The New Classics

Spine: 5/32” (.1563”) Varnish: Knockout “WSJ.” in main logo

THE NEW CLASSICS

what to collect now

0613_WSJ_Cover_02.indd 1 4/25/13 7:43 AM ADDRESSED to THE NINES

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te collection rtier

rtier Ca ©2013 0613_WSJ_TOC_04.indd 11 04292013095141 66 20 C 20 30 28 26 Van Ark Daniëlle by Photography 23 What’s News. Powers Richard by Photography COn 18 EDITOR’S LETTER 14 2013 june 32 Congo’s ConflictCaptured by ArtistRichard Mosse 96 S 96

Fine Jewelry earrings, price upon request, 800-929-DIOR. request, upon price earrings, Jewelry Fine Dior 212-772-6969, $26,000, gown, aValentino in Vodianova trousers, $780, my-wardrobe.com. FOLLOWI $780, my-wardrobe.com. trousers, $635, J.W. top, Anderson Richardson. Clare by Styling Olins. th ring. Cartier own Vodianova’s 800-929-DIOR, request, upon price ring, Jewelry Fine Dior $4,490, saks.com, sweater, Row The Barbieri. Anastasia by Styling McLellan. Alasdair by On the c the On Fashion’s CosmeticCollaborations inParisAn ArtShift No-Touch Tech Gadgets Sean Penn’s HaitiRelief The Second ComingofBucky’s Dome Azadeh Shladovsky’s Whimsical Furniture The Revival ofJournal Cahiersd’Art Florist Go-to Simons’s Raf possessions. prized her Roger Vivier, shares for consultant and model, longtime The A Guideto theNew Collectibles Director Steven Soderbergh’s Swan Song Photographer Richard Misrach’s Eyewear TILL LIfE OL IS PAG umn TRI e O Model Malgosia Bela photographed by Josh Josh by photographed Bela Malgosia Model ver bu ISTS Model Natalia Vodianova photographed photographed Vodianova Natalia Model TORS Inès def la Inès on Intuition on

ressange n G PAG e 4/29/13 10:48 AM 80

52 58 23

THE EXCHANGE. collectibles issue

39 TRaCkED Sheila Johnson 52 SupER WOman 74 COSTumE DRama

How a TV pioneer parlayed her fortune Having conquered the fashion world, Style icon Anna Piaggi left behind one into a business consortium. model Natalia Vodianova takes of the world’s largest closets. Now TELLER

By Jeffrey Podolsky on philanthropy. her family struggles to find it a home. Photography by Adam Golfer By Derek Blasberg By J.J. Martin Photography by Alasdair McLellan Photography by Harf Zimmermann JUERGEN 42 ESSay The Highs of the Lowline Styling by Anastasia Barbieri ; ARK A chef considers a proposed park that 80 pRIDE Of THE pampaS VA N will reinvent Manhattan’s underground. 58 COLLECT IT LIkE Alan Faena’s Argentine estancia is

By Gabrielle Hamilton yOu mEan IT a touchstone for his first U.S. real LLE ë Illustration by Patrik Svensson François Pinault opens up about the estate development. DANI rejuvenating power of art. By Elisa Lipsky-Karasz ; 46 makIng IT The Remixologist By Christina Passariello Photography by Todd Eberle

Photography by Juergen Teller EBERLE Alejandro Alcocer has turned his passion for prized keepsakes into a 88 THE fInEST JEWELRy thriving design business. 64 THE COLLECTIOn Showstopping diamonds are the ; TODD By David Colman William Eggleston’s Cameras ultimate investment. Photography by Tim Barber Photography by Zoë Ghertner MCLELLAN

The master photographer’s trove Styling by David Thielebeule of vintage gear. Photography by William Eggleston ALASDAIR : LEFT

66 SHapE SHIfTERS No longer about tight and tighter, the Get WSJ. SAturdAy A Saturday-only subscription FROM new relaxed proportions are a breath to The Wall Street Journal gives a weekly fix of smart style and culture. Includes OFF DUTY, a guide to your of fresh air. not-at-work life; REVIEW, the best in ideas, books and Photography by Josh Olins culture; and, of course, the monthly WSJ. Magazine.

Styling by Clare Richardson 1-888-681-9216 or www .subscribe.wsj.com/getweekend. CLOCKWISE

0613_WSJ_TOC_04.indd 12 4/29/13 10:48 AM 04292013095314 Approved with warnings l r e e el bl th he si it e Ext te on ne O is sp C/ s re

editor’s letter C, is Thi guaran . it ot (ii) et LL YEARS IN THE MAKING. s; Un re it St cann um Un r th ini so um 57 on om ini st MOMENTS FROM UNVEILING. Sp tried aNd true nd . om We Co l ed l nd el et co l ntia Ext mpl r: de ntia co so e de Resi on si ar y Sp re an ey y 7. th of an 30 en of -0 r rship 10 wh ro - g ne fe CD din ow of . il e of No th Bu le e is Fi nses th (i) r. pe in so es ex th on iat wi or fil s Sp it es af s om Un it enu fr of e ain rev y bl rt la ed ce ai ct av nor an om pe n fr ex io plan at ws as g or ch vie rin rp su le fe s Co ib of t al ss ri at an po te in Hy r th e ma wi ar he id it sa Ne rms sers in . te ha ks ed g rc ar rin ain pu em fe nt ve of ad co ti e tr n ec e et io ar at osp s mpl rm pr rk co fo g e ma in in l Th nt . ed cia ea lat ese ar re pr e d finan r of th an e he in ™ os n ot es . rp or ed litio pu denc e lfill ions th fu ct Resi r t en fo oje at be pr on or demo t l ti no cia

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what he thought ar e ts th ese em was a highly re co th of tu ad

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his host; Bast (in id qu on d Th ov re

Valentino couture) up we y. pr d it ie on

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embarrassment. rt r st or po so gi d fied ba re Op on di ove h g Sp pr mo ILLUSTRATION BY ALejANdRO cARdeNAS , usin ap be s ll Ho erings ha wi ) ual s ii nd ions in whic Eq re ew ct or (i 2. di ’s st ch vi 02 ti als; juris 10 su ri ar y te or for our first-ever collectibles issue, we spent a lot of time thinking also take a rare glimpse into the closet of the late fashion legend Anna Piaggi, as e NY d an , ar ma r s an rk about what makes certain items valuable, whether for sentimental reasons or her eclectic wardrobe is indexed for a possible exhibition in Milan. g he ge in Yo es et et w record-breaking-auction-at-Christie’s reasons. And we arrived at this simple In addition to these luminaries, we have the exquisite Natalia Vodianova gracing at ima rk wh st Ne t , in All

conclusion: A collectible is, or will become, a classic. our cover, plus a fashion portfolio of loose, modern silhouettes as well as a sparkling ma an s y 9 oor rr nt 01 an

We started in Venice, where François Pinault, the billionaire paterfamilias of fine jewelry story. Also, the legendary photographer William Eggleston shoots his Fl wa de h 10 in r si

Kering (formerly PPR) has purchased the Palazzo Grassi to showcase his world- collection of vintage Canons and Leicas. And we end with 7t ed so re NY e, , on to class collection of contemporary art, which he sees as an antidote for his fear Inès de la Fressange, a French style icon whose keepsakes ain rk y enu nt Sp Yo bu Av of aging. “Art and the relationship with artists,” he admits, “could be a way to include everything from Bambis to a classic Roger Vivier co w d s to re stay younger for as long as possible.” In New York City, designer (and chef and handbag. It’s inspiring to learn the many ways our pos- Ne ,

on New York’s most anticipated residential building. Ready for occupancy 2013. Thir nor can su ti et 5 craftsman) Alejandro Alcocer’s take on collectibles is as risky as it has been suc- sessions reflect and fuel our passions, and how they tell it re 80 Un A limited number of luxury condominium residences available from $17M. St licita disclo c cessful: A search for a rare black Rolex turned into a passion project of procuring the story of who we really are. y, so th ifi or a s ec 350 vintage Rolexes and dyeing them matte black. He now has similar obses- 57 For a private appointment please call 212.570.1700 al mpan sp st ri nor y l Co

sions with Porsches and Hermès bags. South American real estate powerhouse te Kristina O’Neill We WWW.ONE57.COM nt sel ma 57

Alan Faena has surrounded himself with Argentine art, music, architecture— Editor in Chief to om an of r —1 pme fr y fe lo

and nine white greyhounds—on his historic estancia outside of Buenos Aires. We [email protected] 57 an of ws ve r ONE vie De fo an

14 wsj. magazine

0613_WSJ_EdLetter_03.indd 14 4/29/13 10:54 AM 04292013095501 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 dEsign dirECtor Pierre Tardif assoCiatE publishEr/EuropE Claudio Piovesana businEss ManagEr Julie Checketts photography dirECtor Jennifer Pastore brand dirECtor Jillian Maxwell

sEnior Editor Megan Conway ChairMan & ChiEf ExECutivE offiCEr, nEws Corporation Rupert Murdoch MEn’s stylE dirECtor David Farber ChiEf ExECutivE offiCEr, nEw nEws Corporation Robert Thomson fashion MarkEt/aCCEssoriEs dirECtor David Thielebeule prEsidEnt, ChiEf ExECutivE offiCEr, dow JonEs & CoMpany, publishEr, thE wall strEEt Journal Lex Fenwick MarkEt Editor Preetma Singh Editor in ChiEf, thE wall strEEt Journal Gerard Baker sEnior dEputy Managing Editor, thE wall strEEt Journal art dirECtor Tanya Moskowitz Michael W. Miller Editorial dirECtor, wsJ. wEEkEnd Ruth Altchek photo Editor Damian Prado ChiEf rEvEnuE offiCEr, thE wall strEEt Journal sEnior assoCiatE Editor Adrienne Gaffney Michael F. Rooney vp global MarkEting Nina Lawrence Copy ChiEf Minju Pak hEad of digital advErtising and intEgration Romy Newman produCtion ManagEr Scott White vp stratEgy and opErations Evan Chadakoff vp MultiMEdia salEs Christina Babbits, rEsEarCh ChiEf John O’Connor Elizabeth Brooks, Chris Collins, Ken DePaola, Etienne Katz, Mark Pope, Robert Welch Junior dEsignErs Alex Konsevick, Dina Ravvin vp vErtiCal MarkEts Marti Gallardo vp ad sErviCEs Paul Cousineau assistant photo Editor Hope Brimelow vp intEgratEd MarkEting solutions Michal Shapira ExECutivE dirECtor MarkEting Paul Tsigrikes Editorial assistant Raveena Parmar ExECutivE dirECtor, wsJ CustoM studios Randa Stephan dirECtor, EvEnts & proMotion Sara Shenasky fashion assistants Jane Chapman, Sam Pape CrEativE dirECtor Bret Hansen ad sErviCEs, MagazinEs ManagEr Elizabeth Bucceri wEb Editors Robin Kawakami, Seunghee Suh

Contributing Editors Alexa Brazilian, WSJ. Issue 36, June 2013, Copyright 2013, Dow Jones Eva Chen, Michael Clerizo, Jacqui Getty, and Company, Inc. All rights reserved. See the magazine online at www.wsjmagazine.com. Reproduction in whole Joshua Levine, J.J. Martin, Meenal Mistry or in part without written permission is prohibited. WSJ. Magazine is provided as a supplement to The Wall Street Journal for subscribers who receive delivery of Contributing spECial proJECts dirECtor Andrea Oliveri the Saturday Weekend Edition and on newsstands. WSJ. Magazine is not available for individual retail sale. spECial thanks Tenzin Wild 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.

16 wsj. magazine

VALENTINO ACC_WSJ Mag June.indd 1 22/04/13 15:20 0613_WSJ_Masthead_02.indd 16 4/29/13 10:46 AM 04292013095141 anastasia barbieri & alasdair mclellan super woman p. 52 R.

Photographer Alasdair McLellan and stylist Anastasia Barbieri shot model Natalia sheime Vodianova for WSJ.’s cover in an apartment in the Haussman neighborhood of Paris, the city that Vodianova recently made her home. Barbieri was struck by Vodianova’s R hiR

disarming demeanor. “I have worked with her before, at the very beginning of her career, ophe

and was always inspired by her beauty and strong personality,” she says. “Her evolution RisT and her path are exemplary.” ow: Ch R h RT

alejandro cardenas Fou mann. R editor’s letter p. 14 zimme Los Angeles–based artist Alejandro Cardenas illustrated Kristina O’Neill’s first ha RF

Editor’s Letter in March of this year. We hoped it would turn into a lasting collaboration, F and four issues on, the illustrator says he is committed to drawing the ongoing escapades esy o

of Anubis and Bast. “They are an Egyptian god and goddess,” says Cardenas, “but my RT representing them as characters comes from a story I’ve been writing about a woman who

ends up in the afterlife of the gods, where they live out eternity in leisure. I hope to one in; Cou day make this into an animated film.” RT ma j.j. F esy o RT ou

Harf zimmermann & j.j. martin C :

costume drama p. 74 FT om le

Milan resident and WSJ. contributor J.J. Martin describes reporting on the archives of FR the late fashion icon Anna Piaggi: “It was a surreal experience rifling through many of the ow, R

garments I’d seen her wear at fashion shows,” she says, “from multicolored Missoni jackets d R to sweeping Galliano coats and 19th-century crinolines.” Photographer Harf Zimmermann was surprised by the plain, anonymous office building housing Piaggi’s extraordinary ell. Thi collection of clothes. On the contrast between Piaggi’s priceless pieces and the space’s b bland décor, Zimmermann says, “It was our treasure chamber and our challenge.” ow: ow: Todd R ond seC i. Gabrielle Hamilton R bie

the highs of the lowline p. 42 R asia ba

The Lowline—a proposed development that, as a subterranean counterpoint to the T High Line, would create a public space from an abandoned subway station—inspired anas Gabrielle Hamilton to reflect on her vision for New York City’s civic life. The chef F and owner of New York restaurant Prune, and the author of Blood, Bones & Butter, says, esy o

“I see the Lowline as less of a cause, and more as an incredibly exciting, innovative RT idea that I just can’t shut up about. The Lowline is one of those powerfully unique and smart ideas that reups my conviction for toughing it out in this often difficult city.” lellan; lellan; Cou C m R R elle alasdai T F

cHristina passariello & juerGen teller gen R collect it like you mean it p. 58 esy o RT jue F

Photographer Juergen Teller captured François Pinault at his museum, Palazzo Grassi, in : Cou esy o FT

Venice, on the eve of the opening of Rudolf Stingel’s solo show in April. “My experience was RT ou om le C

of complete concentration. I wanted to do my best to give it justice,” Teller says. The Wall R

Street Journal reporter Christina Passariello says, “Pinault rarely gives interviews, and ow: R

while I was with him, his entourage shooed all other journalists away, except from h FT Top Row, F one outlet, Le Point, the French newsweekly. The punch line is that Pinault owns Le Point.” Fi

18 wsj. magazine

0613_WSJ_Contribs_04.indd 18 4/29/13 2:55 PM 04292013135633 Approved with warnings soapbox The columnIsTs WSJ. asks six luminaries to weigh in on a single topic. This month: Intuition.

danielle christopher arianna francis susan steel guest huffington questlove cholle miller

