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PAPER TOWNS SCREENING LOS ANGELES | 7.18.15

WSJ. and Forevermark hosted the red carpet debut of 20th Century Fox’s Paper Towns starring June cover subject, Cara Delevingne. The movie was introduced by director Jake Schreier in the private screening room of The London West Hollywood. Following the film, guests joined luminaries from the industry at a reception in the Boxwood Seating Room.

Photo credit: Michael Kovac/Getty

Jake Schreier, Justice Smith

Kendall Jenner, Kylie Jenner

Austin Abrams, Halston Sage

Jaden Smith Nat Wolff

Cara Delevingne

Donna Tobias, Kristen Mourad, Robert Mourad, Tiffany Tobias, Jaz Sinclair Sam Trammell Cara Delevingne David Katzoff, Jennifer Kirchhof, Kevin Schmidt

*TURN TO PAGE 159 TO SHAZAM THE LATEST EXCLUSIVE CONTENT FROM OUR ADVERTISERS. HICKEYFREEMAN.COM Follow @WSJnoted or visit us at wsjnoted.com © 2015 DOW JONES & COMPANY, INC. ALL RIGHTS RESERVED. 6AO1443 SHOP AT LANDSEND.COM men’s style SEPTEMBER 2015

40 EDITOR’S LETTER 42 ON THE COVER 44 CONTRIBUTORS 50 COLUMNISTS on Willpower 53 THE WSJ. FIVE Complement any wardrobe with one— or all—of this fall’s requisite accessories. Photography by Andrea Spotorno Styling by Beth Fenton 160 STILL LIFE Laird Hamilton The king of big-wave surfing shares a few of his favorite things. Photography by Spencer Lowell

What’s News.

63 Jon Batiste, Late-Night TV’s New Bandleader

65 Jennifer Fisher’s Minimalist Jewelry for Men Chanel Launches Lightweight Moisturizer Gallery Showcases Rare Ettore Sottsass Designs The Season’s Luxe Hiking Boots

66 Boutique Quirk Hotel Opens in Richmond, VA Fabien Baron Curates Photo Show on Love

68 A New Generation of Muscle Cars Gets Lean Cole Haan’s High-Tech Outerwear Collection

72 Tumi and Public School Team Up on a Travel Line Michael Boyd’s California-Style Furnishings Patek Philippe’s Aeronautic-Inspired Pilot Watch

74 The Mystery Novel’s Murder Consultant Contrast Pieces Rule the Runways

76 Stefano Pilati’s Made in Japan Capsule Collection

78 Leon Tovar and Cristina Grajales Debut New Art Space

80 Q&As With Three Top Golfers

ON THE COVER Robert Redford, photographed by Mikael Jansson and styled by George Cortina. Vintage Wrangler denim shirt, vintage Ray-Ban sunglasses, vintage Melet Mercantile belt and his own watch and jeans. For details see Sources, page 158.

120 THIS PAGE A worker sands a teak deck for a Nautor’s Swan yacht, photographed by Martien Mulder. 800-457-TODS

104

136 146

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

89 AHEAD OF THE PACK 99 TRACKED: Danny Strong 110 THE REDFORD FILES Urbane meets urban in these The entertainment polymath strikes America’s legendary leading man variations on color-coded, cool- gold with his hit Fox show, Empire. is as busy as ever, starring in this weather looks. By Christopher Ross month’s A Walk in the Woods and Photography by Bruno Staub Photography by Ryan Lowry next month’s Truth. Styling by Julian Ganio By Charles McGrath 102 TRUE COLORS Photography by Mikael Jansson Styling by George Cortina Mark Rothko’s son remembers his father as a retrospective of the artist’s work opens at Houston’s 120 SWAN’S WAY Museum of Fine Arts. Cult Finnish yacht maker By Christopher Rothko Nautor’s Swan launches its most ambitious boat yet. By Finn-Olaf Jones 104 LIMINAL SPACE Photography by Martien Mulder Fashion designer Phillip Lim renovates his New York City loft. By Emily Holt Photography by Adam Friedberg FLOOR ROCK (1985), © 2015 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

Clockwise from left: Photographer Jeff Wall, photographed by Jesse Chehak. An interior from fashion designer Phillip Lim’s New York City loft, photographed by Adam Friedberg. Stones sculpted by artist Isamu Noguchi, photographed by Takashi Yasumura. ISAMU NOGUCHI, “there’s music for being born, there’s music for dying.” —jon batiste, p. 63

63

152 102 men’s style issue.

128 STREET CRED 142 SHAPE UP 152 HIGH FIDELITY Mix downtown cool with tailored With so many ties in so many colors, These top-of-the-line turntables uptown flair for a look that’s ready there’s no excuse not to tie the knot. combine the latest audio technology for anything. Photography by Philippe Lacombe with timeless materials. Photography by Cedric Buchet Styling by Vanessa Giudici Photography by Nicholas Alan Cope Styling by Mel Ottenberg 146 A LEGACY OF STONE 136 THE MAN WHO The dozens of works artist Isamu STOPS TIME Noguchi left at his Japanese studio Photography pioneer Jeff Wall are at the heart of an ongoing debate. expands his vision with a new show By Fred Bernstein at Marian Goodman. Photography by Takashi Yasumura By Elisa Lipsky-Karasz . 1953), © 1998 BY KATE ROTHKO PRIZEL AND CHRISTOPHER ROTHKO Portraits by Jesse Chehak C RED AND PINK ON PINK (

Clockwise from top: Jon Batiste, bandleader for The Late Show With Stephen Colbert, photographed by Jeremy Liebman. Mark Rothko’s Red and Pink on Pink. Redwood turntable designed by Alejandro Alcocer, photographed by Nicholas Alan Cope; for details see Sources, page 158. MARK ROTHKO, editor’s letter HOLE IN ONE

ILLUSTRATION BY ALEJANDRO CARDENAS

TEEING OFF Hitting the links on a leisurely afternoon, Bast and Anubis (both in Nike) watch as Who sends a drive down the middle of the fairway.

HE WHAT’S NEWS SECTION of our September Woods—have been studies of solitary characters who This October will see the first gallery show in four Men’s issue features Q&As with three ris- find themselves at odds with the natural world. As he years from Canadian photographer Jeff Wall, often ing stars in the sport of golf, a game whose turns 79, Redford shows no signs of slowing down; he considered a visionary who redefined his medium. difficulty sometimes boggles the mind. The also plays a lead role in Truth, opening next month. Yet his meticulous process has earned him the label Tability to strike a ball and send it flying hundreds of Few things combine beauty and function like “control freak” from some critics—an assessment yards so that it lands within feet, or even inches, of a sailing vessels, and few sailboats are as beautiful or that makes him bristle. “Was Mozart a control freak tiny hole requires incredible control—a theme at the functional as those made by cult Finnish yacht firm because he wrote every note of his music?” he asks. heart of many of the stories in this month’s issue. Nautor’s Swan. As our story details, the company is In a chaotic world, it’s often a firm hand—whether Our cover star, Robert Redford, has led an acting unique for designing every detail of the boat, from wielding a putter or a shutter—that allows us to career defined by self-control. “Bob understands the the bilge pump to the deck hardware, a commitment achieve moments of beauty and grace. power of restraint,” said Barbra Streisand. “That’s to integrity that has earned it customers like pho- what makes you want to keep looking.” Many of tographer Patrick Demarchelier and tech billionaire his film roles, ranging from the mountain man epic Thomas Siebel. Heini Gustafsson, a senior designer Kristina O’Neill Jeremiah Johnson to 2013’s survival-at-sea drama at Nautor’s Swan, remarks: “You are creating self- [email protected] All Is Lost—and now this month’s A Walk in the contained worlds with each boat.” Instagram: kristina_oneill

40 wsj. magazine on the cover ROBERT REDFORD Since his role in Butch Cassidy and the Sundance Kid, Redford has distinguished himself as an American film icon. Here, a look at the actor-director’s greatest hits and two new films this fall.

Butch cassidy the candidate (1972) and the sundance Barefoot in the Park (1967) kid (1969)

the Way We Were (1973)

Redford has been nominated four times for an Academy Award, winning best director in 1981 for his directorial debut, Ordinary People. three days of the sting (1973) the condor (1975)

all the President’s Men (1976)

Redford has appeared in seven films directed by the late Sydney Pollack, including Out of Africa, CRAFTING ETERNITY SINCE 1755 The Way We Were and Three Days of the Condor. the natural (1984) out of africa (1985) 260 years of continuous history is reflected

ordinary PeoPle (1980) in the Harmony Collection. A new legacy has dawned.

HARMONY CHRONOGRAPH

Geneva official watchmaking sPy gaMe (2001) the horse a river runs WhisPerer (1998) through it (1992) certification

Quiz shoW (1994)

In 2002, Redford won an Academy Award for lifetime achievement and for his work with the Sundance Institute, which he founded in 1981. all is lost (2013) a Walk in the Woods (2015) IN CHRONOLOGICAL ORDER: © MOVIESTORE COLLECTION LTD/ALAMY; © CORBIS; 20TH © CENTURYAF ARCHIVE/ALAMYFOX FILM CORP. ALL (2); © RIGHTSWARNER RESERVED/COURTESYBROS./SUNSET ALAMYBOULEVARD/CORBIS;EVERETT (3); © © COLLECTION;AF UNIVERSAL ARCHIVE/ALAMY;© SUNSET PICTURES/SUNSETBOULEVARD/CORBIS;JUERGEN © BOULEVARD/CORBIS;VOLLMER/GETTYSTEVE © SCHAPIRO/AFIMAGES; ARCHIVE/ALAMY;MCA/UNIVERSAL FRANK COURTESY MASI/BROADEVERETT GREENCOLLECTION; PICTURES;© AF LISA ARCHIVE/TOMASETTI © 2015 RATPAC TRUTH LLC., COURTESY OF SONY PICTURES CLASSICS truth (2015)

42 Wsj. Magazine september 2015 CONTRIBUTORS

SWAN’S WAY P. 120 When New York–based photographer Martien Mulder (above) arrived in the nautical seaside hamlet of Jakobstad, Finland, to photograph Nautor’s Swan’s newest yacht, she had no idea what to expect. “When I first set eyes on Solleone [the Swan 115 commissioned by company chairman Leonardo Ferragamo], I couldn’t believe my eyes.” Mulder embarked on a test sail along with the yacht’s architect, Germán Frers, interior designer Michele Bonan and several crew members. “Shooting aboard Solleone was a privilege,” she says. When Mulder boarded another vessel to sail alongside, the yacht’s quiet power came into focus. “I was overwhelmed by the silence. How can such a big object cut through the water without making any sound?” Writer Finn-Olaf Jones expanded on Mulder’s impression of the Swan 115: “It’s more like a floating sculpture than a sailboat. It’s a work of art.”

BETH FENTON CHARLES McGRATH EMILY HOLT MEL OTTENBERG Stylist Writer Writer Stylist

the wsj. five p. 53 the redford files p. 110 liminal spaCe p. 104 street Cred p. 128 CLOCKWISE FROM TOP: MATTHEW MIZIOLEK; CHARLOTTE COLLET; JOE SCHILDHORN/BFA.COM; NANCY MCGRATH; MARIANO VIVANCO

44 wsj. magazine Is my business growing fast enough? Can I afford to take on more staff? Can I afford not to?

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ubs.com/mybusiness The value of investments can fall as well as rise. You may not get back the amount originally invested. Issued in Australia by UBS AG ABN 47 088 129 613 (AFSL* No. 231087). *AFSL means holder of Australia Financial Services License. © UBS 2015. All rights reserved. EDITOR IN CHIEF Kristina O’Neill

CREATIVE DIRECTOR Magnus Berger

EXECUTIVE EDITOR Chris Knutsen

MANAGING EDITOR Brekke Fletcher VP/PUBLISHER Anthony Cenname GLOBAL ADVERTISING DIRECTOR Stephanie Arnold DEPUTY EDITOR Elisa Lipsky-Karasz BUSINESS DIRECTOR Julie Checketts Andris DESIGN DIRECTOR Pierre Tardif MULTIMEDIA DIRECTOR/LUXURY-U.S. Alberto Apodaca MULTIMEDIA DIRECTOR/LUXURY-EU Omblyne Pelier PHOTOGRAPHY DIRECTOR Jennifer Pastore BRAND DIRECTOR Caroline Daddario FEATURES EDITOR Lenora Jane Estes BRAND COORDINATOR Tessa Ku MAGAZINE COORDINATOR Suzanne Drennen STYLE DIRECTOR David Thielebeule

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SENIOR MARKET EDITOR Laura Stoloff HEAD OF GLOBAL SALES, THE WALL STREET JOURNAL MARKET EDITOR Isaiah Freeman-Schub Trevor Fellows SENIOR VP MULTIMEDIA SALES Etienne Katz RESEARCH CHIEF Randy Hartwell VP MULTIMEDIA SALES Christina Babbits, Chris Collins, ASSOCIATE PHOTO EDITOR Hope Brimelow John Kennelly, Robert Welch VP VERTICAL MARKETS Marti Gallardo EDITORIAL ASSISTANT Sara Morosi VP STRATEGY AND OPERATIONS Evan Chadakoff ART & PRODUCTION ASSISTANT Caroline Newton VP AD SERVICES Paul Cousineau VP INTEGRATED MARKETING Drew Stoneman FASHION ASSISTANTS EXECUTIVE DIRECTOR, MULTIMEDIA SALES/ASIA Mark Rogers Arielle Cabreja, Alexander Fisher, Lauren Ingram EXECUTIVE DIRECTOR, GLOBAL EVENTS Sara Shenasky PHOTO ASSISTANT Noelle Lacombe SENIOR MANAGER, GLOBAL EVENTS Katie Grossman AD SERVICES, MAGAZINE MANAGER Don Lisk WEB EDITOR Seunghee Suh AD SERVICES, BUREAU ASSOCIATE Tom Roggina CONTRIBUTING EDITORS Alexa Brazilian, Michael Clerizo, DIRECTOR OF CORPORATE COMMUNICATIONS Colleen Schwartz Kelly Crow, Jason Gay, Jacqui Getty, CORPORATE COMMUNICATIONS MANAGER Arianna Imperato Andrew Goldman, Howie Kahn, Joshua Levine, J.J. Martin, Sarah Medford, Meenal Mistry, Clare O’Shea, Dacus Thompson WSJ. Issue 63, September 2015 Men’s Style, Copyright 2015, Dow Jones and Company, Inc. All rights reserved. See the CONTRIBUTING SPECIAL PROJECTS DIRECTOR magazine online at www.wsjmagazine.com. Reproduction in whole or in part without written permission is prohibited. Andrea Oliveri WSJ. Magazine is provided as a supplement to The Wall Street Journal for subscribers who receive delivery of the Saturday SPECIAL THANKS Tenzin Wild Weekend Edition and on newsstands. WSJ. Magazine is not available for individual retail sale. For Customer Service, please call 1-800-JOURNAL (1-800-568-7625), send email to [email protected] or write us at: 84 Second Avenue, Chicopee, MA 01020. For advertising inquiries, please email us at [email protected]. For reprints, please call 800-843-0008, email [email protected] or visit our reprints Web address at www.djreprints.com.

48 wsj. magazine OM

soapbox .C OR DI 7) 46 (3

THE COLUMNISTS OR DI

WSJ. asks six luminaries to weigh in on a single topic. This month: Willpower. 9. 92 0. 80

MEB TRACY ROY MARIE DAV ID KRIS KEFLEZIGHI ANDERSON BAUMEISTER KONDO SEDARIS CARR

“Willpower is something “I think willpower is “We need to understand “With willpower, I think “The level of my will- “I think it’s important you practice daily. You something that we all willpower as a limited about the balancing power depends on what to reframe adversity a don’t come to the exam have, but it has to energy. The human point between having I’m trying to stay away little bit. It’s not always unprepared. In train- be ignited. Willpower willpower glass is very the determination to from. When it came a bad thing. And yes, ing, you have a dialogue requires you to be much half full and half start something and hav- to giving up drugs, tough stuff or heart- with yourself: I think I’m straight with and have empty. We get a lot more ing the wisdom to stop. cigarettes and alcohol, breaking things happen, ready with speed, with tough conversations than other creatures do, When I was younger I felt slightly above and I certainly don’t race pace—I think I can with yourself. You have and it’s contributed I would reach a point in average. Ditto the first want to minimize that. cover the distance. After to really figure out where immensely to the success my tidying where I would 10 times I lost weight. But a big turning point the London Olympics, the imbalances are of our species. But I think throw out almost any- Lately though, at least in my journey of living where I didn’t win a in your life and fix them. there’s also the sense thing. My brother’s stuff, in the dieting depart- with cancer came when medal, I was in a wheel- You can make excuses that if we had a little my sister’s—even my ment, I’m starting to feel I started looking for the chair. I put everything for why you needed more, we would do even parents’ and my teach- below average. I have opportunities among on the line—my feet the candy in the office better. I call self-control ers’ things weren’t safe. breasts now and can feel the obstacles. It’s kind were brutally blistered or why you couldn’t get the moral muscle. It’s What for many people them jiggling as I run of cliché but it’s true: from the cobblestones. your workout in, but what creates the capac- is so difficult to start— to the ice cream truck. There’s a lot of personal I was not prepared. But they’re just not true. ity for humans to act in tidying—was sometimes My problem is I have growth inside of those after finishing fourth, I The willpower behind certain ways when they difficult for me to stop. to overdo pretty much obstacles. Cancer also knew internally that doing a juice cleanse don’t want to. So what we One of the most common everything. I got a Fitbit has asked me to stretch I could win New York for seven days to get need to understand questions I hear is last year, and even that myself, to bump up or Boston. At Boston in bikini-ready is the wrong is that we have this mar- ‘Your book helped me, I overdo. On an average against my edge and 2014 I’d been told that kind—it’s driven by velous capacity but that but what can I do about day I walk between 15 push past it. I define I was too old. At 17 miles, vanity. The better kind it is not unlimited. It fails the messiness of my hus- and 20 miles. I’ve walked willpower as consistent I remember making the is driven by a vision sometimes. The key is band, wife, co-worker, so much that three of energy directed toward right turn at the Newton of what the human body that self-control works etc.?’ I always answer the my toenails have fallen a goal. But if you’re fire station. I’d just can do with focus through habits. By same way: ‘Nothing. You off. I get up in the middle not careful using it, run a 4:31 mile, my foot and achievement. Music setting up good habits, can’t change them, and of the night and practi- willpower can lead to was aching badly. But helps—it’s the classic you’re not resisting you shouldn’t try.’ Show cally have to crawl to the burnout. It can get you I was like, ‘Ignore the tool for pumping your- temptation or getting them what you have bathroom. I’m crippling out of balance. When pain. You are carrying self up. I put on Eminem’s yourself out of jams achieved through your myself but I can’t stop. you’re too rigid or strict the nation on your back. “Not Afraid” and I’m or fighting the odds, but tidy room, your freer My partner, Hugh, does or hard on yourself, This is for Boston. This like, This is right: I’m not rather you’re using your soul, and let them find everything in mod- willpower becomes is for the United States. stopping, I’m not folding, self-control to set life up their own way forward. eration. I don’t know if white-knuckling, and Just stick to it.’ You can’t I’m not derailing here. to run on autopilot. Then Willpower is not only the that’s willpower or just a there’s nothing fun or win every race, but you And a Van Halen song it runs smoothly, and you drive to change yourself, healthier level of sanity.” inspiring about that. just have to dig deep and can get me through just can save your willpower it’s also the sense of For me, willpower is keep digging.” about anything.” to put into more creative understanding that this passion. It’s positive, it’s endeavors.” power has limits.” desire, it’s energy. It is the animating life force.” Baumeister is a psychology professor at Florida State Kondo is an organization Carr is an author and health Keflezighi is a long-distance University and the co-author of expert and the author of advocate who documented her runner who won the Boston Anderson is a personal trainer Willpower: Rediscovering the The Life-Changing Magic Sedaris is a bestselling author battle with cancer in the docu- Marathon in 2014 at 38. and fitness entrepreneur. Greatest Human Strength. of Tidying Up. and humorist. mentary Crazy Sexy Cancer.

