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42 Editor’s LEttEr 44 MasthEad 46 Contributors 48 on thE CovEr Face value New mother turned supermodel Kati Nescher has transformed life experience into fashion gold. By Megan Conway 50 PartiEs 52 CoLuMnists 138 sourCEs 140 stiLL LiFE Carolina herrera The designer’s most precious belongings are imbued with her love of family and beauty. Photography by Ditte Isager

What’s News

57 thE insPiration When Eddie Met Carlyne Photography by Marko MacPherson FLashbaCk Stephen Burrows’s Days of Disco thE bEauty oF Sleeping Masks

60 shoP taLk Miami’s Bold New Boutique statEMEnt PiECE Reed Krakoff’s Heart of Glass innovation T h e C l e v e l a n d M u s e u m ’s T e c h R e d o showstoPPEr Best of Bowie

62 buy thE book This Month’s Notes on Style MadE by hand Pot Luck: Kayo O’Young’s Ceramics Food nEtwork Expanding Culinary Empires Photography by Garance Doré

64 thE shiFt London’s Mayfair Returns FaMiLy trEE Growing Up Mamet

66 hot ProPErty Afloat in the Maldives thE CausE Perfume’s Progress worth thE triP Denmark’s Coast of Utopia

68 thE art oF giving Modern Love The Fundación Cisneros is furthering its campaign to champion the under-told story of Latin American art. By Brekke Fletcher

70 thE businEss oF bEing netflix How the DVD-by-mail service is using streaming video and original content to become TV’s most unlikely adversary. fifty shades of white page 94 By Logan Hill Illustration by Jesper Waldersten Jewelry Collection.

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DAN ); ARIS . PHoTo © M/M (P STER the cult of m/m (paris) page 88 ] Po EE S HE market report

73 bEst oF sPring [M/M uNDER T NCH

Whether it’s a ring for every finger, a chic white bag Au

or sleek ensembles in the season’s softest shade, these F H game-changers instantly modernize any wardrobe. oN o Photography by Steven Pan Styling by Zara Zachrisson ENIS tracked: keith mcnally page 81 /V oN ENIS F V

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81 traCkEd keith Mcnally H

The force behind some of New York’s most popular AND

restaurants returns home to London with a new Balthazar. By Alicia Kirby Photography by Alex Majoli DSPEAKERS 86 MEEt thE ParEnts the klosses , Lou A supermodel since the eighth grade, Karlie Kloss has

balanced fashion shows and homework with the help CETTE of her Midwestern family. By Derek Blasberg Photography by Dan Martensen uDES Su NCL ·I

88 thE CuLt oF M/M (Paris) oN

The rabid fanbase behind Michael Amzalag and ND Mathias Augustyniak, the iconoclastic graphic designers breaking every rule. oN, Lo

By Alexandra Marshall ENIS F V o

90 intErior aLChEMy a sumptuous Minimalist NCH

Joseph Dirand is the go-to architect for creating , HAu luxurious retail spaces with a modern twist. By Robert Murphy VIEW oN

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94 FiFty shadEs oF whitE Kati Nescher models a collection of ultramodern looks in a perfectly monochrome palette. the house that gucci built page 122 Photography by Mikael Jansson Styling by George Cortina

106 thE arnauLt LEgaCy Will the rebirth of Dior mark a new chapter for Delphine Arnault, the daughter of LVMH’s founder? By Joshua Levine Photography by Patrick Demarchelier

110 thE yEar oF Cooking dangErousLy Curiosity about Amazonian foods gave Brazilian chef Alex Atala the tools to run the best restaurant in South America—and possibly the world. By Howie Kahn Photography by Stefan Ruiz

116 objECts oF dEsirE Accessories to covet, showcasing heavy metals, prodigious pearls and supple hardware. Photography by Zoë Ghertner

122 thE housE that guCCi buiLt

After leaving Gucci Group, Domenico De Sole planned ) NI

to retire at his idyllic Hilton Head retreat—until Tom Ford o lured him back. GI By Elisa Lipsky-Karasz Photography by Todd Eberle MuLDER ( 128 CoLLECt it Candida höfer The large-format prints of institutions that have made MARTIEN

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134 thE Crown PrinCE oF thE art worLd DE So ( As the youngest curator in more than 100 years to direct radiance and renewal in a luxurious but light new texture. Skin looks softer, GET WSJ. SATURDAY A Saturday-only subscription to The Wall Street Journal gives a weekly fix of smart the Venice Biennale, Massimiliano Gioni will be tested by EBERLE style and culture. Includes OFF DUTY, a guide to your not-at-work life; REVIEW, the best in ideas, books and the prestigious fair. smoother, virtually ageless. La Mer is where miracles begin.

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WELCOME TO THE NEW WSJ. Magazine—our biggest fashion issue ever and my first Balenciaga (a change no one saw coming). at the helm. In reimagining the magazine, we decided to celebrate what makes WSJ. In this issue we get the inside story on a few others leading their fields in new direc- exceptional—innovative thinking about the people and ideas shaping our world, pre- tions. Delphine Arnault, the daughter of LVMH head Bernard, was the catalyst behind sented with simplicity and elegance. one of the biggest fashion shifts last year: the appointment of Dior creative director Avid readers will clock the introduction of a few Wall Street Journal hallmarks Raf Simons. After enjoying a new chapter of her own—a baby girl—she’s back at work throughout the issue. The newspaper inspired our newly redrawn logo, which adopts and ready to usher the house into its new era. Fashion designer Narciso Rodriguez the Journal’s own font, Escrow. The new What’s News section plays off of the paper’s has endured more than his share of shifts, but with a brilliant own daily hit list of headlines. And for The Columnists, we couldn’t resist seeing our spring collection and a new CEO, his path forward looks contributors rendered in hedcuts, those wonderful stipple drawings that the Journal less rocky. And Alex Atala—the Brazilian chef who is used for years in lieu of photography. so punk rock he uses herbs that numb your mouth— The Shift—a feature that sheds light on significant cultural sea changes—became whose restaurant D.O.M. is now ranked the fourth something of a mini-mantra as we put this issue together. We weren’t changing things best in the world. just for the sake of change. Each transformation marks a shift toward content that will Change is exciting—it’s inspiring to witness new help you on your path to creating enviably full lives. ideas taking shape, whether in the kitchen, on the Nothing shifts as fast as fashion, which can create wardrobe upheavals by the end runways or between the glossy covers of a maga- of an eight-minute runway show. But every season something strides forward that zine. It’s the future in real time. leaves an enduring mark. This spring, it was white, a shade so pure and simple it strips craftsmanship to the core. Never have clothes been so in focus—like the white Kristina O’Neill cutout dress model Kati Nescher wears on our cover. It was designed by New York Editor in Chief wunderkind Alexander Wang who will soon be taking the reins at the French house [email protected]

42 wsj. magazine Editor in ChiEf Kristina O’Neill

CrEativE dirECtor Magnus Berger

ExECutivE Editor Chris Knutsen

Managing Editor Brekke Fletcher

fashion nEws/fEaturEs dirECtor Elisa Lipsky-Karasz PublishEr Anthony Cenname global advErtising dirECtor Stephanie Arnold art dirECtor Pierre Tardif assoCiatE PublishEr/EuroPE Claudio Piovesana businEss ManagEr Julie Checketts sEnior Editor Megan Conway MarkEting dirECtor Jillian Maxwell salEs assoCiatE Megan Tompkins MEn’s stylE dirECtor David Farber ChairMan & ChiEf ExECutivE offiCEr, nEws CorPoration fashion MarkEt/aCCEssoriEs dirECtor David Thielebeule Rupert Murdoch ChiEf ExECutivE offiCEr, nEw nEws CorPoration MarkEt Editor Preetma Singh Robert Thomson PrEsidEnt, ChiEf ExECutivE offiCEr, dow JonEs & CoMPany, Photo Editor Damian Prado PublishEr, thE wall strEEt Journal Lex Fenwick Editor in ChiEf, thE wall strEEt Journal Gerard Baker sEnior assoCiatE Editor Adrienne Gaffney sEnior dEPuty Managing Editor, thE wall strEEt Journal Michael W. Miller CoPy ChiEf Minju Pak Editorial dirECtor, wsJ. wEEkEnd Ruth Altchek

ProduCtion ManagEr Scott White ChiEf rEvEnuE offiCEr, thE wall strEEt Journal Michael F. Rooney rEsEarCh ChiEf John O’Connor gM, thE wall strEEt Journal Romy Newman ChiEf ProduCt offiCEr, dow JonEs Alisa Bowen Junior dEsignEr Alex Konsevick vP MultiMEdia salEs Chris Collins, Ken DePaola, Etienne Katz, Don Reis Editorial assistant Raveena Parmar vP vErtiCal MarkEts Marti Gallardo vP ad sErviCEs Paul Cousineau fashion assistants Jane Chapman, Sam Pape vP MarkEting & businEss dEvEloPMEnt Nina Lawrence ExECutivE dirECtor MarkEting Paul Tsigrikes wEb Editors Allison Lichter, Robin Kawakami, Seunghee Suh dirECtor, EvEnts & ProMotion Sara Shenasky ad sErviCEs, MagazinEs ManagEr Elizabeth Bucceri Contributing Editors Alexa Brazilian, ExECutivE dirECtor MarkEting sErviCEs Julie Abrams Eva Chen, Michael Clerizo, Charlotte Druckman, Jacqui Getty, Malina Joseph Gilchrist, Joshua Levine, WSJ. Issue 33, March 2013, Copyright 2013, Dow Jones JJ Martin, Meenal Mistry, Liane Radel and Company, Inc. All rights reserved. See the magazine online at www.wsjmagazine.com. Reproduction in whole or in part without written permission is prohibited. sPECial thanks Tenzin Wild WSJ. Magazine is provided as a supplement to The Wall Street Journal for subscribers who receive delivery of the Saturday Weekend Edition and on newsstands. WSJ. Magazine is not available for individual retail sale. For Customer Service, please call 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.

44 wsj. magazine

0312_WSJ_Masthead_01.indd 44 1/10/13 10:15 AM 01102013092049 contributors

Mikael Jansson & george Cortina FiFty shades of white p. …4

Photographer Mikael Jansson (right), whose indelible fashion portfolios have starred everyone from Michelle Williams and Rihanna to Marion Cotillard and Kristen Stewart, captured model Kati Nescher in an all-white dress by Alexander Wang. According to stylist George Cortina (far right), the concept behind the shoot was bracingly simple. “The collections were either black or white. We picked white,” he says. The ethereal photographs were further lightened by Nescher, who called upon her knowledge of Russian folk dancing and ballet to enliven the mood at New York City’s Pier 59 set.

Joshua levine & patriCk DeMarChelier the arnault legacy p. +06

In profiling LVMH executive Delphine Arnault, writer Joshua Levine (far left), an American based in Paris, found himself relating to Arnault’s desire to have her newborn daughter, Elisa, learn fluent English. “My own six-year-old son speaks mostly French, and while I speak to him only in English, he speaks French back to me, which is driving me a little crazy,” Levine says. “He will Lier. sing in English, however, and he knows all the words to Carly Rae Jepsen’s song ‘Call Me Maybe.’ I am not convinced this is a step in the right direction.” Arnault was photographed for the piece by Patrick Demarchelier (left), who has known her for a decade. “After having a baby, she looks amazing. She’s never looked so good,” says the legendary lensman. evine; victor demarche victor evine; e; stephane feugere.

Derek BlasBerg & Dan Martensen the klosses p. 8| marzia L uca

For this month’s Meet the Parents, writer Derek Blasberg (right) and photographer Dan Martensen (far right) visited model Karlie Kloss (right, with Blasberg) at her parents’ home in upstate New York, where they were delighted by the Kloss family’s warmth. “It was as if I was shooting one of Norman Rockwell’s paintings,” Martensen recalls. “When the shoot was done I wanted to brush my teeth and do my homework.” Blasberg, who grew up in the same St. Louis neighborhood as Karlie, was no stranger to her nurturing ways. “When we found each other in the Big Apple it was like instant family,” he says. “And she’s the perfect little sister: She keeps me in cookies all year-round.”

toDD eBerle & elisa li psk y-karasz the house that gucci built p. +22

When Domenico De Sole, chairman of Tom Ford International, left his position as the head of Gucci Group in 2004, he and his wife, Eleanore, relocated to the coastal environs of Hilton Head, South Carolina, a bucolic area whose charms were immediately apparent to WSJ’s new Fashion News/Features Director, Elisa Lipsky-Karasz (left). “We had fun getting to know Hilton Head,” she says. “It’s three hours and light years away from Manhattan. The De Soles steered us toward one of their favorite restaurants, Sunset Bay, which is on a dock and DIOR VIII GRAND BAL “RÉSILLE” MODEL serves Low-Country dishes like shrimp and grits.” Photographer Todd Eberle HIGH-TECH CERAMIC TIMEPIECE. (far left) was impressed by a skill the De Soles acquired from years of attending DIAMOND-HEAD CERAMIC BRACELET. third row, from Left: courtesy derek bLasberg; courtesy dan martensen. fourth row, from Left: L black-tie galas: “They were able to get into full eveningwear in five minutes!”• top row, from Left: courtesy mikaeL jansson; courtesy george cortina. second row, from Left: courtesy joshua L EXCLUSIVE “DIOR INVERSÉ” AUTOMATIC CALIBRE. PATENTED FUNCTIONAL OSCILLATING WEIGHT, PLACED ON THE DIAL, IN 22 CARAT OPENWORK GOLD SET WITH 182 DIAMONDS.

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Nescher, age 13, FACE VALUE near her country home in Russia. New mother turned supermodel Kati Nescher has transformed life experience into fashion gold.

IN AN INDUSTRY WHERE the end of one’s teenage years is often synonymous with career extinction, 29-year- old Kati Nescher, one of the planet’s most in-demand supermodels, has leveraged her worldly poise to astounding effect. She’s become a runway fixture, booked Vogue editorials and advertising campaigns for brands like Prada and Chanel and gamely succumbed to the five-locales-in-one-week scheduling of fashion’s most famous names—all since kick-starting her career THE RIGHT MOVES just two years ago. Nescher, around age 7, with her mother and brother at ballet Before her Bambi-like green eyes and perfect Slavic school. Bottom: Modeling cheekbones ever found a home on the runway, Nescher, spring looks from, left to right, a native Russian, had cycled through the usual roster Valentino, Dolce & Gabbana and Chanel. of postadolescent temp jobs, lived abroad in Germany and had a son, Theo, with an ex-boyfriend. “It was just bang, bang, bang,” she says of her mom-to-model rise over lunch at Manhattan’s Hôtel Americano—steak tartar, a cheese quesadilla, French bread, a glass of orange juice and two cappuccinos, all for her (she actually lost weight after giving birth). “It’s all about the question of success: Are you lucky? Are you in the right time at the right place—I don’t know, but I get this feeling I’m in the right time.” After so many seasons of runways crowded with what casting director James Scully calls “drab, pale STREET CRED blonde androids”—read: very young models—her timing The model photographed after couldn’t be better. “I think Kati’s appeal and the reason the Marc by Marc Jacobs show in New York, September 2012. she rose to the top immediately are her age and life experience,” says Scully. “Kati is a woman and came into the business with everything it takes great models years to develop. She already possessed the grace, personality and finally to New York, where she’s just leased a one- and the drive that most new models today don’t have.” bedroom apartment in the West Village with “a little At the age when many of her peers are plucked from balcony and a fireplace that works.” home and sent overseas, Nescher was enrolled in high Her first fashion experience in New York was a Louis school, studying piano and ballet, “like every Russian Vuitton campaign shot by Steven Meisel. During the girl.” In post-Perestroika Russia, fashion was a distant shoot—“this pretty story with candles and pink”—she thought for Nescher—though people always remarked found herself talking freely with the famous lensman. “It that she could be a model or a movie star if she wanted. was my first big job and I was like, all right, be yourself,” When she turned 18, she enrolled in a language program she says. “And I realized he was talking to me like a nor- in Munich. “Putin came to power, and I left,” she says. mal person.” That knack for easy conversation and insight “It was perfect.” Nescher spent the next 10 years in the on set—not to mention her impressive work ethic—is Bavarian capital, getting married, divorcing, going to intrinsic to Nescher’s appeal, both in photographs and translator school—and finally giving birth to her son, in her day-to-day dealings with her fashion “family.” Her who is now three. “And then I was just Mom,” she says. ascendancy is such that the scales might finally be tip- “It was amazing, I enjoyed it every day. But then I real- ping toward older models with emotional experience—a ized that I was just Mom, so I started to search.” kind of lived beauty that’s impossible to feign. At 27, with the encouragement of a makeup-artist At least once a month, Nescher visits Theo in Munich. friend, that search led her to a small modeling agent in She’s thought about bringing him to live with her in Cologne. “I called her, and I was like, ‘Yeah, um, I want New York, but for now life is too hectic. “Of course I want to be a model,’ ” she says, laughing. “I was so insecure!” him all the time and sometimes it’s very hard,” she says. That meeting turned into casting calls in Paris, which “But you know, I would say that since I came into this

in turn led to starring roles in fashion shows there, world, I’m the happiest mom ever.” —Megan Conway PHOTOGRAPHY BY MELODIE JENG COURTESY OF (STREET); KATI NESCHER; FIRSTVIEW (RUNWAY)

48 wsj. magazine

0313_WSJ_OnTheCover_02.indd 48 1/14/13 3:33 PM $QQSPWFEXJUIXBSOJOHT < DESiGNER DELEGATiON “There are so many fashion people,” said Riccardo Tisci, who took advantage of his first year without Givenchy couture fittings to make an art-shopping trip, while local chieftain Calvin Klein hosted dinner at his Miami home for ex-wife Kelly’s new book, Riccardo Tisci and Calvin Klein Pools: Reflections.

André Balazs, Chelsea Handler and Bruce Weber Jamie Hince and < ANyTHiNG GOES Pharrell Alison Mosshart Diane von Furstenberg Williams donned a camouflage shorts tuxedo of his own design to Pharrell Williams and make the rounds, which included a Leonard Lauder Terry Richardson late-night party at P. Diddy’s house. Samantha Boardman and Aby Rosen hosted heavy hitters at the W South Beach, including Agnes Gund and Eli Broad, who unwound after picking up a $5 million Jeff Koons sculpture at the fair.