“I think there are two “I suppose my work “Learning to trust my “I’m a staunch supporter “I do not believe in looking “Our culture emphasizes very important com- is where intuition is intuition has been a of rehearsing. I know to at intuition as an instru- the factual, rational, TO BREAK THE RULES, ponents of intuition: literally invaluable. lifelong journey. We most people that seems ment that makes black analytical side of the listening to and hearing In my normal life, when have many voices inside like killing the spirit and white decisions. It’s brain, but sometimes YOU MUST FIRST MASTER that intuition; and then I’m driving my son to us, and we need to learn of intuition, killing the a balance between two does so to our detri- THEM. trusting it. There is school, it doesn’t have to distinguish between spirit of your first reac- instruments. One weighs ment. The ancient another kind of false quite the same impact— the voices of wisdom tion. But I kind of live what’s heavier, lighter, astrologers gave equal intuition based on anxi- except if I saw an alien and the voices of fear. life coloring outside the taller, shorter. That’s the importance to both sides ety, fear, superstition or ship landing on the Plotinus, the third-cen- lines, and coloring very rational mind, and it’s of the brain: the ana- THE GRANDE COMPLICATION IS THE ULTIMATE EXPRESSION even panic, which can freeway, my instinct tury Roman philosopher, meticulously inside the very reliable in this way. lytical and the intuitive. OF THE WATCHMAKER’S ART. AUDEMARS PIGUET HAS be confusing. But quietly would say, Maybe get said that knowledge lines as well. The best The other goes to the They felt that if we were BEEN MAKING SUCH COMPLEX PIECES CONTINUOUSLY listening to our intuition off one exit earlier. has three degrees: improvisation happens depths of the ocean and to ignore or mistrust the SINCE 1882. can serve us well. But there’s nothing opinion, science and illu- when you’ve mastered comes back with informa- intuitive side, we would My intuition has practical about what I mination. So intuition whatever composition tion from under the radar not be able to access all ONE WATCHMAKER IS RESPONSIBLE FOR EACH WATCH IN developed over time. do for work. I guess you doesn’t mean excluding you’re playing. So even of reason and feeds our the tools available to us ITS ENTIRETY – THE 648 INDIVIDUAL PARTS, THE DETAILED When I was younger, I could say it’s entirely facts and data—it means if I’m in a situation when rational process. It’s like a to adeptly navigate life. ASSEMBLY AND THE FINE DECORATION. TO ACHIEVE THIS, didn’t listen to it and intuition. There’s no adding another power- it’s a jam session, when radio that’s always on. We Relying on one’s THEY HAVE MASTERED THE UNIVERSE OF THEIR CRAFT, A rarely trusted it. I have dialogue written down ful source of knowledge. we’re supposed to take either tune in or we don’t. intuition requires TOUR DE FORCE OF EXCEPTIONAL COMPLEXITY. FINALLY, enough faith in myself for the actors, so when Steve Jobs talked the song where it wants The more you grow self- confidence, for now to trust what I interview, I just talk about making room to go, I believe you can up, the more you learn at first you have little THEY MUST TUNE THE CONCENTRIC CHIMES OF THE my instincts tell me with them for 15 minutes to hear subtle things, only elevate an arrange- that you can’t control information to confirm MINUTE REPEATER TO AN INTERVAL OF A PERFECT MINOR and even to look foolish and then ask myself to be able to ‘listen to ment once you know life, that not everything what it’s telling you. THIRD. TECHNICAL MASTERY AND THE EAR OF A CONCERT if others don’t agree. whether I imagine the whisperings.’ It it by heart. I prefer to makes sense—and that But have faith—those SOLOIST. THEHE VIRTUOSO HERITAGE OF LE BRASSUS. The best advice I have they can do this work. takes practice: For me, practice my spontaneity. deep down we are more facts will surface later. ever given my children Improvisation is one it means meditating, With intuition, I have irrational than rational. If you don’t act on the is to ‘listen to your gut.’ of those things that getting enough sleep a circle of five people If you don’t trust your signals of your intuition, Hear it, trust it. Deep in you either can do or and being in nature as who will actually say, ability to evaluate and often those messages our hearts we almost can’t. It’s very much an much as possible. We ‘You need to calm down engage the irrational part will grow louder until always know what effort where everyone all need to experiment a bit, you’re overthink- of a human being, you set they become impossible is right for us and what is playing together. It’s to find what works for ing.’ That instinct has yourself up for failure. to ignore. we should be doing.” not about soloing all each of us. The common saved me. I’m smart If you only go by logi- Some people are the time. There’s no denominator is getting enough to know that I cal plans—profitability, uncomfortable making test, but it’s like sitting away from the everyday will try to talk myself structure, rational con- decisions in the face of down with a musician stresses, like putting out of a good thing, so I versation—you remove ambiguity, but others, and starting to play. away our devices and have five friends whose emotion, instinct and the often those who ascend It’s instantly apparent not being connected to job it is to talk me out of ability to emancipate, to leadership positions, what’s going on and the world 24/7— being sabotaging myself.” evolve and invent. You are very comfortable if that’s going to be a able to distinguish the disconnect yourself from doing so. Those pre- good thing.” noise from the signal.” your best instrument for scient souls know that in adaptability, creativity life we can’t always have and performance.” things ‘just so.’ ”

Guest is a screenwriter and Cholle is a business consultant ROYAL OAK Steel’s new novel, First Sight, director. His new show, Family Huffington is the founder of Questlove is a record producer and the author of The Intuitive Miller is an astrologer and the GRANDE COMPLICATIONMPLICATION will be published in July. Tree, airs on HBO. The Huffington Post. and drummer for The Roots. Compass. founder of astrologyzone.com. IN TITANIUM ANDD AUDEMARS PIGUET BOUTIQUES. 646.375.0807 STAINLESS STEEL.EL. NEW YORK: 65 EAST 57TH STREET, NY. 888.214.6858 BAL HARBOUR: BAL HARBOUR SHOPS, FL. 866.595.9700 20 wsj. magazine audemarspiguet.com

0613_WSJ_Columnists_01.indd 20 4/23/13 1:10 PM 04232013121306 the world of culture & style what’s news. june 2013

the inspiration fashion’s florist Designer raf simons and his go-to florist, Mark Colle, helped usher in the fresh naturalism that swept the spring runways.

BY zeke turner PhotograPhY BY daniëlle van ark

n 1947, Christian Dior dubbed his debut haute couture collection “La Ligne Corolle,” a term borrowed from botany to describe the petal whorls of a flower. Raf Simons followed suit when he took over the legendary French fash- iion house, presenting his freshman couture collection last summer for the brand at a hôtel particulier in Paris between walls blanketed with some one million blooms from 22 different species. “The way I see flowers in relation to Dior is the way you see black in relation to Yohji Yamamoto,” says Simons on the phone from his car one evening, traveling from his home in Antwerp back to Paris after a long Easter weekend. “It’s complete Dior DNA to use flowers.” Flowers are complete Simons DNA, too. While the designer’s early collections for his eponymous mens- wear brand were more techno than tulips (a reaction against his childhood in the Belgian countryside with a mother who was “obsessed with flowers”), the designer has more recently learned to embrace his pastoral roots, first at the helm of Jil Sander and now at Dior. “I find it now almost more challenging to be inspired by things that are very universal,” he says. When it comes to creating the arrangements for his shows, Simons’s secret weapon is 34-year-old Antwerp-based florist Mark Colle. “I would never want to do something with flowers unless it was with Mark, first of all because I think his hand is unique,” says Simons. Without showing him any of the clothes from his first couture show—a romantic-futurist collection with nods to Dior classics like the Bar jacket—Simons summoned Colle to Paris to prepare flower child arrangements for the walls around the runway. The Colle at his Antwerp flower shop, florist chose varieties he thought would resonate both Baltimore Bloemen. with Dior’s history (red roses) and the designer’s modern aesthetic (blue delphiniums and goldenrod). >

wsj. magazine 23

0613_WSJ_MixedPages_1&2_01.indd 23 4/23/13 12:39 PM 04232013113948 WHAT’S NEWS

Colle’s involvement with flowers came about their work?” asks Eric Chauvin, a favorite florist largely by accident. He left school at age 15 and began of fashion clients in Paris and Neuilly-sur-Seine. working in flower shops to make money. Driven by Chauvin regularly works for brands like Dior, and an obsession with kitsch filmmaker John Waters, he helped Colle, along with a team of 50 others, to he moved to the director’s hometown of Baltimore, assemble the now-famous floral wall. Maryland, in his early twenties and continued work- Another top fashion florist, Rambert Rigaud, ing as a florist, eventually meeting Waters himself. spent 17 years as an atelier director at Dior and Yves “I’m sure that’s where my love for tacky, ‘ugly’ flow- Saint Laurent before putting his fashion career aside, ers comes from, why I use flowers that most people opening his own exclusive flower shop, Rambert Rigaud don’t like and try to turn them into something really Fleuriste en Herbe, opposite the Tuileries Gardens pretty,” says Colle about blooms like carnations and this year. One of his first commissions cymbidium orchids. When he later opened his own was to create arrangements for the shop in Antwerp, he named it Baltimore Bloemen. reopening of the Valentino store on It was the shop’s window displays, which can take Avenue Montaigne. The lessons Rigaud Colle weeks to create, that first caught Simons’s eye. learned in fashion have informed “He would do whole moss gardens,” Simons remem- his work as a florist. “Flowers, you bers, “and completely build worlds with people and throw them away,” he says. “You have constructions.” Simons first roped Colle into fashion to start over every week, which is the work when he hired him to design the jaw-droppingly same in fashion. You always have to lavish bouquets—encased within Plexiglass cubes— start again.” that flanked the runway at his final Jil Sander show “Out of all the fashion designers in Milan, in February 2012. I know, not one of them doesn’t like Since that pivotal show, Simons’s interest in flowers,” says Rigaud, who keeps a blooms has proven to be a bellwether in the fashion flower garden in Normandy—much IN FULL BLOOM world. This year, a crisp naturalism prevailed on like Christian Dior once did—at the Clockwise from top: Raf many spring couture runways, with designers opt- house he shares with Nina Ricci Simons, in front of the floral ing for lush romance rather than the austerity that designer Peter Copping. “Raf is wall Colle created for his first Dior couture show; defined the first years of the financial crisis. “Do you actually the first one who brought Simons’s last Jil Sander show; know of a couturier who has no floral inspiration in back flowers.” flowers at Baltimore Bloemen.

FLASHBACK STUDY IN DESIGN ART APPRECIATION PLAY DATE

DURING ITS HEYDAY, the journal Cahiers d’Art cham- pioned Modernism by publishing Beckett, Hemingway and Picasso. Founded in 1929, it flourished for years, eventually slipping from view—until last year, when Swedish collector Staffan Ahrenberg stumbled across its old headquarters in Paris. Now relaunched on a subscription basis by Ahrenberg and coedited by art-world heavyweights Hans Ulrich Obrist and Sam Keller, the first issue in 50 years spot- lights new talents like Cyprien Gaillard alongside established “The pieces are very clean and modern, but there is a playfulness they CAHIERS D’ART (X2) names like Oscar Niemeyer; exhibit. They speak to your inner child,” says 42-year-old Los Angeles– a new monograph celebrates first-generation Cahiers based design sensation Azadeh Shladovsky of her handmade 10-piece artist Alexander Calder. Says De Plus furniture collection, premiering at Jean de Merry gallery in Ahrenberg, “We want to give West Hollywood this spring. Architectural materials like hand-rolled plated an idea of where we’re going, TAKE TWO steel contrast with prankish touches like a hidden cocktail bar and furry but keep a dialogue between From top: The relaunched magazine, with an seat covers, like the smoky brass and polished nickel Patagonian sheepskin today and the past.” Ellsworth Kelly on the SPRING STREET MADISON AVENUE BLEECKER STREET COURTESY GRAY GALLERY; COURTESY —Megan Conway cover; a 1950’s edition. Diva Stools shown above, $6,000 to $6,900 each. —Raveena Parmar CLOCKWISE FROM TOP: © JACQUES BRINON/AP; © FAIRCHILD PHOTO SERVICE/CONDÉ NAST/CORBIS; DANIËLLE VAN ARK; SHORT HILLS TYSONS GALLERIA GRANT AVENUE

24 TEL. 888.685.6856 MULBERRY.COM

0613_WSJ_MixedPages_1&2_02.indd 24 4/25/13 12:18 PM $QQSPWFEXJUIXBSOJOHT 0613_WSJ_MixedPages_3_02.indd 26 “s t was a natural step,”was a natural says a a a Penn, this is far from the usual touch- from far theusual Penn, is this $500,000 Penn’s to J/P h region’s problems. water sanitation and o water works passion project 26 news what’s no exit forno there exit more is me until life have Mr. a mission to assure that international international that assure to mission than death,”than he says. “I’m honored to s the fore, recent themost and example of his efforts brings fashion intothe fold:fashion brings efforts of his and-go and-go a partnership with Giorgio a with a partnership awareness about the disaster remains in remains in awareness about thedisaster aftermath is far from is far over.aftermath o devastating earthquake in h in earthquake devastating images of haiti by by haiti of images r goldberg in honor honor in goldberg photographer hree years have passed since the years havehree the since passed cqua for forces Life program, so joining cqua for Life project, donating whichis ean Penn has made it his personal personal Penn his madeit ean has : actor sean sean : actor ight ean’s work is perfectly in line with the ean’s the with work line perfectly in is rganization. rganization. a for life project. project. life for giving back giving commissioned commissioned bove: a bove: penn in h in penn of the a the of h rmani cqua ollywood activism. “ activism. ollywood aiti jim jim rmani by my side.”rmani . t he aim is to tackle the the tackle to is he aim rmani. aitian aiti, but its but its aiti, scar-winner scar-winner rmani’s t —Minju Pak Pak —Minju here is r f elief elief or or ing a second life. Built in 1980, the 50-foot-diameter fiberglass dome was recently restored and shipped shipped and restored recently was dome fiberglass 50-foot-diameter the 1980, in Built life. asecond ing it to the next venue,” says Rubin. Rubin. venue,” says next it to the eye appearance and name—like a giant golf ball with the dimples popped out— popped dimples the with ball golf agiant name—like and appearance eye Rubin, Rubin, Robert helicopter. site by could could that shelter” a“high-performance to create quest lifelong Fuller’s of visionary inventor and architect architect and inventor visionary and put into storage. “It will go will “It storage. into put and modern architectural artifacts, artifacts, architectural modern to sleep for a year until we ship we ship until for ayear to sleep structure will be disassembled disassembled be will structure which (below), which Art No-touch a former Wall Street commodi Street Wall a former to Toulouse, France, where it’s serving as the centerpiece for the centerpiece the as it’s serving where France, to Toulouse, visions of what the future was was future the what of visions geometry as the C60 molecule molecule C60 the as geometry which wasn’t discovered until until discovered wasn’t which 04252013121721 ties trader turned collector of collector turned trader ties two years after Fuller’s death death Fuller’s after years two bought the dome in 2012 and and 2012 in dome the bought “These were all precomputer precomputer all were “These happens to possess the same same the to possess happens (the Buckminster fullerene), fullerene), (the Buckminster in 1983. After Toulouse, the the Toulouse, After 1983. in Rubin. Indeed, the Fly’s Eye Fly’s Eye the Indeed, Rubin. supposed to look like,” says says like,” to look supposed has paid for its restoration. restoration. for its paid has and delivered to a building to abuilding delivered and and gizmos and tech gadgets gadgets — Alastair Gordon back to future the opened on May 24. Comprised of 61 lens-like openings that give the dome its fly’s- its dome the give that openings lens-like 61 of Comprised 24. May on opened Approved withwarnings 2