50 wsj. magazine keepsakes the wsj. five september 2015

1. the hat Dress up a casual cap with leather and wool. Calvin Klein Collection hat.

FROM THE TOP

Complement any wardrobe with one—or all—of this fall’s requisite accessories.

PHOTOGRAPHY BY ANDREA SPOTORNO STYLING BY BETH FENTON

wsj. magazine 53 the wsj. five

2. the watch Wind up with a perfectly classic accessory. Tiffany & Co. watch.

54 wsj. magazine MADISON AVENUE, NEW YORK MIAMI DESIGN DISTRICT, MIAMI SOUTH COAST PLAZA, COSTA MESA the wsj. five

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A.P.C. sweater and hoodie, Calvin Klein Jeans jacket and Rag & Bone pants (worn throughout). Model, Bryan Acosta at New York Model Management; hair, Holly Mills; makeup, Ayami Nishimura. For details see Sources, page 158.

60 wsj. magazine the world of culture & style what’s news. september 2015

MUSIC TO HIS EARS “It’s like 202 shows a year. It’s a commitment. We’re talking a thousand shows,” says Jon Batiste, in New York City— the Louisiana native’s home base for his five- year gig on The Late Show With Stephen Colbert. BATISTE’S BAPTISM For Jon Batiste, who makes his debut this month as the bandleader of The Late Show With Stephen Colbert, music runs in the family.

BY HOWIE KAHN PHOTOGRAPHY BY JEREMY LIEBMAN

wsj. magazine 63 what’s news what’s news

on displ ay HE FIRST TIME I saw Jon Batiste at the NoMad hotel bar, in Manhattan, he was jennifer fisher men’s dancing on it. As part of a weeklong stint oval id ring ($175) and hoof ITALIAN EYE of performances in June, the 28-year-old cuff ($370) Tmusician, who had just been named bandleader of The The uptick of interest in the Memphis design movement of the Late Show With Stephen Colbert, seamlessly switched ’80s has returned Ettore Sottsass, its instigator, to the spot- instruments mid-song, swapping from piano to melodica, while juking and grooving to his own tune. light. But Memphis was only a slice—albeit a colorful one—of the Fusing jazz elements with soul, funk, hip-hop, rock Milanese architect’s multilayered career, which encompassed and Afro-Caribbean beats, Batiste appeared both the design of everything from jewelry to mainframe computers incapable of stillness and gifted with the quality of making everybody else around him move. until his death in 2007. This month, New York’s Friedman Benda Not long after that night, it seemed almost unnat- gallery introduces Ettore Sottsass: 1955–1969, featuring the ural for Batiste to be in the same place, sitting—his rare furniture, ceramics and objects (some never before seen in melodica in a leather sheath at his side—rather than the United States) produced when the designer was still refining doing what’s in his blood: playing more music. “You’re bringing me back,” he says, relishing the opportunity PERFECT 10 his radical point of view. “Many of the works I chased down to reflect on the gig-after-gig lifestyle that has, much Sensitive skin has for years,” says Marc Benda, the organizer of the exhibition, to his own surprise, resulted in a coveted slot on long been a focus for which is on view until October 17. “They are early examples by a late-night TV. “Man,” he says, drawing out the single New York City syllable. “It’s cool to revisit how I got here.” dermatologist and man who was about to shape design history.” —Sarah Medford For Batiste, the explanation starts at home. “I’m ON THE RUN psychiatrist Amy from Kenner, Louisiana, where music is played for “I know Stephen also accessories report Wechsler. “My had the urge to do every occasion in life,” he says, leaning back in a vel - patients ask me what something different,” I can recommend, vety, upholstered chair, wearing a bespoke brown says Batiste, who MANNING UP and I’ve never suit with narrow lapels and a white, spread-collared plans to shake things up onstage. Having won over women with her minimalist had anything special,” shirt buttoned to the top. Batiste drinks water and she laments. That orders spaghetti with garlic scapes and a side of fried creations, New York–based jeweler Jennifer changes this fall as chicken. “There’s music for being born,” he says, Fisher never imagined herself designing for the consulting “there’s music for dying.” Mainly, Batiste explains, began gigging around town: solo, with his class- start,” says Batiste. Colbert confirms their immediate dermatologist for the occasions for music in Kenner, and nearby New mates, with more established musicians, in top-notch affinity: “I instantly thought, ‘I think I could spend a men. “I’m not a fan of ornamentation Chanel launches her Orleans, are family affairs with everyone participat- clubs and low-rent bars that wouldn’t pay up at the lot of time onstage with a guy like this,’ ” he says. “The on men unless it’s very clean,” says Fisher. first product with ing. “It’s just natural,” he says. “Families get really end of the night. He played on the streets and in the energy and the excitement, the love of the audience, But when Barneys New York—one of the brand. Named for its 10 ingredients, good because they play a lot together.” subways, recording those sessions for his 2011 album, the humanism that he brings to his music is every- her major retail partners—approached her Batiste’s family, billed as the largest musical MY N.Y. Batiste also toured with Cassandra Wilson, thing that I want.” including shea butter and the antioxidant- family in Louisiana, happens to be famously good, jammed in three of Roy Hargrove’s bands and col- Still, when Colbert called this past winter to ask to develop stripped-down jewelry for packed Silver Needle with multiple bands and as many as two dozen able laborated with Lenny Kravitz and Prince. “Jonathan the musician for, as the host puts it, “his hand in its male customer, she saw an opportunity. tea, the unscented members. Jon became one at the age of 8, drum- is a modern virtuoso,” says Marsalis. “An elegant and band,” Batiste had to think before accepting the pro- This fall, Fisher introduces her first men’s La Solution 10 de ming alongside his father, uncles and cousins. An electric performer with an unbelievably rich palette posal. “Things were really starting to click for Stay collection exclusively with Barneys. The Chanel soothes obvious prodigy who sings in addition to playing of techniques and styles rooted in New Orleans soul. Human,” he says. “We were touring, playing all these inflammation and five instruments, he still credits his early talent to He is engaging, entertaining and accurate.” amazing venues, had recently had a No. 1 record on 13-piece assortment of refined cuffs, rings protects against free his surroundings. “Imagine if you grew up in a place During that period, Batiste formed his own the jazz charts, and then Colbert came in with this and necklaces incorporates elements from radicals. (Think band, Stay Human, and started curveball.” Ultimately, it was Colbert’s promise of her women’s line—such as her signature of it as a high-end concentrating on not only musi- creative freedom that convinced Batiste to sign on for Cetaphil.) The “the energy and excitement he cianship but also what it means the next five years. “I’m a lucky man,” says Colbert. bone cuff and ID ring—with a masculine moisturizer’s lack of potentially irritating to be a bandleader. “I thought In the lead-up to the revamped Late Show’s pre- twist. Fisher swapped her trademark yellow brings to his music is every- perfumes is a first about how I want people to miere, on September 8, Batiste already has ideas thing that i want.” —stephen colbert gold for silver and added a hammered for the French react,” Batiste says, “how I want about redefining what a bandleader does on net- texture with a matte finish. “It’s an elevated fragrance house—and OBJECT LESSON people to feel when they see a work TV. “I’ve been working on my comedy,” he says, a plus for men. Ettore Sottsass bookshelf (1965) where your lineage was there for a hundred years, performance and hear the sounds.” The result is a never mentioning that he can act, having appeared worn look,” says Fisher. “Nothing feels too $80; chanel.com. and objects (1955–1963). and part of the culture was to play music 50 percent concept he calls “social music,” an idea deeply depen- on HBO’s Treme. “I’m talking to Stephen about delicate.” barneys.com. —Laura Stoloff —Celia Ellenberg of the time,” he says. “You’d probably have a lot of dent on his, and his band’s, ability to reach people. improv, talking to Jason Sudeikis, trying to get as musicians in your family too.” In person, social music involves near-constant much coaching as possible.” At 17, Batiste tested out of high school and released movement. Instruments and bandmates come from He’ll also be introducing some novel musical con- his first album, Times in New Orleans. At 18, he made every direction, with Batiste energetically moving cepts, amplifying social music for high-definition plans to move to Manhattan to play in the jazz scene between them. It all makes the audience feel like enjoyment and leaving two spots in his band open OFF THE and attend Juilliard. His audition, however, was participants, whether they’re merely watching or for a rotating corps of players. “We’re going to have bally coach TRAILS scheduled at the same time Hurricane Katrina hit, following Batiste out into the streets. these residencies, where people can sit in with us for berluti in 2005, grounding him in Louisiana. Batiste impro- Batiste calls that kind of march a love riot and won two, three months at a time,” he says. “It could be Rugged but refined, this balenciaga dsquared2 vised, performing from a pay phone in a bar, the only over Stephen Colbert by initiating one on his Comedy anybody. It could be Paul Shaffer. It could be Chad season’s hiking boots line working, and left for New York soon after. Central show, The Colbert Report. “They’d never Smith from the Red Hot Chili Peppers.” Batiste swirls in rich colors and supple While enrolled at Juilliard and being mentored by taken the audience out of the studio before,” says the last of the spaghetti onto his fork and brings the materials are built for a fellow Kenner native, Jazz at Lincoln Center’s artis- Batiste, who played again on the show’s series finale in conversation back around to family. “Man,” he says, the urban trek. For details see Sources, page 158. tic and managing director, Wynton Marsalis, Batiste December. “We had really good synergy right from the “it could be one of my cousins.” CLOCKWISE FROM TOP LEFT: COURTESY OF JENNIFER PHOTOGRAPHY:FISHER (2); ADAMCOURTESY REICH;OF CHANEL;F. MARTIN COURTESYRAMIN OF FRIEDMANAND STYLING BENDA BY AND ANNEETTORE CARDENASSOTTSASS (BOOTS)STUDIO,

64 wsj. magazine wsj. magazine 65 what’s news

worth the trip SOUTHERN COMFORT

HERE ISN’T AN URBAN, hip boutique hotel here, and I wanted to be the first to do one,” says Ted Ukrop, who along with his wife, Katie, will open Quirk Hotel this month in the thriving arts district sur- rounding Broad Street in downtown Richmond, Virginia. Like TKatie’s Quirk Gallery, a concept shop that showcases local and established artists (which is relocating to a new space within the hotel), Quirk Hotel focuses on art, with original works in each guest room and throughout the 60,000-square-foot property. Ted, a scion of the family who once owned regional supermarket chain Ukrop’s, got the idea for the venture when he stayed at the former Hotel Monaco in San Francisco in the mid-’90s. “It really woke me up to the whole designed-lodging experience,” he says. The thought grew, and as the once blighted Broad Street began to revitalize and his wife’s gallery drew patrons to the area, he decided to renovate the onetime J.B. Mosby & Co. department store, built in 1916. “This hotel is really going to continue to change the neigh- borhood,” says Katie. “We want people to know this part of town.” During the redevelopment, the Ukrops were careful to maintain the historic eight-story structure’s original features: segmental arches, floor- to-ceiling windows and groin vault ceilings. “It’s this beautiful Italian Renaissance–style landmark,” says Ted. “Our job was not to muck it up.” The interior and architectural design firm Poesis Design even repurposed the building’s original 100-year-old Virginia wood beams to create the bed the inspiration frames for the 75 guest rooms. “Nothing is random, and everything has a story,” Katie says of the design process. The dining experience at Quirk also spotlights Richmond artisans, with LOVE STRUCK the lobby restaurant serving American cuisine made from regional ingre- dients, local brews on tap at When it comes to love, it’s a safe bet that 32 renowned photog- the bar and a ground-floor raphers—including Mikael Jansson, Josh Olins and Alasdair coffee bar offering roasts McLellan—have something to say on the matter. That is exactly made specially for Quirk by a neighborhood shop. One of what art director Fabien Baron counted on while curating Art the most endearing aspects for Love, a photo exhibition presented by Moncler at the New York of the hotel, however, will Public Library during this month’s New York Fashion Week. Using be its rooftop bar—one of Moncler’s iconic Maya jacket as the common thread, each pho- the few in the city. “We really designed Quirk with tographer captured a personal take on love. “It made for the most Richmonders in mind,” says interesting pictures, an everyday object interpreted in so many Ted. “Success in my book different ways,” says Baron of the images, which will be sold would be having someone online at Paddle8 through September and will benefit amFar’s from out of town sitting next to and interacting with a Countdown to a Cure. paddle8.com. —Scott Christian PRETTY IN PINK From top: The Quirk Hotel, on Broad Street, in Richmond, Virginia. A standard native in the hotel’s lounge.” Above: An Art for Love image, by photographer Mikael Jansson, featuring Juana guest room in the hotel, which opens this month. —Sade Strehlke LaCubana—a fortuneteller from Old Havana, Cuba. CLOCKWISE FROM TOP LEFT: QUIRK HOTEL, A DESTINATIONMIKAEL HOTEL; JANSSON/COURTESY OF MONCLER; 3NORTH

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the shift LEAN MACHINES Logic seems to dictate that muscle cars—those noisy, brash, gas- guzzling machines of yesteryear—would have little role to play in today’s automotive landscape, increasingly populated by sleek, quiet, energy- efficient vehicles. What to make, then, of the demand for Dodge’s 2015 Challenger and Charger models, which has lately proved unprecedented, forcing the company to restrict orders and double production? At the same time, the archetypal muscle car—Ford’s redesigned Shelby GT350 Mustang—has seen sales in the first five months of 2015 leap 55 percent over last year’s numbers, and gearheads have been heralding the launch of Chevrolet’s newly designed 2016 Camaro with escalating excitement. Also consider the recent paparazzi shots of Ben Affleck cruising around in his new black Hellcat or Kendall Jenner hopping into her customized vintage 1969 Camaro, and it becomes impossible to ignore that America is in the midst of a full-blown muscle car revival. The new generation of cars is packing as much fearsome, roaring power and speed as its forebears, but now with tech-enhanced frames that are as lean and chiseled as an MMA fighter. “For a muscle car like the Camaro, refinement isn’t usually the first word that comes to mind,” says Todd Christensen, marketing manager for the new Camaro, out this fall. But it’s the added refinements that have allowed the Camaro to remain relevant today. Chevrolet has modernized its 2016 model by cutting the weight by 200 pounds, offering a fuel-efficient 2.0-liter, turbocharged, four-cylinder engine, plus wireless-phone charging, all while maintaining heritage trademarks like the car’s aggressive, snarling face. The new Mustang, which celebrated its 50th anniversary last year, boasts a V-8 engine with over 500 horsepower and 400 pounds-per-foot of torque but also now offers the option of an BODY PARTS Clockwise from top: EcoBoost four-cylinder unit. Meanwhile, the Challenger combines A bird’s-eye view of the most powerful muscle car engine ever created—the Hellcat’s V-8 the Dodge Challenger; the Challenger’s Scat with 707 horsepower—and its instantly recognizable ’70s silhouette with Pack badge; the new 2016 Chevrolet Camaro; modern amenities like blind-spot sensors and keyless entry. As Timothy an under-the-hood Kuniskis, Dodge president and CEO, says, “This really is the golden look at the Challenger’s V-8 engine. age of muscle cars.” —Christopher Ross

closet case PEAK PERFORMANCE For its expansion into high-tech outerwear, Cole Haan turned to Mountain Hardwear, known for its innovative gear used by serious outdoor athletes. The result is the ZerøGrand collection comprising six outerwear pieces and one backpack style aimed at city dwellers. “Our designers’ experience working with mountain athletes allowed us to solve problems for urban users that no one had ever addressed,” says Robert Fry, Mountain Hardwear’s global director of product merchandising and design. Utilizing the same fabrics and insulation pioneered for climbers and skiers, the line includes a men’s commuter jacket (at right), trench coat and motoring coat

as well as three women’s styles. $150–$475; colehaan.com. —Isaiah Freeman-Schub CLOCKWISE FROM TOP LEFT: COURTESY OF DODGE/FCA US LLC (2); COURTESY OF CHEVROLET; COURTESY OF DODGE/FCA US LLC; COURTESY OF COLE HAAN (JACKET)

