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34 EDITOR’S LETTER 38 On ThE cOvER 40 cOnTRIBUTORS 42 cOLUMnISTS on habit 45 ThE WSJ. FIvE The five hottest items from the runway. 144 STILL LIFE Giorgio Armani The master of understated luxury shares a few of his favorite things. Photography by Alessandro Furchino

What’s News.

57 Larry Gagosian and Masa Takayama Join Forces Coffee-Table Tome Channels Deitch Projects’ Spirit

60 Artist Maxwell Snow Designs Men’s Apparel Line Philly Education Program Offers a Taste of Art Hermès Launches Marc Newson–Designed Pen Stationery from French Perfumer Diptyque

62 Dunhill Returns to Its Anglo Roots Rowing Blazers: Tradition Meets Style The Beekman Hotel Aims to Revitalize NYC’s Financial District

64 Jacob Hashimoto’s Immersive Installations Donghia Reissues Vintage Félix Agostini Lamps St. Regis Polo Club Debuts First West Coast Event

65 Quarterback Cam Newton: Drakkar’s New Face BassamFellows’s Artisanal Offerings The Cult of Florence’s Faliero Sarti Scarves

66 Rising Dance Star Justin Peck Re-energizes Ballet NYCB Ballerinas Consult on Cole Haan Footwear

68 Q&As With Three Top Menswear Designers

on the cover Pharrell Williams photographed by Peter Lindbergh and styled by Clare Richardson. Dior Homme jacket, waistcoat and shirt. For details see Sources, page 142.

thIS PAGe One of Singer Vehicle Design’s stylishly 126 restored air-cooled Porsche 911s, photographed by Adrian Gaut.

86 800-457-TODS

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Market report. the exchange.

77 FALL GUY 83 TRACKED: JEAN PIGOZZI 90 LET’S MAKE A DEAL From luxe gloves to the perfect cable- The legendary bon vivant stars in his Restaurateur and Broadway producer knit sweater, here are the pieces that own reality TV show. Phil Suarez has a simple recipe for define the season. By Daniel Dumas success: Take many shots. Photography by Jarren Vink Photography by Carlos Chavarría By Rich Cohen Styling by Charlotte Sims Photography by Bjorn Iooss 86 VARSITY AESTHETICS The Minnesota-based studio RO/LU blurs the line between art and design. By Jen Renzi Photography by Alec Soth

88 LIVING COLOR Artists Brice and Helen Marden infuse their hotel with eclectic style. By Ted Loos Photography by Tina Tyrell

Clockwise from left: Mike Brady and Matt Olson of Minnesota-based design studio RO/LU photo graphed by Alec Soth; The Innocence of Comets and Heroes by artist Jacob Hashimoto photographed by Nick Heavican; a room in upstate New York’s Hotel Tivoli, opened by painters Brice and Helen Marden, photographed by Tina Tyrell. 94

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men’s style issue.

94 SUNSHINE SUPERMAN 112 BEFORE SUNRISE 134 THE PERFECT SCORE The Age of Pharrell begins as the Rich materials and deep-hued suits Director David Fincher teamed up with pop-world style icon brings his impart an air of mystery to an after- musicians Trent Reznor and Atticus coaching talents to NBC’s The Voice. dark adventure in the Eternal City. Ross for the soundtrack of his new film. By Robert Haskell Photography by Nathaniel Goldberg By Christopher Ross Photography by Peter Lindbergh Styling by Robert Rabensteiner Photography by Pari Dukovic Styling by Clare Richardson 126 VROOM SERVICE 138 RUFFINI’S RETREAT 106 HOW OKWUI ENWEZOR Singer Vehicle Design’s remix of the Moncler chief Remo Ruffini designed CHANGED THE ART WORLD Porsche 911 is the most retro-looking a Milanese pied-à-terre to serve as Next year, the Nigerian-born curator supercar on the road. both home and office. and writer becomes the first African By Karl Taro Greenfeld By J.J. Martin director of the Venice Biennale. Photography by Adrian Gaut Photography by Marta Piazza By Zeke Turner Photography by Juergen Teller 130 EVER FAITHFULL Singer and Rolling Stones muse Marianne Faithfull releases a new album and looks back on her rock ’n’ roll life. By Rich Cohen Illustration by Mats Gustafson

Clockwise from left: Entrepreneur and art collector Jean Pigozzi in San Francisco photographed by Carlos Chavarría; Pharrell Williams modeling fall’s choicest outfits photographed by Peter Lindbergh; a bathroom leading to an outdoor terrace in Moncler CEO Remo Ruffini’s Milan pied-à-terre photographed by Marta Piazza. editor’s letter LA DOLCE VITA ILLUSTRATION BY ALEJANDRO CARDENAS Touchpad technology. Launchpad performance. The all-new C-Class.