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R. Buckminster (“Bucky”) Fuller’s iconic Fly’s Eye Dome is hav is Dome Fly’s Eye iconic Fuller’s (“Bucky”) Buckminster R. 1 innovation with our smartphones, but the latest but thelatest smartphones, our with According to themanufacturer, thebandwill Pinching and swiping may have swiping and Pinching revolutionized the way we interact 1 us from the confines thetouchof from theconfines us pinpoint your motionsbysensingtheelectrical parts withunprecedented precision, creating a the flick of a finger—promise the flick of a free to in May, isapalm-size box that can “see” body 2 in eerilyinstantaneous response times. for release next year, glimpsesthefuture. free-form alternative to thetouchpad ormouse. 3 can read midair movements read midair can like over the screen. —MichaelHsu control its mediaplayer bywaving your hand activity ofyour musclemovements, resulting gesture-controlled devices—which devices—which gesture-controlled screen altogether. altogether. screen

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- 4/25/13 1:15 PM

jim goldberg/magnum photos; keziah jean (passion project); courtesy explorations architecture (innovation); courtesy of vendors (gadgets and gizmos) 0613_WSJ_MixedPages_4_02.indd 28 28 NEWS WHAT’S the meticulouslytended gardens atVersailles are currently hometo Italian artistGiuseppe to show theirworkalongside titans ofFrench history—and theresults are often bracingly SLOWLY BUTSURELY, a retrospective ofcutting-edge furniture designersRonanandErwanBouroullec; meanwhile, subversive.des Musée the inside display on Now WHAT’S OLD IS NEW OLDWHAT’S NEW IS Paris’s classicalmuseumsare breaking ranks, allowingcontemporary artists THE SHIFT THE Arts Décoratifs’s sprawling entrance hallis Jeff Koons’s ﬂashy exhibition atthepalace Water Theatre Grove. “People whomake venerable institution.“These museums who represents Delvoye. “Notonlyis Louis Benech’s revamping ofVersailles’s Michel Othonielandlandscapedesigner Penone’s lowlymaterials contrast with Penone’s Arte Povera sculptures. (Unlike Musée NationaldelaMarine’s maritime- Palais lastyear. To Karmitz’s point:the Karmitz, CEOofMK2agency, which history,” saysgallerist EmmanuelPerrotin, the effort to comeout expect thewidest the opulentsetting.) Next up:artistJean- this agreat honorforeachartist,itisalso the artistWim Delvoye created aseries in 2008, whichkick-started thetrend, military feats. Lastyear attheLouvre, inspired talks ortheMuséedel’Armée’s founded anart-housecinemaattheGrand ambitious performancesaboutGallic offer around a given theme,” says Elisha a door to a new public.” and castlesare treasure chests ﬁlledwith of seditiousinstallations throughout the Musée des Arts Décoratifs. Décoratifs. Arts des Musée Delvoye’s Wim artist Flemish top: From ROMANCE MODERN Ronan and Erwan Bouroullec’s show at the the at show Bouroullec’s Erwan and Ronan of installation the Louvre; the at carpets, polyester-molded from pigs, made Oriental

—AlicePfeiffer $QQSPWFEXJUIXBSOJOHT LANCÔME + ALBER ELBAZALBER + LANCÔME feel-good style!” intimate,” saysElbaz. As a brightgrapefruit blush ows and emotions,” says for Françoisfor Nars, which items to getitems your on—or hands your cheeks, goldoverlay.Cubist $41, includes BoysDon’tCry, be these ultra-limited these be collaborations from to mascara, Elbaz’s col- eyes. “Whenyou apply “It’s subtle:light,shad- This summer, the most difficult designer designer summer, difficult themost This Hardy ofhiscollection Frompalettesshadow “I wanted awhimsical, lection focusesonthe PIERRE HARDY +NARS nails or eyelids, fornails matter—might that eye makeup, it’s very spiked withawarm narscosmetics.com. beauty and fashion’s and beauty best. for thepackaging? $29, lancome.com. TEAMING UP THE BEAUTY OF BEAUTY THE $51 and

Van Noten, whoconsid- $8 $185 for1.7 oz.,Barneys Nude andGoldRoses. Mulleavy, Rodarte’s fall Inspired by“growing patchouli andjasmine woody warm, new his in shadeslikeStocking ing to designerLaura in California,” accord- up nearthebeach neophyte, describes SALLY HANSEN blend ofsaffron, musk, but doesn’tdisturb.” on theFrench manicure, as “a smellthat’s unusual ers himselfafragrance gowns—and anew spin RODARTE + FREDERIC MALLE DRIES VAN NOTEN+ show featured tie-dye stores nationwide. stores each, target.com. —Eva Chen Chen —Eva

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VIEW OF THE EXHIBITION WIM DELVOYE “AU LOUVRE” MUSÉE DU LOUVRE, PARIS, 2012 MUGHAL JAIL, KASHAN & TABRIZ 2010, TAPIS DE SOIE INDIENNE SUR UN MOULE EN POLYESTER (TAPISDERMIE) / INDIAN SILK CARPETS ON A POLYESTER MOLD (TAPISDERMIE) 27 1/2 X 9 3/4 X 19 1/2 INCHES - 47 1/4 X 9 3/4 X 23 1/2 INCHES - 51 1/4 X 25 1/2 X 32 1/4 INCHES © STUDIO WIM DELVOYE, BELGIQUE COURTESY GALERIE PERROTIN, HONG KONG & PARIS; COURTESY STUDIO BOUROULLEC; F. MARTIN RAMIN (NAIL POLISH); COURTESY OF VENDORS xlr h collection the Explore COLLECTION DIAMONDS HAPPY at US.CHOPARD.COM 0613_WSJ_MixedPages_5_03.indd 30 26 on26 hBo Behind Candelabra the h framing device framing pho landscape Famed longthe view cause the 30 show picture last screen time news what’s inlays on either stem. The collaboration follows Misrach’s Misrach’s follows collaboration The stem. either on inlays gold 24-karat feature and glass and cellulose biodegradable of composed are frames The Gold. Black Zero sunglasses: petrochemical-free of pair world’s first the to create \\ Leaning Westward company eyewear with partnered f sunglasses. b Zero the series; m much-younger s boyfriend, s tracing the arc of his relationship with his his relationship with of thearc his tracing an intimate look at famed pianist l look pianist at famed intimate an summate showman’s life. summate inner rom top: a top: rom teven teven israch’s Petrochemical ere, the50-year-old on the con director s n image from from n image oderbergh’s song, cinematic swan . a lack

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4/25/13 4:22 PM

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keepsakes arm candy presents if you collecT ThiS, Hermès customers famously obsess rtists over the eternally in-demand Constance collecT ThaT and Kelly bags. And according to Matt inc. / a Rubinger, director of the luxury acces- rts, hermÈs a The urge to acquire things of value can be Proustian sories category at Heritage Auctions, constance they’re on to something: “You always isual or practical, but the desired end game is always the same: want to buy a rarity—a collectible owning a classic. Still, learning how to collect smartly is hard to get.” Rubinger oversaw delvauX arChitiZer a+awards the most expensive bag ever sold madame takes time and study—and a willingness to take chances. gm at auction, a diamond-studded Below, some educated guesses on luxury items that we Hermès Birkin for $203,150 believe are destined to become timeless. in 2011. The new Delvaux

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are produced each year. e a tH picture perfect In November 2009, the 1963 Andy Warhol silk screen Eight Elvis broke all seat of power of the pop artist’s previous sales records, fetching $100 million (just behind Charles and Ray Eames unveiled their andy warhol Picasso and Munch) at auction. Which mid-century modern masterpiece chair

of coin on the block? “Cindy Sherman,” classic that’s been the subject ray cindy says Amy Cappellazzo, chairman of of countless books, exhibitions sherman e ames postwar and contemporary lounger and shelter magazines ever development at Christie’s. since. How to replicate such “Her work is available in the a cultural coup with a lounger? market at many different price Enter designer Tom Dixon, whose points.” Take the photograph tom diXon 2007 Wingback chair and footstool wingBack at left, Untitled #96—the ($10,000), a modern interpreta- highest-selling photograph tion of the 18th-century gentleman’s of 2011—which sold for $3.89 chair—made with solid birch and million at a Christie’s auction stuffed with layers of natural cotton

to art dealer Philippe Segalot. and boar bristle—is already a favorite 1963 silk screen ink, silver Paint and sP

of interior designers and modern lvis E furniture aficionados. tHe artist and metro Pictures; courtesy oF vendors Eight F

road tested ourtesy o c , With the summer launch of the 2014 timeless appeal (1981) F-Type (from $69,000), Jaguar is

betting it can double down on the The Cartier Tank is one of the most Ed #96 cartier lust engendered by its classic racer: recognizable watches ever made. In tank Untitl

the shagadellic E-Type. According to production since 1917, the classic Ges (1966 JaGuar); andy warHol,

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of design, Ian Callum, “The excite- e-t ype Cartier himself—has maintained its cul- Breguet erman, type XXii H ment the E-Type created in its time is tural and monetary value for decades (but

something we wanted to recreate in Jaguar keep an eye out for fakes). In contrast, the indy s c

f-t ype H via Getty i our time, but with a sports car that is new $35,500 Breguet Type XXII derives atc ork; perfect for modern day.” A bold its worth from scarcity: Watch expert m Celebrating the world’s most

statement considering and WSJ. contributing editor Michael new y a 1963 X-KE (as the Clerizo says the Swiss horologists ), ars

E-Type was known “will not make many of these, so its omme/Paris stateside) is in rarity in the future is assured.” The H the collection of rose-gold and fly-back chronograph

The Museum features also make it tempting bait ts society ( GH impressive design ri of Modern Art. for watch junkies. Hubert Fant 6AO1330

0613_WSJ_MixedPages_6_04.indd 32 4/26/13 11:16 AM 04262013103238 Approved with warnings Marketing Content provided by arChitizer

Hello Tomorrow

Photography by © Marc Lins Photography Dubai inspires new connections Fly Emirates to over 130 destinations around the world. Make an unforgettable stop in Dubai along the way and wildspitZbahn discover a place where inspiration truly takes flight. BAUMSCHLAGER HUTTER A cliffside café that lets you dine at the edge of the Alps

TO P By Samuel Medina TEN + House in Travessa do Patrocínio Faced with the intoxicating beauty of the Austrian precisely bent and fitted together to accommodate winners RA\\ Alps, how can any man-made structure compare? the architecture’s curves, helps deflect the turbulent For Baumschlager Hutter Partners, they just can’t. The winds that rap the sides of the building. + Åre Solbringen design firm has recently completed the Wildspitzbahn, The lodge primarily functions as the terminus Waldemarson Berglund a new café and ski lodge perched at the edge of an for a brand-new cable car system — an airborne alpine summit thousands of feet in the air. Here, high network of 618-person gondolas that spans the + Burj Khalifa up in the stratosphere, they’ve constructed a low- 1,080-meter gap between the valley and the peak. Skidmore, Owings & Merrill lying, self-effacing retreat that recedes from rather The hull of the station stores the ski lifts, which ferry than challenges the stunning views of the Tyrol’s up to 2,185 skiers from the snowy valley to the lofty + La Muna highest mountains. The architects speak of their lounge and back, every hour. The entire journey is Oppenheim desire for the station to “keep a low profile” — not completed in remarkable time, just under six minutes. Architecture+Design something that most of their peers would wish upon That means ski-shod and snowboard-strapped guests their own buildings. To ensure this, they embedded traveling upwards don’t have to wait long for the + WB ASFINAG the flying saucer-shaped chalet into the peak’s side, warm respite of Café 3,440 — so-named after the peterlorenzateliers nimbly balanced along the precipice and positioned coffeehouse’s vertiginous heights — nor is there in a way that simultaneously “completes” the cliff face much lag time between finishing up a cappuccino and + O-14 and, during snowfall, disappears under a thick blanket taking to the slopes again. RUR Architecture PC of fresh snow. Inside, oiled oak floors — specced and installed The Wildspitzbahn’s compact, streamlined form by local craftsmen — and smart timber furnishings + Collapsable Workstations was determined by both the peculiar site conditions form a negative image of the frostbitten exterior. Taylor and Miller (its extreme altitude, the ice shelf foundation, the The café is bounded on one side by expansive, high winds prevalent in the area) and programmatic curving panoramic glazing, with large full-height + Hôtel Americano considerations. Given the terrain and the glacial picture windows to the front and rear that let’s in as TEN Arquitectos mountain floor, the pod-like structure had to be much sunlight as possible.A floating wraparound anchored to the bedrock at minimal points, resulting observation deck encircles the hall letting visitors + Wildspitzbahn in the station’s gentle, if still sprightly, liftoff. The soak up the majesty of the Alps before them. Don’t Baumschlager Hutter construction site was so small that nearly all of worry, a tall glass wall will keep you from stumbling the building components had to be prefabricated over the precipice while trying to take that self- + Saefellsstofa before being helicoptered to the mountaintop and portrait. emirates.com/usa Arkis architects assembled on location. The aluminum cladding, 6AO1330

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Photography by Emile Dubuisson

Collapsible worKstations TAYLOR AND MILLER Filing cabinets for people are the cubicles of the future

By Lamar Anderson

Nothing symbolizes the soullessness of the daily grind quite like the Taylor and Miller took the tracks and cranks straight from the Pipp office cubicle. And thanks to the recession, and consequently a volatile Mobile filing system — a staple of office environments everywhere. workforce, these workspaces have gotten smaller and smaller — from “We asked them if we could have their filing system without all of the 500 to 700 square feet in the 1970s to a paltry 200 square feet today. files,” says Alex Miller. “Although they thought we were a bit nuts, they Meet the world At their worst, these shrunken spaces can feel like storage lockers, let us buy just the tracks, the cranks and the associated hardware.” rather than workstations, for their inhabitants. The system’s seven workstations feature foldout desk tables But for the designersatNew YorkfirmTaylor MillerArchitecture and storage cubbies finished in neutral carbonized bamboo — a at 40,000 feet and Urban Design, the idea of a storage system for workers contained welcome, aesthetically pleasing alternative to the plastic or metal the seeds of inspiration, not punishment. It all started when cubicles of yore. The cubby style alternates between a recessed hole Some of the most memorable moments on Earth aren’t happening Manhattan-based nonprofit Environmental Grantmakers Association and a projecting box, allowing each desk to fit like a puzzle piece into on Earth. Find inspiration in exclusive lounges, refresh in Shower Spas approached the architects about creating a flexible workspace its neighbor. When it’s time for an event, EGA can fold up the desks and find sanctuary in your Private Suite. Hello to the Emirates A380, that could accommodate a fluctuating number of workers and still and compress the whole setup back into a single, unobtrusive box — now departing twice daily from JFK. leave room to host events. The catch: Taylor Miller only had 1,000 no lifting or awkward shuffling necessary. “You can literally move the square feet to work with. It seemed like a stretch, but the designers’ crank with a single finger,” says Miller. solution was brilliant: a clever series of collapsible workstations, which Taylor and Miller’s shifting office furniture might just sound ended up taking the Jury Prize in the Office Interiors category of the the final death knell for the cubicle — or at least replace a good deal Architizer A+ Awards. of them. As cities become denser, space becomes scarcer, which Taylor and Miller’s sleek, unobtrusive workstations utilize the means not only smaller living spaces (see New York City Mayor Michael mechanics of an existing collapsible filing system to create office Bloomberg’s micro-apartments), but smaller offices too. Furthermore, Diagram by Taylor and Miller partitions that move to allow for reconfiguration of offices. They the nature of the workplace itselfis changing, withcompaniesrelying Hello Tomorrow operate just like those old-school mobile filing cabinets, which are more and more on freelancers part-timers, and telecommuters. designed to roll apart on a track at the turn of a hand crank. (Indeed, All this means that you can expect a lot more of Taylor and Miller’s they look like an enormous filing cabinet when collapsed together.) flexible, adaptable and compact office furniture in the near future. 6AO1330

Shower Spas and Private Suites available in First Class. Onboard Lounge available in First and Business Class. leading the conversation the exchange. june 2013

7:14 a.m. eats breakfast Homemade vegan muffins (she keeps to a strict vegan diet) and fresh fruit, while reading the Washington Post.

tracked sheilA johnson A TV pioneer has parlayed her fortune into a consortium built on personal passions.