57 GREENE ST, NEW YORK JEFFREYRUDES.COM 68 wsj. magazine The Men’s Store at Bloomingdale’s and Herno what’s news

study in design MOD MASTER Michael Boyd could never be accused of lacking focus. Within hours of buying his first piece of modern fur- niture—an Eames chair with Eiffel Tower legs, at the age of 18—he’d decided that all his other furnishings had to go. Eventually the Berkeley, California–bred composer of TV soundtracks and film scores segued out of the music business to become an evangelist for modernism. “Music was preparation for my life in design,” says Boyd, “which I also see as composition.” Over the past 15 years, Boyd, 55, has progressed from collector to restorer of houses (including his own, a 1964 Los Angeles gem by Oscar Niemeyer) to creator CALIFORNIA of furnishings, interiors and GOING PUBLIC DREAMIN’ Clockwise from above: landscapes for clients includ- Tumi, the purveyor of sturdy travel A Bay Area interior essentials, ups its cool factor this featuring Michael ing Benedikt Taschen, the Boyd’s Sting Ray Ace Hotel empire and the L.A. month by teaming with Public stools; designs from Boyd’s Plank series design powerhouse Commune. School, the street-savvy fashion at San Francisco’s Hedge gallery; his new On November 12, Boyd’s lat- label designed by Dao-Yi Chow Hawk stool; and the and Maxwell Osborne. Chow and Double-Arrow rug for est examples of seductively Christopher Farr. Osborne kept their travel experi- simple furniture as well as four ences in mind when designing the painterly carpet designs for six-piece collection, which includes Christopher Farr will debut at 21- and 24-inch hard-sided wheeled JF Chen gallery in Hollywood, where bags, a travel satchel, backpack, the treasure-cave setting should provide day tote and dopp kit. “We had a a foil for his pared-down aesthetic. As clear point of view of what we like usual, he’s aiming high: “The goal has to use when we travel,” says Chow. always been, and still is, to create unfussy, “Everything is sleek and easy to California-style, approachable, practical move around with.” pieces,”he explains, “through the looking Having grown up in New York glass of avant-garde continental modern- City, they were also inspired by ism, mostly from Europe, but really their hometown, as evident in from all over the world.” PLANEfurniture the all-black materials used in the at JF Chen, 1135 N. Highland Ave., collection, as well as the rubber Los Angeles. —S.M. tassels—a throwback to the key chains from their high-school backpacks. In a nod to their time machines ready-to-wear aesthetic, the hard cases feature a raised, textured TOP FLIGHT design that mimics woven fabric. Patek Philippe takes one of its signature models to new heights this fall with the release of the Calatrava Pilot Travel “The pattern itself feels pretty Time Ref. 5524. The sporty design features aeronautic- uniquely Public School,” says Chow. inspired details, including a dial in navy lacquer that “We wanted to do something resembles the body paint of 1930s American fighter planes, and a vintage brown calfskin strap, which evokes a classic dimensional.” —I.F.-S. aviator’s watch. Plus, a perk when traveling abroad: A dual Above, from left: Tumi backpack ($495) and time-zone function discreetly displays both the local and

carry-on ($795); tumi.com. home times. $47,600; 212-218-1240. —I. F.-S. CLOCKWISE FROM TOP LEFT: F. MARTIN RAMIN AND STYLING BY ANNE CARDENAS; RICHARD POWERS; PATRICK ARGAST FOR HEDGE GALLERY; STEPHEN RITSON; HANS ECKARDT; F. MARTIN RAMIN AND STYLING BY ANNE CARDENAS

72 wsj. magazine what’s news

balenciaga

employee of the month MURDER, HE WROTE

Y DAY, DOUGLAS LYLE is a cardiologist in Southern California. By night, he has an unusual medical sideline: murder consul- Valentino tant. For two decades, he’s been the secret weapon behind offings in such books as Gillian Flynn’sSharp Objects and Kate ON THE GRID BAtkinson’s One Good Turn. Any writer who is stumped for an alternative Clockwise from kill can tap Dr. Lyle for his expertise—free of charge. top: Bottega Veneta jacket, Tod’s An enthusiastic author of thrillers himself, Lyle developed his sec- sneakers, Ovadia ondary skill after he started going to writers’ conferences in the ’90s. & Sons pants, “They find out you’re a physician,” he explains of attendees, “and they AMI Alexandre Mattiussi coat, Louis want to talk to you about what dead people look like.” Lyle parlayed such Vuitton duffel bag parlor talk into a monthly column for a mystery writers’ newsletter in and Public School which he answered murder-related questions. From there, he expanded scarf. For details see Sources, page 158. into consulting: Lyle still addresses single queries gratis, but he also offers one-on-one coaching via phone for around $100 per hour. Some questions have been staples since the beginning: His most common request is for a probable plot line with a time-release poison that kills within a few hours. However, Lyle says it doesn’t exist: “If a poison makes you drop dead, it usually works within a few minutes.” Lyle is especially fond of one condition when devising murder meth- ods: allergies. In Mr. Monk Is Miserable, he suggested to author Lee Goldberg that a cabin crew member should serve a croissant coated in peanut dust to a susceptible passenger to create a mid-flight death. For one of Kathleen Antrim’s books, Lyle pushed his technical expertise further. Antrim needed a sniper to assassinate a U.S. senator from afar while he was jogging in a park, without leaving a noticeable wound. Lyle suggested sodium azide—a chemical component inside a car’s air bag. Frozen into a pellet using liquid nitrogen, the lethal ice-bullet could be shot at the senator’s sweaty chest, penetrate instantly and stop his trend report heart. Lyle admits it’s an outré idea but says the science is sound— improbable, perhaps, but not impossible. When consulting, he has only one rule: He won’t answer any conun- SHARP CONTRAST drum without the questioner’s name, address and phone number. “You can often tell the way a question is worded, if it’s about a real-life situ- This fall’s standout pieces—from oversize outerwear to bold ation,” Lyle says. “For medical—and legal—reasons, I do not answer accessories and classic luggage—are emblazoned with graphic

questions about real life.” —Mark Ellwood patterns in shades of black, white and gray. CHRIS GASH (ILLUSTRATION); F. MARTIN RAMIN AND STYLING BY ANNE CARDENAS (PRODUCTS); COURTESY OF VENDORS (RUNWAY)

74 wsj. magazine what’s news historyandheroes.

of the market that has taken flight in recent years: 20th-century masterworks of geometric abstraction, kineticism, op art and minimalism from living artists or their estates, including Carlos Cruz-Diez, Sergio Camargo and Gego. Grajales, 57, is an expert in 20th- century European decorative arts and an aggressive seeker of new talent across the globe. Her stable includes almost two dozen contemporary designers who are testing the boundaries between functional objects and sculpture, arguably the hottest sector of the fast-growing collectible design market.

“cristina and leon are breaking down silos with this collaboration.” —anne pasternak

Both dealers are invigorated by the former man- ufacturing space and its unpretentious location. Tovar playfully compares its interior, by Colombian architect (and Grajales talent) Jorge Lizarazo, to LOFTY AMBITIONS a subway station—and it’s true that the railroad- Leon Tovar and Cristina Grajales in their new gallery space, with style layout of the three spaces evokes a pair of work by sculptor Edgar Negret and platforms with a shuttle train idling between them. designers Steven and William Ladd. The metaphor is apt for a venture that will explore the sympathies between art and design, as artists increasingly jump between the two. “The gallery will not only underscore the relationship of all partnership the arts, fine and applied, it will help to articulate the questioning of the relative status of some cre- ative practices over others,” says Harold Koda, the ROGUES’ GALLERY curator in charge of the Costume Institute at the Metropolitan Museum of Art. Grajales is already Art dealer Leon Tovar and design gallerist dreaming of a show that pairs sculptural furniture by young designer Sebastian Errazuriz with the Cristina Grajales are changing New York’s creative landscape kinetic wall pieces of the late artist Jesús Rafael with their new Flower District space. Soto, revealing similar fascinations with movement and serial form. “Cristina and Leon are breaking down silos with BY SARAH MEDFORD this collaboration,” says their mutual friend Anne PHOTOGRAPHY BY FRANCES TULK-HART Pasternak, the new director of the Brooklyn Museum. “The intersection of these two visionary dealers luminor submersible 1950 could lead to fresh and surprising shows.” 3 days chrono flyback For their inaugural outing, Grajales will present NE SWELTERING DAY this summer, a crew has been loosely partitioned into thirds. Each will automatic titanio (ref. 615) of painters descended on a 6,000-square- run independent galleries from the space, employing free-form metal furniture by Los Angeles–based foot Manhattan loft to put the finishing the remaining square footage, which they’ve named designer Stefan Bishop and woven and beaded con- touches on a new exhibition space. Such the Third Room, for curatorial experiments that structions by sibling Brooklyn design team Steven Ovenues are commonplace these days, but few of them cross-pollinate their artists, their disciplines and and William Ladd. Tovar will open with work by arrive with the ambitions, or the game-changing even their philosophies. the late sculptor Edgar Negret, whose massive steel promise, of this one. “I’ve always been intrigued about the inter- pieces introduced modernist abstraction to his Set to open later this month, the gallery, a part- section of art and design, and I wanted to bring it Colombian homeland. And in the Third Room, the nership between seasoned art dealer Leon Tovar and closer,” says Grajales, who instigated the partner- partners will install Marisol’s Picasso from 1977, design impresario Cristina Grajales, will occupy a ship when the lease on her SoHo gallery ended last an ambitious abstract work in bronze representing gritty stretch of West 25th Street. A few blocks east year. “From a business point of view, it makes sense the Spanish artist in old age, seated like a medieval of the Chelsea arts district—and surrounded by a to merge our clients.” king on a throne. It’s a collection of work that would hodgepodge of floral wholesalers, mannequin shops The gallerists, both Colombian, found they already be hard to imagine coexisting anywhere else—and PANERAI BOUTIQUES and delis—the area is still pioneer land for galler- had an overlapping audience. Tovar, 50, who also has that’s the way the dealers like it. “This is a creation ASPEN • BAL HARBOUR SHOPS • BEvERLy HiLLS • BOcA RAtON•DALLAS ies. And together Grajales and Tovar have devised an an Upper East Side space, is a respected source for between Cristina and myself,” says Tovar. “We will innovative program for their light-filled loft, which Latin American modernist art, trading in an area not do everything by the book. And that is great.” FORUM SHOPS At cAESARS • LA JOLLA • MiAMi DESiGN DiStRict • NAPLES • NEw yORk • PALM BEAcH Exclusively at Panerai boutiques and select authorized watch specialists. 76 wsj. magazine panerai.com what’s news

creative brief SELVAGE WORK Designer Stefano Pilati is bringing Japanese THE HEAD SAYS denim to Ermenegildo Zegna Couture. YES. BY J.J. MARTIN THE HEART SAYS HE BIGGEST SURPRISE of fashion designer Stefano Pilati’s capsule collection launching this month for the Italian label Ermenegildo Zegna Couture is that nothing was DEFINITELY, YES. made in Italy. Instead, to celebrate the brand’s new Peter TMarino–designed flagship store in Tokyo’s Ginza district, Pilati decided to tap into a network of local producers to create a 26-piece menswear collection. Called Made in Japan, it is a first for the label. Pilati, 49, spent eight years in Paris helming Yves Saint Laurent’s womenswear line before moving two years ago to Milan- based Zegna to head up the super-luxe couture menswear label. But the Italian-born designer, who resides in Berlin, is a Japanophile at heart. “It’s one of the most sophisticated cultures I’ve ever inter- acted with,” says Pilati, who first visited in 2003. “They have a sense of respect about everything.” Japanese suppliers, Pilati adds, are often eschewed by Western fashion brands because of the endless time they spend perfecting things. But the designer, who began working on this concept a year ago, embraced the slower pace. “I thought, what if we create a 100- percent-made-in-Japan capsule, starting with the fabrics and going through all the steps of manufacturing?” he recalls. Working with 20 different Japanese specialists, including tai- lors, fabric makers, leather goods experts and cobblers—such as a 35-year-old female whiz who produced lace-up shoes—Pilati has done just that. The collection, which includes suit jackets in a waffle-like wool and extra-soft knit cotton T-shirts, has a sporty vibe and a nearly all-black palette (a nod to Pilati’s personal heroes, the Japanese fashion maestros Rei Kawakubo and Yohji Yamamoto). The denim pieces Pilati incorporated include four-pocket worker shirts, trouser pants cut like classic slacks and cropped blouson jackets. “It’s much more dressy than classic denim,” he says of the overall effect, “but still quite contemporary.” The material is an unexpected choice for Pilati, who typically turns to more refined fabrics. However, the Japanese artisans, whose looms are modeled on ancient ones, handle denim with rever- ence and exacting care, which elevated the material to Pilati’s haute realm. He calls the results “more accessible” than his usual designs for Zegna Couture yet still destined for a discerning group of men. To emphasize that point, the designer collaborated with photog- rapher Takashi Homma to shoot the collection as worn by members of the new generation of Japanese creatives. “He’s an icon in Japan,” Pilati says of Homma, whose images will appear in Zegna’s Tokyo 2015 GHIBLI. EXCEPTIONAL STYLE AND EXHILARATING PERFORMANCE store and online. Figures including musician Keiichiro Shibuya and chef Zaiyu Hasegawa are photographed wearing the designs. “The WITH AVAILABLE Q4 INTELLIGENT ALL-WHEEL DRIVE. IN THE JEANS challenge was to find an authentic Japanese visual language that Clockwise from top: A stone- A unique expression of Italian design, Maserati Ghibli touches all of the senses, all at once. Its would be understood also on a global level,” adds Homma. washed selvage denim shirt and hand-stitched leather interior with an array of exclusive options redefines luxury in a sport sedan. It’s exactly the type of statement that Pilati was striving for. trousers from the Made in Japan capsule collection; a raw denim Its powerful twin-turbocharged V6 engine with up to 404 HP delivers the unforgettable sound and “Why does going global mean that I have to go and conquer a place?” jean jacket; designer Stefano Pilati; thrilling performance that only comes from owning a Maserati. Discover the soul of the Trident. he asks, referring to the homogeneity of other ever-expanding a seersucker-effect cotton shirt. For details see Sources, page 158. brands. “I wanted an exchange between the two cultures.” CLOCKWISE FROM TOP: ANDREAS LARSSON; COURTESY OF ZEGNA; ERMENEGILDOINEZ & VINOODH; COURTESY OF ERMENEGILDO ZEGNA From $69,800* Schedule a test drive: maserati.us

78 wsj. magazine *Maserati Ghibli MY2015 base MSRP $69,800; Ghibli S Q4 MY2015 base MSRP $77,900. Not including dealer prep and transportation. Actual selling price may vary. Taxes, title, license and registration fees not included. ©2015 Maserati North America, Inc. All rights reserved. Maserati and the Trident logo are registered trademarks of Maserati SpA. Maserati urges you to obey all posted speed limits. what’s news

Three of golf’s best (and youngest) players are breathing new life into the sport, displaying virtuosic skills, style and determination on top courses around the world and keeping audiences in suspense about what they’ll accomplish next. Here, Jordan Spieth, Rickie Fowler and with wsj. Jason Day reveal some of the secrets to their success. —Christopher Ross

1. Best hotel or resort 1 5. Do you have a signature accessory? you’ve ever visited? My Rolex Explorer II. It’s helpful with all The Darling in Sydney. The the different time zones that I play in. views are stunning, and the rooms have awesome 6. Best place to have a drink? floor-to-ceiling windows. The Rustic in Dallas. There’s great food and live music, and they always have the 2. Prized possession? Cowboys games on. Right now, it’s the Masters Tournament green jacket. 7. Do you have any pets? No, I travel too much to have a pet of my 3. What’s your favorite own. But I grew up with the best family book (novel, nonfiction dog—a yellow Lab named Oakley. or coffee-table)? The Cat in the Hat.

4. Who is your favorite musician? 4 George Strait, for sure. 3

2

JORDAN SPIETH If any golfer has resuscitated excite- ment about the game in the post–Tiger Woods era, it’s 22-year-old Spieth, whose feats in the past year have made him a renowned athlete and number one in the world. In 2015 he dropped jaws by winning both the Masters and the U.S. 5 Open, becoming the youngest golfer to score two career majors in the same year since 1922. Those victories also brought him closer to clinching the first Grand 8 Slam in modern history in the lead-up to the British Open and PGA Championship. Though he ultimately fell short of the legendary achievement, the run solidified his status on the links. The Texas native 6 credits his sister, born with a neurologi- cal disorder, with helping him keep things in perspective and has shown 8. Best travel destination? admirable humility and level-headedness Definitely the beach—my family takes a summer trip to North Carolina, and I have always loved it. in spite of his success. He has a reputation for metronome-like consistency in his 9. Do you have a favorite pair of shoes? swing, has proved to be a brilliant putter My UA golf shoes: I wear them more than any others due to and, above all, can keep his cool under my schedule—they’re comfortable and have a great design. tremendous pressure—a trait that will 10. Favorite piece of artwork? serve him well as fans attach ever greater The artist Dan Dunn made a Texas Longhorn painting for

hopes to his bright career. > 9 me that I love. CLOCKWISE FROM TOP LEFT: CHRIS CONDON/PGA TOUR;GREIM/LIGHT NO CREDIT;ROCKET © FLAB/ALAMY;VIA MICHAELGETTY IMAGES;OCHS EZRAARCHIVE/GETTY SHAW/GETTY IMAGES IMAGES; COURTESY OF ROLEX; KEVIN MARPLE; COURTESY OF UNDER ARMOUR; JOHN

80 wsj. magazine THE SPORT COLLECTION •MADE IN ITALY

artisanal + comfort + italia technogelinserts,rubbersoles andhand-burnishedfinishes thebestofthe oldworld andthe new

available at: barneysnew york bergdorf goodmanscarpedibianco.com what’s news

1. Where do you most like to compete? 5 5. Do you have a fashion The Royal County Down Golf Club, in icon? Newcastle, Northern Ireland, is one of The late golfer Payne my favorite courses in the world. Stewart. I wore knickers at the U.S. Open last year as 2. What is your preferred snack? a tribute to him. Sunflower seeds when I’m traveling. 6. Athletic icon? 3. What is your favorite Jeremy McGrath. He’s one restaurant abroad? of the greatest supercross Sirocco at Lebua in Bangkok: It’s in one racers ever. of the tallest buildings in Thailand. 7. Favorite pair of shoes? 4. Where do you shop in your Puma Carson Runners— hometown? they’re lightweight and I love hitting up Blueline Surf & Paddle minimal. Co., in Jupiter, Florida. 8. What’s your favorite gadget? Mophie, to jack up my phone battery. 1

6 RICKIE FOWLER 7 Fowler, 26, has been credited with infusing golf with a youthful attitude that is somewhat at odds with the sport’s country club image. His good looks have earned comparisons to Zac Efron and Leonardo DiCaprio and garnered a size- able following of female fans; he’s known for wearing a full uniform of blazing orange on Sundays (a nod to his alma 2 mater, Oklahoma State); and his girl- friend, swimsuit model Alexis Randock, is no stranger to the cameras. Raised in Southern California, Fowler didn’t follow the conventional path of a professional 3 golfer. Though he began playing golf seriously at age 7, he was also a passion- ate motocross racer, until a high school 9 injury led him to lay off the bikes in favor of the club. Triumphs soon followed: He 9 won the Ben Hogan Award as a freshman at OSU, was one of the youngest U.S. Ryder Cup players of all time and recently rose to fifth in world rankings after winning the Scottish Open. Hard work and a love of the game are the main ingredients of his success, though he’s known to never be without his ball marker—a lucky coin. > 8

9. Who is your favorite musician? 11 Right now I’m into DJs like Calvin Harris (above, left), Tiësto and Kygo (above, right).

10. Best travel destination? Baker’s Bay Golf & Ocean Resort (a private club), in the Bahamas, is beautiful.

11. What is a recent investment piece? My leather jacket from IRO.

12. Where do you eat in your hometown? 10 CLOCKWISE FROM TOP LEFT: © SNS GROUP BILL KEMPIN/GETTYMURRAY/SNS PIX/CORBIS;IMAGES DAVID FOR CANNON/ALLSPORT; COACHELLA;MIKE COURTESYEHRMANN/WIREIMAGE; OF DISCOVERY LAND COMPANY;COURTESY F. MARTINOF PUMA; RAMIN;COURTESY TIMOF LEBUA MOSENFELDER/GETTYHOTELS ANDIMAGES; RESORTS; DAVID CANNON/GETTYCOURTESY IMAGES;OF MOPHIE; © JASONHERA FOOD/ALAMY I’m always in the mood for Mexican at Rancho Chico.