Klein with Donna Karan Wendi Murdoch and Kelly Klein and Dasha Zhukova Brooke Neidich and < HERE KiTTy, KiTTy Samantha Boardman Demi Moore found a stray cat by the beach and carried it into a Chanel dinner at Soho House. Other guests opted for Ping-Pong. Jessica Hart and Stavros Niarchos Uma Thurman < and Arpad Busson FAST BREAK New mom Uma Thurman practiced her Colen pranks Diana Picasso, Italian with Roxie Nafousi, Damian Hirst Moncler founder and Klaus Biesenbach and event host Leigh Lezark and Remo Ruffini, Demi Moore Ryan McGinley while Karolína Kurková also took a break from unpacking boxes parties at her new Life’s A BeAch Agnes Gund Miami house. The real action took place after-hours at 2012’s Art Basel fair in Miami. Dan Colen Aby Rosen < photography by stephane feugere TOP GUM A chewing gum painting by Dan Colen sold for $500,000 to art dealer Alberto Mugrabi, as part of a The parTy slaTe aT This december’s Art Basel in Miami charity auction Colen organized for was so full that celebrities and artists ended up dining in a his friend, the late artist Dash Snow. Craig Robins and Silvia Fendi parking lot. It had been cleared of cars, luckily, and a carpet had been laid down to create an all-white extravaganza for Moncler at Miami’s landmark Herzog & de Meuron structure. (Party favors were white capes, in case guests got chilly.) No momentos, not even photos of the sculptures in his batting cages, could be taken at A-Rod’s bash at his art-filled home (on the market for $38 million). And the only thing trumping the news that Jeff Koons left gallerist Larry Gagosian for David Zwirner was the gossip about Lauren Santo Domingo and China Chow Peter Brant Jr. and his brother Harry Remo Ruffini and Karolína Kurková the stray kitten temporarily adopted by Demi Moore. •

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“I think of discipline in “I’m hardwired to be dis- “Discipline? Oh, I have “I would like to create “I don’t think discipline “When you realize what the context of self-con- ciplined. I never needed none. Do you ask yourself more space and have applies to one single matters most to you, trol. For a lot of us, it’s an alarm clock as a child. when you breathe, why more time to do nothing. school of cooking. I don’t that’s when you under- hard to imagine anything What you have to work and how are you taking a Art history is filled with think molecular gas- stand how to discipline besides ‘I want it, and against is discipline to the breath? No. For me, examples of artists who tronomy requires more yourself. You’re not going I want it now.’ Picture a point of being too rigid. it’s normal. For me, life have fought their entire discipline than rustic to always have people hungry toddler banging Rigid people are dan- is discipline. It’s not lives for their work and French cooking or mama’s telling you yea or nay. on the table waiting for gerous, which becomes intentional—it is the their beliefs. To create cooking in a Greek village. When you’re an athlete dinner. Impulsive behav- obvious when you look way I live. So in that way, unique energy you have It’s the idea that you put and in the limelight, ior is appealing: at some of the financial I’m not disciplined at to be disciplined. But it’s yourself completely into people feel like they In the heat of the moment, firms that went under. all. It’s not something I also important to learn the process of cooking can’t tell you certain you want that piece of We’re in the business have to fight for. I’m just how not to let this energy and don’t cut corners. things. You have to be cake or that pair of shoes, of numbers. The numbers pleased with what I’m destroy you. I have very For me that applies to disciplined on your own. but you are not thinking have to be right every doing, and I’m lucky to strong work habits, every kind of cooking. It’s I had to learn to check about the consequences. time—there has to be do it in great conditions but when I decide to all about being alert to myself as I understood Instant gratification can zero-error tolerance. and with people I like. take a rest, I’m also a what’s going on in the pot there weren’t a lot of lead to trouble. I tell my team all the time, I don’t have to battle with master at doing nothing or in the pan. It’s about a people who were going to Self-discipline is not ‘If you have a problem, anybody, and everybody without guilt. state of mind. tell me when I was doing just about temptation; it’s the only way to fix it is if does exactly what I want When you create, the I know a lot of people things wrong. also about our own emo- you have a process you them to. Perhaps that is higher the euphoria of have this romantic image Being disciplined tions and reactions. It’s can dissect, so that when my suggestion: If you creation, the lower you of going to the market is being a professional, important to have enough something is missed do something that you can fall in your private and rummaging through understanding that self-discipline to hit the you can go back to your love, you won’t need life. I made up the term your spice cabinet, but I have a job to do and pause button and appraise source document.’ to force yourself to do it. ‘body drama’ to describe actually I do a lot of knowing that I’m not a situation. It’s about not I do better with order Love and discipline: this idea. It’s like when groundwork before I go walking around worried reacting to the latest and than chaos, but at the Are they that different?” you see a rock group into the kitchen to try about just me. It’s my the loudest, but instead same time I can be very singing to thousands things out. You really need three boys, Zaire and thinking about your fluid. Discipline should be and thousands of listen- to sit and think if you’re Zion and Dahveon, who future self. For example, balanced with flexibility. ers. The audience gives going to produce quality I’m concerned about. if you don’t pay your bills, There are people who all of its energy to the recipes every week. The first thing—morning, you won’t be able to get are so disciplined that a performer. It inflates the There’s something noon, night—is them. credit. That’s where habit change upsets their con- ego. Once the concert is about the physical work Getting custody of my comes in; you have to stitution. But survivors finished, that energy can in the kitchen—there’s a sons and deciding to train yourself—it’s almost rescue themselves—they destroy. It’s why so many limit to how much you can raise my nephew, that like building a muscle. never point fingers, or great performers are do. Even in the busiest was the most disciplined Self-discipline reminds us wait for someone else to brought down by drugs kitchen, there’s always moment in my life.” we always have a choice. rescue them.” or alcohol. a point at the end of the If you are willing to This is why discipline day when you go home.” explore alternative behav- is essential.” iors, you open yourself up to possibilities that you ReedKRaKoff.com never dreamed of.” Boardman is a psychiatrist at Hobson is the president of Lagerfeld is the creative Abramovi´c is an artist Ottolenghi is a London-based Wade is a guard Weill Cornell Medical College. Ariel Investments in Chicago. director of Chanel and Fendi. living in New York City. author and restaurant owner. for the Miami Heat.

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CERF’S UP De Dudzeele and Borgo in his New York studio.

the inspiration WHEN EDDIE MET CARLYNE For his latest accessories collection, designer Eddie Borgo looked to legendary French fashion editor Carlyne Cerf de Dudzeele, who knows a thing or two about bling.

photography by marko macpherson

at first glanCE, jewelry designer Eddie Borgo and with chain necklaces, bangles and belts—aims to reinter- EddiE Borgo: We were showing the collection in Paris, fashion editor Carlyne Cerf de Dudzeele have little in pret and elaborate on her influence. “When you see her and people started saying, “You have to show it to common. One is a downtown denizen perpetually clad pictures you are seeing all of this really decadent gold Carlyne.” And we were thinking, There is no way in a black blazer, skinny tie and black bowler. The other jewelry. The more I learn about Carlyne, I see for her it that Carlyne is going to come. is the daughter of a countess with a leonine coif and a was about bringing the street into the luxury market,” CarlynE CErf dE dudzEElE: Why? I am the most regal manner whose shoe of choice is a gold Adidas high- says Borgo, who designed bangles, necklaces that convert simple person in the world. Anyone can call or email me. top—fitting, given the exuberance with which she jumps into belts and “status links” in her honor. “Her shoots are La simplicité is the chicest thing. into shoots with longtime collaborators Steven Meisel such epic references now, the idea of that easiness, wear- EB: Well, I was nervous to meet Carlyne and show her a and Mario Testino. What they do share is a love of jew- ing jeans with your Chanel jacket and gold necklaces. It’s collection that was inspired by her. But I started off elry. Borgo’s all-gold spring collection—inspired by de about creating maximum aesthetic impact.” Here, Borgo making jewelry for editors, so it was a nice evolution Dudzeele’s lavishly accessorized ’80s and ’90s shoots in and de Dudzeele talk about their connection, the value of to have a collection tied to her, because I think that which she loaded up supermodels like Linda and Christy spontaneity, and offer advice for future designers. she’s one of the most significant editors of all time. >

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Right away we started to work on new things together, be opulent. You can be stylish with a plastic bag. like large earrings and other bracelets. EB: You worked with Gianni Versace, Karl Lagerfeld WSJ: What did you think when you saw Eddie’s collection? and Azzedine Alaia. Do you have fond memories? CCD: I like the inspiration board, I must say! It reminds CCD: That was the époque, because these were peo- DONNAKARAN.com me of very good souvenirs. I especially remember the ple—Gianni, Karl, Azzedine—who are talented. Vogue cover with Karen Mulder. Patrick [Demarchelier] I worked seven years with Gianni. Our relationship and I did it in five minutes—it’s my cashmere sweater, was totally open. We would work all night, but it was all my jewelry, I just threw it on her and that’s it. Voilà. fun. I was on the floor, saying, “Gianni, let’s do this.” EB: There is such classicism to your style, but people WSJ: Are you ever surprised anymore? like to say that it’s decadence. They love to pin you as CCD: I am always surprised by Mr. Alaia. I think he’s the being a stylist who uses a lot of jewelry, but you don’t best designer in the world. I adore Jeremy Scott. seem to consider it—it’s just a part of the whole look. I love what he does, because he works from the street. CCD: I don’t think about jewelry or no jewelry, it’s an C'est genial (pointing to her jacket)—smart, sublime. attitude. You like it, yes, you put it on. When I work [on EB: When I look back at your photographs, I realize a shoot], I work on the body of the girl who is in front that customers started wanting this jewelry, to buy it of me. I don’t plan. But you cannot learn this, you have and wear it themselves, because it’s aspirational. to be born with this sense inside you. You cannot sing CCD: For me there is no higher compliment than when if you don’t have a voice. women rip out the pages from the magazine and take EB: Out of all the collections we’ve done since we them to the store. All the things I do are started in 2009, this had the most specific point of never démodé, because it’s real. All this reference. We were identifying silhouettes from fashion we see now, every six months

the time and dissecting them—whether it was pendant becomes démodé—bah! If you see a kS) necklaces, chains that resembled coins or belts—and girl with a Chanel suit, it’s not démodé. AS

trying to make them more modern. How do you feel Chanel is never démodé; Adidas, never InG m

about jewelry today, Carlyne? démodé; Hermès, never démodé. J'aime eep CCD: I totally adore jewelry. Le chic is to know how to le classique. mix. For example, my new thing that I simply adore WSJ: So how do you feel about having is this NikeFuel band. The shape is exactly like my your images studied? gold standard Above: Images of models styled by de Dudzeele from the ’80s In rAmIn (SL Pomellato bracelet, and I can see how many kilom- CCD: They should study them more. rt and ’90s on Borgo’s inspiration board. eters I walk. Ce n’est pas sublime? I love eccentricité, Edited from Elisa Lipsky-Karasz’s Left: Gold-plated necklaces from Borgo’s

panache, riche. But you can be wearing jeans and interview with Borgo and de Dudzeele. spring/summer 2013 collection. S); f. mA urrow

flashback dAYs OF dIsCO

in 1973, thE nEW York–BaSED couturier Stephen Burrows flew to Paris to compete in the so-called Battle of Versailles, an all- out runway spectacle that pitted him and Sy muSeum of the cIty of new york (B four other American designers against their French counterparts. Burrows, the first

African-American designer to rise to inter- cy, courte national prominence, sent out a parade of diverse models to a soundtrack of rollicking the beauty of disco music—challenging the austere norms of the day and winning fans like Cher and sLEEPING MAsKs By By chArLeS trA Diana Ross. “The audience jumped up and ph threw their programs in the air,” recalls model EvEr SinCE thE CrazE for BB Creams—the turbo-boosted GrA Pat Cleveland. This month, the Museum of the SPF, hydration and color-correction hybrids now ubiquitous hoto

City of New York celebrates Burrows’s work in American department stores—traveled westward from p from 1963 to 1983 with the exhibition “When Korea several years ago, the country has become famous as yne); Fashion Danced.” Burrows is known for his a hotbed of skincare innovation. Sleeping masks may well be vibrant colors and the signature “lettuce” its next overnight sensation. Billed as do-it-yourself over- hems on his dresses—both of which, accord- night facials, the gel-like masks work in two steps: first, by e + cArL DDI ing to curator Phyllis Magidson, helped boosting and locking in hydration; then, by slow-releasing

define New York’s ’70s-era nightlife scene. complexion-enhancing ingredients, like lily-water extract Son (e “On a dance floor, it was almost as if you were and shea butter. The product—available from brands like cpher

watching bodies nude,” she says. “But better Clinique, Korres, Dr. Jart and Amore Pacific , shown above— A dance revolution A 1969 photo from the show, with designer because his clothes carried the gesture of the gives new meaning to the term “sleeping beauty.” For details Stephen Burrows and two models wearing his dresses. dance that much further.” —Adrienne Gaffney see Sources, page 138. rko m mA

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shop talk statement piece mIAmI’S BOLD NEW BOUTIQUE hEArT OF gLASS

While mOst Of the shOps on Miami’s Lincoln On the Venetian island of Hive; courtesy Road tempt passersby with gelato or string biki- Murano, known as one of the nis, there is only one that sells cold-pressed juice world’s preeminent glass-

from a cooler hidden inside a neon- yellow cus- making polestars, even owie Arc

tom-designed bench by Zaha Hadid. Installed on trash is treasure. It’s vid b dA

the ground floor of the city’s celebrated Herzog this lesson in high-end e

& de Meuron car park, the street-level outpost salvaging that Reed tH of the boutique Alchemist also offers Givenchy Krakoff took to heart for dresses, carved gemstone rings by Turkish jew- his Punk Glass spring ourtesy eler Sevan Bicakci and books from the personal jewelry collection (plain collection of artist Richard Prince. “No one wrapped pendant, left. wants to just go buy clothes anymore, they need For details, see Sources, to get excited,” says Roma Cohen, who founded page 138). On a visit to Alchemist with his wife, Erika. “This is our way Murano’s Seguso factory—

to have fun with the idea of a concept store.” To the Seguso family has been Allic bodysuit, 1973 c what’s in wit, the shop’s white-foam-padded environment making glass since 1397—the store was designed by award-winning architect Rene designer “noticed beautiful scrap Alchemist’s custom Met ive; H lacquer Zaha Gonzalez, who says it “evokes a cocoon and a pilings, which had no apparent use,” Hadid lounger. Styrofoam cooler—a reference to Miami Beach.” he says. “They had their own beauty.”

(The design stands in contrast to Alchemist’s Krakoff had the fragments shipped back owie Arc airy gallery-like space on the fifth floor of the car park.) In keeping with the Alchemist ethos, the to his New York atelier, where they were transformed with details vid b

space is an ever-evolving work in progress. Even the collaboration with Hadid, a friend and client, like 24k gold cords. The result is door knocker–size rings, bracelets dA “came together in an organic way,” says Cohen. “She’s been super supportive, but she did say the and pendants in colors from flame orange to a translucent gray— e tH bench needs another coat of paint.” —Elisa Lipsky-Karasz recycling gone ultra-luxe. —E.L.K. ourtesy

innovation showstopper Mock-up, 1977Mock-up, c mUSEUm 2.0 BEST OF BOWIE M cover

this mOnth, the CleVeland Museum of Art unveils Gallery “daVid BOWie is,” the title of lbu A One and ArtLens, a suite of cutting-edge digital interfaces that this month’s retrospective together transform the 100-year-old museum into one of the of the pop deity’s decades- Heroes most technologically advanced art hubs in the world. Visitors can long career at the Victoria

deploy facial-recognition software to match their own visages and Albert Museum in koff); to everything from an ancient Greek bust to an Edward Steichen London, invites viewers

photograph; create a comic book version of a Medieval tapestry; to fill in the implied blank: in (krA or thematically sift through the museum’s impressive perma- Grammy-winning musician; AM nent collection. “Gallery genre- and gender-bending

One utilizes technology as a performer; mercurial fashion icon. For exhibition MA rtin r way to foster deeper engage- co-curator Victoria Broackes, the name refers to ment with the art,” says Jake Bowie’s enduring widespread influence. “David

Barton of New York–based Bowie is culturally significant right now,” she says HeMist; f. lc

multimedia design firm of the 66-year-old artist, whose first new album A Local Projects, which engi- in 10 years, The Next Day, is being released this neered the enhancements. month. “Hardly a day goes by when you don’t see “ Visitors can connect with art a fashion shoot or an art show that isn’t influ- through their own creativ- enced by Bowie.” For the exhibition, on view from star man Metallic kansai yamamoto bodysuit; ridis, courtesy ity.” The virtual makeover March 23 to July 28, and sponsored by Gucci and left, a mock-up of the 1977 Heroes album cover. AvA is the capstone to an eight- Sennheiser, the museum was granted unprec- year, $350-million revamp edented access to the David Bowie Archive—carefully culled and thematically arranged are 300 HA el st

of the museum, which also selections of handwritten lyrics; music scores and videos; and once-hidden gems, like the story- Art M of includes a major expansion boards Bowie drafted for a movie he hoped to make about his Diamond Dogs tour. And then there useu by architect Rafael Viñoly. are the costumes: Freddie Burretti’s kaleidoscopic bodysuits for Bowie’s Ziggy Stardust tour; Kansai ApHy by Mic

Luckily, there’s now indoor Yamamoto’s pneumatic Aladdin Sane costumes; and the artfully tattered Union Jack coat designed And M GPS to help visitors find by Bowie and Alexander McQueen for the Earthling album cover. Says Broackes, “the exhibition moving images A 40-foot media wall otogr level pH their way. displays the museum’s collection. allows the public to join in when they see Bowie-ness in the wider world.” —Megan Conway c 870 madison avenue new York

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food network culinary empires

photography by garance Doré

buy the book notes on style

This monTh brings a crop of TiTles that cast an appraising eye on the fashion world. In c.Z. guest: american style icon (Rizzoli), the late society swan and Truman Capote muse is celebrated in photographs by Irving Penn, Cecil Beaton and Slim Aarons. Whether documenting political protests or Chanel dresses, William Klein: abc (Abrams) showcases the photography legend’s ever-provocative point of view. A real-life mad hatter’s exploits are captured in philip Treacy by Kevin Davies (Phaidon), as the British milliner dreams up fanciful creations for everyone from Grace Jones to Kate Middleton. paris haute couture (Flammarion) examines a century (1860–1960) of intricate gowns from famed French houses such as Dior, Vionnet and Paul Poiret. YeR

In bulgari (Assouline), the Italian jeweler brings its snake-themed Serpenti ma what’s collection—once favored by Elizabeth Taylor—back to life, just in time for the cooking year of the snake. And in The master of Us all (FSG), Mary Blume unveils the Kerry Diamond private world of one of fashion’s most reclusive geniuses, Cristóbal Balenciaga, and Robert

Newton in the NDRew sOtO

who famously never gave an interview and remained a mystery to even his unfinished space a most devoted clients. —E.L.K. for their new BY restaurant in Brooklyn, NY. KeUp lett. ma made by hand raTher Than seeK WorlD DominaTion with franchises in London, Las Vegas and

beyond, New York City’s up-and-coming chefs are creating culinary mini-meccas in ce scaR BRY pot luck their own backyards—giving new meaning to the term locavore. “We didn’t set out BY

to have three businesses on one block in one neighborhood, but we wouldn’t want it R as large-scale porcelain art pieces any other way,” says chef Robert Newton, who, along with his partner Kerry Diamond, : : hai are lavished with attention everywhere now offers three distinct dining options in Brooklyn’s Carroll Gardens: Seersucker’s É OR from the Los Angeles County Museum seasonal Southern fare; coffee and homemade sandwiches at Smith Canteen; and, ); D

of Art to upscale Manhattan boutiques, new this season, Vietnamese street fare at Nightingale 9. In the same borough, chef RY

domestic studio ceramics, which had Anna Klinger and husband Emiliano Coppa of Al di Lá in Park Slope and Bar Corvo in tte

its heyday in the ’70s, is experiencing Prospect Heights recently opened their third place in the latter neighborhood: Lincoln g (pO its own mini-resurgence. Enter the Station, based “loosely on the concept of the Italian rosticceria,” according to Klinger. YOUN

work of China-born, Canada-based Meanwhile, this month, the team behind Flatbush Avenue’s sustainability-minded O’

potter Kayo O’Young, whose delicate pizza joint Franny’s and gourmet grocery BKLYN Larder—Francine Stephens and her YO

chinaware in natural black and ocher husband, Andrew Feinberg—moved Franny’s to larger quarters, and its old address Y Ka

tones—coveted by discerning collec- will become their third establishment, Marco’s, a rustic trattoria. tes

tors from New York to Japan—are This January in Manhattan, chef Harold Dieterle and Alicia Nosenzo, the duo behind OUR

crafted from wheel to kiln at his rural American bistro Perilla and Thai-inflected Kin Shop, inaugurated their third West Village s); c pottery barn Unglazed pieces in Ontario home. “There’s a long tradition venue, The Marrow. And in February in Greenwich Village, chefs Mario Carbone and O’Young’s Ontario studio. BOOK

of the country potter that he’s channel- Rich Torrisi and partner Jeff Zalaznick, of Torrisi Italian Specialties and Parm, unveil N (

ing,” says Rachel Gotlieb, a curator at Canada’s Gardiner Museum of ceramic Carbone, modeled after the Italian-American red-sauce joints of the ’50s. By year’s end, ami

art, which this year adds O’Young’s work to its permanent collection. “He the team hopes to christen yet another restaurant, this time under the High Line park. N R ti does this beautiful synthesis between Asian and Western art—a wonderful “There was never another place in the world we ever considered taking a shot,” Carbone R

balance between color and form.” —A.G. says of New York. “This city defines what we do and who we are.” —Charlotte Druckman f. ma