BY JeffreY PodolskY PhotograPhY BY adam golfer

iddleburg, Virginia, is an unlikely woman to hold a stake in three professional teams: the soccer game, as well as this fall’s feature The Butler, power hub. But when Sheila Johnson NBA Wizards, WNBA Mystics and NHL Capitals); lux- a star-studded historical drama set in the White established a base of operations there ury resorts owned by Salamander Hotels & Resorts, House—Johnson will host the first Middleburg Film on a 200-acre horse farm, she created including the top-ranked Innisbrook Golf Resort and Festival in October, another draw for visitors. an entire industry fueled by her own Spa near Tampa; private jets (ProJet Aviation); and a When Johnson—a no-nonsense, 5-foot-1 mother Mpursuits—in a countryside best known for fox hunts. line of scarves. of two adult children, remarried to the federal As cofounder of BET (launched in 1980 with her Although she’s always supported women’s ath- judge who presided over her divorce—recently took then-husband, Robert; they divorced in 2002 after letics, her investment in sports was meant to create up golf, she discovered that most private courses selling the first African-American cable network to exposure for the Salamander brand, which she takes were closed to her. So she bought one, and became a Viacom for $3 billion), Johnson helped shape its pro- canny measures to promote. An airport in Leesburg, member of the U.S. Golf Association’s executive gramming, producing an Emmy- winning show that Virginia—housing ProJet planes for charter—con- committee. Now Innisbrook is the only top-ranked targeted teens with motivational messages. “We saw veniently allows jet-setting guests access to the course in the country with an African-American pro. an opportunity to give African-Americans a voice,” Salamander Resort & Spa, opening this August. And “I never had access to golf until I owned a resort,” she she says. Today, her portfolio encompasses sports as a longtime movie lover—she produced Kicking says. “You have to diversify to grow. I’m not afraid to organizations (she is the only African-American It, a documentary about the Homeless World Cup take risks and fail.” >

wsj. magazine 39

0613_WSJ_Tracked_04.indd 39 4/29/13 10:45 AM 04292013095157 the exchange tracked

5:00 a.m. 10 Wakes up minutes of Power Plate Dons an Illinois (her alma mater) workout. Several Wizards players sweatshirt and walks her golden- doodle, Max, on the grounds of also practice the vibrating exercise. her Virginia estate. 30 show-riding horses housed in her stables. 4,000 films 10:17 a.m. in a private collection kept in her stops at her stables personal screening room. to see her daughter’s show horse, Just Add Water, en route to her daily visit with her 89-year-old mother, who lives in a private cottage 68,886 on the property. yards of fairway on Salamander’s golf courses. 12:32 p.m. Tours the construction site 30 of her Salamander Resort years & Spa (formerly Pamela Harriman’s estate) Time elapsed since she acted with William and makes notes on the Newman Jr. in an amateur theater production 3:26 p.m. plans, which include and then re-met him when he presided As she examines converting the original over her divorce. He asked her out after the the ProJet fleet, director Lee Daniels stallion barn into a case settled, and they are now married. phones to update her on The private dining room. Butler. “Think Oscar,” she urges. 4 documentary films produced The Butler will be her first feature.

30 varieties of organic vegetables grown on her farm, many of which supply a local gourmet market owned by Johnson. $7,000,000 donated to Parsons school of Design The school’s Sheila C. Johnson 7:00 p.m. Design Center houses two galleries. Wizards vs. Knicks Watches the game from the owners’ box with Mike Thibault, head coach of the Mystics—before lamenting her 24 team’s 4th-quarter collapse. planes in ProJet’s fleet.• BR01-92 AIRSPEED . BR01-97 CLIMB . WWW.BELLROSS.COM 40 wsj. magazine

0613_WSJ_Tracked_04.indd 40 4/29/13 10:46 AM 04292013095157 THE EXCHANGE

ESSAY You discover FEW YEARS AGO I was at a dinner party at the summer home of the investment THE HIGHS OF THE manager Boykin Curry when a fellow your client loves tequila. guest, James Ramsey, quietly opened LOWLINE his laptop at the table. We had briefly Amet in the kitchen earlier, when I was setting down a Perfect. An acclaimed chef and author considers a proposed park that will whole Serrano ham from Spain—my gift to the hosts. revitalize Manhattan’s underground in more ways than one. (Ramsey was introduced as “an architect,” but we ended up speaking of the cured hams his family makes on their farm in Tennessee.) On his computer he pulled up photographs, one after the other, of abandoned BY GABRIELLE HAMILTON underground switch stations, trolley turnarounds, ILLUSTRATION BY PATRIK SVENSSON sealed-off and derelict subway depots parceled under New York City—some 13 scattered acres of vaulted ceilings, tile work and embedded track curving off into dark tunnels in the distance. The spaces were so immense and cavernous that the workers and trolley cars in the photos looked like Lego pieces. Then he clicked on one, heavily tagged with graffiti, with vertical iron Y-beams like trees. “It’s been sitting there unused for 60 years. We just walked around in it last week,” Ramsey said. I could have cleared a path through the wine bottles strewn across the table and crawled into the screen. “Yeah,” he said. “Incredible, right? This is the Williamsburg Bridge Trolley Terminal, an abandoned full acre under Delancey Street, just a few blocks down from your place,” he said, referring to my East Village restaurant, Prune. “We’re hoping to reclaim the derelict space and transform it into a park. Kinda like the High Line. But, well, like nothing else in the world— and underground.” Modeled after the innovative Promenade plantée in Paris, the High Line park in west Manhattan is built on an elevated train rail repurposed and transformed for public use—a major green space incorporating the very plant life that was already growing wild there. Opened in 2009, it brings a new experience to living in the city that feels thrilling, not shameful the way the ‘new’ experience of shopping at the Kmart in Astor Place felt when it opened in 1996. Where there were once grown- over tracks, Friends of the High Line put one of the most talked-about, visited and culturally referenced parks in the world. Ramsey was talking about all of that, but underground, in a strange, ironbound space that could still be a park even when it rains. Ramsey then showed us the technology he’d invented, by which he could harness actual sunlight through remote skylights and, through advanced optical technology, bring it to places previously incon- ceivable—its energy still powerful enough to allow photosynthesis to occur. It turned out this guy in flip- flops—the one I’d met in the kitchen talking knowledgeably about curing hams—had also worked as an engineer for NASA. Soon, he hoped, anyone would be able to walk three full city blocks underground—from New York’s Clinton Street to Essex Street—while venturing through grass, trees, moss Hand-selected 100% Weber blue agave. The world’s finest ultra-premium tequila. and sunshine. He and his cocreator, Dan Barasch, were going to make it happen. The Lowline. I thought it was just a kind of hyperbolic fiction, all that wine talking. simply perfect. But it made for an unforgettable dinner party. > simplyperfect.com

0613_WSJ_Lowline_02.indd 42 4/29/13 10:44 AM the exchange essay

anyone would be able to it’s no fun on your own walk three full city blocks underground while venturing through grass, trees, moss and sunshine. –gabrielle hamilton

notes from tHe UnDerGroUnD Right: A now- dismantled on-site model of the Lowline. Left: A section of the park’s remote skylights.

The lingering impact of Ramsey’s photos of those of it. To meet others like themselves. To shape it. million square feet of mixed-use, who-knows-what’s- abandoned subterranean spaces is how they revealed And this drive was the other unmistakable, linger- coming development. The request for a proposal ne

a still-salvageable vestige of New York, something that ing feeling I’d gotten from Ramsey and his laptop. has been called, deadlines set. Because of this, what LI hasn’t yet been torn down and turned into the generic It may not have been like 30 years ago, when the happens directly beneath that area, in the forgotten ow and the banal. It was like seeing a startlingly vivid cool kids who would shape the future met each other underground, starts to become very interesting. apparition of an evanescent and vanished city that I Monday nights at the Pyramid Club on Avenue A or,

still mourn the loss of, in a way. It was the New York of later, sobering up with blintzes and coffee at the Kiev n the intervening couple of years since that Rtesy the L my coming of age in the late ’70s and early ’80s—the as dawn broke. But Barasch, 36—the computer-game- summertime dinner party, Ramsey and Barasch’s

New York City of my generation. playing ultra smartie, who’d worked at Google and also vision of the Lowline has become anything but son cou It was living in a walk-up, with a decades-defunct for New York City government and who can speak in fiction. There’s been a Kickstarter campaign buzzer. Friends hollering up from the street and you easy, fluid paragraphs about “silos of knowledge” and backed by 3,000 supporters. The $150,000 they throwing the key down in a balled-up sock. In the swel- “curating global intelligence”—had met Ramsey, 35, raised online financed a full-scale model, with work- Ron R. neI i me

tering summers you hung out on the fire escape, took here in New York, through a friend. Their work reflects ing remote skylights and parabolic dishes, which the cA cold showers in the tub in the kitchen and reached your the politics and aesthetics of their generation’s sen- duo and their dedicated team exhibited for a month. wet hand through the curtain to turn off the burner sibility, which is all about being green, recycling, The campaign paid for a robust engineering study in under your hissing stove-top pot of Café Bustelo. In repurposing and community building through tech- concert with Arup—the design group behind such suc- ne; Photo by

the booths at Jerry’s 103 on Second Avenue, you met nology. But the connection to my generation—and to cesses as the Sydney Opera House. There’s been legal LI

graffiti artists, studio artists and introverted writers all New Yorkers, both permanent and transient—is vetting; a budget and a business plan; and endorse- ow who had daytime proofreading jobs and drove cabs that Ramsey and Barasch’s inclination toward tech- ments from community board #3, the City Council, the at night and weird geeks who were screwing around nology, green space and community stands tall, but State Assembly and the New York State Senate. What

with laser discs and sound mixers. You hauled lawn not so tall as to cast in shadow their dedication to art, they most need now—apart from the $55 million it will Rtesy the L chairs onto the abandoned elevated train tracks at the urban and the gritty. take to build—is for the MTA to let them have the space.

Tenth Avenue and 29th Street (where the High Line “New York is a city that doesn’t fetishize its own It may take another 5 years, or 10, but the os cou

now runs) and had makeshift parties in the gravelly history,” says Ramsey, “which is a good thing, or else Lowline, with its even spread of political, financial ALL ev grown-over grasses on the trestle bridge, bathed in it would feel like Charleston, Boston or Philadelphia— and community support, is poised to become the the orange-black air of urban nighttime. captured in amber.” “But in the absence of cool, edgy New Yorkiest thing to happen to New York City since THE ULTIMATE MATCHMAKING SERVICE I don’t know if it was better, or if it was any- initiatives like this one,” observes Barasch, “what’s the Double-Dutch tournament at the Apollo Theatre. one else’s ideal of the city, but it was this: uniquely left to move in is 7-11 and big box stores.” The Lowline—smart, edgy and unique—is one of itself. It was uncommon, gritty and urban. It felt like Aboveground, the neighborhood around Delancey those Only–in–New York ideas, a resuscitation of the Global Headquarters: 53 Davies Street . Mayfair . London . W1K 5JH . +44 (0)20 7290 9585 nowhere else in the country and was not easily mis- Street is about to change dramatically. The city’s near-dead truth that New York City is a city like no taken for anywhere but New York City. The smartest, Economic Development Corporation is finally mov- other. And they won’t have to tear anything down GENEVA . BRUSSELS . MONACO . MILAN . PARIS . HONG KONG . LOS ANGELES . NEW YORK

hungriest and freshest kids moved here to be a part ing forward with the Seward Park project—over 1.5 to prove it. fRom Left: Photo by LIzzy z • www.grayandfarrar.com

44 wsj. magazine

0613_WSJ_Lowline_02.indd 44 4/29/13 10:44 AM 04292013095314 Approved with warnings the exchange cassina.com/storesamerica

making it tHe Remixologist A collector, cook and craftsman, Alejandro Alcocer has turned his passion for certain prized keepsakes—Rolexes, Porsches, Hermès handbags—into an unconventional yet thriving design business.

man of many talents Alcocer at home in New York, with his Donald Judd– inspired chairs and handmade stereo equipment.

BY david colman photographY BY tim BarBer

are is the collector who crosses over his passion for collecting. The scion of a well-to- “It was made in the late ’60s for the Royal Navy from hunting and gathering their favor- do family, born and raised in Mexico City, the tall, Station in South Africa,” he says. “There were only ite things to actually making them. One genteel New York transplant has a restaurant and 500 made.” notable exception: Alejandro Alcocer, catering business; makes leather goods, furniture In 2005, after years of searching for the timepiece, who has achieved minor celebrity as a and soap; and puts together stereo systems out of Alcocer had a sudden realization: Why not take one of “Toot” by Piero Lissoni and Cassina. Design ﬁrst. Rkind of un-designer, taking cherished objects—like vintage parts. Alcocer says he began collecting Rolex his own Rolexes and have it professionally blackened? various rare Rolex watches or Porsche 914s from the watches at an early age (as children are wont to do As he was looking into how he might achieve this goal, Lissoni’s elegant design combined with the skilled craftsmanship of Cassina come together to bring you Toot. early ’70s—and tweaking them just so. In other words, when bubble gum cards are scarce). Developing into another idea occurred to him. Why make just one? Why A modular system with an aluminium frame, feather padding and a choice of seat depths allowing many different permutations.Availablewithorwithoutarmrestsandwithorwithoutbackcushions,youwillalwaysfeelathome he takes the special, and makes it special-er. It’s more a connoisseur, he found himself fixating on a single not create a limited-edition of all-black Rolexes and with Toot. a coup de plume—the stroke of a feather—than a coup elusive quarry: an ultra-rare black Rolex Military sell them? So he procured 350 vintage Rolexes—seven de théâtre, but sometimes a feather is all you need. Explorer, the only all-black watch that Rolex ever different models all made before 1990—and had them What’s interesting about 45-year-old Alcocer’s produced, according to Alcocer. [Rolex would neither dismantled by a watchmaker he knew in Geneva. Then, design practice is how it led out of, and blurs into, confirm nor deny this claim.] he had all the outer stainless-steel pieces—case, > New York Soho ph. 212 228 8186 - New York Midtown ph. 212 245 2121 - Los Angeles ph. 310 278 3292 - Miami ph. 305 576 3636 Chicago ph. 312 335 3855 - San Francisco ph. 415 565 7200 - Washington ph. 202 333 1166 - Boston ph. 617 451 9400 - Dallas ph. 214 748 9838

46 wsj. magazine Quick Ship: Delivery in 10 days, see product offering at www.cassinausa.com or call 800 770 3568

