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On Monday,December 1, WSJ. Magazine hosted its annual holiday luncheon at Le Bernardin Privé in New York. The event welcomed WSJ. Magazine’seditorial and advertising partners and celebrated their 2014 collaborations. Publisher Anthony Cenname toasted WSJ. Mag’sstrongest year in history and stirred excitement about the new year ahead. Photos by Kelly Taub/BFAnyc.com

Robert Chavez, Heather Vandenberghe, Shauna Brook

Frank Furlan, Rosita Wheeler, Lynn Reid

Brad Nelson, Tate Magner

Colleen Caslin, Anthony Cenname

Jon Spring, Arwa Al Shehhi Desiree Gallas

Sandeep Dasgupta, Kevin Dailey

Alberto Apodaca, Julia Erdman Jenny Oh, Dana Drehwing, Maria Canale Kevin Harter, Jason Weisenfeld, Vira Capeci

54 EDITOR’S LETTER 58 ON THE COVER 60 CONTRIBUTORS 62 COLUMNISTS on Ambition 65 THE WSJ. FIVE Five trend-transcending pieces from the spring collections that will stand the test of time. Photography by Philippe Lacombe Styled by Carole Grégoris 168 STILL LIFE Hilary Knight The celebrated Eloise illustrator shares a few of his favorite things. Photography by Tina Tyrell

What’s News.

75 Ben Gorham’s Byredo Branches Out This Spring

78 Susanne Kaufmann’s Alpine Organics Hollywood’s Season of the Witch Piaget Updates a Classic 1960s Timepiece

80 Sam Taylor-Johnson Adapts Fifty Shades of Grey Floral Prints Rule Spring Runways Papal Gems at a Palm Beach Jewelry Show

82 Alex Eagle Opens a Lifestyle Boutique in London Rodarte Designs a Superga Capsule Collection Platform Sandals Give Spring Style a Boost

84 The No-Water Face Wash Trend Takes Off

86 Michelle Rodriguez, Healer of the Ballet Elite

88 Photographer Nick Waplington’s Solo Show at Tate Britain

ON THE COVER Doutzen Kroes, photographed by Josh Olins and styled by Alastair McKimm. Chloé cotton ANNIE LEIBOVITZ voile and lace dress. For details see Sources, page 166. A curated series of photography by THIS PAGE Stack (6), Cadmium Orange (2014), ANNIE LEIBOVITZ, JUERGEN TELLER and BRUCE WEBER 82 by artist Annie Morris at London’s Alex Eagle boutique, photographed by Robbie Lawrence. Sold exclusively in Louis Vuitton stores. louisvuitton.com JUERGEN TELLER BRUCE WEBER

A curated series of photography by ANNIE LEIBOVITZ, JUERGEN TELLER and BRUCE WEBER Sold exclusively in Louis Vuitton stores. louisvuitton.com “there’s a garden inside all of us.” —charles masson

108 105

Market report. the exchange. women’s style issue.

93 GROUP DYNAMIC 105 TRACKED: Charles Masson 112 NATURAL WOMAN Options abound to freshen wardrobes The courtly New York restaurateur Spring’s most desirable looks combine this spring in a spectrum of hues, from moves to the Baccarat Hotel. textures with minimalism to create clean, white silhouettes to designs in By Christopher Ross an effect that’s rough and refined. deep plum, slate gray and crisp sky blue. Photography by Christopher Churchill Photography by Lachlan Bailey Photography by Sean Thomas Styling by Alastair McKimm Styling by Charlotte Collet 108 NOW, FORAGER Before Noma, locavorism flourished 122 THE MEISEL TOUCH at Miyamasou for decades. What makes a supermodel? By Tom Downey The iconic images of photographer Photography by Hideaki Hamada Steven Meisel. Photography by Steven Meisel Interview by Tim Blanks

From left: Chef Hisato Nakahigashi and his wife, Sachiko, at their restaurant, Miyamasou, outside Kyoto, Japan, photographed by Hideaki Hamada. Former La Grenouille manager Charles Masson, now director at Chevalier, the restaurant at New York’s new Baccarat Hotel, photographed by Christopher Churchill.

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women’s style issue, cont.

130 EASY LIKE SUNDAY 142 THE FRENCH CONNECTOR 158 THE 90-YEAR-OLD MORNING Gallerist Almine Rech mixes works IT GIRL Doutzen Kroes slips into simply alluring by Marcel Duchamp and Richard Beirut-born poet, essayist and looks that evoke relaxed sexiness. Prince in her elegant Parisian painter Etel Adnan has created Photography by Josh Olins pied-à-terre. quietly powerful work for decades. Styling by Alastair McKimm By Alexa Brazilian By Negar Azimi Photography by Estelle Hanania Photography by James Mollison 140 COLLECT IT: VALENTINO HAUTE COUTURE 148 THAT ’70S SHOW 162 THE EMPIRE OF ESTÉE New York’s Whitney Museum exhibition Cool pieces get their close-ups this Fresh off a recent acquisitions spree, of Valentino designs featured a season with cameos from swinging cosmetics giant Estée Lauder is virtuosic all-white presentation. bags and groovy clogs. ready to shake things up. By J.J. Martin Photography by Zoe Ghertner By Julia Reed Photography by Robin Broadbent Styling by Elissa Santisi Photography by Adrian Gaut Styling by Eva Babieradzki Styling by Noemi Bonazzi

Above: Artist Etel Adnan at work at her home in Paris, photographed by James Mollison.

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ILLUSTRATION BY ALEJANDRO CARDENAS

LADY AND THE TRAMP Bast and Anubis, in Céline and Christian Dior, respectively, dig into a plate of pasta (with the help of Who) at NYC’s Sant Ambroeus restaurant.

S WE LOOK FORWARD to spring and leav- Our stunning cover star, the Dutch model Doutzen recognition finally caught up to her. Her artwork, ing chilly winter days behind, our March Kroes (who notes that her first photo session with which features images and text (expressed in multi- women’s fashion issue celebrates a num- Meisel was a turning point in her career), appears ple languages), distills decades of life and travel and ber of luminaries at various points in their in a fashion story that evokes a lazily luxurious politics. In spite of the painful realities that have Acareers as they reflect on lessons learned, while Sunday morning, beautifully photographed by Josh shaped her—a civil war in Lebanon, the fractures anticipating the challenges ahead. Olins. At the age of 30, Kroes has become the second- of Arab identity—Adnan has proudly maintained a Fashion photography giant Steven Meisel opens highest-paid model in the business. While life might sense of optimism about the world. It’s a page from up to Tim Blanks about his creative process, on the seem like a dream for the Victoria’s Secret angel, she her book we’d all be wise to borrow. occasion of an exhibition and auction at Phillips show- reveals that her highly visible success has been the casing his extraordinary body of work. While Meisel result of years of dedication and discipline—not to isn’t much for revisiting the past—he says he never mention intense Ballet Beautiful workouts. looks at his old images; it makes him too sad—he con- Last, our feature on the 90-year-old artist and fesses that nearly all of his work, even when it focuses writer Etel Adnan is a testament to the concept Kristina O’Neill on subjects utterly alien to him, is in a sense a self- that age is just a number. She’s been a creative [email protected] portrait, a kind of subversive form of autobiography. force all her life, but only in recent years has global Instagram: kristina_oneill

54 wsj. magazine editor in Chief Kristina O’Neill

Creative direCtor Magnus Berger

exeCutive editor Chris Knutsen

Managing editor Brekke Fletcher publisher Anthony Cenname global advertising direCtor Stephanie Arnold features direCtor Elisa Lipsky-Karasz business Manager Julie Checketts Andris design direCtor Pierre Tardif brand direCtor Jillian Maxwell Marketing Coordinator Elisa Handbury photography direCtor Jennifer Pastore Magazine Coordinator Tessa Ku artiCles editor Megan Conway exeCutive ChairMan, neWs Corp Rupert Murdoch style direCtor David Thielebeule Chief exeCutive offiCer, neWs Corp Robert Thomson art direCtor Tanya Moskowitz Chief exeCutive offiCer, doW Jones & CoMpany William Lewis editor in Chief, the Wall street Journal Gerard Baker photo editor Damian Prado senior deputy Managing editor, the Wall street Journal assoCiate editor Christopher Ross Michael W. Miller editorial direCtor, WsJ. Weekend Emily Nelson Copy Chief Ali Bahrampour

produCtion direCtor Scott White head of global sales, the Wall street Journal Trevor Fellows senior Market editor Laura Stoloff vp MultiMedia sales Christina Babbits, Chris Collins, Market editor Isaiah Freeman-Schub Ken DePaola, Etienne Katz, Robert Welch vp vertiCal Markets Marti Gallardo assoCiate Market editor Sam Pape vp strategy and operations Evan Chadakoff researCh Chief Randy Hartwell vp ad serviCes Paul Cousineau vp integrated Marketing Paul Tsigrikes Junior designer Dina Ravvin exeCutive direCtor, MultiMedia sales/asia Mark Rogers assistant photo editor Hope Brimelow exeCutive direCtor, global events Sara Shenasky senior Manager, global events Katie Grossman editorial assistant Sade Strehlke Creative direCtor Bret Hansen photo assistant Noelle Lacombe ad serviCes, Magazine Manager Don Lisk ad serviCes, bureau assoCiate Tom Roggina fashion assistants Lauren Ingram, Arielle Cabreja direCtor of Corporate CoMMuniCations Colleen Schwartz Web editors Corporate CoMMuniCations Manager Arianna Imperato Robin Kawakami, Seunghee Suh

Contributing editors Alexa Brazilian, Michael Clerizo, Kelly Crow, Celia Ellenberg, Jason Gay, Jacqui Getty, Howie Kahn, Joshua Levine, J.J. Martin, WSJ. Issue 56, March 2015 Women’s Style, Copyright Sarah Medford, Meenal Mistry 2015, Dow Jones and Company, Inc. All rights reserved. See the magazine online at www.wsjmagazine.com. Contributing speCial proJeCts direCtor Reproduction in whole or in part without written permission is prohibited. WSJ. Magazine is provided as Andrea Oliveri a supplement to The Wall Street Journal for subscribers who receive delivery of the Saturday Weekend Edition speCial thanks Tenzin Wild and on newsstands. WSJ. Magazine is not available for individual retail sale. For Customer Service, please call 1-800-JOURNAL (1-800-568-7625), send email to [email protected] 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.

56 wsj. magazine on the cover Meatpacking District, which back then was a place 800-457-TODS filled with all sorts of people that you couldn’t even look in the eye. I wasn’t booking jobs, and I was very ANGEL FACE lonely. There’s a Dutch saying that my mother had always told me: “You’re not made out of salt,” so being Small-town values keep Dutch supermodel tough and very disciplined helped. The success that Doutzen Kroes balanced on the Victoria’s people see now took a long time to achieve. WSJ: What would you say was the turning point Secret catwalk and the red carpets of Cannes. of your career? DK: My 2005 cover shoot with Steven Meisel for Italian Vogue. When that issue came out, everything changed. All of a sudden everyone wanted to work HEN DOUTZEN KROES landed with me. Meisel is the in New York City in 2003 godfather of fashion and from her native Eastermar, photography. It opened Holland—population 1,600— up my eyes to how the Wwith ambitions of becoming a model, she industry works —it’s very quickly realized she was out of her league. important to do edito- Not only was the urban terrain a strug- rial. And then signing as gle for her (Kroes, then 18, had been to a Victoria’s Secret angel Amsterdam only once and had never even opened so many doors. taken a tram, let alone the A train), but the WSJ: You recently ; 5-foot-9 blonde was repeatedly rejected on walked in your eighth VOGUE casting calls for being “too pretty,” which Victoria’s Secret show, apparently distracted from the fashion on soon after the birth of show. Kroes remembers, “It was strange: your daughter. Did you I thought, isn’t [being attractive] how it’s feel pressure to get back into shape quickly? supposed to be?” DK: Yes, but I had had a good experience with my Fast-forward to 2014, when she was named the PRETTY PERFECT first child, so I knew it would be OK. I work out, and I’m second-highest-paid model in the world by Forbes From top: A school always conscious about what I put in my body—not for photo of Kroes at age 8; magazine—surpassed only by Gisele Bündchen. in Tanzania with HIV/ looks, but because I want to be healthy. I do a work- It’s an achievement due in part to her longtime con- AIDS–awareness charity out called Ballet Beautiful with [trainer] Mary Helen tract with L’Oréal Paris , for which she has appeared Dance4Life in 2012; Bowers three times a week, and every day right before with her family after the in television commercials and walked the Cannes red birth of her daughter; in a show. It’s changed my body, and you don’t even carpet. Kroes’s face has also been featured in count- Calvin Klein Collection sweat during the workout. Who wouldn’t want that? less ads, including for Tiffany & Co., Dolce & Gabbana dress on the Cannes WSJ: You and your husband both travel frequently. Film Festival red carpet and two Calvin Klein fragrances. And in 2008 she in 2013. How do you balance everything? underwent a rite of passage—receiving her wings, or DK: A lot of communication. in layman’s terms, an invitation to become Our agents are on the phone every a Victoria’s Secret “angel,” which has other day. They’re the ones who resulted in its own hybrid of commercial keep us together. and editorial stardom. WSJ: You also travel as a spokes- Now, less than a year after the birth of person for the charity Dance4Life. her daughter, Myllena Mae (joining her DK: Yes, I’ve been all over the 4-year-old son, Phyllon), with her DJ hus- world with them. They teach young band, Sunnery James, Kroes stars on WSJ. people how to protect themselves Magazine’s spring fashion cover. Here, against HIV/AIDS in a positive way, Kroes, who recently turned 30, reflects on through dance and music. I was the Dutch secret to her success, balancing in Tanzania, for example, and I hugged modeling with motherhood and what’s next. a young boy with HIV. Over there it’s a big deal to even talk to people who are WSJ: Did you always want to be a model? infected. I realized it’s amazing what a Doutzen Kroes: I wanted to become a small gesture can do. teacher like my mother, or a charity worker. WSJ: Do you have a plan for the next But my mom says that when I was younger 10 years? I told her, “People are going to know me,” DK: I have no idea! Ten years ago, I had so I guess I always had that idea. We didn’t no idea I’d be here. Maybe I’ll do movies—I have fashion magazines around the house, dream of working with particular direc- so I would see someone like Jennifer Lopez’s CD covers tors—or maybe I’ll just live someplace quiet WINGED VICTORY and think, “I would love to have hair or makeup like Clockwise from above: Kroes where I can grow my own vegetables. that.” I secretly sent my pictures to a modeling agency in a 2009 Calvin Klein Eternity WSJ: And how long do you think you’ll stay with in Amsterdam, and they sent me to New York. fragrance ad; with Fiat scion Lapo Victoria’s Secret? Elkann, photographed by Mario WSJ: What was that like? Testino for Vogue, 2007; modeling DK: Time will tell, but as they say, “Once an angel, FROM TOP: COURTESY OF DOUTZEN KROES; ANNELIES DAMEN; © CORBIS; DAVE J. HOGAN/GETTY IMAGES; COURTESY OF CALVIN KLEIN INC.; MARIO TESTINO FOR U.S. DK: I lived in an apartment for models in the for Victoria’s Secret, 2014. always an angel.” — Sade Strehlke © SARTORIAL PHOTO/SPLASH NEWS/CORBIS

58 wsj. magazine march 2015 CONTRIBUTORS

EASY LIKE SUNDAY MORNING P. 130 Veteran makeup artist Sally Branka (far left), who has worked on several cover stories for WSJ. Magazine (right) as well as countless other publications, was tapped again for our March women’s style issue. “Photographers love Sally, and she gives our subjects a natural radiance that resonates with and reflects our readers,” saysJennifer Pastore, WSJ.’s photography director. The cover, featuring supermodel Doutzen Kroes, was shot by Josh Olins and styled by Alastair McKimm in a downtown New York City loft. Kroes’s natural beauty led Branka to ask herself, “What is sexy?” She opted to keep the makeup “minimal and effortless”—a soft arch in the brow, a sheer coat of foundation, some delicate highlights and a slight smoke around the eye, which Branka says was meant to look like a faint hint of “last night’s mascara.” The result, she adds, “captured Doutzen in an unexpected and intimate way.” —Sade Strehlke

PHILIPPE LACOMBE ALEXA BRAZILIAN ROBIN BROADBENT NEGAR AZIMI Photographer Writer Photographer Writer enduring style the french connector Valentino haute couture the 90-year-old it girl p. 65 p. 142 p. 140 p. 158 BOTTOM ROW, FROM LEFT: PHILIPPE LACOMBE; NO CREDIT; ANNA BARRY-JESTER; LINDA YABLONSKY

60 wsj. magazine soapbox THE COLUMNISTS WSJ. asks six luminaries to weigh in on a single topic. This month: Ambition. AWAKEN EYES The NEW Illuminating EyeGel