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0313_WSJ_MixedPages4_02.indd 62 1/11/13 3:09 PM 01112013141305 Approved with warnings 0313_WSJ_MixedPages5_02.indd 64 think thatIstillwould have wanted to dothis.” —M.C. to like would I parents, for lawyers with up I’dgrown “If recalling a piece of acting advice her father once gave her. says, lines,”she my learn I and up show I guess I yeah, so heavyscenes, forpreps emotional do don’t events.“I lian night’spreviousbacchana- the dissects painfully friends, plays Leigh, an undergrad who, along with a close circle of In ” here.’ I’m till wait and can’t ‘I it, saying, about wide-eyed totally being and set on being toddler a as even remember “I Zah-shah). pronounced is name (whose Zosia says act,” to a want didn’t I when remember time can’t “I idiom. theatrical modern own his invented who Mamet, David screenwriter playwright, and director the father, her there’s then And actor). an also is (ClaraClara and Noah half-siblings, her and Willa; sister photographer her actor; an also and stepmother her Pidgeon, Rebecca Crouse; Lindsay actormother, her includes that creativefamily comedy famously a of part but Girls, adult-onset HBO’s of star sleeper the only not who’s Mamet, for double goes sentiment the but eye, lic thepub- in operates who anyone befits imperviousness play off-Broadway Zosia Colaizzo’s Downs actor Paul in says month this that,” stars who about Mamet, do really can I nothing there’s and will, they how me judge to going they’re and street in mayfair, right. right. mayfair, in street grafton 24 at space, london new Zwirner’s david gallerist in 64 “PeoP r in art news what’s le are going ES gROWIN i DE n CE a sculpture by Fred s Fred by asculpture T . That kind of learned learned of kind That Really. Really o T hink g UP mAm g UP what they’re going to think, , she she Really, Really andback installed family tree ET hr used There returning by the handful as the gritty glamour of the the portentous one (In of gentrification. to way gives glamour End East gritty the as handful the by returning are galleries important Internationally renaissance. tic squares farbehind. ofMayfair sedate and streets leafy the leaving east, moved scene ability. Eager to discover grassroots talent, the city’s art respect- bohemian to rose Shoreditch and Hackney like areas downtrodden formerly as passé, Mayfair of hood neighbor- surrounding its declared denizens art-world its legendary panache, but beginning in the early aughts, lost never than has Claridge’s.hotel fromThe minutes moreseven shop up set never should one that London Now, a decade later, the area is experiencing an artis- an later,Now,experiencing decade is areaa the 01142013145629 T b a saying a be o able Marlborough Fine Fine Marlborough able London debuts inMayfair. their made Bacon Francis and Miro Joan Klee, Paul avant- when yesteryear, the of garde recalls one It’s hardly surprising when December.) last location Square Hoxton its tered shut- Cube White lodestar Hackney former closure, Approved withwarnings at coe, vener- October, Last mn at elr in dealers art among mAYFAIR RETURNS mAYFAIR RETURNS the shift mental sensibilityhasreturned withit.—Alice Pfeiffer End’sMayfair,East in the experi-back of something but be may world art garage.London Mayfair The a in work mixed-media showed Gallery, Saatchi by represented ing the Frieze art fair last October, Toby Ziegler, an artist dur- And Street. Bond New to expanded recently which of Hackney’sboth International,and MOT Gallery Barry attracting younger talent. Enter Peckham-based Hannah it easilyaccessible to collectors.” makes location centralized its and galleries, art fine for Street.Mayfair,neighborhood historicallya adds,“is he Grafton on townhouse 18th-century an into moved who Zwirner, says York,” New to second close a now is and undeniably become the capital of the European art world Zwirner all opened branches there last fall. “London has Mayfair. Big players like Pace, Michael Werner and David by Portuguese-born artistAngela Ferreira. chose to inaugurate the space with a multimedia exhibition of history,” says the gallery’s director, Andrew Renton, who test the stand will explore they art new the that reassured times, difficult “In Contemporary. extension dedicated to contemporary works, Marlborough to London with its inaugural 1946 show—opened a Mayfair Art—the gallery that famously introduced Jackson Pollock in 1987; Zosia with her half-sister, c half-sister, her with 1987; Zosia in c b by photographed old, Born to aCt to Born rouse and d and rouse n smwa uepce tit Myar s also is Mayfair twist, unexpected somewhat a In New York galleries are also discovering the charms of avid avid c lockwise from left: Zosia, 25 years years 25 Zosia, left: from lockwise m House of Games of House of set the on amet rigitte l acombe; l acombe; lara, in 2012. 2012. in lara, collectors want to be be to want collectors

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1/14/13 3:55 PM

Untitled (FoUr-part Vertical constrUction) 1988 light blUe and red-brown acrylic yarn, ceiling height x 16 x 25 in. ©2012 Fred sandback archiVe, coUrtesy daVid Zwirner, new york/ london; stephen white, coUrtesy oF daVid Zwirner, london (mayFair); photography by brigitte lacombe (Zosia); ©orion pictUres/coUrtesy eVerett collection; benjamin loZoVsky/bFanyc.com

1.866.MAXMARA MAXMARA.COM what’s news

hot property the cause afloat in the maldives sWeet smell of pRoGRess

BarB stegemann is in the oil Business. But instead of petroleum, the Canadian perfumer deals in essential oils: rose petal and orange blossom from Afghanistan; lime and basil from Iran; and vetiver root from Haiti. Her fragrance

company, The 7 Virtues, helps bring fair trade to regions S ANGELES MALIBU SHOP LANVIN.COM

at war or in strife. “I don’t believe in charity,” she says. “I LO believe in economic empowerment.” In Afghanistan, a country where 80 percent of the population make a living from agriculture—and where the vast majority of the world’s heroin poppies are grown—Stegemann has worked with a distillery in Jalalabad that employs 15 full-time staff members and more than 1,500 seasonal workers. In 2010, after the devastating earthquakes in Haiti, she began sourcing vetiver there. Another scent combines aromatic essences from Israel and Iran. “There’s a bit of innocence to what we L HARBOUR LAS VEGAS do, but it’s effective,” she says. For the stateside launch of BA her fragrances last fall, Stegemann created a sign that read, “Make perfume not war.” —Zeke Turner O AG MAKES SCENTS a separatory funnel used in perfume making. RK CHIC Few nations are more imperiled by the specter of global warm- YO ing than the Maldives, the Indian Ocean archipelago hovering mere

feet above the shoreline. Despite its reputation for serenity and worth the trip NEW isolation, the nation of 1,200 islands is actually one of the planet’s most densely populated places—and potentially decades away the coast of utopia from being swallowed by the sea. But a novel mixture of architecture, commerce and technology during his nine-year michelin-starred run at The Paul—an eight-sided glass restaurant in could help the Maldivian government find an affordable solution Copenhagen’s Tivoli Gardens—chef Paul Cunningham helped elevate that city’s gastronomic to the overpopulation problem, while further boosting lucrative reputation to its current rank as one of contemporary dining’s hottest destinations. His cooking luxury tourism. Working in partnership with the Delft-based paired Danish ingredients with foreign accents like foie gras and ginger—not exactly adher- Dutch Docklands company, the Maldives has launched an ambi- ing to the dogma of the New Nordic cuisine, but well-loved anyway. Then, in late 2011, the tious program to develop a string of floating islands (pictured Essex-born chef did as any true iconoclast would: He packed up his knives and left. Last spring, ro

above) throughout the archipelago. Unlike many existing man- 44-year-old Cunningham took over k made schemes, these new constructions will literally float atop the both kitchen and garden duties at

ocean’s surface, much like parts of Holland. The concept creates Henne Kirkeby Kro, a 200-year-old, irkeby maximum landmass with minimal environmental damage. five-bedroom thatched coaching inn k

“We have a saying back home: ‘God created the world and the on Denmark’s tranquil west coast enne Dutch created Holland,’ ” muses Dutch Docklands CEO Paul van (think abundant dunes and heather). h de Camp. “We’ve been fighting against the ocean for 300 years. Under Cunningham, and hospital- Building floating cities is nothing new in The Netherlands.” ity ace Garrey Dawson, formerly of What is new is the scope and purpose of Dutch Docklands’s new Heston Blumenthal’s Fat Duck in joint venture. The first phase of the project—the nearly 2,000-acre Bray, England, Henne is undergoing a 5 Lagoons—will focus on tourism attractions like a floating golf significant upgrade. Seven new luxu- course, a hotel and more than 400 private residences, including 43 rious rooms will be completed by the on their own tiny islets. Marketed by Christie’s International, and summer high season in a modernist priced from $950,000 to over $10 million, the residences are among structure featuring blond wood and a the first in the Maldives available for foreign ownership, and should copper and bronze roof. Cunningham be ready for initial occupancy by the end of 2014. is also building a sunken white-tiled Less costly, though far more impactful, will be the project’s sec- bunker in his 13,000-square-foot gar- ond phase: a floating lagoon community alongside the Maldivian den (pictured above) for butchering and curing meats. It’s all financed by Flemming Skouboe, capital, Malé, with affordable housing for 80,000 locals. Starting at the Danish windmill magnate who Cunningham refers to as “a nice Dr. No.” Expansion aside, $75,000, and completed over the next 10 years, the homes will alle- Cunningham’s dining room will still hold only 12 tables, making it one of the most coveted res- viate Malé’s congestion without displacing families. “Our biggest ervations in Europe. “Though it won’t be one of those places,” says Cunningham, “where it’s 26 challenge is convincing people to make their home on the water,” van courses or nothing. Of course, I will cook you 26 courses. But you can always come in for lunch: de Camp says. “But this is a fishing culture. The Maldivian people are have a salad cut from the garden with little confit pork cheeks, eat some fresh bread, drink a

already comfortable living on the sea.” —David Kaufman glass of white wine and be on your way.” —Howie Kahn courtesy dutch docklands; f. martin ramin (perfume); courtesy

66 wsj. magazine

0313_WSJ_MixedPages6_02.indd 66 1/14/13 3:26 PM 01142013142949 Approved with warnings what’s news - Ph- isne isneros. C C l de i A vo s de

the art of giving A P ust ultur

JAC LeIrner hel G C The Brazilian conceptual artist works CiA P CiA entro entro tri

with found objects like cigarette C ourtesy PA l-

Modern Love C A

packets, plastic bags and old bank it ion A eri P A new series of e-books carries on the notes (as in 1992’s Blue Phase). CC ortr ole P C

“I give value to what previously ço im m, Fundación Cisneros campaign to champion the PA didn’t have it,” she says. “But the C

under-told story of Latin American art. king of values is art, isn’t it?” ervo , june 1946. AC m. C

HeN A YOUNG VeNeZUeLAN media scion named Gustavo Cisneros

toMÁS flowers madi

came to Manhattan from Caracas with his wife, Patricia Phelps de e, inted iron, 165.5x126x85 C A

Cisneros, soon after they married in the 1970s, they found a fast MALdonAdo tion, 30 x 30 x 4 C kosi 1957, P friend in the form of David Rockefeller. The philanthropic banker The multidisciplinary Argentinian A yul onstru

had met the couple after founding the Americas Society and the edited a magazine, sculpted G C WCouncil of the Americas, and soon invited them to join the International Council of and taught at design school while New York’s Museum of Modern Art. It was, as their daughter Adriana Cisneros de also creating graphic paintings ruz-diez; ruz-diez; t, t, 1959, re C C Griffin tells it, an eye-opening experience. “Everybody at MoMA knew about Diego like 1949’s Development of a pre-penetrable,

Rivera and Frida Kahlo—that heavy Mexican art,” says the 33-year-old. “But my par- Triangle. “I avoid repeating myself rlos CA oem-obje

ents always had an affinity toward modernist works in Latin America. They realized if possible,” he says. P , tion ©

that there were two stories of Latin American art, and only one that was known to A do; jesus soto, the world.” The revelation inspired them to create their own artistic organization, A ldon noite noite (night) the Colección Patricia Phelps de Cisneros, to encourage a better understanding and A r, s m appreciation of Latin American art. Thirty years later, the original goals of the foun- A A ruz-diez found ull

dation have largely been realized. Adriana, who became the foundation’s president C in 2009, points out that works by Latin-American artists now have a home at MoMA, FerreIrA GULLAr G A

where her mother sits on the board of trustees. And at any time there are hundreds Words, rather than paint, are ny, 1998, A isneros ©tom of works from their collection on loan around the world, including the largest exhibi- C the Brazilian poet’s primary erm G s de

tion of their pieces to date, which opened in January at Madrid’s Museo Reina Sofia. medium. His pieces include P isneros; ferreit hen, C C In February, the foundation launched its latest educational endeavor, a brainchild of this 1959 “poem object,” Night. hel s de P Adriana’s: a series of six e-books on influential Latin American artists (quotes and Language, he says, is “a funda- P CiA tri hel selected art from e-books at right) aimed at students and art fans alike. The Cisneros mental characteristic of art.” elsenkir G PA

family’s commitment to sharing its treasures with the rest of the world signals the P CiA ion CC kind of openness and transparency that most collectors avoid. But, “we always like to tri PA ole

say that we’re not the owners of the collection, we’re the custodians of these works C he museum, ion C m. of art,” says Adriana. “And that’s a whole different ball game.” Brekke— Fletcher JeSÚS Soto C “I wanted to free myself from plexi- m, m, ColeCC

glass,” said the late Venezuelan Op artist C s, 80.6x60.3 A

about his shift to metal in the late 1950s. nv

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CA Between the Finger Ring, 1957’s Pre-Penetrable. diamonds and yellow sapphires. m on A kr C ruz-diez ruz-diez retros C il, A

GYULA KoSICe nd ink on bu A

“What is Madí?” read the , 1998, det flyers that the theorist and nknotes cofounder of the Madí art A do b

movement posted in Buenos A ruz

Aires in 1946. A collective C of artists, poets, musicians

and thinkers, the movement , 1992 100-

embraced innovative forms desarrollo de un triangulo (development of a triangle) 1949, oil on

CArLoS CrUZ-dIeZ do, and geometric abstraction. A “We wanted to have a voice, to be cromosaturacion (chromosaturation) Haute Joaillerie, place Vendôme since 1906 ldon family affair heard,” says the Venezuelan about A Adriana Cisneros s m A ruz-diez, fase fase azul (blue phase) de Griffin, left, with fellow Latin American artists. C

her parents, Gustavo ; tom

Still, European masters such as C Cisneros and Patricia rlos Josef Albers influenced his work, CA Phelps de Cisneros. leirner, n/mini AC j A like 1998’s Chromosaturation. ros;

68 wsj. magazine www.vancleefarpels.com - 877-VAN-CLEEF

0313_WSJ_Cisneros_03.indd 68 1/15/13 4:17 PM 01152013152000 Approved with warnings what’s news

Mad Men and Homeland revitalized HBO, AMC and Showtime, respectively. And Netflix will roll the dice on three more original series this year. This spring, it will target pop culture obsessives by reviving the ratings- challenged cult comedy Arrested Development with all of the show’s original stars, including Michael Cera, Jason Bateman and Will Arnett. “We live online and we want to own the hard-core fans,” says Sarandos, explaining why they targeted the show. After years of online petitions from obsessive fans, the mere production of the show has already warmed the geekiest of hearts. Then, the company will court the female-skewing demographics of Showtime with the women’s prison comedy Orange Is the New Black from Weeds creator Jenji Kohan. Finally, Netflix will go after the hordes ofThe Walking Dead fans with the supernatural series Hemlock Grove, produced by Quentin Tarantino acolyte Eli Roth. This is a major corporate shift for Netflix, which, until very recently, had sworn off creating original content. In a much-quoted January 2011 earnings call, Hastings dis- missed “reading a script and guessing if it was going to be a big hit,” saying, “we think we’re better off letting other people take creative risks [and] get the rewards.” What changed? Exclusive Hollywood licenses— like the deal that fell through with Starz in September 2011, or the reported $300 million annual deal Netflix recently signed with Disney—are becoming prohibi- the business of being tively expensive. Hastings is now betting that when all content streams to your TV and devices, users will aban- don their cable services and Netflix will be just another on-demand channel. In this model, Netflix, circa 2012, neTflix is AMC before Mad Men, or HBO before The Sopranos. It’s not entirely absurd: Netflix now has about 25 million How the DVD-by-mail service is using streaming video and original American subscribers—more than Showtime and not content to become big-league TV’s most unlikely adversary. much less than HBO’s 30 million. Of course, Time Warner isn’t exactly worried. BY Logan hiLL iLLUSTRaTion BY JESPER WaLDERSTEn “Netflix is a good place to take syndicated rerun seri- alized shows,” said Time Warner CEO Jeffrey Bewkes at a recent conference, noting that Netflix’s deals for Two years ago, the producers of House of Cards were creative freedom changed our minds. It’s scary, but who hard-to-syndicate shows like Boardwalk Empire were shopping around a serious Washington, D.C. television doesn’t want to be the first to do something new?” “very useful” to his company. Adding, “it’s very press- series with a sterling pedigree: The Social Network’s This year, Netflix will retool its business model for the covered that Google’s doing a hundred million, [Netflix David Fincher would produce and direct the first two second time in its short 13-year existence. In 1999, CEO is] doing a hundred million,” he said referring to bud- episodes; Kevin Spacey would make his small-screen Reed Hastings launched the company’s no-late-fee, by- geting or original programming. “Well, we’re doing debut as a Machiavellian, megalomaniac congressman. mail subscription service as an efficient alternative to $5 billion a year of production on our networks and TV HBO, Showtime and AMC were all interested. Then Blockbuster. That business model worked—until online businesses. So: Welcome...” Netflix called. video exploded. So Hastings invested heavily in online Still, Netflix does have some advantages, including an In the first meeting, Netflix’s chief content officer, Ted streaming. In 2011, he bungled a play to split the company established online user base; perhaps the industry’s best Sarandos, couldn’t guarantee prime-time exposure. But into two services—Netflix for streaming, Qwikster for interface; a robust Netflix Just for Kids service; and an he could promise that the show wouldn’t be cancelled DVDs—losing 800,000 subscribers and nearly $12 billion unparalleled recommendation algorithm based on more midseason like HBO’s Luck, starring Dustin Hoffman , in market value. Yet, the company developed the industry’s than six billion customer ratings. That data has revealed or nixed after one season like AMC’s doomed drama best hardware-neutral streaming platform and fended off that Netflix users are infatuated with television, and Rubicon. He shocked Fincher and showrunner Beau challenges from Blockbuster, Wal-Mart, Hulu and Amazon. particularly binge-watching series. “We’ve found people Willimon, the Oscar-nominated screenwriter of The Ides “That’s why the company is named Netflix, not love the idea of getting lost in a series,” says Sarandos. of March, with a $100 million budget and an unprec- DVD-by-mail,” Hastings often boasts. Today, “flix” is According to Nielsen, 19 percent of Netflix users now use edented 26-episode commitment. the anachronism. “In 1999, mainstreaming the view- the service primarily for television viewing, up from 11 “We’d never launched an original series, and they ing of independent film was important,” says Sarandos. percent in 2011. Customers may not be able to see The had a hundred reasons not to do it at Netflix,” explains “Independent television barely existed.” Now, to sur- Hunger Games on Netflix, but viewers can watch four Sarandos. “We had to give them a powerful one.” The vive, Netflix must simultaneously ride two historic, seasons of Mad Men with a Walking Dead chaser. first 13 episodes of the Internet’s first premium online transformative waves: the rise of streaming video and Soon those established hits will be competing with show were released simultaneously on February 1. the cultural ascendance of serial television. four original Netflix television shows—all that’s left is “We didn’t set out to be the first major show streamed House of Cards is the company’s entry in the great figuring out what to call them. Webisodes? Streams? online or deliver all 13 episodes on one day,” explains American television series sweepstakes—a show that “We kept quoting The Social Network,” says McGreevy. Willimon. “But 26 hours up front and a huge degree of could build buzz and rebrand Netflix like The Sopranos, “ ‘We don’t know what it is—it’s just cool.’ ” •

70 wsj. magazine LONGCHAMP.COM - 1866-LONGCHAMP

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78 wsj. magazine

0313_WSJ_MarketReport_02.indd 78 1/14/13 11:52 AM 01142013105308 leading the conversation the exchange. march 2013

architecture for the art of living

6:45 a.m. McNally wakes up at his home in Notting Hill Gate, then sits down to enjoy breakfast. “I like breakfast,” he states. “It delays the seriousness of the day.”

tracked KEITH McNALLY The whirlwind force behind some of New York’s most enduringly popular restaurants brings his Midas touch home with a new Balthazar location, his first in London.