0613_WSJ_Alcocer_02.indd 46 4/29/13 10:44 AM 04292013095140 the exchange making it

crown, bezel and wristband—carbon-coated a deep design repertoire in other directions. Three years matte black. Reassembled, the almost lethally under- ago, he started working on restoring a limited stated watches were an immediate hit. The consummate edition of another one of his favorite collectibles: the collector had created a consummate collectible. Porsche 914. (Alcocer owns six of the 914s, an early-’70s Alcocer has always had a precocious entre- collaboration between Porsche and Volkswagen preneurial bent. As a teenager, he helped found a which, despite high hopes for it to become the Porsche skateboard distribution company, Balskate. At 18, of the people, underperformed on the sales floor.) he decided to try his hand at cooking, so his “It was a marketing disaster, but the car itself has Spanish-born grandmother helped him get amazing history,” says Alcocer. “I’ve always had a per- internships at restaurants in Spain, first at the sonal relationship with it because my uncle used to acclaimed Arzak in San Sebastian and later at race cars and had a GT version. He took me on a lap race DESIGNED TO La Gamella in Madrid. track in this car when I was around 6 years old. And of “I was just cooking because it was fun,” Alcocer all the Porsches, it is the one that drives the best.” says. “I didn’t really have anything else to do.” As an enthusiastic collector of vacuum-tube and IMPECCABLE STANDARDS After a couple of years at the stove—inter- vintage stereo components, Alcocer has also recently spersed with jaunts back and forth over the begun building custom stereo systems, based around Atlantic—Alcocer started cooking and con- D-I-y etHIC vintage amplifiers. Having also designed various sulting for various restaurants in the U.S. and Left: A wood table furniture pieces over the past 15 years, he started Europe. At one of these, California Café, a bistro from Alcocer’s rethinking the famed, starkly rectilinear furniture furniture line, on in San Diego, Alcocer, 22 at the time, was badly display at his studio designed and built by Minimalist artist Donald Judd, injured in an explosion from a gas leak. He spent in New York. Above: using similar materials and the same box-centric the next three months in a coma, finally waking A leather chair of aesthetic while trying to make it more functional his making. after electroshock therapy—but with no mem- and comfortable (though, with apologies to ory. Almost improbably, he rebuilt his past with the Judd-ites, you could scarcely make that stuff help of what he describes as “a lot of different natural less comfortable.) Alcocer likes to envision medicinal work with help from different indigenous his furniture in Marfa, Texas—the site of groups all over the world.” But if memory wasn’t Judd’s famed Chinati Foundation and a major there to greet him when he awoke, something else art-world destination. was. “I just became really creative,” he says. “I wanted Alcocer’s also collects and researches to make the most of my life, so I started to design. the Porsches of the handbag world: Hermès I began to build things, and that brought me eventu- Birkin and Herbags. Studying the covetable ally to New York.” accessories gave him a keen appreciation For most of the next decade, Alcocer continued his for the fine points of leather design. And, peripatetic life in the Americas, Europe and Africa, true to form, when he couldn’t find a bag traveling, learning and dabbling. His only notable he liked as a gift for a friend, he decided to achievement, he says with a chuckle, was amassing make his own, coming up with an entire line a sizable collection of mid-century chairs. Even after of archly simple, high-quality leather bags landing in New York in the ’90s and taking up resi- with a unisex flair. dence in a Tribeca loft, Alcocer remained unsure of It sounds like a lot—and judging from his what to do with his creative energy. the paperwork for all these various projects 2013 NORTH AMERICAN CAR OF THE YEAR. When you’re built “I had a large collection of chairs, a large loft, and splashed across Alcocer’s desk in his Lower to be the world’s best, you tend to build quite a following. VanityFair.com I had some money in an account,” he says, and “the East Side office, across the street from Brown only thing I liked to do was cook.” Café, it looks like a lot, too. The schedule described the all-new ATS as “...the car we’re most excited about.” While plotting his next steps, Alcocer began at Daydreamer Projects, his aptly named Car and Driver said,“...the ATS is the real deal...” And perhaps most expanding his circle of friends by cooking casual umbrella company for all these ventures, is impressive of all, it was the only car in the world to be named the 2013 farm-to-table Sunday-night dinners, for which the as exhausting as it is varied. guest list got bigger and bigger. One of these guests “I am following so many directions. Some North American Car of the Year. Introducing the all-new Cadillac ATS. worked with photographer Patrick Demarchelier and of the projects work better in one place than asked if Alcocer would cater one of their shoots. He others. I am here two weeks out of each agreed, and a business was born, eventually trans- month and another two weeks I am away. I forming into the Lower East Side’s Brown Café. take three months off a year. I spend one and a half “We all used to hang out there,” recalls art- to two months in the winter in Switzerland snow- ist Nate Lowman, whose gallery, Maccarone, was boarding, and I spend a month in Mexico, in August, located around the corner from the café a decade surfing,” says Alcocer, who has two sons by different ago. “Alejandro really took care of us,” Lowman mothers: 8-year-old Joaquin Cristobal, who lives in adds. “He’s so generous—the kind of guy who’s New York; and Constantin, 11, who lives in Berlin. (He bought you three drinks before you realize it—and is unmarried.) “The rest of the time I am either in fun to talk to. He always has these amazing stories furniture repairs, fashion week for the handbags, in about whatever he’s into at the moment, whether HomemaDe research for the soaps or at trunk shows.” luxury it’s surfing or the watches, or whatever new things Above: One of Who knows where it will all lead? For Alcocer, he’s excited about. I love that there’s this guy out Alcocer’s custom the ultimate destination is less important than the there who follows his own desires in a creative way stereo systems. next stop on his itinerary. Now that he has started Right: His retooled, rather than a consumptive way.” carbon-coated creating instead of just collecting, the world is his At the same time, Alcocer was expanding his all-black Rolex. Oyster Perpetual. •

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ELBLAD SS A H eden INTO w 8 S 4 S 9 I N C E 1 SUMMer

ROLE MODEL Natalia Vodianova wears www.hasselblad-lunar.com a Céline dress, $3,600, shrug, $900, necklace, $730, barneys.com.

0613_WSJ_WellOpener_02.indd 51 4/25/13 11:37 AM 04252013103759 Super woman

model natalia Vodianova has never done things the usual way. She became a mother of three and a philanthropic powerhouse, all while conquering the fashion world.

by derek blasberg photography by alasdair mclellan styling by anastasia barbieri

uring fashion week this past March in Paris, Natalia Vodianova presented to Íngrid Betancourt and Elizabeth Smart, both women who have “dem- maintained a schedule that would test anyone’s stamina: She was onstrated extraordinary strength and courage in the face of adversity” and use the guest of honor at a surprise party for her 31st birthday, hosted this “experience and influence to effect positive change.” Von Furstenberg met by her boyfriend, Antoine Arnault, son of LVMH founder Bernard Vodianova when she was 19 years old, during her first season modeling in New York Arnault. The next night she hosted a party to launch online retailer in 2001, when the designer snapped her up to open and close her catwalk presenta- DNet-a-Porter’s sale of a shoe collection she designed for Russian retailer Centro to tion. “I immediately loved her. She was never like a young child, always a grown-up,” benefit her Naked Heart Foundation, a charity she founded a decade ago to help says von Furstenberg. “Very early on she took her life in her hands and decided that disadvantaged children in her native Russia. That Sunday she woke up at 6 a.m. to unless she controlled it, she couldn’t succeed.” run the Paris half-marathon, also in support of the Naked Heart Foundation; did a Vodianova’s rags-to-riches life story reads like something only a screenwriter Givenchy fitting; came home to feed lunch to her three children; and then headed off could imagine: One day she was selling oranges at a fruit stand; then she was sign- to get into hair and makeup to close the Givenchy fashion show at 7 p.m. Among the ing an exclusive multimillion-dollar contract with Calvin Klein. Born in Nizhny front-row onlookers were Kanye West, Kim Kardashian, Jessica Chastain, Arnault, Novgorod, an industrial town 260 miles from Moscow, she started skipping school Vodianova’s 11-year-old son, Lucas, and her Russian grandmother, who clapped at the age of 11 to help support her single mother, Larissa, and autistic younger wildly as she watched her granddaughter sashay down the runway for the first time. half-sister, Oksana. (Vodianova’s father walked out when she was a toddler, leav- That Vodianova is still landing prime modeling jobs now that she is on the far ing her mother to work three jobs, including selling fruit at a local market. At first, side of 30 is surprising. That she simultaneously established herself as a philan- Vodianova helped her before taking over the duties completely.) “I used to sell thropic force even more so. Historically, supermodels have waited until their fruit on the street in minus-25-degree Celsius weather, outside in the open air, for bookings diminish to turn their efforts to charity and other second careers. 12 hours straight. I would come home and scream in pain as my fingers and my toes FRENCH EXCHANGE Vodianova still has lucrative contracts with Guerlain and French lingerie brand were literally defrosting,” says Vodianova, now amid much plusher surroundings Vodianova is photographed in her Etam, for which she also designs her own collection. It’s a wave she could ride until in a Paris apartment overlooking the Invalides she shares with Arnault. Resting new hometown of she washes up on fashion’s more obscure shores, but instead, Vodianova has always up the day before the marathon, she’s curled on a couch wearing a cap-sleeved Paris, where she lives sought to establish herself as someone with interests and ambitions above and sweater and black-and-white-striped trousers. Flipping open her agenda, she with her boyfriend, Antoine Arnault. Louis beyond the runway—or as her friend designer Stella McCartney puts it, she’s been shows me a photograph from her childhood. “I always had big black circles under Vuitton body suit, “well-rounded” from the start. my eyes, which were swollen. You can literally see that burden in my face.” $600, louisvuitton.com, This spring, her efforts were acknowledged with the Inspiration Award at the Vodianova was determined to make a better life for herself, and in 1999, when Givenchy by Riccardo Tisci skirt, $1,280, annual DVF Awards—an honor that designer Diane von Furstenberg has previously she was 17, a boyfriend suggested she attend an open casting call. The model scout barneys.com, Céline necklace, $650, barneys.com, Natalia’s 52 53 own Cartier ring.

0613_WSJ_Natalia_02.indd 52 4/25/13 2:31 PM 0613_WSJ_Natalia_03.indd 53 4/25/13 5:25 PM 04252013133310 04252013162617 “WE didn’t havE thE timE to drEam. i rEmEmbEr having English lEssons in school and thinking, Why on Earth Would i lEarn anothEr languagE?” –natalia vodianova

CLOSELY KNIT For Vodianova, family always comes first. Even as a teenager, she worked to help support her single mother and her autistic sister, Oksana. The Row sweater, $4,490, saks.com, Only Hearts by Helena Stuart char- meuse, $265, onlyhearts .com, Christian Louboutin pumps, $1,175, 305-576-6820, Dior Fine Jewelry ring, price upon request, 800-929- DIOR, Vodianova’s own Cartier ring. 55

0613_WSJ_Natalia_02.indd 54 4/25/13 2:32 PM 0613_WSJ_Natalia_03.indd 55 4/26/13 11:15 AM 04252013133310 04262013101617 immediately recommended her to an agency in Moscow. At first, her mother was reluctant to let her go because she was suspicious of the scout’s intentions and ReR/ ReR/ depended on her help at home. According to Vodianova, “We didn’t have the time heu heu

sC sC to dream. I remember having English lessons in school and thinking, Why on Earth e e would I learn another language?” Yet Vodianova’s grandmother was encouraging, ARI ARI h h and the family decided she could give it a try. AC AC From Moscow, Vodianova was immediately sent to Paris. Her agency gave her ; © Z © Z ; © ; a weekly advance, which she sent to her mother, who by then had a third child, daughter Kristina. “It was quite a lot of money for my family, like a month’s salary,” RAMIN RAMIN says Vodianova. It helped her mother come to terms with her daughter’s decision to leave. “She started to realize that this could be good.” Meanwhile, it was the first MARTIN MARTIN taste of freedom from an angst-ridden existence for the young Vodianova. “It was FAMILY MATTERS e; f. e; f. such a beautiful time, just having that chance to be a different person. For once, I Left: Vodianova with her children, Lucas, IMAG IMAG was a normal girl and completely anonymous in a new place and had an opportu- e e Viktor and Neva. IR IR nity to start a new life.” That new life began in earnest when she met the Honorable Above: her first solo /w /w

R R Justin Portman, a dashing English property heir, at a Parisian dinner party. They Vogue cover, in july 2007. married in 2001, when she was 19 years old and pregnant with their first son, Lucas.

L dufou L dufou Her career took off immediately. Among a crop of leggy Russians, Vodianova

he he stood out for her chameleonlike acting abilities, intense work ethic and sense MIC MIC of humor—not to mention her wide-set, expressive eyes, thick brows and pouty T: T:

ef ef lips. Photographer Juergen Teller shot her for a 2001 Marc Jacobs campaign. The following year, Tom Ford cast her in a Gucci campaign. She became a favorite of Vogue, starring in the title role of a now-famous Alice in Wonderland–themed editorial shot by Annie Leibovitz and styled by Grace Coddington in the magazine’s

Ise fRoM Ise ToPfRoM L ToP L December 2003 issue. And then, at the age of 21, she signed an eight-season, seven- kw kw figure contract with Calvin Klein that changed her life. oC oC

CL CL “When I met her for the first time, she took my breath away. She is beyond super- ; ; ficial beauty. This is a beauty that is from the inside and comes out,” Klein says. AVA NIAVA NI

T T Vodianova was the last girl Klein personally put under an exclusive contract before he retired, catapulting her into the ranks of a Kate Moss, Christy Turlington and NNA NNA Brooke Shields. “She was very sexual, seductive, she was all those things that I By A By A wanted to represent. I used her for everything I could… Too often, models are flat. LING LING They have good bodies, but you can see in their faces that there’s not a lot there. But Ty Ty Natalia has such a great spirit.” oP s oP s

PR PR A year after her first Calvin Klein ads appeared in 2003, when larger-than-life T; T; images of her posing seductively loomed over New York’s SoHo, Vodianova decided ON THE GO oo oo Left: Vodianova she needed to pay back some of the good fortune she was enjoying by forming her in the fall/winter 2013 own charity. The impetus was the school hostage crisis in the Russian city of Beslan Givenchy show, which

o @ o jed @ R jed R in 2004, which ended with more than 380 dead, many of them children. Vodianova she walked the same IR IR day as running the was in Moscow at the time of the crisis and witnessed firsthand how her coun- Paris half-marathon, trymen were shaken by the tragedy. “It was everywhere. The whole country right. Above: with

uRe uRe By h By h Arnault at the dior

s s stopped,” Vodianova remembers. Lucas, her eldest child, was 3 years old at the show in february.

RBI RBI time—the same age as some of the children who were killed. “I was wrestling MANIC MANIC with how I went from the bottom of society to the top of financial security. That eR; eR; ue/Co ue/Co feeling of unfairness upset me.” PARTNPARTN

As she struggled to determine what she could do to help, she sought the answer e AVeN e AVeN

ART ART in her own past. “I went back to my childhood and saw myself as a little girl who

@ @ was very much in a difficult situation, growing up with my disabled sister. My child- PICA PICA

hood was very abnormal. I missed out on simple things.” Oksana was born with INALe/PeoPLINALe/PeoPL CIA CIA d d autism and cerebral palsy. “I was attached to her and [therefore] almost disabled But while her foundation has grown exponentially, Vodianova faced a personal AR AR myself because I couldn’t play with my own friends.” Vodianova’s eyes tear up as hurdle of her own: a separation and divorce from Portman. They were together for e C e C P By P Lu By Lu

AN AN she tries to explain, “I felt ashamed sometimes. We spent all our time walking out- nine years and, after Lucas, had a second son, Viktor, 7, and a daughter, Neva, 5. keu keu

ePh ePh side because she loved it, but we were always exposed to people being horrible to The couple separated in 2011, and she soon met Arnault, now the CEO of Berluti, at MA MA sT sT us. I remember thinking that what I lacked the most as a child was a place to go a fund-raiser for her charity at the designer Valentino’s estate outside Paris, and P; P; P;

e; © e; © where I felt like I belonged.” Vodianova had found her mission: to build playgrounds began a new chapter. They now live together with Vodianova’s three children, and keu keu MAG MAG MA MA in underprivileged parts of Russia in order to provide other children with the care- she has immersed herself in Parisian life, even taking French lessons. “I am very eI eI & & free joy she had missed. happy now,” she says of her love life, trying but failing to hide a smile. wIR wIR AIR AIR To date, she has built 90 playgrounds in Russia through Naked Heart, and It’s easy to refer to her life as a modern-day fairy tale, but for Vodianova, it’s a she has expanded her horizons, helping to build three in the U.K. She has bittersweet comparison. “On the one hand, I don’t like it because my story was not MI eR h MI eR h e e hosted fund-raising Love Balls in Moscow, London and outside of Paris, which defined by who I am dating, by some prince charming,” she asserts. “I married for PR PR e deCoRde/e deCoRde/ have raised millions of dollars and attracted the likes of Anne Hathaway, Kate love. I work hard on being a good mother, and a good partner and in my profession.

