RED” being an art dealer and raising a with money. I like interested in business and having family. Being a parent, a mother, spending it on art, power, and admitting it, as men. I means that you’re responsible for remember being kind of shocked helping someone develop to the and that’s expensive.” when I saw her operating in the best of their potential. The artist– beginning. But I took notice. gallery relationship also involves a Barbra Streisand was once dependency on the part of the artist to trust the person asked what success meant to her and she said, “Success who represents this most precious thing, the art. And is having 10 honeydew melons and eating only the top that’s not something to take lightly. half of each slice.” She didn’t worry about waste. It’s true, When I fi rst met Matthew Barney at 23, it was clear though. Success means being able to spend my time the to me that he was an enormous talent, very much the way I like to, use my resources in a way that’s eff ective, wunderkind. Many young artists now get overexploited and make my own choices. Success means you have the at too young an age and reach a crisis four or fi ve shows freedom to do what you want. I’m not in love with money. I like spending it on art, and that’s expensive. I like spending it on travel because I like to move around and see the world. I like collecting mid-century furniture. There are a lot of places to use money. It’s not hard to fi nd one. I’m in my 70s but see no reason to retire. I’m not doing physical labor. Theoretically, I think you should actually get better with age, but I will say it helps to have a good nutritionist.

ART MATTERS Above: the Brussels outpost of Gladstone Gallery; “Red” PETER MACDIARMID/GETTY IMAGES; B&W PORTRAIT, COURTESY GLADSTONE GALLERY, PETER NEW COURTESY MACDIARMID/GETTY GLADSTONE YORK IMAGES; GALLERY, B&W PORTRAIT, AND ANDREA BRUSSELS; SPOTORNO; KEIT PORTRAIT: CLOCKWISE CLOCKWISE FROM BRUSSELS, JEAN-LUC SEPTEMBER PHOTO MYLAYNE, BY TOP VIEW: REGEN, © GLADSTONE DAVID GALLERY, LEFT: 10-NOVEMBER NEW 5, JEAN-LUC COURTESY MYLAYNE, INSTALLATION GLADSTONE YORK GALLERY, AND BRUSSELS; MATTHEW BARNEY “DRAWING RESTRAINT 9: OCCIDENTAL GUEST by the late Keith Haring. 2005, C-PRINT IN PLASTIC FRAME, SELF-LUBRICATING (GROOM),” 53 X 43 X 1 1/2 NEW INCHES, © COURTESY YORK GLADSTONE MATTHEW GALLERY, AND BARNEY, BRUSSELS; ANISH KAPOOR, TREE “TALL AND THE EYE” STEEL, STAINLESS 2009, 1300 X 500 X 500 ADEMY AC CM, ROYAL OF INSTALLED: ARTS, 2009,

42 December 2011 Edited from Yablonsky’s interview with Gladstone.

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THE RENEGADE THE WINTER OF HIS CONTENT Kevin Spacey brings Shakespeare to the world with “Richard III,” his crowning moment 1.800.365.7989 NEIMANMARCUS.COM as the artistic director and star of London’s Old Vic Theatre BY ZACHARY PINCUS-ROTH

F THERE WAS ONE PLAY THAT WE REALLY, REALLY didn’t want to f— up, this was it.” Kevin Spacey curses a lot, which is especially startling since we are walking through the stately public gardens of IGreystone Mansion, the English Gothic–style estate in

Beverly Hills. ; Y’S GLASSES: SPACE OWN; IWC. WATCH: We’re having about as British a day as you can have in Los Angeles, starting with breakfast at the London Hotel. Spacey likes to stay there because the hotel off ers free calls to London, where he lives and works his day job as artistic director of the storied Old Vic Theatre.

Spacey, who is strolling along in gray Converse All E’S OOMINGDAL MEN’S STORE Stars, is headed out tonight to Avilés, Spain, a tiny northern port town, the next stop on the global tour of the play in question, “Richard III.” “The expectations were so high,” he explains. It was, after all, the ﬁ rst time he would be working with director Sam Mendes since both won Oscars for “American BL STORES; BELT: VARVATOS Beauty.” The production is also part of the duo’s ambitious Bridge Project, in which a play debuts at the Old Vic, takes an epic world tour to places like Hong Kong, Sydney and Greece and in this case, lands in New York, at the Brooklyn Academy of Music, which “Richard III” OS, AT JOHN AVAILABLE does on January 10. A central question for any actor who plays Richard is how to play the character’s disability. Ian McKellen sported a withered hand, while Antony Sher transformed himself into a complete spider. Spacey opts for the traditional hump and a twisted left leg, with a brace outside his clothes to make it look spindly. He wants to get the audience’s sympathy before turning on them. “I wanted to be uncomfortable,” he says. “I wanted the audience to be like, ‘Oh God, that must hurt.’” Spacey had a revelation while visiting soldiers who had lost limbs at Walter Reed Army Medical Center in Washington, D.C. “The soldiers really helped me think TOM FORD about Richard in a diff erent way,” he says. “For every single one of them it’s about how they overcome it, how they want to get back to their unit.” He applied that same drive to Richard. “He has to have that attitude, which is that ‘you can call me every f— name in the book, and it doesn’t matter because I’m going to get there.’” Spacey spoke to actors who had played the role in the We are charmed, for sure. past and complained about its physical toll. “‘I threw my neck out, my shoulder, my leg, I f— up my back,’” he recalls them saying. “Everyone talked about how physi- cally they f— themselves up completely, and I was like, well, s—, they were only doing a run for 12 or 15 weeks or whatever. I’m going to be doing 10 months.” So he quit smoking and drinking. He worked with a physiotherapist, who advised him to distribute his INNER SPACEY Getting unnecessarily caffeinated at the Beverly Laurel Motor Hotel in Los Angeles. weight toward a cane and his other leg. Still, “at the STYLING: JOHANNA KEVIN ARGAN; FURNISS FOR GROOMER: AGENCY. WEARS: CELESTINE CATHERINE SPACEY BLAZER, SHIRT & JEANS: JOHN VARVAT NM

44 December 2011 Photograph by Chris McPherson NOW ACCEPTING VISA AND MASTERCARD

1211_WSJ_Renegade_03.indd 44 11/1/11 2:57:26 PM Ideas People THE RENEGADE

end of the day Kevin is a boy from New Jersey,” Mendes He has single-handedly—and I really do mean single- New York, and they fl ew to Vermont to have dinner with says. “He didn’t grow up watching Shakespeare, and handedly—kept the theater open.” the captain and his wife. Spacey pulled out his famous he fi nds himself in England, the heart of Shakespeare “He’s like Bill Clinton,” Mendes adds. “He makes impersonations of Jack Lemmon and Johnny Carson country, having only done one major Shakespeare role people listen.” and charmed his way to a green light. before. He’s at the same theater—rehearsing in the Spacey says he eventually fi gured out how to pro- “Kevin can plow through scripts, plow through same room, even—where [Laurence] Olivier did his gram the Old Vic, that a 1,000-seat house required epic plays, do conference calls, do everything he’s doing at most famous role, which is, guess what, Richard III. emotions that a play like “Resurrection Blues” didn’t the Old Vic, do everything I need him to do,” Brunetti “There were some days in previews when the words have. He also opened up a new space for smaller produc- says, “and then he’ll do a three-hour play, go to a weren’t there,” Mendes continues. “He just made tions, in the old Victorian tunnels underneath Waterloo fund-raiser afterward, meet somebody for drinks, them up—like a line, not a lot. He Station. His biggest legacy, he feels, walk his dog and go to bed—and wake up, walk his thought, ‘I don’t know what I’m will be the Old Vic New Voices pro- dog, go jogging, read three scripts. It’s like, ‘How the supposed to say, but I’m not going “At the end of the day gram, which nurtures new tal- hell do you do this?’” to stop.’ The willpower behind that Kevin is just a boy ent. A project called Platform, for So it’s not surprising that, on top of everything else, is enormous.” instance, told the story of real-life Spacey is about to star in a television show. Not a mini- In the role, Spacey is always from New Jersey who Londoners and starred ex–crack series—26 episodes. “House of Cards” is an American charging ahead, his head pointed had only done one addicts and a 74-year-old former adaptation of the British series about a manipulative forward, wielding it as a weapon. major Shakespeare hospital social worker. political offi cial under Margaret Thatcher—and it’s His aggressiveness makes for an We’re walking through one based on “Richard III.” The show, with a pilot directed unexpected “Richard III,” one that’s role before.” of the outdoor arches under by David Fincher and written by Beau Willimon—whose speedy, funny, sexy. When Lady the Greystone mansion, which play “Farragut North” became the fi lm “The Ides of Anne spits at him, his response, reminds Spacey of the Cotswolds, March”—will be the fi rst major series to debut solely on “Why dost thou spit at me?” is usually played as a “how where he rented a house during the summer. He Netfl ix, allowing for complete creative freedom, with dare you,” but Spacey says it with a lilt that conveys he’s admits that living in London has left him out of touch minimal notes from television executives. strangely turned on. “It gets a huge laugh because it’s a with Hollywood. “I’m constantly saying, ‘They want The innovative approach is fi tting. If there’s a totally unexpected response,” he says. To make the play to off er the part to so-and-so? Who’s that?’ I literally unifi ed fi eld theory of Kevin Spacey, it’s that he’s entertaining for contemporary audiences, Spacey and don’t know who anybody is.” always one jump ahead of everyone else. Whether it’s Mendes streamlined the script and included fl ourishes, Luckily, he has Dana Brunetti, his former assistant changing a line reading from scary to sexy or leaving like battle drums and live video projected onto screens. and now president of his production company, Trigger Hollywood stardom to take over a leaky old theater Among the many raves, Michael Billington, the Street, to tell him. “There on London’s South Bank, Guardian’s critic, wrote that, “When the history of was a period of time where Spacey has always seemed Spacey’s Old Vic regime is written, I suspect it will be his Dana hated England, hated to take a sly pleasure in Richard...that will be most vividly remembered.” the Old Vic,” Spacey says. “I keeping people guessing. The Arab Spring provided a serendipitous topical- kind of tricked him.” He lured The highlight of the tour ity to Shakespeare’s tale of a dictator’s downfall. Even Brunetti from New York to so far was performing in before it happened, Spacey looked at photos of Gadhafi L.A. to take over the company, Greece at Epidaurus, an to inspire one of his epaulet-heavy military costumes. “then I left, and he had to learn ancient outdoor amphi- Mendes was shocked when he fi rst heard his friend how to swim in this town.” theater outside of Athens. was taking over the Old Vic, in 2003. “To him I said, “We didn’t get along for a Spacey fi rst felt pangs of ‘Terrifi c,’ but privately I thought, ‘You’re never going while,” recalls Brunetti, who jealousy of the actors who to make it work,’” Mendes recalls. “The Old Vic has considers Spacey his best performed in “The Winter’s been a poisoned chalice for 40 years. He managed friend. “He’s on the other side Tale” there as part of the to overcome a very rocky fi rst couple of years that I of the world and completely Bridge Project in 2009. “There thought would do him in.” unreachable. As much as I was a moment when I remem- Spacey’s most infamous early fl op was hated him for it at the time, it ber going, ‘I have to play this “Resurrection Blues,” the last play by Arthur Miller, was the best thing that ever stage or I will not have a com- directed by an ailing Robert Altman. Spacey has a happened to me.” plete life,’” he says. standard response: “You can Google this s—,” he says. Brunetti didn’t know how In July, he performed Captivating Alhambra Vintage “You look at theatrical beginnings in Great Britain, and to be a producer but learned “Richard” in front of 14,000 Necklaces, yellow gold and onyx. nobody has been welcomed. Nobody.” Trevor Nunn, fast. He built Trigger Street audience members who Richard Eyre, Peter Hall, even Olivier—all of the leg- into a success, eventually shelled out, during a Greek endary artistic directors had detractors. A Hollywood earning an Oscar nomination economic crisis, to sit and carpetbagger didn’t stand a chance. for “The Social Network.” watch Shakespeare for three PLAY FOR SYMPATHY Spacey as Richard III, Before Spacey, the Old Vic had been a booking house Now, among other projects, sporting a modern leg brace. hours straight without an but didn’t have a real company. It still operates in this he is shepherding an upcom- intermission. “There’s no way middle ground between nonprofi t and commercial pro- ing fi lm starring Tom Hanks about Capt. Richard to get 14,000 people down to the bathrooms in less than ducer. The theater takes no government subsidy, but it Phillips, the hero who was kidnapped and held hostage two hours, so they just gotta f— stay there and watch funds typical nonprofi t projects like education and art- by Somali pirates in 2009. the whole thing,” Spacey says. “The curtain call that fol- ist development programs. Spacey gives Brunetti free rein to pursue fi lms that lowed,” he says, “is as close to knowing what it’s like to At the Old Vic, Spacey showed the same aggressive interest him and enters the picture only when neces- be Mick Jagger as I’ll ever get.” mentality he brought to “Richard III.” “He’s not reti- sary. When Hollywood was salivating over the rights to “I’ve never seen anyone sweat so much,” Mendes HauteJoaillerie, place Vendôme since 1906 cent in doing the things that English artistic directors, Phillips’s story, Brunetti bought a ticket to see the cap- recalls. “It sounds absurdly theatrical, but it was genu- myself included, were unwilling to do,” Mendes says. tain in Vermont. He called Spacey the day before and inely moving. I think,” Mendes adds with a laugh, “it

“He is completely unabashed about raising money. said, “Can you do me a favor?” Spacey met Brunetti in even took him by surprise.” GERAINT LEWIS

46 December 2011 www.vancleef-arpels.com - 877-VAN-CLEEF

1211_WSJ_Renegade_03.indd 46 11/1/11 2:57:33 PM Kate Winslet Ideas People

a.m. 4:59Wakes up Stewart sets two alarms to make sure she’s up at 5 but always wakes up one minute before.

minute60 session with personal trainer She walks on the treadmill and lifts weights while watching “Morning Joe.”

38pets

• Five cats • Three dogs • Twenty-two red canaries • Three mini Sicilian donkeys • Five Fresian horses

TWOFER Martha Stewart, in her New York offices, takes advantage of dual BlackBerrys to talk and email simultaneously. chickens200 lay her eggs

TRACKED MARTHA STEWART At the center of a sprawling $200 million corporation is the woman whose life inspired it. A day with Martha is the embodiment of her very specifi c vision of the good life

ARTHA STEWART’S DAYS BEGIN EARLY AND END LATE Features in her magazine help guide the merchandise in her mul- with little quiet time in between. Her Bedford, New titude of product lines. Her recipes are created by the chefs in the York, home, a working farm that famously includes show’s test kitchens to be featured on TV, and all the scraps are The ultimate eye care duo. a greenhouse, apple orchards and a menagerie of used to feed the animals on her farm. The farm, in turn, churns out animals,M is essentially a microcosm of her company, with a well- produce and eggs, which are used on the show and in the offi ce. toned household staff working in synchronicity to keep the place A day spent in Stewart’s shadow clearly proves that every 6 rejuvenating actions. running. The 70-year-old mogul moves incredibly quickly. Wak- single element of the company is imbued with her personal- 6:37 a.m. ing up with the stars still visible, her day is split between her TV ity—from show segments with her beloved pets to products Driven to her studios and the offi ces of the editorial staff of her four magazines that mirror Martha’s own belongings. It takes a lot of people to Manhattan studio She reads newspapers and show and merchandising teams. run an operation this big, but Martha’s presence is undeniable, scripts, calls her RÉNERGIE EYE The pillars of Martha’s empire are inextricably entwined. and ubiquitous. By Adrienne Gaff ney producer and listens to NPR. ROBERT DOWLING/CORBIS (CHICKEN); ANNA WILLIAMS © 2011 (DOGS IN BEDS) FROM THE BOOK “MARTHA’S ENTERTAINING: A YEAR OF CELEBRATIONS.” © 2011 MARTHA STEWART. PUBLISHED BY CLARKSON POTTER, A DIVISION OF RANDOM HOUSE, INC. MULTIPLE ACTION

48 December 2011 Photographs by Richard Choi Witness the transformations at lancome-usa.com/multipleaction

1211_WSJ_Tracked_04.indd 48 11/2/11 2:11:27 AM Ideas People TRACKED

4 p.m. 8:30 a.m. Goes to the office Multitasking that houses her magazines and breakfast merchandising departments. Martha gets a pedicure She meets with design staff and has her makeup done to go over inspiration panels while drinking her daily green for new product lines. juice, which she calls the “secret of life.” Many on her staff are also hooked. 2:20 p.m. Juice Ingredients: Pears (from Martha’s trees), Walks on set with celery, spinach, cucumber, cat Empress Tang orange peel, ginger root and papaya and her three dogs (changes seasonally). The afternoon show features Martha’s favorite products, including a Furminator pet brush and a hooded dog jacket.