YVAN ATTALFOR ZADIG &VOLTAIRE wsj. magazine 81 ZADIGETVOLTAIRE.COM HONOUR • POWER • PRIDE what’s news

1 8. What’s your favorite book (novel, nonfiction or coffee-table)? Lone Survivor, by former Navy SEAL Marcus Luttrell.

9. What is your drink of choice, and where did you have it? I never miss the chance to order a Moscow Mule at the Society Lounge in Cleveland.

2 8

1. What is your favorite band? Coldplay.

2. Typical travel snack? A Probar.

3. Where do you shop? I’m Australian, so I love JASON DAY the stores near Crowne Rising to third in the world after Plaza Melbourne, on the banks of the Yarra River. winning his first major at the PGA Championship this summer, Day, 27, has 4. Do you have a fashion steadily ascended through the ranks to icon or inspiration? become one of the sport’s top contenders. Fellow Australian golfer But as much as he’s been celebrated for David Lutterus. his accuracy and power, he is even more 5. What is your pre- 9 lauded for his strength of character. At ferred luggage? the 2015 U.S. Open, a sudden bout of ver- I travel with Club Glove. tigo led him to physically collapse on the 3 6. Do you have a pet? course. Afterward, he was so shaky that I have two mini dachs- he nearly quit multiple times, but in the hunds, Lola and Charlie. 4 following days he played on and managed to finish and tie for ninth despite his 7. Do you have an condition. His ability to overcome obsta- indulgence? My luxury SUV, the Lexus cles dates back to his childhood: Born LX 570. to a working-class family in Queensland, Australia, he was raised with few mate- rial privileges and struggled emotionally after his father died in 1999. Golf became a way to focus—in high school he prac- ticed more than 30 hours a week. It’s that drive that led him to win the RBC Canadian Open and Farmers Insurance Open earlier this year and promises to 10 propel him even further in the future. • 5

11

10. What is your favorite piece of artwork? Anything Warhol will do it for me.

11. Favorite pair of shoes? I’m all about Adidas.

6 12. What is your go-to restaurant? Definitely Lola in Cleveland. Michael Symon is the chef-owner. 12 The food is delicious. CLOCKWISE FROM TOP LEFT: TODD WARSHAW/GETTY IMAGES; KEVIN © WESTENBERG/CONTOURDANNY SMYTHE/ALAMY; BY GETTY © IMAGES;2015 THECOURTESY ANDY OF WARHOLPROBAR; FOUNDATION ORIGINALS; COURTESYFOR THEOF © CROWNRAY VISUAL CARLIN/ICONRESORTS;ARTS, COURTESYINC./ SMI/CORBIS; ARTISTS OF COURTESYHACHETTERIGHTS OF SOCIETYBOOK LOLA; GROUP; (ARS),© WILLEECOLE/ALAMY;NEW YORK/© COURTESYCHRISTIE’S OF CLUBIMAGES/BRIDGEMAN GROVE USA IMAGES; COURTESY OF ADIDAS

84 wsj. magazine NEW YORK 509 Madison Avenue fashion & design forecast MARKET REPORT. september 2015

AHEAD OF THE PACK Urbane meets urban in these variations on color-coded, cool-weather looks.

PHOTOGRAPHY BY BRUNO STAUB STYLING BY JULIAN GANIO

THE HANG OF IT Abandon basic black and join the many fans of navy. Clockwise from left: Craig Green jacket and pants, A.P.C. sweater and Dior Homme shoes. Brunello Cucinelli coat and vest, Theory sweater, Y-3 pants and Julien David shoes. Brioni jacket and gloves and Boss turtleneck, pants and sneakers. Brioni sweater, Theory pants, A.P.C. backpack, Ebbets Field Flannels hat and Nike sneakers. 3.1 Phillip Lim jacket, Prada sweater, shirt and sneakers and Burberry pants.

wsj. magazine 89 market report D MIE SCH LD GO NO RIA AD AG

GRAY MATTERS Sporty sneakers perform just as well off the field when paired with tailored pieces. Clockwise from top left: Rag & Bone coat and pants, Theory sweater and Nike sneakers. Lanvin coat and sweater, Bottega Veneta pants, Y-3 hat and Theory gloves. 3.1 Phillip Lim coat, Rag & Bone sweater, FALL 2015 Bottega Veneta pants and Nike sneakers. Bottega Veneta jacket, Louis Vuitton shirt, A.P.C. pants and Nike sneakers. Wooyoungmi coat, Calvin Klein AGJEANS.COM Collection sweater and pants and Nike sneakers.

90 wsj. magazine market report

STREET SMART NATURAL STYLE Stay safe by trying new styles in monochrome tones. Clockwise from left: Hermès coat, Michael Kors turtleneck, Dunhill pants and Contemporary statement coats are heavy on texture, from shearling to wool. Clockwise from left: Caruso coat, John Varvatos sweater and pants Nike sneakers. Louis Vuitton jumpsuit and shoes. Fendi coat, Theory pants and Lanvin shoes. Hermès coat, shirt and pants and Nike sneakers. and Lanvin sneakers. Dunhill coat and shirt. Polo Ralph Lauren jacket, Wooyoungmi sweater, A.P.C. pants and Nike sneakers. John Varvatos coat, Louis Vuitton coat, Prada pants and Nike sneakers. Hermès sweater, Caruso pants, Brioni gloves and Louis Vuitton shoes. Versace jacket, pants and sneakers and Ebbets Field Flannels hat.

92 wsj. magazine market report

MAROON 5 It’s easy to make a hit with effortless dressing in rich red hues. Clockwise from top left: Dior Homme coat, Caruso pants and Bottega Veneta sweater. Wooyoungmi coat, Hugo sweater, 3.1 Phillip Lim pants and Nike sneakers. Brioni coat, Adidas jacket, Hugo pants and sneakers and Ebbets Field Flannels hat. 3.1 Phillip Lim jumpsuit, Dunhill backpack, Ebbets Field Flannels hat and Nike sneakers. Lanvin coat, Caruso vest, Lou Dalton pants and Nike sneakers.

94 wsj. magazine market report

Nature does nothing in vain

— ARISTOTLE— www.brunellocucinelli.com 877 3308100

CREAM OF THE CROP Keep cool in lighter shades, whether it’s an unlined jacket or an oversize parka. Clockwise from top left: Tom Ford jacket and turtleneck, Michael Kors pants, Ebbets Field Flannels hat and Nike sneakers. Dior Homme coat, Dolce & Gabbana sweater, Canali pants and Nike sneakers. Fendi coat, Lanvin shirt, Brunello Cucinelli pants and Nike sneakers. A.P.C. jacket and sweater, Julien David shorts and Louis Vuitton shoes. Canali jacket and pants, Gucci turtleneck and Nike sneakers. Madison Avenue Bleecker Street SoHo East HamptonAmericana Manhasset

96 wsj. magazine The World’s Finest Wine and Lifestyle Experience Milano MonteNapoleone Fashion District

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5BEEKMAN STREET, NEWYORK, NY 10038 ASPHALT GREEN Add another layer to a versatile fall wardrobe with tones ranging from olive to emerald. Clockwise from top left: Burberry jacket and pants, Dolce & Gabbana sweater and Nike sneakers. Tom Ford coat and turtleneck, Dunhill pants and Nike sneakers. Hermès jacket, Y-3 sweater, Michael Kors pants and Nike sneakers. Julien David The complete offering terms are in an offering plan available from Sponsor.File No. CD14-0075. All images are artist’srenderings and are provided for illustration purposes only.All square jacket, Michael Kors sweater and beanie, Bottega Veneta pants and Nike sneakers. Louis W. for A.P.C. coat, Brunello Cucinelli sweater, Lou Dalton shirt, Y-3 pants and Nike footages and dimensions are approximate and subject to normal construction variances. Square footage exceeds to usable floor area. Sponsor reserves the right to make changes in accor- dance with the terms of the offering plan. Sponsor: 5Beekman Property Owner LLC, 140 Broadway,41st Floor,New York, New York 10005. sneakers. Models, Rafael Perez at Request, Salieu at IMG and Minkah Davidson, Jae Yoo and Austin Scoggin at Soul; grooming, Thomas Dunkin. For details see Sources, page 158.

wsj. magazine 97 s age Im

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to s incredible resolution”. S 15 nced Warren Fu, acclaimed video director, 20

© enha designer and illustrator, Los Angeles, CA THRONE GAMES Strong takes a coffee break in the office that he shares with Empire co-creator Lee Daniels.

tracked The Next DANNY STRONG The entertainment polymath brings his talents to bear on the small-screen sensationEmpire .

BY CHRISTOPHER ROSS PHOTOGRAPHY BY RYAN LOWRY Big O YOU ENVISION HIM with those big head - movie—that helped catapult Empire to ratings suc- director and whom Strong calls “the opposite of me phones or little earbuds?” says the prop cess in an era when reality shows are dominating in every way.” Their odd-couple creative chemistry— stylist for the hit Fox show Empire. network television. and their shared desire to weave into the show’s Danny Strong, 41, the series’ writer and A native of Manhattan Beach, Los Angeles, soap opera–like structure more serious examina- Dco-creator with director Lee Daniels, ponders the New York–based Strong has demonstrated an tions of racism and homophobia —brought them back the question about the unnamed character from unusual ability to wear multiple hats—performer, together for Empire. Thing behind his office desk. On a hot July day in Chicago, writer, director. Not long after beginning his acting In contrast to Daniels’s sometimes fiery demeanor, he and the production team are gearing up to shoot career, Strong snagged a recurring role on the ’90s Strong’s temperament is more easygoing. He lends a the second season of the show, an explosive drama cult TV series Buffy the Vampire Slayer, before going steady hand to the fevered pace of production, taking about a rap mogul, Lucious Lyon, and his family’s on to guest-star on Mad Men and Girls. Frustrated a moment to joke with the van driver or diplomati- internecine conflicts. No detail is too small: Strong by the inconsistency of acting work, he started writ- cally defusing tensions over budget constraints. A parries queries during a props meeting about the ing screenplays, first for the HBO television films day that begins early, taking Strong all over town design of a particular statue or even the size of Recount and Game Change, which both won Emmys, while he scouts locations and bounces between meet- Is Here a box. “I love mapping out a scene,” he says. “It’s and more recently the two-part film adaptation of the ings, continues at his hotel restaurant, where he invigorating.” It’s Strong’s vision for the show—a Hunger Games novel Mockingjay. His screenplay for wolfs down dinner while poring over script changes pop pastiche of Dallas meets King Lear meets hip- 2013’s The Butler led to his first collaboration with and answering emails on his laptop. “It’s kind of end- hop music video, originally pitched to Daniels as a the outspoken Daniels, who came on as the film’s less,” he says, smiling. >

wsj. magazine 99 the exchange tracked 16.7 million viewers tuned in for Empire’s two-hour finale. 4 mornings a week, he eats a Starbucks turkey-and- egg-white sandwich. He typically buys two and combines them into one. 10:30 a.m. Inspects a jail cell at an abandoned police 165 station on 100 S. Racine St. as a possible location for an upcoming shoot. 9:50 a .m. Strong’s winning score from a recent Peeks Empire cast bowling trip. Taraji P. Henson, who plays Cookie, scored 78. through the door of the Chicago production office. The face in the logo is Terrence Howard, who plays protagonist Lucious Lyon. 25 members of the McCain-Palin campaign interviewed 2:05 p.m. by Strong while he wrote Game Change. Merchandise from the show’s first season, like these gold sneakers, is scattered 160 throughout the office. emails Strong receives on average per day. 6 10:51 a.m. years Establishes Strong has lived in New York’s West Village, camera shots inside a lounge in the though he’s in L.A. every six weeks for work. Fulton Market district, noting where a character will be looking. $2.7 million Amount that BET co-founder Sheila Johnson invested in The Butler after reading Strong’s script. The film made $176.6 million worldwide. 12 film stills from Wong Kar-wai’s In the Mood for Love hang on the wall behind Strong’s desk, as inspiration for Cookie’s character.

5:12 p.m. 3:15 p.m. Wraps up Props meeting a scheduling meeting. After- Strong and his team discuss what 8 ward, Strong looks for ways objects should be in Lyon’s office in days to cut two hours from an an episode for the second season. Time that Strong has to shoot 45 pages for episode’s shooting script. one Empire episode. “It’s intense,” he says. •

100 wsj. magazine the exchange

This month, the Museum of Fine Arts, Houston presents mythology. In the early ’40s he returned to painting, color. Basically, my father fully found his voice. Mark Rothko: A Retrospective—the first comprehen- and by 1945 he was working as a surrealist, or neo- The ’60s, by which time he was a well-known art -

NO. sive exhibition of the abstract expressionist’s work in surrealist, inspired by all the artists of that genre. ist, is also the period he’s most misunderstood. He the United States since 1998. Drawing primarily from His artwork became overtly mythic for a couple of turned down the volume and started darkening his the landmark Rothko collection owned by the National years and kept becoming increasingly abstract. color palettes, making things that seep in over time. Gallery of Art in Washington, D.C., the show, which Rothko then got rid of titles and sometime in I think he had concerns that in the ’50s people took runs through January, features more than 60 pieces 1946 moved away from figures altogether, and his paintings as being simply joyous, or perhaps spanning the artist’s career, most in Rothko’s personal what is called his multiform period was born—very decorative, and he didn’t want them to be either of possession at the time of his death in 1970. colorful paintings, as colorful as the hallmarks of those. Joy isn’t out of bounds, but it’s always tem- Only 6 years old when his father died, Christopher the ’50s, and what he’d become very well known pered with memories of all the hard things you had Rothko—the artist’s youngest child and only son—now for. These were just amorphous patches of color to go through to get to the ecstasy. For him, those oversees the Rothko family collections. two pulls—the ecstasy and the As one of the people most familiar with doom—were always mixed, and they the prolific painter’s body of work, he enhanced each other. I think he felt reflects on his father’s colorful life and on some level that with the brighter, history with Houston. lighter colors people were missing that point. So the work in the ’60s HE CHOICE for me to dedi - does not reach out and grab you, but cate my life to my father’s the paintings make you stop. And work was an easy one. His once you stop, they become a world paintings have always spo- in itself and hold you because they Tken to me, and I find it very rewarding take up your whole point of vision. that I can make an active contribu- There is just a depth that you sink tion to his exhibitions. My father had into, and they will take you places me pretty late in his life, at nearly further than the ’50s paintings. 60, so I got a dad and a grandfather. But you have to put in the time. You He was always warm and affection- have to slow down, and you have to , 1953, MIXED MEDIA ON CANVAS, NATIONAL GALLERY OF ART, WASHINGTON, GIFT OF THE MARK ROTHKO ate, and the thing I remember most really think about what’s important about him is his voice: It was round as opposed to simply what’s imme-

UNTITLED and warm. He used to sing a lot, and diately pleasing. Those paintings he had one main musical interest, are powerful because they have that Mozart, so he was usually humming interplay of darkness and light that I an instrumental tune. As a child, think makes the interaction between I remember going to his studio on the ecstasy and doom palpable. East 69th Street in New York when My father’s works became sim- he was working on the murals for the pler and simpler because he found a Rothko Chapel in Houston. He would more direct way to say what he had

, 1951, OIL ON CANVAS, NATIONAL GALLERY OF ART, WASHINGTON, GIFT OF THE MARK ROTHKO FOUNDATION, INC. © 1998 BY KATE ROTHKO PRIZEL unravel this 30-foot roll of paper for to say, and yet many people, almost me to paint on. He didn’t tell me what 50 years on, still find his works per-

UNTITLED to make, never gave any instruc- plexing. The reason they’re confused tions, just encouraged me to go for it. He was always is that he only paints half the picture in a sense. interested in unbridled expression. “anyone who comes You have to bring the rest to make the meaning of This retrospective, at the Museum of Fine Arts, to this exhibition it specific for you. It will be about some element of Houston, is long overdue since Houston was actu- what he calls the human drama or the human condi- ally one of the first cities to host a major solo Rothko will see rothko at his tion. He’s provided his, and now you have to provide exhibition, in 1957. It will show my father’s work most intimate.” yours. For his part—and I will emphasize that he was from the ’30s, ’40s—all the way through the end –alison de lima greene, not interested in self-expression, just expressing of his career. It’s an amazing collection in terms of mfah’s curator his understanding of the world—my father had a lot works on paper and, of course, fabulous paintings. I of contemporary art and of formative experiences. People forget, but he was get to see the full scope of his collection all the time, desperately poor for most of his life, lost his father

, 1957, OIL ON CANVAS, NATIONAL GALLERY OF ART, WASHINGTON, GIFT OF THE MARK ROTHKO FOUNDATION, INC. © 1998 BY KATE ROTHKO PRIZEL AND CHRISTOPHER ROTHKO; MARK ROTHKO, special projects but most people don’t. So this show is going to com- at age 10, experienced the Great Depression, came pletely change their understanding of Rothko and from an Eastern European Jewish background and UNTITLED give them a much fuller picture of his career. These that fill the whole canvas, with no frame, no title. left Russia before the revolution. He was always con- are also works that were still in my father’s personal Then, in a matter of four years of honing and sim - cerned about the plight of people. It was always in personal history collection when he died, so they have that special fla- plifying his form, eventually, in 1949, he started his consciousness. vor of something that he consciously held onto. painting what the world thinks of as Rothkos: his Rothko’s paintings are fragile. If they’re not care- My father was essentially self-taught. He went signature style of rectangles that are bright, satu- fully displayed and lit, they just become a bunch of TRUE COLORS to Yale for two years and dropped out having never rated and warm with different layers of colors that rectangles on a wall. It’s my job to try to make sure taken an art class. A year or so later in New York, a are thinned out and built up to create a rich surface that people understand my father’s work as best as As a Mark Rothko retrospective opens at the Museum of Fine Arts, Houston, friend invited him to come to a drawing class with possible and really appreciate it. If I’m doing that, him, and I believe he instantly fell in love. He spent I feel pretty good about things. People who know Christopher Rothko—the late artist’s son—paints a vivid portrait of his father. roughly 20 years as a figurative painter, abstract and ROTHKO’S ROAD Rothko at home with his son, and love his paintings know that if they’re well-dis- Christopher, in 1966, four years before the artist’s death. very experimental. Around 1940, he took a year off to Opposite: A selection of Rothko’s more colorful works, played you can have an experience—a very deep and , 1957, OIL ON CANVAS, THE MENIL COLLECTION, HOUSTON. © 1998 BY KATE ROTHKO PRIZEL AND CHRISTOPHER ROTHKO; MARK ROTHKO, CLOCKWISE FROM TOP LEFT: MARK ROTHKO, © 2005 KATE ROTHKO PRIZEL AND CHRISTOPHER ROTHKO AND CHRISTOPHER ROTHKO AND CHRISTOPHER 10 FOUNDATION, INC. © 1998 BY KATE ROTHKO PRIZEL AND CHRISTOPHER ROTHKO; MARK ROTHKO, study philosophy, and he also had a strong interest in showcasing his signature style from the ’50s. gratifying one. —As told to Sade Strehlke

102 wsj. magazine the exchange

RECORD KEEPER Phillip Lim with a custom-built BDDW credenza and a Steven Sebring photo of Patti Smith in his SoHo home. “Phillip will notice the humor in a little wacky detail,” says BDDW designer Tyler Hays. “He’s not after perfection; he’s after discovery.”

interior alchemy LIMINAL SPACE For his latest creation, fashion designer Phillip Lim renovated a New York City loft into a highly personal space where nothing is off-limits, not even the fine art.