POWER OF EMOTION TANC TANC Moss, Mario Testino and Daphne Guinness. This year’s ball, the fourth such Those successes cannot be attributed to chance.” But there is one fairy tale that Vodianova is prepping for

her fourth fund-raising CoNs CoNs extravaganza, will be held on July 27, at the Monaco opera house. Hosted by she’s happy to be associated with: Alice in Wonderland. “She took what was given to Love Ball, under the s; s; Prince Albert II and Princess Charlene of Monaco, along with Princess Caroline her and went with it. Go down the rabbit hole and see what life gives you. I can defi- RBI RBI patronage of Albert II By syd By hAyessyd @ hAyes @ of Hanover, the event will be Vodianova’s biggest ever: a 550-person sit-down nitely relate to that!” she says. “Besides, I never wanted to be Cinderella. I’d rather

and Charlene, Prince and AIR AIR h h Princess of Monaco. Miu AP/CoAP/Co dinner with a 1960s Riviera theme. be Alice, and I’m happy I found my wonderland.” • Miu dress, $1,825, miumiu .com, Lanvin necklace, $995, 646-439-0380. 57

0613_WSJ_Natalia_03.indd 56 4/25/13 5:25 PM 0613_WSJ_Natalia_03.indd 57 4/25/13 5:25 PM 04252013162617 04252013162648 Approved with warnings Collect It Like You Mean It

As Venice’s Palazzo Grassi hosts its first exhibition devoted to a single artist, François Pinault opens up about the rejuvenating power of contemporary art.

by christina passariello photography by juergen teller

wo days before the opening of a new contemporary art has turned him into a student. He construction workers were putting the final touches exhibition at Palazzo Grassi, the Venetian has fully immersed himself in its world: not only buy- on an annex to Palazzo Grassi devoted to video art, palace François Pinault bought to show ing works of art but calling on their creators in their built around a large theater. He might not stop with his world-class art collection, the 76-year- studios, surrounding himself with respected advi- Venice either. “There’s no project to build a museum old enters the marble foyer in a charcoal sors and visiting galleries. While in Venice for the elsewhere. But why not in Asia,” he muses. Tgray Brioni overcoat emitting the quiet omnipotence opening of the Stingel show, one of his closest confi- Longevity, mortality and the passage of time are earned over decades as a ruthless businessman. His dantes, Elena Geuna, makes plans to escort him to an three recurrent themes in Stingel’s exhibition that hit hunched posture, as he cups a cell phone to his ear, exhibition of art made with glass curated by Mario at the questions Pinault asks of his own existence. In recalls the famous Italian banker Enrico Cuccia who Codognato. “He is a sponge. He is willing to learn all his 2,500 works of art and the friendships he has cul- was once compared to God. And in the realm of con- the time,” says Geuna, the former director of Sotheby’s tivated with artists, Pinault has found an antidote to temporary art, Pinault is. He is possibly the single Europe who curated the Stingel show alongside the his fear of aging. “I’m very tormented by the passing most powerful art collector in the world. artist. “Artists are special people,” says Pinault. “They of time and by death, because it’s something we can’t But a few minutes later, he is giddy, grinning with are capable of understanding the world with more control,” says Pinault. “Art and the relationship with the mischievous smile of a schoolboy. With Rudolf acuity and sensitivity than a common mortal like me.” artists could be a way to stay younger in my mind for Stingel, the Italian artist to whom Pinault has devoted Although he has spent a small fortune buying as long as possible. There’s a disconnection between the first solo exhibition to occupy the entire 18th-cen- works of art, he has also spent tens of millions of physical and mental age. Sure, I’m not 30 anymore, tury palace overlooking the Grand Canal, they gossip dollars opening museums: first, Palazzo Grassi in but I reason as if I’m 30.” about the wife of another artist. “Ah, women are ter- 2006 and, three years later, Punta della Dogana, the Pinault the art collector is about 30 years old— rible!” Pinault jokes, clapping his friend Rudy on the former customs building farther down the Grand his first significant acquisition was a painting by arm. Upstairs, observing Stingel’s portraits of cher- Canal. Pinault sees his compulsive collecting as Mondrian, in the early ’80s. But in a previous incar- ubs and fiends, he comments, “It’s everyone’s inner having a didactic mission: “that my collection can nation, he was one of the most powerful French struggle. Within me, the angels win, but isn’t it more be appreciated by as many people as possible, espe- capitalists. His background as “a poor peasant from DO NOT GO GENTLE fun when it’s the demons?” cially by the younger generation. With a bit of luck, it Brittany” and high-school dropout didn’t predestine Pinault in the atrium of the Palazzo Grassi, currently exhibiting a solo show of more than 30 paintings by Rudolf Stingel, Pinault’s passion—some would say obsession—for might change their lives. It opened me up.” In April, him for greatness in business or art. In his twenties, as well as a site-specific installation. On the rear wall, the untitled self-portrait by Stingel is from 2012.

0613_WSJ_Pinault_01.indd 58 4/24/13 4:34 PM 0613_WSJ_Pinault_01.indd 59 4/24/13 4:34 PM 04242013153449 04242013153450 k OR new York new Y n, ion, T TiO llec e e collec Te cO iva Gel unTiTled, 2010 oil on linen 16 x 13 in PrivaT Gel unTiTled, 2010 Oil On linen 16 x 13 in PR in in S PaGe: rudolf ST S PaGe: RudOlf ST hi hi T ion. T TiOn T llec O T collec T c 120 x 100.5 in Pinaul in 100.5 x S 120 n ca nva 120 x 100.5 in Pinaul in Gel unTiTled, 2012 100.5 oil x on canvaS 120 Gel unTiTled, 2012 Oil O in in S PaGe: rudolf ST OuS OuS PaGe: RudOlf ST evi reviou P PR

SAintS be PRAiSeD STEPPiNG uP The upper floor of the Palazzo Grassi hosts a selection of Stingel’s photo-realist paintings of religious sculpture. Stingel, left, with Pinault at the Palazzo Grassi. “artists are special people,” says Pinault. “They are capable of understanding the world with more acuity and sensitivity than a common mortal like me.”

0613_WSJ_Pinault_02.indd 60 4/25/13 1:31 PM 0613_WSJ_Pinault_01.indd 61 4/24/13 4:34 PM 04252013132551 Approved with warnings 04242013153450 D, D, modern love led, Pinault has collected, from ntitle left, Dan Flavin’s TiOn S. 135 x 122.2 Gel unTiT

Gel u Alternate Diagonals

in of March 2 (1964); tin

cOllec Untitled (Yellow F s n ca nva T PaRent coloR

ol and Blue) (1954) by

ans Mark Rothko; Grosse R

; RudOlf ST Sphinx von Giseh ST i ), ), 2011 Oil O n © Pinaul G 114.57 x 110.24 x 39.96 in © Jeff (1964) by Gerhard RT Rtist; RuD in ST Richter; and Jeff

OaT Koons’s Hanging

c Heart (1994/2006). anz we OR Of The a Ranz west), 2011 oil on canvas. 135 x 122.2 fR Ol . Paul MellO SY e D (F RS T c Rs. Paul Mellon © 1998 Kathy RothKo PRizel RT the a Rtesy oF the en u F M ou cO ntitle G SPaR G c in TiOn Of M in an he bought a two-man sawmill. Several years later, he architect Tadao Ando to renovate it; Ando simplified of art,” says Jean-Jacques Aillagon, the first direc- aG aG Gel, unTiTled ( Gel, u TR in iM iM visited a museum for the first time, appreciating clas- the 53,800-square-foot space by aligning doorways tor of Palazzo Grassi and former head of the Centre tin Th ollection o ollection cOllec stainless steel with t with steel oR-PolisheD stainless

F s sic 18th- and 19th-century art, which was within his and hanging a giant white veil under the glass atrium Pompidou in Paris and Versailles. RR eR eR c Owel ol P Mi

eel eel wi grasp because “they’re beautiful reproductions with a to diffuse the natural light. But the palace could only Pinault walks a fine line between being a student of RM ST OM fORM

; RudOlf ST beautiful technique.” show a small fraction of his collection. So the follow- artists and their patron. “When you know the artists, SS Y T ST i

b But Pinault’s focus was on building a conglomer- ing year, with a tip of the hat to his past life sparring it’s wonderful, but at the same time it can be danger- RT Rtist; RuD , 1994–2006 , 1994–2006 ainle OTO

D) ate. Through shrewd deal-making, he spun his group over corporate assets, Pinault prevailed in a vicious ous—you can never get carried away by your emotion,” ST

n Ph into a timber-trading firm, then invested in African battle with the Guggenheim Foundation to take over says Pinault. “The man is so nice,” he adds, referring to /Gol S 94.6 x 73.5 in Of The a TiO Shed distribution and shipping, Paris’s Printemps depart- the nearly 40,000-square-foot Punta della Dogana. Stingel, “but sometimes this can be a trap.” reD SY li e PO rt ( ment stores and a home electronics chain. In 1999, Ando was quickly back at work renovating that build- The Stingel exhibition at Palazzo Grassi is a mix - RT A the a Rtesy oF the n ca nva u cOllec he pounced on Italian fashion house Gucci. That pro- ing, which opened in 2009. of artwork belonging to Pinault, Stingel and a few ou cO G He RROR G G c

in vided the foundation for the business—which, in In the past seven years, Pinault has shown some other private collectors. None of it has been previously Mi in in

aG exhibited in Venice except for a single silver painting

aG June, is changing its name from PPR to Kering—as it of the most avant-garde art to be exhibited in a city HAnG iM iM currently stands, having sold off its other entities to known for its Renaissance beauty. The exhibitions of a chain-link fence. The most dominant motif of the

, 1994–2006 , 1994–2006 focus on luxury and sports lifestyle brands includ- have included modern movements such as Arte Povera exhibition is the Oriental carpet Stingel used to cover Owel R, 2013; P ing Yves Saint Laurent, Balenciaga, Stella McCartney and Pop Art and have featured many living artists all of the floors and walls. The rich red design is a digi- Ow Ow & blue), 1954 Oil O OM and Puma. He built out the family’s holding company, such as Damien Hirst, Olafur Eliasson and Takashi tal printing of a photograph of a worn rug, clear from ed/Gold) Y T Richte yellow & blue), 1954 oil on canvas 94.6 x 73.5 in Fo r b Artemis, with trophy assets such as Christie’s auc- Murakami. Swiss artist Urs Fischer was the first to a distance but blurry up close. Stingel hung it slightly D ( led (Yell OTO ha RD tion house, Bordeaux’s Châteaux Latour winery and Le have a solo exhibition at Palazzo Grassi, filling two askew so that the viewer feels off-kilter. eart ( n Ph G h ntitle Point, a French newsweekly. floors with his sculptures and installations last year. The only painting on the ground floor is Stingel’s in D, D, 2011 oil on linen 16 x 13 in Pinault collection Photo by toM Powel TiO O unTiT G Despite the growing overlap between art and Dedicating the entire space of Palazzo Grassi— self-portrait, nestled behind some marble columns Ko Ko u an hk

h fashion—as fashion brands hire artists to design three floors around a marble atrium—to a single artist near the boat-landing entrance to the palace. Pinault OT ntitle cOllec Roth suggested hanging the piece in the palace’s most

T collections, for instance—Pinault is adamant about was perhaps the biggest challenge Pinault had given RK Gel unTiTled, 2011 Oil On linen 16 x 13 in PinaulT Gel u keeping the two worlds separate. “The mixing of the himself since opening his museums. Two years ago, majestic room—one floor up overlooking the canal— TeR, 2013; in

tin two different genres can be extremely dangerous. when he and Palazzo Grassi Director Martin Bethenod but Stingel didn’t want such prominence. Instead, F s

d Rich Fashion and luxury are crafts and businesses. There began planning for it, they settled easily on Rudolf Stingel chose that spot for a painting of his friend ol

Ti caleca; MaRk R are fashion designers who can be very talented, but it’s Stingel. Pinault had been following Stingel’s work for Franz West, the Austrian artist who died last year. ha R ; RudOlf ST R an

ST not pure creation. It’s not an artist in front of a blank more than a decade, ever since Geuna, then director of The black-and-white canvas, spotted with orange i Y S 96 x 66 1/4 in Pinaul in 1/4 66 x S 96 RT Rtist; RuD , 1964 oil on canvas 57.5 x 65.5 in. © GeR b canvas who starts every day with a new creation.” Sotheby’s Europe, called Pinault to say the artist was flecks and footprints, makes Pinault contemplative.

OTO

ST broke and needed money to produce a giant instal- “It’s about the sadness of the passing of time,” he says. i tist n ca nva Photo by santi caleca; Ma RT R inault often says that he knew when the lation for a mid-career retrospective. Pinault got “It lifts the soul, it makes you understand that there k Ph Of The a RK OR SY time had come to hand the keys to the fam- Stingel on the phone and offered him $20,000 for the are things other than material possessions. It’s about e 57.5 x 65.5 in. © Ge © in. 65.5 x S 57.5 RT the a Rtesy oF the the a F the ily business to his son François-Henri. One work, which would be created with Celotex—a silvery dealing with memories, friends and time passed.” u At At SpHinx of GiSe new Y new yo ou cO D, D, 2013 oil on canvas 96 x 66 1/4 in Pinault collection Photo by toM Powel ), night in 2003, over dinner at L’Ami Louis foam material. “He didn’t have a penny to his name,” The other masterpiece on the first floor is a vast Gre RS), TiOn Of The a n ca nva eR eR c a

R, in Paris, one of Pinault’s favorite restau- Pinault says. “So I said, ‘OK, I will help you.’ ” The work triptych that is the grandest manifestation of Stingel’s ( RG RG ntitle TY rants, he told his son that the boss’s office would be his was shown on the second floor in Pinault’s inaugu- silver abstract paintings. Stingel made the paint- Photo by santi caleca ollection o ollection

cOllec P ichte cie enbu O R the next day. In retirement, with no business to run, ral exhibition at Palazzo Grassi, where visitors were ing specifically for the Palazzo Grassi exhibition, and Gel, unTiTled, 2013 Oil O , 1964 Oil O Gel, u ltenbu S alT in

TS art took center stage—though with his devotion to it, invited to leave their mark by carving their name or Pinault visited him in Merano several times to see its Koons tin ha RD Gh FF Ghts society (aRs Fan Fan a F s

efan he was hardly retired. First, there was his ambition a heart and arrow on it, capturing Stingel’s recurrent progress. For Pinault, the silver brush strokes evoke Ri te ol ; GeR S 118 x 95.2 in : ST of building a museum to show his ballooning collec- theme of the passing of time. mountains, and he sees the painting as a meditation. STS ny i tists Ri OTO tion. He negotiated with French authorities for several After Pinault’s first Stingel purchase, Geuna took On the top floor, among tiny figurative portraits T: RudOlf ST aRT Ft: RuD aRs aR n ca nva o/ of saints, is one larger painting that Stingel painted i i caleca years to rehabilitate the Île Seguin, an island on the him to meet the Italian artist in his New York studio. n Ph lef K T P le Great Sphinx of GiSe