KENNETH MARY T.C. I VAN K A MARIO JANICE BRANAGH BOONE BOYLE TRUMP BATALI MIN

“I recently played the “Contrary to most “Ambition for artists is “My father famously “I have always been “After editing so many lead in Macbeth, a drama thinking, the dictionary like life on this earth: said, ‘If you’re going to driven to push myself profiles and interviews about ambition, on the definition of ambition is It’s self-replicating and be thinking anyway, to find my maximum over the years, I’ve found This refreshing gel stage—unhealthy actually fairly benign. there’s no end to it. All of you might as well think capacity every day, not that the most ambitious treatment instantly lights ambition, one might say, It’s a desire to work us, especially novelists, big.’ I was exposed to out of some abstract people are usually far that carries resentment, hard in order to achieve are damaged, psycholog- that every day of my concept, but out of a from ordinary. They’ve up the eyes.The legendary aggression, treachery something. It’s funny ically damaged. We have childhood, so it obvi- responsibility to utilize oftentimes overcome healing energies of and acquisitiveness. that the connotation of big problems, and we are ously had an impact on my time most effectively. childhood trauma ™ Lady Macbeth says of ambition has turned out not good people. We’re how I view the world. I would suggest that the or grown up in dysfunc- Miracle Broth help ﬁght her husband, ‘Art not to be a bit more cutthroat, drug addicts, we’re Ambition is a trait I was chef’s primary ambition tional families or had the early signs of aging. without ambition, almost negative. It’s drunks. So we want to born with. It’s not about is to create joy at the addictions. I’ve come to but without the illness particularly controver- even the score—we want meeting the expecta- table, which is based believe that ambition Eyes look youthful, should attend it.’ sial when it’s attached to adulation. If you are tions of others; it’s about more on a generosity is an overcompensation But I think this pejora- women. When I thought single-minded, as many exceeding them and of spirit than a drive for a feeling that life may energized and awakened. tive association with of ambition in my 20s as writers are, as I am, the making a commitment to personally succeed. have disappointed them Newly bright. ambition is a dangerous I started being a young work is all you are. There to excellence. It’s a mind- There is not enough early on. Celebrities thing. Ambition can give art dealer, I thought of is nothing else. And so if set in terms of how you room for a lot of big egos often come from a deep us a sense of purpose, Leo Castelli, men, money the work goes away, then tackle your life. If you’re in one kitchen. There is place of need. You look at LaMer.com meaning and deter- and power. It was very it’s the gun. We’ve seen pursuing a goal, you an alpha with a support someone like Channing mination. And I think daunting. At that age you it through generations want to win—you want team of people whose Tatum—you get the sense that ambition need not always wonder, Is there of American writers. to swing for the fences, intent is to become that he had a pretty rough be ruthless. Ambition going to be room for me? That is the downside to and you don’t want to the alpha of their own youth, and he’s so ambi- begets adventure, Is my statement valuable ambition. When I was a come in second. I think kitchen. They bide their tious and not afraid to be a process that teaches enough? And now, when I student at Iowa Writers’ for a long time ambition, time, observe and learn. ambitious. We’re in such us that the journey is think of ambition, I think Workshop, I remember especially in women, has I am always surrounded a competitive business potentially more enjoy- how great it is that I’m old writers would say, been deemed negative, by a thousand different landscape right now; no able than the arrival. in a field with all these ‘Why you’re doing this is and that’s starting to levels of ambition and one wants a slacker on his Ambition has given me incredible, powerful, for the doing of it itself, change. Women are always willing to discuss or her hands. So the abil- tremendous energy and beautiful, smart women, for its own value and for becoming increasingly options and strategies, ity to express and project a way of looking at the like Marian Goodman, yourself.’ And I thought articulate about their but I tend to revel more ambition is probably more world. What I’ve learned Helene Winer, Janelle privately, ‘Well, what ambitions for others and in the greatness and desired now than it ever about ambition is to Reiring and Barbara horse s—t.’ But now that for themselves—both harmony of teamwork has been. It’s not a dirty share it, that it need not Gladstone. Ambition is I’m an old writer, I’ve professionally and than to wallow in the word. We live in a pretty always be about you, something that more and realized that it is true.” outside the office. Today, woes of the individual transparent time.” that it works best quietly more women are feeling ambitious women are whose ambition I have but insistently and comfortable with. ” blazing a new path; yet to ignite.” can indeed be healthy, they’re looking to each despite what Lady other for inspiration, Macbeth says.” and taking risks.”

Trump is the executive vice Branagh is an actor and direc- Boyle is an author whose president of development and Min is the editorial director of tor. His latest film, Cinderella, Boone is an art dealer and the latest novel, The Harder They acquisitions for the Trump Batali is a chef and the Hollywood Reporter and is out in March. owner of Mary Boone Gallery. Come, is out in March. Organization. restaurateur. Billboard. BARNEYSNEW YORK - BERGDORF GOODMAN - SAKS FIFTH AVENUE

62 wsj. magazine keepsakes the wsj. five march 2015

ENDURING STYLE Five trend-transcending pieces from the spring collections that will stand the test of time.

PHOTOGRAPHY BY PHILIPPE LACOMBE STYLING BY CAROLE GRÉGORIS

1. THe sHOe Step up in slides with metallic heels and a statement fringe. Proenza Schouler black leather and suede fringe heels.

wsj. magazine 65 Fendi Boutiques Fendi.com THe wsj. five

2. THe sunglasses These chic shades look to the past but would suit any modern- day starlet. Dior sunglasses.

66 wsj. magazine THe wsj. five

3. THe necklace Forgo overwrought baubles for an eye-catching sculptural pendant. Céline brass and silk necklace.

68 wsj. magazine THe wsj. five

4. THe bag Ladylike yet streamlined, a new silhouette debuts in black alligator. Hermès Cherche Midi bag.

70 wsj. magazine THe wsj. five

5. THe rings Find hidden treasure in a golden array inspired by the ocean. Valentino metal rings (sold as set).

For details see Sources, page 166.

72 wsj. magazine the world of culture & style what’s news. march 2015

MAN FOR ALL SEASONS Ben Gorham, photographed at the Stockholm headquarters of his company, Byredo.

THE MAGIC TOUCH Whether it’s peddling ultrahip fragrances, launching a line of leather goods or opening a New York

MAMO boutique—all of which he’s doing this spring—Byredo founder Ben Gorham has a nose for success. | ©

BY ELISA LIPSKY-KARASZ RIS 2015 PA , ADAGP -

DB WO YEARS AGO, perfumer Ben Gorham people’s dreams,’ ” says Gorham. “And Carsten said, according to the company. Gorham was born in | © decided to create toothpaste with the power ‘Yeah, yeah. It’s late. I’ll call you in the morning.’ ” The Sweden to an Indian mother and Canadian father to influence dreams. The idea came to him next day, Höller phoned to tell Gorham it worked—he and grew up in Toronto, New York and Stockholm,

RIS, 2015 after seeing the classic Vicks Vapo Rub ad had dreamt about the toothpaste. That summer, they where he now lives with his wife and two daughters. PA

, Tthat shows how camphoric fumes are inhaled during presented their concoction, called Insensatus, at He started the company in 2006 after abandoning sleep. That same night, Gorham, who owns the bou- French art gallery Air de Paris. a professional basketball career and enrolling in ADAGP / tique beauty company Byredo, called up his friend Off-the-wall projects are typical of Gorham’s tra- art school. Just two years later, his original collec-

L.C. Carsten Höller, a Stockholm-based scientist-turned- jectory since he launched Byredo—a brand that has tion of five scents became available at Barneys New F. ©

- artist known for creating immersive, psychedelic garnered a devoted fashion-world following with York, where it has since become a best seller. “Doing experiences (he has housed live reindeer and built its stylish black-and-white packaging and evoca- exactly what I wanted to do is how I built the busi- amusement parks inside museum exhibition halls). tively named scents, such as Gypsy Water and Bal ness,” says the heavily tattooed 37-year-old, who

ANDREAS ÖHLUND “I said, ‘We are going to make smells that control d’Afrique, and earns $50 million in annual sales, looks as if he should be fronting a band rather than >

wsj. magazine 75 ®

1866.LONGCHAMP LE PLIAGE HERITAGE what’s news

“ben is a great évocateur; he gives you the stuff to promote your fantasies.” –carsten höller

people to sell perfume were gantiers, who scented the gloves they made. It makes sense to me. We’ll see how much sense it makes to other people.” Like his perfumes, most of his pieces are unisex. “I started off just designing bags that were intended for travel,” he says, anchoring his focused collection of nine bags with a leather tote that resembles a streamlined doctor’s bag. “From there it was just a play on scale,” he adds. At one end of the size spectrum is a tidy purse in cream leather. For those who share Gorham’s 6-foot-5 frame, there’s an oversize brown leather back- pack. All are made in Italy “by a guy named Gino,” he says, and will retail for $1,320 to $4,250. Trophy-bag hunters might be disappointed by the lack of obvious adornment, but the restrained pieces are designed to project the same quiet assuredness as Byredo’s signature cylindrical perfume bottles—whispering “good taste” to initiates. “There is obviously an aesthetic perspective—mine—which is that things should be simple,” says Gorham. His idiosyncratic ideas, including the notion that products “should spark an emotion in a person, and that it’s not so important that they completely understand the product,” will be on view when the store opens on Wooster Street in April. Intended to be a laboratory for the Byredo universe, it will feature goods for sale alongside Gorham’s personal parapherna- lia, such as his mid-century Scandinavian ceramics collection. “I wanted to create a place where people can make up their own minds about things,” he says, meaning an environment that’s seemingly free of aggressive branding and marketing. (The Stockholm flagship resembles a sleek, mirrored apothecary.) selling cologne, “so I still believe in that formula.” Perhaps intentionally, the absence of obvious retail- True to form, another of his recent endeavors was ing has become one of Byredo’s hallmarks. designing a “friendly knife” with French art direc- To mark the expansion, Gorham decided to break tors Mathias Augustyniak and Michaël Amzalag another cardinal rule of branding by redesigning of M/M (Paris). The result is a limited-edition, the established Byredo logo (the customized font on snub-nosed jackknife, which Gorham is planning to the perfume bottles will remain the same). Working market alongside Byredo bath oils, candles and a new with M/M (Paris), he scrapped the existing typeface scented hand cream. “Ben doesn’t seem to think in and made an entirely new alphabet in lettering that categories,” says Höller. “He is a great évocateur; he looks like a futuristic stencil. “I wanted a new start,” gives you the stuff to promote your fantasies.” he explains. This spring, the full spectrum of Gorham’s In the meantime, he is pursuing other Gorham- evocations will be on offer when Byredo’s first esque collaborations. A set of sunglasses with American boutique opens in New York’s SoHo. eyewear makers Oliver Peoples is next on the docket. At the same time, Gorham will launch a line of Designed to mimic the sensation of synesthesia, it bags and leather goods called Byredo Nécessaire de will pair lens colors with Byredo scents. And Gorham Voyage. The seemingly elusive connection between SIMPLY CHIC Clockwise from top: Small Seema bag, flap and Höller are hoping to present another edition of working with essential oils and designing a handbag wallet and business card holder; candle scented with 1996, a their Insensatus toothpaste in New York. “We want fragrance created with photographers Inez van Lamsweerde is evident to Gorham: “Leather kept coming up in his- and Vinoodh Matadin; his jackknife with M/M (Paris); it to be grand,” he says. Adds Höller, “We don’t sell torical contexts tied to perfume,” he says. “The first Byredo’s Mojave Ghost. For details see Sources, page 166. dreams, but the possibility to make them.” PHOTOGRAPHY BY ALMESTÅLGUSTAV (BAG, WALLET, BUSINESS CARD HOLDER); COURTESY OF BYREDO (CANDLE, FRAGRANCE, KNIFE)

76 wsj. magazine what’s news

the beauty of WITCHY WOMEN A recent glut of films based on fairy ALPINE ORGANIC tales has made the “evil witch” role the hottest one to nab for Hollywood’s top actresses. These five leading ladies, with eight Academy Awards among them, show why it’s good to be bad.

• CHARLIZE THERON Theron kicked off the trend, playing a queen and sorceress in 2012’s Snow White and the Huntsman. (She’ll reprise the role in the 2016 prequel.)

• ANGELINA JOLIE As the twisted fairy from 2014’s Maleficent, Disney’s update on the Sleeping Beauty story, Jolie made the character sympathetic—and visually arresting.

• MERYL STREEP Streep has said she was thrilled to take on In 2003, when fifth-generation hotelier Susanne Kaufmann the pivotal part of the witch in this winter’s helped oversee a major overhaul of her family’s resort in film adaptation of the Stephen Sondheim the Austrian Alps, she included a sumptuous new spa—and musical Into the Woods. a line of two-dozen organic skin-care products to fill it. Kaufmann conceived of the products—developed with the help of a local natural cosmetic producer • JULIANNE MOORE and dermatologist—in the same way as the Hotel Post Bezau’s renovation: using traditional methods In a role reminiscent of Maleficent, Moore and materials, but filtered through a minimal, modern aesthetic. From the herbs to the packaging, plays a powerful shape-shifting queen she sourced almost everything from the surrounding Bregenz Forest valley, where she was born. Her who makes mincemeat products, now available everywhere from Net-a-Porter to boutique Aedes de Venustas in New York, of warriors in February’s fantastical remain that way today. Seventh Son. Kaufmann’s eponymous line has grown to include over 60 products, from a cleansing gel made with ribwort • CATE BLANCHETT Though not possessed and masterwort (herbs known for their antibacterial effect) to of supernatural powers, Blanchett’s a lifting mask formulated with white lupine blossoms. Last fall, stepmother in the she debuted an all-white salon designed by her architect brother, forthcoming Cinderella is as wicked as they Oskar. Located across the street from the hotel, it also serves come—and already wowing critics. as the laboratory for her next big project: a line of seven organic hair-care products made with natural ingredients like silk pro- tein, fenugreek and beer that launched in February. “Organic hair products that really work are very difficult to formulate,” GOLD STANDARD says Kaufmann. “A styling product without silicone is one of Maison Piaget the most difficult challenges.” The salon joins her two-year-old has crafted an updated outpost at the five-star Das Stue hotel in Berlin. version of its famed 1960s diamond-faced Already well-known in Germany and Austria, Kaufmann is timepiece. Available CLEAN LIVING slowly building a fan base across the Atlantic. Karl Bradl, co- in white and rose gold, From top: Kaufmann’s new salon, which founder of Aedes de Venustas, says that two of the store’s best it’s more instant she opened with her friend, hairstylist heirloom than workaday Christoph Tomann; bath oil featuring ylang- sellers are the hand cream and whey bath. “I fell in love with ylang, patchouli and lavender; Kaufmann, watch. For details see

44, is based in Bezau, Austria. the line right away,” he says. —Gisela Williams Sources, page 166. CLOCKWISE FROM TOP RIGHT: © A.F. ARCHIVE/ALAMY; WALT DISNEY© 2014 STUDIOS/THEDISNEY KOBALENTERPRISES, COLLECTION; INC., WALT DISNEY ALL PICTURES/THERIGHTS RESERVED;KOBAL COLLECTION/PETERCOURTESY OFMOUNTAIN; PIAGET; © SUSANNEPICTORIAL KAUFMANN, PRESS LTD/ALAMY; HOTEL POST BEZAU (3)

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on trend GARDEN VARIETY Designers from Fendi to Valentino welcomed the spring season on runways with floral prints ranging from neon, techno botanics to sumptuous Pre-Raphaelite blooms. Here, a trio of bouquets and the runway looks that inspired them.

facts and stats HOT TICKET Prior to directing her adaptation of E.L. James’s wildly popular erotic novel Fifty Shades of Grey, out this March, Sam Taylor-Johnson was known primarily as a highbrow art photographer who had also made the John Lennon biopic Nowhere Boy. Below, she breaks down the figures behind her steamy take on Fifty Shades, which she’s shaped into a tale of sexual empowerment.

TEST SCREENINGS for the movie, rare in Hollywood, due to the extreme secrecy surrounding its release. “The material is just too sensitive,” says Taylor-Johnson. 0

MINUTES OF MEDITATION Taylor-Johnson practices twice a day, once before she leaves the house and again 20 when she gets home. 139,745,607 VIEWINGS of the Fifty Shades of Grey trailer at press time, according to Universal Studios. It was the SAINT LAURENT MICHAEL KORS CÉLINE most viewed trailer of 2014. “It certainly puts Hedi Slimane tempered his gritty Los For his eponymous line, Michael Kors Roses, gloriosa lilies, tulips, sweet the pressure on,” Taylor-Johnson says. Angeles-in-the-’70s style with a retro departed from the neutrals he showed peas, raspberries, ranunculus pattern—albeit one in Day-Glo pinks for the previous spring season and and gentians are all in the posy above, and electric blues—that looks not unlike instead opted for bright, preppy flowers which references the romantic, modern- P.M. the tweedia, scabiosa, peonies and such as the yellow garden roses and fairy-tale dress that Phoebe Philo Time each day that Taylor-Johnson two types of ranunculus shown above. daffodils here. showed in her refined collection. changed her socks during filming, on the advice of director James L. 3 Brooks, to help her clear her mind.

PAGES IN THE BOOK, PoPe Paul Vi’s OUT-OF-THIS-WORLD GEMS which she adapted into $1.25 million a 110-page script with the diamond cross M.S. Rau Antiques is selling this palm-size gold cross—studded help of E.L. James with over 60 carats of diamonds and emeralds—at the Palm Beach and three screenwriters. 514 Jewelry, Art & Antique Show. The divine bauble has transferred hands many times since Pope Paul VI donated it to the U.N. in 1965 to raise money for the poor (daredevil Evel Knievel owned it VERSIONS for a time). Other objets for sale include a posy brooch Audo uard of the silver necktie that Christian Grey famously uses to bind the hands Frères made for Elsa Schiaparelli and a 1960s Van Cleef & Arpels of Anastasia Steele were created brooch and earring set offered by Fred Leighton that boasts more 7 by costume designer Mark Bridges. than 65 carats of sapphires. February 13–17; palmbeachshow.com. CLOCKWISE FROM TOP LEFT: © REX MEDIA GROUP; MARIOFLOWERS: DE PHOTOGRAPHYBIASI, SERGIO BY DEL CARAGRANDE/MONDADORI HOWE, FLORAL PORTFOLIO STYLINGVIA BY GETTY LIVIAIMAGES CETTI; RUNWAY: COURTESY OF VENDORS; CROSS: M.S. RAU ANTIQUES; POPE PAUL VI:

80 wsj. magazine ALEXISBITTAR.COM C. ER IN what’s news FISH EILEEN storefront 15 ©20 OM .C

EAGLE’S EYE ER ISH INTERIOR VIEW Left: Andrianna

Shamaris resin tables, EILEENF an Annie Morris sculpture and Tortus Copenhagen vases on sale at a new London boutique from Alex Eagle (below). Photography by Robbie Lawrence.