Merchandising178 BlackBerrys2 inspiration One dedicated to phone calls, panels across the one for emails. Outfits5 worn by Egg Alert! headquarters Twice a week, eggs from her Martha farm are brought Morning workout gear, into the offi ce. An email blast outfi ts for each of the alerts employees, who fi ll shows, yoga apparel and her up containers to bring home. 159 evening ensemble. guests at Martha’s Full-time4 chefs morning filming work in Martha’s test kitchen. On Mondays, Tuesdays and Wednesdays, she fi lms two episodes of her Hallmark Channel show. 12:30 p.m. Lunch with staff Outfits2 worn by her Crab salad, lamb chops, lentil p.m. salad and apple crisp are French bulldogs 7 served. iPad and Internet Francesca Poses on the initiatives are discussed. red carpet and Sharkey with Sigourney Weaver at New Their morning look was a York’s Ziegfeld Theater for the spangled New York T-shirt. They premiere of “The Ides appeared on the show in hooded of March.” (She found the jackets. (A Chow Chow, Genghis movie “very confusing.”) Khan, is too large for outfi ts.) 300Emails received Emmys13 on display in the show’s green room. She has won 19. She recently found Emails50 sent one in her attic.

Post-premiere dinner of small plates, served at an Upper East Side party, with her friend. 11:15 a.m. Meeting in the 60 show’s test kitchen 12:30 a.m. Book plates signed Martha brainstorms names Back home during meeting to be placed for a new apple cider and In-office yoga session She plugs in her electronics, in copies of her latest, bourbon drink concocted with her instructor, who gives her midday lessons on all show days. checks her email, and “Martha’s Entertaining: by her chefs. Eventually, they uploads photos for future A Year of Celebrations.” settled on Cider Sour. blog posts before bed.

50 December 2011

1211_WSJ_Tracked_04.indd 50 11/2/11 2:11:30 AM Ideas People

WALK ON THE WILD SIDE Besties Tobias Keene (left) and Robert Downey Jr. strolling around downtown Los Angeles.

THE PARTNERSHIP I LOVE YOU, MAN In Hollywood, a long-lasting friendship is harder to come by than an Oscar. Actor Robert Downey Jr. and artist Tobias Keene have managed to remain pals for nearly 20 years through good times and bad. The two chat about the ties that bind BY SUSAN MICHALS

N A RECENT AFTERNOON IN LOS ANGELES, ROB- work evokes a wide range of styles from Thomas their fi rst child early next year. (Downey also has a son, ert Downey Jr. swings by Tobias Keene’s Gainsborough to Francis Bacon. Now represented by Indio, 18. Keene and his wife, screenwriter Robbi Chong, downtown art studio to catch up with his best the well-respected Earl McGrath Gallery, he’ll have a are Indio’s godparents.) friend of almost two decades. Over plates of solo show this spring at LeBasse Projects in Los Angeles. Together, Downey and Keene have managed to main- arugulaO salad with grilled chicken and wheat-free cup- At 46, Downey, who has publicly suff ered his share of tain a friendship that’s inspired each other’s work and cakes—the actor doesn’t eat gluten—the two men, who low moments, seems to have hit his creative stride. He personal growth. “Any relationship takes eff ort, and the haven’t seen each other in a few months, joke and chide just wrapped two fi lms, reprising his role as Sherlock eff ort isn’t worth it if there isn’t some sort of exchange,” like teenage boys. Both have a lot to laugh about these Holmes, out this December, and as Iron Man for “The says the actor. As the two men revisit tales of hotel days, given their humbling, not-so-glamorous pasts. Avengers,” in theaters in May. Downey and his wife, room antics, their family histories and the addictively Keene, 48, who moved here from England in 1988, Susan, have also established Team Downey, a produc- appealing allure of art, Downey, obviously the joker in has come a long way from sweeping fl oors at a Beverly tion company that is developing various projects for the relationship, teases his friend constantly, and the Hills hair salon. Today, he is a fi gurative painter whose the big screen as well as television. They’re expecting artist blushes nonstop.

52 December 2011 Photographs by Susanna Howe

1211_WSJ_Partnership-03.indd 52 11/1/11 10:59:06 AM

Ideas People THE PARTNERSHIP 190 YEARS AGO ENTOURAGE Downey relaxes on A MAN BET ON HORSES AND CHANGED Keene’s lap outside the artist’s L.A. studio, while WATCHMAKING FOREVER. Keene’s wife, Robbi Chong (left), and Downey’s wife, Susan, ignore them.

ON PARENTS Keene reminds Downey Both men were born to fathers in the business that they too would eventually enter. In the case of Keene, of when he chipped the men in his family have been painters for more concrete in the Valley than a hundred years. (His grandfather was an offi cial after an earthquake World War II artist, while his father, who has exhibited at the Royal Society of Portrait Painters and the Royal but drove to work each day Watercolour Society in London, still paints every day in the actor’s Porsche. at the age of 84.) “You get used to the smell of turpen- tine,” Keene says. “Suddenly you can’t really think of anything else to do…and then you get a painting kit for every birthday and every Christmas, so it was like, if you can’t beat ’em, join ’em.” Downey asks his friend if his father was supportive. “He was,” Keene says. “He’d also say, ‘Don’t be an artist,’ because he didn’t want me to struggle like he did.” For Downey, the situation was all too familiar. His father, Robert Downey Sr., rose to fame in the 1960s as a director, actor and producer in the New York under- ground fi lm scene. His movie “Putney Swope,” a send-up In 1821, at a horse race in Paris, Nicolas Rieussec successfully tested his of Madison Avenue, became a cult classic. Robert made revolutionary invention that allowed time to be recorded to an accuracy of a fifth his acting debut in his father’s fi lm “Pound” at the age of of a second. The chronograph was born. Today, the Montblanc TimeWalker fi ve. “You know, [what you’re saying] makes sense is a tribute to 190 years of the chronograph’s technical because I feel too like I didn’t have a choice—it wasn’t like Chronograph Automatic I was going to be an architect,” says Downey on his lin- evolution. 43 mm stainless steel case, skelleted horns and sapphire crystal back, eage. “I was raised with a camera rolling, and my dad was black dial with red gold-plated hands and indexes. Crafted in the Montblanc always making these movies—either on sets or rolling Manufacture in Le Locle, Switzerland. 16MM at home—it just seemed like the normal thing.” Both men started at the bottom, with Downey acting We’re celebrating this anniversary with “The Beauty of a Second” short-film contest, in off -Broadway plays and Keene taking odd jobs to pay presented by Wim Wenders. Enter now at montblanc-onesecond.com. Every second counts. for materials. “I paint compulsively—I do everything obsessively no matter what job I’ve ever had,” Keene says. At this, Downey literally guff aws. “What other job have you really ever had?” Keene reminds him of the time he chipped concrete out in the Valley after an earthquake, and his mode of transportation was none other than the actor’s Porsche. Recognition sparks on Downey’s face. ART, STAR The best friends in front of Keene’s “The Queen”; Downey (above) “Oh yeah! That car was repossessed eventually.”

54 December 2011 visit and shop montblanc. com

1211_WSJ_Partnership-04.indd 54 11/2/11 2:15:49 AM Ideas People THE PARTNERSHIP

ON WIVES

It’s not really fair, according to Downey, to talk about Keene’s career without talking about Chong, his wife of 20 years. It was through Chong and Downey’s ex-wife, Deborah Falconer, that the two men fi rst met. “She doesn’t have a brush in her hand,” says Downey. “But whatever has occurred in his career has to do with her. When you’re creative, you never turn off . It gets intense sometimes, and you want to fi nd a partner who will work for both of you.” Suffi ce it to say, Susan Downey is at the epicenter of her husband’s career. (They met on the set of “Gothika,” which she produced. It was one of the fi rst fi lms he made after he got sober.) “With Robert being such a magnetic, creative person, Susan is the perfect match in channeling it into what we see now—their incredibly successful ALL TALK The partnership,” Keene says. “Susan is his safety, his sound- artist (left) and ing board, his protector and his grounding force.” Rarely actor catch up after not seeing does one see either man without his better half. “We’re each other for very dynamic gentlemen, I would like to say that. But we

ON WORK a few months. also know our place,” says Downey with a laugh. DOWNEY’S GROOMER: WILLIAMS BRYON

Downey admits that his knowledge of art is still a work in progress, and with this friendship has come an education. Through years of collecting, Downey’s acquisitions include works by the abstract painter Roni Stretch and street artist Shepard Fairey. But the majority are works by Keene. “You like things that are quite powerful,” Keene says to his friend. “You don’t like pretty pictures. You like Egon Schiele, so very dark, very powerful fi gurative painters. I guess I fi t into that category to a certain degree, with some weight in it for sure.” Downey quickly responds: “Speaking of weight, you’ve taken off quite a bit of poundage. You look gorgeous. There was expansive Toby there for the better part of a decade.” Keene blushes at his friend’s compliment. “I think I’ve lost about 20; I was getting somewhat Schnabelesque.” All told, the Downeys own about a dozen of Keene’s works. Perhaps the most important is a massive trip- tych, entitled “Until the Sun Turns Black,” which features Robert and Susan underneath a large tree. It sits on a wall outside the offi ces of their production company in Venice. Keene couldn’t use regular paint because the sun and the elements would ruin it, so he used gold-leaf metals in blue, gold and green. “It’s beautiful,” Downey muses. “And it’s something we would never sell. How long will it last?” Keene’s response: “Until the day I die, because I’ll keep touching it up.” Keene is equally enthusiastic about Downey’s craft. He recalls visiting Downey on the set of the 1995 fi lm “Restoration” one morning when the actor was suddenly handed fi ve new script pages: “He read them through quickly and then walked onto the set and did them without having to refer back—verbatim. He has an almost photographic memory.” While Downey had the script down cold, one of the other actors didn’t. Downey didn’t need to stick around for the scene, but he did anyway. “Robert uses an incredible amount of self-discipline to shape his characters, and he’ll stay in that frame of mind to help the other people around him. It’s that great Downey generosity.” DOUBLE TROUBLE Downey (left) and Keene just hanging out on Santa Fe Avenue in L.A.

56 December 2011

1211_WSJ_Partnership-04.indd 56 11/2/11 2:15:53 AM Places Things WSJ. MAGAZINE

DESIGNER AT WORK Roger Vivier’s artistic director, Bruno Frisoni, standing in front of sketches for potential shoes in his Paris office. MAKING IT FUTURE CLASSIC How does a storied French accessories house go about designing a new iconic look? For Bruno Frisoni of Roger Vivier it’s taken four years and a lot of geometry BY MEENAL MISTRY

Portrait by Estelle Hanania December 2011 59

1211_WSJ_MakingIt_02.indd 59 11/1/11 11:45:11 AM Places Things MAKING IT

DRAWING CLASS Frisoni’s illustrations for the Prismick collection, which he always hand-sketches in notebooks from Papier Plus.

PURE GEOMETRY A sculpture by Xavier Veilhan, whose work inspired the T THE HOUSE OF ROGER VIVIER, THE BUCKLE Prismick collection; reigns supreme. That open square of silver Frisoni at his hardware recalls the fanciful footwear of desk, with Vivier’s French kings (not designed by Vivier) as well signature shoe as the supremely discreet, low-heeled black pumps buckle framed in A the background. worn by Catherine Deneuve in “Belle de Jour” (famously designed by Vivier in 1967). The buckle, which has adorned Vivier shoes and handbags for more than four © decades, is a signature that you recognize without real- The Prismick izing that you have. In short, it’s the stuff that luxury brands dream of. bag, which But Bruno Frisoni, the dashing, bespectacled and was named by asparagus-slim Frenchman who is artistic director merging the of the label, has quietly been masterminding another house signature: the Prismick. This month, Vivier words “prism” is launching a full collection of shoes and handbags and “gimmick,” designed with soft leather appliqués, some color- blocked, that all have a sharp, geometric look. Each is amusing piece is handmade in Italy. The star is the “Shopper,” a and light, in roomy everyday leather bag with chain handles based keeping with the on not-so-everyday ideas. “The shape is like a paper bag,” says Frisoni, sitting in his airy, book-ﬁ lled Paris brand’s DNA. offi ce, which has a huge stuff ed elephant in one corner and his painterly sketches covering an entire wall. “It’s always good when you can relate it to something familiar without it being the same at all.” Though the bag’s general rectangular form is strong and simple, the Prismick is crafted from roughly 80 precisely cut interlocking diamonds of buttery Italian leather. These are stitched separately onto a suede THE RIGHT TRIANGLE A wood clutch, leather bags base, a technique that requires about 22 square feet and a color-block shoe of leather for a single bag. The result, which takes an (above) from Vivier’s artisan in Vivier’s factory in the Le Marche region of new Prismick collection; Italy a day and a half to complete, is a satisfyingly thick Rem Koolhaas’s Casa texture that elegantly expands when full. “They’re not da Música in Portugal, another visual reference. attached, so they move,” says Frisoni of the diamonds. giorgioarmaniparfums.com “That’s what makes it special.” PHOTOS BY ESTELLE HANANIA; XAVIER VEILHAN, “XAVIER,” 2010 (SCULPTURE), PHOTO BY GUILLAUME ZICARELLI, COURTESY GALERIE PERROTIN 2011 ARS, NEW YORK / ADAGP, PARIS; COURTESY OF ROGER VIVIER (SKETCH); COURTESY OF CASA DA MÚSICA (BUILDING).

60 December 2011 NORDSTROM

1211_WSJ_MakingIt_03.indd 60 11/2/11 2:31:27 AM Places Things MAKING IT

HEN THE DESIGNER JOINED VIVIER IN

CONNECT THE LINES 2002, he had an impressive résumé with Clockwise from below: Yves stints designing accessories for a variety Saint Laurent’s 1965 Mondrian of French houses, beginning with Jean- collection, with Vivier shoes; WLouis Scherrer at the age of 20. Three years later, he a cutout stencil creates the moved on to the ateliers of Lanvin and Christian Lac- diamonds for the “Shopper”; sculpting the final shape. roix. He launched his own label in 1999 before getting the call from Diego Della Valle—the CEO of Tod’s Group also owns Vivier—to revive the French house after the founder’s death in 1998. (Frisoni closed his own label at the end of 2010 to focus on Vivier.) The 51-year-old designer has done his best to, in his word, “synthesize” his predecessor’s innovations, like the slightly concave 1963 “Comma” heel as well as the original designer’s flights of fancy, such as ostrich feathers and baroque embroidery. In fact, the Prismick, which was named by Frisoni by merging the words “prism” and “gimmick,” is amusing and light, in keeping with the brand’s playful DNA. “It’s very functional,” says Frisoni. “It’s not “The shape is for cocktails, evening. But I only do propos- like a paper als, and then women bag. It’s always wear it.” good when you The genesis of Frisoni’s prisms began can relate it IN THE BAG about four years ago, to something Clockwise from when he began study- left: Artisans ing the ubiquity of familiar without stitch roughly 80 graphic, geometrical it being the diamonds to create shapes. He points to a the bag; the finished same at all.” Prismick shoulder chunk of rock crystal bag in kelly green; on a shelf. Frisoni also mentions Rem Koolhaas’s Casa the paper bag–like da Música in Portugal, French artist Xavier Veilhan, “Shopper” in coffee; who creates fi gurative sculptures of animals and a color-block heel from the collection. human beings abstracted into faceted forms, even the two-dimensional geometry of Piet Mondrian, which neatly brings Prismick full circle: Roger Vivier created the shoes for Yves Saint Laurent’s famous 1965 Mondrian collection. As has always been his style, Frisoni fi rst created rough sketches in hardbound notebooks from Paris’s Papier Plus. (His bookshelf has stacks of them.) The sketches were then transferred to heavy stock paper that was shaped into a three-dimensional bag. After developing a few initial pieces that expressed his idea quite literally—a faceted, pear-shaped sapphire evening bag with a translucent interior; the Vivier “Shock” heel with harlequin-like yellow and gold triangles—Frisoni wanted a subtler take on the geometric motif. “I tried to soften the idea,” he says. “I understand that when it’s faceted it’s beautiful, but I tried to make it simple, more understated.” With the Prismick, Frisoni has created a run- around bag for the Vivier woman, who he describes as the “ultimate citizen girl” in his charming, malapropism-peppered English. That woman is per- sonifi ed by Inès de la Fressange, the statuesque, elegant former model and muse to Karl Lagerfeld, who now plays both muse and ambassador for Vivier. “I love tall girls,” says Frisoni, with a mischievous smile. “I love Parisian girls, the kind who love to do the wrong thing

with the police.” PHOTOS BY FRANCOIS COQUEREL; FIRSTVIEW (RUNWAY); ROGER VIVIER (BAG, SHOE)

62 December 2011

1211_WSJ_MakingIt_03.indd 62 11/2/11 2:31:30 AM Places Things JEWELRY

PORTRAIT OF A LADY Four women with a striking sense of individual style model the ultimate diamonds. No two stones, or great dames, are alike

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LEFT: Bulgari earrings and necklace Bulgari.com; Leviev ring Leviev.com; Graff Diamonds bracelet Graffdiamonds .com; Chopard bracelet Chopard.com; Louis Vuitton leather top $2,725 Louisvuitton.com JOAN JULIET BUCK All others, price upon request CLARISSA DALRYMPLE FORMER EDITOR OF FRENCH VOGUE, WRITER AND ACTRESS, 62 1980S POWERHOUSE GALLERIST, CURATOR AND CONSULTANT ON CONTEMPORARY ART, 70 “I always wear Yves Saint Laurent “I have a very unfeminine body shape: no waist, bosom or hips at this point, but since my stomach sticks out, everything perfume for men plus Shalimar, together. has to work around that problem. Like almost all of us, I’m obsessed about weight. I wear black a great deal. And my father’s watch.” The only thing I really care about is always having the scents I wear: Joy by Jean Patou and Calèche by Hermès.”