BLAST OFF Anubis and Bast, attired in Boglioli and Carolina Herrera, on a wild Vespa ride over Rome’s Trevi Fountain.

It is the unexpected fusion of breakthrough intelligence and groundbreaking acceleration. The all-new C-Class features a more powerful, T’S NO WONDER our cover subject Pharrell in drool-worthy detail by Adrian Gaut—reveals how musician and producer Atticus Ross, longtime col- efficient engine backed by an available AIRMATIC® suspension that allows the driver to choose betweenaSport or Comfort ride. Inside, Williams made a hit song called “Happy.” As Dickinson quit the music game and turned his passion laborators, never imagined they’d be scoring films every detail has been redesigned to a new level of luxury and craftsmanship. The interior boasts a Head-Up Display,alarge multimedia writer Robert Haskell and photographer Peter for restoring air-cooled Porsche 911s into a full-time one day. Now on their third project with director Lindbergh discovered while documenting the vocation. Now his days are spent customizing some David Fincher—next month’s Gone Girl—the duo screen and an intuitive touchpad that actually reads your handwriting—controlling navigation, climate, music, social media and more. Imusical juggernaut, the pop star is a walking embodi - of the finest sports cars ever made into supercars with reflects on the joys of exploring a new medium. Come The 2015 C-Class. Prepare to be amazed with the simple press of a finger and the push of an accelerator. ment of good cheer, spreading chart-topping positive beautiful retro styling. to think of it, editing this issue was a pleasurable vibes to a mass audience. He’s also a bit of a poster boy After the demands of running Moncler’s burgeon- business for us. We hope you enjoy reading it as much for our September men’s style issue, which highlights ing fashion business prevented chairman and CEO as we did putting it together. individuals who have cleverly managed the work-life Remo Ruffini from commuting from Lake Como in balance by turning pleasure into business, and busi- northern Italy, he decided to bring the office home ness into pleasure. by setting up a sumptuous pied-à-terre in Milan. The Just ask Rob Dickinson, cofounder of Singer 3,200-square-foot apartment, decked out handsomely Vehicle Design and former member of the ’90s in marble and dark wood, elegantly fulfills both its Kristina O’Neill alternative-rock band Catherine Wheel. Our story professional and off-the-clock roles. [email protected] about the rocker-turned-gearhead—photographed Nine Inch Nails frontman Trent Reznor and Instagram: kristina_oneill

34 wsj. magazine 2015 C300 4MATIC® sedan shown in Iridium Silver metallic paint with optional equipment. ©2014 Mercedes-Benz USA, LLC For more information, call 1-800-FOR-MERCEDES, or visit MBUSA.com. editor in Chief Kristina O’Neill

Creative direCtor Magnus Berger

exeCutive editor Chris Knutsen

Managing editor Brekke Fletcher publisher Anthony Cenname global advertising direCtor Stephanie Arnold fashion news/features direCtor Elisa Lipsky-Karasz business Manager Julie Checketts Andris brand direCtor Jillian Maxwell design direCtor Pierre Tardif Marketing Coordinator Elisa Handbury Magazine Coordinator Tessa Ku photography direCtor Jennifer Pastore exeCutive ChairMan, news Corp Rupert Murdoch artiCles editor Megan Conway Chief exeCutive offiCer, news Corp Robert Thomson Chief exeCutive offiCer, dow Jones & CoMpany William Lewis style direCtor David Thielebeule editor in Chief, the wall street Journal Gerard Baker senior deputy Managing editor, the wall street Journal Market editor Preetma Singh Michael W. Miller editorial direCtor, wsJ. weekend Emily Nelson art direCtor Tanya Moskowitz head of global sales, the wall street Journal photo editor Damian Prado Trevor Fellows vp MultiMedia sales Christina Babbits, Chris Collins, assoCiate editor Christopher Ross Ken DePaola, Etienne Katz, Robert Welch vp vertiCal Markets Marti Gallardo Copy Chief Ali Bahrampour head of digital advertising and integration Romy Newman produCtion direCtor Scott White vp strategy and operations Evan Chadakoff vp ad serviCes Paul Cousineau assoCiate Market editor Sam Pape vp integrated Marketing Paul Tsigrikes exeCutive direCtor, MultiMedia sales/asia Mark Rogers researCh Chief John O’Connor exeCutive direCtor, wsJ CustoM studios Randa Stephan exeCutive direCtor, global events Sara Shenasky Junior designer Dina Ravvin senior Manager, global events Katie Grossman Creative direCtor Bret Hansen assistant photo editor Hope Brimelow priCing and strategy Manager Verdell Walker ad serviCes, Magazine Manager Elizabeth Bucceri editorial assistant Sade Strehlke direCtor of Corporate CoMMuniCations Colleen Schwartz fashion assistant Katie Quinn Murphy Corporate CoMMuniCations Manager Arianna Imperato