JUST FOR KICKS Kate and Laura Mulleavy, the designers behind Rodarte—the high-fashion label known for its intricate woven gowns and elaborate footwear— bring their taste for A SLEEK THREE-STORY lifestyle boutique, called Alex Eagle after from a single sycamore drama to Italian sneaker its young owner, has opened on London’s Walton Street. There’s trunk. And then there’s brand Superga. The everything to furnish a stylish life, from $16 Himalayan-salt tea the result of her exclusive capsule collection of six lights to a $70,000 19th-century chandelier. “The idea is that collaborations with herit- styles features Rodarte’s it’s a curated home where we have done the edit,” says Eagle, 31, age British men’s brands—luggage and umbrellas with Swaine knack for mixing who cut her teeth as a fashion publicist and stylist. “I want it Adeney Brigg, and dressing gowns, silk scarves and velvet patterns and luxe to feel like it’s your cool auntie’s house where you can open her slippers with New & Lingwood, the outfitters to Eton College. fabrics—the shoes are closet and discover things.” Eagle is also launching a seasonless, menswear-inspired available in denim or Many would happily live in the airy space, which was deco- women’s fashion line of basics like blazers, trousers and silk tweed, with a lattice rated by Eagle and her aunt, Gianni Alen-Buckley—there’s even shirting. “It’s a luxury uniform,” she says of the eponymous overlay and contrasting tongue in stamped a kitchen where shoppers can make themselves coffee before collection. “I wanted to translate the attitude men have leather. Say the perusing the Jean Prouvé daybeds, silver Cartier baskets and to shopping. They invest in high-quality basics and only buy designers over email, Olatz pajamas. “Nothing will ever go on sale,” says Eagle. “If something new when it needs to be replaced.” “We think they are cute it is worth £500 now, we believe it’s still going to be worth £500 As if this weren’t enough, she’s also overseeing the opening with skirts and jeans.” in 10 years. We won’t sell it otherwise.” of a 30,000-square-foot concept shop and work space with Superga Rodarte Photographs by David Bailey and Robert Mapplethorpe Berlin’s Soho House. Guests can dine, linger and shop brands collection, photographed share wall space with Picasso ceramics. Fashion from labels like Jil Sander and The Row. “It’s a creative space,” says Eagle, on Gia Coppola (above), like Baja East, Lemaire and Pallas hangs on the racks. Many who plans to open a similar venture in London’s Soho this $239–$259; superga-usa pieces are unique to the store: For example, the pair enlisted June. “There’s a bit of everything you want to do.” .com. —Sade Strehlke British furniture maker Benchmark to make a table crafted —Alicia Kirby NO EXCUSES OUR VISION IS FORANINDUSTRYWHERE HUMAN RIGHTSAND SUSTAINABILITYARE NOTTHE EFFECT OF APARTICULAR INITIATIVE, BUT THE CAUSE OF ABUSINESSWELL WALK HARD RUN. WHERE SOCIAL AND ENVIRONMENTAL INJUSTICES ARE NOTUNFORTUNATE OUTCOMES, BUT REASONS TO DO THINGS DIFFERENTLY. WHERE EXCUSES ARE The season’s platform sandals IGNORED AND ACTION IS TAKEN. are the ideal prescription prada for added height. Raise the WE’RE WORKING TOWARD AWORLD IN WHICH THE CLOTHES tom ford saint ralph l aurent giamba l auren bar by selecting an attention- YOULOVETOWEAR CREATE NOTHING BUT LOVE. grabbing style—with animal, floral or graphic prints—and #EFVISION2020 show off your gams with jaunty wit. For details see

Sources, page 166. COLIN DODGSON (SUPERGA); COURTESY OF VENDORS (SHOES)

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the cult of om .c

THE NO-WATER WASH im pl

Cleansing micellar waters—applied with cotton hilli pads—have become the stuff of beauty legend . But is it 1p k3 really possible to wash your face without soap? or wY Ne t,

BY CELIA ELLENBERG sS one tJ ea Gr WO YEARS AGO, the American beauty of Dior’s Instant Cleansing 48 blogosphere was abuzz with talk of a pink- Water close at hand. capped French import known to its acolytes “There used to be a time by its company’s name: Bioderma. Billed as when everyone would stock up Ta non-rinse face and eye cleanser, the soap-free, no- on it in Paris and bring home water-needed Sensibio H20 had been a staple among huge bottles,” says Romanian the fashion elite for years. Word spread thanks to model Andreea Diaconu of online media coverage—and global fascination with the Bioderma-inspired boom. the workaday lives of Parisian women, from how Those hoarding measures are they dress and eat to how they age and rear children. becoming less and less neces- With the no-scrubbing, no-splashing fad trickling sary thanks to a steady stream down to the mainstream, an abundance of froth-free of micellar water launches— cleansing fluids is now hitting the market. But what’s and a number of new distri- behind the movement to take regular old soap and bution channels. California- water out of washing? based website Beautyhabit “You can cleanse the skin and freshen it without .com was one of the first American e-commerce the micellar molecules may leave behind. an oily residue,” says makeup artist Diane Kendal, destinations to carry the pharmacie favorite. After Recent awareness about nurturing the skin’s who totes her bottle of Bioderma to work at fashion launching in 1996 with the aim of making “obscure, “flora” also has something to do with the spread of shows for Balenciaga, Sacai and Proenza Schouler. luxe, niche” brands available to the masses, it started the cleansing-water gospel, suggests Ciocco. These Formulated with micellar technology, most cleans- stocking micellar waters from French brands like microorganisms, which can defend against the oxi- ing waters contain both hydrophilic and hydrophobic Nuxe, Avène and Decléor at the request of its custom- dative stress that partly causes aging, are often polymers suspended in liquid. The microscopic clus - ers. Now they “fly off the shelves,” according to Teresa damaged by abrasive topical procedures. Just ask ters break up and absorb dirt and makeup particles Mitchell, the company’s president and CEO. “People S.W. Basics’ founder, Adina Grigore. An integrative that are then swept away by a solution-soaked cotton just like French products.” nutritionist, Grigore—whose first book, Skin Cleanse: pad. Unlike many moisture-stripping soaps, cleans- Parisian biochemist and facialist Joëlle Ciocco The Simple, All-Natural Program for Clear, Calm, ing waters also eliminate the need for rinsing, too attributes the domestic popularity of cleansing Happy Skin (HarperWave), hit shelves this February— much of which can also be dehydrating. waters to the fact that French women tend not to launched her successful Brooklyn-based organic line “It’s ideal for a quick touch-up,” said Peter Philips, like aggressive skin-care treatments. “Soaps have a on the back of products like her soap-free cleansing creative and image director for Dior makeup, at the higher pH that gives a sensation of drying and tight- water with just three ingredients: rose water, vegeta- brand’s recent pre-fall show in Tokyo, where he cre- ness, which is not good for the skin,” says Ciocco, who ble glycerin and tea tree oil. Its label reads: “Be nice to ated a “slightly Manga” graphic eye with a bottle attends to high-profile clients like the designer Marc your face. Save suds for dirty dishes.” Jacobs. Ciocco uses cleansing waters after applying “That was certainly one of the inspirations a creamy, cleansing lotion or gel, then finishes with a behind our new Blue Plasma Cleansing Treatment,” splash of floral, mineral or spring water. Though says Tania Toubba, vice president of marketing for cleansing waters do not require rinsing, Ciocco Dr. Nicholas Perricone’s eponymous line of cosme- prefers to wash away any microparticles that ceuticals. The cleanser boasts micellar technology spiked with soothing copper extracts and is meant to

• CLEAN TEAM contrast with more severe skin-renewal procedures, From left to right: Perlier Hydro-Zone Micellar such as microdermabrasion and acid peels, that have Cleansing Water, $25, perlier.com; Perricone prevailed for the past decade. “Harsh doesn’t mean MD Blue Plasma Cleansing Treatment, $39, perriconemd.com; Dr. Jart+ Dermaclear Micro it’s working,” says Toubba. Water, $32, sephora.com; S.W. Basics Cleanser, As advances in cleansing water abound, its simplic- $22, store.swbasicsofbk.com; Yon-Ka Paris ity might still be its strongest selling point. Diaconu, Eau Micellaire, $42, yonkausa.com; Bioderma Créaline H2O Ultra-Mild Non-Rinse Face and who religiously dabs on Bioderma in lieu of soap and

Eyes Cleanser, $28, beautyhabit.com. water, puts it simply: “It’s cheap and efficient.” DANNY KIM (COTTON); F. MARTIN RAMIN (BOTTLES); STYLING BY ANNE CARDENAS

84 wsj. magazine what’s news

employee of the month CORPS PRACTICE Physical therapist Michelle Rodriguez trains, tweaks and heals the bodies of the dance world’s elite.

BY CHRISTOPHER ROSS PHOTOGRAPHY BY MATTHEW KRISTALL

ANCER DAVID HALLBERG winces as he lunges forward and thrusts the handgrips of two pulleys out in front of his chest. “Curl. Now, big yawn,” says Michelle Rodriguez, Dfounder of Manhattan Physio Group, as he reverses the motion in her office space. “Up, up, up—stay there.” Hallberg exhales with the effort. “Good. And come back. Better?” “It’s all painful to me,” says Hallberg, smiling grimly. Rodriguez, 39, began working with Hallberg, a principal dancer for the American Ballet Theatre, after he dislocated his shoulder 10 years ago. While his sessions with Rodriguez occasionally hurt (“I saw white once,” he says), Hallberg’s trust in her is complete. And he’s not the only one. Since founding her practice in 2008, Rodriguez has become the go-to physical therapist for much of the ballet world’s elite talent, treating marquee dancers like Benjamin Millepied and Wendy PAS DE DEUX Whelan, as well as members of companies including Above, Rodriguez helps Hallberg rotate the New York City Ballet, the Alvin Ailey school and his shoulder blade. France’s Paris Opera Ballet. At left and below, Rodriguez relishes the challenge of protecting the she adjusts his posture in exercises livelihoods of the world’s best dancers. Her reputation that strengthen his as a healer has even extended to Hollywood—Jennifer upper body. Connelly has praised her work, and Natalie Portman thanked Rodriguez during her Oscar acceptance speech for best actress in Black Swan. “Her fingers are the most expressive part of her,” says Hallberg of Rodriguez. “What she accomplishes with her hands, we accomplish with our bodies.” Rodriguez had dance ambitions as a teenager—she was an apprentice at the New Jersey Ballet Company “what she and a student at the School of American Ballet. But accomplishes from early on she loved medicine in equal measure and with her came to realize that applying orthopedics and biome- hands, we chanics to the world of dance would be the ideal way to unite her passions. She earned her master’s in physi- accomplish cal therapy from Rutgers University in 1999. Now she with our makes a habit of going to her patients’ shows so she bodies.” can examine their movements firsthand. —david hallberg If dancers’ bodies are their tools, so in a way is Rodriguez’s. “When I’m working, I feel like I’m trans- mitting an energy and force through my hands,” she says. “Knowing how to hold someone else’s body, how to make them feel comfortable, so that they can sur-

render to you—to me, it’s like a little dance.” PETERSON STEPHANIE BY HAIR AND MAKEUP

86 wsj. magazine what’s news what’s news

found his serial vision best expressed in the culturally enriches it. Every time Nick turns to a new subject, creative brief insular format of the photo book. But he wants to push he finds a new language—a new way of getting to his work into new dimensions. “My trajectory now is the heart of the matter.” to do more shows,” he says. “I want my photography Last fall, on the heels of his 2013 book, Alexander PRIVATE RECORD to exist within all other forms of contemporary art.” McQueen: Working Process, Waplington published In March, he becomes the first living British his second book in as many years, Settlement. Photographer Nick Waplington’s images are raw, deeply personal and photographer to have a solo show at Tate Britain, Produced as part of the project This Place—for which startlingly diverse. This spring, his vision comes to Tate Britain. Nick Waplington/Alexander McQueen: Working 12 internationally renowned photographers were Process. Initially commissioned and co-edited by the invited to make work in and about Israel—it captures late McQueen as a photo book, their landmark col- Israeli settlers, living in surreal suburban outposts BY LAURENCE LOWE laboration has been reimagined by Waplington as a in contravention of international law, in formally sprawling exhibition featuring more than 130 images, posed family portraits. Waplington wound up vis- some never seen before. Waplington documents in iting more than 350 settlements, an area covering revelatory, tender detail the making of McQueen’s roughly 2,000 square miles. “I had to find the right penultimate collection, Horn of Plenty, which awed landscapes,” he says. “I’d be marching up and down Paris upon its unveiling at the autumn/winter shows a hill in my Birkenstocks with my 8-by-10-plate cam- in 2009. With it, McQueen mocked the decadence of era, and the last thing I wanted was to become fodder the fashion world with a catwalk made of broken mir- for some sniper from whichever side.” rors, surrounded by a pile of discarded set pieces from The traveling exhibition This Place arrives at his past shows, and garishly made-up models wearing the Tel Aviv Museum of Art in May, followed by the hats of recycled trash. “The turnover of fashion is just Brooklyn Museum next February. And Waplington, so quick and so throwaway,” McQueen told the New ever eager to reconceive his projects for the public York Times. “There is no longevity.” sphere, says he is jockeying with the curator to let Recalling the first time McQueen got in touch him include sculptures he produced in collaboration with him about teaming up, in 2008, Waplington with Palestinians and ultra-Orthodox Haredi Jews. At says, “He wanted me to make him a messy, dirty first, his idea was “pooh-poohed,” Waplington says. “I ALL IN THE FAMILY Clockwise from left: photo book—in my style, as it were.” Waplington was told yet again: ‘It’s a photography show! Do what Two images from Waplington’s first book, 1991’s Living Room; with his son in 2014; installation initially declined the commission—he was living in you’re told!’ ” (This Place’s curator, Charlotte Cotton, view of his mixed-media 2014–2015 show at Little Jerusalem at the time, deep into a five-year project says his sculptures “could be included in the instal- Big Man Gallery in Los Angeles; an image from documenting the lives of Israeli settlers on the West lation of the show in Tel Aviv.”) “I’m going to insist,” Settlement; backstage at McQueen’s Horn of Plenty show, part of Waplington’s Tate Britain exhibit. Bank—but McQueen wouldn’t hear of it. “He said Waplington says. “It’s how I envision the work.” it couldn’t wait,” Waplington recalls. “He was like, ‘You’re doing it now, and I’m not taking no for an HERE Settlement expands on his long- answer.’ ” One year after completing Horn of Plenty, standing artistic preoccupation with McQueen committed suicide. the family unit, Working Process marks Waplington had known McQueen since the ’90s, an even more explicit return to territory when the designer was enrolled in Central Saint WWaplington plied in his youth. After Avedon visited Martins and both men were living in the then down - his class at the Royal College, the two struck up a trodden Shoreditch area. They had friends in common, close friendship—“We’d do the galleries on a Saturday like the stylist Katy England—later McQueen’s cre- morning when they were still in [New York’s] SoHo,” ative director—and Waplington’s Old Street studio Waplington recalls—which led to a gig shooting a MEMORY MAKERS The fashion designer Alexander McQueen (shown above with editor Susannah Frankel) and mates, the artist duo Jake and Dinos Chapman. (The behind-the-scenes ad campaign showing the fashion Nick Waplington collaborated on a photo book in 2009 about the making of McQueen’s penultimate show, Horn of Plenty. three still share a space, having bought a former designer Isaac Mizrahi at work. “Those pictures are knacker’s yard and glue factory together farther just about to get a dusting down,” says Waplington, east, near the Olympic Park, before that area also who plans to edit them into a book. “Both Lee [as HEIR SUBJECT WAS the lives of families,” and New Order shows and anti-apartheid marches, and exploded in popularity.) It was the ferment that McQueen was known to his friends] and Isaac were the late Richard Avedon recalled thinking shot the two Nottingham families while living nearby birthed the YBAs (Young British Artists)—the artsy very hands-on with the making of the clothes, the fit- the first time he laid eyes on the photo- at his grandfather’s house. By exalting the mundane face of Cool Britannia—and “everyone in that scene ting on the models. Something about the room, with a graphs of Nick Waplington, “and no work in glorious color, his photographs offered a post-punk liked Nick,” says Trainspotting author Irvine Welsh, team of people who are very close to the designers— Tof fiction that I knew embodied so complicated a alternative history of the end of Thatcherism, and an a close friend of Waplington’s, “but he would never there was definitely a similarity.” picture of the circus of family hysteria: cruelty and unceremonious kiss-off to a tired, emotionally distant have been comfortable with that level of celebrity or McQueen was found dead in his flat on February bliss, energy and exhaustion, the cycles of appe- documentary tradition that portrayed the British being associated with any movement.” 11, 2010. “Of course it’s crossed my mind that it was tite…each picture as dangerous and ecstatic as a underclasses in black and white. It’s been a long time coming, but Waplington premeditated a long time before,” Waplington says “everY time Bruegel. And as composed.” In the years since Living Room, Waplington has finally has the opportunity to mount his immer- of McQueen’s suicide. “He did this big retrospective nick turns to Waplington was a recent graduate of London’s produced more than a dozen books on subjects rang- sive work in a manner befitting its ambition. And collection, and he brought back everyone who he’d a new subject, Royal College of Art when his first book, 1991’s Living ing from the Faustian spectacle of nuclear waste even though it’s timed to coincide with the block- worked with, and he got me in as someone to create he finds a new Room—for which Avedon wrote the essay quoted from dumps and recycling plants (1994’s Other Edens) to buster retrospective Alexander McQueen: Savage work about his legacy—but obviously I don’t know. I above—was published. The book renders the domes- the bacchanalia of global rave culture (1997’s Safety Beauty at the Victoria and Albert Museum, Working don’t want to know.” language—a tic life of two families in a Nottingham council estate, in Numbers)—not to mention countless DIY zines and Process is not a satellite exhibition—after all, its Asked to pick a favorite picture from the collabo- new waY of providing intimate access to a chaotic private realm paintings—while more or less hiding in plain sight title implicates both subject and photographer. ration, Waplington cites “the cheesy one that I had to getting to the where wives mock-threaten husbands with kitchen from the art world. Unlike his widely shown German Simon Baker, who was brought on five years ago as really fight with myself to put in—the one where Lee is heart of knives and husbands hoist laughing children upside near-contemporaries Thomas Struth and Andreas the Tate’s first curator of photography, says that smiling, with his hands on his hips. He’s working and down. Waplington, who was raised in an upper middle Gursky, who hang their huge photographic tableaux both Waplington and McQueen “have a tough and he’s happy, and that’s how I want to remember him. It’s the matter.”

class family in Surrey, took his first pictures at Clash in blue-chip institutions, Waplington, 49, has thus far slightly tangential way of looking at the world that © NICK WAPLINGTON CLOCKWISE FROM TOP: F. MARTIN RAMIN; © NICK WAPLINGTON; JEFF MCLANE; © NICK WAPLINGTON (2); F. MARTIN RAMIN kind of sentimental, but sentimental can be good.” —simon baker

88 wsj. magazine wsj. magazine 89 SUNCLIPSE the alchemy of light, color,and design