64 December 2011 Photographs by Amy Troost Styling by Natasha Royt December 2011 65

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66 December 2011

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Sotheby’s Diamonds earrings and necklace Sothebysdiamonds.com; bracelets, from left: Graff Diamonds Graff usa.com; Sotheby’s Diamonds Sothebysdiamonds.com; Graff Diamonds Graff usa .com; Stephen Russell 212-570-6900; Louis Vuitton dress $8,495 Louisvuitton.com; Carolina Amato gloves $225 Carolinaamato.com DALE M. LAROCCA All others, price upon request NEW GRANDMOTHER AND TUTOR FOR COLLEGE STUDENTS WITH LEARNING DISABILITIES, 65 “My haircut changed everything. I always had the traditional long bob, you know, ‘pageboy,’ we used to call it. About 10 or 12 years ago, I just had it all chopped off . I ﬁ nd that jewelry looks really good with short hair. I search hard for unusual pieces. I was in India last year and I got a cuff that’s about 10 inches. I do try to ﬁ nd the big pieces because I’m kind of tall.”

68 December 2011

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70 December 2011

1211_GreatDames_01.indd 70 10/28/11 1:46:01 AM Places Things JEWELRY JUSTIN SCHAFFER;

Sotheby’s Diamonds ring (right hand) Sothebysdiamonds .com; H. Stern bracelet (top) $27,500 Hstern.com; Graff Diamonds bracelet (bottom) Graffusa.com; de Grisogono necklace $228,000 Degrisogono .com; Hermès ring (left hand), by special order, $140,000, 800-441-4488; Vionnet dress $6,210 [email protected] All others, price upon request

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72 December 2011

1211_GreatDames_01.indd 72 10/28/11 1:46:07 AM Places Things BACKGROUND ON THE “DEGRADED,” LEFT: 2006, AND 2006, “COUNT,” © HUMA BHABHA, COURTESY: COLLEZIONE MARAMOTTI, REGGIO FOREGROUND: EMILIA (ITALY); “FIGURE WITHPENCIL SQUARE FAKE 2006, POINT,” © MARK MANDERS, COURTESY: COLLEZIONE MARAMOTTI; BACKGROUND ON THE “THE RIGHT: FAR CHOICE (GHETTO-SCULPTURE © TOM 2001-2002, SACHS, PARK),” COLLEZIONE COURTESY: MARAMOTTI; BELOW: ELISEO MATTIACCI, “DANZA DI ASTRI E STELLE,” 2006 MUSEUM WORTHY Collezione Maramotti (above) features works from 1945 onward, including “Figure With Fake Square Pencil Point” by Mark Manders and public sculptures like these by Eliseo Mattiacci (below).

ART TOUR THE CULTURE OF UNDERSTATEMENT Over its 60-year history, the fashion house Max Mara has quietly amassed a museum-worthy art collection, turning the city of Reggio Emilia into an unlikely cutting-edge destination BY CHRISTINA PASSARIELLO

EGGIO EMILIA, A SMALL CITY ABOUT TWO to be the location of the company headquarters, which hours north of Florence, has traditionally served employs 1,000 locals. But Luigi Maramotti, the com- as a company town for the Italian fashion house pany’s current CEO, is quick to point out that all these Max Mara. The Maramotti family, who founded investments are not a branding exercise related to their MaxR Mara, owns a hotel here (Albergo delle Notarie), fashion business. (He does concede that the hotel accom- a restaurant (Caff e Arti e Mestieri), a stake in the local modates many visitors who come to work with Max bank (Credito Emiliano) and an art museum featuring Mara.) “We’re not using art to promote our brand. We are the Collezione Maramotti. Reggio Emilia also happens totally against using our family passion this way.”

74 December 2011 Photographs by Paolo Leone

1211_WSJ_ArtTour_04.indd 74 11/2/11 2:35:01 AM Advertisement Places Things ART TOUR WSJ. MAGAZINE FINE ARTS Clockwise from far left: Christopher the Wool’s “Drunk (W6)” and “Hole (W30)”, and (foreground) Barry X Ball’s “Sculpture 10/11” at the museum; Tom Sachs’s THE HOLIDAY ISSUE “The Choice (Ghetto Sculpture Park)” is also part of the collection; Sol LeWitt’s “Whirls and Twirls” in the town library. Holiday Gifts Worth Noting In 2003, the company moved out of the industrial buildings on the outskirts of town into new headquarters designed by the London-based fi rm John McAslan NOTE & Partners, a sleek glass-and-steel aff air that looks over manicured lawns. Soon after, the family launched a program inviting artists to create public works around Reggio Emilia. A few years ago, Sol LeWitt painted “Whirls and Twirls,” colorful lines that look like psych- edelic spaghetti, on the ceiling vault of the 18th-century reading hall in the town library. The program has resulted in artwork dotting the local landscape—there are sculptures by Luciano Fabro and Robert Morris in the cobblestone courtyards of a musical school as well as at the university. Three rectangular metal poles with astrological signs carved at the top by Italian artist Eliseo Mattiacci stand on the lawn of a former metal foundry, which often serves as a makeshift soccer fi eld for young boys. The Maramottis’ largesse has turned Reggio Emilia PAUL & SHARK HARRY WINSTON into an unlikely spot for cutting-edge art and design. Iconic sweater jacket still valued and demanded Like stylish punctuation, accessories complete the With a subtle combination of round and marquise Across town, two other artists, Claudio Parmiggiani by men who appreciate quality & Made in Italy. World of Zegna with everyday functionality spanning diamonds, the delicate design allows for an and Jannis Kounellis, have taken up residence to cre- Lifestylesportswearcollectionoffersgreatcolor from urban casual to upscale formal. exquisiteexpressionofatimelessstyle.The Lily ate works in a Renaissance brick cathedral, while not and technical detail for those with discerning tastes. Discover the Leather Accessories Collection at Cluster Collection by Harry Winston visit too long ago, the Spanish architect Santiago Calatrava designed and built three futuristic-looking bridges in paulshark.it store.zegna.com harrywinston.com the region’s countryside—en route to Max Mara’s headquarters. Luigi, who runs the company with his sister and brother, is modest about how Max Mara jump- started all this creative ambition. “Some projects can be carried out better in a small environment.” The Maramottis’ love of art and discretion started But it’s Collezione Maramotti, which opened in 2007 with Achille, the family patriarch and company in a former clothing factory on the city’s outskirts, that founder, who wanted to bring Parisian fashion to is the fl agship of the family’s patronage. It was the life- Italian ladies back in 1951. The company built its repu- long dream of Achille, who died in 2005. The fi rst fl oor tation by producing high fashion at an aff ordable price: showcases Italian and European art from the ’40s to a stylish knit suit, well-tailored trousers, the perfect the ’80s, tracing the evolution of movements like Arte As Max Mara became camel coat—a cashmere double-breasted number that Povera and the Roman school of Pop Art with works by more successful, hits just below the knee is still a best seller. Max Mara Lucio Fontana, Vito Acconci and Sandro Chia. There has always taken a high-quality, no-fuss approach, are also pieces by Francis Bacon, Georg Baselitz and founder Achille Maramotti quietly hiring as consultants some of the biggest Sigmar Polke. The second fl oor features more contem- realized that business designer names, including Karl Lagerfeld, Domenico porary pieces by Americans such as Peter Halley, Mike GUCCI ’s Made ToMeasure service is a personalized, HUGO BOSS Dolce and Stefano Gabbana, Proenza Schouler’s Jack Kelley, Alex Katz, Tom Sachs and Christopher Wool. The Gucci and culture go hand in luxury sartorial offering for the modern day VICTORINOx SWISS ARmY Make sure you get what you want this holiday McCollough and Lazaro Hernandez and Giambattista museum receives about 20,000 visitors per year. hand and elected himself gentleman. Each garment is impeccably tailored, Feminine, Timeless and Elegantly Understated. season and find the perfect gift for everyone on Valli. “We defi ne ourselves more as a design company Living and working in Reggio Emilia, farther away from select fabrics and customizable options, for Victorinox Swiss Army is proud to introduce the your list. Enjoy free shipping for the entire month town benefactor. than a fashion company,” Luigi explains. As Max Mara from more glamorous cities like Milan and Paris, allows a truly unique experience. new Ladies’ Victoria Diamond. of December. It’s our gift to you. became more successful (today the $1.7 billion corpo- the Maramotti family to foster a richer environment for ration produces 19 lines and has 2,300 stores around both locals and visitors. “The fact that we live in a small gucci.com swissarmy.com hugoboss.com the world), Achille realized that business and culture city generates the need to look at the world in an open go hand in hand and decided to elect himself Reggio way,” Luigi says. “Sometimes people who live in a big city

Emilia’s benefactor. are provincial because they think they have it all there.” TOP BACKGROUND LEFT: ON “DRUNK LEFT: 1990, AND (W6),” “HOLE 1992, (W30),” © CHRISTOPHER WOOL, COURTESY: COLLEZIONE MARAMOTTI, REGGIO FOREGROUND: EMILIA (ITALY); “SCULPTURE © BARRY 10/11,”COLLEZIONE 1996-1997, X BALL, COURTESY: MARAMOTTI; TOP “THE RIGHT: CHOICE (GHETTO SCULPTURE (DETAIL) 2001-2002, © TOM PARK),” SACHS, COURTESY: COLLEZIONE MARAMOTTI; BOTTOM: SOL LEWITT, “WALL DRAWING #1126 WHIRLS AND TWIRLS 2004 1,”

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1211_WSJ_WellOpener_02.indd 97 11/1/11 12:25:40 PM Resplendent, slightly decadent, glamorously surreal fashion brings a much- needed spirit of eccentricity to the year’s end

PHOTOGRAPHS BY HANS FEURER STYLING BY SABINA SCHREDER

1211_WSJ_Fashion_01.indd 98 10/28/11 4:05:09 AM 1211_WSJ_Fashion_01.indd 99 10/28/11 4:05:15 AM Opening page: Giorgio Armani trench coat $56,500 and vest $1,195 Armani.com; Dior Fine Jewelry ring (right hand) $14,300 and ring (left hand) $6,800, 800-929-3467; John Galliano hat, price upon request, Johngalliano.com; Sophie Hallette tulle (pictured throughout), Sophiehallette.com This page: Christian Dior coat $4,800, dress $5,400, boots $1,800 and clutch $2,250, 800-929-3467; Haider Ackermann shirt (worn as cape) $900 Haiderackermann.be; Christophe Coppens hat by special request Christophecoppens.com; Heather Huey headband $98 Heatherhuey.com; On him: Hugo tuxedo $950, tuxedo shirt $145 and tie $95 Hugoboss.com; sunglasses model’s own Opposite: Boss Black dress $1,395 Hugoboss.com; Manish Arora fur scarf $2,500 Mishanicole.com; Bernhard Willhelm head piece, by special request, Bernhard-willhelm .com; Vivienne Westwood earrings, price upon request, Viviennewestwood.co.uk; Boucheron bracelets $16,000 (bottom) and $18,000 (top) Boucheron.com; Dolce & Gabbana clutch $1,375 Dolcegabbana.com; Givenchy by Riccardo Tisci boots $1,050 Bergdorfgoodman.com

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MAKEUP: ADRIEN PINAULT AT MANAGEMENT ARTISTS FOR PRODUCTION NARSBRACHFELD CARTAGENA JULIANE JESSICA POLI; COSMETICS;LEHMANN, STYLIST GORDON; PRODUCTION: ASSISTANTS: STEFANO ROMAIN-DAVID ASSISTANT: MODELS:DIGITAL CHANEL IMAN AT IMG, DAVID K AT SUCCESS; PHOTO ASSISTAN of six Viviennewestwood.co.uk

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1211_WSJ_Fashion_02.indd 104 10/31/11 9:32:14 PM 1211_WSJ_Fashion_02.indd 105 10/31/11 9:32:18 PM If you are to the manor born, you can fi nd the cost of maintaining the family castle downright ignoble. As a result, some owners of British UPSTAIRS, estates are opening their doors to lucrative private tours—and even sleepovers—for history DOWNSTAIRS buff s and antiques connoisseurs BY FRANZ LIDZ PHOTOGRAPHS BY JOHN SPINKS

AND IN EW EPIGRAMS ABOUT MAINTAINING A COUN- that the visiting Yank is helping to keep their home- try estate ring as true as one uttered by a stead humming. member of Hollywood royalty now living in “It’s always satisfying to crack a previously the South of France. “It takes a lot of money uncracked house,” Savage says, referring to those to leadF a simple life,” remarked Johnny Depp. These yet unexplored by antiquities hunters. “I love having BETWEEN days the simple life is perhaps priciest in Great Brit- this privileged view of a lifestyle that is probably not ain, where, unlike the sage actor, most owners of sustainable. I always seem to walk into the last days stately homes made their money the old-fashioned of Camelot.” After the party is over, the butlers and way: They inherited it. Moats, turrets and draw- footmen tend to vanish and the hosts repair to the bridges can be splendid to behold, but if your home kitchen for a midnight snack. “You can fi nd them by is truly your castle, the upkeep can be overwhelming. the kitchen telly eating Weetabix,” Savage says. “The Imagine the cost of restoring hundreds of rotted oak illusion is over.” beams and replacing stonework on castellated walls “Castle creepers” is what the British sometimes call four feet thick. Or replicating 12-ton iron gates and tourists who poke around the contents of a stately home. mending roofs measured in acres, not to mention Savage prefers to think of the well-heeled Colonials he heating a great hall with ceilings three stories high. shepherds around less as creepers than house partiers. No wonder many aristocrats can no longer mind their “The English entertain on a grand scale, with a full com- manors and have either put them on the market or plement of servants,” he says. “Often the owner of the donated them to the National Trust. house or garden greets the group, shows them around Some of England’s peers have found more creative and joins them for a meal on heirloom Wedgwood. The solutions. They not only inhabit their ancestral piles, whole point of the trip is to be a participant.” but run them as businesses too, dangling their glittery For their money, the participants get a cultural edu- goods like fi shing lures to attract much-needed cash. cation as well as access and authenticity. “This is seri- “In the United States, we tend to have a romantic view ous art history that just happens to be taught over quail of owning a great British estate,” says Tom Savage, the eggs and cocktails,” Savage notes. The aristocrats with director of museum aff airs at Winterthur, the 175-room whom his guests hobnob are the Real McCoy—not ones Delaware estate of the late chemical heir Henry Francis who have bought their titles on the Internet to fulfi ll a du Pont, which houses the foremost collection of craving for upper-class respectability. American furniture and decorative objects. “But often “These are all hardworking and diligent property the veil falls when you see inheritors to whom collect- owners with a sense of duty and commitment toward ing is not a choice but an encumbering obligation: Out conserving their estates for future generations,” says of economic necessity, they’re doing everything in their the Virginia-born Savage, an unapologetic royalist. power to hold on to what they’ve got.” “One misstep, an inappropriate marriage, or worse— For more than 20 years, Savage has been hooking an expensive divorce—can do immense damage to a up connoisseurs of the decorative arts with the own- place that a family has looked after responsibly for ers of England’s great estates, where most of the fi nest hundreds of years.” The estate owners tend to wel- antiques are to be found. He regularly takes groups of come Savage’s house partiers as they would old and 12 to 16 Americans on private tours of British homes dear friends. “They immediately put everyone at and country houses, even having them stay (as pay- ease,” he says. Among his favorite private homes are ing guests) for a night or two. Not in the old laundry Ugbrooke House, Castle Hill, Frampton Court and or the converted stables, but in the mansion itself Eastnor Castle. “They’re all very diff erent,” he says. while the owners look on, content in the knowledge “Each has its own story of survival.”