BY EMILY HOLT PHOTOGRAPHY BY ADAM FRIEDBERG

F ALL THE THINGS that designer Phillip Lim, who is of Chinese descent, was introduced to the line with only $750,000 from his business partner, Lim has amassed in his penthouse SoHo regal personage by mutual friends on a recent trip to Wen Zhou. (The company, which is privately held, loft, his most prized possession is a rock. the South Asian country. “It was one of those meet- declined to confirm revenue figures.) He also recently Not the handmade, caramel-leather turn- ings that was so serendipitous,” Lim says. “When she completed 18 months of painstaking renovations Otable that was custom-designed especially for Lim first saw me, she goes, ‘You look Bhutanese.’ I’m like, to his apartment. The result is a modernist, eclectic by design guru Tyler Hays’s New York studio, BDDW; ‘Adopt me.’ ” And so, during a tour of her garden, she sanctuary over which a serene bronze Buddha pre- not the crocodile-skin swing from Hermès’s métier picked up a rock from the ground, a symbolic piece of sides from his perch on a massive nero marble room collection, Petit h, which Lim wrangled after spot- her country, and gave it to him. divider—the perfect retreat for a constantly roving ting it in a window display; and not the large gouache Lim would be foolish to abandon life as he knows fashion designer. by the late artist Louise Bourgeois that is now care- it. This year he celebrates the 10th anniversary of Lim, 42, moved into the century-old cast-iron fully exhibited in his study. No, just a rock—one 3.1 Phillip Lim, his collection of streetwise ready-to- building seven years ago—after bidding against a BR-X1 THE HYPERSONIC CHRONOGRAPH that’s about the size and shape of a sloppily cut piece wear and accessories that as of next month will boast country music star—and in 2011 took over the neigh- TheBR-X1 is the perfect synthesis of Bell &Ross’sexpertise in the world of aviation watches and master watchmaking: an instrument with an innovative of birthday cake—and it’s a memento from Bhutan’s 16 stores worldwide and what is believed to be more boring apartment, which was configured as a typical design,producedinalimitededitionofonly250pieces.Lightweightandresistant,theCarboneForgé® caseoftheBR-X1isprotectedbyahigh-techceramic queen mother, Gyalyum Sangay Choden Wangchuck. than $100 million in annual revenue; he launched the stockbroker’s bachelor pad. Conjoining the two > bezel with a rubber strap. Ergonomic and innovative, the push buttons allow the chronograph functions to be used easily and efficiently. Sophisticated and reliable, the skeleton chronograph movement of the BR-X1 is truly exceptional and combines haute horlogerie finishes with extreme lightness. Photo: ref. BR-X1 Skeleton Chronograph - Carbone Forgé® 104 wsj. magazine Bell & Ross Inc. +1.888.307.7887 | www.bellross.com | Download the BR SCAN app to reveal exclusive content the exchange interior alchemy

IN THE MIX From top: In Lim’s parlor, a pair of Pierre Because I can make the decision fast—you’re holding he paid attention to the labels. One day he called The brand launched in 2005—Lim was 31, hence Jeanneret chairs face an Yves Klein coffee table and an me up trying to draw a line.’ Poor guy.” the directory number 411 and asked where the now- 3.1—and a decade later there still isn’t a formalized Eileen Gray leather chair; the library features an Hermès Petit h swing and a Yoruba chair upholstered with beading; Lim values efficiency and practicality in his own defunct line Katayone Adeli was based—“I was like, ‘I business strategy. (They also have yet to accept out- a plywood chair by designer studio Ro/Lu in front of a work as well. “I don’t like aesthetics alone,” he says. don’t know who this is,’ ” he says—and that led to an side investment, a luxuriously stable position for an portrait of Lim by painter Anh Duong, a friend. “When a beautiful person doesn’t have a purpose, I internship at the cultish brand’s office in downtown independent fashion company.) Lim doesn’t believe don’t know what to say. When something is useful, it Los Angeles. in growth for the sake of growth. As he sees it, “If actually becomes more beautiful.” Winner of the 2013 When his stint there ended, he was approached to we plan for seven stores and four of them are bad Tulips series) and Ellsworth Kelly (Cyclamen 2, a lith- CFDA Accessories Designer of the Year Award and establish a new brand, which became ograph) also followed. In Lim’s living room there is a the small-but-successful L.A.-based portrait of him by his friend the painter Anh Duong contemporary line Development. (it’s taken him four years to display it) and a small cab- Lim soon found himself working bage sculpture by the artist Claude Lalanne, but there behind the scenes out of his business is also a no-name canvas covered in streaks of white partner’s garage in Newport Beach. paint that Lim picked up at a local charity shop. “It’s Every day, he drove all over L.A. to cheap and chic,” Lim says. pick up the patternmakers and sew- The furnishings are similarly mixed: An Yves Klein ers, then drove them back home at glass coffee table filled with the artist’s signature blue the end of the day. “I was the man- pigment has pride of place in the front sitting room, ager, I was the carpool guy, I was alongside black leather Senat chairs by modern- the translator, I was everything,” he ist Swiss master Pierre Jeanneret and a tufted ’20s says. “But when I look back, I’m so recliner by furniture designer Eileen Gray. Nearby, grateful, because I learned how it all Lim has displayed a provocative sculpture by London- goes together.” based artist Una Burke that looks like a leather suit of After four years, Lim and his armor arranged in a kneeling position. But in the back business partners went their sep- room, two overstuffed white linen Shabby Chic sofas arate ways, a split that left Lim welcome Lim’s friends who are afraid of dislodging COMFORT ZONE Clockwise from top left: Lim’s study feeling despondent. To get his mind one-bedrooms proved to be a more extensive under- director. “Phillip’s vision got bigger, and we both the beads on the rare white Yoruba chair he bought showcases his vase collection as well as works on paper off things, he flew to New York to by Louise Bourgeois and Richard Serra; a series of tulip taking than Lim initially imagined, especially since got more excited as the process developed.” They at a flea market in 2007 (“I just Krazy Glue them back images by Cy Twombly and a midcentury Danish settee stay with Wen Zhou, a textile sup- he was embarking on the project without a profes- ultimately re-envisioned the two spaces as a sweep- on,” he says matter-of-factly) or breaking the plywood in the master bedroom; the open kitchen, with a view plier with whom he had become sional decorator. “I wanted to create my own home ing, light-filled loft that still manages to encompass seats by conceptual furniture studio Ro/Lu. True to to pieces by Hiroshi Sugimoto and Helmut Lang beyond. friends. She spent the entire visit, and not have someone tell me how to live,” says Lim, a classically proportioned parlor, dining room, his laid-back West Coast roots, the designer implores he says, trying to persuade him to who shares his loft with his French bulldog, Oliver. study and—to accommodate Lim’s frequent enter- guests to make themselves at home. “I respect you, so start another company. “I was in “When we started the project, Phillip wanted taining—several cozy seating areas and a custom I would love you to sit on the best things,” he says. “I the CFDA Swarovski awards for menswear (2012) and no mental state to even think about to do a little here, a little there. But by the end it maple bar that wouldn’t be out of place in a hotel. want the place to feel casual, not like a museum.” womenswear (2007), Lim exhibits a masterful ability doing it,” Lim says. “The whole turned into a total gut renovation,” says architect Gut instinct is also how to blend cool swagger with an athletic pragmatism. weekend I tried to say no.” Joe Nix, whose wife, Maria Vu, is Lim’s senior brand Lim built his focused, punchy His women’s designs for this fall include decon- “Don’t let him tell you that,” says art collection. “I just walked structed baseball jackets, asymmetrical skirts and an Zhou, who had found success with in and liked them,” he says elevated paratrooper pant. He also insists on value; he her self-started textile business and of two recent acquisitions once made a windbreaker that converted into its own was ready for a new project. “It was very simple: It locations, we can’t just keep going. You have to open leaning against the wall, traveling tote. “If something costs $600, I’ll ask my was my capital, his creativity. There was no business your eyes.” sculptures by former fashion team, ‘How long do you think it takes for the average plan, nothing. I just knew that he made beautiful Similarly, status doesn’t hold much sway with designer Helmut Lang that person to make $600? You better make it worth it for clothes that I wanted to wear, and if I wanted to wear Lim. He’s more into experience. Which is part of the resemble industrial pipes them,’” Lim says. “ ‘You make that stitch vibrate.’ ” them, we could find customers.” reason that unlike some of his peers, he’s not aching rendered in pale-pink resin to expand into categories beyond and pigment. “He really col- S A KID growing up in Hun- fashion, like homewares, or gun- lects with his heart,” says tington Beach, California, ning to head up any brand other art advisor BJ Topol, a close in the ’80s, Lim under- than his own. He also understands friend of Lim’s who has stood he had a distinct that at a certain level the top job worked with him informally Avisual sense. When he was 6, he becomes more about management. ever since a chance meeting begged his mother, a seamstress, to “To me, it’s not about the title. It’s in his store. “He doesn’t fol- tailor his jeans so they looked like about what you do, the discipline. I low trends at all; he doesn’t the skinny ones his idols on TV were think about other friends and col- care who’s buying what. wearing. Instead she taught him to leagues, and if you want [to be the] It is the exact opposite of use a sewing machine. “Just don’t revered, untouchable, ‘I am the how most people collect.” sew your fingers,” she warned. In creative director of this house,’ go The pair’s first outing was 1995 Lim earned a degree in home for it,” he says. “But I don’t have a Hiroshi Sugimoto exhibi- economics from California State that vision.” tion at Gagosian Gallery, University, Long Beach (“They call What Lim does have is a mind- and Lim walked out of the show with his first major For most people, a renovation might seem like it family and consumer sciences fulness that allows him to embody work, a print that depicts an elliptical Richard Serra a lot to pile onto an already-demanding day job of now,” he says). He landed a part- and appreciate the present—a rare sculpture. Later he came across a paintstick draw- cranking out four women’s and two men’s collections time job at Barneys New York in thing in fashion’s current churn- ing by Serra himself that he added to his collection. per year, but not Lim. “As a designer, I’m trained to Costa Mesa’s South Coast Plaza, and-burn climate. “If this is all “You learn there’s a pattern in things you’re attracted produce every 45 days, so this was easy and fun,” where his primary duties included stripped away,” he says, “I could

to,” Lim says. Works by Cy Twombly (four of his 1985 he says. “With Joe, I was like, ‘Can you speed it up? SITTINGS EDITOR, YOLANDE GAGNIER unpacking clothing deliveries, but still make clothes.” •

106 wsj. magazine ETERNAL COOL

A rugged look and classic aviators are a perfect match. Melet Mercantile vintage jacket and denim shirt and Ray-Ban sunglasses. THE REDFORD FILES

America’s legendary leading man is as busy as ever, with starring roles in this month’s A Walk in the Woods and in the forthcoming Truth.

BY CHARLES MCGRATH PHOTOGRAPHY BY MIKAEL JANSSON STYLING BY GEORGE CORTINA

111 “BoB Understands the Power of restraint. YoU’re never going to get it all. that’s the mYsterY. that’s what makes YoU want to keeP looking at him.” –BarBra streisand

REAT MOVIE STARS age differently kind of enclosed me, and therefore people couldn’t And then, according to Redford, the business from the rest of us. Robert Redford see me any other way. That was the struggle I had. I changed. “The mainstream part of the business be- turned 79 last month. Those burn- remember wanting to audition for other kinds of roles, came centralized, and they were going to focus on the ing blue eyes have melted back a and people wouldn’t even hear about it.” (Redford money market, which was dominated by young peo- little into the hollows, and the famous didn’t say so but the typecasting set in as early as ple, so these smaller films got jettisoned.” Nowadays, Redford mane, once so blond that 1965, when he asked for what eventually became even Robert Redford has trouble making the kinds of GPauline Kael said it wasn’t platinum but plutonium, Dustin Hoffman’s part in The Graduate. Mike Nichols movies he wants to make, and trouble distributing has lost some of its sheen. But he remains a remark- told him there was no way he could play a loser.) them even if they do get made. A Walk in the Woods ably handsome and youthful-seeming man, not Another reason for his newfound busyness is what took years; that it happened at all has mostly to do greatly altered from the one who imprinted himself Redford calls “perversity”—a word he uses a lot. “You with his stubbornness. on our collective imagination back in 1969, when he know why I’m so busy?” he said, laughing. “Because The book is the story of Bryson and a once estranged emerged in Butch Cassidy and the Sundance Kid as I said I wasn’t going to be so busy. About a year and friend of his named Katz, who to ward off a midlife cri- the very embodiment of what it means to be a star: a half ago, I said to myself, I’m going to slow down sis decide to hike the Appalachian Trail. It’s a sort of dazzling but also a little remote and unreachable. and kick back, and instead I kicked into high gear. So rustic version of The Odd Couple—Oscar and Felix go Barbra Streisand, a luminary herself, and Redford’s there’s some real perversity in that.” camping. Redford fell in love with the book as soon as co-star in the 1973 hit The Way We Were, said of him According to Redford, perversity is part of his he read it, about 10 years ago, and even flew to England, in April, at an awards ceremony honoring Redford heritage. “I come from a Scots-Irish family,” he where Bryson was then living. He was worried whether at Lincoln Center: “You never quite know what he’s explained. “I mean really, really dark. They came over the story would still work if the two characters were really thinking, and that makes him fascinating to in 1849 and brought with them all that stuff. I remem- much older, Bryson recalled recently, adding, “And I watch on the screen. Bob understands the power of ber my grandfather saying that if something good think he just wanted to see what I was like.” restraint. You’re never going to get it all, and that’s happens, there must be something wrong with it.” The natural setting was an obvious draw for the secret, that’s the mystery. That’s what makes you Redford, who is a longtime supporter of environ- want to keep looking at him.” HEREVER IT comes from, this mental causes, but what appealed to him even more In person, Redford has much the same power, once perversity—or stubbornness was the back story, something lightly hinted at in the you get over the discovery that, like a lot of movie and contrariness—has been book. Bryson and Katz, the reader gathers, were wild actors, he’s shorter than you imagined—just a notch an ongoing theme in Redford’s in their younger days, carousing all over Europe. over 5'10". He was in New York earlier in the summer life. He has made a career of Bryson eventually straightened out and settled down, to promote his new movie, A Walk in the Woods, and acting in or directing mov- but Katz never entirely did. At the time the book during an interview in his sparely furnished office at Wies about loners and outsiders going up against the begins he is a reformed alcoholic still chasing women the Sundance Channel in New York, he was gracious, great and powerful—the system in all its various and still trying to put his life together. For decades articulate, natural-seeming without giving away any guises: the Pinkertons (Butch Cassidy), the mob (The now, Redford has been a Bryson, a family man and more than he wanted to. Even in their twilight years Sting), the CIA (Three Days of the Condor), Nixon and straight arrow (Redford has three grown children by cool guys never stop being cool. his Watergate henchmen (All the President’s Men), his first wife, Lola Van Wagenen, whom he married in The twilight years have actually been pretty good network TV (Quiz Show), the FBI (The Company You 1958 before he was a success and whom he credits for to Redford, and lately he has been busier than in a Keep). Or in movies like Jeremiah Johnson, All Is Lost giving his life then a purpose. Since 2009 he has been long while. In 2013 he starred in All Is Lost, a har- and to a certain extent even in A Walk in the Woods, married to Sibylle Szaggars, a German-born artist he rowing movie about a middle-aged man stranded at he has been a solitary quester, someone trying to find met at Sundance.) But for a time he was Katz. “My life sea in a crippled sailboat, a role for which not a few himself in nature, apart from the rest of humanity. was a mess,” he said, and a moment later he added: “I people thought he deserved an Oscar. Last year he Redford likes to recall a magical period, back in the was just off the rails.” was a villain—a Redford rarity—in the Russo broth- ’70s, when he could do almost anything he wanted. Far from being a golden boy, Redford—or Charles ers’ mega-flick Captain America: The Winter Soldier, Banking on Redford’s immense popularity as a result Robert Redford, Jr., the name on his birth certifi- and he has two movies coming out this fall: A Walk of movies like Butch Cassidy, the studios indulged him cate—had an almost classically misspent youth. He in the Woods, an adaptation of Bill Bryson’s book with little, low-budget projects of his own—Downhill grew up in Los Angeles, the son of an anxious, striv- SHADE AWAY about walking the Appalachian Trail, which opened Racer and The Candidate, parts of a projected trilogy ing father who was first a milkman and then worked “The leading man category kind of enclosed this month, and Truth, opening in October, a drama about what Redford saw as the downside of America’s for an oil company, and Redford did just about every- me,” Redford says. set during George Bush’s 2004 re-election campaign, win-at-all-costs mentality. Warner Bros. even let thing he could to thwart the old man’s middle-class “I wanted to audition for in which he plays Dan Rather. One reason for all this him make Jeremiah Johnson, an epic about a solitary expectations: terrible grades, joy riding, drinking, other roles, and people wouldn’t even hear about activity, Redford says, is that age and its diminish- mountain man, though the studio kept it on the shelf drugs, breaking and entering. He was arrested once it.” Melet Mercantile ments have also brought freedom and opportunity. for a couple of years before releasing it. (Redford, in a car not his own with stolen goods in the trunk. vintage coat and boots, No longer just a pretty face, he now gets offered parts shaking his head, can still recall a meeting he and When he was 18, Redford, always a good ath- Polo Ralph Lauren shirt, Ray-Ban sunglasses that would have been denied him years ago. Sydney Pollack, the director, had with a studio execu- lete, got a baseball scholarship to the University and his own Levi’s jeans “I think I got typed,” he said. “I could feel the hard- tive: “This guy says to us, ‘This is a really interesting of Colorado but quickly gave up the team in favor (worn throughout). ening of the arteries. I wanted to keep independent film. It’s really, really special.’ We’re like, ‘So?’ And he of drinking, and in 1956 he dropped out altogether, Previous page: Melet Mercantile vintage black and keep myself free, but the leading man category says, ‘That’s my problem—it’s really special.’ ”) deciding to move to Paris to pursue a life in art. For a jacket, denim shirt, belt and boots and Ray-Ban sunglasses. 113 TRUE ORIGINAL “My life was a mess,” Redford admits of his younger years. “I was just off the rails.” Melet Mercantile vintage jacket and belt and Polo Ralph Lauren shirt. Opposite page: Melet Mercantile vintage Levi’s denim jacket, Polo Ralph Lauren denim shirt and Ray-Ban sunglasses. 115 “i come from a scots-irish familY. i mean reallY, reallY dark. i rememBer mY grandfather saYing that if something good haPPens, there mUst Be something wrong with it.” –roBert redford