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found his serial vision best expressed in the culturally enriches it. Every time Nick turns to a new subject, creative brief insular format of the photo book. But he wants to push he finds a new language—a new way of getting to his work into new dimensions. “My trajectory now is the heart of the matter.” to do more shows,” he says. “I want my photography Last fall, on the heels of his 2013 book, Alexander PRIVATE RECORD to exist within all other forms of contemporary art.” McQueen: Working Process, Waplington published In March, he becomes the first living British his second book in as many years, Settlement. Photographer Nick Waplington’s images are raw, deeply personal and photographer to have a solo show at Tate Britain, Produced as part of the project This Place—for which startlingly diverse. This spring, his vision comes to Tate Britain. Nick Waplington/Alexander McQueen: Working 12 internationally renowned photographers were Process. Initially commissioned and co-edited by the invited to make work in and about Israel—it captures late McQueen as a photo book, their landmark col- Israeli settlers, living in surreal suburban outposts www.brunellocucinelli.com 877 3308100 BY LAURENCE LOWE laboration has been reimagined by Waplington as a in contravention of international law, in formally sprawling exhibition featuring more than 130 images, posed family portraits. Waplington wound up vis- some never seen before. Waplington documents in iting more than 350 settlements, an area covering revelatory, tender detail the making of McQueen’s roughly 2,000 square miles. “I had to find the right penultimate collection, Horn of Plenty, which awed landscapes,” he says. “I’d be marching up and down Paris upon its unveiling at the autumn/winter shows a hill in my Birkenstocks with my 8-by-10-plate cam- in 2009. With it, McQueen mocked the decadence of era, and the last thing I wanted was to become fodder the fashion world with a catwalk made of broken mir- for some sniper from whichever side.” rors, surrounded by a pile of discarded set pieces from The traveling exhibition This Place arrives at his past shows, and garishly made-up models wearing the Tel Aviv Museum of Art in May, followed by the hats of recycled trash. “The turnover of fashion is just Brooklyn Museum next February. And Waplington, so quick and so throwaway,” McQueen told the New ever eager to reconceive his projects for the public York Times. “There is no longevity.” sphere, says he is jockeying with the curator to let Recalling the first time McQueen got in touch him include sculptures he produced in collaboration with him about teaming up, in 2008, Waplington with Palestinians and ultra-Orthodox Haredi Jews. At says, “He wanted me to make him a messy, dirty first, his idea was “pooh-poohed,” Waplington says. “I ALL IN THE FAMILY Clockwise from left: photo book—in my style, as it were.” Waplington was told yet again: ‘It’s a photography show! Do what Two images from Waplington’s first book, 1991’s Living Room; with his son in 2014; installation initially declined the commission—he was living in you’re told!’ ” (This Place’s curator, Charlotte Cotton, view of his mixed-media 2014–2015 show at Little Jerusalem at the time, deep into a five-year project says his sculptures “could be included in the instal- Big Man Gallery in Los Angeles; an image from documenting the lives of Israeli settlers on the West lation of the show in Tel Aviv.”) “I’m going to insist,” Settlement; backstage at McQueen’s Horn of Plenty All things come from the Earth show, part of Waplington’s Tate Britain exhibit. Bank—but McQueen wouldn’t hear of it. “He said Waplington says. “It’s how I envision the work.” it couldn’t wait,” Waplington recalls. “He was like, XENOPHANES ‘You’re doing it now, and I’m not taking no for an HERE Settlement expands on his long- answer.’ ” One year after completing Horn of Plenty, standing artistic preoccupation with McQueen committed suicide. the family unit, Working Process marks Waplington had known McQueen since the ’90s, an even more explicit return to territory when the designer was enrolled in Central Saint WWaplington plied in his youth. After Avedon visited Martins and both men were living in the then down - his class at the Royal College, the two struck up a trodden Shoreditch area. They had friends in common, close friendship—“We’d do the galleries on a Saturday like the stylist Katy England—later McQueen’s cre- morning when they were still in [New York’s] SoHo,” ative director—and Waplington’s Old Street studio Waplington recalls—which led to a gig shooting a MEMORY MAKERS The fashion designer Alexander McQueen (shown above with editor Susannah Frankel) and mates, the artist duo Jake and Dinos Chapman. (The behind-the-scenes ad campaign showing the fashion Nick Waplington collaborated on a photo book in 2009 about the making of McQueen’s penultimate show, Horn of Plenty. three still share a space, having bought a former designer Isaac Mizrahi at work. “Those pictures are knacker’s yard and glue factory together farther just about to get a dusting down,” says Waplington, east, near the Olympic Park, before that area also who plans to edit them into a book. “Both Lee [as HEIR SUBJECT WAS the lives of families,” and New Order shows and anti-apartheid marches, and exploded in popularity.) It was the ferment that McQueen was known to his friends] and Isaac were the late Richard Avedon recalled thinking shot the two Nottingham families while living nearby birthed the YBAs (Young British Artists)—the artsy very hands-on with the making of the clothes, the fit- the first time he laid eyes on the photo- at his grandfather’s house. By exalting the mundane face of Cool Britannia—and “everyone in that scene ting on the models. Something about the room, with a graphs of Nick Waplington, “and no work in glorious color, his photographs offered a post-punk liked Nick,” says Trainspotting author Irvine Welsh, team of people who are very close to the designers— Tof fiction that I knew embodied so complicated a alternative history of the end of Thatcherism, and an a close friend of Waplington’s, “but he would never there was definitely a similarity.” picture of the circus of family hysteria: cruelty and unceremonious kiss-off to a tired, emotionally distant have been comfortable with that level of celebrity or McQueen was found dead in his flat on February bliss, energy and exhaustion, the cycles of appe- documentary tradition that portrayed the British being associated with any movement.” 11, 2010. “Of course it’s crossed my mind that it was tite…each picture as dangerous and ecstatic as a underclasses in black and white. It’s been a long time coming, but Waplington premeditated a long time before,” Waplington says “everY time Bruegel. And as composed.” In the years since Living Room, Waplington has finally has the opportunity to mount his immer- of McQueen’s suicide. “He did this big retrospective nick turns to Waplington was a recent graduate of London’s produced more than a dozen books on subjects rang- sive work in a manner befitting its ambition. And collection, and he brought back everyone who he’d a new subject, Royal College of Art when his first book, 1991’s Living ing from the Faustian spectacle of nuclear waste even though it’s timed to coincide with the block- worked with, and he got me in as someone to create he finds a new Room—for which Avedon wrote the essay quoted from dumps and recycling plants (1994’s Other Edens) to buster retrospective Alexander McQueen: Savage work about his legacy—but obviously I don’t know. I above—was published. The book renders the domes- the bacchanalia of global rave culture (1997’s Safety Beauty at the Victoria and Albert Museum, Working don’t want to know.” language—a tic life of two families in a Nottingham council estate, in Numbers)—not to mention countless DIY zines and Process is not a satellite exhibition—after all, its Asked to pick a favorite picture from the collabo- new waY of providing intimate access to a chaotic private realm paintings—while more or less hiding in plain sight title implicates both subject and photographer. ration, Waplington cites “the cheesy one that I had to getting to the where wives mock-threaten husbands with kitchen from the art world. Unlike his widely shown German Simon Baker, who was brought on five years ago as really fight with myself to put in—the one where Lee is heart of knives and husbands hoist laughing children upside near-contemporaries Thomas Struth and Andreas the Tate’s first curator of photography, says that smiling, with his hands on his hips. He’s working and down. Waplington, who was raised in an upper middle Gursky, who hang their huge photographic tableaux both Waplington and McQueen “have a tough and he’s happy, and that’s how I want to remember him. It’s the matter.”

88 wsj. magazine wsj. magazine 89 Beverly Hills South Coast Plaza San Francisco Las Vegas

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BOSTON – CHICAGO–DALLAS–MIAMI – LONDON – LOS ANGELES 102 wsj. magazine NEW YORK – SAN FRANCISCO – TORONTO–WASHINGTON D.C. EQUINOX.COM leading the conversation the exchange. march 2015

tracked CHARLES MASSON The courtly New York restaurateur establishes a new roost at the Baccarat Hotel.

BY CHRISTOPHER ROSS PHOTOGRAPHY BY CHRISTOPHER CHURCHILL

N NOVEMBER 1974, 19-year-old Charles Masson was studying architecture and design at Carnegie Mellon University when he got a call from his mother: His father had taken ill; she needed Ihelp running the family business. That business was La Grenouille, opened by Masson’s parents in 1962 and considered by many to be New York’s iconic French restaurant. Over the next 40 years, Masson became the soul and face of the culinary mecca as its manager, serving U.S. presidents, fashion moguls and international royalty with his customary quiet gravity. Following a disagreement with his brother, Masson left La Grenouille last year and now, at 60, is embark- ing on a new chapter as the director at Chevalier, a restaurant inside New York City’s new Baccarat Hotel, which opens its doors in March. Much like Gustave H, the fastidious concierge in Wes Anderson’s The Grand Budapest Hotel, Masson seems like a man of a different era—and one whose instinct for hospitality is second nature. Dressed in Charvet and Turnbull & Asser and speaking in a low, urbane register, he possesses seemingly bottomless reserves of knowledge about all aspects of service, from the design history of champagne glasses to how to discreetly help a guest who is choking on a bone. For Masson, flowers and their place in life—how they subconsciously open the senses, preparing one for a meal; how their brief life span reflects the attitude that each night’s service must be fresh and spontaneous—constitute an entire philosophy. “There’s a garden inside all of us,” he says. At the Baccarat, near his Midtown East residence, he’ll oversee the restaurant alongside chef Shea Gallante, formerly of Cru and Bouley, with a menu based largely on French classics. The hotel’s homages ©2015 California Closet Company, Inc. All rights reserved. Franchises independently owned and operated. to Versailles (chandeliers hanging from ropes; a grand salon dedicated to champagne) suit Masson’s sensibili- THE NOSE KNOWS ties. He recalls how his father, realizing that a table at Masson inhales deeply La Grenouille was unpopular because of how brightly from a bouquet of the light struck it, solved the problem by buying a crys- flowers at a floral shop on 28th Street. tal Baccarat vase and filling it with flowers to block the sun. Looking back, Masson sees it as a sign. “Fate has a californiaclosets.com | 866.488.2747 role in life,” he says. “You have to believe in destiny.” >

wsj. magazine 105 the exchange tracked

9:05 a.m. 4:11 A cup of coffee 10:32 a.m. Masson’s personal record for his high at A Little Taste, a cafe nestled in the Inspects glasses school mile time. Now he runs mostly 10Ks. heart of New York City’s Flower District. at the Baccarat flagship on “Sunday morning runs are my religion,” Madison Avenue; they he says. will be used at the hotel. 15,000 Baccarat glasses will be in rotation at the hotel.

$2,500 Amount Masson was known to spend weekly on flowers at La Grenouille.

3 9:34 a.m. children Surveys including his youngest, Charlotte, 3, the offerings at floral who according to Masson already loves boutiques on 28th to set a table. Street. “The flower market is the antidote,” he says.

14 Masson’s age when he first worked on a mural, with his artistic mentor, Bernard Lamotte. He still sketches and paints obsessively. 85 employees 12:22 p.m. Masson will oversee at Chevalier. 1:15 p.m. Tours Champagne tasting the hotel’s grand salon, at Chevalier alongside manager still under construction. Thomas Caron. The walls are covered in pleated silk. 0 Number of times Masson walks through a door first in the course of the day. He always 4:40 p.m. holds it open for others. Samples dishes created by chef Shea Gallante. Hors d’oeuvres below include duck rillette and tapenade. $35 Amount of money that Masson’s mother, Gisèle, had upon arriving in New York from France in 1949. 5:22 p.m. SPRING 2015 Cocktails AGJEANS.COM at the Monkey Bar with his friend Barry Wine, former proprietor 1 in 8 of the Quilted Giraffe. Average win ratio when he plays his son, Charles-Edouard, in Ping-Pong. •

106 wsj. magazine the exchange

MOUNTAIN AIRS Clockwise, from far left: Wild udo and tilefish soup, one of several courses served at Miyamasou; Hisato Nakahigashi at the entrance to the inn; the ryokan and grounds encompass mountain paths and a cedar grove and feature natural, sukiya-style architecture; fusuma sliding doors divide the ryokan’s rooms.

epicurean travel NOW, FOR AGE R At Miyamasou, a ryokan in the hills outside Kyoto, Japan, locavorism and holistic dining flourished decades before René Redzepi and Noma popularized them.

BY TOM DOWNEY PHOTOGRAPHY BY HIDEAKI HAMADA

Y FIRST GLIMPSE into the kitchen at Hisato has applied his own creative spin to the con- chosen are different. “In winter, natural fukinoto For dinner, we are seated at a counter in the rear The Pacojet and the introduction of novel ingre- them the source of his cuisine in the fields and for- Miyamasou, a two-Michelin-star Japa- cept, transforming Miyamasou into a pilgrimage has to push out its moisture to prevent itself from of the main restaurant building. The counter—built dients aren’t the only innovations that distinguish ests around the inn. (Double-occupancy room and nese restaurant and ryokan perched site. Chefs and food experts such as Thomas Keller freezing,” he says. “That makes it sweeter. You’ll out of slabs of toga (Japanese hemlock) and accom- this chef from his father. “My father never went board is $900 per night.) high above Kyoto in a mountainous and Ruth Reichl have traveled thousands of miles to taste it tonight.” As we walk back to the main build- modating only a handful of people—is unusual for abroad,” he says. “I left Japan at age 18 to go work As the smell of charcoal-grilled fish fills the Mregion to the north, is of a few young cooks nimbly experience not just Nakahigashi’s version of holistic ing, I see a cook bent over a small artificial pond a ryokan, which typically serves meals inside the in the great restaurants of France, and I stayed room, ayu—sweetfish placed on metal skewers in carving small pieces of chestnut wood into slender, eating but a total immersion into the terroir of this netting koi for our dinner. Nakahigashi explains guest rooms. there for six years.” At first, Nakahigashi thought such a way that they look as though they’re still slightly misshapen chopsticks. With a layer of dark- remote mountain hamlet. that the carp take on the flavor of their water. These One of the first things I taste is a tempura dish he might remain in Europe longer, but after a few swimming—are set down on the wooden counter. brown bark left along one end to form a grip, these As he walks us around the grounds, Nakahigashi carp are from the neighboring Shiga prefecture, containing the fukinoto the chef had picked ear- years cooking at esteemed places such as Louis Then tiny morsels of sushi rice topped with foraged are as different from generic chopsticks as jamón kneels by the river behind the ryokan. Carefully so he brings them here to swim in the fresh, clean lier. Its flavor is both bracingly bitter and delicately XV, he felt a longing for Japan and Miyamasou. He kogomi (fiddlehead ferns) arrive as a small interme- ibérico is from corner-deli ham. Hisato Nakahigashi, brushing away a layer of newly fallen snow, he digs mountain water before serving them. “It removes sweet. Nakahigashi explains that he has used a didn’t return here directly, though: He went first diate course. Each dish is accompanied by a simple chef, owner and heir to Miyamasou, bounds out of up tiny, delicate green fukinoto (butterbur sprouts). the muddiness,” he says. modern device, a Pacojet puréeing machine, to cre- to Tsuruko, in Kanazawa, a region with an ancient description, but nothing as Byzantine as the expla- the kitchen to greet me and then explains what I’m “Now everything is available everywhere at any- As Nakahigashi leads us to the lodging wing ate the sweet sauce it’s tossed in. “Fukinoto is really Japanese cuisine and culture that are similar to nations you sometimes find with high-end cuisine seeing: “Every morning, our cooks wake up and cre- time,” he says. “But for people long ago, there was of the ryokan, his wife, Sachiko, kimono clad and fibrous. In my father’s time, he could never make Kyoto’s and perhaps even better preserved. When in America. “Cooking is our life,” Nakahigashi says, ate chopsticks that our guests use that day,” he says. extreme scarcity in winter. Right about now they smiling, bows in greeting and insists on carrying a sauce out of it,” he says. “My way of expression his father died unexpectedly at the age of 55, “but it doesn’t have to be the life of every one of our “Even something as simple as a chopstick can be a would be dreaming of springtime, and these tiny fuki- our luggage despite my strong protests. The sleep- through food is the same as his, but our techniques Nakahigashi returned to Miyamasou to carry on his customers. Our goal is not just to feed them well, but connection to the land.” noto buds would be a sign that spring was coming.” ing room is simple and serene—tatami mats cover differ.” The koi is served as thin pink slices of family legacy—and subtly make it his own. to enrich their lives with the feeling that the chef is I’ve come to Miyamasou for an overnight visit Nakahigashi’s great-grandfather opened this the floor, and the gurgling of fast-flowing water sashimi, accompanied not by the customary wasabi, Ryokans are deeply rooted in Japanese culture, thinking of them and what they want.” because I’ve heard that the inn and restaurant offer ryokan more than a hundred years ago as a hos- drifts in through a window. The architecture, fol- which isn’t found in this region, but by karami dai- the earliest inns having sprung up along the main Before I leave for Kyoto, Nakahigashi takes me on a dining experience unlike any other in Japan. In tel for pilgrims on their way up the 400 steps to lowing the classical sukiya style as executed by kon, a spicy radish, which, mixed with soy sauce, Tokyo–Kyoto pathway in the 17th century. Today a tour of the adjoining temple grounds, which date current foodie popular history, foraging ends some- the Daihizan Bujoji temple atop this mountain. one of its leading 20th-century proponents, Sotoji serves as a powerful counterpoint to the sweetness they come in all shapes and sizes, some with hun- back to 1154. “With such a small amount of flat, arable time after the age of hunter-gatherers and doesn’t Nakahigashi’s initiation into the tsumikusa cul- Nakamura, is shaped around the landscape and pro- of the fish. dreds of rooms, others with just a handful. Ryokan land, our culture needed a special relationship with reemerge until centuries later, when Copenhagen’s ture and cuisine—and his experience with the vides views of the adjacent stream. Before dinner, A few dishes later, Nakahigashi returns with food—typically kaiseki, multicourse cuisine nature in order for us to survive. That’s where the Noma makes it popular for chefs to pick their own taste of the season’s first fukinoto—began when he Sachiko leads us to an adjoining bathing building. kuma nabe, a stew of bear meat garnished with fresh included with the room rate—has a reputation for culture of so many of our gods, of our ancient forms of ingredients in nearby forests and glens. But long was very young. “It was a kind of game when I was This is not an onsen, a natural hot spring, but moun- sprigs of a leafy vegetable called seri (water drop- being elaborate, expensive and somewhat stodgy. nature worship, all came from.” We wander to a field before René Redzepi championed the idea of a cui- a child here,” he says. “There was nothing else for tain springwater that has been warmed before wort). “My father never served bear, either,” the What sets Miyamasou apart is both the quality of nearby, and the chef bends down and digs again for sine based on foraging, chef Nakahigashi’s father us to do but to pick things, to fish, later to hunt.” being poured into a large wooden tub. Tall glass chef says. “But I think it has the sweetest fat of any the food and how Nakahigashi has shaped his lodg- some of the herbs that will feed his guests tonight. invented a culinary genre of his own: tsumikusa, Cultivated fukinoto is now eaten all over Japan, windows slide open to allow cool air from outside meat. Hunters around here sell me the bears they’ve ing experience around eating, inviting guests to the “When you cook ingredients that you’ve collected meaning freshly picked. In recent years, his son but Nakahigashi explains why the sprouts he’s just to flow in. hunted. It’s a great warming, winter dish.” counter to see their meal being made and showing yourself,” he says, “there is a truth to the food.” •