THE DRAWING ROOM at Eastnor Castle near Wales, which brings in nearly $5 million each year from events and other activities.

107

1211_WSJ_Travel_01.indd 106 10/28/11 3:27:40 AM 1211_WSJ_Travel_03.indd 107 11/1/11 3:38:33 PM UGBROOKE HOUSE Lord and Lady Cliff ord of Chudleigh

ANAPÉS IN ONE HAND, FLUTES OF CHAM- in traffi c court. “It didn’t go at all well,” reports Lady pagne in the other, the house partiers pass Cliff ord. His Lordship was fi ned £50. in hushed awe before the family portraits in These days the Cliff ords help run the estate through this superbly maintained Tudor mansion. Ugbrooke Enterprises. They hire out the venue for RedolentC in diamonds and lace and a silk fi shtail skirt, receptions and corporate retreats. Of all their entre- Lady Cliff ord—everyone calls her Clarissa—motions preneurial ventures, Lady Cliff ord says she’s keenest toward the saturnine fi gure in the painting at the top of on Savage’s overnight tours. She welcomes the guests the staircase. The fi gure has a long scruff y beard and a with genuine warmth, immediately putting every- faraway look in his eye, not unlike that given by a dead one at ease. “Clarissa knows what American visitors mackerel on a fi shmonger’s slab. “The chap with the expect,” Savage observes. “The baths are huge, the lin- beard is William, the 10th Baron Cliff ord of Chudleigh,” ens superb.” she announces. “We all know him as Silly Willie.” To diff erentiate the numerous bedrooms, some have In this corner of Devon, where many families go back been named for notable lodgers of the distant past. The centuries, people talk of their long-dead ancestors as if Duchess of Norfolk’s Room is opulently decorated with a they expect them to walk in the door any minute. There’s carved four-poster bed and the needlework of Mary, the little chance of running into the wildly eccentric Silly ninth Duchess of Norfolk, whose sister Elizabeth married Willie, who died in 1943 at age 85 after winning fame as the third Lord Cliff ord. The Cardinal’s Room has been RUN OF THE the founder of the Mystic Evolution Society. (Its credo: outfi tted with a 19th-century prelate’s personal eff ects, HOUSE Saskia (left) and Sophie “We live in the age of perfect government.”) “Silly Willie but not the 19th-century prelate. (He’s buried in Rome.) help in the was a farmer in New Zealand,” Lady Cliff ord says. “His In the 19th century, Ugbrooke was renowned for its tea room on property was so overrun with rabbits that he decided to lavish theatrical parties. “Entertainment is what this Ugbrooke’s open make his fortune by canning them.” house was designed for,” Lady Cliff ord says. “Today, days; Lord and “Did he make a living at it?” a house partier entertainment washes its face.” At a drawing-room soi- Lady Cliff ord of Chudleigh (below inquires. ree, Lord Cliff ord bellies up to a table and pours glasses left) regularly “Hardly,” she says. “Silly Willie knew nothing about of wine from his New Zealand vineyard. “This vintage regale guests canning, and after he had killed half a dozen people of Riesling is superior to any produced in Germany,” he with their colorful with ptomaine poisoning, his cousins suggested it was tells the revelers. “You’re all welcome to buy a case.” family history; and the walls of time to move on.” Lady Cliff ord mingles beneath a Jacob Huysmans oil of the drawing room Lady Cliff ord, the second wife of the family’s 14th Catherine of Braganza, wife of Charles II. “I’m wearing at Ugbrooke lord, moved into Ugbrooke 17 years ago. Nestled in Catherine of Braganza’s earrings,” she says. House (below) peaceful parklands landscaped by Lancelot “Capability” For Lady Cliff ord, the best thing about being are covered with Brown, the estate boasts 3,000 acres of grounds, chatelaine of Ugbrooke may be that she literally is 17th-century portraits. including dozens of tenant houses, herds of sheep and the hostess with the mostest. Atop the grand piano is cattle, an orangery and a Catholic chapel consecrated a photo of her wearing the Cliff ord tiara. Then again, in 1671. The house, remodeled in the 1760s by the great she doesn’t take her status all that seriously: Beside Robert Adam, experienced damaging indignities dur- her photo is one of Clover—the clan’s late, lamented ing World War II, after which it became a grain store. lurcher—crowned by the same jeweled coronet. In 1957, Hugh, the 13th lord, arrived with his family from Australia and undertook what his son, Tom, the NEAR AND FAR current Lord Cliff ord, calls “the massive task of making Setting the the house habitable.” What Lord Cliff ord No. 13 merely table for supper made habitable, the current Lady Cliff ord, a London (above right) at decorator, brought back to life. “Sweetheart,” she told Ugbrooke House (below), which her husband, “you could transform this house without boasts 3,000 spending a bean on it.” Which she did, by repositioning acres of grounds. furniture and plundering the attic for lost treasures. (For several beans, she restored the interiors.) The treasures range from tapestries given to Thomas, the fi rst Lord Cliff ord, by Cosimo de’ Medici to a sporting rifl e used by Lewis, the ninth Lord, who fought with Custer at Yellowstone River. One of the bigger fi nds was Adam’s architectural plan, commissioned by Hugh, the fourth Lord Cliff ord. “The fourth lord may have been a pain in the butt as a client,” notes Lady Cliff ord. Stored in the staircase was the secret royal pardon that Charles II issued to the original Lord Cliff ord. The document granted immunity from the bitter recrimina- tions to Catholicism that cost others their heads. More than 300 years later, Lord Hugh Cliff ord was cited for speeding and tried to test the validity of the pardon

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1211_WSJ_Travel_02.indd 108 10/31/11 8:52:51 PM 1211_WSJ_Travel_02.indd 109 10/31/11 8:53:02 PM CASTLE HILL The Earl and Countess of Arran

HE EARL OF ARRAN HAS A RESERVATION OR estate’s dairy herd of British Friesians. “People have west wing of Palladian House and turn it into a two about hosting guests as a revenue-raising said such marvelous things about the grounds,” adds hitching post for house partiers, concerts and wed- scheme, but he’s a good sport about it and tries Lord Arran. “I can hardly believe they were sober.” dings. When her oldest daughter, Lady Laura Melissa to enjoy the role. As the house partiers are ush- Lady Arran descends from the House of Fortescue, Fortescue-Gore, married Major James Anthony L’Etang Tered into his presence, he emits a curious high cry which, which is said to date from William the Conqueror. Duckworth-Chad, both Princes William and Harry were to borrow a phrase from P.G. Wodehouse, he may have She grew up in the mansion, a replica of the original guests. In Britain, the chief obligations of the titled picked up from some wild duck of his acquaintance. house built in 1730 by Hugh Fortescue, the 14th Baron are to survive inheritance taxes, hang on to the fam- “Do you like white ladies?” he asks one of the guests, Clinton and fi rst Baron Fortescue of Castle Hill. “In the ily silver and provide an heir. Lady Arran has jumped a New Orleans gynecologist named Quinn Peeper. 1930s, a huge fi re gutted the center block of Palladian through all these hoops, alongside doing her part for “I beg your pardon,” the startled Peeper says. House,” she says. “My grandparents, the fi fth Earl charity. Among other things, she is patron of the Royal “A white lady, the drink,” says the earl, mischie- Fortescue and his wife, rebuilt it immediately.” The Devon Yeomanry, vice chairman of the governors at vously. “Gin, Cointreau and lime juice. It’s delightful.” park and gardens have been under restoration pretty West Buckland School, president of the Calvert Trust Slim and splendidly erect, Lord Arran pairs his much ever since. “The estate is a huge responsibility,” Exmoor, patron of the Forget-Me-Not Trust and mem- deep-blue blazer and white pocket square with says the indefatigable Lady Arran. “We tinker away ber of the Prince of Wales’ Council. mango-colored trousers. A Conservative govern- around the edges, doing our best.” Lady Arran clearly loves to conduct tours and ment minister for nearly a decade, he was one of the The couple has embraced diversifi cation as what expound on her heritage. When Savage’s rolling house last hereditary peers to sit in the House of Lords. Lady Arran calls a “positive route forward.” Castle party makes a pit stop, she deconstructs the rather He and the countess—better known as Tommy and Hill now hosts everything from seasonal shooting par- stolid portrait of the wife of Matthew, the second Nell—live in Palladian House, a Georgian-style man- ties to the National Sheep Dog Trials. This summer a Baron Fortescue of Castle Hill. “Lady Fortescue appar- sion perched on a gently rolling slope that overlooks concert by the English tenor Russell Watson was ently had nothing else to do but sit on her bottom and Castle Hill estate, 5,500 acres of ornate gardens, park staged on the cow pasture. Part of the profi ts were get painted,” says Lady Arran. As if on cue, her rascally woodlands and pastures in North Devon. “I’m funda- plowed into the property. husband strides in from his study and asks, “Is every- mentally a farmer,” Lady Arran says, referring to the It was Lady Arran’s idea to redecorate the entire one suffi ciently inebriated?” ROYALTY SLEPT (AND SLEEPS) HERE HOUSE PARTY Portraits of Guests enjoy royal ancestors cocktails in the preside over drawing room of the drawing Castle Hill. room (above); Lord and Lady Arran (near right) refer to monetizing access to their home as “a positive route forward”; Lady Margaret’s bedroom (below).

AT YOUR SERVICE Butlers Robert Smith (above left) and Gary Lindley (right) unpack for guests and serve each meal at Castle Hill (below), available for shooting parties and musical performances.

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1211_WSJ_Travel_02.indd 110 10/31/11 8:53:22 PM 1211_WSJ_Travel_01.indd 111 10/28/11 3:27:59 AM FRAMPTON COURT Rollo and Janie Cliff ord THE HELP Marion Kemp, a keen hunting ladyy WELSH WONDERLAND Eastnor’s Front of House RAMPTON COURT ESTATE HAS A LIBIDINOUS $800,000. With the aid of generous grants, the building from the village, helps serve lunch Manager, Ben Chapman history. Jane Cliff ord was reputedly born in was faithfully patched up. “The government helped out (far left); the castle the stone and timber-framed manor some with a sting in its tail,” allows Rollo’s oldest daughter, at Frampton Courtrt (left); the 18th- exterior (above); and 860 years ago. A romantic entanglement with Jessie. “We had to open the place to the public.” century orangery red bedroom (left). Henry F II prompted him to call her his “rose of the Frampton Court mansion, unoccupied by the family (below) plays world,” hence the handle “Fair Rosamund.” According since the death of Rollo’s mother, Henriette, became the host to families to legend, Henry’s jealous queen, Eleanor of Aquitaine, tourist centerpiece. Built for a Bristol customs offi cial as and friends and “discerning off ered his mistress the murderous alternative of a dag- a sort of bachelor pad, the house is a fabulous fusion of holiday-makers ger or a cup of poisoned wine. “Jane managed to dodge baroque and Palladian architectural styles, its orangery seeking elegance the choice,” says Rollo Cliff ord as he leads Savage’s capped by a parapet edged with pinnacles and battle- and an idyllic party past a hedge of Rosa Mundi, the red-and-white ments. “It’s terribly grand,” sighs Jessie, a 33-year-old setting,” accordingg striped rose named for her. “She died in a nunnery.” milliner who keeps a studio on the ground fl oor and to the property’s website. Rollo was born in the manor, too, though not in lives in the nearby village. “And everything else on the the tiny, oak-paneled bedroom known as Rosamund’s estate isn’t so terribly grand.” Bower. In 1963, his family moved from the quirky 13th- “We pay a small fortune just to keep the house century manor to Frampton Court, the 18th-century warm, and it’s never warm,” she says. “The reality is mansion just across the village green. Twenty years that we’re just trying to keep on top of the running later he moved back into the manor with his wife and costs.” Jessie is saying this while she, her husband and four children. The estate now comprises 1,500 acres of a team of caterers in starched uniforms serve lunch to meadows, woodlands and lakes harboring a profusion Savage and his house partiers. “Whoever is in charge of wildfowl and 17 species of dragonfl y, the most boun- on the estate is just a temporary custodian,” she says tiful in all of Gloucestershire. “We’re based on farm- with a hint of resignation. EASTNOR CASTLE ing here,” Rollo says, “and at the mercy of the ups and There doesn’t seem to be much chance that Jessie will James and Lucy Hervey-Bathurst downs of the agricultural world.” Meanwhile, the cost ever be awarded custody. By the feudal principle of pri- of preservation goes only in one direction: up. Historic mogeniture, she and her two sisters have been relegated structures need regular attention, and in England even to the bottom of the stately pile, below their kid brother, GENTLEMAN WHO SHOOTS A SPRINGBOK a state of daunting disrepair. Hervey-Bathurst and basic work must be carried out to a high standard. “You Peter. Their father, Rollo, was the second of three sons. antelope faces the same dilemma as a gen- his fi rst wife, Sarah, dedicated themselves to turning really need a bank or an oil well in the family, and we’ve His older brother, David, apparently disinherited him- tleman who shoots his mother-in-law: What the dilapidated landmark into a commercial enter- got neither,” says Rollo. “This estate is like a big open self. “David is a bohemian musician,” Rollo says. “He do you do with the body? James Hervey- prise. They refurbished and extended central heating, mouth that you have to feed with money.” didn’t want anything to do with Frampton.” Bathurst A suggests that you stuff the antelope. But he restored six bathrooms and turned the Great Hall into In 2001, a full-scale restoration of the 16th-century Jessie does regard having lived at Frampton as a heavy hedges on the disposition of the dispatched in-law. the kind of drawing room favored by an Edwardian wool barn (the frame is homegrown oak; the roof, privilege. “With the weight of eight centuries of history Hervey-Bathurst is the owner of Eastnor Castle, a house party. The refurbished guest bedrooms include Cotswold stone tile) cost £500,000, or more than on your shoulders, the concern is cocking it all up.” stone-clad family fortress set on 5,000 acres in the the chamber—hung with 18th-century hand-painted Welsh Marches on the western fl anks of Malvern Hills. Chinese wallpaper—where Queen Mary (Queen On this particular afternoon in the Great Hall, a stuff ed Elizabeth II’s grandmother) slept on a visit in 1937. “Her MANSION FOR HIRE Frampton lion (actually, a half-lion) grazes in a display case while Royal Highness didn’t take a fancy to anything in our Court (left), a mix Savage’s party of house-hunters lolls about on well- collection,” Hervey-Bathurst tells the couple Savage of Baroque and stuff ed sofas. The room—a veritable taxidermy hall of has picked to occupy the chamber for the night, “so it Palladian styles, fame that measures 55 feet high, 60 in length and 30 remained intact when she left.” “is like a big open wide—is one of nearly 100 in a Norman Revival citadel To fi nance this vast chunk of stately history, Hervey- mouth you have to feed,” says Rollo that has been alternately lauded as one of the fi nest Bathurst and his second wife, Lucy, hire out the castle Cliff ord (right) with examples of 19th-century historicism and ridiculed as for events ranging from weddings in the Pugin Room to his wife, Janie. GETTING IN mock-medievalism. the Big Chill music festival in the 300-acre deer park. The Henry Francis du Pont Collectors Eastnor Castle was built between 1812 and 1820, “Eastnor easily could have been abandoned by the fam- Circle was founded in 1984 by for the second Baron Somers, by Sir Robert Smirke, ily or repurposed for institutional use,” Savage says. Winterthur Museum donors with the architect of the British Museum. It is most cel- “Instead, James adapted the house for nuptials and a strong interest in antiques and ebrated for the interior decoration by Augustus Pugin, light corporate functions and, of course, the more inti- a commitment to preserving Winterthur’s reputation as the carried out two years after he remodeled the House mate house parties—when it really comes to life.” preeminent institution for the study of Lords in the same neo-Gothic style. The drawing Today, the estate brings in just under $5 million a of American decorative arts. room is his most complete room outside the Palace year. “The money covers the running costs, but not Benefi ts of being a patron include of Westminster. Hervey-Bathurst’s mother, Elizabeth, the repair costs,” says Hervey-Bathurst, who until entrée into public and private collections and travel opportunities in was the daughter of the sixth baron. “After the war, she recently represented British country-house owners as U.K. GOTHIC The owners of the U.S. and abroad. Future itineraries and my father contemplated dynamiting the house,” president of the Historic Houses Association. “A major Eastnor Castle, include Boston, Tuscany and, in he says, “but they gave up the idea when told the cost.” repair project wipes out the profi ts.” The strain of run- James and Lucy June 2012, England as the private During the 1950s, the couple retreated to the more liv- ning a castle at least partly accounted for his divorce Hervey-Bathurst houseguests of the Earls of Bradford able rooms on the south side that had once housed the from his fi rst wife. In a very public split that echoed (above), finance at Westin Park. Cost varies; past tours range from $5,000 to $10,000. servants. “That part of the house still constitutes the “Lady Chatterley’s Lover,” the viscount’s daughter the upkeep on their stately family apartments,” Hervey-Bathurst says. reportedly dumped Hervey-Bathurst and ran off with a For information call home by 302-888-4878 or email When he inherited Eastnor in 1986, much of the gamekeeper from her father’s Yorkshire estate. hosting weddings [email protected]. castle had been uninhabited for decades and was in “She wanted a smaller place,” he says. and festivals.