ON ANY GIVEN NIGHT, the reservation lines at Keith eight. “My landlord is asking for a 400-percent increase.” This February in London, McNally, who moved back McNally’s empire of Manhattan brasseries are so Born in London’s working-class neighborhood of to England in 2011 with his wife and their two children, white-hot that loyal patrons can sometimes call a pri- Bethnal Green, McNally came to the restaurant business will celebrate a long-awaited homecoming when he vate telephone number to sidestep the busy signal. late in life, starting out in the film and theater industries opens his first European venture, with British restaura- Establishments like Lucky Strike in Soho, Pulino’s in at the tender age of 16. Indeed, his signature cozy, lived- teur Richard Caring. The 3,700-square-foot space in the Lower East Side and Minetta Tavern in Greenwich in aesthetic has led critics to compare the methodical Covent Garden will adopt the French bistro decor, menu Village feed not just the city’s trendsetters and deal way he builds his restaurants to how a director crafts and name of his legendary Balthazar in New York, with makers—they’ve also directly altered its landscape, his mise-en-scène. McNally discovered his talent for the vernacular addition of an afternoon tea menu. gentrifying entire corners of New York. Take Pastis, the turning tables in his mid-twenties, while working as As McNally readies for opening night, he considers French-themed brunch destination he opened in the for- an oyster shucker in New York. Over 30 years later, everything from the color of the grout to the best mally derelict Meatpacking district in 1999. “I am at the his restaurants have an annual net turnover of about way to serve butter—ensuring, each step of the way, mercy of the prices I created,” says the 61-year-old restau- $60 million. His staff has dubbed his knack for transfor- that his near-perfect success rate will translate on rateur, who currently owns seven restaurants, soon to be mation: “McNallyization.” his home turf. >

wsj. magazine 81 designs for every room 866.488.2747 californiaclosets.com the exchange tracked 3 days a week McNally has juice for breakfast. 7 restaurants that McNally currently owns, soon to be 8. 16 years that Balthazar New York has been open. 2011 The year McNally moved back to London with his wife, Alina, and their two children, Alice, 8, and George, 9. 2 8:15 a.m. house pets Alice has a Toyger cat named Sid and McNally and George has a Bengal named CC. Alina walk their kids to school “with four seconds to spare,” according to McNally. 23 The number of the red double-decker bus 9:37 a.m. McNally rides to work. Heads to the Balthazar site. McNally takes the bus to work every day. Today’s reading 1,000 material is an article in people eat The New Yorker about London chef Yotam Ottolenghi. at Balthazar New York on any given Sunday. 1 complimentary glass of champagne for lone female diners in McNally’s restaurants.

The price of a $2 double espresso 10:15 a.m. The price of a Reviews the new menu. $3 single espresso McNally likes writing things The prices he used to charge at Pastis. by hand; the first draft of “I liked throwing people his new menu is no exception. 10:45 a.m. with the absurdity of it,” he quips. First meeting of the day with construction project manager Kyri Spyrou 17 to discuss progress and do minutes a walk-through of the spent discussing what color the grouting restaurant’s three floors. should be in the bathroom and bakery with construction project manager Kyri Spyrou.

82 wsj. magazine the exchange tracked 5 different types of cheeses at a tasting at La Fromagerie, including a memorable Vacherin and Roquefort. 10 minute nap squeezed in en route via taxi before a meeting. He blames it on the red wine he drank at lunch— something he doesn’t usually indulge in. 1 call to New York concerning a new space for Pastis.

5 or 6 p.m. The ideal time for dinner with his kids. Tonight they are already asleep when he comes home at 10:30, so he makes himself a dinner of grilled salmon and vegetables. 1:06 p.m. Attends a cheese tasting at La Fromagerie in Marylebone 43 with three of the Balthazar Emails sent New York chefs, one chef from his new London staff and a friend. 78 Emails received 2:50 p.m. Walks to Broadway 1 tear and 1 hole in the pocket of his favorite tweed coat. Bookshop, “Alina hates this jacket so I try and an independent 3:20 p.m. wear it when she’s not around,” he says. bookstore owned by an old friend who Visits a silversmith workshop gives him book in the East End to put in tableware recommendations. orders for his restaurant. On the list: tankards, toast racks and tea trays. $30,000 paid to buy out the Mafia when he realized they were doing his laundry service at The Odeon. He got out of the contract by pretending he was so passionate about laundry, he would do it himself. 9 times McNally has seen Pier Paolo Pasolini’s The Gospel According to St. Matthew, one of his favorite films.

4:56 p.m. 3 Arrives 41 minutes books in McNally’s rotation. late to a meeting Before he goes to bed, he dips into The Last about packaging for Balthazar—including stickers Bohemians, Roger Bristow’s account of two 1940s and cake-box sizes—and what kind of pastries they Scottish painters, Robert McBryde and Metropol Parasol by Juergen Mayer H. will sell in the adjoining shop. Robert Colquhoun. He falls asleep at 1:30 a.m. • Media Sponsor: Photograph by David Franck

84 wsj. magazine EMPOWERING ARCHITECTURE the exchange

meet the parents Tracy, a freelance art director, remembers that “an agent pulled me family meeting: “Curled up, all six in bed, Karlie approached us and said that when she graduated high aside and said she school she was going to spend more time in New York, was going to be the klosses and it would be nice if we could all be together.” Kurt, the next kate moss. an emergency room doctor, adds, “After some discus- not that she could A supermodel since the eighth grade, karlie kloss has balanced fashion shows and photo shoots sion and soul searching we made the decision that we were going to make the move.” Last winter, Karlie be, but that she with homework and household chores—all with the help of her Midwestern family. bought her first house, a townhouse in the West Village was going to be. that functions as a crash pad during frequent visits from various Klosses. But whenever she has a few con- i had to look up secutive days free, she’s at the Goshen house—where who kate moss was.” five dogs, three cats, a bunny and a horse also reside. —kurt kloss The “adventure”—which is how Kurt and Tracy refer to Karlie’s career—started simply. When she was a 5-foot-8 sixth grader, a friend of her parents asked if she would model in a fashion show to help fund-raise for a neighborhood family. Up to that point, she had been more interested in ballet and sports than fashion, but a model scout in that audience approached Secret show after-party to meet Justin Bieber. Karlie afterward about taking her strut more seri- Kurt and Tracy supported Karlie’s career, but ously. She booked some local jobs in St. Louis, got an always tried to keep her feet on the ground. As Karlie agent in Chicago and was hired for an Abercrombie describes it, she led “this bizarre double life”—part Kids campaign with photographer Bruce Weber. Midwestern middle sister and part international It was later, on a trip to Chicago, that Kurt realized supermodel. A typical high school day might have modeling was more than just a summer hobby for his included a 7 a.m. flight to New York to shoot a high- impossibly tall daughter. “An agent pulled me aside fashion editorial with Steven Meisel followed by a 7 and said she was going to be the next Kate Moss. Not p.m. flight back to Missouri to study and prepare for that she could be, but that she was going to be,” says school the next day. During fashion weeks, homework Kurt. “I had to look up who Kate Moss was.” was a backstage priority. Her friends were more into When Karlie hit 5-foot-9 in eighth grade—today high school gossip than fashion. “And when I would she’s over six feet tall in flats—an agent from New come home, I still had my chores,” says Karlie. “Dirty York came to St. Louis to talk to her parents about fur- dishes, walking dogs, taking out the trash. My parents thering her career. Tracy had been in discussion with knew the glamour ended at the front door.” Karlie’s public high school about alternative educa- Tracy and Kurt always trusted their daughter, even tion programs, and they were coordinating an online as she became more and more immersed in an indus- Tview (runway) curriculum for her daily classes. But what started as try known for its excesses. On the subject of nudity one day of hooky, so that she could walk in a Calvin (Meisel shot her fully naked for the first time in Vogue la); firs O Klein show, grew into long absences for international Italia; or her two turns in the Victoria’s Secret fashion travel. “We held off for awhile because we had to figure show), they support her fully. “I see it as an art form,”

eller eller (l out how to make it work with everything else going on says Tracy. “I appreciate and understand the creative up. in the family,” says Tracy. “The agent asked, ‘Are you aspect of the work.” Kurt says it doesn’t bother him, Gen T ready for this?’ ” either—“as long as it’s tastefully done.” Kurt acknowledges there were tricky moments, esy esy juer

T ARLIE’S CAREER BECAME a family trade. like when he nearly got into a shoving match with a ur

O “Although we didn’t know much about the man who came a little too close to Karlie in Paris’s fashion industry, we said from the begin- Tuileries Garden. “But we know she has a good head ning that it was going to be a business, on her shoulders,” says Tracy. “Karlie is very family- azines); c and we’re doing it together,” says Tracy. oriented, so she really did like and desire to have her KWith their own careers and three other daughters to family around. It’s been a great gift that she’s shared juggle, Tracy and Kurt recruited the extended family to with all of us.” help manage Karlie’s new job: Tracy’s sister and Kurt’s Mom and Dad didn’t play favorites, either. They still

Tin raMin (MaG brother and mother all took various roles as chaperones don’t. Asked what they think of Karlie’s reputation as

BY DEREK BLASBERG photoGRAphY BY DAN MARtENSEN ar and guardians. “She was never, ever alone,” Kurt says fashion’s sweetest supermodel, Kurt smiles. “All of our of Karlie’s teenage years. The family was always back- girls are sweethearts, with big hearts and kind per- ultiple Klosses snuggled in one wasn’t typical: Then-teenage Karlie had become one of Dior for two years; and her trademark catwalk saunter, a stage at shows, on set and traveling with her around sonalities.” He does, however, remember how he wept bed is not an uncommon sight. It was the world’s most famous models, ascending from fresh coquettish mix of ballet prance and seductress sashay, the world—either on the dime of the client or with the as his daughter closed a Viktor & Rolf show in Paris. on a king-size mattress two years ago new face to supermodel status in a matter of months. has pounded miles of designer runways. These days, help of the thousands and thousands of frequent ﬂier Afterward, while leaving the show with his brother that the Kloss family—mom Tracy, She was rarely home, and the family felt incomplete. she’s fronting the Donna Karan campaign and works as miles Karlie had accumulated. (Last summer, Karlie Keith, he recalls discussing Karlie’s just-wrapped per- karan new yOrk; f. M dad Kurt and daughters Kristine, 23, Karlie’s career has followed a trajectory that only a cohost of MTV’s House of Style revival. And like other had enough American Airlines miles to bring her entire formance: “Keith was saying there were so many girls, MODEL MOMENTS Clockwise from top left: Kloss on the 2011 Karlie,M 20, and twins Kimberly and Kariann, 17—held the fashion industry can conjure: She was booked exclu- supermodels before her, she’s becoming her own brand: nna family to Denmark to visit their ancestral homeland.) and they all looked the same. And I said, ‘No, this is not Lanvin runway; on the cover of the December 2011 issue of Vogue Italia, in which she appeared nude for the ﬁrst time; in an ad a family meeting and decided to move from St. Louis, sively in a Calvin Klein show the same week she started Last year, she collaborated with Momofuku Milk Bar to Kurt’s favorite trip was to China, where Karlie shot a any other girl. Whatever it is, she has it.’ ” for Marc Jacobs’s Lola perfume, shot by Juergen Teller; on the Missouri, where they had lived for 16 years, to the high school; rented her own apartment in Manhattan launch Karlie’s Kookies, a line of vegan treats sold to Tesy dO splashy editorial for Vogue with photographer Mario “I didn’t even think I hadit ,” Karlie says. Then, with Calvin Klein runway, 2008; as the face of Donna Karan; and in a ur Mario Testino–shot Vogue editorial set in China. quiet town of Goshen in upstate New York. The reason when she was just 14 years old; was the face of Christian raise funds for children’s charities. HairHAIR by BY OwenOWEN GOldGOLD fOrFOR THeTHE wall WALL GrOup. GROUP. MakeupMAKEUP by BY lindaLINDA GradinGRADIN FORfOr THETHe WALL wall GROUP. GrO cOCOURTESY DONNA KARAN NEW YORK; F. MARTIN RAMIN (MAGAZINES); COURTESY JUERGEN TELLER (LOLA); FIRSTVIEW (RUNWAY) Testino. Last year, she took Kimberly to the Victoria’s a sly smile, she adds, “But Dad always knows best.”

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0313_WSJ_Kloss_03.indd 86 1/15/13 1:41 PM 0313_WSJ_Kloss_04.indd 87 1/15/13 4:33 PM 01152013130143 Approved with warnings $QQSPWFEXJUIXBSOJOHT the exchange

o understand the graphic design studio M/M (Paris), founded 20 years ago the cult of by Mathias Augustyniak and Michael

Amzalag, think not about creating a layout, sweerde & AM but instead about a swan—specifically, a ng by M/M n L sweerde & VA cygnetT designed by the duo that became the logo for the AM

singer Björk, which was then rendered by Augustyniak n L

M/M (pARis) VA as a lacy drawing for the cover of her album Vespertine. AtAdIn. drAwI

Soon established as a rubric for Björk’s overall output, hy by Inez the swan made its next appearance on the red carpet at AP hy by Inez

the 2001 Oscars, in the form of a Marjan Pejoski design, noodh M AP I Why everyone from Kanye West to Madonna to Givenchy’s which became one of the most controversial dresses e, Photogr

Riccardo Tisci wants iconoclastic graphic designers in modern memory. In the same year, Augustyniak’s V hotogr P ee

photo of the photographer Inez van Lamsweerde shoot- L s

Michael Amzalag and Mathias Augustyniak to break the rules. sweerde & V ing Björk in that dress was then “recycled” by M/M M roPero bu (Paris), as it often does, into a poster for another client, AM AL en n L on. After

BY AlexAndrA mArshAll Théâtre de Lorient, an avant-garde company in Brittany, VA ItI to advertise a play by Marguerite Duras—no relation dAMI 2001, LP to Björk or her dress whatsoever except on the level of VARiEtY sHow TiNe bered ed works by M/M (Paris), hy by Inez metaphor. We’ve come a long way from Photoshop. M , Photo © including, clockwise AP M

Such an interventionist, interdisciplinary approach— esper from top left, a 2001/2002 v

shown authoritatively in a new monograph M to M of , unnu balenciaga ad; the M Alphabet, a limited-

M/M (Paris), edited by curator Emily King—is counter- ArIs); edition poster, 2001; intuitive to the practice we now call “branding.” Rather, a 10-book compilation t, t, 51 x 103 x45 c

M/M (Paris) aims to interrupt, fracture or completely A on stanley kubrick’s unmade film, Napoleon; ero/M/M (P ero/M/M subvert conventions. “What makes the world interesting n se A

ge, Photogr toP row: a chair design, inspired roP osters, 120 x 176 c tt

is contradiction and contrast,” explains Augustyniak. PA

P by typeface, custom-made A

en for Parisian brasserie

These confrontations are evident in its collaborations Ite th r os

I thoumieux, 2010; björk’s

with musicians (Björk, Madonna, Kanye West), artists dAMI PP 2001 vespertine cover; kscreen

and curators (Hans Ulrich Obrist, Philippe Parreno), ny w a 2001 glass and s). o restaurateurs (Thierry Costes) and fashion houses. In A metal screen originally ArI or s IL hog L made for björk’s ads for Stella McCartney, Balenciaga or Givenchy, or A “hidden Place” video. in magazines like French Vogue, A Man About Town on of 2, Photo ©

and a short-lived reimagining of Interview, Amzalag r 2010, M AI es of 27 1-co udson Ltd.

and Augustyniak typically start by producing beautiful I h M edItI er

photographs, then vandalize their own creations with s the span, “it’s never a routine working with them,” says to graduate school semiotics seminars. The duo is Français.) They have created a perfume, M/MInk, with elaborate drawings and cutouts. es & Obrist, who has hired M/M (Paris) to design more than informed by the traditions of Swiss-style graphic pur- Byredo; started a book publishing imprint; and curated AM ecords; ch r

One of their best-known projects, for example, is th 30 books, many of which function as multipurpose ism and the agitprop of the design collective Grapus, but a fashion archive for the art collector Dakis Joannou. n

The Alphabet, a typographical experiment where they IA objects. “They’re always looking for different rules of fully embrace pop culture and the digital world. When Their dream project now is to design and build a free- udson Ltd.; 120 x 176 x 45 c 45 x 176 x 120 h cut around black-and-white photos of supermodels, L the game,” he continues, “an unexpectedness that goes they first hung their shingle in 1992 (producing record standing playhouse where a recurring character in their e Ind ne L es &

stripping them of their identity, transforming them PA far beyond graphic design.” Adds van Lamsweerde, who, sleeves and soon undertaking the branding of Yohji work, a pixelated robot creature called The Agent—who tt I AM ch into a literal alphabet, which they have sold as posters. 2009, Photo © with Vinoodh Matadin, is one of their most frequent col- Yamamoto’s just-debuted Y’s line), graphic design was has shown up on paper and been realized into a lamp, a th eA ne L

Un-signed, unnumbered and, like many of their post- o laborators, “Their inspiration and approach comes from an almost arbitrary choice. “We had an intuition that we candle and balloons—could live out its days. , I ers, forever 250 euros apiece, The Alphabet is what first sweerde & VInoodh MAtAdIn, courtesy M/M (P a very different angle than most art directors. They never were living in a world of signs, icons, symbols, and the For all the esoteric conversation and defiance of brought a young Riccardo Tisci into their office in 2001, AM come with fully comped layouts, but rather tell a story to only way to propagate ideas through the media was to categories, there is also a simple and straightforward kscreen, n L n Pejosk looking to buy. (Four years later, when he was appointed VA inspire you.” It’s anything but logical, but then, “if you learn how to produce them. We consider signs not as flat appeal to what M/M (Paris) makes. Take their work for , s IL A ngton, Photo © rj AL

creative director of Givenchy, he called the duo, and Made Never Movie just want a service,” says Augustyniak, doodling com- surface elements, but a world that we want to inhabit Kanye West’s album My Beautiful Dark Twisted Fantasy. A T LI et es M they’ve worked together on and off ever since.) M/M ur pulsively in M/M (Paris)’s resolutely unglamorous office and construct ourselves,” says Augustyniak. West came to them with five George Condo paintings T t

(Paris)’s other surrealist and nonrepresentational post- ss, near the Gare de L’Est, “a machine is very good for that.” Unsurprisingly then, M/M (Paris) spends a lot of he had commissioned as the base images for the cover. hed by Inez sty LA I

ers were at first controversial, but have since become AP time on the bridge between two- and three-dimension- “Kanye realized so smartly that the new signs of rich- hr The Grea n dress by M c ,

highly sought-after objects. : lthough the two have been constant ality. They transformed the typeface they created for ness and power aren’t big cars, sexy girls and gold,” says s of g N L L hotogr

For M/M (Paris)’s collaborators—“client” is not really ne companions since meeting at art school in Björk’s Medulla album (they do a new one for each) into Augustyniak, “but cultural awareness and buying art.”

the mot juste—the pair’s process is just as important as PA 1989, Augustyniak and Amzalag couldn’t jewelry for the CD cover and, with the artist Gabriela Knowing that the physicality of recorded music is dis- IA k P é. Mode ArIs), swA its results. They don’t follow briefs, they “start a con- Napoleo seem more different. Where Augustyniak Fridriksdottir, a public sculpture outside of Reykjavik. appearing, and bored with simply designing another CD uV sA ck’s

versation,” says Augustyniak, and hope to arrive at a I is lanky, with the flyaway hair and a round- Their interior design collaboration with India Mahdavi cover, Amzalag recalls, “We said to Kanye, now that we e ent 2001 3 LI ubr

mutually agreed-upon problem, which they will then AV about conversational style, Amzalag is compact, drily for Paris’s Thoumieux hotel and its two restaurants also have the collision between George Condo and you and k

s Augustyn A Mé Ar IA

endeavor to solve. Sometimes, as Nicolas Ghesquière ngs by M/M (P ironic and gets crisply to the point. Augustyniak lives on started with a typeface, which then grew into a motif that us, why don’t we make something luxurious, like the ey e-A noted in an interview in M to M, the solution does not th the Left Bank, Amzalag the Right, having spent his entire showed up in furniture, lighting and brass hardware. ultimate Hermès?” Thus were born five silk twill scarves ArI eft: P drAwI come quickly. “They make very specific choices, and they stAnL life in the same working-class neighborhood where their According to Thierry Costes, the hotel’s owner, who first with hand-rolled edges. West had already dipped his toe M L g & MA n, take the time to do things properly... Their world is like a n; office is now. “I’m the family man,” says Augustyniak, hired them for the cafe Etienne Marcel in 2000, “They into the world of fashion design, so this was not such a ng ng by M ALA LI AtAdI labyrinth, and there’s always a new path.” At other times, AtAdI with three kids. “And I’m the gay one,” Amzalag laughs. speak the language of romantic poetry, but they’re prag- big stretch for him. But did it upset Condo to have his Mz ty like when they did the artwork for Madonna’s American fro row, Their division of labor is hard to define—Augustyniak matic and know how to deliver.” (In fact, M/M (Paris) is paintings treated in a manner that some fine artists M Life album, it’s very direct. “Our call with her lasted like AeL A draws and takes pictures; Amzalag is strong in research now supervising all of Costes’s new projects, including might consider defilement twice over? “He loved them,”

of two minds Michael Amzalag, left, and Mathias Augustyniak of M/M (Paris), photographed by Inez van Lamsweerde ch noodh M noodh M ArIs). s MI botto VI (P and Vinoodh Matadin. six minutes and 35 seconds,” Amzalag recalls. Whatever VI and technology—and talking to them harks back the upcoming makeover of the Bastille landmark, Café says Amzalag. “His wife bought 20.” •