108 wsj. magazine SASHA PIVOVAROVA FOR ZADIG & VOLTAIRE - SS15 AD CAMPAIGN - ZADIGETVOLTAITRE.COM

LOOKING FORWARD

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112 AGAINST THE GRAIN Vintage-inspired fabrics such as silk jacquard gain new relevance when juxtaposed with raw linen or leather. Dries Van Noten bronze silk jacket and bandeau, Giorgio Armani linen pants and Loewe pumps. Opposite: Prada leather coat, skirt, bag and linen top. TRUE TO FORM A midi-length hemline looks modern, especially on a dress with cascades of white fringe or a voluminous skirt. Céline silk and polyamide dress and lambskin heels. 116 Opposite: Comme des Garçons Comme des Garçons hemp and linen washed jacket and skirt, Dries Van Noten fur clutch and Loewe pumps. WOVEN TOGETHER Artisanal fabrics and interesting textures add unexpected dimension to unusual cuts. The Row raw silk tunic and honan silk skirt. Opposite: Salvatore Ferragamo woven viper fringe jacket. TEAR IT UP Try new silhouettes, like a dress that takes cues from an insouciantly tied sweater or a silken tunic and breezy culottes. Sportmax knitted cotton dress. Opposite: Calvin Klein Collection viscose knit backless sweater top and oversize pleated pant and Céline heels. 120 Model, Maartje Verhoef; hair, Cim Mahoney; makeup, Romy Soleimani; manicure, Elisa Ferri; prop styling, Andrea Stanley. For details see Sources, page 166. The Meisel Touch

What makes a supermodel? The man behind the lens of the most iconic and influential fashion images of the last quarter century: Steven Meisel.

PHOTOGRAPHY BY STEVEN MEISEL INTERVIEW BY TIM BLANKS

EW PHOTOGRAPHERS have skated as attending Parsons, he became a fashion illustra- successfully as Steven Meisel has across tor for Women’s Wear Daily before being tapped by a multitude of worlds, all in the name of Elite models for test shoots—and then, soon after, fashion. Prolific scarcely scratches the by Vogue to photograph the collections. Since then surface. You could label him an auteur, he has produced hundreds of magazine editorials in the cinematic interpretation of the (including every Vogue Italia cover since 1988) and Fword, because however different each shoot is from countless ad campaigns. The astonishing range of his the next, there is a signature, a kind of complete- output—from over-the-top couture glamour to sharp ness, which speaks to the obsessive perfectionism social satire—betrays a chameleon-like imagination. of his vision. No detail is too small. Every shot is “He was the first person,” Madonna once told Vogue, meticulously planned in advance and logged in his “to introduce me to the idea of reinvention.” bandanna-wrapped head. Although Meisel himself has always been a closed And like many great auteurs, Meisel has made book, rarely granting interviews, he acknowledges stars of the women who’ve performed for his lens. that every shoot is ultimately a part of his own story. The supermodels who in the late ’80s began to dis- Valletta, for instance, bears an uncanny resemblance lodge Hollywood celebrities from their pop-cultural to his mother, a former band singer with Sammy Kaye, dominance were directed by Meisel: Linda, Christy, now living in Palm Springs, California—and clearly an Naomi and all those who came after, among them enduring inspiration. “Interesting, he’s always shot the woman who has played perhaps the most perfect me in a wholesome way, even when the shoot is crazy,” Trilby to his Svengali, Amber Valletta. “Working Valletta muses about a collaboration that has seen her with him is like working with a director,” Valletta enact a vast array of characters, from Anna May Wong says. “He’s so clear about what he wants. Each time to Grey Gardens’ “Little” Edie Beale. he describes a character, you know exactly what he’s SIDE EFFECT Meisel, in a self-portrait taken in 2014. Meisel has recently revisited his past—at least looking for. There’s no guessing. And I think that A selection of his work is currently on view in as reflected in his work—as he compiled an over- kind of communication is a part of his genius.” Role Play, an exhibition at Phillips in New York City. view of his photographs to be auctioned by Phillips Opposite: Linda Evangelista, photographed by Meisel, who turned 60 last year, was born in Meisel for Vogue Paris, 1989. (the accompanying exhibition, Role Play, launched

Manhattan and grew up on Long Island. After in Paris and is currently on view in New York City). © STEVEN MEISEL, IMAGE COURTESY OF PHILLIPS AUCTIONEERS

122 The familiarity of the images is startling: They’re better, or I start crying. I’m ridiculously sensitive, money. But I was petrified. I never thought that I could fundamental to the fashion lexicon of the past three that’s just who I am, so it’s really tough for me to look do that, no. I’d loved photography since I was a child, decades. Given the assumed ephemerality of his sub- at old pictures. but there was never a lightbulb that went off that said, ject matter, the timelessness of the pictures is equally TB: Even when you’re looking at those pictures “This is exactly what I could do.” I think it was insecu- remarkable. “He will always be able to find newness which I think of as a conspiracy between you and rity and fear that drove me. in something, as if it was always there, so his work Linda? You don’t feel a thrill? TB: I have head shots for hair salons in Greenwich doesn’t date,” says J.W. Anderson, the young British SM: I always get sad. Village that Anna Sui and you used to do for the designer who has recently worked with Meisel on TB: You mean melancholy at the transience of Soho News. campaigns for the Spanish fashion house Loewe. “It’s everything? SM: Yeah, we did. I was still at Women’s Wear. like it was meant to be.” SM: I’m not going to get into the whole meaning of Sometimes Anna will ask me about something—“Do Meisel’s surrender to that destiny is absolute—a life—of which there isn’t one anyway—but yes. you remember this?”—and I don’t recall any of it. Then blessing for fashion, because with every click of his TB: What thrills me is your ability to re-create she’ll show me, and I remember. shutter, the universe expands. As Donatella Versace atmospheres, to evoke times and places and artists TB: Would you describe yourself as obsessive? says, “With each image, he creates a complete world, that meant so much to me. I’m assuming they meant SM: No, I don’t think so. one that is at the same time total fantasy and also a lot to you too. TB: Would you say you’re a man with a vision? absolutely true.” SM: It’s a part of who I am, of who you are. It’s our SM: Yes. experiences and our eyes and our hearts, of growing TB: How would you describe that? The ability to Tim Blanks: Your selection of images for the up when we did. look at, say, an 18-year-old Karen Elson and completely Phillips show seems to be a concise career overview. TB: Do you ever feel you missed out on anything, remodel her into a star. Is that how you saw it? and you’re re-creating an earlier time out of that urge? SM: I don’t know, I don’t know. It’s all the time. I Steven Meisel: It wasn’t just my decision. I would SM: No, I don’t think so. You mean, were there bet- don’t have an answer for that. I just know it. have pushed it further, to be honest. They had first ter periods? I think that things certainly had more TB: Is that talent a blessing or a curse? given me a selection, then we went back and forth. It taste. But then we get into the world we’re living in SM: I guess for those who benefit from it, it’s a was a compromise. now, and I’m a realist. So, no. blessing that I see that way. Lately I find it a larger TB: The earliest image, from 1987, is of model Sean TB: You’re something of a satirist, too. responsibility than I had thought about. I’m not being Bohary. I remember your shooting him in those days SM: Absolutely. I would hope my sense of humor is for Per Lui. Those images had such a transgressive, obvious in everything. I don’t consider myself just a ambiguous edge. Did coming out of the New York cul- fashion photographer. It’s more than that. I’m also a ture of places like the Mudd Club shape you? very funny person, and I have a good sense of humor. “I’m In every pIcture SM: When I was at the Mudd Club, I didn’t have a And I hope people see that. that I take. It’s all me.” job yet. Besides, I’d been going out since I was 14, so TB: What makes you laugh? –steven meIsel there was much more before that; so, no, the Mudd SM: Oh, Christ, I can’t answer that. Club didn’t influence any of those photographs. That TB: It seems to me we’re living in an increasingly was just me; that’s all I can say. It’s how my eye sees. idiotic age. TB: Do you think you were looking for yourself in SM: That, unfortunately, I don’t laugh at. I don’t find an a—hole, but I have changed so many people’s lives. those photos? There was a strand in your work for a that funny. But I laugh all the time, at stupid things. I hadn’t really thought about it until recently when long time of very ambiguous, beautiful people with TB: I think of you more along the lines of a a girl or a guy I’ve worked with has brought it to my long black hair. director than a photographer, putting together a pro- attention. “Steven, did you know at that time I was SM: I think I’m in every picture that I take, regard- duction with the same team of people all the time: homeless, and you changed my life, and I’ve been wait- less of whether it’s a super-commercial something; hair, makeup, set designer, lighting, star. Like the ing 12 or 15 years to tell you this?” So it’s not at all a it’s all me. So am I looking for myself in those kinds of Steven Meisel Repertory Company. curse to be able to help people and change their lives photographs? It’s not intentional; it’s just a sensitivity. SM: The Meisel Repertory Company is in my head for the better. I’d say it’s a blessing. Thinking of the Sean pictures: Am I looking for me in and my heart. That’s where it comes from. I do do it all. TB: I mean for you, though, never being able to them? No, I am them. I have many people to help me, but it is me. relax, always being driven to transformation. TB: Does that mean that everyone in your photos is TB: I’m getting Orson Welles. SM: It’s not a conscious thing. When I see them, it’s an alter ego in a way? SM: [Laughing] Maybe you’ve been at the bar too not that the word transformation comes into my head. SM: Um, not in every one, but yes, to a certain long. But I’ll take it. It’s just something about them that I see on a shoot. extent, sure. TB: I keep coming back to Linda and the perfor- I guess I do see the best in them. TB: Thinking of your photos of Linda [Evangelista], mances she’s given for you. I’ve often wondered how TB: Do you think you see in archetypes? When for example, there’s a real symbiosis in those images. inspired you were by the Avedon series with Suzy you’re looking at a novice 16-year-old, you can tell how SM: Yeah, that’s me, absolutely. That’s a part of who Parker and Bradford Dillman acting out the public to turn her into a swan. I am. But I have to be honest—I don’t know what I do. drama of the Taylor-Burton relationship. SM: Yes, I can. I learn more about what I do from other people ask- SM: I thought that was brilliant. Did it inspire me? TB: Every model mentions the incredible precision, ing me questions or commenting. It’s nothing I think Sure. Everything I ever saw that I loved inspired me the speed, the sureness with which you make them about; I just do it. and is part of who I am. It’s all cemented in there. But I into the person you want them to be. TB: But are there moments when you stop to think, don’t sit and think about it. SM: I don’t know why. I just know when I look, I see “God, I did that one well”? TB: Was there one moment for you, a flash when you it. It’s how my eyes saw as a kid. SM: No. knew this was what you wanted to do? TB: Did your mother trust your input? TB: You mean it’s always on to the next thing? SM: To be totally honest, no. I always ate up every- SM: I guess maybe she would have asked me “WIth each Image, meIsel creates SM: Yes. Emotionally, it’s very difficult for me to thing. But if anything, I thought, “Oh, my God, I could whether I liked this or that better, but she was pretty a complete World, one that Is total look at old work. That’s why it was so hard to do the never do that.” I was still at Women’s Wear Daily, good herself. She still is. Phillips thing. I either look at what I could have done and Mr. [Alexander] Liberman had asked me to go TB: I guess when a model works with you, there’s fantasy and also absolutely true.” to Paris to do the collections. But I couldn’t take any an expectation that she’ll become the Next Big Thing. –donatella versace more vacation time or sick days, and I was thinking I SM: I hate that. I think the business has changed SILENT WITNESS Hannelore Knuts, photographed in Los Angeles couldn’t possibly quit, what am I going to do? So we so much. It’s more like how many likes you get on

© STEVEN MEISEL, IMAGE COURTESY OF PHILLIPS AUCTIONEERS by Meisel for Vogue Italia, 2000. just worked it out that I was hired, so I could get some Instagram, which I do not do. I’m not into it. I don’t GRAVE MATTER Clockwise from left: Meisel uses a funeral setting for a portfolio in Vogue Italia, 2008; Fei Fei Sun on the cover of Vogue Italia, 2013; one of several sexually ambiguous vignettes from Meisel’s debut pictorial for W, 2004.

FACE TIME COUPLES THERAPY Meisel has photo- Clockwise from left: graphed every cover Versace’s fall 2000 of Vogue Italia since campaign, with Amber 1988— including Naomi Valletta and Georgina Campbell, left, for the Grenville; Raquel Black Issue, 2008. Zimmermann in “Make Above: Carolyn Murphy Love Not War,” Vogue in “Face to the Future,” Italia, 2007; YSL, Vogue Italia, 2012. spring 2002.

GIRLS, INTERRUPTED Above: “Supermodels Enter Rehab,” Vogue Italia, 2007. Left: Linda Evangelista in “Makeover Madness,” UP IN ARMS Meisel’s comment on plastic Below: Karen Elson and Raquel Zimmermann surgery, Vogue Italia, 2005. starring in Lanvin’s fall 2011 campaign.

SHIPWRECKED Above: Kristen McMenamy in Vogue Italia’s “Oil and Water,” from 2010, Meisel’s comment on the BP oil spill. Below: A Prada campaign from 2002.

STREET SMART Left: A paparazzi- inspired shoot from Vogue Italia, 2005. Right: Extreme corsetting, from Vogue Italia, 2011. BEDROOM EYES Left: Meisel’s Twitpic parody for Vogue Italia, 2009, included snaps of Gisele Bündchen. Above: “Fashion Marathon,” from Vogue Italia, 1997, based on the film They Shoot Horses, Don’t They? know what makes a star anymore. I’m just doing what SM: I don’t think about it. I don’t feel it with experiencing. You’re in a different head all the time. I do. So is there an expectation? Not from me. And my work. TB: What’s most important for you? What ties it I hope not so much from the model, because I don’t TB: If the work changes as a reaction to the world, all together? want to disappoint anybody. My goal is just to do what you yourself seem to have also reacted. People are fas- SM: I wish I knew. I need to do on that day. cinated by the notion of you as a recluse. TB: I see something beautiful but quite old- TB: If you feel the industry is changing— SM: You have to become more and more insular, fashioned. I see loyalty. SM: You know that it has; it’s our world, our society. because it’s crazy out there. I don’t know what other SM: Now that you’ve said that word, that is defi- TB: In some of your most controversial portfolios— people think of me, and there’s nothing I can do about nitely part of who I am. I don’t do it because of that, the oil spill, the horror movie story, the plastic surgery it. As I said, I’m an extremely sensitive person. I see but when you said the word, I thought, “Ah.” story—it feels like you’re pushing for more extreme too much and I feel too much, and it’s hard, that’s all. TB: I wonder if that’s why you get so emotional reactions. The satire is quite apocalyptic, even bloody. TB: Is the work some kind of remedy? when you look at old images. You can find your own SM: There’s humor, but there’s anger. Like the oil SM: No, it’s not a remedy. In many cases, it makes truth in them. spill story with Kristen [McMenamy]. That wasn’t me feel more, like the story I was telling about models supposed to be humorous, because the oil spill was and not being aware I’d changed their lives. horrible, and I was just pissed at the situation. The TB: People always talk about the young models “he’s so clear about plastic surgery story, on the other hand, was just a whose careers you’ve made, but I’m just as interested What he Wants. each comment. And horror movies? I love them. Which in the way you photograph older women. reminds me of something extremely frustrating that SM: I don’t care about age. Society is extremely tIme he descrIbes people maybe don’t know: I get two days to shoot these ageist, obviously, and it’s just nonsense. To think of a a character, you things, whereas years ago—speaking of how the busi- woman’s life as only interesting and important until knoW e x actly What ness has changed—I had four days. And before that, I 25 is stupid and also so hurtful to women. The busi- he’s lookIng for.” read articles about shoots that took weeks. It’s so con- ness creates it and then lets you hate yourself for densed now, and in those two days, every time you have it. Age is beautiful; life is that. You just begin to be a —amber vallet ta to stop when you’ve made a picture, and then you have woman past the age of 30. You’re just learning life and to make a movie for the Internet. I hate how little time having experiences. I have to do it. With the horror story, it was “Damn, TB: But you’ve always felt this way. SM: [momentarily farklemt] I could have really gone on,” but I didn’t have the time. SM: Yes, sure, but when I was growing up, the world TB: A predictable question: Do you have favorites? TB: That story caused a huge fuss because it was wasn’t so ageist. Women were women, and it wasn’t SM: You already know the answer: Absolutely not. presented as a comment on domestic violence. teenagers. Babe Paley, Suzy Parker, Dorian Leigh, Or you say something stupid like, “The one I’m going SM: With that one in particular, I’m like, “No, it probably in their 30s. It was OK to be a woman. Gloria to do next.” I’m sitting here because I have to choose wasn’t about abuse.” If it had been about abuse, there Guinness, Jacqueline de Ribes. They weren’t 16 years some of the Phillips images to copy, and looking at would have been no sense of humor, because it’s a seri- old. Beauty is ageless. the photo of the three women laughing [Veruschka, ous matter. But this was just my tongue-in-cheek love TB: The fact you’ve never done retrospectives or Lauren Hutton and Isabella Rossellini, 1988], and I’m of classic horror movies. I remember I did one shoot books or any of the activities that everybody else does remembering. So, no: no favorites. in a cemetery with Linda and a group of people, and to dignify their careers for posterity… TB: In the end, it’s almost like you’ve cast your - still people say to me it was about Yves Saint Laurent. SM: I don’t need it. self as a shaman for this huge tribe of people. You Maybe he died that week, but that had nothing to do TB: It’s not because you think what you do is not mentioned responsibility, but it also seems like a role with Yves Saint Laurent. I don’t know what they’re important, is it? you’re happy to assume in a way. all talking about. People just say what they say. They SM: No. I don’t have an emotional need for congrat- SM: The older you get, the more people tell you come up with their own ideas. ulations. It was never a priority, just not so important about it; then you accept it and you realize, “Hell, that TB: I can imagine how irritating it is to do what you to me, and then as the years kept going on, I thought, is what I’ve done.” When you’re doing it, you don’t did—re-create your favorite scenes from your favorite “Oh, God, another year to try and edit the thing.” It’s think about it. It just is what it is. become an absurd task, so maybe I can’t do it now TB: Do you ever feel you’re a bit of a stranger to because it’s overwhelming, and I’ll go through contact yourself, that you surprise yourself with what you do? “I’m an extremely sheets and in an hour I’ll be crying. Look how long it SM: Absolutely, and I’m surprised when someone sensItIve person. I see took for me to get 25 pictures for Phillips. else says something about what I’ve done. It’s insular. TB: The Phillips exhibition was a reminder that I do the job, then I walk away. Maybe someone will say too much and I feel too you’ve photographed men as well as women. something years later. much, and It’s hard.” SM: That reminder was a conscious thing. I love to TB: So actually you’re very innocent as well, which –meIsel photograph men, but maybe people thought my men is why you have such a virgin eye. were too effeminate, too much style. I would like to do SM: Yes, I am, absolutely; absolutely too sensitive. that more, and now maybe I can because I can pick and TB: What do you think the future holds for us? horror movies—and that isn’t the story that’s being choose more. Men of all ages, too. SM: All I can say is I’m thinking. I know that there’s told about the shoot. And then the controversy is used TB: Do you ever get bored? more, I think it will involve more people than just me. as a stick to beat fashion with. SM: At jobs? Sure. Each job is different, with dif- I never don’t want to work. Being an artist, being cre- SM: I know, and then I get s — about it. And I didn’t ferent circumstances and clients. I find the extremely ative, it’s who I am. It’s not like here’s an age or here’s a even say that originally. That’s why I don’t do inter- commercial jobs are the most difficult because they day and I’m stopping. I will always work in one way or views, because then I read things and I’m thinking, don’t know what the hell they want. So, yes, I get another as long as I’m physically capable. I definitely “Where do people come up with these things?” bored. So I try to put less of that in my life. want to do more things than just taking a picture. TB: But I think there’s still a subtle, subversive TB: Ever had occasion to regret anything? I think of TB: So if anyone calls you an artist, you’ll take it. quality in your work that disconcerts people. Even your work reflecting your life. SM: Absolutely. Something else I’ve finally if they’re not necessarily thinking about domestic SM: It absolutely does. I think, “Damn, I put my accepted as well. • violence, there’s always the context—the fashion mag- whole f—ing life out there this week, but people didn’t azine—to add that incongruous twist. notice.” I don’t ever regret it, though. COME AS YOU ARE SM: Sometimes it’s there, sometimes it isn’t. TB: So it’s all autobiography. Daniel Blaylock and Kristen McMenamy,