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1211_WSJ_Travel_03.indd 112 11/1/11 3:38:37 PM 1211_WSJ_Travel_03.indd 113 11/1/11 3:38:40 PM EATING SPAIN If you were going on a cook’s tour of the ultimate food destination in the world today, you would fi nd yourself in Spain. Our intrepid gourmand travels ahead to serve as your personal taster

BY JONATHAN GOLD PHOTOGRAPHS BY THIBAULT MONTAMAT

IMAGINE A TREE, A LIVING, MINIATURE OLIVE TREE, WHOSE BRANCHES BEAR HEAVY, golden fruit shining like poisoned apples in the late-afternoon sun. The tree is a bon- sai of sorts, gnarled and thick-trunked, rooted in a vessel that appears to have been fashioned from the earth itself. Not without diffi culty, a man in a dark suit heaves it onto your table. You understand without being told that you are to pluck one of the glittery orbs and pop it into your mouth. Its skin, crisp and brittle, shatters under your teeth, releasing a complex brine, all ocean, sugar and decay, which fades to a subtly penetrating bittersweetness that lingers until it is washed away with a sip of cold wine. Does the substance of the fruit matter? The moment is sublime. This olive, wrapped with a bit of anchovy into a microscopically thin membrane of caramel, is the fi rst thing you taste at El Celler de Can Roca, a Catalan restaurant that ranked second in the world on the San Pellegrino World’s 50 Best Restaurants list this year. It is a perfect representation of the possibilities of Molecular Gastronomy, or Techno-Emotional cooking, or Modernist Cuisine, where advanced cooking tech- niques and exotic ingredients are valued as much for their narrative possibilities as for what they might bring to a plate. Homer would have appreciated Can Roca’s olive tree. Cranach would have painted it. Nietzsche would have understood it. Golden fruit set into motion the Trojan War, Götterdämmerung and, of course, expulsion from Eden. But more to the point, Can Roca’s tree can be seen as a challenge to the “spherifi ed olive,” the famous explosion of olive essence contained only by a thin membrane of its own jellied juices, that was among the gastronomic miracles at Spain’s El Bulli, which in its last days this summer became less a restaurant than a shrine. El Bulli’s chef, Ferran Adrià, has achieved a level of fame usually reserved for heads of state. He is celebrated as an artist, an inven- tor, a poet. Ambitious diners mourned the restaurant’s demise—it will reopen in 2014 as a kind of culinary think tank—when they realized that they were never going to have a chance to visit the smallish seaside dining room, which had already been deny- ing more than 2 million requests each season. The world agreed: Adrià was not just a great chef but perhaps the greatest. The king is dead. Long live the king. Even if your face may be known in every three-star in Paris, and Osaka kaiseki chefs tremble at the sound of your name, there is nothing quite like your fi rst taste of high-church Modernist Cuisine, which is to say that branch of Adrià-inspired restaurant cooking whose fi rst concern is presenting things as they are not. If you have been served a foam, a gel, a powder, a snow or an egg of strangely perfect consist- ency, you have experienced Modernist Cuisine. If your last piece of lamb or salmon felt rare but was obviously cooked through, that was Modernist too. Modernist tools, including the dehydrator, the liquidizer, the immersion circulator, the low-

114 TREE OF LIFE The olives attached to this miniature tree at El Celler de Can Roca, the award-winning Catalan restaurant, are both delectable and unforgettable. 115

1211_WSJ_SpainFoodTour_02.indd 114 11/1/11 1:50:40 PM 1211_WSJ_SpainFoodTour_03.indd 115 11/2/11 2:59:20 AM Can Roca’s escalivada temperature steam oven, the rotovap, the smoke gun oaks; small, oily fi shes; snails fed on rosemary; saff ron among them, daubed on the plate in abstract-expres- and the fl ask of liquid nitrogen, are now fi xtures of res- and dark chocolate; squid ink and roses; tomatoes and sionist brushstrokes—fi ve sauces, fl at and undistin- is presented as soft taurant kitchens everywhere in the world. olives. The two centers of the movement, Catalonia and guished by themselves, that in combination express globes of zucchini, Still, even if you have dined at the most important San Sebastián, may be the parts of the country closest to the Catalan Mediterranean. Modernist restaurants in the United States, including the evolved restaurant culture of France, but the essence There is a certain grammar to meals at Modernist pepper and eggplant Alinea, WD-50, Moto and Bazaar, whose chefs can all of the cuisine could not be less French. Many of the best- Spanish restaurants, which as a customer you are served under a concoct spherifi cations and invert-sugar resins with known Modernists, including Roca, Adrià and Mugaritz’s expected to understand. You will probably be led one eyedropper tied behind their backs, you really Andoni Luis Aduriz, have literally introduced Spanish into the kitchen to shake hands with the chef or his smoke-fi lled dome. haven’t experienced Culinary Modernism until you’ve soil as an ingredient, distilling its essence to perfume an designate, and you will admire its sterile modernity. tasted it in Spain, where even journeyman chefs know oyster or sprinkling it onto a dish of steamed hake. You will be asked if you have any allergies or dislikes how to convert foie gras into hoarfrost and mango I had been sent to Spain to explain why it might be the (often this comes months before the dinner, when you into bouncy caviar. Culinary Modernism may extend best restaurant country in the world. I was to do this on make your reservation). You will be told that a menu to every world kitchen equipped with a vacuum sealer the basis of Modernist restaurants alone, restaurants on has been composed especially for you, which is techni- and a jar of xanthan gum, but it is best understood as the San Pellegrino top 50 list, without reference to tapas cally true, although what you are served will be essen- a subset of Spanish cuisine, and in Spain it is every- bars or seafood dens, century-old suckling-pig special- tially what everybody else in the restaurant is eating, where. A hotel coff ee shop in Bilbao may off er dishes ists or rural taverns that fi red their paella over fruit- and you will be handed a copy of this menu as a part- like ostrich loin confi t or raw duck with lychee ice wood. This required a next-to-impossible reservation at ing gift. You will begin your dinner with a series of cream and chocolate vinaigrette. A pintxos bar in San El Bulli. Suddenly I was just one more supplicant trying tiny dishes, universally called “snacks”—at Can Roca, to get a seat at Adrià’s restaurant before it closed. I put these include chicken-skin crackers and fried anchovy in calls, faxes and emails to Luis Garcia, the charming skeletons fried in something like a Thai shrimp chip. yet elusive gatekeeper at El Bulli, but compared to him, (It can be diffi cult to determine when the snacks end Rao’s infamous Frankie No may as well be a yes-man. and the meal proper begins.) You will never see a price until EL CELLER DE CAN ROCA after you have fi nished eating, but it will usually run up THIS IS HOW I WOUND UP STARTING MY MODERNIST to $250 apiece before wine. Cuisine tour: not at El Bulli but at nearby rival El Celler You can usually get a complex de Can Roca, up the Costa Brava, through the olive-green wine pairing if you want one, hills and into the handsome cathedral town of Girona. If but sommeliers realize the you neglect to spring the extra couple of euros for a GPS, diffi culty of matching dozens you will be seeing quite a bit of Girona before you realize of almost abstract tastes, and EL BULLI The castle of the once and future king, Ferran Adrià. that the restaurant is not in the middle of town but on may suggest a modest, food- its industrial outskirts, half a dozen roundabouts past friendly wine from the region Sebastián may feature sous-vide pigeon breast with anything you’ll recognize on a map. that will cost less than you MY GIRONA beet-juice “blood” and edible buckshot. Can Roca, a severe wooden fortress hovering over expect. Every dish will be pre- Can Roca is located Ever since the fi rst championship season a decade its small street, is reachable only through a deserted ceded by exhaustive instruc- in the medieval ago, when foodies realized the omnipresent foams, the courtyard. On display in the long entranceway, as is tions in the language of your town of Girona repurposed breakfast cereal and concoctions of eel and usual in Modernist restaurants, are enough restaurant- choice, and the waiter is never (left); escalivada, a apple had to come from somewhere, and serious cook- associated volumes to stock a small bookshop. The din- happier than when he is able to dish of slow-cooked vegetables (above). book shelves seemed as naked without fantastically ing room is arranged in a triangle around a glassed-in tell you in which inlet today’s expensive volumes from Adrià and Oriol Balaguer as grove of birches, a space just waiting to star in a bit of prawn was trapped. they had without Alain Ducasse and Michel Bras just eco-architecture porn from Dwell. Jordi Roca may be best known for a dessert that the year before, it has been taken for granted that Spain Joan Roca—his brothers Jordi and Josep serve as attempted to evoke the experience of Lionel Messi has the most inventive restaurant culture in the world. pastry chef and sommelier—is credited as the fi rst scoring a goal in Barcelona’s Camp Nou stadium, The cream of the G450 chef to use an immersion complete with a soundtrack, synthesized grass and crowd subtly began to circulator, a tool that a simulated ball. Nothing quite so ambitious was on nudge their yachts away The dehydrator, the liquidizer, is now in almost every the menu the afternoon I visited, although there was from Monaco’s Le Louis XV the immersion calculator, kitchen in Europe. He an example of Roca’s Colourology series—following toward Roses and El Bulli, wrote what was for years a Modernist chef is a bit like following an artist like and San Sebastián more or the smoke gun and the fl ask the only manual on sous Frank Stella; you are kind of expected to keep track of less replaced Lyon as the of liquid nitrogen are now vide cooking. He invented each season’s shows— which explored the gradations destination of choice for cigar-smoke ice cream. from shiso to eucalyptus to lime. You know: green young travelers who use fi xtures of restaurant kitchens He was an early adopter things. He is known to construct desserts around the $50 hotel rooms as a base everywhere in the world. of deconstruction, which components of famous perfumes, and his white lemon for exploring $500 meals. in Modernist Culinary sorbet was accompanied by a scent strip, which con- And more important, Spain began to draw the very best terms means isolating the sensations of a dish and jured images of eating Italian ice next to the fat lady stagiaires, the itinerant, highly skilled apprentice chefs then recombining them in unexpected ways—his ver- in an elevator. Another composition juxtaposed black without whose largely unpaid labor Europe’s fi nest res- sion of the traditional escalivada, for example, a kind olive, licorice and caramel in a way that was supposed HARD ROCA taurants would cease to function. of Catalan ratatouille grilled very slowly over a smoky to (and actually kind of did) transform the collective The three Roca brothers: Joan, Jordi The Spanishness of Modernist cooking owes a lot to fi re, is presented here as soft globes of zucchini, pep- fl avors into a rich, complex vanilla when you tasted MODERNIST MUSEUM The main dining room at El Celler de Can Roca. and Josep (left); a the dominance of Adrià, who codifi ed its tropes as surely per and eggplant served under a smoke-fi lled dome. them all together. waitress bearing the as Escoffi er cataloged the grand world of 19th-century When you are served sole, it is not just a fi llet, but It is reasonable to ask whether the Rocas are mak- restaurant’s famous cream sauces, but also because it is from Spanish soil that a section of fi sh taken apart, deboned and put back ing an art statement or a gesture of cuisine, whether edible olive tree. its fl avors erupted: exceptionally fragrant olive oil, bit- together with meat glue, then served with fi ve dif- the deconstructed escalivada, as an escalivada, adds ter almonds and pigs nourished on the acorns from cork ferent sauces, fennel, olive, orange peel and pine nut anything to the version that Grandpa whipped up on a