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modeRn eleGAnCe dirand’s projects include, clockwise from bottom left, a mirrored dividing wall in Gilt tRiP the balmain boutique in Paris; a room on the first floor The brass and marble of at balmain; the bar at the habita Monterrey hotel in Pucci’s New York store Mexico; the entrance to the distrito Capital hotel in is meant to evoke the Mexico City. bottom right: dirand in his Paris studio. Palazzo Pucci in Florence.

iranD DiDn’t wait long to jump-start his métier. While still in his second year at the École National Supérieure d’Architecture de Paris-Belleville, he landed a commission to create a boutique for Japanese fash- ionD designer Junko Shimada’s Junk brand. “It was a bit clumsy,” says Dirand of the project. “Looking back, the design was full of creative things that were kind of nice.” In 1999, he launched his own agency, working from a laptop in his living room. Patrons caught wind of his talent and projects accumulated, including private commissions for high-level French fashion executives to business barons. He has designed hotel interiors, including Habita Monterrey in Mexico and was recently selected to design the new restaurant for the Palais de Tokyo contemporary art museum in Paris. Dirand, at 39, has a reputation of creating spaces that are both original and modern while respectful of the original architecture. More often than not, his means for achieving these ends are extreme. “Joseph is pretty fearless about ripping up a space and making the pro- portions what they always wanted to be,” says American fashion designer Rick Owens, whose London boutique, bearing stark cement walls and elemental lines, was designed by Dirand. “My approach is pretty brutal,” Dirand admits, “but I never destroy something that has creative value. I don’t destroy just to mark my territory. If something is beautiful, I keep it.” And he insists on rebuilding with the most traditional methods. “When we build something classical, we build it like it was built in the 18th century. We work with the best artisans. Nothing is pastiche.” interior alchemy As an example, Dirand shows pictures of an ongoing project renovating a grand hôtel particulier in Paris for a European industrialist. On the outside, the architecture could not be more classical, reminiscent of the grandeur A SUMPTUOUS MINIMALIST of Versailles and its well-ordered symmetry. Inside, Dirand has introduced austere lines and materials that Joseph Dirand, known for his signature style of ornate austerity, is the go-to architect place it squarely in today’s world. “I am passionate about stone,” adds Dirand. “But when I got out of school, there when fashion houses seek to create luxurious retail spaces with a modern twist. was a real hatred of marble. It connoted vulgarity.” It was precisely its poor reputation that inspired BY roBert MurphY Dirand to tackle the challenge of finding new ways to utilize marble. “I started with marble almost for the deranging side of it,” he explains. “I felt I needed to bring hen Peter DunDas, the creative imagine what she would be like today: aristocratic and classicism,” says Dundas. “I knew he would be perfect.” graphic element. It is interesting to provoke it with sur- Nina Ricci. And his education in matters of style started in something more irreverent, as I was so influenced by director of Pucci, began to plot the a bit rebellious, with a touch of rock ’n’ roll. I wanted the What followed were joint visits to the Palazzo faces so that it becomes three-dimensional.” at a very young age. His mother designed clothes for a John Pawson’s work at the time.” He adds, “In the end, retail revamp and expansion of the new stores to reflect that environment.” in Florence, meetings with the Pucci family and an Dirand’s design debuted in November, in the New boutique fashion label, René Derhy. His father photo- marble is just beautiful. The poetry of the material in a

LVMH-owned Italian fashion brand, Yet finding an interior architect attuned to his extensive perusal of the archives. Dirand and Dundas Nd York store on Madison Avenue, and will eventually graphed houses for magazines, including The World of room creates an enormous tension.” the Norwegian-born designer knew concept of super-luxe modernism and grandeur with formulated a shop blueprint that would temper the be deployed in Pucci stores around the world, includ- Interiors, and discussed architecture constantly. “Every Though minimalism is the word most often used to Wprecisely where to begin: the Palazzo Pucci. “The a defiant twist proved more difficult than he initially eccentric aristocratic sensibility of Emilio Pucci himself ing flagships in Osaka, Shanghai, Tokyo, Miami, Paris, day he was photographing great houses,” offers Dirand, describe Dirand, it’s not the label with which he is most Palazzo has been such a fundamental source of inspi- expected. After meeting with several architects who with the glamour of 1960s Italy—Pucci’s heyday—and Rome, Venice and London. “I wanted to create Pucci dressed in skinny red Balmain trousers, a gray V-neck comfortable. “Minimalism has become an ugly word,”

ration and identity for the house,” says Dundas of the didn’t capture that mind-set, a friend pointed Dundas the austere modernism that is Dirand’s hallmark. Y adrieN dira today,” says Dirand. “There is nothing in the designs T-shirt and white tennis shoes. “Each time I looked at he contends. “Its connotation is super negative now brand’s ornate 15th-century Renaissance headquarters in the direction of Joseph Dirand, whose rigorous “Joseph expresses colors through surfaces—that’s that is not justified, that is just there to be pretty.” the photos with him,” he recalls, “the aesthetic went because it became what it shouldn’t have: a style.” PhY b in Florence, which was the hereditary seat of the brand’s approach has made him one of Paris’s most sought- something I identify with very much,” says Dundas. Retail is nothing new for Dirand—he has designed from something totally cluttered to something super “For me,” he adds, “the best example of minimalism ogra

founder, the late Emilio Pucci. “My first collection was after interior designers. “I immediately loved his mix “Pucci is a house people associate so much with prints T shops for Balmain, Alexander Wang and Rick Owens, minimal. Even as a child, I liked things that were a little is a Robert Ryman painting—expressing, with a mini- ho for a girl who would live in a place like that. I try to of classicism and something modern inspired by that and patterns. There are so many ways to express that P and currently has projects in development for Chloé and hard, a little strict and a little minimal.” mum of means, the essential.” •

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LEAP AHEAD Louis Vuitton jumpsuit and shoes, WW1 CHRONOGRAPHE MONOPOUSSOIR HERITAGE 45 mm · www.bellross.com Georg Jensen choker as headpiece. For details see Sources, page 138.

0313_WSJ_WellOpener_02.indd 93 1/11/13 12:10 PM 01112013115517 fifty shades of white

Kati Nescher models a collection of ultramodern looks in a perfectly monochrome palette.

photography by MIKaEL JaNSSoN StyLINg by gEorgE CortINa

primed CANVAS Arfully crushed patchwork transforms thick muslin into a dress that’s anything but mundane. Comme des Garçons dress, Georg Jensen choker worn as headpiece (throughout). 95

0313_WSJ_CoverStory_02.indd 94 1/11/13 12:19 PM 0313_WSJ_CoverStory_02.indd 95 1/11/13 12:19 PM 01112013115028 01112013115028 prOpOrTiON CONTrOL Make a strong statement by stepping out in short, sleek satin or a length of ladylike lace. Prada top and sash, Louis Vuitton shoes (throughout). Opposite: Valentino dress. Beauty note: Repair post- winter skin with Lancôme Nutrix Royal Body Intense Restoring Lipid- Enriched Lotion.

0313_WSJ_CoverStory_02.indd 96 1/11/13 12:19 PM 0313_WSJ_CoverStory_02.indd 97 1/11/13 12:19 PM 01112013115028 01112013115029 pOeTiC LiCeNSe A new geometry is at play in laser-cut hemlines or gently ruffled waves of silk. Balenciaga by Nicolas Ghesquière dress and belt. 98 Opposite: Gucci dress.

0313_WSJ_CoverStory_02.indd 98 1/11/13 12:19 PM 0313_WSJ_CoverStory_02.indd 99 1/11/13 12:19 PM 01112013115029 01112013115029 LiQUid ASSeTS Silver is the latest recommendation for a healthy fashion diet. Robert Lee Morris necklace. Beauty note: Get a dramatically wide-eyed look with Dolce & Gabbana Intenseyes Mascara.

0313_WSJ_CoverStory_02.indd 100 1/11/13 12:19 PM 0313_WSJ_CoverStory_02.indd 101 1/11/13 12:19 PM 01112013115029 01112013115029 CLeAN SWeep Gesture toward a lithe new look. Givenchy by Riccardo Tisci dress. Opposite: Giorgio Armani jacket and pants. Beauty note: Before blow-drying, prep hair with Bumble and Bumble Thickening Spray for a chic yet soft, full look. 103

0313_WSJ_CoverStory_02.indd 102 1/11/13 12:19 PM 0313_WSJ_CoverStory_02.indd 103 1/11/13 12:19 PM 01112013115029 01112013115030 LIGHTEN UP An airy confection requires minimal accessories. Emilio Pucci top and pants. Opposite: Ralph Lauren Collection dress, Georg Jensen bangle.

Model is Kati Nescher at DNA; hair by Anthony Turner at Art Partner; makeup by Hannah Murray; manicure by Gina Edwards at Kate Ryan Inc. for Essie; set design by Todd Wiggins for Mary Howard Studio. For details see Sources, page 138.

0313_WSJ_CoverStory_02.indd 104 1/11/13 12:19 PM 0313_WSJ_CoverStory_03.indd 105 1/14/13 11:23 AM 01112013115030 01142013102434 tHe ArnAuLt LegAcy With the house of Dior in the hands of a designer she championed and a newborn baby at home, the daughter of LVMH’s founder has many reasons to smile. Will the rebirth of the legendary fashion house mark a new chapter for Delphine Arnault?

BY joshua levine photographY BY patrick demarchelier hair by carole lasnier; makeup by rudy marmet; styling by ondine azoulay

Ready FOR HeR CLOSe-UP delphine arnault, the deputy general manager of christian dior, also sits on several lVmh boards. “When she does something, she does it all the way,” says her brother antoine.

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0313_WSJ_Arnault_03.indd 106 1/14/13 11:41 AM 0313_WSJ_Arnault_03.indd 107 1/14/13 11:41 AM 01142013104218 01142013104419 Approved with warnings HE BEATING HEART of the house of Dior important presence at the legendary couture house. LVMH’s revenues in 2011 came to almost $31 billion—not “delphine never made is tucked away in what feels like the “She was the one who argued for Raf, when there were just from frocks and handbags, either. There’s watches attic of the hotel particulier at 30 Avenue a lot of other options,” says Delphine’s younger brother, and jewelry (TAG Heuer and Bulgari), wines and spir- me feel i was being Montaigne in Paris. Up the grand marble Antoine, who heads the men’s brand Berluti, also owned its (Veuve Clicquot and Hennessy) and big department interviewed for a stairway lined with photos of Grace Kelly by their father’s LVMH conglomerate. “She had all her stores (Le Bon Marché and La Samaritaine). No one job—it was more Tand Marilyn Monroe, through a warren of corridors arguments, a well-documented file and everything knows what kind of home-schooling program le pere painted Dior light gray, are two haute couture work- explained from A to Z. When she does something, she has in mind for les enfants as he grooms them for bigger about common vision, shops where 60 or so women and a handful of men sit does it all the way.” things, but it’s clear any kind of generational handover common interests, hunched over white tables, stitching by hand. It’s hard to sense the ambition by looking at the slim, lies far in the future. shared aesthetics.” In the atelier flou, where the gauzy, unstructured sophisticated woman wearing a beautifully cut, simple At the age of 63, with a fortune estimated at $41 bil- frocks are hand-sewn (the other workshop turns out black dress and little makeup. When her friends call her lion, Bernard Arnault still dominates the business he –raf simons stiffer tailored garments), a woman is putting the fin- “discrete,” they’re not only talking about her reserved built. He put it together one takeover at a time—some- ishing touches on a dress with a pattern taken from a manner, they’re talking about her unpretentious style. times amicably, sometimes not so amicably—starting painting by Sterling Ruby. Ruby, who works in California She has been number two at Christian Dior since in 1984 with a dying textile firm called Boussac. Boussac and earned his street cred in punk and skateboard cir- 2008—deputy general manager to Sidney Toledano’s owned, among other things, Christian Dior. He’s never cles, is a friend of Dior’s new designer, the Belgian Raf chief executive. Her father is the richest man in France tried to win any popularity contests in the press. Simons. And Simons is there to carry on Christian Dior’s and, arguably, the most powerful force in the luxury Neither is he shy about kibbitzing on the creative side legacy in no small part because of the fierce advocacy business worldwide—in addition to Dior, LVMH’s fash- of his businesses. If he doesn’t like the design for a Dior of the woman standing next to me, Delphine Arnault, ion brands include, among many others, Louis Vuitton, handbag, he says so, and the handbag gets a new design. daughter of Bernard Arnault, who owns Dior. Fendi, Céline, Loewe and Emilio Pucci. Delphine has soaked up a lot of her father’s pains- “She was one of the first people I met with leading up Delphine sits on the boards of the last three, as well taking attention to detail, if not his imperial manner. If to my appointment as artistic director,” says Simons. “I as the board of Christian Dior SA, the Arnault holding work sometimes looks like one big test, she’s determined felt immediately comfortable. She never made me feel company that owns some 40 percent of LVMH. She will to out-study every other student, making her supremely like I was being interviewed for a job—it was more about surely climb the stairs of this Olympus one day, along competent. “She’s very much like him,” says someone common vision, common interests, shared aesthetics.” with her brother—which particular throne she will who worked closely with her at Dior. “Rigorous, very HOUSe PROUd “When we met Raf, ” says Delphine, “it was clear that mount is a guessing game that will provide years of well-educated, very serious, but her father’s success is raf simons, right, he was going to be able to create a magnificent collec- giddy speculation for people who care. a heavy weight on her.” in april 2012, on the day he started tion for the house, with much elegance, femininity and She takes great pains not to appear to be one of them. Like her father, Delphine is also a passionate and at dior, as delphine modernity. We immediately felt the fit would be perfect, From an early age, it was made clear to Delphine and engaged collector of art and acknowledges its influ- arnault and sidney and the codes of Dior were in his vocabulary.” her brother Antoine that they were destined to toil in ence on her work. “The worlds of art and fashion have toledano introduced him to the ateliers. Delphine will never claim credit for bringing Simons the family vineyard. That means hunkering down and always been very intertwined at Dior. Francois-Xavier onboard, of course. She instinctively avoids the spot- picking the grapes—there will be time enough to sip Lalanne and his wife, Claude, for instance, did windows light. And yet she has grown into an increasingly the wine later. Plenty of grapes there are to pick, too. for Monsieur Dior,” she says, pointing out the bronze Lalanne lily-pad table in the rigidly formal Dior salon Anne. (Bernard also has three sons with his second By now, Delphine has her hand in just about every- acknowledged publicly. “She’s afraid that if she shows where we’re having coffee. “Dior himself was a galler- wife, the Canadian pianist Hélène Mercier.) She grew up thing that goes on at Dior. Like her father, this is not her feelings, people are going to eat her alive,” says ist before becoming the revolutionary fashion designer mostly in Lille, but she can thank French politics for an someone who simply signs off on things. “I get involved Gallienne. But, she continues, behind the screen, new we all know.” American idyll in New Rochelle from age seven to ten. from the first sketch to the moment the product arrives love and, particularly, motherhood have slowed down Having given birth to her first child last August, she’s Her father self-deported to the U.S. when the socialists in the store, then how it’s presented in our boutiques,” Delphine’s gear-grinding drive. sitting for this interview before returning officially came to power and pushed the economy hard to the left, she says. “Her daughter has definitely softened her,” adds to work, but if that presents any strain or imposition, only returning to France after a midcourse correction. People who work with her say that, if anything, Antoine. “I didn’t think it would, but it has. That little you’d be hard-pressed to tell. She has mastered a cer- “Although I feel very French, a part of my heart is in she drives herself harder than she needs to, as if some person has put a smile on her face, even when there tain regal self-control. She talks readily about how the States,” says Delphine, brightening perceptibly at unseen hand keeps moving the finish line. “Sometimes wasn’t much to smile about.” On this, Delphine agrees. eagerly she awaits the opening of her father’s modern the memory. “When my brother and I arrived, we didn’t I have to push her out of the office,” says Toledano, who “It’s really been a revolution—an extraordinary thing. art museum in the Bois de Boulogne next year. When really speak any English and when we left, that’s all we runs Dior and has known her since he arrived there in The greatest happiness in my life!” she says. the conversation turns to her tastes in contemporary spoke when we played together. It was just a beautiful 1994. “I left on vacation at the beginning of last August, Of the two elder Arnault siblings, Antoine is the one art, however, apart from mentioning Dior’s recent col- place to grow up.” and she was still in Paris, two days before giving birth, who has made himself more accessible to the public. At laboration with Berlin-based artist Anselm Reyle, she’s sending me emails. I said, ‘Delphine, stop it!’ ” work, he’s known as a convivial presence. His photo- reluctant to offer many details. ack in France, life followed a more duti- It’s not always easy, even at play. The family game is genic love life with Russian model Natalia Vodianova Others will tell you that behind her demure tendency ful course. First, there was business school tennis, but Delphine admits that she doesn’t like to play is well documented. Of course, the reality is never as to deflect personal questions Dior-wards, Delphine at France’s highly ranked EDHEC in Lille, against her father. “It’s true, my father plays very well. simple as the perception. “I guess Delphine is more regards the art world very much through her own eyes. followed by study at the London School of He regularly beats my brothers. He has a champion’s fun than she appears, and I’m probably less fun,” coun - “She doesn’t approach collecting from a formalist per- Economics. Next came a two-year stint at mind, he is very focused on each point.” ters Antoine. “Once you get past my sister’s carapace, spective. She has a very personal universe, and she likes BMcKinsey for what she considers a welcome dose of In 2005, Delphine emerged from the wings into the there’s a beautiful person inside—upright, great values works with a strong, almost transgressive personality,” American directness. “I really wanted to see how an glare of flashbulbs. A 15-page spread in Paris Match and always there when you need her. says Almine Ruiz-Picasso, whose Almine Rech Gallery in American company worked,” says Delphine. “They catalogued the splendor of her marriage to Alessandro “We always disagree on the little things,” he con- Paris represents several artists in Delphine’s collection. taught us to report our conclusion first and afterwards Vallarino Gancia, an Italian heir to a wealthy wine fam- tinues, “but we agree on the big things.” Among the There’s Ugo Rondinone, for instance, whose stand- to explain how we got there. The Americans are very ily. The legendary petites mains of the Dior atelier flou biggest is an understanding the two reached many ing heads recall Easter Island megaliths with teeth. effective and action-driven.” spent 700 hours stitching together 180 yards of organza years ago that, no matter what happens, they must She also fell hard for Aaron Curry, a young American Ultimately, however, the Arnault siblings both knew and 200 yards of tulle and another 600 hours embroider- never allow personal rivalry to tear them—or LVMH— sculptor whose work looks like a mash-up of Calder and where they would end up. In Delphine’s case, that meant ing the Galliano-designed wedding dress. The divorce a apart. “We talked about how we needed to remain Basquiat. “She loves to buy in the primary market,” says starting her career working with John Galliano on his few years later came without a whisper, and Delphine close, even in difficult times, that our individual desti- Ruiz-Picasso, referring to an artist’s first commercial own brand, before moving up the ladder at Dior, which Arnault-Gancia slipped back into Delphine Arnault. nies would have to take second place to what my father foray, before prices and reputations are established. Galliano also designed. She became very close to him, and Nevertheless, she has found new reasons to be joy- created,” says Antoine. W

“When she spotted Curry, nobody knew who he was.” ie when Galliano was fired in 2011 for an anti-Semitic rant, ful. One is her new baby, little Elisa. Another reason is “We’re extremely respectful of that strategy,” he V FRONT LINES Signature looks from the spring-summer collections of LVMH fashion houses (left to right): Pucci, Céline, Delphine, now 37, and her brother Antoine, 35, are she felt an acute betrayal of trust, says her childhood Elisa’s father—although, like much else in Delphine’s adds. “Many companies have exploded because the irst FIRSTVIEW F Givenchy, Louis Vuitton, Christian Dior and Fendi. the children of Bernard’s marriage to his ﬁrst wife, DIOR dior friend and fellow Dior board member Ségolène Gallienne. private life, the nature of their relationship is never heirs couldn’t agree.” •

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0313_WSJ_Arnault_03.indd 108 1/14/13 11:41 AM 0313_WSJ_Arnault_03.indd 109 1/14/13 11:41 AM $QQSPWFEXJUIXBSOJOHT 01142013104419 Approved with warnings the year of cooking dangerously

how an amazonian kidnapping, punk rock and an unmatched curiosity for the foods in his native Brazil—poisonous or otherwise—gave chef alex atala the tools to run the best restaurant in south america. and now, maybe, the world.