couple of Katz-like years he bummed around Europe I poured myself a vodka and went to bed, and when I stars. In 1981 he started the Sundance Institute, an to learn about painting, and even when he returned woke up the TV was still on and I hadn’t taken a sip.” arts colony sort of like a rustic Yaddo, where aspir- to this country, in the spring of 1957, it was still with There are lots of stories about Redford—espe- ing filmmakers could learn from mentors like Sydney dreams of becoming an artist. He enrolled at Pratt; cially after he won his Oscar for directing Ordinary Pollack, George Roy Hill, Laszlo Kovacs and Alan but just in case art school didn’t work out, as a fall- People—arguing on set with people trying to direct Pakula. A few years later, when those filmmakers back he also auditioned for the American Academy of him. But by all accounts the shooting of A Walk in the needed someplace to show their work, he took over Dramatic Arts, in New York. Woods, which took place quickly and largely in and a faltering Salt Lake City film festival and renamed it The rest is the stuff of movie mythology. He acted around Atlanta (just south of where the Appalachian Sundance. “How perverse can you get?” he says now. on TV for a while, and then was a hit on Broadway Trail ends) to save money, was smooth and unevent- “Come in the middle of winter to see a film festival in (and, later, in the movie version) in Neil Simon’s ful. From the beginning Redford and Kwapis saw eye Park City, Utah—Mormon country. I thought maybe Barefoot in the Park, showing a gift for comedy that to eye about the story, and it may be that the director just the weirdness would make people come.” he has seldom been allowed to display since. What was also a little awestruck by his lead actor. “Part of The festival struggled at first but eventually changed everything, of course, was Butch Cassidy, the thrill for me was that every weekend we’d grab a caught on, thanks in large part, Redford says, to for which he wasn’t even the third choice. The studio drink or a bite and discuss the week’s work but even- Harvey Weinstein, then running Miramax. “Harvey wanted Marlon Brando, Steve McQueen or Warren tually would start talking about everything else,” was the main guy,” he explained. “He was the first Beatty. It was Paul Newman, originally supposed to Kwapis said. “I’m enough of a film geek to ask the guy to come in and treat it like something major. play Sundance, who insisted on Redford, even agree- right questions. It was like a private master class.” Other people said, ‘Wait a minute, what’s Harvey ing to switch parts with him. He added: “Working with Bob and Nick, you can’t doing out there in Utah?’ and then they came too.” And it was Newman, with whom he had such help being aware of their filmographies—how their He added: “At first it was very hard to get support, unforgettable chemistry, who was Redford’s first personal trajectories parallel the story.” until Sex, Lies and Videotape, and I had to grind it out choice for A Walk in the Woods. That was a movie Redford said, “The last time I directed, it took a myself. I’m sure ego played a part—in not wanting to the studios would gladly have paid for: Butch and year and a half out of my life. This time, I just wanted lose, not wanting to give up. But then globalization Sundance taking one last ride—or walk—together. to act. I had just done All Is Lost, and I enjoyed just happened, and that changed everything, because But when Newman became ill, interest dwindled and being an actor again. It was a chance to return to my suddenly Sundance, which was a domestic platform, the project languished. There isn’t much of a plot— roots—and just be an actor for hire.” became an international platform. We almost cre- just two guys tramping through the trees, trading When he’s not working, Redford is probably happi- ated a cultural exchange program, because we had wisecracks and insults—and the humor is subtler est skiing at the Sundance Mountain Resort, which he films coming in from other countries that we could than in most of today’s comedies. Redford likens it to began developing at Utah’s Mount Timpanogos in the share with an American audience. This is what’s Preston Sturges movies like Sullivan’s Travels. mid-’80s. Typical of Redford, it’s actually a kind of happening in Romania. This is what’s happening in Redford was turned down by several directors and anti-resort. Of the 5,000 or so acres, most have been Israel, in Jordan—places like that.” was on the verge of directing the movie himself when put into conservation, and only 450 are skiable. The In some ways Sundance has almost become too Ken Kwapis, probably better known for TV comedies lifts are pokey, by design, and rise to summits that successful, too chic for Redford’s liking. “Now it’s like like Malcolm in the Middle, The Larry Sanders Show are relatively puny. “It’s not about how many runs $85, $90 million over 10 days, and it’s become some- and The Office, signed on. The Newman part went to can you do, how much vertical,” said Jerry Warren, a thing different,” he said. “I’m happy about it, but I Nick Nolte, who with his own real-life history as a wild renowned American skier and ski teacher who is one sort of miss those early days.” The festival has estab- man (not to mention his raspy voice, electroshock of Redford’s oldest friends. “It’s about how much can lished such a reputation for original, groundbreaking hair and jeeped-up eyes) really is Katz. “I don’t want you feel, how much can you see.” He added: “I some- work, in fact, that when A Walk in the Woods was to say it was a blessing Paul didn’t do it,” Redford said. times feel that I’m the kind of friend that allows him shown there last January, some grumps complained “But I think it was absolutely right the way it ended to be the real him. Sometimes we’ll be talking and I’ll that while it had an indie’s starveling budget, it was up. What I liked about Nick was that there was this suddenly think, ‘Holy cow, I’m with Robert Redford!’ too mainstream, insufficiently edgy. undisciplined part of him, a sort of wild side, but that but then we’ll go back out on the mountain and just “People like us, we’re crazy, we’re partly touched,” he was also so smart, and a very good actor.” listen to what the terrain is telling us.” Redford, he Nolte said, explaining why he and Redford continue “We got along great,” Nolte, now 74, said over the pointed out, is now skiing better—smoother and to work at an age when most people have long since phone not long ago, sounding as if he had just been more elegantly—than at any other time in his life. retired. “If there weren’t something to communicate, blowtorching his vocal cords. “He set the tone on the we’d probably stop, but as long as there’s a story to very first day of shooting. The scene was supposed to HE RESORT IS part of what is easily tell, you keep going. Plus, Bob is such a multifaceted be Bob walking away, and he just took off. There was no the ultimate perversity in his life: the guy: He’s a businessman, an artist, an actor, a direc- way I could keep up with him.” He laughed and added: way he has used his Hollywood clout tor, an environmentalist. You can’t keep track of all ROCK STEADY “I don’t think in real life we would associate much. I’m and the millions of dollars he made the things he does.” Working with too Katz-like and he’s more like the writer, Bryson. when he was the biggest star on the “You make the most of what you’ve been given— the Academy Award– winning Redford on But we really enjoyed each other. Our main basis of planet, acting in mainstream, studio- that’s how I see it,” Redford said. “And you keep A Walk in the Woods was communication during the shoot was talking about Tproduced movies, to create in the Utah wilderness an pushing to make more of it. I don’t see any reason to “like a private master what time we went to bed and what shape we were in enterprise that fosters independent filmmaking, free stop. I think retirement can lead to death, and that’s class,” says director Ken Kwapis. Polo when we woke up. I remember one night I was so tired from studio tentacles and the hassle of big-budget not for me.” • Ralph Lauren denim shirt, Melet Mercantile vintage belt and 116 Ray-Ban sunglasses. PONCHO HONCHO Melet Mercantile vintage poncho and What Goes Around Comes Around vintage denim shirt. Opposite page: Melet Mercantile vintage Levi’s denim jacket, hat and boots, Polo Ralph Lauren denim shirt and Ray-Ban sunglasses. Grooming, Jhizet Panosian; prop styling, Nicholas des Jardins. For details see Sources, 118 page 158. 119 SWAN’S WAY For nearly five decades, cult Finnish yacht maker Nautor’s Swan has been seducing sailors with its sleek and speedy designs. This month sees the launch of its most ambitious boat yet.

BY FINN-OLAF JONES PHOTOGRAPHY BY MARTIEN MULDER

OPEN WATER Solleone, which belongs to Nautor’s Swan company chairman Leonardo Ferragamo, is the boat builder’s first 115-foot yacht. The design will be unveiled at the Monaco Yacht Show later this month. BOUT SIX YEARS AGO, Paul Glimcher, Swan’s own craftsmen in the remote Finnish town of Race—earning Nautor’s Swan instant prestige. That a New York City neurobiologist and Jakobstad. “You are creating self-contained worlds inaugural half-year odyssey is still legendary among lifelong sea dog, was halfway across with each boat,” says Heini Gustafsson, the senior sailing aficionados: Despite facing epically challeng- the Atlantic Ocean when a storm designer of Nautor’s Swan, where the smallest of the ing conditions that included 300-foot icebergs and hit his 54-foot Nautor’s Swan sloop. seven models currently offered is 54 feet long. “It’s a 50-mile-an-hour winds, the Swan prevailed. Even such an experienced sailor, unique place—where else can you get the chance to In 1980, Germán Frers—a one-time Sparkman & Awho already had a round-the-world tour under his design everything from the sheets to the cutlery?” Stephens chief designer who had left to found his life vest, had to give this storm some consider- Teak samples from the interiors of every yacht built own eponymously named firm—took over as Nautor’s ation. “Here we were 1,500 miles from land. The are stored at the boat works so that repairs and mod- Swan design guru, a position he retains. He had seas were running 16 to 18 feet and the wind speed ifications can be made later. already created renowned crafts of the day includ- was 40 knots [46 miles per hour],” remembers Dr. So it’s no surprise that the boat builder’s newest ing Beau Geste, Wizard of Paget, Quest of Paget and Glimcher. So what did he do? “We went below and owner is the chief executive of a luxury fashion and Simba, and soon he designed a new Nautor’s Swan. baked bread.” lifestyle brand. Leonardo Ferragamo, one of the six Its shallow hull, vertical bow and narrow fin keel An ideal yacht exists in two worlds: the exterior heirs of Salvatore Ferragamo, recently built one of made the boats into clean and efficient sea missiles. one, in which the bow gracefully slices through the Nautor’s Swan’s most audacious boats yet for him- Now, a half-century since its founding, Nautor’s “restless wave” of which the Navy hymn sings, and self. “I am so intrigued with it,” says Ferragamo, Swan has produced, hand-screw by hand-screw, the interior one, which is so comfortable that when 62, his usually calm boardroom voice rising with some 2,000 boats, from the relatively chubby cruis- the going gets tough, the tough can bake bread. excitement. As he sits in his Milan office, his new ing yachts of the ’60s and ’70s to the more recent Such wind palaces are rare, and so are the owners racing yacht, the first Swan 115, Solleone, is under- distinctive flush-deck, blue-banded boats. But it who can afford them. As a result, the names of cer- going its initial trial in the northern Finnish seas hasn’t been all smooth sailing. In 1972, after a fire tain cult yacht makers—Oyster, Perini Navi, Wally, near Jakobstad. “It’s already sailing at 15 knots [17.3 in the boatyard that proved costly, Koskenkylä was Royal Huisman, Nautor’s Swan—are whispered with mph]—but I think it will reach 25 knots [28.8 mph],” forced to sell his company to the local paper mill, the same hushed pride that 0.1 percenters exhibit he says of the boat. (An average sailboat usually and by the late ’90s it was suffering losses. In 1998 SMOOTH OPERATOR Above: Hand-stitched leather upholstery when saying “my Gulfstream” or “my Picasso.” It’s a cruises along at five or six knots.) Ferragamo, the chief executive officer of Palazzo cushions a handle inside Solleone. The rarefied world, not just for the price tags, which can Jakobstad is a spotless, typically Scandinavian Feroni Finanziaria S.p.A, the holding company for interior design of each Swan can be fully easily surpass $10 million, but also for the costly modernist town, built around a 17th-century core of the family’s diverse businesses, stepped in and customized to each owner’s preference. Right: Solleone sailing in the Gulf of upkeep, which involves a half-dozen highly special- buildings, yet it’s an outlier in Finland. It’s located bought a controlling interest in Nautor’s Swan. Bothnia near Jakobstad, Finland. The A passionate sailor, he already owned two Swans latest Swan, like others, is available with a before taking over the boat works, and he has flush deck for competitive racers as well as this version with a semi-raised saloon. since added another six to his stable. “When I first “you can tell a swan just by the feel of got married, my wife wanted a summerhouse and the wheel—they’re incredibly responsive. I wanted a Swan—I bought the Swan first,” says SHIP SHAPES Ferragamo, who visits the yard every two or three Clockwise from far left: they carve the water really well, months. “So when I acquired the company, I already The distinctive teak deck features boards laid in even in a squall.” —DonalD R. MacpheRson JR. had such respect for the brand. I recognized the parallel lines; molds at enormous pride and craftsmanship that went into the ready in the Nautor’s building a Swan.” Swan woodworking shop in Kronoby; Solleone’s After he became chairman, “initially there might polished-teak paneling; ized crew members. The gladiatorial communities on the Gulf of Bothnia, across the gulf from Sweden, have been some suspiciousness from the Finnish an interior-in-progress that gather around each brand are as competitive and most people here speak Swedish. Visitors rarely side,” says Ferragamo. “They might have thought in Kronoby. Teak samples from each yacht built about their choices as they are about the business hear the town called by its official Finnish name, that I was just a decorator rather than someone with are stored in case they’re endeavors that afforded them these boats in the Pietarsaari. Locals pronounce “no” with an easy a long-term plan.” Since he has arrived, more than needed for repairs. first place. Nautor’s Swan’s club includes tech bil- and joyous nej and “yes”—jo—with a hesitant inhale. 15 new Swan models have been introduced, such as lionaire and philanthropist Thomas Siebel and Blessed by tall forests of raw material and protected the popular yacht Swan 45, which was unveiled in fashion photographer Patrick Demarchelier. “It’s granite coves, this area has been a popular boat- 2001 and could be built in under a year, faster than a very strong boat. Both technically and aestheti- building spot for three centuries. the average Swan. Meanwhile, carbon fiber soon cally it’s great,” says Demarchelier, whose 53-foot “Everyone here has a boat project in their back- replaced the older fiberglass hulls. “There were Swan is called Puffy. “Its lines are beautiful. I’ve yard,” one local woman told me. “My father built some rough patches,” agrees Marcus Jungell, the used it for several shoots.” our family’s 26-foot sailboat on our lawn.” But the company’s sales director. “We Finns might seem a “You can tell a Swan just by the feel of the wheel— town was put firmly on the nautical charts in 1966, little introverted. They bring Italian flair.” they’re incredibly responsive. They carve the water when paper salesman and serial entrepreneur Pekka The new 115-footer, of which Solleone is one of really well, even in a squall,” says California oil mag- Koskenkylä launched the yacht company that was to four thus far, has been the most ambitious project nate Donald R. Macpherson Jr., who, as a boy, sailed become Nautor’s Swan. He had a vision of applying resulting from the Italian-Finnish collaboration. A a Nautor’s Swan with his father and who recently Finnish functionalist design to making the speedy yacht of such enormous size is challenging to design spent a year and a half overseeing the construction yet comfortable boats that are today responsible for to racing specifications, and each one will cost $16 of Freya, his 90-foot Swan. “I wanted to re-create the private jets parked at the tiny local airport. to $22 million. (But the company seems confident of the experience I had with my father with my own Using his formidable salesman’s skills, Koskenkylä its success—there are already plans for a 130-foot family,” he says. convinced the world’s best-known naval architects, Swan.) I drove to Kållby, 8 miles inland, to have a Whereas many other yachts are, like iPhones New York–based Sparkman & Stephens—which is look at one of them in what must be Finland’s most or high-end watches, amalgamations of state-of- responsible for eight America’s Cup winners—to unusual sauna: a long white-painted hangar where the-art components supplied by other companies, work for his fledgling company. Together they cre- boat hulls and other carbon fiber elements are including the latest push-button winches and sail ated yachts that could sail with the best on the electrically baked in the vacuum of giant temper- trimmers, almost everything you see on a Nautor’s regatta circuit. In 1974, a Swan 65 won the first-ever ature-tolerant plastic bags. Workmen in overalls Swan—from the deck hardware to the bilge pump Whitbread Round the World Race—an annual Phileas were carefully stretching out mats of laminate on system—has been customized first in 3-D graphics Fogg–type event, hatched by a group of thrill-seek- the hull before wrapping the whole thing in plastic, on the company’s computers and then by Nautor’s ing English tycoons and now called the Volvo Ocean pumping out the air from beneath and warming the

122 SANDS OF TIME In the tiny village of Kållby, Finland, crafstmen at work on the molds for a Swan 95’s deck and for its massive hull. 125 “you are creating self-contained worlds with each boat. where else can you design everything from the sheets to the cutlery?” –heini gustafsson

ovens to 195 degrees. It was as if Arthur Treacher bowling alley from stern to bow, across all hatches. the silverware vibrates when it’s fired up. had captured Moby Dick. This unusual aesthetic flourish, coupled with white Ferragamo would doubtless like to have the This baking process is one of the first steps in a caulking, gives the deck a gleaming, elegantly mini- same sense of stability in the current world finan - 115’s 20-month design and construction schedule. malist feel—a fantastical white saucer that floats a cial markets, which are choppy waters for sales Carbon fiber is the material of choice for anything few feet above the choppy lead-gray waters. There’s of super-yachts. “Traditionally, our market was designed for speed, from Formula One cars to racing also a practical reason for the smoothness of the evenly divided between the U.S., Northern Europe yachts, thanks to its enormous strength-to-weight deck: fewer rope snags—the bane of sailors. and the Mediterranean,” says sales director ratio. However, air is the great enemy; bubbles can For the interior, Ferragamo worked with his Jungell, who adds that the current Mediterranean create cracks and weaken the overall structure. “The frequent collaborator, the Florentine architect economic climate is pushing them to pursue old-fashioned way of hand-basting laminate will and interior designer Michele Bonan, to add Medi- emerging markets like Russia and China. But look - still have 7 to 8 percent air content, even if you are terranean touches: Glossed teak paneling with ing at the new 115, one can’t help but suspect that good at it,” says Thomas Lill, who oversees Nautor’s customized wood shutters set off by silver picture this newest venture is about something more than Swan’s composite process. “Baking our hulls like frames; door latches and drawer pulls cushioned quarterly financial statements. There’s comfort in this can reduce the air content to 0.5 percent.” with stitched leather; stateroom headboards done the fact that both Ferragamo and Nautor’s Swan Down at the company’s harbor facility, Solleone up in red and blue percale; and the all-important hail from cultures that take very long-term views is tied to the harbor dock, its hull dwarfed by the galley, set in the prime spot just forward of the of the business of design. 151-foot mast. Workmen are still sanding the already- yacht’s center. Perhaps most important, Solleone’s “My family has a saying,” says Ferragamo. MIGHTY WIND smooth teak deck. Anders Bertlin, the yacht’s project 11.5-foot keel can be raised, allowing the boat to “ ‘Heritage is the foundation for the bridge you want This page: The carbon manager, pointed at our feet. “See this? The planks enter the shallower waters of most harbors. The to build.’ You need to respect it but not just maintain fiber mast of a Swan 115 all line up straight. They don’t curve with the boat 450-horsepower Scania diesel engine is muffled it. With Nautor’s Swan, we want a stronger drive measures more than 150 feet. Opposite: One like others do.” Indeed, the entire deck is lined like a thanks to a complex system of insulation—not even toward evolution—never a revolution.” • of Solleone’s four guest cabins, with Italian light fixtures and custom- 126 designed beds and linens. STREET CRED Mix downtown cool with tailored uptown flair for a look that’s ready for anything.