TB: Do you feel misunderstood? SM: Of course. It’s me, it’s what I’m doing or from “Grunge and Glory,” Vogue, 1992. © STEVEN MEISEL, IMAGE COURTESY OF PHILLIPS AUCTIONEERS

128 129 RAY OF LIGHT Thin straps put the focus on an elegantly cut décolletage. Michael Kors chiffon jersey dress. Opposite: Boss tulle and silk dress.

EASY LIKE SUNDAY MORNING Doutzen Kroes slips into simply alluring looks that evoke a vibe of relaxed sexiness.

PHOTOGRAPHY BY JOSH OLINS STYLING BY ALASTAIR M cKIMM SERENITY NOW For a nonchalant solution, throw on a menswear- inspired shirt or a womanly dress. Roberto Cavalli knit plissé dress. Opposite: Ralph Lauren silk button-down and Bottega Veneta cardigan and shorts (worn underneath).

133 DELICATE BALANCE There’s a spare elegance in lines that play across the body. Proenza Schouler black woven silk top and skirt. Opposite: Chloé cotton voile and lace gown.

134 PERFECT FORM With a few cuts, these dresses emphasize the wearer rather than the styling. Balmain viscose jersey dress. Opposite: Saint Laurent by Hedi Slimane wool dress.

137 SENSE & SENSUALITY A dramatic neckline looks effortless when balanced by a casual ponytail. Lanvin crepe cotton gown. Opposite: Donna Karan New York cross-draped bra top and belted high-waist pants. Model, Doutzen Kroes at DNA; hair, Esther Langham; makeup, Sally Branka; manicure, Michina Koide; prop styling, Max Bellhouse Studio. For details see Sources, page 166.

138 collect it VA L E N T I NO HAUTE COUTURE

This winter, New York’s Whitney Museum hosted an exhibition of artistic virtuosity different from its typical fare: a one-off haute couture collection by Valentino’s creative directors, Pierpaolo Piccioli and Maria Grazia Chiuri. Called Sala Bianca 945, the all-white presentation was inspired by a similarly monochromatic, modish collection Valentino Garavani designed in 1968, from which Jacqueline Kennedy selected her wedding dress for her marriage to Aristotle Onassis that same year. “These dresses are like little pieces of art,” says Piccioli. “Fifteen hundred stitches by hand—that’s what makes them so rich and yet so light.” Each of the 47 looks took three months to sew at Valentino’s couture atelier in Rome. This wisp of a dress, for example, is crafted from two layers of embroidered tulle plus a patchwork of three laces. The minimalist palette presented its own challenge: “White WHITEOUT A minidress from the is either perfect or it’s not,” says Chiuri. Sala Bianca 945 collection, named in honor of the “There’s no camouflaging the errors.” Whitney Museum’s Madison Avenue address. Valentino Sala Bianca 945 New York Haute Couture Collection “La Muse Endormie” BY J.J. MARTIN organdy dress embroidered PHOTOGRAPHY BY ROBIN BROADBENT with myrtle guipure. For STYLING BY EVA BABIERADZKI details see Sources, page 166.

140 HEN I ARRIVE at Almine Rech’s pied-à-terre in Paris’s gen- teel 16th arrondissement one rainy October morning, the French gallerist answers the door in a beige cashmere Wrobe, D. Porthault heart-printed pajamas and gold Moroccan slippers. Apparently, there has been a scheduling mix-up and I am here early, surprising Rech in the middle of her breakfast. The petite 52-year-old hardly misses a beat, ushering me past a stark, modern foyer, where a Douglas Gordon mural and a Richard Prince piece are on display, into a stately wood-paneled drawing room. The space is decorated with an imposing chandelier, Louis XVI chairs, a 1940s leopard-print sofa and 18th-century Chinese porcelain lamps, but amid all this grandeur sits a plump black garbage bag that seems to have been dumped in a corner of the Versailles-style par- quet floor. “Isn’t it funny?” she says, laughing as she sees my consternation, before explaining that it’s actually a trompe l’oeil bronze sculpture by Gavin Turk, an artist whose work she exhibits. “People are always embarrassed when they come in. They think, ‘Oh, they forgot to take it away.’” In fact, placing the conversation-starting piece in full view is the kind of surprise in which Rech delights. Born in Paris to a Vietnamese-French mother and a French father, Georges Rech, who founded EXPERT PANEL Rech, seated in front of a Prince work, in her one of France’s first ready-to-wear labels in the 16th arrondissement apartment. ’60s, Almine took up painting and drawing in high Opposite: The drawing room, school before studying art, cinema and literature at where a garbage-bag sculpture by Gavin Turk is displayed. Paris’s Faculté de Lettres and the École du Louvre. Since mounting her first exhibition in 1990 at a gallery in Paris’s Marais that she co-founded—a single light installation by James Turrell, whom she still represents—Rech has steadily cultivated a diverse stable of both young and established artists. Blue- chip stars like Prince and Jeff Koons coexist with dynamos including Los Angeles–based artists Alex Israel and Mark Hagen, and she also exhibits emerg- THE FRENCH ing talents such as German abstractionist Chris Succo. Their work fills the home she shares with her husband, Bernard Ruiz-Picasso, the 55-year-old grandson of Pablo Picasso and an heir to his estate. CONNECTOR The two, who have been together since 1997, divide their time between this Parisian apartment, a house in Brussels (where she founded her second gallery Gallerist Almine Rech’s ease with Old World society and art’s in 2006), an apartment at New York’s Carlyle hotel avant-garde is exhibited at her elegant Parisian apartment, and a French country estate inherited from Picasso called Boisgeloup. Recently, Rech has also been where she mixes works by Marcel Duchamp and Richard Prince. bunking at the Connaught hotel in London, where she opened her third gallery in June. The intimate space is on Mayfair’s Savile Row, prime real estate in an area that has fast become ground zero for BY ALEXA BRAZILIAN PHOTOGRAPHY BY ESTELLE HANANIA

143 big-name art dealers over the past few years. It’s a son from her second marriage to Cyrille Putman, bold move, placing Rech alongside megaplayers like with whom she founded the Marais gallery). The Larry Gagosian, David Zwirner, Marian Goodman pair also run Fundación Almine y Bernard Ruiz- and Pace Gallery. Those who know her say that, even Picasso Para el Arte, or FABA, an organization that among such established neighbors, she stands out functions as an educational archive for the works for her combination of old-world poise and ease with Ruiz-Picasso inherited from Picasso. (He shares the new generation of artists. rights to Picasso’s complex estate with the artist’s “Almine has this tremendous curiosity and excite- only living son, Claude, his sister Paloma, their half- ment in seeking out uncharted [territory]. She is sister Maya and Ruiz-Picasso’s half-sister, Marina.) open to absolutely everything with no judgment,” Under Rech’s influence, FABA also supports some says Koons, who has worked with Rech since 2007 of the couple’s favorite institutions, including Le and compares her “nurturing” side to that of the late Consortium in Dijon, France, London’s Serpentine dealer Ileana Sonnabend. “Almine has associations Galleries and the New Museum in New York. with young contemporary artists that I’m happy to be “Bernard is very private—that’s his personality. in dialogue with, and she’s also moving in circles that It’s also a form of protection from people who try to are profoundly involved in Pablo Picasso’s work. She invade his space,” says Rech of her husband. “He’s not is involved with a totally vast parameter.” so keen on simply entertaining for social reasons, but Nowhere is this more apparent than in her apart- if it’s for an artist, he would do anything. That’s why ment, where there is a harmonious mix of pieces. A we function together so well.” disc-like Marcel Duchamp “rotorelief” is mounted Rech takes a hands-on approach with her art- on a wall of the study, which opens onto the living ists’ careers, viewing them as part of an extended room, where a Cindy Sherman photograph presides family. When Francesco Vezzoli needed ancient over a Regency-period armchair and a 19th-century Roman busts for a show that opened last year at desk. A cartoonish self-portrait by Alex Israel—a New York’s MoMA PS1, she financed their purchase. 32-year-old artist Rech has supported since 2010 (Vezzoli then “restored” the busts to their original colorful state.) At the moment, she is preparing to host a dinner at home to celebrate an exhibition of “Almine hAs this Richard Prince’s collages at her Parisian gallery. tremendous On occasions like this, she might mix clients and curiosity And friends, including LVMH scion Delphine Arnault, architect Peter Marino and Picasso biographer John excitement in seeking Richardson. out unchArted Arnault, for one, has collected the work of sev- [territory]. she is eral artists represented by Rech’s gallery. “She’s a open to Absolutely friend first of all, and it happens we have a common sensibility in art. I think she’s going to be one of everything the major collectors of the future,” says Rech. “It’s with no judgment.” a real dialogue between us—sometimes she’ll dis- –jeff koons cover something in my gallery or she’ll tell me about a new artist.” Before signing anyone to her roster, Rech makes whose work now sells at auction for a quarter of a many studio visits, in part to probe the artist’s grasp million dollars—is installed near a small bronze of history. “It is very important that the artists I sculpture by Picasso compatriot Manuel Martinez work with have an understanding of the generations Hugué, known as Manolo. What appears to be a before them,” she says. “Some artists don’t have parcel from UPS—in fact, another sculpture by the knowledge, and I get uncomfortable. They can Turk—rests on an antique Chinese black lacquer do something that looks good, but it doesn’t have table by the fireplace. And a paint-splattered fire roots.” She also insists on vetting new collectors hydrant sculpture by Mark Handforth sits below an personally to weed out so-called flippers: specula- ornate wood bookcase. The entire room is paneled in tive buyers who quickly sell a piece on the secondary pieces that were culled from an 18th-century French market—at an auction house, for example—for an castle by the apartment’s original owner, the son of easy profit. “It’s terrible for the artists because it French architect Jean Walter, and augmented by causes the prices to rise too quickly,” she says. famed Parisian decorators Maison Jansen. (Walter Given her background, it’s not surprising that designed the Art Deco building in 1931.) Rech, unlike many of her competitors, is very much “It’s good, no?” asks Rech, pointing to the fire in favor of the cross-pollination of art and fashion. hydrant with a mischievous smile, as she reappears “Everyone forgets that at the beginning of the 20th NEW TRADITIONS in an embellished Fendi dress. “I feel very free at century these worlds were all together,” she points The living room showcases paneling from an 18th-century home, and my husband is the same. We choose things out. “Jean Cocteau was an ambassador between French castle and a mix of Louis only because we like them. We have very different the worlds of decoration and the arts, introducing XVI and 1940s furniture. taste, but in the end I find that good things, no matter many artists to Coco Chanel. Now it’s on a different A John McCracken drawing rests level because fashion is a global business, and fash- on the mantel near sculptures how different, always go together.” by Ronan and Erwan Bouroullec Together, Ruiz-Picasso and Rech are raising four ion moguls have museums, like François Pinault and and Gavin Turk. A George children—their 12-year-old twins, Olga and Georges, Bernard Arnault.” Condo bust and a Robert Frank as well as Paul, 25 (her son from her first marriage to The heir to Cocteau’s legacy, Rech believes, is photograph flank the door. businessman Xavier de Froment), and Alex, 20 (her the current creative director of Saint Laurent,

144 NEW ORDER From left: A Joseph Kosuth piece and a Cindy Sherman photograph in the study; Alex Israel’s 2013 self-portrait; the master bedroom’s vanity and rug are by Garouste and Bonetti.

GRAND TOUR From left: Mark Handforth’s fire hydrant sculpture sits in a corner by a 1930s Spanish rug; a seating arrangement is composed of Louis XVI furniture and 18th- century porcelain lamps inherited from Rech’s mother, with a Marcel Duchamp 1965 rotorelief mounted on the wall.

Hedi Slimane, whom she met in Berlin eight years then-controversial decision to design scenery and John McAllister. Rech is also enthused about the Los ago while he was doing an artist’s residency at the a curtain for the 1917 Ballets Russes production of Angeles scene. “L.A. is quite exciting because it’s Kunst-Werke Institute for Contemporary Art. She Parade. “People said he was finished, but now it’s attracting artists from everywhere,” she says, add- subsequently signed him to her gallery. “Hedi’s something that every museum wants. Radical judg- ing that Eli Broad’s soon-to-open museum and the vision is all-encompassing. He does photography ments will be made [about art], but who knows what directors of the Los Angeles County Museum of Art and installations that involve music, and his cloth- will be forgotten and what’s right in the end?” and the Museum of Contemporary Art are bringing ing is also inspired by rock. When he opens a shop, he Rech herself is constantly trying to answer that new energy to the city. designs the interior as well—it’s Hedi’s world,” says question. “Almine is always pushing us to think of But when asked about her own ambitions for the Rech, who was instrumental in last September’s what’s next, much like in the fashion industry,” says future, Rech seems nonplused. “Maybe in 10 years I’ll CLEAN START exhibition of his photography at the Fondation Pierre Jason Cori, a director at Rech’s London gallery. Most want to be like Larry [Gagosian] and be in many coun- The contemporary foyer Bergé–Yves Saint Laurent in Paris. “Sometimes recently, the gallery has brought on Swiss perfor- tries. Maybe I won’t. I have no idea,” she says, with a features pieces by (from left) street artist Invader, collectors don’t understand why an artist wants mance artist John M Armleder, French conceptual slight shrug. “You know me, I never work thinking of Douglas Gordon, James to be in two fields,” she adds, pointing to Picasso’s artist Bertrand Lavier and Los Angeles–based painter business first.”• Turrell and Dan Flavin.

146 147 GOOD STRIPES A sophisticated take on a satchel gets straight A’s. Gucci suede shoulder bag and bleach-washed denim jeans. Opposite: Ulla Johnson chambray blouse.

That ’70s Show Classically cool pieces get their close-ups this season, with cameos from swinging bags and groovy clogs.

PHOTOGRAPHY BY ZOE GHERTNER STYLING BY ELISSA SANTISI IT’S A CINCH Simple, bold accessories, from a chic sack to high- heeled clogs, will never look dated. Chloé denim shorts, Loewe suede bag and Janis Savitt gold and diamond hook bracelet. Opposite: Prada leather 150 and wood clogs. HAPPY DAYS Channel a youthful spirit in ultraluxe loafers. Hermès shoes. SWEET TALKIN’ Details like white crocheted lace, oversize buttons and contrast stitching lend a nostalgic air. Louis Vuitton jersey dress and calfskin bag. Opposite: Prada black denim jacket, skirt and ivory gauze blouse. 155 DOCTOR FEELGOOD Slip into easy style with wooden slides, A-line skirts and a bright red purse. Derek Lam suede miniskirt and Marc Jacobs satin slide clogs. Opposite: Dior wool ribbed knit, Chloé denim pants and suede bag and Repossi ring.