BY howie kahn photograph Y BY stefan ruiz

recipe for SUcceSS Left: Alex Atala in the back room of his restaurant D.O.M. He opened the restaurant, above, on a formerly derelict dead-end street in São Paulo.

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0313_WSJ_Brazil_02.indd 110 1/14/13 1:46 PM 0313_WSJ_Brazil_02.indd 111 1/14/13 1:46 PM 01142013124749 01142013124750 trAight off A December red-eye from the neighbors were caught in a fire, Atala’s parents com- “whenever i see that Amazon, Alex Atala is back home, sitting bined skills to manufacture dressings for burn victims. at the buffed ipê wood bar of his São Paulo “We were unusual,” he says. “Everybody else went to dos equis commerical— restaurant D.O.M.—rated the best on the con- the beach, but my father always loved places that were the most interesting tinent and fourth best in the world—talking really wild.” So, while his cameraman was held hos- man in the world—i Sabout the time he was kidnapped. “In the Amazon,” says tage, Atala was forced back onto the river to procure a Atala, who is 44 and freshly sunburned, with tightly second outboard motor. “I was under huge pressure,” always think, no, that’s cropped gray hair, countless tattoos and a graying red he says, his dark eyes narrowing to a wince. “I tried not true. the most beard that resembles van Gogh’s, “this kind of thing can to go as fast as I could. It took a couple days, and I only interesting man in the happen.” It was 1998, the year before D.O.M.’s incep- slept a couple hours. I had to stop because the river was tion, and Atala had embarked on a fishing trip in the low and impossible to navigate in the darkness with all world is alex atala.” Amazonian state of Mato Grosso. The first week on the the sandbanks, all the rocks.” —david chang upper Araguaia River passed like an idyll. Butterflies Since delivering the motor and freeing his captured lined the shore; pirarucu, some of the largest freshwa- companion, Atala has never turned away from the ter fish in the world swam alongside the boat. A friend Amazon. His intense lifelong connection to Brazil’s they were known at all—than the foods from Italy and was shooting footage for a proposed television pro- massive rainforest—the Amazon is bigger than all of France that had dominated diners’ interests. Western Europe—and his ability to navigate its many “Until 1990, you could not really import food pitfalls have fundamentally propelled D.O.M.’s suc- into Brazil,” says Atala. But then import taxes were cess. Having entered the prestigious World’s 50 Best slashed dramatically. Free trade was introduced under Restaurants rankings—sponsored by San Pellegrino President Fernando Collor de Mello, the first demo- and voted on by more than 800 industry insiders—at cratically elected head of state after three decades of number 50 in 2006, it has since moved up 46 spots, military rule. Hyperinflation, often marked by four- now trailing only René Redzepi’s Noma and two res- digit increases, remained a core issue until the finance taurants in Spain. That forward momentum is largely minister and future president, Fernando Henrique flavor profileS Clockwise from above: A dessert featuring tamarind gel, balsamic owed to Atala’s treating the most biodiverse region in Cardoso, introduced The Real Plan in 1994, establishing vinegar, chopped jambu leaves and a chocolate the world as his pantry. the real as a stable currency after the prior seven cur- he found in the Amazon; the dining room at The result is a singular cuisine, one that speaks to rencies had failed. “The ’90s were booming, all about D.O.M.; the market at Dalva e Dito, which features Athos Bulcão tiles on the walls. both indigenous ways and modern techniques. Dishes people going crazy for these foreign ingredients,” says at D.O.M. have a way of feeling both out of time and Atala. “Brazil became addicted to other cuisines.” of the moment: contemporary high-end dining with True to form, Atala went against the grain. He’d exploitation-free and sustainable Amazonian tribal always felt like an outsider, growing up not in the cen- roots. There are insects on the menu at D.O.M., bur- ter of São Paulo, but on its fringes, with a Palestinian nished like jewels. A vibrant yellow sauce called tucupi first and last name—he was born Milad A lexandre Mack must be boiled for 20 minutes to eliminate its lin- Atala—owing to his father’s Middle Eastern heritage. gering natural toxicity. One dish features spicy-tart Risk was in Atala’s blood: His maternal great-grand- flowers served over ice. father was a British expatriate, a gentleman explorer “I feel responsible for helping to show what Brazilian and businessman named Arthur Claude Brizzard ingredients can do,” says Atala. And the way he does it Brink, who was murdered in the Amazon, poisoned is eye-opening, maybe the last, best gastronomic shock after challenging the perpetrator of an embezzle- on the planet. “I had never experienced so many of ment scheme to a duel. Says Chang: “Whenever I see the flavors and ingredients that Alex plays with,” says that Dos Equis commercial—the most interesting man Daniel Humm of New York’s esteemed Eleven Madison in the world—I always think, No, that’s not true. The Fresh catch A chef holds Park. “It makes for a cuisine unlike anything I’ve ever most interesting man in the world is Alex Atala.” an Amazonian seen in my life.” Momofuku kingpin David Chang Atala’s street-punk style emerged in his teens, when pirarucu at recalls a recent dish of Atala’s involving a coconut apple he began sporting a foot-high red Mohawk and crude Dalva e Dito, Atala’s casual and seaweed. A coconut apple is the spongy mass that piercings: needles protruding from his neck, cheeks restaurant. grows inside a germinated coconut, and it’s not typi- and ears. He was both an amateur welterweight boxer cally consumed; nevertheless, Atala slices it and pairs and a DJ at the seminal São Paulo punk club Rose it with seaweed, giving the dish the flavor, he says, of gram. After several days on the river, and passage into a beach after a storm—which is exactly what it tastes increasingly remote territory, the cameraman asked his like. “It was the best first course I’ve had in years,” says native guides what they wanted in return for appearing Chang. “In a nutshell, it explains the emotion behind on tape; they requested, and soon received, a new out- Alex’s cooking. It’s something nobody ever appreciated board motor. “The problem,” says Atala, “is there’s a lot that he’s made brilliant.” of jealousy between tribes. You buy a beautiful brand- new motor for one, and the others get angry.” hen AtAlA first bought the build- When his cameraman was taken into captivity ing that now houses D.O.M., in 1999, and Atala himself was held at gunpoint by the jeal- people asked if he had lost his mind. ous tribe, a .22 aimed at his heart, he was afraid, but The space, a failed Japanese res- also equipped to handle what came next. Even though taurant with 20-foot ceilings, sat he grew up in São Paulo, in the blue-collar district Won a poorly lit, dead-end side street. Foot traffic was of São Bernardo do Campo, Atala spent a consider- minimal, and the homeless population was high. Even great grains able amount of time exploring tucked-away corners more audacious than his location was his desire to Separating strains of Brazil with his family by car. His mother, Otavia, begin developing a haute cuisine based on Brazilian of rice in the worked as a dressmaker and his father, Milad, in a fac- ingredients that had been previously classified as less Pindamonhangaba research lab. tory that made compression stockings. After several sophisticated, less important and less interesting—if

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0313_WSJ_Brazil_04.indd 112 1/15/13 5:49 PM 0313_WSJ_Brazil_02.indd 113 1/14/13 1:46 PM 01152013165012 01142013124750 Bom Bom. “Problems, drugs, fights,” says Atala, “I he doors at d.o.M. are 14 feet tall, wood development, with the help of chemists, to get it on looked like a real junkie—stick thin, punk rock style. and monumental in the way of a Richard the menu. His interest in it, he writes in a recent issue We didn’t have so much heroin in São Paulo. Cocaine, Serra sculpture. Directly inside stands of The International Journal of Gastronomy and Food though, a lot. And it was the time when ecstasy first a svelte-looking four-seat Amazonian Science, began as a matter of indignation, stemming came out, which was strong.” canoe. The room is lined with tall, creamy from, he says, “the fact that the cosmetic and phar- Things calmed down in 1989 when Atala got clean Tbanquettes, the walls are painted beige, and the chairs macy industries know better and dedicate themselves and moved to Europe. But where plenty of ambitious all have caned backs, leather seats and slightly bowed more to the products from the rainforest than gas- young gastronomes hit the European restaurant trail, wooden arms. A single honey-colored Zingiber flower tronomy does. In the past, these kinds of companies apprenticing at Michelin-starred kitchens with the sits on each table, like a small waxen beehive. As the spoiled the area considerably. Although they are try- determination of medieval crusaders, Atala simply restaurant begins to fill up for lunch, Atala puts on his ing to improve their relationship with this region, the went overseas to immerse himself in the hard-core glasses and inserts a pair of curved-tip tweezers into situation is far from successful.” To Atala, then, prip- music scene he loved. He made money painting houses the breast pocket of his chef’s jacket. He’ll use them to rioca is both a way to enhance his lemon and banana until he needed a visa to stay on the continent. The garnish his plates with flowers and microgreens too ravioli—three translucent citrus discs pocketing thin easiest route? Admission to a culinary school outside delicate for his thick fingers to touch. slices of banana de oro, each the size of a dime—and, of Brussels. “Later, I tried to get a job cooking in Paris,” For Atala, maintaining an outsider’s sensibility also, an emblem of the fact that D.O.M. exists in a per- he says. “I went into Joël Robuchon and they took one in a Brazilian kitchen meant developing a deep fas - petual discovery phase, where outcomes must track in look at me, found out I was a Brazilian who had studied cination and connection with the interior of his own terms of both plating and sustainability. in Belgium and walked out of the room.” country. Before going back to work in the kitchen, “The logic toward the rainforest in Brazil used to be While cooking in Belgium and France, Atala worked he shows me a photo of the massive new back tattoo that you could only profit from it if you destroyed it,” with Bernard Loiseau, an influential French chef in he’s been working on since May. Between his shoul - says Roberto Smeraldi, director of the environmen- the ’90s who is now best known for committing sui- der blades, a series of tightly drawn black stripes tal protection group Amigos da Terra for the past two delIcIous dIsh A dessert Atala cide after Figaro newspaper suggested he was about extend from his tailbone to his neck. Another col - decades, a coauthor of federal environmental legisla- is developing, with to lose a Michelin star. But Atala always came home to umn of stripes stretches from one deltoid to the tion and a member of the board of ATÁ (“fire” in Tupi), jambu leaves and Brazil in the summer. He’d camp, fish, see family and other. “This is how natives in Brazil used to paint a new institute and think tank founded by Atala last chocolate, garnished with flower petals. throw big parties with his valuable continental cur- themselves,” he says. June to address food-related practices in the Amazon. rencies. In 1993, he moved to Milan with his first wife, His passion for his homeland has paid off. Lunch and “But now,” he continues, “people have started to see Cristiana, and found a job at an osteria called Sancho dinner at D.O.M. are booked months in advance. Atala the forest as an asset, so in order to use it, we must con- Panza, located behind the Piazzale Loreto. (Atala has has cooked for three Brazilian presidents (though, as serve it.” Smeraldi counts Atala as an emerging voice t’s nearly Midnight and D.O.M. is bustling, an 18-year-old son, Pedro, from his first marriage and a huge Elvis fan, he gets more excited about having in the conservation movement. tables still turning over, diners just starting 10-year-old twins, Joana and Tomas, with his current recently cooked for Priscilla Presley, displaying near “Alex had reached a moment of his career,” says their eight-course tasting menus. Atala is rotat- wife, Marcia.) “I decided not to work in big restau- the back of his dining room the bottle of ’96 Château Smeraldi, “when he realized his professional success ing between my table, the kitchen and a four top rants,” says Atala. “I worked in small restaurants so I Latour she signed for him: “Maravilhoso Obrigado would need to be used in service of a larger cause.” where ATÁ board members Smeraldi and the could enjoy my life.” Still, Atala nearly quit his job at Priscilla Presley”). And last December, he was invited Smeraldi sees new endeavors in food production as IBrazilian branding heavyweight Ricardo Guimarães Sancho Panza. “I was Brazilian,” he says. “I wasn’t part to help draw the order for the 2013 FIFA Confederations perhaps one of the best ways to introduce sustainable are meeting with executives from Banco do Brasil. One of their community.” Feeling detached and poor, Atala Cup, the precursor to next year’s World Cup in Brazil, management techniques to the Amazon, and he sees of the executives is the vice president of agribusiness was close to packing it up, but he ultimately stayed, which will, in turn, bring even more curious diners Atala as an important pioneer for new development. and a former senator. (“He still has the president’s buckled down and got a promotion to sous chef. from around the globe to his restaurants. By the 2014 Atala sees it all as a logical carryover from his punk ear,” Atala tells me later. “That was a very important “I always wanted to open a bar in Brazil because tournament, there will be three: D.O.M; the casual days. “Back then I was always against something,” meeting for our institute.”) They’re all discussing I loved music,” he says. “But the day I got that promo- Dalva e Dito, with its accompanying gourmet shop, he says, tweezing tiny tropical flowers onto a warm financing for artisanal and native food producers and tion I realized becoming a chef was my best choice.” offering typical varieties of Brazilian cuisine like white plate. “Now I use that same energy to fight for throwing support behind farmers with sustainable Around the same time, Atala began seeing the acronym beans, rice, barbecued meats and farofa (Atala walks something. My main idea is to show local people how practices rather than the big agricultural conglom- D.O.M. everywhere he looked—on churches and bottles the 100 steps between the two restaurants about a important these ingredients can be for them.” It’s an erates responsible for a large share of the Amazon’s of liquor—finally asking a local priest what it all meant. dozen times a day); and Riviera, which is Atala’s first idea that extends beyond the Amazon. “Go see my rice deforestation. “He shared this beautiful history,” says Atala, an athe- bar concept, in collaboration with the São Paulo night- producer,” Atala tells me, getting choked up. “You’ll Food flows from the kitchen. Next up: Ants, two of ist, who learned how Benedictine monks marked their life impresario Facundo Guerra. see what I mean.” them, sitting on a cube of cold pineapple. They taste not monastery doors with those letters, and how from them, Atala pushes through his kitchen’s double glass José Francisco Ruzene is a barrel-chested, like lemongrass, exactly, but like a field of lemongrass travelers and pilgrims knew they’d found a hospitable doors and takes his place at the head of the line. “Let me third-generation rice farmer from the town of all concentrated into one small insect. When Atala first place to eat and drink. (D.O.M. stands for Deo Optimo show you jambu,” he says. “Jambu is very traditional in Pindamonhangaba in São Paulo state, about a two- found them in the far northwestern city of São Gabriel Maximo, Latin for “To God The Good, The Great.”) Amazonas.” Tonight he’ll use the leaf liberally: around hour drive northeast from D.O.M. He’s wearing a da Cachoeria, while doing research for D.O.M., he asked When Atala returned to Brazil in 1994, he did what the rim of a bowl of mushroom consommé and atop a straw hat to keep the strong summer sun off his face, what they’d been seasoned with. Because the flavor he needed to get on his feet. Like everyone else, he fermented manioc flour dish called chibé. Jambu func- as he proudly shows off his new 600-square-meter struck him as profound, he was astonished to hear the cooked foods from other places, beginning his career tions on three levels: It numbs the lips and tongue, processing facility. A few years ago, Ruzene showed answer: “They are just ants.” in São Paulo at a restaurant called Sushi Pasta before generates a surprising amount of saliva in the back of up at D.O.M. and felt so impoverished and ashamed Around 2 a.m., Atala is preparing to go home, but moving on to two of the most acclaimed Italian eater- the mouth and works as what feels like a conscious- that he didn’t want to walk through the door. But not before he takes the Banco do Brasil guys into the ies of the time. At the end of 1998, Atala sold his car and ness-expanding drug for vegetables, fats and proteins. Atala took to his product, a specialty black rice, and kitchen for photographs (everyone who comes to opened his own restaurant, Namesa, a casual spot—16 Adding jambu makes everything taste bigger. “The ever since, the Ruzenes have experienced a kind of D.O.M. asks for photographs), posing with the former seats around a single table—that quickly became a first time I tried it, it was awful,” says Atala. “But it Alex Atala bailout plan. Now, their rice is served in senator and his associate in front of a framed native local sensation for the chef’s palpable warmth as well becomes an addiction.” restaurants and sold in stores. The box of their small- headdress. After he steps back through the glass doors taste of a NatIoN as his duck confit and chicken Milanese. But cooking Atala then proudly presents a couple inches of grain rice bears a photo of Ruzene, his wife and Atala and says his goodbyes, he thumbs a cigarette and Clockwise from top: Rice farmer sure-fire international standards—going with the a gnarled root that looks better suited for weaving clustered like a family. Business has spiked by 500 shows me another tattoo. Inked across the crook of his José Francisco Ruzene at his flow, culinary or otherwise—clashed with the chef’s rope than it does for kitchen use: priprioca, a rela- percent, and the Ruzenes have been able to pay off right arm, he says, is his story, a crude comic strip that fields in Pindamonhangaba, just before a storm; traditional folk character, and he began to develop his own point of tive of wetland plants like papyrus and rush, which he decades’ worth of debt while dedicating their time to boils it all down to a simple linear equation: There’s a decorations on the bar at view, his own ideas about cooking, through more fre- incorporates as an aromatic in desserts. This makes developing additional specialty strains of rice. “Alex sad face with Mohawk leading to a plus sign leading to a Dalva e Dito; garlic on sale at quent trips to the Amazon. “I began talking with the sense, considering that the plant, until he got a hold changed my life,” says Ruzene, adjusting his hat. boiling pot. Then, there’s an equal sign and happy face a street market; the Thursday street market that extends past natives,” says Atala. “I began visiting and became of it, was used exclusively to scent makeups and “He talks and other chefs listen. Everyone who eats wearing a toque. “I’ve had two lives,” says Atala. “I was D.O.M. and Dalva e Dito. obsessed with their ingredients.” perfumes. It took Atala three years of research and wants what he has.” a punk who became a happy chef.” •

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0313_WSJ_Brazil_03.indd 114 1/15/13 4:05 PM 0313_WSJ_Brazil_03.indd 115 1/15/13 4:05 PM 01152013150552 01152013150553 objects of desire

photography by zoË ghertner

these heavyweight contenders, which make maximum impact with minimal effort, fulfill any fashion need. they are proof that metal becomes precious when it is sleek, strong and frill-free.

UNEXPECTED TWISTS Saint Laurent by Hedi Slimane bracelet. Opposite: Hermès cuff.

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0313_WSJ_Accessories_02.indd 116 1/11/13 12:22 PM 0313_WSJ_Accessories_02.indd 117 1/11/13 12:22 PM 01112013115008 01112013115008 there’s nothing old-fashioned about a necklace that pairs prodigious pearls with a metal choker, while a modern take on the quintessential double cuff gives a transparent look at the way ahead.

FUTURE PERFECT Michael Kors cuffs. Opposite: Chanel choker.

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0313_WSJ_Accessories_02.indd 118 1/11/13 12:22 PM 0313_WSJ_Accessories_02.indd 119 1/11/13 12:22 PM 01112013115009 01112013115009 hardware can be exquisitely supple, with a necklace that adds elegant armor to any new look, or a classic cuff that adopts a sinuously body-conscious form.

QUICK SILVER Dior necklace. Opposite: Elsa Peretti for Tiffany & Co. cuff. For details see Sources, page 138.