PHOTOGRAPHY BY CEDRIC BUCHET STYLING BY MEL OTTENBERG

JACKET REQUIRED Fend off the fall chill with dapper outerwear layered over lush sweaters. Dolce & Gabbana coat, Marc Jacobs pants, Dries Van Noten shoes (worn throughout) and model’s own socks. Opposite: Gucci jacket, sweater and pants. 129 CROSS WALK Try a touch of the wild side by combining structured pieces with relaxed knits. Lanvin sweater and shirt. Opposite: Ermenegildo Zegna Couture coat, sweater and pants and 130 Falke socks. TURNING POINT After years in exile, knit turtlenecks look modern again. Bottega Veneta coat, shirt and sweater. Opposite: Boglioli sweater and Lanvin black turtleneck. 133 IN THE TRENCHES A full-length coat evokes cinematic drama. Dior Homme coat, shirt and pants. Opposite: Jil Sander coat and Marc Jacobs sweater. Model, Antoine Miller at Premium Models; hair, Ward. For details 134 see Sources, page 158. THE MAN WHO STOPS TIME

Jeff Wall’s nearly life-size, luminous images made him a photography pioneer. This fall he expands his vision with a show of new work at Marian Goodman Gallery.

BY ELISA LIPSKY-KARASZ PORTRAITS BY JESSE CHEHAK

OPEN ROAD Property Line, a new work by Jeff Wall showing next month. “I am interested in the line between land as nature and land as property,” he says. NE HUNDRED MILES into the desert metal stake in the ground—attempting to capture frustration with labs—and blown up to a single print. allusions to everything from canvases by old masters Goldin); and, in addition to being shown at MoMA, Wall remains something of an artist’s artist, north of Los Angeles, at the inter- the precise moment when nature is transformed into In October, it will practically take over an entire wall to the films of Alfred Hitchcock. His work has influ- his work was the subject of a 2005 retrospective at despite all the admiration, the accolades and the , , 1984,

section of two crumbling roads that property. But unlike generations of photographers of his longtime gallerist Marian Goodman’s New A SUDDEN enced legions of photographers (including Andreas London’s Tate Modern. A major exhibition of nearly soaring prices. (A 1992 photomontage, Dead Troops are slowly re-assimilating into the who, for the most part, recorded human experience York headquarters, as part of his first show of new MILK Gursky, Thomas Struth and Thomas Ruff) as well as 40 of Wall’s masterpieces recently made its final Talk, sold for $3.7 million at Christie’s in 2012, a ruddy, sunbaked earth, a flimsy, as it unfolded before them (Henri Cartier-Bresson, work there in nearly four years. (Her London gal- musicians like Iggy Pop, Sonic Youth and Sia, who stop at Denmark’s avant-garde Louisiana Museum. record for Wall’s work at auction.) “I’m not that black folding umbrella—the kind Walker Evans and Robert Frank among them), Wall lery will also show Wall’s new work, beginning on for her memorable performance in February at the “Photography had never gotten its due as an art form, much of a public artist—people wouldn’t find me that Othat sells for $7 at a drugstore—fends off the high- painstakingly stages the scenes he shoots. This par- October 29.) Grammys replicated the hundreds of light bulbs and but he was one of the people who contributed greatly interesting,” he says. “I’m just my work.” Wall adds, noon rays from its perch on a metal stand. Beneath its ticular tableau is based on a memory fragment that “When Jeff’s pictures succeed, they succeed in a humble apartment setting of Wall’s seminal 1999– to its acceptance,” says Goodman. wryly: “Sometimes I discuss it until people’s eyes shade, a tall man in a blue dress shirt and black jeans has been percolating in his mind for a while. To enact way that nobody else’s do—it’s a kind of art that no 2000 work, After “Invisible Man” by Ralph Ellison, the start glazing over—and then, at that point, I stop.” climbs onto a ladder, oblivious to the 85-degree heat. it, he found this spot on the outskirts of California one else practices,” says Peter Galassi, the former Prologue. “I seek to create a kind of magical realism When he is not talking about his work, Wall is He peers through binoculars, concentrating intently City (orienting his Linhof Master Technika camera chief curator of photography at New York’s Museum in my work, and his work has that feeling,” she says. “I sort of slIthered immersed in it, describing his mentality as “hover- , 2011, COLOR PHOTOGRAPH, 215 X 295 CM, on two land surveyors working about 15 yards in away from two bluffs that were dismissed as “too of Modern Art, who co-curated a traveling retro- Although he works in a medium that is mechanized, Into photography, In ing—just trying to be alert, trying to be attentive.”

front of him and, beyond, the scrubland extending picturesque”) and hired the two surveyors, Art and spective of Wall’s work in 2007. “It’s the willingness BOXING replicable and ephemeral—many photographic prints During the ride back to Los Angeles (where he to the horizon. The binoculars are balanced atop Joe, who are assiduously marking the same patch of to go so far based on, well, intuition.” are unstable and have a shelf life between a decade a kInd of tormented, spends three months of the year with his wife, an accordion-like, oversize black camera. After a dirt over and over again. Wall, 68, refers to his approach as “cinematogra- and 30 years unless they are preserved in museum- backwards way.” Jeannette, whom he married in 1967), a fellow pas- moment, the man triggers the shutter by squeezing a Today, the third day of the shoot, Wall works phy” or “near-documentary,” and has been practicing quality conditions—Wall has advanced the notion —Jeff wall senger whips out an iPhone to identify a roadside small piston with a precise flicking motion that calls between noon and 1:30 p.m., when the “hot desert this technique since the ’70s, when his epically that photography can be as singular and permanent landmark.“What happened to just wondering?” to mind Roger Federer’s net game. Then he lifts his light” is at its most dramatic. From the approxi- proportioned, realist work first wrested attention as great painting, or even literature. Meanwhile, he Wall playfully chastises. For him, the contem- head, runs his fingers through his chin-length gray mately 120 essentially identical images that will away from the die-hard conceptualists. His open- has embraced technological advances and unusual “He worked against the grain to develop the photo- plation of an idea is as important as the finished hair and removes the exposed sheet of film from the result, a mere handful will be deemed “right.” ing salvo was 1978’s The Destroyed Room, an image formats—most notably in the late ’70s when he began graphic genres into areas that it had utterly rejected product: A concept might gestate in the back of camera before sliding in another. “Rotate one inch to And after a period of months, only one will be pro- of a woman’s trashed bedroom that referenced using light boxes like those from bus-stop advertise- or ignored,” says Sheena Wagstaff, chairman of the his mind for years before he decides to develop it your right,” he directs the surveyor who is kneeling cessed—Wall oversees this himself, after years of Romantic-era painter Eugène Delacroix’s The Death of ments to display his work (a practice he has since Metropolitan Museum of Art’s modern and contempo- further. “Photography is supposed to be instan- and facing him. He pauses. “There. Let’s go for it.” Sardanapalus. Since then Wall has been credited with discontinued). Such artistic mastery has earned him rary art department, who also curated the Tate Modern taneous, and I have nothing against that,” he says This is Canadian photographer Jeff Wall patiently shifting the course of photography itself—as well , 1979, TRANSPARENCY IN LIGHTBOX, 142.5 X 204.5 CM, COURTESY OF THE ARTISTS; the prestigious Hasselblad Foundation International show, along with Theodora Vischer, then at Basel’s later. “But for me, the plasticity of the process, CLOSE UP pursuing his prey—the fleeting instant when a sur- Below and opposite: Wall at work. “I call it cinematography— as art history—with his luminous, oversize images Award in Photography (also bestowed on Cartier- Schaulager. “Now, globally, he has really affected the where things turn into something else, comes from veyor’s hammer rises and begins to fall toward a I’ve just detached it from filmmaking,” he says of his process. of deceptively quotidian scenes that often make Bresson, Lee Friedlander, William Eggleston and Nan way people see the world through the lens.” the time I spend on it.” PICTURE FOR WOMEN , 1999, TRANSPARENCY IN LIGHTBOX, 187.0 X 351.0 CM, COURTESY OF THE ARTIST; AFTER ‘INVISIBLE MAN’ BY RALPH ELLISON, THE PROLOGUE 1999–2001, TRANSPARENCY IN LIGHTBOX, 174.0 X 250.5 CM, COURTESY OF THE ARTIST; , 1978, TRANSPARENCY IN LIGHTBOX, 159 X 229 CM, COURTESY OF THE ARTIST; MORNING CLEANING, MIES VAN DER ROHE FOUNDATION, BARCELONA THE DESTROYED ROOM , 2001, TRANSPARENCY IN LIGHTBOX, 214.2 X 273.3 CM, COURTESY OF THE ARTIST; , 1993, TRANSPARENCY IN LIGHTBOX, 229 X 377 CM, COURTESY OF THE ARTIST OVERPASS ON FOLLOWING SPREAD, CLOCKWISE FROM TOP LEFT: TRANSPARENCY IN LIGHTBOX, 187 X 229 CM, COURTESY OF THE ARTIST; COURTESY OF THE ARTIST; GUST OF WIND (AFTER HOKUSAI)

138 Over the course of a year, Wall really impressive. It’s not just a personal path that might make only three or four he’s on; it is a scholar’s work about the complexity of images, with production costs the field, always searching for its potential.” that can sometimes run as high as $100,000 apiece. For one shoot, LTHOUGH IN HINDSIGHT it might seem he meticulously reconstructed a that Wall was destined to be a virtu- nightclub’s gated exterior inside a oso in his chosen medium, this wasn’t studio, down to the gum stuck to always the case. “I sort of slithered the sidewalk. (Wall calls it a rep- into photography, in a kind of tor- lica, not a set, because the latter mented, backwards way,” he says, implies illusion; “In films or the- Asitting in the restful, rambling 1928 house in L.A.’s ater, a brick wall could be painted leafy Hancock Park that he and Jeannette acquired canvas, or it could be plastic bricks. three years ago and have been slowly decorating. The I don’t do that, unless I wanted it creamy walls are largely devoid of art, both to afford to look that way,” he notes.) On Wall a bit of mental space (“Too many artworks are another shoot, he hired a woman hectic in a house,” he says) and because they are still to live for months in the apart- deciding what might go where. (Even his books are ment where he would eventually kept hidden inside cabinets, not on open shelving, photograph her. To add verisimili- since Wall finds “all the spines endlessly distract- tude to the cellar apartment in ing—you keep reading the titles and then you keep The Destroyed Room, 1978 Picture for Women, 1979 Milk, 1984 After “Invisible Man”, now part of thinking about that book.”) The formal garden has MoMA’s permanent collection, he a shaded brick patio and an ornamental, clipped and his assistants prepared food boxwood hedge, which, like the rest of the house, on a countertop, though any traces of their efforts is largely Jeannette’s domain. “I feel it’s my duty to are barely visible in the final image. Such precision maintain it,” she says. The peaceful, verdant setting has earned him the label “control freak” from some seems like a reward after spending four decades in critics, a description that makes the mild-mannered the same house near the beach in Vancouver, which Wall bristle. “It’s not a very good term, because it he and Jeannette still own, in part to be close to their means that you are applying control that’s exces- family (the couple has three sons) and to Wall’s stu- sive,” he says. “Was Mozart a control freak because dio and photo-printing lab. he wrote every note of his music? What should he When he was a young boy growing up in the WALL’S WORLD do, write only some of the notes? Well, John Cage Canadian city, Wall says, his parents (a doctor and Wall stages all of his thought that, and then you have the Cageian idea of a stay-at-home mother) “weren’t hugely interested images, whether they depict simple chance music, which is cool, and Mozart, also cool. in the art thing.” But they subscribed to the Abrams gestures or more So who’s the control freak, and what does it matter?” Art Book series, which every month delivered color complex arrangements. Wall’s brain is a compendium of art historical monographs on masters such as Rembrandt, El Greco “He has really affected the way people see and cultural knowledge—if his mind is a memory and Paul Cézanne to their door. Wall pored over the the world through the palace, his canonical references form the founda- reproductions, and by the time he was a teenager, he lens,” says Sheena tion, the walls, the floor. “I make [my pictures] for was as familiar with Robert Frank’s seminal 1958 Wagstaff, chairman of the Metropolitan my next attempt to say something about my rela- photo book, The Americans, as Bruegel’s 1562 epic Museum of Art’s modern tion to the canon of art,” he says. In the surveyors painting The Triumph of Death. “I got to know art and contemporary image, for example, one detects traces of Robert from that. I always responded to it,” he says, “and department. Adams’s depictions of the chang- that’s what I wanted to do.” A Sudden Gust of Wind (after Hokusai), 1993 Morning Cleaning, Mies van der Rohe Foundation, Barcelona, 1999 ing Western landscape of the ’70s, For the next few years, he spent hours each day or perhaps even the realist French at the desk in his bedroom, creating sketches and painter Jean-François Millet’s cartoons (some of which he has kept, including a The Gleaners, which made pro- drawing after Rodin now displayed on a living room tagonists of peasants in wheat side table next to a piece by fellow Vancouver artist fields. Other times the references and old friend Rodney Graham). When he was 16, his are more overt: A 19th-century father converted a backyard toolshed into a make- Japanese woodcut, Ejiri in Suruga shift studio for Wall, where the extra space allowed Province, by Katsushika Hokusai, him to paint oversize canvases—a situation he com- is the basis for one of Wall’s best- pares to color-field master Morris Louis working in known works, 1993’s A Sudden his D.C. dining room. When he graduated from high Gust of Wind (after Hokusai), for school, instead of attending the local Vancouver art which he spent over a year assem- school (now called the Emily Carr University of Art bling a digital montage of more & Design) he opted to pursue an art history degree than 100 photographs, using at the University of British Columbia, thinking that actors to pose as four pedestrians his already considerable momentum would carry in a modern transposition of the him forward as an artist. It is a decision he still original. “He holds himself to very regrets. “I was too self-centered, too overconfident, high standards,” says his gallerist, too in a hurry. It was a childish, immature thing Goodman, who has worked with to do,” he says. “Going to university and studying Wall for 26 years. “The intellectual art history was nothing, because that just means acuity and curiosity, his lifelong After “Invisible Man” by Ralph Ellison, the Prologue, 1999–2000 Overpass, 2001 Boxing, 2011 study with his own media—it’s Continued on page 156

141 SHAPE UP With so many ties in so many colors, there’s no excuse not to tie the knot.

PHOTOGRAPHY BY PHILIPPE LACOMBE STYLING BY VANESSA GIUDICI

DYE RICH Give a power suit the 142 royal treatment. COLOR WHEEL Pick any option from this dizzying array. For details see Sources, page 158. 145 A Legacy of STONE

Isamu Noguchi left behind dozens of works at his atelier on the Japanese island of Shikoku, many owned by the Noguchi Museum in New York, others inherited by his longtime protégé—and all at the heart of an ongoing debate about the future of the site.