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1211_WSJ_SpainFoodTour_03.indd 116 11/2/11 2:59:27 AM 1211_WSJ_SpainFoodTour_02.indd 117 11/1/11 1:50:49 PM hibachi. It may be overreaching, but the presentation amount of sense—Bordeaux is within an easy morning’s There is a warmed egg yolk on a spoon, injected with The mille-feuille of eel with foie of the sole seemed to refer less to a culinary precedent drive. Luxury is clearly the lingua franca, here at the a dense broth, that explodes with the fl avor of black gras and apple, a dish that blasted than to Roy Lichtenstein’s famous “Five Brushstrokes,” 29th-best restaurant in the world. truffl es; braised oxtail contained in a cube constructed making it a sauce-based homage to a sculpture of a Berasategui’s ascendance slightly precedes that of from paper-thin wafers of grilled bread; and a garden its way through New York at the painting of a comic-book rendition of a wash of paint— Modernist Cuisine, and although I have no doubt that of tiny vegetables—Atxa’s version of the Modernist end of 1999, is still a classic at it was as clever and intellectually coherent as at least his kitchen bristles with the latest machinery, what classic gargouillou—planted in a raised bed of dark- half the entries in last year’s Whitney Biennial. comes out of it seems closer to 1980s nouvelle cuisine black beetroot soil. A bit of dewlap, a Shakespearean Berasategui, where it was born. Food or art? It was a lot to chew on. I fi red off another than it does to the chem-lab cooking of the Roca broth- word that here refers to the wobbly double-chin of an letter to Luis at El Bulli—“I have been dreaming that ers, when drama came from the elevation of ingredients Iberico pig, is cooked for many hours at low tempera- a table, or even a place at someone else’s table, might rather than from their physical transformation. So that ture, then seared off and laid over a spoonful of mush- open up”—and started on the long, lonely drive to San mille-feuille of eel with foie gras and apple, a dish that room duxelles: It is an ultimate expression of the fl avor ALTA COCINA The chef of Sebastián on the Atlantic coast, Spain’s other center of blasted its way through New York at the end of 1999? of well-raised pig. the eponymous restaurant, Modernist Cuisine. Still a classic at the restaurant where it was born, a A globe of fried blood sausage, surrounded by a fairy Martín Berasategui, and his layered composition of sweetnesses and richnesses ring of tiny wildfl owers and chopped fried cabbage, wife, Oneka Arregui (below); MARTÍN BERASATEGUI that have no reason to work together, but are snapped is slowly immersed in a smooth puree of red beans one of his signature dishes, Gorrotxategi, is egg resting on into cohesiveness by the crisp tartness of thinly shaved poured from a pitcher, whose impossibly concentrated a liquid salad of red tubers and WHAT KIND OF EATING TOWN IS SAN SEBASTIÁN? IT’S green apple. There was the mandatory Modernist fl avor makes the table for a moment smell like an entire dewlap carpaccio (right). a city where the concentration of tapas bars—called Explosion—in this case a plump raviolo in a light squid tapas bar. Red beans with fried cabbage is a traditional pintxos bars—makes Madrid look like Columbus, Ohio. broth that burst into a nuanced gush of warm, buttery Basque family dish, humble as Sunday supper. Here, it It’s where businessmen cook for each other in private squid ink when you popped it with transformed into haute cuisine. dining clubs instead of playing golf. It’s where you can your tongue. A fennel “risotto,” A twitchingly fresh oyster, gar- consult that list of the 50 best restaurants in the world with tiny, sautéed dice of the bulb, Modernists have nished with bits of mushroom cooked as casually as a traveler to Arizona might look at the foamed fennel juice and slivered literally introduced to resemble seaweed, balances on peb- crumpled page on Scottsdale steakhouses ripped out of raw fennel, explored the nuances Spanish soil bles at the bottom of a glass bowl. The an airline magazine—four of the 50 are in the metro- of that vegetable with an obses- waiter pours a little pitcher of liquid politan area, which isn’t bad for a city of 400,000. It’s siveness straight out of primo as an ingredient, into the bowl, which is immediately CULINARY where Michelin stars are nice to have, but aren’t quite Ducasse. And in probably the only distilling its enveloped in a thick, fragrant fog. The PILGRIMAGE enough. Basques know how to cook, they know how to dish that might qualify as High liquid is seawater, taken from a local The property eat and they have the money to pay for it. Modernist, there was a fi llet of essence to perfume inlet and enhanced; the cold sea mist of Martín Berasategui in What I’m trying to say, I think, is that the standards rouget garnished with a mosaic an oyster. brings you to the shore in a way no Basque Country are pretty high. of its own crunchy fried scales— mere taste could. Atxa is renowned in (left), close to But I was still a little surprised to walk onto the ter- fried scales!—with seaweed and a savory white-choc- gastronerd circles for his use of ultrasound in extract- the ancient race of Martín Berasategui, a restaurant I had been olate foam. Still, by 2012, fried scales may be nearly ing scents, and this particular dish is supposed to have pilgrimage route of Compostela. dying to visit for years, and fi nd a scene not far removed as antique as a well-mounted sauce béarnaise. I could engaged the talents of half a university physics depart- from what you would have found at a Michelin three- swear that I saw one of the women in the restaurant ment, but the eff ect comes off less as a technical feat than star restaurant in late-’80s France. The tables were spoon-feeding the rouget to her infant. Clearly, Martín as a triumph of naturalism. comfortable, the waiters white-gloved, the customers Berasategui was not Modernist enough. Even the silliest inventions here, like the dessert French-speaking, the rustic view almost choreographed, It had been a long day. I drove to my hotel, perched that consisted mostly of shiny apple-fl avored bubbles although we were in the middle of the residential sub- above a crumbling theme park, atop a mountain over- clinging to a vertical slab of slate, are meant to make urb Lasarte. The fl atware and the service pieces were looking San Sebastián’s bay. I typed another letter you smile. Gold-plated corn nuts? Why not! signed; Berasategui is an enthusiastic cross-marketer. to Luis: “A single tweet about my missed reservation The wine list was largely French, which makes a certain drew 200 tweets in response,” I wrote. “They suggested MUGARITZ every thing from vengeance to suicide.” IT MUST BE SAID THAT NO CHEF IN THE WORLD DIVIDES AZURMENDI people quite the way Andoni Luis Aduriz does at Muga- ritz, whose presentations range from the awkward to THE NEXT DAY DAWNED WARM AND CLEAR, AND BY the aggressive. His side projects include a fi lm musical the time I drew back the blinds, the beach far below was about food in Ethiopia and Peru, handsome editions already crowded with sunbathers taking advantage of of Michael Pollan books translated into Spanish and a an unexpectedly sunny day in June. Would I join them? I multimedia banquet attached to a production of “Titus SPANISH ARMADA would not. There was lunch to attend to, although not at Andronicus,” whose most famous culinary moment Berasategui meets Arzak, the eighth-best restaurant in the world, which had involves slaughtered princelings baked into a pie. In with his staff before unaccountably closed for the month, but at Azurmendi, a interviews, he praises the beauty of insipidness, herbs the evening service (right); a kitchen with Michelin two-star whose chef, Berasategui protégé Eneko that whisper, quiet fl avors. He likes local plants, espe- a view (far right). Atxa, had become a star at gastronomic conferences. cially the unglamorous ones, and loathes salt, cheer- Azurmendi is about an hour down the coast from San ful splashes of acidity and wisps of crunch. If cooking Sebastián, in a green, agricultural valley not far from has a real avant-garde, a style that frightens away the Bilbao. It shares its address with a winery specializing squares, it is to be found not among the splashy gross- in txakoli, the thin, high-acid wine of the Basque coast, out artists but at Mugaritz, amid the herb garden, on and it is massive in the way that $10 million Aspen ski this green, rural hillside only 20 minutes outside San chalets are massive—you could probably stage a Knicks Sebastián but seemingly light-years away. Aduriz’s is a game in the soaring entrance hall. Azurmendi seems to melancholic cuisine. be a favorite of Bilbao businessmen with three hours When you sit down at Mugaritz, you are presented for lunch. Unlike many of the Modernist chefs in Spain, with two small envelopes. One is marked “150 min- Atxa seems devoted to pleasure. utes…submit!”; the other, “150 minutes…rebel!” You are

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1211_WSJ_SpainFoodTour_03.indd 118 11/2/11 2:59:28 AM 1211_WSJ_SpainFoodTour_03.indd 119 11/2/11 2:59:32 AM asked to choose between them. You choose “rebel”— enough and bold enough that it stands out among doz- I sat on a lovely patio, like the terrace of a nice, old why wouldn’t you?—and slide a printed card out of ens of examples of its type, and it still resonates on the beach house, with worn brick, bushy Mediterranean Mugaritz’s chef praises the appropriate envelope. It reads: “150 minutes to palate weeks later; a meal meant to stun you in retro- plants and precise but pleasant lighting. Outside, waves the beauty of insipidness feel embarrassed, fl ustered, fed up. 150 minutes of suf- spect as much as it is to satisfy you at the time you eat lapped the black shore, and tinny music blared from a fering.” You are beginning to get an idea of this place, it. Or perhaps, it too is just art. party way down the beach. There were distant shouts; and herbs that whisper. even beyond the severe lines of the dining room and I peek at the contents of the envelope labeled the music of women’s laughter. Lights from a boat He likes local plants, the broken-plate sculptures that appear on each table “Submit”: “150 minutes to feel, imagine, reminisce, bobbed in the cove. in place of fresh fl owers. discover. 150 minutes to contemplate.” If this meal was As Clarke’s Third Law states, “Any suffi ciently especially the unglamorous His signature presentation is called Edible Stones, a test, I had failed before I tasted a single bite of food. advanced technology is indistinguishable from magic.” ones. He loathes salt, and when it comes to the table, there it is—edible I drive back to my mountaintop lair. There is just But the reason I suspect Adrià is stepping back in the stones, which is to say potatoes encased in a thin enough time to send off an email before I walk downstairs prime of his career, is that by now we’ve seen all his cheerful splashes of acidity coating of kaolin clay and then fi red until the clay to wander through the fun park’s mirrored labyrinth. tricks—the hot foam on cold drinks, the olive oil chips, and wisps of crunch. is glossy and the potatoes are more or less cooked. “Dear Luis: I have written you this week far more faith- the fi ne mists of cheese, even the friable wafers that They are colored with squid ink and a Japanese tooth fully than I have ever corresponded with either of my collapse into dust like the creature in the Mummy’s powder made from charred eggplant. They do, in fact, brothers. I feel as if we are practically family by now.” Tomb. We see the hat; we expect a rabbit. resemble rocks, the smooth, rounded ones you fi nd in And although his air bread really melts into air, and stream beds. EL BULLI the delicate punch of his reverse-encapsulated olives NEEDLE IN THE HAY Have you ever wondered what it might be like to reminds you why so many chefs try to duplicate them, it Mugaritz’s master chef, eat a stone? Because it’s probably less wonderful than WHEN I WAKE UP IN THE MORNING, THE DAY BEFORE has gotten to the point where his methods have so thor- Andoni Luis Adruiz, at rest (below); a dish he you might have imagined as a preschooler. The clay I am to leave Spain, I fi nd an email with news. A table oughly saturated the food culture that the dudes with calls Shhh...Cat Got Your cracks under your teeth—the coating is no thicker had been found for me at El Bulli that evening, at 6:30 the pig’s blood crusts and the shavings of retired dairy Tongue, a haystack of than a shrimp shell—leaving behind only a clean, sharp. Did I mention that I was in San Sebastián, 400 cow revere him more than they look to him as the future. cooked beef-tongue powdery residue and a lingering taste of unwashed miles distant from El Bulli, which is on a secluded inlet Grant Achatz is already preparing to serve a menu of El fibers (right); the potato. Kaolin clay is the preferred nosh of pregnant just south of the French border? No matter: Many hours Bulli cover versions at his Next in Chicago, and as much restaurant’s kitchen (below right). women affl icted with pica; the famous dirt-eaters of later, I limped into Roses, hopped into a taxi to take me as you want to say it’s too early, that Georgia. It was also at one time the main ingredient the last twisting miles to the restaurant, and arrived Adrià is still a creative chef, you’ve in Kaopectate. In parts of Turkey, cookbook author panting on the restaurant’s doorstep only 90 minutes got to admit it makes sense, the way Paula Wolfert says, you can buy little jars of the stuff past the reservation time. The taxi driver insisted on that Neil Diamond songs are sound- to season your food. (Aduriz sprinkles a little of the snapping a picture of me in front of the restaurant’s ing pretty good on the radio right powder on a pale dish of hake and cabbage sprouts.) famous sign. “For memory,” he said. now, and the oldies stations are play- It is clear that you can eat clay. The question is why Luis stepped through the door and greeted me like a ing a lot of Dr. Dre. you would want to. brother. Adrià stood awkwardly just inside the entrance When you leaf through one of the And what, for example, could explain the shiny olives to his kitchen. He shook my hand with the enthusiasm El Bulli books, either the fantastically that turn out to be beans coated in an emulsifi ed tape- of Kobe Bryant cornered by a season-ticket holder. It complicated manuals that come slip- nade, which are less good than either beans or olives, or didn’t matter. I was in. cased with DVDs, or the more user- a foamy “beer” made from clarifi ed vegetable broth, or If you have read anything about gastronomy in friendly “A Day at El Bulli,” you will a sheet of tasteless edible plastic smeared with a bit of the last decade, you have probably seen your share of notice that they read more like shop lobster coral? Why is the delicious ragout of artichoke what Slate called the I Ate at El Bulli piece, describing manuals, with precise instructions, and bone marrow spooned into a gummy, hollowed-out the experience with a level of detail usually reserved quantities measured to the gram, and puff of bread made from ground kudzu, a substance that for high-class erotica. There are also the inevita- logical schematics than they do like the Japanese transform into bouncy, ble meta-articles, describing cookbooks—there is scarcely a sen- transparent noodles? It is fun to the experience in the process of sual description, a whiff of aroma or be handed a tumbler of Armagnac Chef Aduriz staged acknowledging that even the idea an indication of texture to be seen. that reveals itself as clarifi ed quail a banquet for of these descriptions are clichéd. Does El Bulli–style cooking hew a broth, although you might wish Sam Sifton, the New York Times little close to the 1960s minimalist the broth to have the same weight a production of restaurant critic, wrote a parody conceptualism of Lawrence Weiner and intensity as the brandy, also “Titus Andronicus,” description of Adam Platt’s nearly or Yoko Ono? Perhaps. Is there also maybe—I am weak!—to have seen a whose most famous parodic description in New York a bit of the infomercial in the cui- touch of salt. I enjoyed the haystack magazine, then tweeted it in a sine? Defi nitely. If you go to albertyferranadria.com, of what tasted like crisped Chinese culinary moment doubly parodic way. The tweets you’ll fi nd a pretty sizable line of branded products beef fl oss—it looked very much involves slaughtered about the blogs about the tweet developed in Adrià’s Barcelona studio, chemicals and like the actual haystack outside the about the parody of the review devices that make it not just possible but easy to turn window—although I am not sure princelings baked about the review set into motion out your own melon caviar, lemon air, peach paper the eff ect is worth the kitchen hours into a pie. tsunamis of meta that threatened and black-olive Oreos. necessary to tease apart cooked to engulf the earth. Plus, the res- As much as I loved the restaurant, what came to beef tongues into individual fi bers with toothpicks. Bits taurant is closed now. If you want to taste this food, mind was those scenes that pop up a few minutes into of local rockfi sh stacked so that your teeth understood you’ll have to visit the El Bulli satellite in a hotel out- James Bond movies, where M leads the spy downstairs the diff erence in textures between each of them; gooey side Sevilla when it reopens in March or wait to be to see what the boys in the lab coats have whipped up. cod throats juxtaposed with a kind of pine nut por- invited as a guest of the academy in 2014. And you get the feeling that Adrià is no more concerned ridge; a sugar cone made out of actual sugar, fi lled with Do you care that I was served 41 courses, unless it as to why anybody might feel the need to nibble at a ice milk punctuated with blossoms and cast-chocolate was 39 or 43; that the rhythm of the meal involved frozen Gorgonzola volleyball or crunch a gold-plated SEASIDE DELIGHTS San Sebastián’s spectacular La nails—I got the point, I guess, although it was a lot like intersecting series of improvisations on the themes dowel of raw soy sauce than Q, the master technician, Concha bay (left); a detail from a Mugaritz dish of watching a sad movie without subtitles. of ravioli, Parmesan cheese, shellfi sh and nuts; or that needs to contemplate why anybody might need a key broken walnuts, cool milk cream and Armagnac jelly. Perhaps Mugaritz is the restaurant equivalent of a the hare organs were served with a smeary wineglass chain capable of taking down a helicopter. It is cool, $200 California Cabernet: It makes a statement odd of Type-O that turned out to be reduced beet juice? and it can be done. In the end, that is enough.

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1211_WSJ_SpainFoodTour_03.indd 120 11/2/11 2:59:33 AM 1211_WSJ_SpainFoodTour_02.indd 121 11/1/11 1:50:58 PM THE CATROUX OF PARIS AND The decorator François Catroux and his wife, Betty, have been at the forefront of French style for decades. With a PROVENCEboldly modern revamp of their city apartment and the idyllic evolution of their house in the country, Catroux shows he is still at the very top of his game

A PERFECT MATCH This page: Betty and François Catroux in their previous apartment on Quai de Béthune, in 1972. Opposite: The couple today in the library of their Paris apartment. The painting above the sofa is by Emmanuel Gondouin

from the 1930s. NAST ARCHIVE. PREVIOUS HORST/VOGUE/CONDÉ COPYRIGHT PAGE: © CONDÉ NAST BY DAVID NETTO PHOTOGRAPHS BY FRANÇOIS HALARD

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1211_WSJ_Catroux_01.indd 122 10/28/11 4:38:57 AM 1211_WSJ_Catroux_01.indd 123 10/28/11 8:11:26 AM Catroux is at the top in the constellation of great designers, alongside David Hicks, the British talent who mixed modern and patrician style.

MASTER WORKS A Vladimir Kagan sofa, a 1995 portrait of Betty Catroux by Philippe de Lustrac and a “Big Easy” chair by Ron Arad provide a sinuous sense of drama to the living room.

1211_WSJ_Catroux_02.indd 124 11/1/11 12:08:41 PM 1211_WSJ_Catroux_01.indd 125 10/28/11 4:39:08 AM DESIGN FOR LIVING Clockwise from left: Personal mementos Catroux’s interiors and books are everywhere; the living from the ’60s remain timeless room features intersecting curves; because he knew how on Ron Arad’s 1990 polished steel table to temper Space Age severity sits a bronze Cubist falcon by Russian with softer curves, warmer artist Czaki and one of Catroux’s signature colors and classic pieces. Atlas sculptures. Opposite, from left: The cabinetry in Betty’s offi ce evokes the art deco style of designer Pierre Chareau; a bronze monkey by François-Xavier Lalanne perched atop a stainless-steel cocktail table.