Model, Hannah Novak at Next; manicure, Marisa Carmichael. For details see Sources, page 166. 156 The 90-Ye a r-Old OR OVER HALF a century, passionate pilgrims have been drawn to a four-story Belle Epoque building in Paris’s elegant sixth arrondissement. Some still come to see the final home of Albert Camus, the Algerian-born absurdist who won Fthe Nobel Prize for literature in 1957. But today, the most fervent among them come to pay homage to Etel Adnan, an artist and writer whose vitality IT GIRL and curiosity belie her 90 years. Like some Delphic The art world has fallen for Beirut-born poet, essayist cardigan-wearing yogi, Adnan sits in a poufy red chair with her feet barely grazing the floor below and and painter Etel Adnan, who for decades has created quietly gives her full attention to her interlocutors. Of mixed powerful work inspired by her cosmopolitan heritage. Greek and Syrian heritage, she speaks at least five languages, in a stream of ambiguous Mediterranean cadences. Conversation tends to hover around her holy trinity of love, war and poetry—the primary subjects of her nearly dozen books. The arc of Adnan’s own life, punctuated by the fall of an empire, affairs of the heart and mind, tectonic political shifts, exiles BY NEGAR AZIMI and returns, is the stuff of Russian novels. PHOTOGRAPHY BY JAMES MOLLISON When her guests have left, Adnan retreats to a room in the back of the apartment she shares with her partner, the Syrian-born artist and publisher Simone Fattal—a warm space filled with Persian carpets, history books and all manner of artistic bric-a-brac—to paint. The colorful canvases that have come to be her trademark are semi-abstractions, mostly depicting mountains and sun. When her painting is done, she might sit down to work on any number of projects in progress—a tapestry, a book of poems, a film, an opera. Given the uncanny breadth of her art, Adnan is a modern-day inheritor of 20th-century avant- garde movements like Dada and surrealism in which people moved fluidly between writing and art making in one recklessly inventive swoop. “It’s so rare that you have someone making such important contribu- tions to poetry and art,” says Hans Ulrich Obrist, the co-director of London’s Serpentine Galleries. “Etel is one of the most influential artists of the 21st century.” And yet, Adnan’s fame has come late in life. In 2012, when she was 87, her small-scale paintings were the star of Documenta, the signature art-world event held every five years in the German town of Kassel. In the past year alone, she has had a string of enviable solo outings at London’s White Cube, New York’s Callicoon Fine Arts and Mathaf: Arab Museum of Modern Art in Doha, Qatar. Her work anchored a floor of the last biennial at New York’s Whitney Museum of American Art, and this spring, two nearly simultaneous shows of her newest work will open at the New York and Paris locations of Galerie Lelong. The fact that artistic renown has descended upon ABSTRACT EXPRESSIONS a nonagenarian woman who paints tiny abstrac- “For me, [painting] was a new language,” says Adnan, tions and writes poetry and prose of quiet force and shown at her Parisian home with a 1974 canvas.

159 colonial overlords who had quiet, but so powerful when you unfold them. A bit Marie Rose Boulos, who, for her social work among laughter and raised their both Doha and the French refashioned the region fol- like Etel,” says Andrée Sfeir-Semler, who has exhib- Palestinian refugees, had been kidnapped and assas - wineglasses. It was a commune of Les Moulins. lowing the Great War. Born ited Adnan at her Beirut and Hamburg galleries. sinated by a right wing Christian militia—ostensibly remarkable moment: The Produced by ceramicists here, into this mille-feuille Another war was the inspiration for a first poem for betraying her faith. From there, Sitt Marie Rose country with notoriously and based on her own of faiths, cultures and lan- written in English just a few years later. As the 20th was born, a fable-like novella fashioned around conservative entry rules designs, the murals rep- guages, Adnan spoke Greek century’s first televised conflict—Vietnam—was Boulos’s fate. Completed in one month of feverish when it comes to its cul- resent a riot of circles, and Turkish at home, Arabic raging, “a TV picture,” as Adnan puts it, moved writing in 1976, it has become a touchstone for Adnan tural establishment was rectangles and zigzags in on the street and French at her to write. She sent the poem, “The Ballad of the fans and a classic of Arab letters. “In Sitt Marie Rose feting the Arab artist, her trademark bright col- school. “We were taught to Lonely Knight in Present-Day America,” to a small, and elsewhere, Etel’s message is: Change the world or poet and activist. ors. In her words, public think that Paris was the cen- free California-based journal. “And that is how I go home,” the Lebanese historian Fawwaz Traboulsi, Since then, Adnan has art “gives you something ter of the universe,” she says. became an American poet,” she says, with a laugh. an old friend of Adnan’s, told me. been speaking of taking you don’t even know it is Though she expressed Eleven books of poetry and prose would follow, most Beirut in the 1970s was important to Adnan for a break from painting. giving you.” interest in being an engineer written in her newly adopted language, English, and another reason: It was where she met Simone Fattal. “It’s as if I can’t see color On a recent winter or architect, her mother dis- a handful written in French. Her style throughout Seventeen years her junior, uncommonly tall and anymore,” she recently evening in Paris, we sat suaded her, as neither was these works, at once politically engaged and lyri- marked by glamorous Sophia Loren cheekbones, confided about the down to have dinner in considered a suitable voca- cal, moves seamlessly across references as diverse Fattal, a painter and sculptor with a rebellious toll the extraordinary the kitchen of her apart- tion for women. “It was more as Charles Mingus and Fra Angelico and the sad streak who had recently moved back to Beirut from demand for her work has ment. Fattal had cooked than a no,” she remembers fate of the American Indian. Hers is a world where Paris, called Adnan one day to compliment her on taken. The task of writ- a kibbe ground-beef dish WRITER’S WORKSHOP From top: A German now. Attending Beirut’s “the dead are coming back in order to fight again / one of her editorials. This particular piece medi- ing a memoir also weighs translation of Adnan’s 1986 collection of essays, with ingredients she École des Lettres, she was tated upon the tale of a soldier who had escaped on her. Her life, after all, Journey to Mount Tamalpais, tops a pile; two large had just brought back introduced by a teacher certain death by scribbling enigmatic messages in has intersected with untitled works by Adnan from the 1980s on display from Lebanon. As we ate in the living room. to the work of Rimbaud, the sand before his captors. The two went out to din- some of the more col- and sipped whiskey, we Baudelaire and Rilke. By ner soon after and, said Fattal recently, “We’ve been orful characters of the spoke in three languages 20, she was writing her having dinner ever since.” 20th century, from the of their life in Beirut first poems in French—they When the publication of Sitt Marie Rose inspired writer Marguerite Yourcenar, who once tried to gen- during the first years of the civil war—the art gal- were about the sun and the death threats in the late 1970s, Fattal and Adnan, tly seduce her with the help of a copy of One Thousand leries, the literary journals, the political exiles all sea—and would soon win by then inseparable, exiled themselves to seaside and One Nights, to the theater director Robert Wilson, drunk on the idea of a revolutionary Third-Worldism. a scholarship to study phi- Sausalito, California, where Adnan continued her with whom she once collaborated on an opera called Discussion turned to exhibitions she had during the losophy at the Sorbonne writing and painting and Fattal launched a small pub- Civil Wars. Other projects loom too. A new book of first years of the fighting—cozy, informal affairs in in 1949. A life steeped in lishing house called Post-Apollo Press, which would poems is “almost done,” as is an opera about Marie which people bought friends’ paintings for as little Francophone letters and cul- publish, among other writers, Adnan. Sausalito de’ Medici, the Franco-Italian queen whose court was as the equivalent of $50 or $100: “I always had a few ture was laid out before her. was also within clear view of California’s Mount never short of intrigues. Adnan has also very recently people who liked what I did, and that was enough,” complexity might seem like a historical accident. But a decade later, after she left France in 1955 to Tamalpais, the geography that would become pivotal realized a decades-long dream of producing large- says Adnan, with a wry smile. “I do think I’ve kept Today’s contemporary art market, after all, places a pursue graduate studies at Berkeley and Harvard, the to Adnan’s work. The paintings of the mountain she scale public works with a series of exuberant murals in my innocence.” • premium on large, shiny, expensive objects. Adnan’s Algerian War tilted her moral register. Like many refers to as “my best friend” are deceptively repeti- work is the anti-Ozymandias—a corrective to exuber- Arab intellectuals of her generation, Adnan felt a tive. And yet, like Cézanne’s Mont Sainte-Victoire, ant art-world bling. There is none of the bravado or surge of disgust with France’s harsh treatment of Adnan’s muse is dynamic, changing, moody. Gazing self-regarding mythologizing of other artists of her the colonized populations of the Maghreb. With that at these painterly compositions today—a pileup of stature. And yet, invitations stream in daily for exhi- came an ambivalence toward what she considered brush strokes and chiaroscuro textures—one sees STUDIO SESSIONS Clockwise from top left: A new work bitions, collaborations and symposia. “I am happy the language of colonial power. “I didn’t want to read dries in Adnan’s studio next to a tapestry acquired from the unrealized architect shining through. About her it didn’t happen any sooner,” Adnan says of all the French or write it; it was like a boycott, a rejection,” a children’s workshop in Egypt run by the late architect process, which verges on the existential, she adds: attention, adding, “It’s ironic, isn’t it, at a time when I she says now. The year was 1960, and Adnan was Ramses Wissa Wassef; Adnan’s painting in the dining “Once I put down a color, I never cover it up. If you are room; a tapestry by Adnan from the 1990s depicts the sun. can’t really use the money.” living and teaching in California at a small Catholic born a musician, why become a banker?” school called Dominican College. From then on, she As members of a close-knit group of artists, Adnan TEL ADNAN WAS BORN in 1925 in Beirut began to paint, occasionally suggesting that she was and Fattal stayed in California for more than three to a Greek Christian mother from “painting in Arabic.” because the living are cowards!” Love—its ecstasy decades, until the difficulties of traveling long- dis Smyrna —an ancient city that had lost “For me, it was a new language, a new world,” and anguish—is also one of Adnan’s favorite sub- tances (Adnan has had a bad back for years along its name and population in the after- Adnan says. Encouraged by an art teacher colleague, jects. The American poet Cole Swensen has called with heart problems and can no longer take airplanes) math of she began working with her work a “poetry of place,” but it is, too, given its necessitated a change in 2012. And so it was back to the Greco- a series of accordion- insistence on universal ideas about a world filled Paris—more centrally situated than the West Coast— ETurkish War—and a like Japanese books with injustices, a poetry of the moral and politi- and to life on the West Bank. “I know I can’t go back, but Syrian father of Muslim called leporellos, which, cal climate of every place. It is also, not unlike her I act as if I can,” she says about her beloved California. extraction who served as when filled up with her bright paintings, breathtakingly optimistic, free of a high-ranking general vivid colors, symbols the world weariness that one might imagine from a NE BITTERLY COLD Paris evening in in the Ottoman army. and text, evoked poetic similar poetics of witness. Says Obrist, who regu- February 2014, Adnan was to be hon- As the fortunes of that samizdat. Though her larly proffers that Adnan deserves the Nobel Prize ored at a reception at the Arab World empire turned to dust grasp of written Arabic in literature: “Her work is the opposite of cynicism. Institute with the Chevalier des Arts after World War I, the has never been strong— It is pure oxygen in a world full of wars.” et des Lettres, a French government couple, who spoke to a fact that continues to Adnan’s most iconic pieces of writing came about distinction that recognizes contri- each other in Turkish—a vex her—she also began in the midst of the civil war that ripped Lebanon Obutions to the worlds of art and literature. In typical tongue that was native to transcribing the works apart beginning in the mid-1970s. Having moved Etel Adnan mode—wearing her standard uniform of neither of them—moved of Arab poets such as back to Beirut in 1972 to steer the culture pages of plaid pants and roomy sweater—she turned to Jack to seaside Beirut, itself Mahmoud Darwish and a new French language daily called Al Safa, she was Lang, France’s dapper former minister of culture, the capital of a newly Yusuf al-Khal within confronted with the brutality of a conflict that sepa- and said, “It is I who should be honoring you!” The created Lebanon, thanks these books. “The lep- rated families, friends and finally, an entire nation. crowd, a motley multigenerational mix of French, to French and English orellos are understated, One day, she learned of a Syrian émigré named Arab and American artists and poets, roared with

160 161 to death.” Given the timing of the conversation, it is all the more remarkable. Just a month earlier, Malle’s own company agreed to be purchased by another luxury behemoth, cosmetics giant Estée Lauder. But here’s the difference: He gets to keep the soap. At first glance, Malle, with his hyper-refined taste, Bauhaus-inspired packaging and singular THE unwillingness to stint on materials, would seem an unlikely match for Lauder, the family-dominated cosmetics company founded in 1946 by its namesake, who invented such industry staples as “gift-with- purchase.” But Malle’s is only one of four similarly well-loved indie brands acquired by Lauder in a period of 11 weeks ending in January. The preholiday buy- EMPIRE ing binge also included Le Labo, a fragrance company with an emphasis on personalization, founded in 2006 by L’Oréal veterans Fabrice Penot and Eddie Roschi; Rodin Olio Lusso, an all-natural skin-care brand based OF on essential oils, founded by stylist Linda Rodin in 2007; and GlamGlow, a Hollywood-based producer of fast-acting treatment masks, founded by Glenn and Shannon Dellimore in 2010. “They are small but strong brands with a story, an idea, and consumers love them,” says Lauder president and CEO Fabrizio Freda. “The acquisitions were about their unique points but also their elements of ESTÉE commonality. They are all artisanal and very high quality, with a certain element of customization. All Late last year, Estée Lauder went on an acquisitions spree, are in the high-end luxury area, and all have strong points of view.” snapping up four niche brands and signaling that the All four brands also happen to share the same 69-year-old beauty behemoth was ready to shake things up. entrepreneurial spirit and small-batch roots as Estée Lauder—born Josephine Esther Mentzer in 1906— As it turns out, bringing the unexpected into the fold is herself. The first supply of creams Lauder and her practically company tradition. husband, Joseph, sold to Saks Fifth Avenue were mixed on a restaurant stove. Linda Rodin mixed her first Luxury Face Oil, now the top seller in her line, in a coffee mug on the ledge of her bathroom sink and gave samples to people she worked with. (“You know,” says Rodin, “if you bake a good apple pie, you should share it with friends.”) The Dellimores—Shannon, BY JULIA REED a former paralegal, and Glenn, a former health club PHOTOGRAPHY BY ADRIAN GAUT STYLING BY NOEMI BONAZZI manager—came up with their first mud mask for actor friends who wanted to get camera-ready fast, and hand-filled their first jars on their living room coffee table. Though they managed to patent their process of steeping whole green tea leaves directly in mud and got their products placed in stores ranging from Sephora to London’s Harvey Nichols, they worked from home until a year and a half ago. Rodin says she got “the first desk of my life” on October 31 N A SNOWY DECEMBER day in “I love these things for my personal pleasure,” he after the sale to Lauder went through. Manhattan, Frédéric Malle, creator says from his perch on a chair designed by Art Deco “We were attracted not just to the brands but to of Editions de Parfums Frédéric master Jules Leleu for Malle’s family in the 1930s. To the people behind them,” Freda says, adding that Malle, is sitting in his jewel-box-like make his point, he picks up a beautifully boxed set of the founders will continue to run their companies. Madison Avenue boutique talking savons called Anterenea, inspired in part by Fleurs “Buying relatively small brands and growing them is about his love of “products.” Since des Alpes, the soap once produced by Guerlain. “Soap not a new idea, but the way we built our portfolio— O2000, Malle, whose grandfather founded Parfums is expensive and complicated to produce,” he explains, it’s the soul of the company.” Christian Dior, has collaborated with some of the adding that when French luxury goods conglomerate Though Lauder went public in 1995 and now boasts great noses in the industry on a library of fragrances LVMH bought a majority stake in Guerlain in 1994, it a market capitalization of more than $28 billion, it is that has made him one of the leading niche perfumers “killed” Fleurs des Alpes. “They said, ‘Are you crazy? of the 21st century. They remain the core of his busi- Soap doesn’t make money!’ But you don’t have to make ness, but he is at least as excited by his other wares, a gazillion dollars on each product.” NEXT IN BEAUTY Lauder has acquired four niche brands in quick succession—Le Labo, Rodin Olio Lusso, Editions including recyclable rubber incense and a wireless It’s a refreshing approach, and one that Malle de Parfums Frédéric Malle and (not pictured) GlamGlow— cube speaker that diffuses scent rather than sound. insists keeps him and his clientele from being “bored all of which the company hopes to grow into global names. THE LAUDER LINE Born in Corona, Queens, in 1906, Estée Lauder built her beauty business 1946 1947 1968 1970 1982 1985 1994 1995 2004 2005 2009 2013 2014 from the ground up, After six years of Estée gets her first Clinique debuts Estée Lauder Estée Lauder The company The company Estée Lauder Estée Lauder dies Estée Lauder Fabrizio Freda Estée Lauder The company cooking up creams department store as the first signs Mississippi- launches reaches $1 billion in buys a majority retires; her in New York. Her strikes a deal is appointed reaches $10 billion embarks on introducing the kinds of on gas burners order from Saks dermatologist- born model Karen Advanced Night annual sales. interest in company goes company continues with Tom Ford to president and CEO in annual sales. a second major innovations—the first in an old restaurant and introduces created prestige Graham to Repair, the first Canadian-based public at a price to be run by her license his designer of the Estée Lauder The company’s buying spree, with her husband, the industry’s beauty brand. be its exclusive scientifically M.A.C Cosmetics, of $26 per share. sons—Leonard fragrances (Black Companies. Under products are sold beginning with the “beauty contract,” “gift- Joseph Lauder, popular “gift-with- Today, Clinique face, issuing backed serum marking the start Her family is chairman Orchid shown his leadership, in in over 150 acquisition of with-purchase”—that Josephine Esther purchase” concept sells one bottle the industry’s designed to of over a decade of holds a majority emeritus—and her above), bringing the past three fiscal countries and Le Labo in “Estée” Mentzer— as a way to lure of Dramatically first-ever “beauty diminish skin acquisitions of the stock. grandchildren, the concept of years sales have territories. November and now define the industry. born to Hungarian consumers. Different contract.” aging overnight. that include La including William, artisanal grown at twice the ending in January and Czech Moisturizing Mer, Bobbi Brown, Jane and Aerin fragrances to a rate of the global with GlamGlow. Here, some of the parents—launches Lotion every 3.5 Jo Malone London, Lauder. broad market and prestige beauty Estée Lauder now family-owned brand’s Estée Lauder seconds globally. Darphin and doing away with category. has 32 brands Cosmetics Co. Smashbox. underperforming in its portfolio. most notable moments. celebrity scents.