TiO outskirts of Paris. But fed up with bureaucratic hur- Pinault cultivated a friendship with him and visited for the exhibition. It is of a photo of a 16th-century an TOP

Mel on canvas 118 x 95.2 in c Y S

TeR, dles, he packed up his collection and set sail for Venice. him in his studio in Merano, Stingel’s hometown in Tyrolean bronze sculpture, showing a skeleton riding oM to R Roth b ROM FR cOllec ich he collection Photo: s In 2005, Pinault bought Palazzo Grassi for the South Tyrol region. As Pinault began to commis- a lion, wielding a bone in his hand like a whip. “This is P T OTO Phen Flavin / Se f te

114.57 x 110.24 x 39.96 in © Je © in 39.96 x 110.24 x G 114.57 $37 million, a majestic building that previously sion works from him, he would get a sneak peek of my portrait,” Pinault chuckles. “I’m a Leo and the lion

ARS LONGA isto Kwise nS nS Ph oil anD ena ha Rd R ckwi belonged to another magnate, Gianni Agnelli of the them and absorb Stingel’s perceptions and wisdom. is the symbol of Venice. And I drive people—a French

four works from the Stingel exhibition. clockwise from top left: a painting of a 16th-century Tyrolean sculpture; a portrait of the late austrian artist O 2012 Oil and enaMel O © 2013 STePhen flavin / cl in Pinaul GeR kOO cloc in Pinault 2012 © 2013 s & chR franz west; an abstract work made with Stingel’s imprint technique; and a painting of a wooden sculpture of a child from the Massacre of the innocent. coatin Fiat clan. He hired Japan’s Pritzker Prize–winning “He loves the artists as much as he loves their works expression to say I make people advance.” •

0613_WSJ_Pinault_01.indd 62 4/24/13 4:34 PM 0613_WSJ_Pinault_03.indd 63 4/29/13 12:22 PM 04242013153550 Approved with warnings 04292013112335 Approved with warnings the collection wILLIAM EggLESTon’S CAMErAS

photography By william eggleston

Though it’s hardly shocking for a master photographer of Eggleston’s stature to stockpile cameras, his collection, devoted mostly to Canons and Leicas, has grown into something of an obsession (“I have about 300 right now,” the photographer says). Known for large-scale, color-saturated prints that quietly document the soul of the American South, the 74-year-old elevates scenes of ordinary life with compassionate scrutiny. In addition to classic chrome Canons and Leicas, he owns rare, custom-painted Leicas in shades of blue, green and dark gray. His camera case—a leather briefcase bought at a Memphis shop and retrofitted in collaboration with a woodworker friend—is similarly customized. Eggleston is currently archiving all his negatives, some 1.5 million of them. “That’s a guess,” he says. “I haven’t really counted.”

case in point Eggleston shot this portrait of one of his three camera-filled cases using a digital camera. “I don’t particularly like using it,” Eggleston says. “Technology and I don’t really get along too well.”

0613_WSJ_Eggleston_02.indd 64 4/25/13 11:54 AM 0613_WSJ_Eggleston_01.indd 65 4/23/13 11:03 AM 04252013105521 04232013100448 It’s no longer about tight, tighter, tightest. The new relaxed proportions are a breath of fresh air.

SHAPE SHIFTERS photography by josh olins styling by clare richardson

no exaggeration An easy-fit suit and a loose white shirt expand on the concept of traditional tailoring. Stella McCartney coat, $3,240, trousers, $1,375, 212-255-1556. Opposite: Acne Studios blouse, $850, pants, $490, acnestudios .com, Givenchy by Riccardo Tisci sandals, givenchy .com. 67

0613_WSJ_Fashion_02.indd 66 4/25/13 11:47 AM 0613_WSJ_Fashion_02.indd 67 4/25/13 11:47 AM 04252013104844 04252013104845 oversize ambitions Statement pieces add up to a major impact when worn together. Calvin Klein Collection overcoat, $3,995, turtleneck, $995, 212-292-9000. Opposite: Céline coat, $4,550, shirt, $910, skirt, $8,100, 212-535-3703, Nike Studio Wrap sandals, $110, nike .com. 68

0613_WSJ_Fashion_01.indd 68 4/23/13 10:56 AM 0613_WSJ_Fashion_02.indd 69 4/25/13 11:47 AM 04232013095727 04252013104845 tough lady A leather shift and a dramatic cape are two ways to amp up a simple look. Michael Kors dress, $5,995, jacket, $1,995, michaelkors .com, Mitchel Primrose cuff (on both pages), $295, fivestoryny .com. Opposite: Rochas cape, $1,830, saks.com, Tibi shirt, $250, 212-226- 5852, Dior pants, 70 $2,200, 800-929-DIOR.

0613_WSJ_Fashion_02.indd 70 4/25/13 11:47 AM 0613_WSJ_Fashion_01.indd 71 4/23/13 10:56 AM 04252013104846 04232013095743 top line Coats take on a new lightness when crafted from a single luxe layer. The Row coat, $4,190, barneys .com, top, $790, pants, $990, both saks .com, Nike Studio Wrap sandals, $110, nike .com. Opposite: Lanvin coat, $3,325, barneys.com, Acne Studios pants, $490, acnestudios .com, Mitchel Primrose cuff, $295, fivestoryny.com, Givenchy by Riccardo Tisci sandals, givenchy .com.

Model, Malgosia Bela at Next; makeup, Maki Ryoke; hair, Shon; manicure, Bernadette Thompson at Bernadette Thompson Nail.

0613_WSJ_Fashion_01.indd 72 4/23/13 10:56 AM 0613_WSJ_Fashion_01.indd 73 4/23/13 10:56 AM 04232013095744 04232013095744 costume drAmA

When style icon Anna Piaggi died last year, she left behind a colossal stockpile of clothing and accessories, the true extent of which only she knew. Now her family is struggling to find a permanent home for what might very well be the world’s largest, unruliest, most thrillingly unexplored closet.

BY j.j. martin photographY BY harf zimmermann

n the capricious world of high fashion, there are two types of collectors: Dior and McDonald’s staff uniforms. This supremely stocked closet was the source those who treat their acquisitions with white-glove care, cataloguing their of the riotous outfits Piaggi created every morning, offsetting layers of valuable inventory inside temperature-controlled shrines; and those who rip off the historical costumes, contemporary haute couture and worthless dime-store finds price tags, wear the hell out of their garments and then shove them back in with her waves of dyed-blue hair, cupid-bow lips and powdered-white face. their closets. Unsurprisingly, each views the other as deeply foolish. Anna “She was not a fashion curator,” says designer Karl Lagerfeld, who first met IPiaggi, the late Italian fashion idol and longtime contributor to Italian Vogue, was Piaggi in the early ’70s. “She lived with her clothes, old and new, and never paid the ultimate spontaneous and undisciplined fashion worshipper. attention to them in a special way. They were part of her daily life.” Until her death at age 81 last August, Piaggi lived with a vast collection of Piaggi died of a heart attack while watching TV at home alone. She was sched- clothing in a dark and cluttered Milan apartment, where she continually begged uled to finalize her pages for Italian Vogue’s October 2012 issue the following her landlord to rent her extra rooms to accommodate an ever-expanding sarto- morning, but she never made it to the meeting. With no children of her own, her rial inventory. By the end of her life, 40 rolling racks had overtaken every wall in clothes and accessories were passed on to her brother, Alberto. Overwhelmed every room, where priceless pieces by Poiret from 1912 tangled with modern-day by the size and significance of their inheritance, he and his son, Stefano, called

portrait BY DaViD BaileY Piaggi photographed for AnOther Magazine in 2003, wearing a hat designed by her friend Stephen Jones. Opposite page: Her Vogue boxes hat, also designed by Jones. Piaggi once claimed that, beginning in the early ’80s, she never left home without headgear.

0613_WSJ_Piaggi_02.indd 74 4/24/13 6:22 PM 0613_WSJ_Piaggi_02.indd 75 4/24/13 6:22 PM 04242013172346 04242013172346 CAPS And GOWnS rAGS And rICHES Clockwise from top left: Felt and mother-of-pearl button hat by Stephen Jones; mixed-materials santa banana hat also from Jones; McDonald’s uniform Clockwise from top left: Stephen Jones’s leather-and-velvet shoe hat named after Bill Cunningham; Jones-designed vest shown over a dress by Dolce & Gabbana; and vintage 19th-century British ‘bobby’ uniform from the London police department. wool Burberry-check hat featuring a veil; 1991 survival jacket by Moschino Couture; and World War I–era British nurse’s uniform.

0613_WSJ_Piaggi_02.indd 76 4/24/13 6:22 PM 0613_WSJ_Piaggi_02.indd 77 4/24/13 6:22 PM 04242013172347 04242013172347 Judith Clark, professor of fashion and museology at of her looks with a hat bursting with anything from “ANNA NEVER London’s University of the Arts, who had collabo- fruit and fur to a warped clock and dead pigeons. rated with Piaggi on a popular exhibition dedicated Though she spent nearly a half century contributing WORE SOMETHING to her style at London’s Victoria and Albert Museum to Italian Vogue, where her doppie pagine—double- BECAUSE IT WAS in 2006. “We met down in the basement of her apart- page spreads of collages of text and images—revealed THE LATEST SKIRT ment building to see the clothes she had never shown esoteric cultural references and an academic knowl- anyone,” Clark recalls of meeting Alberto and Stefano edge of fashion, Piaggi was best known for how she got OR THE NEWEST after Piaggi’s funeral. “They were in one of the worst dressed in the morning. SHOE. SHE states of conservation I’ve ever seen, but at the same Whether it was for a lightbulb-flooded front-row EXPERIMENTED time, [her collection] was full of historic gems.” seat along a runway, or a banal trip to the butcher Piaggi’s estate also piqued the interest of Milan’s (where she once ordered a slab of beef in 15th-century WITH FASHION.” former cultural assessor, Stefano Boeri, who wanted Milanese chain-mail regalia), her outfits were labori- –FRANCA SOZZANI to lay the foundation for the city’s first fashion ous constructions of fashion theater. “My philosophy museum using the clothes. Alberto put Clark in of fashion is humor, jokes and games,” she told WWD touch with Boeri and together they began talking in 1978. “I make my own rules.” She wore giant Union about creating a professional database for each Jack capes with 19th-century pantaloons; nurses’ uni- you wear the dress, you also wear it out,” says Pat piece, hoping to find a permanent home for them at forms with Manolo Blahnik boots; and dresses whose Frost, director of textiles and costumes at Christie’s. Milan’s Fabbrica del Vapore. But in March, Boeri was ‘page layers’ made her look like a walking novel. “Its value goes down, and it is much less likely it will fired, and the plan disintegrated. Some might say Piaggi was a precursor to the con- end up in a museum.” Conversely, in perfect condition, The collection now hangs untouched in her broth- spicuously costumed bloggers, editors and aspiring high-end couture can yield big results. A ’30s design er’s storage space, its future uncertain. glitterati who now populate fashion shows, hoping from Vionnet, according to Frost, can fetch over their pictures will end up online. But Sozzani dis- $75,000, while Christie’s sold a Schiaparelli jacket for ESPITE HER VERY LOUD LOOKS, Piaggi agrees. “You can’t even compare the two—those nearly $100,000 last November. ) LD

was a quiet woman. “She was very dis- people are sponsored by brands, and it’s more like In 2009, when Christie’s auctioned a small portion Fe creet,” says Italian Vogue’s editor in watching shop windows,” she says. “Anna never wore of Piaggi’s best historical pieces, the 17 garments in er LaG

chief, Franca Sozzani, who worked with something because it was the latest skirt or newest the lot yielded an unspectacular $51,867. “The only S (

Piaggi for 23 years. “I never knew any- shoe. She experimented with fashion on herself and truly successful item was a Jean Paul Gaultier cone ve thing about her personal life.” liked to have a story for each object she was wearing.” dress [sold for $20,000],” says Rome-based fashion CHI ARCHIVES (LAGERFELD) ARCHIVES

D ar Born in Milan in 1931, Piaggi was inducted into the Those stories were about ’20s Chanel dresses, cos- historian and curator Enrico Quinto. “This is a woman fashion world by the photographer Alfa Castaldi, to tumes from the Ballets Russes and an entire wardrobe who used to use a Fortuny dress as a scarf. She was WWD whom she was married until his death in 1995, and with created in the 1870s for a Roman princess by Charles cutting and customizing her pieces. Anna desancti- whom she collaborated on Arianna—one of Italy’s first Frederick Worth (the world’s very first haute couture fied the clothing. She deconsecrated it.” women’s magazines—and the avant-garde publica- designer), bought for her by Lagerfeld. But even with What now lays in storage is an assemblage of gar- wwd (x3); aGeS IM tion Vanity. But her style compass was set by vintage highlights such as these to give shape to her closet, ments that reflects a full life. “The collection is more y TT dealer Vern Lambert, a longtime friend who intro- its full extent remains a mystery. “Anna was the only interesting as a whole rather than in single pieces,” ); Ge

duced her not only to the allure of old clothes but to Karl one who had access to the clothes and who understood says Clark. “It’s an accumulation of her looks and IK

Lagerfeld. (Her relationship with him was recorded in where everything was,” says Moreno Fardin, Piaggi’s moods and how she wanted to dress up that day.” But aHn

Karl Lagerfeld: A Fashion Journal, a book published in assistant of 16 years. “Every once in a while she’d what’s to be done with a collection that gives equal BL S (

1986 of his many sketches of Piaggi and her clothes.) call me in to help her move a rack and then discover weight to Juicy Couture as Dior Couture? Alberto ve

“The period after Vern Lambert died [in 1992] something—like the beautiful [Pierre] Cardin she got and Stefano Piaggi are hoping to organize a series of CHI ARCHIVES (BLAHNIK); GETTY IMAGES (X3); (X3); IMAGES GETTY (BLAHNIK); ARCHIVES started to be a sadder period of her life,” remarks married in. She never archived anything.” exhibits in Milan, “and maybe even a fashion show ar WWD

Lagerfeld, who fell out with Piaggi around the same For the 2006 Victoria and Albert exhibition, of her clothes,” says her brother. “I don’t think Anna wwd

time. But even so, Piaggi continued to enthusiastically Piaggi provided the museum with a list of her ward- would’ve liked to have been in a big museum.” nS/ KI

champion designers, acting as both muse and client to robe’s contents: 265 pairs of shoes, 932 hats, 2,865 Clark has offered to help the family make sense of en young names like Gareth Pugh and established talents dresses, 1 exercise bike and 31 feather boas. “I am the inventory. “It is such an idiosyncratic collection, J such as Manolo Blahnik, who famously called her “the rather certain Anna made all of that up,” says Clark. and the point of the archive is to reveal exactly that,” TIM only authority on frocks left in the world.” Another of “She didn’t have a clue as to what was in her closet.” she says. “I think by documenting everything, we will

her closest relationships was with milliner Stephen When it came to getting dressed, Piaggi’s intimacy keep all possible interpretations alive”—just the way aGe (x3); IM

Jones—beginning in the ’80s, she capped off every one with her clothes came quite literally at a price. “When Piaggi liked to dress. re WI PaGe THIS z; LT Hu S ne aG DRESSED TO THE NINES nG nG By

Piaggi in some of the LI many ﬂamboyant, y PAGE frOm HIStOrY ST one-of-a-kind looks she Jean-Charles de created throughout the ey; IL Castelbajac’s fashion years. The black-and- algebra dress, which Ba

white photos show, ID Piaggi wore in 1998

from far left, Piaggi av to the launch party D

with shoe designer © for her book Le doppie Manolo Blahnik in 1973 IT Pagine di Anna Piaggi and, close left, with ra in Vogue. rT

0613_WSJ_Piaggi_03.indd 78 4/25/13 12:57 PM 0613_WSJ_Piaggi_02.indd 79 4/24/13 6:22 PM $QQSPWFEXJUIXBSOJOHT 04242013172347 horse Majeure Faena, Ximena Caminos and their son, Noa, at their estancia in Argentina.