TEPPING INTO THE LEFT BANK APARTMENT at the top, alongside David Hicks, the British talent create a sleek space layered with interesting objects. For of François and Betty Catroux, you would not who mixed modern and patrician style, and a bit left furniture, he goes for sweeping, dramatic pieces—a 1950s think that this was the home of an older cou- of the American designer Peter Marino, whose work is velvet Vladimir Kagan serpentine sofa faces a voluptuous ple—but perhaps rather that of people in their a singular combination of architecture, art and luxury. one by Jean Royère from the same period. A Ron Arad Stwenties. But François and Betty Catroux are no ordi- Catroux has designed projects in almost every style, 1988 “Big Easy” chair, fashioned from bent steel, looks nary couple, and they bring inimitable style and energy from his beginnings, when he worked in a ’60s Space like an industrial sculpture among the other organic to any room they happen to occupy. Betty is known to Age groove, to the sleekness of the ’70s, which he clev- shapes. Across the room, Catroux has placed another the world as the former model who became the muse erly accented with French and Asian antiques, to the work by Arad, a massive table of polished steel, but here and confi dant of Yves Saint Laurent (the late designer opulent but no less elegant robber baron mode of the the curvaceous shape mimics the lines of the sofas. referred to her as his female twin), while her husband is ’80s, where he tapped into the full-blown grandeur Scattered throughout, there are pieces Catroux has one of the most respected decorators in the world, with of 18th-century France. The Algerian-born designer had for decades, such as the colossal African mask a roster of clients that has included Rothschilds, Santo is not as well recognized as he should be, primarily dominating the entry and the equally massive falcon Domingos, Millers, the Shah of Iran and King Hussein of because he has spent less time than most top decora- sculpture on the Arad table. There’s also a star mir- Jordan. Their social life (the two met at an art opening tors celebrating these projects—there is not one book ror over the fi replace (one of a pair, the other hangs in Paris in 1967) has been just as glittering—fi xtures in on his work, although there should be. over the couple’s bed) and an Atlas fi gure supporting Parisian nightlife of the ’70s, they hung out with Loulou For his newly redecorated Paris apartment, Catroux an armillary sphere. Atlases are something of a talis- de la Falaise, Brigitte Bardot and Serge Gainsbourg. reached into the past and conjured the future all at once, man for Catroux; you see them sprinkled among his Should you wonder where François Catroux sits in employing some of the best tricks of his 40-year career. projects. “I like the idea of infi nity and space they evoke the constellation of great designers, it would be right In the living room, he casually mixes styles and periods to for me, as well as their perfect shape,” he explains.

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1211_WSJ_Catroux_03.indd 126 11/2/11 3:09:41 AM 1211_WSJ_Catroux_03.indd 127 11/2/11 3:09:48 AM GARDEN PARTY Clockwise from right: Clusters of topiaries populate the courtyard at the Provence property; the farmhouse living room; Catroux at his country retreat; the dining room is a study in effortless informality; the lavender beds are punctuated with cypress trees.

One of the most charming and beautifully detailed created a sleek manifesto in black and white, com- styles, periods and colors—to create the most refi ned spaces in the apartment is Betty’s offi ce. Catroux has plete with contemporary sculpture and undulating and sophisticated environments, always original with a outfi tted the room with built-in cabinetry, which has banquettes. Through a friend, fashion designer Mila touch of the exotic. been veneered in extremely rare palm wood, accented Schön paid a visit and was impressed enough to com- with red-lacquer drawer pulls. Lining the shelves are mission Catroux to do her clothing boutique in Milan. S MUCH AS THE COUPLE ENJOYS THE GLAMOUR photographs of the family (Betty and François have two For this, Catroux created a futuristic space worthy of and chicness of their newly renovated apart- daughters). The eff ect is as though a cabinet by Pierre Stanley Kubrick, featuring circular display islands and ment, they are perhaps happiest of all in Pro- Chareau has grown up and covered the whole room, an amphitheater in the round for fashion shows. The vence at the 16th-century farmhouse they clearly a gift from husband to wife. store made the cover of L’Oeil, an infl uential art maga- Abought in 1990. “I haven’t been to a nightclub in 30 Catroux’s eye for design seems to be innate. After a zine at the time. Today Catroux credits this project years,” says Catroux, who is far more interested in his stint in the army (his grandfather was a French general) with launching his career. garden these days than nights on the town. he traveled to the States to consult for Elle magazine. It During this time, Catroux became to decoration what For his country retreat, he has turned the interiors was during this time that he socialized with a sophisti- Vidal Sassoon was to hair: The Future Is Now. While of the stone house into a series of comfortable spaces cated crowd including Cole Porter, Pam Hayward and the most intergalactic design from this era has aged about centered around a long vaulted salon. The gardens decorator Billy Baldwin, who was the resident designer as well as Nancy Sinatra’s boots, Catroux’s interiors are an array of enchanting outdoor rooms, which give for people like Babe Paley and Diana Vreeland. He learned from this period remain timeless because he knew how way to views of the mountains of the Luberon Massif much in this atmosphere about taste at the top. to temper the Space Age severity with softer curves, beyond. “You have to get here in July, when the laven- When he returned to Paris in 1967 and decorated warmer colors and classic pieces of furniture in the mix. der is blooming,” says Catroux, with the pride of a gar- his own apartment on the Quai de Béthune, Catroux This would become his trademark—the combination of dener. The house is built around a courtyard, which is

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1211_WSJ_Catroux_02.indd 128 11/1/11 12:08:51 PM 1211_WSJ_Catroux_03.indd 129 11/2/11 3:09:52 AM TAILORED WILDERNESS At ground level, the path to the secret grove containing the swimming pool is formally laid out, with ball topiaries and boxwood topiaries. “I haven’t been to a Above, nature takes over and the trees are nightclub in 30 years,” says Catroux, wild and picturesque, expressive of the who is far more interested in his naturalistic beauty gardens than nights on the town. of Provence.

1211_WSJ_Catroux_02.indd 130 11/1/11 12:09:58 PM 1211_WSJ_Catroux_01.indd 131 10/28/11 4:42:09 AM COUNTRY LIVING Far left: A Calder rug gives energy to the kitchen. Left: The outdoor dining area, decorated with lanterns from Vietnam, is under a covered terrace. Right: In the library and TV room, a pair of Matisse line drawings graphically play off the upholstery ticking of the room’s seating.

RUSTIC CHARM Below left: The dining area features rough- hewn furniture, which works nicely against the roof beams. Right: In the master bedroom, a pair of plaster rock consoles act as night stands. The portrait of the nude figure on the left is by Michel Doré .

fi lled with topiaries and climbing plants—itself as much a Calder rug on the kitchen fl oor adds a touch of the that situation now, no matter how much money they a proper and cozy room as an outdoor space. exotic in an unexpectedly humble place. may have, is about enjoying themselves. Some nice The overwhelming impression given by the Catroux seems to be just as comfortable decorating contemporary art, beautiful houses, but not some- Provence house—all the more striking when you know in this relaxed style as he does for the more high-watt- thing that has to be organized and run like a business. Catroux’s body of work—is its eff ortless informality. He age projects that he built his reputation on. Talking Not so much to manage.” is one of the great experts on furniture and decorative about other designers, Catroux is puzzled by some of When Catroux recently visited Beverly Hills to arts, but the pieces here are rather rustic. (Of course his colleagues’ need to keep it so formal. He sees it as work on a project for his longtime client Diane von there is the odd sophisticated touch, such as the plas- a desire to bring back a style of living that is no longer Furstenberg, I invited him to my house in bohemian ter consoles by the Cuban-born designer Emilio Terry really relevant today. “You know what I mean by L’Art Silver Lake for drinks. With a glass of wine in his hand, that serve as bedside tables.) He is known for a very de Vivre? The way of running a house by a hostess, this nice French gentleman welcomed our dog in his wide-ranging color palette, but these rooms—while with a chef, everything designed to be maximally ele- lap and regaled us with colorful tales about high soci- containing bright textiles and objects—are really gant...” I ask when that style of living ended, thinking ety, fashion and decorating. My daughters were in awe. about the muted tones of stucco vaults and old beams. he might off er some general time frame, like “after the Hors d’oeuvres turned into dinner. Catroux is certainly There are fl ourishes here and there: Catroux has war.” His response is as surprising as it is specifi c. “I someone who can enjoy himself in any setting, however pressed pebbles into a diamond pattern on the cement can tell you exactly when it ended: 1975. The death of humble. L’Art de Vivre may have ended years ago, but fl oor, suggesting a Beni Ourain tribal rug; a gigantic Babe Paley and the few of those ladies left who lived somehow Catroux seems to understand how to bring it prism lantern off ers a dose of drama in the entry hall; that way was right around that time. Life for people in back at will.

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1211_WSJ_Catroux_01.indd 132 10/28/11 4:42:38 AM 1211_WSJ_Catroux_03.indd 133 11/2/11 3:10:05 AM 1211_WSJ_Profile_03.indd 134 dress isquietly beati dress booming businessmuchtothe about theway menandwomen should How an idiosyncratic Belgian envy of the fashion industry. Dries Van Noten hasbuilta conglomerates attheirown game conglomerates designer notions withparticular ng the big corporate ng thebigcorporate BY DANA THOMAS PORTRAITS BY ANNABEL ELSTON OUTSIDER THE INSIDER’S

11/2/11 11:10:28 AM 1211_WSJ_Profile_03.indd 135

PHILIPPE COSTES/WWD ARCHIVE I mn te adu ta rmi idpnet are independent remain that handful the ﬁ equity privateAmong to or Group Gucci or LVMH as such groups corporate to sold or Lauren) Ralph (like market stock the on listed either have brands luxury luxury in rarity designer-run most years, 20 last increasing the today.In fashion an company, his owns boldly,havedon’t “I to grow.” industry—adding fashion luxury today’s billion–a-year in $200 insists—blasphemy he now,” right is company it the as of size the with happy very in “I’m year sales. a dollars billion and several up Prada rack that Gucci, Hermès as such brands megacorporate to compared amount small year—a a sales in million $70 estimated an does ﬁreportedly sales but revealgures, or publish doesn’t he and advertise, doesn’t He sales. ready-to-wear accounts for more than 90 percent of his Noten’sVan clothes, in do they as accessories in much intelligent, artisticdesign. follower, it’s almost like you are speaking in code about fellow a to Dries wearing you’re say you When brand. (pro- “Dries” “drease,”nounced like wear who women following: cultlike a engendered has he this, of Because wear. to easy and modern quite fact, in is, but hanger the on studied and complicated looks that style clothes—a his for loved all three—fashion, houseandgarden—every day.” enjoy to try we “But admits. Notenhere,”Van have we their two-year-old Airedale, Harry. “It’s and a Vangheluwe,busy job, Patrick what years, 25 of partner life and beautiful grounds outside of Antwerp with his business with manor 19th-century a shares LaurenceVanHe home. Bree—orat and Drowart Roman chef friends, his by 24—run Hofstraat as such restaurants, local stylish at dining evenings his spends Noten Van in. sold be will clothing his that paper everything from design to the tissue overseeing diligently, and quietly works and a.m. 5 at rises He rities. red carpet or pal around with celeb- the walk stores, department big in shows trunk host to sort the not is ratherHe spotlight. the in uncomfortable and soft-spoken modest, pity. For meit’s anoverdose.” that’sand on aand on resort,accessories,cruise,and launch, collection another always is there and blogs or style.com on go can you “Now afternoon. autumn decoratedoffi a cold on harbor city the overlooking ce sparsely his in sitting says, he world,” the in fashion hoteldecors.“Personally,or toomuchthereis think I perfumes or jeans no wares,wear, home resort no no menswear,pre-collections,year—noa twice only and He Paris. in shows his for exceptcircuit capitals fashion the avoiding Antwerp, in worked and lived has Noten Van 53-year-old the hn gi, n ms ipraty Vn Noten Van importantly, most and again, Then Unlike most major luxury brands, which often sell as is and clothes, his for simply known is Noten Van is he designers, fellow his of many good a Unlike an anomaly. Since he launched his brand in 1985, in brand his islaunched he anomaly.Since an Noten Van Dries designer Belgian sales, and ership, design by committee and mass production CORPORATE OF WORLD FASHION TODAY’S N ) are uniquely loyal to the toloyal uniquely are please) produces womenswear and womenswear produces women’s collections This, Idon’t like.” a year? Forget it. Some designers Some designers show collection in two weeks. “To do four make their