still very much a family company, with the Lauders now one of the leading skin-care brands in the world. of a perfect creation.” Not only can its clients (“We in China and other emerging markets, adding more her chats with Estée Lauder began, over two years considerable research and development expertise, its holding the majority of the stock. Estée’s eldest son, Jo Malone London, which Lauder bought in 1999, are very mindful that we don’t call them customers free-standing stores and strengthening online pres- ago, Rodin had only six products and was carried in global distribution network and access to more than Leonard Lauder, is chairman emeritus (and described boasted similarly stratospheric growth. Like their or consumers”) witness the perfume being made, ence. He also turned his attention to the fast-growing about 100 stores. Lunch with “Mr. Demsey,” she says, 150 markets across the globe. “We were impressed by by one Lauder executive as the company’s “secret newer counterparts, both of those brands’ founders both at the department store counter and in their skin-care category, adding to La Mer’s existing lines was the turning point. “I felt he really got me.” She the know-how and muscle of Estée Lauder all over the weapon” when closing deals), while his son, William, share things in common with Estée Lauder herself. upscale woodsy boutiques, they are never rushed to and reviving the flagging Clinique. The efforts paid also began thinking of the possibilities. “I’m funky, world,” says Le Labo’s Penot. “When you walk into serves as executive chairman. Jane Lauder, daughter Jo Malone was a London facialist popular for com- make the “connection” Penot describes when client off. In the past three fiscal years, total sales have but the line is very austere. I had dreams of adding department stores and duty-free stores, you see how of Estée’s son Ronald, is global brand president in bining scents, and, like Lauder’s Youth-Dew, her first and perfect scent are united. grown at a rate of 5 to 10 percent a year, twice the rate a line that would represent my more fanciful, artis- respected the Estée Lauder brands are, how beauti- charge of Clinique and is often mentioned as a possi- fragrance product was a bath oil. La Mer’s founder Demsey says that along with Frédéric Malle, Le of the global prestige beauty category. Sales for fiscal tic side. I was going to do it, but it was going to take fully displayed they are, and you just want to be part ble successor to Freda, while her sister, Aerin, serves was an aerospace physicist intent on creating a “mir- Labo, with its personalized craftsman-like packag- year 2014, which ended last June, were just under $11 me 30 years. Now I can embrace my dreams sooner of that family. For us, it was, ‘Who else is going to as Lauder’s style and image director and is founder of acle broth” from sea kelp that would heal the burns ing, reflects “the new aspiration in the fragrance billion, up from $10.18 billion the year before, while rather than later.” make sure we’ll be taken care of in the Middle East her own lifestyle brand within the company. he had suffered in a lab accident. business.” Each label contains the date the scent was profits rose 18 percent to $1.2 billion. For Malle, it was the name factor. “I’d been and other markets where we have little power?’ ” Initially, Lauder expanded the portfolio beyond its Not all the companies acquired during that ini- poured and for whom. The numerals in the perfumes’ So last year, with its house in very flush order, shopped over the years, but I never went shopping Like Malle, Le Labo’s founders had been app- namesake line with such in-house brands as Aramis tial spree shared the same success. In 1997 and 1999, names—Rose 31, say, or Ambrette 9—indicate the the Lauder company embarked on its second major myself,” he says. “We had no short-term need, and roached by other potential buyers but had resisted (the first line of cosmetic products developed specifi- respectively, Lauder bought Jane, a drugstore cos- quantity of notes in each fragrance, while the word shopping tear. Much like Kering—the French family- in my mind, really no need at all.” But then, he says, the advances. “Strategically, yes,” says Penot, “we cally for men, in 1964) and Clinique (the skin-care line metics brand aimed at the youth market, and Stila, refers to the most prominent note. ; © CONDÉ NAST; VICTOR SKREBNESKI run luxury goods holding company that owns “Fabrizio, then Mr. [Leonard] Lauder, then William, needed a nudge, but we could’ve lived without it. So

developed with dermatologist Norman Orentreich the brand founded by L.A. makeup artist Jeanine Lauder’s rethinking on scent began 10 years ago VOGUE blockbuster fashion brands like Gucci and Saint in that order, came to see me. I just listened and real- we had a very adult discussion. We told them, ‘This is in 1968). Those lines were followed by Prescriptives Lobell. “With Jane, we learned that we didn’t have when it became the licensee for Tom Ford’s line and Laurent but also smaller, edgier labels like Stella and Origins, but the growth engine Freda described the institutional knowledge or the critical mass to launched him as a stand-alone fragrance (and, now, McCartney and Christopher Kane—Lauder sought didn’t crank up until 1995, when Lauder bought successfully play in the mass channel,” says William makeup) brand. “Until then,” says Demsey, “the out not only brands at the highest end of the luxury “we told them, ‘this is who we are,’ and if M.A.C. Edgy and trendy—its first spokesman was the Lauder. Stila, he adds, was thought to be the next fragrance business was heading toward a very bad spectrum, but an infusion of energy and quirkiness anything, they were more idealistic and drag queen RuPaul—but also instructive, M.A.C was Bobbi Brown, “but the price/value equation was place, with the celebrity trends, the ‘massification’ from their founders. “We’re looking to bring their founded by two makeup artists and is widely credited inverted—it was geared toward a younger consumer of the product. Tom Ford brought the concept of imagination and creativity into the family and have passionate than we were.” —fabrice penot with educating a generation of consumers in profes- but priced for her mother.” Both brands were sold— artisanal fragrances [a collection of scents including it spill over into the other brands,” says William sional application techniques. When Lauder bought Jane in 2004 and Stila in 2006—but the company, Black Orchid and Café Rose] to a broad market, which Lauder, adding that while the founders may not it, the company’s annual sales were around $100 mil- Lauder says, learned “important lessons” about what we hadn’t seen since the days of Guerlain and Caron. all be young—Frédéric Malle is 52; Linda Rodin is ized it was my opportunity not only to grow a little who we are; this is the story we want to keep telling,’ lion and it had limited distribution in Canada and the works and what can be improved on. That moment in time was a game changer. What it 66—their companies certainly are. In the same way bigger, but to guarantee the future of this brand. It’s and if anything, they were more idealistic and pas- U.S. Today, says Freda, it’s the No. 1 prestige makeup “You’ve got to break a few eggs to make an showed the Estée Lauder Companies was a path to that Malle’s offbeat new products alleviate his bore- putting it in the hands of people who understand it sionate than we were.” brand in 22 markets globally, counting the U.S., and omelet,” says group president John Demsey, the exec- success for more selective distributors like Malle and dom, “Youth stimulates and motivates those of us and who will—and I hate this phrase—keep the DNA. Among the new acquisitions, Rodin will likely its net sales are over $2 billion. In the last fiscal year utive widely credited with M.A.C’s rise. While the Le Labo.” In August, Lauder competitor Elizabeth who have gotten too comfortable to do better,” says Actually, they probably want to make it even more benefit the most from what Lauder calls “patience alone, 200 new outlets, including 60 free-standing company hopes that Rodin will become the next La Arden, which did not follow that particular path, Lauder. In conversation, John Demsey effuses over what it is, more exclusive. Because I come from a fam- capital.” Says Demsey, “We may not see a lot of sig- stores, were opened in locations as far flung as China, Mer, “In Le Labo,” says Demsey, “we collectively saw posted its steepest quarterly decline in a decade, due receiving a missive from Rodin’s dog: “It’s really ily that was very successful in cinema and perfume nificant scale at Rodin for many, many years, but we Brazil and sub-Saharan Africa. the M.A.C of fragrances. It was founded by two guys largely to the poor performance of such celebrity refreshing when dealing in the fast lane all day to get [Malle’s uncle was the director Louis Malle], there’s wanted to bring her into the fold.” M.A.C’s phenomenal success and transforma- who know the craft, have a strong belief in retail and brands as Taylor Swift and Justin Bieber. a note from Winky,” he says. “Linda Rodin is like a a sense of wanting to make a mark. Now I’ll be able to After last year’s 2,000-guest annual holiday party, tional effect in the wider market meant that it became neighborhood stores and have built their business While Lauder worked on re-energizing its fra- rock star. Someone who is 22 looks at her and thinks, stay for a long time, which I intend to do, and be able Linda Rodin told Leonard Lauder that the event was the model—and the hope—for future acquisitions. In doing unconventional and nontraditional things.” grance category (and shut down its own licensing ‘That’s what I want to be.’ ” to drive a much bigger car.” “like the best bar mitzvah I’d ever been to in my life— fairly quick succession, Lauder snapped up La Mer, At M.A.C counters and boutiques, a makeup artist deals with poorly performing celebrity brands like Still, the four new brands were not entirely open Malle is not the only one partial to car metaphors. so warm, so embracing.” Shannon Dellimore echoes Bobbi Brown, Aveda, Jo Malone London and Bumble might help you discover your inner smoky eye (and Sean John and Daisy Fuentes), it also took a few years to being acquired. “I was definitely flattered by their “We would like to be the ride home for entrepre- the sentiment. “We loved the fact that Lauder is still & Bumble. La Mer had approximately $1 million in stick with you until you learn to achieve it). Likewise, off from aggressive acquisition. Freda, who took interest, but it was not something I had in mind,” says neurs,” says Freda. “We want to give them resources essentially a family company. There was an immedi- retail sales of a single product in 1995; over the past Le Labo co-founder Penot says the brand’s “intention over as president and CEO from William Lauder in Rodin. “I never went into this thinking there would they otherwise wouldn’t have.” Those resources ate feeling that this was a family, we were a family. two decades, that figure has grown tenfold, and it’s from the very beginning was to share the backstage 2009, preferred to focus on expanding the business FROM LEFT: JOHN PEDEN; CLINIQUE 3 STEP SKINCARE, © THE IRVING PENN FOUNDATION; STERN/ FROM LEFT: COURTESY OF ESTÉE LAUDER (2): LARS KLOVE; COURTESY OF ESTÉE LAUDER; BEN GABBE/STRINGER/GETTY IMAGES; PHOTOGRAPHY BY F. MARTIN RAMIN be a pot of gold at the end of the rainbow.” At the time include growth capital, of course, but also Lauder’s This was someone we could give our baby to.” •

164 165 Advertisement sources cover New York; Dior top, $2,000, belt, $360, and sandals, $895, page 102 THE MERCHANT Chloé gown, $8,695, Chloé and skirt, $3,900, both Dior both Jil Sander boutiques; Marni vest, $1,810, skirt, boutiques boutiques nationwide, and Hermès coat, $3,700, and $10,840, and sandals, $720, all Proenza Schouler sandals, dress, $1,925, both 800-441- Marni boutiques; Dries Van in the next wsj. magazine the WSJ. 5 $1,295, 212-420-7300 4488, and Chloé sandals, Noten vest, $2,450, Neiman page 65 $1,370, Chloé boutiques; Marcus, shirt, $795, similar A New Way Of Flying Has Taken Off Proenza Schouler heels, page 94 Miu Miu top, $1,090, and styles at Bergdorf Goodman, $1,095, 212-420-7300 Isabel Marant jacket, $825, pants, $1,675, both Miu Miu and pants, $995, Maxfield, men’s Unity Jets is a private jet firm, founded by former skirt, $665, and belt, $365, 57th Street New York, and and Loewe pumps, $1,090, NetJets/Marquis Jet executives who listened to the page 66 all 212-219-2284, Proenza Balenciaga sandals, $4,850, Opening Ceremony New York; market and created a better trip-by-trip solution: Dior sunglasses, price upon Schouler bag, $2,450, 212-420- similar styles at Balenciaga Gucci coat, $2,990, scarf, style request, 800-929-DIOR 7300, and Rag & Bone sandals, $230, and shoes, $1,250, all ·Leading Safety Standards Mercer Street New York; on sale march 7, 2015 $695, Rag & Bone stores; 3.1 Phillip Lim dress, $595, select Gucci stores nationwide; ·Guaranteed Availability page 68 Lanvin dress, $4,680, and cuff, 212-334-1160, and Derek Lam Prada dress, $3,320, select Céline necklace, $455, $1,990, both Lanvin New York, platforms, $595, saks .com; Prada boutiques, and Miu ·No Capital Commitment Barneys New York and Isabel Marant sandals, Balenciaga dress, $4,650, and Miu heels, $990, Miu Miu $820, 212-219-2284; Versace ·No Peak Day Rules or Restrictions sandals, $4,850, similar styles 57th Street New York; Mary page 70 jacket, $2,925, tank, $925, and Katrantzou top, $4,850, ·No Black Out Dates Hermès bag, $19,800, 800- at Balenciaga Mercer Street pants, $995, all 888-721-7219, and skirt, $7,180, both Lane page 118 page 139 The Seagate Hotel & Spa 441-4488 New York ·No Fuel Surcharges and Hermès loafers, $960, Crawford, and Bally heels, The Row tunic, $3,950, and Donna Karan bra top, $895, Escape to The Seagate Hotel & Spa, a boutique Hermès stores nationwide; $650, 844-442-2559; Louis skirt, $1,750, both 310-853- and pants, $1,295, both Saks hotel in Delray Beach, Florida that’s steps from the page 72 page 98 Altuzarra bodysuit, $1,250, 1900 ocean and beyond your expectations. Discover 888-758-JETS (5387) Valentino ring set, $745, Bottega Veneta jacket, $2,750, Vuitton dress, necklace, Fifth Avenue and skirt, $1,150, both The Seagate’s award-winning spa, distinctive dining, Valentino boutiques and dress, $1,750, both and boots, all price upon [email protected] | unityjets.com Bergdorf Goodman, Givenchy page 119 800-845-6790; Vera Wang request, select Louis Vuitton vAleNtiNo hAute private beach club, and world-class golf facility. by Riccardo Tisci belt, $620, Salvatore Ferragamo jacket, gown, $1,995, 212-382-2184, stores; Saint Laurent by Hedi couture 866-543-5308 | TheSeagateHotel.com WhAt’S NeWS Givenchy Las Vegas, and $23,000, Salvatore Ferragamo and Tod’s sandals, $495, Slimane dress, price upon pages 140–141 page 76 Jason Wu sandals, $795, boutiques nationwide request, and sandals, $1,095, Valentino Haute Couture Byredo Seema bag, $1,900, jasonwustudio .com; Dolce & Tod’s boutiques nationwide; Theory vest, $535, and pants, both 212-980-2970 dress, availability and price Flap wallet, $400, and business Gabbana dress, $3,125, and page 120 upon request card holder, $300, all Barneys flats, $1,245, both 877-70- $295, both Theory stores, and Calvin Klein Collection top, New York, Mojave Ghost eau DGUSA; Paco Rabanne top, Marc Jacobs slides, $1,095, Well opeNer $3,875, and pants, $1,995, de parfum, $220, 1996 candle, $1,090, and shirt, $930, both Marc Jacobs stores; Joseph page 111 both 212-292-9000, and thAt ’70S ShoW $95, both byredo.com, M/M Louis Boston, skirt, $9,600, jacket, $795, dress, $645, and Bottega Veneta tank top, Céline heels, $700, Bergdorf page 148 (Paris) jackknife, $250, Byredo Barneys New York, and shoes, sandals, $655, all joseph- $690, 800-845-6790, Prada Goodman Gucci bag, $2,100, and jeans, New York, 62 Wooster Street $1,290, A’maree’s; Hilfiger fashion .com; Chanel blouse, skirt, $1,430, Prada boutiques, $695, both select Gucci stores Collection blazer, $450, pants, $9,450, top, $900, and pants, and Loewe earring, $490, page 121 nationwide page 78 $430, top, $190, and shoes, $7,000, all 800-550-0055, and loewe .com Sportmax dress, $765, 212- Piaget watch, $54,000, $590, all 212-223-1824 Valentino sandals, $1,245, 674-1817 page 149 877-8PIAGET Valentino boutiques; Lemaire Ulla Johnson blouse, $355, NAturAl WomAN page 95 shopbird .com dress, $770, Creatures of page 112 eASy like SuNdAy page 82 Proenza Schouler top, $2,450, Comfort New York, and Loewe trench, $11,890, morNiNg Prada shoes, price upon and skirt, $2,350, both 212- page 150 Valentino sandals, $1,345, Barneys New York, top, price page 130 request, select Prada 420-7300, and Loewe heels, Valentino boutiques; Mulberry Boss dress, $2,495, Hugo Boss Chloé shorts, $595, saks .com, upon request, loewe .com, LADY LINDA–187’ Trinity 2012 Sleeps 12 in 6 Staterooms. 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still life HILARY KNIGHT The celebrated illustrator who drew Eloise shares a few of his favorite things.

photography by tina tyrell

“The image on The lefT is a photograph of some it was filled with bullfrogs and fish. To the right is documentary. Behind is a picture of my cat, Ruff; of my close relatives and friends—including Lena a portrait of Eloise and my favorite doll of her. She my friends told me to put him in a cat show, and I Dunham, who is behind the HBO documentary was a representation of a lot of the strong women took him to the big one at Madison Square Garden. about my life and work, It’s Me, Hilary: The Man in my life, including Kay Thompson, the author, but He won Eighth Best Household Pet and got that rib - Who Drew Eloise, coming out in March. We had an also of myself. My parents, who were illustrators, bon. I didn’t want him to do it, but he seemed to instantaneous connection when we met. She has did that New Yorker cover in 1926. I always thought like it. On the right is one of the little stage settings arritu a tattoo of Eloise, the children’s book character I what evolved into Eloise started with this cover: It’s I’ve started creating: It’s a portrait of my assistant, D y helped create, on her back. The image in front and very elegant and stylish. The video camera is impor- Wilson, on the left, with me, out exploring. He’s the the little fish and frog refer to my author photo from tant to me because I documented every single thing Indian child actor Sabu, and I’m an Indian prince Eloise Takes a Bawth. I actually got into the water I’ve drawn in the last 20 years, starting with my on an elephant, which is something I would still

of my East Hampton pond for it, which was horrific; pencil sketches. A lot of the footage is going into the like to be.” —As told to Christopher Ross Styling by Davi

168 wsj. magazine