The restoration of Alan Faena’s Argentine estancia is a touchstone for an ambitious new real estate development that he hopes will change Miami. PRIDEPRIDE ofof thethe PAMPASPAMPAS BY Elisa lipskY-karasz photographY BY todd EBErlE 81

0613_WSJ_AlanFaena_01.indd 80 4/23/13 6:19 PM 0613_WSJ_AlanFaena_02.indd 81 4/25/13 12:53 PM 04232013172051 04252013115349 “We believe We can have different cities of the World enjoy our Way of doing things—this neW Way of development that blurs art, culture and music.” –alan faena NaPoleoNIC CoDe A gilded molding inspired by Napoleon III’s Paris apartment incorporates Faena’s motto: love, truth, freedom. The dining room, right, features original cedar panels and Italian tiles.

all about eaVes Faena added aleros to create a covered terrace, as well as enlarging the windows, which were originally fortresslike.

ne hundred miles from Buenos Aires, of a second-generation Syrian Jewish textile manu- lIke a PraYer deep in the Argentine pampas, at the end facturer—Puerto Madero was just another stretch The chapel, added to the property in 1950, of a dirt road that runs through miles of of urban wasteland. Wedged on a narrow spit of land was blessed by Pope harvest-ready corn and indigenous ombú near the marshy flatlands of the Rio de la Plata, the Pius XII. Plantings trees, stands an incongruously ornate abandoned docklands had no streets, a few gutted of palm trees were the traditional way Owhite gate. Behind the gate an elegant allée of trees buildings and “chest-high grass,” Austin Hearst, an to mark an estancia leads, in turn, to more allées of ancient oaks unfurling early investor, remembers. “It looked like a junkyard in the flat pampas. in precise diagonals. And across an expansive lawn a with wild dogs,” adds Hearst’s then-partner, entre- white greyhound bounds behind a Gatsby-like figure preneur Christopher Burch. “If you tried to create the clad in white from the top of his feathered hat to the worst possible real estate in the world, this was it.” hem of his breeches: Argentine fashion designer– Faena saw in this impoverished landscape the he has bought up four city blocks along South Beach’s turned–real estate developer Alan Faena. potential for “a building where music, art, culture, Collins Avenue, including the ’40s-era Saxony Hotel, When Faena bought this historic estancia, known service, flavor, knowledge, love and freedom can all and enlisted a roster of A-list talent to construct as San Juan de Vasquez, in 2005, along with its 2,500 come together.” Aiming to create something that another Faena district. Foster is again designing acres of fertile farmland, the place had fallen into would “expand people’s lives,” he coaxed archi- residential condominiums, while Rem Koolhaas’s disrepair with the declining fortunes of the large tect Philippe Starck into designing his first South firm, OMA, will create an arts center, retail spaces Catholic family that owned it. Faena insisted that its American project—transforming a 100-year-old and a high-tech parking garage. The renamed Faena 200-year-old paintings and other family heirlooms grain depository into a hotel. A local group of archi- Hotel will be refurbished by designers Roman and be kept intact and then spent two years carefully tects converted an abandoned mill into an arts center. Williams, whose resumé includes New York City hot restoring it to its former grandeur, while also incor- He also invited Lord Norman Foster’s firm, Foster & spots The Standard and the Ace Hotel. porating his own flair for dramatic decorative Partners, to design a residential condominium—also Although the asking price of the penthouse in touches: walls painted a rich red, gold-trimmed vel- his first in South America. The $200 million project the Foster structure is a mind-boggling $50 million— vet curtains and immense gilded sconces. Across the resulted in some of the most expensive real estate $16 million more than the previous South Beach lawn he installed an immense decorative fountain in Buenos Aires, and copycat developers quickly record—for Faena, the project isn’t merely about that has the same long footprint as the house. followed suit. Today the neighborhood resembles a developing real estate to sell to the highest bidder. He Reinvention on this scale is Faena’s specialty. The South American version of Tribeca. “We created a sees his efforts in more grandiose terms and has taken ambitious restoration recalls what he’d done for the place out of nothing,” says Faena. to calling his creative partners the “Collaboratory, a Puerto Madero district of Buenos Aires, a project he Now he hopes to repeat this success in Miami. With laboratory of collaborations.” He adds: “It’s the first began 10 years ago. Before Faena—the 49-year-old son his partner, Russian billionaire Leonard Blavatnik, time that a voice is arriving from the south to North

0613_WSJ_AlanFaena_02.indd 82 4/25/13 12:53 PM 0613_WSJ_AlanFaena_01.indd 83 4/23/13 6:19 PM 04252013115350 04232013172107 “the best Way to remodel a house is to understand it. many people just bring in an architect, then realize that it doesn’t fit the spirit or soul of the place.” –faena

hIstorY lessoN hINge beNefIts Family portraits Faena purchased of the estancia’s the 18th-century ancestral owners Italian bedroom overlook one of the doors at auction in living rooms. Buenos Aires. 85

0613_WSJ_AlanFaena_01.indd 84 4/23/13 6:19 PM 0613_WSJ_AlanFaena_01.indd 85 4/23/13 6:19 PM 04232013172108 04232013172108 Miami landscape architect Raymond Jungles), Faena Punta del Este, Uruguay, where he cultivated the Faena would like the new hotel to evoke the resorts of the rose, the inspiration behind the red found throughout French Riviera’s golden era. Its eclectic ethos—from his hotels and the estancia. Faena’s style is appar- a sleek yacht-like restaurant to a formal, palatial liv - ent in other decorative touches, including a credo of ing room—will reflect the amalgamation of styles at his own invention—love, truth, freedom—etched his estancia. “Everyone who came to Argentina took in the ceiling of the estancia on a gilded molding the best from Italy, France, Spain and made a mix- inspired by Napoleon III’s Parisian apartment. That ture,” he says. Adds Standefer: “Working with him motto also adorns the gold rings worn by Faena and is very much about the visual effect that a space will Ximena Caminos, the mother of his 3-year-old son, have on someone.” Noa. Caminos, who met Faena in 2003 when she was “He has a lot of passion,” says Blavatnik. That working at the Museo de Arte Latinoamericano de dynamism made his unlikely real estate career pos- Buenos Aires, is the executive director of the Faena sible in the first place. “He had enough charisma to Arts Center; the two visited the estancia for a year get me to invest when investing in an Argentine hotel before beginning the restoration. “The best way to was the last thing I was thinking of,” says Burch. “He remodel a house is to understand it. There are so many threw his arm around me and said, ‘Chreees, I have people who just bring in an architect, and then realize a veeeesion.’ ” Hearst adds: “As an entrepreneur, you that it doesn’t fit the spirit or the soul of the place,” he are looking for a vision, a visionary and an oppor- says. “It’s important to understand the places to then tunity. And even though Alan had never been in the see how to make them grow. I approach the creation of hotel or real estate business, he had an unbelievable a district the same way.” clarity of vision—I’ll never forget, in 2000, he walked Faena and Caminos have carefully preserved me through this gutted brick structure and was the house’s history while unearthing its potential. describing the color of the curtains, the type of wood Where there were once nine cramped bedrooms floor, the long bench in the entrance.” and two small bathrooms, there are now four gener- raIse the rooF Faena restored the original This confidence later won over OMA’s New York ous suites. An interior courtyard that the previous courtyard, which had been director Shohei Shigematsu. “He’s not really a devel- owners had covered with a makeshift roof to cre- covered and used as living oper, an artist or a strategist, but we were very ate additional living space was opened up to let in quarters by the previous owners. Opposite: Faena intrigued by his commercial success, even in a shrink- sunlight with plantings of lime and orange trees. exercising the greyhounds ing economy like Argentina’s, and his commitment,” The couple preserved many of the house’s origi- on the estancia’s 2,500 acres. he says. Faena’s passionate rhetoric—a homespun nal details, from the original cedar paneling in the philosophy that’s a mix of vaguely New Age ideas, dining room to its ornately tiled floors. Ancestral Argentine patriotism, a deep respect for nature and heirlooms have been carefully preserved and dis- a touch of Scarface drug lord Tony Montana—and played, from family oil portraits to photo books and his habit of dressing in a uniform of all white, with documents about the estate’s chapel, which was built loosely buttoned shirts and befeathered hats only in the ’50s and blessed by Pope Pius XII. A converted America—and it’s not only my voice, but the voice made him more interesting to Koolhaas’s firm. “We stable now serves as a guesthouse that neighbors a of the entire region. So we feel responsible for that deal with typical developers all the time. But Alan is pool and state-of-the-art gym. flag—all the messages, the feelings, our mentality, an ideal figure for an architect to work with—once he Faena is most proud of the land, so rich that black our music, our dancing, our way of living.” buys in, he goes all the way.” loam is reclaiming the area’s few paved roads. He is The way of living he hopes to export isn’t the also attempting what he says will be the pampas’s cultural pastiche of gauchos and asados one might aena thrives on the force of his own first vintage, if it succeeds: a cabernet sauvignon to encounter at Epcot (though there will be a version of creativity—a giant billboard outside his match the Faena Malbecs he already produces in the his Buenos Aires tango show), but instead embraces Buenos Aires offices reminds visitors of nearby Mendoza region. In addition to an aviary of simple ideas, like the indoor-outdoor living in which “The Power of Ideas.” An autodidact who pheasants and peacocks, Faena owns a pack of white he revels. Faena is fiercely proud of the Foster condo- never attended university, he launched his greyhounds, many descendants of his first, Prince, minium’s balconies, which rival the interior living Ffashion company, Via Vai, at age 19, in 1986 with 50 now 5 years old. Purchased during a trip to New spaces, which range from 1,307 to 4,730 square feet. boldly colored T-shirts that he funded himself. They York, Prince joined the Faena family at their suite These were inspired in part by his estancia, where quickly sold, and taking advantage of lenient Argentine in the Carlyle hotel. “We didn’t know they allowed he surrounded the original house with wide aleros, credit policies, he was able to expand his collections animals,” says Caminos, laughing, “so we were verandas sheltered by eaves. Designed by Brandon without asking his family for financial support. Soon, smuggling this puppy in and out of the hotel for three Haw—the architect who oversaw the residential he was designing ready-to-wear collections and a jeans days.” Bred for competitive racing, he has sired many towers in Buenos Aires—the Miami aleros will line—both of which proved popular among Argentines of Faena’s eight other greyhounds, who are exercised boast aerodynamic white curves built by the same reveling in their liberation from a dictatorial military twice a day by a caretaker who leads them around the company that constructed the metal skin on Frank junta. Ever the showman, he staged theatrical fashion property with a horse-drawn cart. Gehry’s Walt Disney Concert Hall in Los Angeles. “It’s shows for audiences of thousands. With the hotel and the Foster condos scheduled a translation of his kind of lifestyle,” says Haw. “He’s By the early ’90s, while Faena was becoming for completion in fall 2014, Faena will soon see if his a dreamer, and he has a vision of the world he wants a local celebrity, his father’s once-thriving wool grand vision can succeed in America. “We believe we to create.” Faena adds: “It’s not about a building, it’s textile company crumbled as the Argentine govern- can have different cities of the world enjoy our way not about making a hotel. The most interesting thing ment dramatically reduced import tariffs, creating of doing things, with this new way of development is curating a neighborhood.” a sudden influx of cheaper fabrics. Via Vai, however, that blurs art, culture and music,” says Faena. “This “I thought the development needed to be a pre- continued to grow, eventually reaching $30 million is what drives me—creating your own dreams and mium project with an exciting legacy, and that’s in annual revenues, with 80 stores nationwide. In ideas, against all odds.” He pauses and looks out at Alan,” says Blavatnik. “Alan thinks big,” says Robin 1996, sensing another downturn in the volatile econ- the neighborhood he built. “I think the most inter- Standefer, cofounder of Roman and Williams. So in omy, Faena sold Via Vai. (It soon shuttered.) esting thing is how you play with the most fantastic addition to the simplicity of generous balconies and At 32, Faena retreated from public life and became places in the world but not doing what everybody a wider-than-usual stretch of gardens (designed by an avid gardener, living full time at his beach house in does—doing it your way.” •

0613_WSJ_AlanFaena_02.indd 86 4/25/13 12:53 PM 0613_WSJ_AlanFaena_01.indd 87 4/23/13 6:19 PM 04252013115350 04232013172108 The Finest Jewelry Showstopping diamonds are the ultimate investment. The heirlooms of the future include a scarf made from 732 sparkling stones and a ring featuring a 33-karat, emerald-cut gem.

photography By zoë ghertner styling By david thieleBeule

TIE ONE ON Whether an intricate necklace or a straightforward drop earring, these pieces can be worn with casual aplomb. Chanel Fine Jewelry necklace (top), $280,000, 800-550-0005, Leviev diamond scarf, price upon request, leviev.com, Harry Winston bracelet, price upon request, 800-988-4110, Marc Jacobs gown, $3,200, marcjacobs.com. Opposite: Cartier bracelet, $93,500, cartier.com, Chopard earrings, $109,130, us.chopard.com.

0613_WSJ_Jewelry_01.indd 88 4/23/13 2:08 PM 0613_WSJ_Jewelry_01.indd 89 4/23/13 2:08 PM 04232013130958 04232013130958 CHAIN REACTION The simplest satin gown is the perfect counterpoint to these loops of linked splendor. Louis Vuitton ring, $13,600, louisvuitton.com, Bulgari bracelet, price upon request, bulgari.com, Lanvin dress, $3,770, 646-439-0380. Opposite: Graff ring, price upon request, graffdiamonds .com, Ralph Lauren Fine Jewelry necklace (left), $168,600, ralphlaurenjewelry.com, Tiffany necklace, $1.2 million, 800-843-3269.

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still life inÈS de la freSSange The longtime model, and consultant for roger Vivier, gathers a few of her prized possessions, from a chic handbag to whimsical toys.

photography by richard powers

“The whiTe sculpTure is by my eldest daughter, attach too much importance to material objects—they Yves Saint Laurent, I got to see that world, which has Nine, and the wire figure is by my younger daughter, just pass through your life. I love toys, boxes and tiny nearly disappeared. The other obsession I have is writ- Violette. They show their two different personalities. I things—what the Japanese call kawaii. When I bought ing paraphernalia, like notebooks and stencils. Right see these two things the most, because they are on the these Bambis, I spent hours hesitating between the now I’m reading this book by Chateaubriand. I devel- mantel in front of my bed. I bought the 18th-century blue one and the pink one. Then I thought, Go crazy, oped the perfume for Roger Vivier two years ago. And drawing at auction about 25 years ago. I never knew buy both. The little box from jeweler Marie-Hélène de even though people call me the French icon of fashion, if it was a mother and a daughter or if it was about a Taillac came with a present from my boyfriend. The I often feel like I don’t have the right things. But I know woman’s appearance as she ages. It was the only thing car is another little toy—I don’t remember where I got that with this Roger Vivier handbag, whatever I wear I kept when I sold all my belongings after my hus- it. To me, the tape measure is a symbol of the haute will look good. That’s what I appreciate about fashion: band died in 1996. I try to teach my daughters not to couture ateliers. When I was a model for designers like something that looks classic but isn’t boring.” • SEPHORA QVC NORDSTROM ULTA perriconemd.com

96 wsj. magazine

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