OWN- rms. o eerh Ta i te atsi pr o or o, he job,” our of part fantastic the is That research. to and theFlemishmasters. Constructivists Russian FrancisBacon, loves ticularly par- and exhibits art in takes he objects; tin collect to Antwerp’s oldport. dog, Harry, along with hisbeloved taking hisdailywalk The designer, today, Opposite:from right. Van Notenisthird designers in1987. youngof group the famed Belgian Antwerp Six(right), at eae n uuy aho hs ae t fi it made has fashion luxury in decade last the in growth in surge The Rykiel. Sonia and Renta la de Oscar Gabbana, & Dolce Versace, Armani, Giorgio to the offithe to shops antique trolls and he markets ce; fl ea on bakery artisanal Korte Gasthuisstraat, for sugar bread, which he tiny brings the Goossens, by stops he and collection of pre-1800 printing presses and books; burnished garden rose its walled romantic with rooms, paneled center,leather city old the in Museum favorite addresses. He often visits the Plantin-Moretus in Blake of co-owner Blaszka, Marilyn which collection, the explains and showroom the in his personally retailers of many with meets He name. his bears that thing just fine. It allows him to keep an eye on just about every- lifestyle Vansuitshis independent remainingand Noten But old-fashioned. downright consider MBAs and tives everyone wasveryhappyafterward.” not groups, to sold who others to happened has what flpunctuatedwith R’s.utteringFlemish yousee “When liberty, my freedom,” says Van Noten in proper English my lose I’d company the sold I if that worried always “I’ve way. that remain to independents long-time for a brandand launch to designer ayoung diffi for cult HAPPY DAYS “To go to exhibitions, to talk with people, to think, think, to people, with talk to exhibitions, to go “To ts wy f unn a uies ht uuy execu- luxury that business a running of way a It’s The The iy ht e u tgte o his of together put he that city vst eevs gie o the to guide a receives visit a for comes who Anyone city. the of proud is and Antwerp adores fi or four only taking incessantly, works he year, a collections four clothes,”the Blaszka says. is and wear people how know know to pleased to wants he “I think collection. next the designing when account into them takes and opinions their to listens he more, Chicago, notes, “is unusual.” What’s v dy o vcto a er He year. a vacation of days ve huh a Ntn os only does Noten Van Though nancially lt f lte! h sy wt a ag. n, Blaszka And, laugh. a reports, theysell“very, verywell.” with says he clothes!” of lot a make to like “I competitors. his of majority the double astounding 1,200 designs for women and 800 for men— and fall/winter for men and for women and produces an collection in two weeks. This, I don’t like.” show their make designers fiSome done, next. nished, be to fihas his ngers—“it snaps click”—he click, click, months, three months, two Youhave Forgetit. year? a women’scollections four do Tolove. really I that thing some- create to trip the is fun most the me, “For says. Y anh hi cres Vn oe hd mns jacket men’s a had Noten to Van careers. connections their their launch used stu- and ambition The had Bikkembergs. dents Dirk and Demeulemeester brand andDonnaytennis, to payhiswaythrough school. children’s a wear including companies, of assortment an pay for it.’�” Van Noten picked up freelance design gigs for that is the case, you can study what you want, but I won’t ‘If said, He angry. so became he And designer.’ fashion a be to want company.I the over take to going I’m think recalls, “I told my father, ‘I love designing so much I don’t the studies,intohe Arts.his month Fine A of RoyalAcademy at enrolling fashion, chose and “boring,” business found He school. fashion or school business choice: the ally runthestore. Paris. It was understood that Van Noten would eventu- and Milan to trips buying on parents his accompanied he school Jesuit his from breaks during and store the in working weekends spent he teens, his explains. Throughout he 1970s,” early the in back concept new a was store,which destination “atown, of outside miles stay-at-home mother. Van a Noten’s father had a fashion emporium 20 and merchant clothing a of children fi for fihabit careful this very attributes be nancially.”He scal responsibility to hisupbringing. Instead, Van Noten focuses solely on spring/summer t h Ryl cdm, e e casae Ann classmates met he Academy, Royal the At him gave parents his college, for time came it When Van Noten grew up in Antwerp, the youngest of four it’s your own money, you can’t. I tried always to you have an investor, you can do that. But when and money and money,” Van Noten says. “When MONEY LOSES THATBUSINESS A HAVE CAN’T OU 11/1/11 3:36:08 PM STRICTLY BUSINESS didn’t pay, so we didn’t in January. Van Noten experienced that and more: “That nothing.’ And our customers told us, ‘Sorry, we don’t From left: Van deliver the second season,” he says, “I made the collection inspired by Iraq have the budget for all of it,’ and kicked us out.” Noten’s 2004 runway part. I can still see the and Iran”—having conceived and designed it before He soldiered onward, doing the clothes he wanted to show, celebrating his 50th collection, racks of pink Harris Iraq invaded Kuwait. As it hap- do, selling them to the retailers he where editors and tweeds hanging there.” pens, he says, “we have a system had long-standing relationships retailers dined on (When reached for where jacket names begin with a B The season before with, such as Barneys, Bergdorf a table/runway; comment, Bartsch said for blazer, and skirts are with an S Goodman and Blake, working with three looks from the the Persian Gulf she couldn’t recall.) for skirt, so that season the blaz- people he likes in a place he loves. designer’s spring 2012 War, Van Noten’s collections; his men’s In 1989, a prime ers were called Baghdad, the skirts A decade on, it has paid off . Today store in Paris; the retail property came were called Saddam, and so on. All collection was he has nine free-standing stores Het Modepaleis store up for sale in Antwerp: the shipments to New York were around the world, three of which, in Antwerp. inspired by Iraq. the Het Modepaleis, blocked in customs because the in Antwerp and Paris, he owns, a fi ve-story fashion papers were fi lled with names of “All the blazers were 450 other points of sale and about emporium built in 1881 cities of Iraq and Saddam.” called Baghdad 110 employees. that sits on an acute “That,” he says quietly, “nearly Remaining independent has corner, like the Flatiron caused us bankruptcy.” and the skirts were allowed Van Noten to evolve at building in New York. He recovered well enough that called Saddam. his own pace. Take, for instance, Van Noten renovated two years later he staged his fi rst That nearly caused the fabrics he chooses for his col- the place, overseeing every detail, from buffi ng the womenswear show in Paris, in lections, most of which are made original bronze and mahogany fi ttings to the choice of the Hôtel George V’s ballroom. He us bankruptcy.” exclusively for him up to a year in curtain fabric. It’s a habit he continues today: He deco- imported white mattresses and advance. This fall, he used a high- rates his stores himself, furnishing them with antiques pillows from India and set them on tech fabric from Japan that looks and artwork that he and Vangheluwe fi nd on eBay and at the fl oor for editors and retailers to sit on. The models, like tapestry. Two years ago, he had village women in auctions. Looking back, he says, buying the Modepaleis wearing big fl owery prints, walked the all-white room remote Uzbekistan weave fabric that was carried by “was one of the best things and the most stupid things to Elvis Presley’s “Love Me Tender.” The reaction was so mule for a day and a half to the local DHL offi ce to be I’ve ever done.” Best because the space is a gem and enthusiastic, Van Noten remembers, “it was scary.” The shipped to his studio in Antwerp. solidifi ed Van Noten as a serious fashion brand. Stupid, result: “More clients.” For his spring collection, Van Noten collaborated he says, because “it nearly killed the company [fi nan- That bubble lasted only so long. When the mini- with a young British photographer, James Reeve, on cially]. But we survived.” malism movement of Jil Sander, Helmut Lang and a digital print of city skylines. Van Noten sliced up Two years later, close call No. 2 came: the Persian Miuccia Prada seized fashion in the late 1990s, Van the printed cottons and silks and combined them Gulf War. Most fashion companies lost a great deal Noten found himself struggling again. “We were doing with pieces of other printed fabrics he had made, of sales-wise because American retailers slashed their a lot of rich prints, fancy things, as everything became the jungle, the sea, 18th-century Italian landscape

THIS SPREAD, CLOCKWISE FROM TOP LEFT: FIRSTVIEW (4); JULIEN OPPENHEIM; COURTESY DRIES VAN NOTEN; ANNABEL ELSTON; BENOIT JEAN TEILLET; PIERRE GABRIEL. spring/summer 1991 orders as the country went to war more minimal and conceptual,” he says. At the same etchings and botanical drawings of roses, to create a time, corporate groups such sort of fabric collage in 1960s Balenciaga–like silhou- as LVMH, Prada and the newly ettes. When he presented the collection during Paris formed Gucci Group began buy- Fashion Week in October, it was, as always, resolutely ing up small, independent fash- modern and feminine. Women’s Wear Daily called it ion companies like Van Noten’s “mercifully calm.” as well as major fashion sup- They might as well have been describing Van Noten pliers. “Our shoe manufacturer and his company. For 25 years, he’s done exactly as he group was bought by Armani, pleases, with all its ups and downs, and as he refl ects manufacturer and shirt manufacturer who were will- and to get your money. In the 1980s, you had a lot of our heel manufacturer group on it, he remains as serene as his surroundings. “We all ing to produce clothes for him, so he designed a small stores you had to be in to be seen but didn’t always pay. was taken over by the Gucci have our ideas and our dreams,” he says as he gazes out menswear collection. “Dirk Bikkembergs had a con- Susanne Bartsch, who had a store downtown, bought an Group and our last manufac- his bay window at the pleasure yachts in the still port tact of someone who made shoes, so he made men’s enormous quantity of our second collection, of Harris turer was taken over by the below. “It’s important to have your dreams. But,” he shoes,” Van Noten says. “And Ann Demeulemeester tweeds in pinky pink. She accepted the fi rst part and Prada group,” he explains. “Of adds quietly, “I’m very realistic.” knew someone who made sunglasses, so the fi rst thing course, when those people buy she made was sunglasses.” In 1986, together, along those companies, you are not with Walter Van Beirendonck, Dirk Van Saene and the fi rst served. We thought: Do Marina Yee, they pooled their money, put everything we still have a future if we don’t in a van, drove to London, rented a showroom space join a group?” (which they divided into six) and presented their col- Eventually, he decided to lections to retailers during fashion week. They were a talk to the big fashion groups, hit and became known as the Antwerp Six. to listen to their pitch. He didn’t Van Noten’s fi rst client was the famed retailer like what he heard. “I made it Barneys New York, his favorite store at the time. Van quite clear that it was not so Noten was so nervous about the meeting, he says, “I much my thing,” he says. And ran away!” Christine Mathys, Van Noten’s former boss that was that. at Donnay and his new business partner of sorts—no He felt the impact of his deci- one really has a title at the company, he says—stepped sion immediately. “We lost all in and handled the sale. Barneys bought Van Noten’s our German clients in one sea- menswear but sold it as womenswear. STORE BOUGHT son,” he says. “They were told At right: Two In the early years of his business, “everything was views of Van by the big groups, ‘If you buy FLYING SOLO The hard, of course,” he says. “But the hardest was the com- Noten’s women’s this line you must buy this other designer walks along the mercial and distribution side, to pick the right clients boutique in Paris. line—it’s the whole package or water in Antwerp.

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$1.4Value of billion Italy’s 2008 crop of tomatoes, a plant native to 1518 South America The year an ‘infinite number of ants’ drove residents from the city of Santo Domingo in Hispaniola They also cost less than slaves bought from Africa, but they were far less hardy and thus a riskier investment. In purely economic terms, the historian Philip Curtin has calculated, the that the colonists imported. Before Europeans 54,000 diseases of thechange Columbian made the Ex- en- Tons of silver shipped from the arrived, the upper Midwest, New England slaved worker and all of Canada had no “preferable at Americas to Europe in the 1700s, earthworms—they had new homes across the oceans. The Columbian Ex- anything up to been wiped out in the last up from 17,000 tons in theof 1500s Manila change, as Mr. Crosby called it, is why we came to Ice Age. three times the price of the have tomatoes in Italy, oranges in Florida, choco- In worm-free woodlands, late in Switzerland and chili peppers in Thailand. European.” IN THE GREAT TROPICAL HARBOR A growing number of scholars believe that the leaves pile up in drifts on the Did the Columbian Exchange Bay, two groups of men warily approach each forest floor. Trees and shrubs in ecological transformation set off by Columbus’s cause chattel slavery in the Ameri- other, their hands poised above their weapons. wormless places voyages was one of the establishing events of the cas? No. People are moral agents Cold-eyed, globe-trotting traders, they are from depend on litter modern world. Why did Europe rise to predomi- who weigh many considerations. But opposite ends of the earth: Spain and China. for food. When nance? Why did China, once the richest, most ad- The Spaniards have a big cache of silver, mined earthworms arrive, they anyone who knowsthe how pull exertedmarkets by work slav- vanced society on earth, fall to its knees? Why did ability. in the Americas by Indian and African slaves; the quickly consume the leaf litter, will understand it chattel slavery take hold in the Americas? Why Chinese bring a selection of fine silk and porce- packing the nutrients deep in the soil in ery’s superior prof was it the United Kingdom that launched the In- lain, materials created by advanced processes un- the Columbian Exchange. the form of castings (worm excrement). Much more direct was the role of the Co- dustrial Revolution? All of these questions are known in Europe. It is the summer of 1571, and Suddenly, the plants can no longer feed lumbian ExchangeBritain. in the In creation 1698, a visionary of Great tied in crucial ways to this swap of silk for silver—the beginning of an Where to start? Perhaps with the worms. themselves; their fine, surface-level root huckster named William exchange in Manila that would last for almost 250 systems are in the wrong place. Wild sarsa- Paterson persuaded wealthy Earthworms, to be precise—especially the com- years—marks the opening salvo in what we now mon nightcrawler and the red marsh worm, parilla, wild oats, Solomon’s seal and a host Scots to invest as much as call globalization. It was the first time that Eu- creatures that did not exist in North Amer- of understory plants die off; grass-like species half the nation’s available maples al- GREENS GUIDE rope, Asia and the Americas were bound together ica before 1492. such as Pennsylvania sedge 3,600% capital in a scheme to colo- Raymond Hom for The Wall Street Basil comes in many in a single economic network. Well before the start of the silk-and-silver take over. Sugar nize Panama, hoping to con- Increase in tobacco Food Styling by Martha Bernabe,Journal Prop Styling by DSM op growing, and ash varieties including The silk would cause a sensation in Spain, as trade across the Pacific, Spanish and Portu- most st exports from trol the chokepoint for trade Genovese, aka sweet the silver would in China. But the crowds that seedlings start to thrive. between the Pacific and the guese conquistadors were sailing the Atlantic the Chesapeake basil (top), and greeted the returning ships had no idea what Spread today by farmers, Atlantic. As the historian J.R. in search of precious metals. Ultimately, they pointy-leafed Thai (far they were truly carrying. We usually describe gardeners and anglers, earth- colonies from McNeill recounted in “Mos- exported huge supplies of gold and silver left), which has a globalization in purely economic terms, but it from Bolivia, Brazil, Colombia and Mexico, worms are obsessive under- 1640 to 1700 malaria and yellow fever quickly ground engineers, and they distinct licorice flavor. is also a biological phenomenon. Researchers vastly increasing Europe’s money supply. But quito Empires,” are now remaking swathes of [ INSIDE ] increasingly think that the most important those homebound ships contained something slew almost 90% of the 2,500 colonists. The deba- cargo on these early transoceanic voyages Minnesota, Alberta and On- else of equal importance:as tobacco. the Amazonian plant cle caused a financial meltdown. My Favorite was not silk and silver but an unruly me- oday tario. Nobody knows what will known t At the time, England and Scotland shared a happen next in what ecologists see as a gigantic, nagerie of plants and animals, many Intoxicating and addictive, tobacco became the monarch but remained separate nations. England, Room of them accidental stowaways. In subject of the first truly global commodity unplanned, centuries-long experiment. Before Columbus, the parasites that cause ma- the bigger partner, had been pushing a complete Thomas Jefferson’s dining room serves the sweep of history, it is this bio- craze. By 1607, when England founded its merger for decades. Scots had resisted, fearing a laria were rampant in Eurasia and Africa but un- up lessons in zingy design logical sidehave of globalization the greaterimpact that first colony in Virginia, London already had London-dominated economy, but now England AT PLAY more than 7,000 tobacco “houses”—cafe- known in the Americas. Transported in the bodies may well promised to reimburse investors in the failed Pan- D10 like places where the city’s growing of sailors, malaria may have crossed the ocean as on the fate of the world’s people and ama project as part of a union agreement. As Mr. THE YANKS LOST? early as Columbus’s second voyage. Yellow fever, nations. throng of nicotine junkies could buy and McNeill wrote, “Thus Great Britain was born, with Some 250 million years ago, the Earth malaria’s frequent companion, soon followed. smoke tobacco. To feed the demand, English assistance from the fevers of Panama.” contained a single landmass known as Pangaea. By the 17th century, the zone where these dis- SELL! SELL! SELL! ships tied up to Virginia docks and took in held sway—coastal areas roughly from But Scots could hardly complain about the con- eases Geological forces broke up this vast expanse, for- barrels of rolled-up tobacco leaves. Typically sequences of the Columbian Exchange. 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INTO THE WOODS The Tamarack Lodge before the first snowfall, when ski-in, ski-out cross-country paths become available.

DINING IN THE GREAT OUTDOORS A rustic restaurant nestled in the big ski and wild game country of California’s Mammoth Lakes serves up stellar French food in a delightful American atmosphere

AN THE ELEMENT OF SURPRISE MAKE A GREAT MEAL TASTE EVEN BETTER? from his father and graduated with honors from the Lycée Hôtelier et Culinaire in I think so, because twice in my life extraordinary, mind-altering dinners have Gérardmer, France. He is proud of the Greek-inspired loup de mer and traditional C appeared in unexpected settings. Dutch dover sole meunière on the menu, but no more so There was the Chanticleer in Nantucket, a rustic, rose- than the local specialties, like grilled elk medallions in covered cottage serving world-class fare unexpectedly juniper and blueberry sauce and wild mushroom soup, discovered with sand still between my toes while stay- that appear alongside them. Pierrel, who has worked at ing nearby in Siasconset. Then there is the Lakefront, the Lakefront since 1995, is an expert on mushrooms, the restaurant at Tamarack Lodge in Mammoth Lakes, and in the summer heads off into the forest on his dirt California. I arrived crunching in snow boots and left in bike to forage almost every day. a state of elation. This quietly superlative contribution Originally built as a fi shing camp in the 1920s with to the legacy of French cuisine in the American West is expansive views of snowcapped mountains, the lodge’s chef Frederic Pierrel’s mountain redoubt—and unless cozy dining room is like a wintry dream. Perfectly lit, you are skiing or fi shing in the eastern Sierras, you it has been completely designed and under-designed might never fi nd out that some of the best cooking in by Pierrel to mesh with the charm and humility of the the country is happening here. (Given that Tamarack is hotel, right down to the crystal, vintage wooden skis an easy six-hour drive from Los Angeles, it’s also a pleas- and spindleback chairs that would make a forty-niner ant getaway for non-outdoors adventurers who simply CHEF’S TABLE Pierrel in the Lakefront’s dining room. feel at home. After a day on the slopes or a simple want to get out of the city and breathe the fresh air.) afternoon spent with a book in one of the hotel’s pri- “My cooking is extremely simple and consistent, and I care most about regionality,” vate cabins, fi nding yourself in this magical pine-paneled aerie at twilight is like

says Pierrel, who learned the terroir philosophy (which translates to “of the earth”) striking gold of another kind. By David Netto LODGE & OF COURTESY RESORT TAMARACK

140 December 2011 Portrait by Daniel Hennessy

1211_WSJ_OpenSecret-01.indd 140 10/27/11 1:47:25 AM