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0313_WSJ_Accessories_02.indd 120 1/11/13 12:22 PM 0313_WSJ_Accessories_02.indd 121 1/11/13 12:22 PM 01112013115010 01112013115010 THe HouSe THAT Gucci builT

After two decades of empire building at Gucci Group, Domenico De Sole planned to retire with his wife to their idyllic Hilton Head retreat—until Tom Ford lured him back. Welcome to the fashion world’s most unlikely headquarters.

BY Elisa lipskY-karasz photographY BY todd EBErlE

outward BouNd Domenico and Eleanore De Sole, both in custom Tom Ford, by the L-shaped pool at their house in Hilton Head, South Carolina.

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0313_WSJ_DeSole_02.indd 122 1/14/13 11:00 AM 0313_WSJ_DeSole_02.indd 123 1/14/13 11:00 AM 01142013100156 01142013100156 n 2004, after a peripatetic career that saw him ricocheting across the Atlantic Ocean, from his native Italy to East Coast enclaves like Greenwich, Connecticut, and back to Florence and London, Domenico De Sole was ready to slow down. Anyone iwould agree that the former CEO of the Gucci Group had earned a moment to catch his breath. He’d spent years building a $3 billion fashion conglomerate from a single failing label—by acquiring blue-chip brands including Yves Saint Laurent, Balenciaga and Bottega Veneta,

and young stars like Stella McCartney and Alexander STATESTATE McQueen. And, alongside designer Tom Ford, he’d ER ER

by LVMH, then fought to maintain Gucci’s autonomy oi oi SCHAR SCHAR

after an outright purchase by PPR. bERTbERT y y “I thought I would retire,” says De Sole, who left his ELAELA ng ng post after 20 years with Gucci in a surprising exit. He ARRARR ; ; H H

and his wife, Eleanore, decided to decamp for Hilton ME ME HA iRHA iR A A

Head, South Carolina, a coastal enclave of 37,000 resi- y;y; AL AL

dents and more than 20 golf courses, where the only iAE,iAE, RoRo /S /S

competitive activity on the agenda would be racing his ny ny

beloved yachts. The De Soles had spent many happy : : HEiDiHEiDi D D family vacations there together—starting in 1974, when

on the island, but agrees that it’s likely true. It’s also P,P, P P F F g g

a safe bet he’s the only person running a major fash- ioio /A/A DA DA ion company from a home office in the Sea Pines LUCLUC ; ; ny ny

Resort. The 69-year-old has been chairman of Tom Ford ME ME International since 2005—the year after he and Ford left

Gucci—when he was meant to be luxuriating in his new- iAE,iAE, RoRo y/Sy/S found freedom. But after stepping down, he and Ford ToTo ©2013©2013 ARS,ARS, had a summit at Ford’s Santa Fe ranch. “Tom made it So So very clear that he wanted to go back into fashion,” says AFAEL AFAEL R R De Sole. “He had great name recognition, but you can’t ©2013©2013 ARS,ARS, n n ES ES b b

let too much time go by. These days people are forgotten ESUSESUS TU TU

very quickly.” Within a few days, he and Ford had ham- gE:gE: J J

mered out a template for a new business; less than a year PA PA

later, they had launched Ford’s namesake brand on the ExTExT , , 1971,1971, nEonnEon

back of two licensing deals: one with Estée Lauder for y.y. n n , , n n TLEDTLED

perfume and cosmetics, another with Marcolin Group opeN plaN The art-filled great room features a RS RS blue Arne Jacobsen sofa, a Piero Manzoni Achrome for eyewear. The pair, who were dubbed “Dom and Tom” o/Ao/A from the late ’50s on the far wall and a 1971 neon z z UnTiUnTi ER ER in the global headlines during the Gucci power struggle, sculpture by Mario Merz on the second floor, shown THKTHK Ro Ro

were back in action. above, and a tabby cement fireplace beneath a ioio M M

custom curved ceiling, opposite page. Right: De AR AR

The alliance was forged in 1994, when De Sole, then PHERPHER o o Sole in his office, with a painting by Ellsworth Kelly. ; ; M M

president of Gucci America, fought to save Ford’s job ST ST ME ME i i

after Maurizio Gucci wanted to fire him. “I didn’t know HR HR & C C & &

Tom well at the time but he was very mature, and I iAE,iAE, RoRo EL EL /S /S

liked what he was trying to do with the brand, to make iz iz RK RK it more contemporary,” he says. “When Maurizio fired first London store set to open in the fall. The strategy o o PR PR him, I thought it was a stupid idea.” De Sole successfully has been to expand globally without diluting the Tom w w yo yo nE nE THKTHK

appealed the decision to then co-owners Investcorp. Ford magic by opening too many “doors,” as boutiques Ro Ro

“I can honestly say that I trust him with my life,” Ford are called in retail-speak. All this has been done with a ATEATE y y (ARS),(ARS),

says. “He is a great friend and business partner. He is judicious eye on cash flow, which has meant spending ET ET very honest and loyal.” lavishly on retail spaces while keeping overhead low. CiCi So So o o ©1998©1998 K K The secret to their seamless collaboration, it seems, De Sole’s role as Tom Ford protector, ambassador HTSHTS THKTHK is that De Sole regards the design process with a respect and chief strategist keeps him on the road, jetting to RigRig RoRo

bordering on mysticism. “It’s very interesting work- Hong Kong or Milan from the tiny four-gate Hilton Head STSSTS i i MARKMARK ing with creative people because they can see things airport. When he is at home, he’s up at 5 a.m. checking RT RT y;y; that other people cannot see,” he says. “It’s one thing emails. Then he heads down the bluestone path to his n n

thing to be able to design one. I know what I know, and I of telephone calls that shifts continents with the path oi oi know what I don’t know.” What he does know is how to of the sun: to their Italian production partners or the bERTbERT ASTELLAASTELLA cultivate a brand. Tom Ford International now encom- London-based Tom Ford design studio in the morning; y y

passes 19 freestanding stores in 17 countries, with a in the afternoon, to Ford himself if he’s in Los Angeles; ARRARR RiCoRiCo C C En En new flagship store recently opened in Beijing and the and then in the evening to their Asian partners. (He is oFoF H H

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0313_WSJ_DeSole_02.indd 124 1/14/13 11:00 AM 0313_WSJ_DeSole_02.indd 125 1/14/13 11:00 AM 01142013100713 Approved with warnings 01142013100211 also on the boards of Gap and Newell Rubbermaid and walls constructed from a modern version of tabby—a “the company runs a quiet fashion consulting firm on the side.) 17th-century concrete studded with oyster shells—sur- Despite the many demands for his attention, De round a fireplace, while upstairs, glass walkways open was like my child, Sole’s current priorities are evident in the cleanly deco- up onto what would otherwise be cloistered hallways. so it was very rated house’s few flourishes: framed photographs of his Functionality was a priority: simple throw rugs are the emotional. i daughters—Rickie, an accessories editor at Vogue, and only floor treatments, and there’s the beach equivalent Laura, a marketing director at Estée Lauder—which sit of a mud room, where sandy feet can be cleaned (with never cried on his-and-her desks, both with views of the water. “We Gucci towels—a bit of housekeeping humor). when my parents built the house so you can see the ocean from any point,” The only real evidence of the De Soles’s worldly life is died, but i cried says Eleanore, a trim, active woman whose gray bob their art collection, which features works by Cy Twombly, neatly frames her ready smile. “It’s this idea of move- Brice Marden and Mark Rothko, alongside modern the day we ment that goes through the whole house. We were trying Italian artists such as Giorgio Morandi, Piero Manzoni, announced i was to get as much natural light as possible.” Lucio Fontana and Alighiero Boetti. Thomas admits that leaving gucci.” Though larger than the neighboring bungalows— at first he wasn’t aware of the prestige of their collection. –domenico de sole all painted in the burnt umber that’s de rigueur on the “It’s not an inexpensive house,” he says, “but any one of island—their own residence is gracefully composed of those pieces is worth more than the house.” (All canvases two airy, soaring gray wood structures, with the ocean are kept behind glass to protect them from the salty, waves breaking mere yards from their bedroom window. damp air and in the event of a storm can be evacuated at There’s little delineation between the indoor and outdoor a moment’s notice by an Atlanta-based service.) spaces: The paved entrance path leads visitors directly “We just buy what we like—we love contemporary through a double-height living room and out past the pool art. We have no intention of selling,” says De Sole, whose toward the open water. Meanwhile, the curved ceiling of taste initially ran to antique marine art, now docked in the main house captures the interplay of light refracted a den richly paneled in local pecky cypress. “The most from the L-shaped pool, and the roof’s louvered panels important thing that Eleanore and I agreed on when float above a wall of windows, perching on delicate wood we started collecting is that we only buy art that we never cried when my parents died, but I cried the day we columns as they shelter an outdoor patio. both like.” The one piece that didn’t follow this rule is announced I was leaving Gucci.” “They really wanted an escape,” says architect James the yellow and white Ellsworth Kelly that dominates De Sole had left his mark however, and still keeps Thomas, a Charleston native introduced to them by his office, which he found at the 2011 Art Basel Miami in touch with everyone from McCartney and Bottega interior designer Tom Scheerer, who had already cre- Beach fair. Meanwhile, she was the catalyst behind the Veneta’s Tomas Maier to his old driver, with whom ated a house for the De Soles in Snowmass, Colorado. Twombly painting from his Rome series, which hangs on he lunched on a recent trip to Florence. And when “It’s clean, straightforward modernism,” says Scheerer the dining room wall. “My wife is not a material person, the news came that McQueen had committed suicide, of Thomas’s design, which absorbs visitors with an but with art, if she likes something, she really likes it,” he was devastated. “We had been very, very close. affable hospitality. The kitchen of the main house he says, grinning. “Unless I say I absolutely hate it, she is Eleanore knew him, my kids knew him, it was so upset- flows naturally to an outdoor porch. In the living room, going to be on my case until we buy it.” ting.” McQueen was among those who were unhappy

ME It was auctioneer Simon de Pury—on the board of that De Sole left the Gucci Group, and they spoke less Gucci at the time—who prompted their first foray into after his departure. “He was a little upset,” De Sole

iAE, Ro collecting by steering them toward modern Italian allows. When asked if McQueen felt protected by him /S

ny artists. “Their collection is a reflection of their person- at Gucci, he says, “Yes, I believe so. I was very close to alities: refined, restrained and elegant,” says de Pury. him when I was there.” Their first significant 20th-century purchases were two His style of protection, however, is a bit more sub- Fontanas—a work on paper and a white painting—which tle than current Saint Laurent CEO Paul Deneve, who nDi ©2013 ARS, they selected with the help of James Kelly, a Santa Fe gal- penned a heated screed damning Women’s Wear Daily’s RA lerist they’ve been working with since 1999. “Eleanore negative review of Hedi Slimane’s debut for the house.

gio Mo eschews the fashionable and the hyped,” says Kelly, who Ford went through a similar trial by fire—most notably at R

io also advises Ford. “She’s driven by the creative process the hands of French fashion critic Virginie Mouzat, who and the intellect shown by the artist.” dubbed his spring 2012 presentation “a slowly unfolding gE: g

PA Indeed, touring the property’s two houses with her nightmare”—but “I would not have written a public let- iS

TH is akin to tagging along with a museum docent—fit- ter,” says De Sole. “Did I like it? No. Did I think it was fair?

ting, considering that the De Soles are major supporters Absolutely not. But at the end of the day, the only thing STEEL of the Aspen Art Museum, which is set to open a new that counts is to let the clothes speak for themselves.

LESS building by architect Shigeru Ban in 2014. She lovingly “Especially in fashion, people get very emotional,” he

in describes each piece, from the video art in the entrance continues. “If you are factual and rational, that helps.” STA hall (an exploding still life of flowers by Ori Gersht) to Many others have felt the benefit of having De Sole as a recently acquired Mark Grotjahn canvas. “We have a their quiet consigliere, including Derek Lam. “Generous o, o, 2011 little bit of everything,” Eleanore says, “a bit of photog- is not enough of a word to describe Domenico,” says the CER raphy, some crazy sculptures. It’s just fun.” designer, who was mentored by De Sole as part of a CFDA/ o, A Even in their Gucci heyday, the De Soles were known Vogue Fashion Fund program and continues to speak to for their low-key, convivial approach. They regularly him regularly. “He was like a bonus CEO at a critical time. HAPARR

o C invited Gucci Group designers including McQueen, He gave so much of his time and energy to us.”

LD Balenciaga’s Nicolas Ghesquière and McCartney over And one gets the sense he will continue to offer his

gE: A for home-cooked dinners, which Eleanore served her- council to Ford until he is kicked out the door. “I’m a PA self. When De Sole left, his longtime Italian employees at workaholic. I will do it until Tom says, ‘This is great, US Gucci showed their devotion with a solid-silver statuette you are still my partner, but you have to retire,’ ” says vio featuring him as a fearless sea captain steering a wheel De Sole, looking around the coastline. “I wouldn’t know PRE StIll lIFe A giorgio Morandi oil painting is part of the made of Gucci ‘G’s. It was poignant for De Sole too: “The what else to do if I didn’t work, to be very honest. You oN reFleCtIoN A 2011 Aldo Chaparro stainless-steel sculpture, commissioned by the De Soles, on the reflecting pool that divides the main house from the guesthouse. De Soles’ collection of mid-20th-century italian art. company was like my child, so it was very emotional. I see, I don’t play golf.” •

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0313_WSJ_DeSole_02.indd 126 1/14/13 11:00 AM 0313_WSJ_DeSole_02.indd 127 1/14/13 11:00 AM 01142013100211 01142013100714 Approved with warnings collect it CANdIdA HÖFer

Now on display at Ben Brown Fine Arts in London is the work of photographer Candida Höfer, whose austere yet opulent large-format prints of institutional interiors have made her one of the most beloved artists in her native Germany. Like her contemporaries Thomas Struth and Andreas Gursky, Höfer specializes in the sublime twist —the moment when apparent simplicity gives way to narrative complexity. For her latest series, the Cologne-based artist traveled to northern Italy: Mantua, Vicenza and Sabbioneta. The resulting prints, says 69-year-old Höfer, are “simultaneously about today and our history—this makes them so vivid, even when some of them may seem rather bland at first sight.” It was cold inside the buildings, “but there was always espresso,” she says, “and the light in the buildings.”

point oF ViEW Höfer captured this image, titled “Teatro Scientifico Bibiena Mantova III,” of an 18th-century theater in Mantua, Italy, with an Alpa digital camera. She does not use lighting equipment. “I only use the light that is in the space,” she says. “I walk through and decide very quickly —usually by instinct—the point from where to take the photograph.” Part of an edition of six, the print (70.8 x 96.8 inches) is priced at 50,000 euros.

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0313_WSJ_CandidaHofer_02.indd 128 1/14/13 11:11 AM 0313_WSJ_CandidaHofer_02.indd 129 1/14/13 11:11 AM 01142013101246 01142013101246 n the bulletin board in Narciso Rodriguez’s downtown Manhattan workroom is a photo of a black-and-white T-strap Spectator shoe with a pointed toe and spike heel. Immortalized in Oa Vogue Italia shoot that featured only the model’s legs in fishnet tights, it made its debut in fall 2000 as part of Rodriguez’s first-ever accessories collection. When the shoe hit the stores, it was snapped up so quickly that photographer Nan Goldin offered Rodriguez one of her own sought-after photos in exchange for one pair. They were destined to become even more collect- ible: Rodriguez’s business partner at the time scaled back his investment in the line, and, within a few years, the shoes, the bags—all the accessories—were dis- continued and the Spectator would live on only in the memories of the obsessed. Last fall, Rodriguez’s relaunched accessories line— his first in six years—made its debut at Barneys and the Spectator itself will return for pre-fall 2013 (hence, its inspiration board prominence). Rodriguez has a new seasoned and committed CEO in the form of Robert Wichser; a new website (which launched in February) featuring e-commerce; and a current spring collection (including beautiful body-skimming crepe dresses and a perfectly tapered pant) that was among the most raved-about of the season. The offices are being renovated, years of designs are being archived, a wildly successful fall line for Kohl’s has been followed by a stint as an advisor for Banana Republic. A secondary line for Rodriguez’s own label is among the expansion options the company is currently considering, along with intimates, eyewear, home accessories and freestanding boutiques. Finally, after almost 30 years in the business and 15 years designing under his own name, Rodriguez has the support he needs to do what he has always done best. “A designer’s focus should be on creating and not worrying about the cash flow, the production problem or the fabric that didn’t come,” says Rodriguez, outfit- ted, as usual, in jeans, his signature black tee and a pair of New Balance running shoes, as he walks me through his cluttered office. “When you don’t have the proper funding and backing, it limits what you can do. Every designer needs a good business partner to be able to grow: Calvin had Barry [Calvin Klein cofounder and CEO Barry Schwartz]; Marc had Robert [Marc Jacobs’s president Robert Duffy]; Yves Saint Laurent had Pierre Bergé. I’m very lucky today that I have Bob Wichser.” Wichser, a former executive at fashion companies ranging from Manhattan Industries and Warnaco to Sean John and Joseph Abboud, joined the house as a strate- With a new CEO, an acclaimed spring collection and hard-won wisdom from a Ve IV e uez ch gic consultant in 2010 and became CEO last spring. “In rchi career of fashion highs and business lows, the designer has at last found his mission, aR those two years,” Rodriguez says, “we’ve grown more second WInd d RIG Geometric dresses from RO turning a beloved brand into an international powerhouse. By Julia Reed uNk than we’ve grown in the history of the label.” the designer’s spring tR Before Wichser’s arrival, the label’s recent history 2013 collection. Opposite: dh/ had been especially tumultuous. In 2007, after years of Narciso Rodriguez, photographed by INOO frustrating stops and starts—due to insufficient funding Inez van Lamsweerde and ineffective management—Rodriguez still remained and Vinoodh Matadin. inez & Vinoodh/trunk a courtesycOuRtesy narcisoNaRcIsO rodriguez WHAT NARCISO KNOWS INez & V on top creatively (he’d been featured in a show at the