SHAPE SHIFTER Inside a former sake warehouse in Mure, a town on Shikoku, Noguchi’s Sun at Midnight (center), Floor Rock (near left) and Untitled (far left) showcase the BY FRED BERNSTEIN extraordinary range of the PHOTOGRAPHY BY TAKASHI YASUMURA artist’s stone sculptures. (1987) © 2015 THE ISAMU UNTITLED HELIX OF THE ENDLESS (1987);

(1987); THE WEIGHT Highlights of the Isamu Noguchi Garden Museum Japan include (from far left) an untitled work from 1987, Sky Mirror (1982–83) and Helix of the Endless (between two untitled works, also from 1987). Above: Some of Noguchi’s ashes rest inside a stone that was split open, ; UNTITLED then sealed, by the artist’s protégé, Masatoshi Izumi. (1982-83)

O DEVOTEES OF the sculptor Isamu The other half of the sculptor’s ashes are in New explore the symbolic and physical uses of stone. to Masatoshi himself, some to his nephew and translator, Cathy Hirano.) As Dixon delicately puts it, two foundations [which] have labored together…to Noguchi, there is no place more York, a division that reflects the rhythm of Noguchi’s Establishing the second museum, on Shikoku, some to the stonecutting firm. “It’s a crazy quilt,” none of the principals will live forever, and it’s hard proclaim the achievements of Isamu Noguchi to the magical than the island of Shikoku, life. Born out of wedlock to an American mother who has been more of a challenge. The task has fallen says Dixon. And most of the finished works in Mure to predict what will happen as future generations people of the world. And we will continue to do so.” overlooking Japan’s Seto Inland Sea. couldn’t afford to support him and a Japanese father mostly to Izumi, who began working with Noguchi in don’t belong to the museum (technically the Isamu There have been numerous sticking points in the There, in the town of Mure, Noguchi who barely acknowledged him, Noguchi spent his the 1960s, when the stonecutter was in his 20s, and SKY MIRROR (LARGE VERSION) Noguchi Foundation of Japan). Those Noguchis are negotiations, which have been going on for years. SUN AT MIDNIGHT #730D (1989). © 2015 THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS

created some of the most important life going back and forth between his two ancestral became, in some ways, both a protégé and a mentor. (1987); the property of the New York foundation, headed by “There’s an “Things happen slowly in Japan,” observes Sadao, Tpieces of his 60-year career, including works for sev- countries, never feeling comfortable in either. In Now 76 and white-haired, he is a sculptor, co-owner Dixon. Their presence in Mure, says Shoji Sadao, an who believes the Japanese site should be known eral prominent American museums. But for every his will he mentioned two museums—one in Long of his family’s stonecutting firm and keeper of the 88-year-old architect who was one of Noguchi’s clos- easTern Idea, ThaT as Noguchi’s “studio” or “atelier,” rather than as sculpture Noguchi shipped across the ocean, many Island City, Queens, which he’d worked to set up Noguchi flame in Japan. Recently, Izumi led a tour UNTITLED est friends, “is that oxymoron, the permanent loan.” sTones should a “museum,” to avoid confusion between the two more may have stayed where he made them. Which before his death, and one that he hoped would be of the property, which includes the 18th-century FLOOR ROCK (1985); The fact that the works sit on privately owned go back To The earTh. institutions. “I am personally trying to get them to is why the Mure property (known as the Isamu founded on Shikoku. The first is well-established merchant’s house that was moved to the site and land makes Dixon and others nervous. The prop- change their name,” says Sadao, who, as both an hon- Noguchi Garden Museum Japan) has become an in a building that Noguchi purchased (and which rebuilt as Noguchi’s residence, as well as the for- (1985); erty—all or parts of it—could slip away from the buT noguchI was orary trustee of the American museum and a board almost sacred site; visitors see scores of sculptures has just undergone an extensive renovation). To mer sake warehouse containing Noguchi’s studio. Izumis, either through sale or foreclosure. If Dixon amerIcan, and member of the Japanese foundation, divides his

Noguchi couldn’t bear to part with, as well as works mark the Queens museum’s 30th anniversary this (The sculptor’s tools remain, as if he might return at UNTITLED can’t protect the land, she feels an obligation to at he wanTed To be seen time between the two countries. It’s important that in progress and large stones that he hadn’t yet begun year, Phaidon is publishing a book of photos by Tina any minute.) In both places, conversation assumed least protect the artworks by labeling them as prop- In ThaT canon.” the issue be resolved, says Isaac Shapiro, Noguchi’s to sculpt, scattered about the property and arranged Barney and Stephen Shore (The Noguchi Museum: A hushed tones. “When you talk to Izumi,” says Jenny erty of the New York foundation. That way, creditors friend and lawyer and a co-executor of his estate, not in a collection of pristine Japanese buildings. Portrait) timed to the kickoff of an ambitious exhibi- Dixon, the longtime director of the Noguchi Museum would be on notice that liens against the land would –Jenny dIxon just out of respect for the artist’s legacy but “because And then there’s the boulder at the top of a hill tion program. Museum of Stones, opening October 7, in Long Island City, “you feel like you’re back in not extend to the sculptures. “We suggested that, it’s what Isamu would have wanted.” that Noguchi reshaped in his 70s. After he died, in is the first major show at the museum to intersperse Isamu-land.” but it hasn’t been received very well,” says Dixon. The problems began when Noguchi died, leaving 1988, the stonecutter Masatoshi Izumi, who runs the works by artists other than Noguchi into the perma- But Isamu-land is not as tranquil these days as it (“We’re currently consulting with the New York step in. Izumi was reluctant to discuss the negotia- an estate that was “really messy,” says Dixon, as well Mure property, placed half of Noguchi’s ashes into an nent collection; some 50 pieces by the likes of Mel ought to be. The Japanese museum sits on property Foundation about this matter,” wrote Izumi in tions, writing in an email, “I was pained by some of as hundreds of artworks at the Mure property in vari- PREVIOUS SPREAD, FROM LEFT: SOCIETY (ARS), NEW YORK. THIS SPREAD, FROM LEFT: opening in the rock. Bochner, Lawrence Weiner and Gabriel Orozco will that belongs to members of the Izumi family—some NOGUCHI FOUNDATION AND GARDEN MUSEUM, NEW YORK/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. FAR RIGHT: MASATOSHI IZUMI reply to emailed questions, through his longtime your questions about the relationship between our ous states of completion. Bonnie Rychlak, a former

149 ARTIST RESIDENCY Various rooms inside the house moved for Noguchi’s use to the Mure property, which feature shoji screens and walls of earth, oil and straw. Above, a photo of Noguchi sits on a ledge. His longtime stonecutter, Masatoshi Izumi (far right, in Noguchi’s house) oversees the Mure site and is regarded as the keeper of the artist’s flame in Japan.

curator of the New York Museum, traveled repeatedly of raising money for a museum with a single artist’s “stone and water are inseparable friends” and that Eventually, he was taken in by a prominent fam- scouting trip in 1964, he was introduced to Izumi, a ambiguities from the 1999 agreement, new nonprofit to Mure to examine the works. With Izumi, she even- name on the door. The museum, with about 30,000 “rain makes all of nature beautiful.” The stonecutter ily in La Porte, Indiana. There the Americanized stonecutter who had met few foreigners at that point law in Japan and the aging of all parties.” tually identified, by Dixon’s count, 60 finished pieces annual visitors (compared to about 10,000 for the added, “We are following the ideas of Isamu Noguchi, Noguchi was known as Sam Gilmour. His mentor, and later said he was overwhelmed by Noguchi’s cha- In recent decades, the formerly rural territory (of which Izumi acknowledges only 53 as belonging to Japanese site), will run a deficit this year. not Japanese ideas.” Edward Rumely, persuaded him to start medical risma. Izumi gave Noguchi the run of his property. around Mure has become a densely populated suburb. the New York museum). She found another 90 unfin- Despite that, it helps support its Japanese coun- school, but Noguchi’s mother (by now living in New Izumi’s family prepared Noguchi’s meals, and even- Izumi is buying up property around the site to create ished pieces, which were given to Izumi (in lieu of terpart. For several years, the New York foundation N FACT, WHETHER he should be labeled an York) preferred that he become an artist. Pursuing tually the merchant’s house was moved to the site a buffer, in part to preserve the views Noguchi loved. payments owed to him by Noguchi), with the under- gave the Mure museum $250,000 a year, “to help American artist is a question that con- a career in sculpture, he began traveling widely and renovated to Noguchi’s specifications. “I am committed to preserving this space in which standing that he could not complete them. Meanwhile, them get established,” Dixon says, adding, “They sumed Noguchi his entire life. His father, to study European and Asian art. A frequent des- Most of the sculptor’s work was done on a lawn Isamu Noguchi devoted himself to artistic creation 10 pieces were labeled “unresolvable”—neither clearly always saw us as the rich relations.” It also bears the Yone Noguchi, was a Japanese poet who came tination was Japan, where, to his dismay, he was surrounded by a curved stone wall. “Since Noguchi in later life, including its atmosphere, time, spirit and finished or unfinished—at the end of what Dixon says cost of insuring the artworks in Mure, and for their to America in 1893 seeking fame as a writer. sometimes considered “too Western.” So deter- was reluctant to part with his best works, the circle surrounding environment,” Izumi wrote in an email. was “an intense, often contentious negotiation.” conservation. On that front, too, there’s a culture He enlisted Leonie Gilmour, a Bryn Mawr mined was Noguchi to prove his Japanese identity became not just a workplace but a kind of outdoor “Izumi is very sensitive to what Isamu felt about Meanwhile, during an inventory of works in New clash. In Japan, the stones are watered daily, a prac- Ialumna, to work as his secretary and translator. By that when the U.S. interned Japanese Americans museum,” writes Hayden Herrera in her biogra- that site,” says Sadao. Dixon, too, is full of admi- York and Mure, some pieces were labeled redun- tice that promotes the growth of mosses and lichens, the time Leonie gave birth to Isamu, in 1904, the during World War II, Noguchi moved to one of the phy Listening to Stone: The Art and Life of Isamu ration for Izumi, despite her frustration that the dant, meaning the Queens museum felt it could sell “even though we have asked them not to,” says elder Noguchi was back in Tokyo, where he mar- camps, ostensibly to organize cultural projects. He Noguchi, published this spring. In his will, accord- negotiations are taking so long. “He wants to be left theirs without diluting the collection. (Five sculp- Dixon. She explains, “There’s an Eastern idea, that ried a Japanese woman and had several children. found he had little in common with his fellow intern- ing to Shapiro, Noguchi “anticipated that there alone, and we would love to leave him alone,” she tures were in fact sold this year by Manhattan’s Pace stones should go back to the earth, which is fine, but When Leonie took her infant son to Japan, they were ees, who were mostly farmers, and demanded that would be a museum” in Mure. But he didn’t establish says. “We just want to know that our work is loaned Gallery, which represents the New York institution.) Noguchi was American, and he wanted to be seen in shunned by Yone. In 1918, despairing of her son’s the government release him. it himself, given that the property was Izumi’s and to a museum, and that the museum will continue.” Lately, the price of Noguchi works has been skyrock- that canon, as a midcentury American artist.” Izumi ever being accepted in Japan, Leonie sent him, by For years, he did much of his sculpting in Italian the stone yard was an active business. The site was Then Dixon reached for a book published by the eting: In December, a table made for the A. Conger takes a different view. He wrote, “Water is poured boat and train without an escort, to Rolling Prairie, marble. But by the ’60s he was increasingly interested finally opened to visitors 10 years after Noguchi’s Japanese museum in honor of its 10th anniversary, Goodyear House on Long Island sold at Phillips for over the sculptures on days when the museum is Indiana, to be educated at the Interlaken School. The in working with hard stones—including granite and death, with the completion of an agreement between in 2009. She opened to a page bearing a quote from $4.5 million. But the New York museum operates open to the public” to make the sculptures look school closed soon after Noguchi arrived, leaving basalt—as, he said, “an antidote to impermanence.” Izumi and the New York foundation. But in 2012 Noguchi: “All things worthwhile must end as gifts,” on a tight budget, says Dixon, citing the difficulty their best. Izumi recalls Noguchi’s telling him that him to his own devices at the age of 13. Those stones were plentiful in Japan, and during a negotiations were reopened, says Dixon, “in light of he wrote. “What other reason is there for art?” •

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Although he and Jeannette sepa- “He’s so smart, most of the people who work “I don’t even know how to explain it,” he says now. rated in 1978 (the couple later reconciled), that with him—I mean curators—are afraid of him,” says “Had I been more mature I would not have aban- year she loaned him the clothes that he used in The Galassi, the former MoMA curator. “I would say 90 doned things as hastily.” A generation of artists was Destroyed Room, which literally stopped traffic when percent of the writing about Jeff is a kind of half- then engaged in an ongoing fight to break free from it was installed in a Vancouver gallery window. The baked worshipful repetition of things that he wrote traditional constraints by systematically stripping next year, he took inspiration from a painting he a long time ago and much of which he doesn’t believe things down. Ad Reinhardt was painting canvases knew intimately from the galleries of the Courtauld in anymore.” inky black, while Joseph Kosuth simply printed Institute, Édouard Manet’s 1881–1882 masterpiece, A “He is so precise about how you encounter and dictionary definitions of words like art, water and Bar at the Folies-Bergère. Calling his own photograph how you see his images, that when you are a cura- definition on his before dispensing with canvases Picture for Women, Wall mimicked the composition tor installing his work the responsibility is really altogether. “The idea becomes a machine that makes of Manet’s painting but gave primary focus to his enormous. I was terrified,” admits Wagstaff of the the art,” Sol LeWitt wrote in his 1967 rallying cry, camera reflected in the mirror, between the female 2005 retrospective she oversaw. After she walked Paragraphs on Conceptual Art. “Conceptual art is model calmly looking outward and Wall himself, who Wall through the exhibition, he told her, “You know, good only when the idea is good.” Something in this appears off to the side, taking the photo. I couldn’t have done it better myself.” Wagstaff still environment, Wall says, “spoke to me. I took reduc- Apart from painting’s layered complexity, Wall had sounds relieved recounting the story, saying, “It was tivism very, very seriously.” He rejected depictions also picked up another of its important elements—its one of the best things that anyone has ever said to of reality to such an extent that he began painting “singularity,” as he calls it. In the beginning, unlike me as a curator.” clear varnish directly onto the wall. His father gave other photographers, he produced his images in an Indeed, Wall seems to respond more to his own him his first camera, a Nikon F, the era’s equiva- edition of one (with perhaps one other artist’s proof internal critical process than to any external pres- lent of a point-and-shoot, and Wall used it to take that he held onto—these days, he might make three sures. “I was criticized once for being too afraid to “pseudo-conceptual” photos. “It was exciting to or four). “I feel like the actual artistic part of pho- take real pictures in the real world,” he says. Rather intellectualize that for a period. As a heedless young tography is concluded when a negative is made into a than become demoralized, he simply applied his typ- person, I revolutionized myself, because it was the positive—a print,” he says. “The only reason to make ically meticulous deductive reasoning. “I thought, ’60s when people did that—I just did it.” a second print is a social reason like reproduction or OK, well, let’s say I’m just a fraidy-cat. What about After he graduated from college in 1970, he publication. I have no artistic need to make more than Franz Kafka? He was pretty afraid. He was neurotic. was offered a place at the prestigious Courtauld one.” For reasons of convenience, or to lend to exhibi- He was weak. It doesn’t mean that you wouldn’t be Institute of Art in England, which he accepted “to tions, today he makes anywhere from two prints (for a very good artist even if you were guilty of all the get to London. I never had any intention of finish- immense, 6-by-10-foot images) to eight (typically for things you were accused of being. Why would you ing any thesis,” he says, breaking into a laugh. By smaller pieces). He jokingly justifies this practice by not be good? There’s no way that one kind of artist is then, he had met and married Jeannette, a striking reaching into the grab bag of the canon: “Duchamp good, another kind of artist isn’t.” Englishwoman with dark auburn hair. Though the said, and I think this is a pretty great comment, ‘The Just the same, Wall acknowledges that bad art couple reveled in the cosmopolitan environment, notion of original goes up to eight.’ ” does exist. “The main thing about art is the quality,” Wall didn’t make any art, apart from dabbling in a As Wall engaged further with his own artistic he says. “Part of the pleasure of experiencing art is bit of filmmaking and screenwriting. “I was in sort practice throughout the late ’70s and early ’80s, a judging it. That’s part of the deal—you can’t turn of a postconceptual hiatus of not knowing quite what photography scene was beginning to emerge around it off. That’s good; that’s better.” At times, he even to do, and that lasted quite a long time. I didn’t have him—a loose group of contemporaries who would questions his own contribution. “I’ve seen people a métier. I wasn’t going to be a conceptual artist; I come to be called the Vancouver School (including, who clearly imitate me, and they’re so terrible it’s had burned my way through that,” he says. When he among others, Rodney Graham and Ian Wallace). embarrassing. That makes you feel like your influ- wasn’t doing his own art, “I was probably miserable Meanwhile, he began visiting New York regularly, ence is baleful and negative,” he says. “There must to be around,” he says, describing his mind-set as: where Graham, by then an active conceptual artist be something wrong with you.” “Irritable and tormented. Malaise. Neuroses.” and writer, acted as a sort of ambassador. Wall kept up The skyrocketing art market, however, is not a on other emerging artists, and while it was reassur- yardstick that he is particularly concerned with. “To NLY LATER, well after Wall had ing to him that they were also interested in returning me it’s actually beside the point. The price of some- returned to Vancouver with his to figurative work, his head wasn’t turned. “I wasn’t thing rare is always going to be high. Singularity young family in the mid-’70s, did blown away by Cindy Sherman to the point that it had creates an odd value that is not according to the he realize that in London, “I wasn’t an effect on what I was doing,” he says. “I knew what normal value of commodities—it’s way outside of studying art history; I was study- Robert Longo was up to or David Salle. That’s not what it,” he says. (His labor-intensive process necessarily ing myself.” By then, he had become I was doing, but I had the context of knowing both limits the number of works he can create. “I produce Oan art professor, teaching briefly at the Nova Scotia what was going on at the moment and historically.” as many works as I can,” he says. “I’m not trying to College of Art and Design before settling at Simon Instead, he remained focused on his own work, restrict production.”) Fraser University. (He later took a post at the which often captured minute human moments in a Mostly, Wall maintains a belief in the affirma- University of British Columbia, stepping down in poignantly empathetic light, such as 1982’s Mimic, in tive power of art. “I think it’s sad that art isn’t for 1999, and continues to mentor his assistants on a which a white man pulls the corner of his eye upward everyone—not every person seems to have the char- frequent basis.) Returning to his old turf sparked in cruel mockery of an Asian passerby. In 1999’s acter or sensitivity to respond to aesthetic things,” something in him. Despite the era’s antipathy to Morning Cleaning, Mies van der Rohe Foundation, he says. “That’s kind of lamentable because maybe it studio work—painting and sculpting seemed too Barcelona, a lone janitor cleans the landmark space would be a happier world.” He adds, “I know it from limited and smacked of the more vocational deco- as dawn is breaking; 2011’s Boxing is based on Wall’s my own experience. My life is much, much better rative crafts—he soon found himself back inside. own memories of play-boxing with his brother in his than it would have been if I hadn’t had contact with For Wall, returning to the studio “triggered some- childhood living room. He seems to operate on the the arts. I hope that I can keep going forever. I like thing about the relation between painting and faith that, as long as he’s thought through his idea doing what I do.” •

156 sources Advertisement

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© 2015 DOW JONES & COMPANY, INC. ALL RIGHTS RESERVED. 6AO1444 158 wsj. magazine Follow @WSJnoted or visit us at wsjnoted.com still life LAIRD HAMILTON The king of big-wave surfing shares a few of his favorite things.

PHOTOGRAPHY BY SPENCER LOWELL

“ON THE LEFT IS A JET SURFBOARD, a 27-pound motor- tow-in waves. Wrapped around it are shell leis from to it and wearing snowboard boots—like those on the ized board that creates a wave when you don’t have my wedding—my wife and I are going on 18 years. We right. The white board behind, a Surrator, is a stand- one. It’s one of those toys that when you were a kid you were married in Kauai on a river on a floating canoe up board that has a design that benefits the large could only imagine existing in cartoons. The board that I decorated with ferns and flowers. The framed number of stand-up board surfers that are coming shorts and hat are what I call my uniform. A fireman portrait is of my mother. She loved the ocean and into the sport, which has only been around for 10 wears a fire outfit; a policeman wears a police out- promoted my love for it, but her concern was much years. It lets you ride higher in the wave. On the right fit; in Hawaii, where I’m based for half the year, you more that she wanted me to be a good person. Behind is a gift from my middle daughter, Reece, a painting live in your board shorts. The package is a superfood is a hydrofoil board: the most efficient wave energy she gave me for my birthday. Unbeknownst to me, she creamer that I’m making. It’s part of my espresso riding instrument that we’ve ever had. It’s highly had been writing down all these sayings that I use ritual—coffee’s my energy drink. The green board is sensitive and as close to flying as you can get with- and put them all on this painting. I think she was 9 one I rode huge waves on all over the world. It is solid out all the consequences. The risk riding that board years old. To say she’s enlightened is a slight under- balsa, weighs close to 30 pounds and is designed for is higher than on any other because you’re connected statement.” —As told to Christopher Ross NEWYORK•CHICAGO•WASHINGTON DC •TOKYO PAULSTUART.COM 160 wsj. magazine