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0313_WSJ_Narciso_02.indd 130 1/14/13 11:36 AM 0313_WSJ_Narciso_03.indd 131 1/15/13 3:40 PM 01142013103931 Approved with warnings 01152013144159 Approved with warnings “the way years at Anne Klein, where he first worked with Karan. doing something with their hands,” he says. “My grand- When Bessette died in a plane crash in 1999, Rodriguez mothers embroidered and sewed, and my mom would narciso handled says he lost his “soul mate.” He still wears the silver take fabric and make something for a party or for us to himself was like Georg Jensen bracelet Bessette closed around his wrist wear.” His grandfather and uncle were barbers, so his someone going almost 15 years ago. “She said, ‘You’ll always have this.’ aunt decided she’d cut hair too. “She was funny, fun and And I’ve never taken it off.” really audacious; she could take the radio apart and fix it through major In 2000, after years of shuttling between Italy, France or she’d build us a go-cart.” trauma, but his and Spain, he brought his collection to New York for From a very young age, Rodriguez says he was inner strength the first time. In 2002 and 2003 he won back-to-back “always cutting things” or turning shoe boxes into Womenswear Designer of the Year awards from the buildings. At first he wanted to be an architect, but was inspiring.” Council of Fashion Designers of America, an achieve- when, at 13, he discovered the work of the great fash- –jessica seinfeld ment that is still unmatched. While the business side ion illustrator Antonio Lopez, he realized he wanted to was always frustrating, the awards and critical acclaim make clothes instead—“which was really a shock to the continued to pile on—as did his stable of high-profile family,” he adds, laughing, especially for his longshore- clients, who range from Danes, whom he first dressed man dad. Still, while he was in high school, his parents for the Academy Awards when she was 15, to Celia Cruz, allowed him to enroll in weekend programs at Parsons the iconic Cuban singer. Another devoted fan is Michelle The New School of Design, from which he ended up grad- Obama who made a splash on election night 2008 by uating in 1982. wearing a memorable black and red Narciso sheath, and Rodriguez says he never lost his love of slightly more who continues to wear his clothes as first lady. concrete design; Seinfeld compares him to architect “He’s been my pal more than half my life,” says Danes. Charles Gwathmey, who designed her modern apart- “When we first met, I had zero clue what it meant to be ment. “Sometimes in fashion you just throw a lot of feminine or in the world of fashion. He educated me.” chiffon on a mannequin and pin it together and off she It’s a sentiment echoed by so many of Rodriguez’s goes,” Rodriguez says. “An architect approaches his “girls,” who say they consider him family. Rachel Weisz work in a much more thoughtful way. There is a very wore her first Rodriguez design, a fitted red dress with careful selection of materials and how those materials spaghetti straps, to a premiere in L.A. and said, “I’ve relate. That part of it has stayed with me and is part of never felt more like myself.” The year she won her Oscar, my thinking process when I’m trying to do a collection.” at six months pregnant, he not only dressed her, she He says one of the reasons he was so excited to do his took him with her as her date. He made Danes’s wedding affordable collection for Kohl’s last year was the com- dress, a structured slip with a gauzy cap-sleeved overlay, pany’s proposal that he travel to a city for inspiration. when she married Hugh Dancy. (“It was the most beauti- He chose Istanbul, where the “amazing architecture, the ful dress I’ve ever worn,” she says. “He embroidered little prints, the ceramics, the unbelievable color” all provided secrets into it, like [Hugh’s] name and a four-leaf clover.”) rich fodder for the clothes. The Kohl’s experience in turn Museum of Contemporary Art in L.A., and Rachel Weisz Julianna Margulies, who wears Rodriguez’s clothes provided inspiration for his own possible secondary had accepted the Academy Award for Best Supporting on her hit TV show The Good Wife, says, “I always know line. Most of the pieces, which sold out, cost less than Actress in a dress he’d designed for her), but the business what’s his without having to look at the label.” Like $100. “It was a great example of how you can create a itself was on the brink of bankruptcy. “It was painful and Danes, she credits the designer with helping her dis- dress that’s very desirable at a very affordable price.” He distracting, and I’m sure it affected my work,” he says. cover her feminine side. “Before I met him I was much describes his year-long consultancy at Banana Republic, “It was like trying to read a book when someone is drill- more of a tomboy,” she says. “But in Narciso’s clothes I which he began last fall, as a similar “think tank.” In ing on the other side of the wall.” can feel like a woman without having to fight ruffles and exchange, says Banana Republic’s creative director When the drilling finally became unbearable, he was frills. I like simple lines that can still hold the female Simon Kneen, “Narciso brings us his modernity, his fresh forced to bare his soul and precipitously empty bank form in a way that embraces it.” perspective and his years of amazing experience.” account to friends and advisors, ranging from Anna These days, he says he derives strength from the Wintour and Donna Karan to Jerry and Jessica Seinfeld. hose simple lines are often the most com- more difficult parts of that experience. “I had a conver- “The way he handled himself during that period was like plicated to achieve, but Rodriguez has always sation with a friend about that not long ago, and we had someone going through a major trauma, but his inner been a master of technique and tailoring. At a chuckle. It’s the past—that’s the good part.” He adds c

strength was so inspiring,” Jessica Seinfeld says. “I think GI Calvin Klein he took fabrics and cut them on that “if there’s one thing I’ve always been, it’s persistent I was more frantic than he was. I’d lie awake at night and Ma Tthe bias, and almost every major American designer and resilient”—qualities he says he gets from his Cuban

think, Who do we know? How can we help him?” fILM followed suit. Before presenting his spring collection, immigrant parents. “They did something so much more The group brainstorming led to a deal with Liz he says, “I spent a great deal of time changing the cut, courageous than I could ever do: They left the warmth of

Claiborne, the former sportswear powerhouse that e ©1996; changing the way I was looking at things, trying to never the tropics to come to a cold, hard island, and they did it FIne LInes More looks from Rodriguez’s spring 2013 collection. bought a 50-percent stake in the label from Rodriguez’s GGI lose sight that the ultimate goal is creating, so that so that their children could have a better future.”

original Italian backer Aeffe. Claiborne hoped to regain s Re women look beautiful.” The result was a show heralded These days his own has never been brighter. “There’s NI

much-needed edge and relevance, while Rodriguez de by one critic as “the ultimate in modern minimalism,” an energy level that we’re all thrilled about,” says s;

longed for a protective partner. The “marriage” was 20 years”—even though it is only 10 years old). What he left to my own devices to work my way through all that. bI but Rodriguez himself prefers different adjectives. Wichser. “Narciso is more confident and so challenged

celebrated at a glitzy dinner attended by the aforemen- didn’t have, Wichser says, was “a clear blueprint. You Still, it was kind of amazing to see my name on the front cOR “People say minimalism and all that, but I think preci- and excited.” Even in the worst of times, Seinfeld says, s/

tioned pals as well as such longtime Rodriguez clients as have to have a vision about what you want the company page of every newspaper around the world.” It was the R sion and purism are so much more interesting,” he says. “Jerry and I kept saying that he’s too talented, too spe- Sarah Jessica Parker and Claire Danes, but less than two to become.” The goal now, say both men, is to transform defining moment that not only launched him as an inde- “Because when you strip things back to what’s elemental cial and too beloved to fail. And he didn’t. He’s made years into it Rodriguez was back on his own. the brand into an international powerhouse. pendent designer (he debuted his signature line almost /Reute and profoundly beautiful, you don’t need the rest of it. of the best stuff, and now it’s his time again.” • When Wichser stepped in, he—like everyone else— Rodriguez first achieved global fame in 1996, before a year to the day later), it is still constantly referenced eed That’s where I live, and I always have.”

was blown away by Rodriguez’s talent and sensibility, his label even existed, when he designed the bias-cut (most recently on ABC’s hit show Revenge). ON R The actual bricks and mortar house in Newark, New as well as the quality of his retailers and his success in slip dress Carolyn Bessette wore at her secret wedding Rodriguez had met Bessette at Calvin Klein, where as Jersey, where Rodriguez lived as a child was a two-

the fragrance business (in 2012 the designer’s signature to John F. Kennedy, Jr. At the time, Rodriguez was a free- she worked in PR and assisted the boss, during his four- O family affair that included his aunt, uncle and cousins, VI

t election night 2008; carolyn bessette on her wedding

scent was given the French Fragrance Foundation’s Fifi lancer working for the Italian house Cerruti: “I didn’t year stint there—part of his long apprenticeship with st whom he and his two sisters considered siblings. “I day in 1996; Rodriguez with Jessica seinfeld and IR ROM

award for being the “best feminine fragrance of the past have an office or press people,” he says. “I was kind of the greats of American sportswear that also included six f f grew up in an environment in which everybody was sarah Jessica parker, in 2004, wearing his gowns.

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0313_WSJ_Narciso_03.indd 132 1/15/13 3:40 PM 0313_WSJ_Narciso_03.indd 133 1/15/13 3:40 PM 01152013144159 Approved with warnings 01152013144200 Approved with warnings the CROWN PRINCe OF the ARt WORLD As the youngest curator to direct the Venice Biennale in more than a hundred years, Massimiliano Gioni will test his gritty-yet-glamorous approach to modern art when the prestigious fair opens this summer.

BY Ian VOLnER phOtOgRaphY BY MaRtIEn MULDER SHOW STARTER Gioni at the New Museum in New York, touring an exhibition of the German artist Rosemarie Trockel he helped organize.

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0313_WSJ_Gioni_02.indd 134 1/14/13 1:53 PM 0313_WSJ_Gioni_02.indd 135 1/14/13 1:53 PM 01142013125810 01142013125810 nternational contemporary art curators are business,” he says. “When we’re out, I’m always annoy- For someone with Gioni’s background to take the uM

not known for their charm. For that select class ing them with my ideas about the show, about Venice.” SE helm of the Venice Biennale is improbable enough; RTESY Mu of professional explainers and tastemakers, a Gioni’s native irreverence is key. “Lately,” he says, ou for someone as young as he is to do it—the youngest C w ,

certain hauteur seems to be the norm—a prereq- “people just think that contemporary art is something NE Biennale director in more than a hundred years—is even

N NTS do , uisite, perhaps, given the hermetic complexity of there to pass the time of the wealthy, or because every- Ri more unlikely, and it’s uncertain if Gioni will be able to N p RTESY

so much contemporary art. body else is doing it or because openings are cool and ERE translate his unique outlook to a stage the size of Venice. /Lo

I k ou C CH But Massimiliano Gioni is different. fashionable.” Gioni, by contrast, sees art not as the YC Biennale directors often come in for a bracing dose , GMENT Ri Ru Thirty-nine years old, the Italian-born director of exclusive domain of the hip and the well-to-do, but as pi of opprobrium no matter what they do—Swiss cura- LLEY , Zu dE B Ai

special exhibitions at Manhattan’s New Museum of a kind of mental playground for the masses. “We need ivAL tor Bice Curiger, the previous director, chalks it up to a p RTH Contemporary Art has the kind of ready smile that to remind ourselves that contemporary art is first of all T certain laziness on the part of critics. “It sounds much wi oi iNdE gives you the feeling you’ve met him before, possibly a form of conceptual gymnastics, in which we learn to ARCH more competent if you’re bashing something than if you BEN ERL

SER & ; B BY over drinks, and that one of you might still owe the coexist with what we don’t understand,” he says. /2011), try to explain why it’s good,” she notes. It’s a dynamic of S Au o other a round. When he speaks about art, he’s engaged Gioni has spent the last several years confront- uM which Gioni is only too aware. “When they ask you to do ; H SE HoT (1960 NG

and informed, but just as likely to stray off topic and tell ing audiences with the surprising, the strange and the Mu it, it’s because it’s your moment,” he says. “But then your , p iji CtS w E

you, say, about his university days in Bologna, when he delightful, altering expectations of what contemporary RiN moment has passed, and you’re a sacrificial goat.” NE

o/B translated Harlequin romance novels for extra cash. art exhibitions can be in the 21st century. For a 2008 rtifa a o, Tu k GNAN “It was actually a decent salary, but it had terrible con- show at the New Museum, “After Nature,” the curator RTESY n 2000, Gioni’s enthusiasm for art (and an early ENG foL Mi ou C sequences for my psyche,” he recalls. “Then again, I included everyday found objects and curios and put ud foray into online art criticism) led him to the staff Gi , ian EBA knew more synonyms for ‘nipple.’ ” them alongside valuable works of art by the likes of AN of the respected international magazine Flash Art, R LLEY , S rUSS Standing on the Bowery on a cold December night, Nathalie Djurberg, Thomas Schütte and Dana Schultz. E which dispatched him to the States to serve as its Ai p o R iNuA Gioni is preoccupied. He has reason to be: He and his “Ostalgia,” in 2011, mixed younger artists with older to T U.S. editor. He was preceded to the U.S. by artist oi NT

wife, curator Cecilia Alemani, have just moved to bigger render a compelling portrait of post-Soviet art from the RETT Maurizio Cattelan, already a close friend and artistic co- Co d BEN I

digs in their longtime East Village neighborhood, and edges of modern Europe. The marginal, the mainstream, iA conspirator. Gioni met Cattelan, who is 13 years older, AN BY S o

he’s got several shows for the museum currently in the the real and the fictional are all whisked together in Contemporary when he interviewed him for Flash Art. Some of the NE ALLER HoT works. But what really has Gioni distracted this evening Gioni’s exhibitions, offering up a series of beguiling nar- io artist’s inventive impudence seems to have rubbed off ; G , p ipov, AZ

is that for over a year now he’s been the man respon- ratives to the viewer. “That’s ultimately my interest,” NG on the curator; reflecting on the friendship, Cattelan is kH ERE cARTOON NETWORK part of the installation piece Service a la francaise from urs fischer’s 2009 New Museum show k foNd idi AR

sible for conceiving, assembling and managing the 2013 says Gioni, “to get the artwork to tell stories.” , characteristically elliptical: “I don’t know who once said,

YC “urs fischer: Marguerite de ponty,” curated by Gioni. SL CM R Ru Venice Biennale. That kind of inclusiveness is exactly what’s brought MiR ‘Our heads are round so that our thoughts can fly in any di fo

Since being tapped last January to direct what is argu- Gioni to Venice. Paolo Baratta is the president of the dE B direction,’ ” he says. “This fits very well the state of mind LA ; v

ably the most influential art fair on the planet, Gioni’s Biennale, and it was he who first sought out Gioni to take MATS Massimiliano and I have been sharing.” Cattelan in turn

iNdE uM fertile brain has been on overdrive. He’s found himself on this year’s show, developing the curator’s concept AS introduced Gioni to another young artistic free agent, v SE ERL , 160 x 315 x 200 B

pacing his new apartment, mentally mapping the exhibi- for the exhibition and helping insure its approval by the world of contemporary art.” Gioni knows how to make Mu writer and curator Ali Subotnick. “My first impres- shipping the art to Italy from abroad—ferried out to La CAN “we need to remind w d tion halls of Venice’s cavernous Arsenale compound on Biennale board. For Baratta, choosing Gioni was part of that kind of overture to the outside world, since he him- ARTS sion was that [Massimiliano] was really corny and Serenissima across the ancient Venetian Lagoon. All of NE AN RTESY

to the floors and walls of his St. Marks Place walk-up. “I an effort to broaden the appeal of the sometimes daunt- self puts a premium on the experience of the newcomer. , goofy,” says Subotnick, now a curator at L.A.’s Hammer this will have to be paid for, and since the Biennale is a ourselves that SH p RTS install shows in my head at night,” he says. “I think I could ing new art at the heart of the fair. “Gioni is a turning “Hopefully,” he says, “every time you contemplate an , Cou Museum. Soon, she, Gioni and Cattelan had formed an nonprofit venture, Gioni is also responsible for court- RTESY contemporary art NG poLi ou u

move this here, move that there.” His mind does not stop point,” he says. “We are no longer faced with the time artwork you should experience over and over again that uppo all-purpose cultural troika, exchanging ideas and devel- ing dealers and other market players willing to cover C TH , S is first of all a form

when he leaves the house; even innocent dinner compan- when this art was just thrown in the face of the viewer to sense of being a foreigner.” CHE oping projects. “We all understood each other so well; the inevitable expenses. The dealers will pony up, of d wi SE LLEY of conceptual STEEL

ions are not safe. “Many of my friends are in the same promote it. We want people to come and live within the That this approach is especially hospitable to per- RE we could finish each other’s sentences,” she recalls. course, because the pull of the Biennale is nearly irresist- oi Ai p Gu EL

sons unfamiliar with contemporary art is a direct T From that collaboration emerged the Wrong Gallery, ible: Upwards of 370,000 attendees flocked to the last gymnastics, in which fi oi BY

SHELL, oN

reflection of Gioni’s own history as an outsider. “In a quasi-mock art space installed in the doorway of a installment (as compared to a scant 50,000 for the much- NG

BEN we learn to coexist

ER REC

Italian we say provinciale,” says Gioni. Growing up in the Mi building in Chelsea. Becoming, over the course of its ballyhooed Art Basel Miami Beach), and Venice holds BY d oo

o with what we town of Busto Arsizio, about 40 minutes’ drive north- upp three-year lifespan, something like the snickering tremendous sway over the value of the artworks that AN GR , d, west of Milan, he first discovered modern art at 13, when HoT conscience of the ’00 art boom, the gallery was the vec- appear there. The gravitational field of the fair extends

NATE don’t understand.” CM , p o he happened on a book, Pop Art, by critic Lucy Lippard LAN tor by which Gioni the provinciale was able to insert to gallerists, collectors, critics, curators—including, not —massimiliano gioni po o and discovered the work of artists like Andy Warhol and STEEL himself into the art world while keeping his outsider least, the director, for whom the job can be the jewel in

LYCARB T

James Rosenquist. It was the feeling of noncomprehen- ME perspective more or less intact. The objectivity that the crown of a successful career. o , 160×330×100 sion that most excited him. “The most difficult thing to iv EN afforded him has served him well at the New Museum, So how will Gioni bring it all together, magnifying RoN , d R understand about Pop Art was whether it was critical [of d- CHR says Lisa Phillips, the museum director who hired him his idiosyncratic approach to the scale of the global art , i Y RE RiN o

its subject matter] or not,” he remembers. As a teenager, SEGMENTS, po in 2006. “He can see the need of an institution from so world? How else but by sending up the premise of the pox Tu E RR Gioni would make Saturday trips into the city to see new N many different angles,” she says, “from the position of Biennale itself. His International Exhibition, titled “The id i iR,E SL N Mi LT art in the galleries of Milan, but he was always conscious the artist, of his colleagues, of donors and the general Encyclopedic Palace,” takes its name from a project by HA o ui of a sense of un-belonging, of somehow being not quite B public.” Gioni has been able to move with impunity all 20th-century outsider artist Marino Auriti, an eccen- RSE STEEL - 126

as refined or sophisticated as he ought to have been. (“I Ho over the artistic map, staging ambitious shows at his tric self-taught architect and philosopher manqué who SCREEN AT , N k didn’t go to openings because it felt phony,” he says.) At fi home institution (like 2009’s “Younger Than Jesus” devoted years of his life to the construction of a gigantic NLESS ki i SiL

Bologna, he majored in literature and philosophy and TA survey of artists under 33) and heading up large-scale skyscraper-temple that would house the combined wis-

specialized in art history. His burgeoning interest in RSE S exhibitions in foreign cities (like the 2010 Gwangju dom of the human race. “Maybe 1999 was the last time , 2009, Ho , 1972–2002 , Se contemporary art was met with mixed emotions by his , 2011, S Biennale in South Korea ). somebody could claim you could know all the art in the ai aga C ELL ide)

conventional, devoutly Catholic family. fL The 55th Venice Biennale will open on June 1; by early world,” observes Gioni, whose show, centered on the L , dEf

NG spring, Gioni will have selected more than a hundred art- image of a gigantic unbuildable archive, is a keen satire i ER ed (S a fran L L pf ists to participate in the International Exhibition, the of the overstuffed biennales that have sprung up all over TARL e a C

S flagship event of the fair. (The national pavilions repre- the world. The knowing, sardonic theme augurs very Untit , 2006 , e)

S senting the individual participating countries are just well indeed, especially for anyone who’s ever stepped mixEd mEdiA Left: Berlinde de Bruyckere’s horsehide MoN Servi , LLER

sculpture, Lichaam (Corpse), at the 2006 Berlin Biennale , Si orp to the east in the Giardini della Biennale—artist Sarah into a big-time art fair and felt instantly overwhelmed by C ST Hö in 2006, co-curated by Gioni, Maurizio Cattelan and i Sze will be representing the U.S. this year.) Hundreds the sheer vastness of today’s globalized art market. But Ali Subotnick. Above: The 102-foot stainless-steel slide SCHER EASTERN EdEN works by vladimir Arkhipov, left, and ART

fi of works of art will be flown or shipped to the mainland despite the pressure, Gioni remains buoyant. “It’s a rite Gioni helped the artist Carsten Höller install for the 2011 haam ( Simon Starling at the 2011 Gioni-curated New Museum show ARSTEN C uRS LiC exhibition “Experience” at the New Museum. THE and then—in an operation rumored to cost as much as of passage,” he says. “I just have to go through it.” • “ostalgia,” featuring art from and about the former Soviet bloc.

136 137

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Explore the AkrisBoutiqueat www.akris.ch

still life Carolina Herrera The fashion designer whose name is synonymous with elegance recounts her most precious objects, imbued with a love of family and beauty.

photography by ditte isager

The pieces chosen for this photograph are all very also keep a four-leaf clover heart that I stumbled upon birthdays in it, color-coded with small symbols. I meaningful to me. I see them every day so I must love in Klagenfurt, Austria, which is in front of Reinaldo’s keep a painting by the Los Angeles artist Alexander them! One of my favorite pictures of my husband, picture. It brings me good luck. The silver magnify- Mihaylovich beside a Robert Mapplethorpe photo- Reinaldo, is front and center, while the largest object, ing glass and small silver box were passed on to me graph—one of the first in a series that he took of body the horse, sits on the right side. It was given to me by my father. I always use the concise Oxford English builder Lisa Lyon. She is wearing one of my favorite by Reinaldo and reminds me of the days when I went dictionary for reference: One is at home, one is on dresses from my first collection. All of the objects horseback riding. Growing up, I never thought about my desk and one travels with me. An item is my CH sit underneath the portrait of me painted by Andy

fashion, I was interested in my horses and tennis. I Agenda. I have all of my children and grandchildren’s Warhol at the Factory in 1979. • prop styling by summer moore

140 wsj. magazine

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