web editors Robin Kawakami, Seunghee Suh

Contributing editors Alexa Brazilian, Michael Clerizo, Kelly Crow, Celia Ellenberg, Jason Gay, Jacqui Getty, Howie Kahn, Joshua Levine, WSJ. Issue 51, September 2014 Men’s Style, Copyright 2014, Dow Jones and J.J. Martin, Sarah Medford, Meenal Mistry Company, Inc. All rights reserved. See the magazine online at www.wsjmagazine.com. Reproduction in whole or in part without written permission is prohibited. WSJ. Magazine is provided as a supplement Contributing speCial proJeCts direCtor Andrea Oliveri to The Wall Street Journal for subscribers who receive delivery of the Saturday Weekend Edition and on newsstands. WSJ. Magazine is speCial thanks Tenzin Wild 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.

36 wsj. magazine on the cover THE EVOLUTION OF PHARRELL’S STYLE Whether on the sidewalk or the stage, Pharrell has exhibited a sartorial taste as creative and eclectic as his wide-ranging music career. Below, we trace the permutations of the megastar’s fashion, from his days as a newbie producer fresh out of high school to his current status as one of pop’s reigning style icons.

BOYZ TO MAN As he began racking up accolades and awards as one half of music production partnership the Neptunes and as part of its offshoot, the band N.E.R.D. (at left, with Chad Hugo and Shae Haley), Pharrell graduated from a skater-influenced look that favored trucker hats and graphic tees to slicker ensembles featuring tailored blazers and oversize furs.

1983 2001 2002 2003 2004

MIX MASTER Pharrell’s genius for blending genres wasn’t limited to music: As he worked with talents as diverse as Madonna and hip-hop duo Clipse, he experimented with outfits, including bling- laden streetwear (which he created with Japanese designer Nigo, center) and the country-club-on- acid aesthetic at far right.

2005 2006 2007 2008 2009 WWW.VALENTINO.COM CAN’T STOP WON’T STOP As his profile skyrockets with hits like “Happy” and “Get Lucky” for Daft Punk NEW STORE – 693 FIFTH AVENUE – NEW YORK (at left), Pharrell’s style grows ever more confident. Look for jorts rocked with aplomb, customized tuxes (worn at left with his wife, Helen Lasichanh) and, of course, his now infamous Vivienne Westwood hat, 2010 2011 2012 2013 2014 which made a splash at this

year’s Grammys. TOP ROW, FROM LEFT: COURTESY OF PHARRELL; WIREIMAGE© FAIRCHILD (2); FILM PHOTOMAGIC; SERVICE/CONDÉGETTY NAST/CORBIS;IMAGES; GETTYWIREIMAGE IMAGES; BUZZFOTO/FILMMAGIC;FOR ROBERTO CAVALLI; WIREIMAGE.FILMMAGIC. BOTTOMMIDDLE ROW, ROW, FROMFROM LEFT:LEFT: WIREIMAGE;GETTY IMAGE; GETTYWIREIMAGE IMAGES (4); (2); NEIL RASMUS/BFANYC.COM; WIREIMAGE

38 wsj. magazine september 2014 CONTRIBUTORS Gor; patrick Desbrosses cGre SunShine Superman p. 94

Photographing a celebrity in the middle of a busy downtown Los Angeles intersection can present some challenges. But for our mike m unflappable cover subject this month, musicianPharrell Williams, the experience was serene—even happy. “Pharrell transmits his

calm demeanor to everyone around him,” says WSJ.’s creative director Magnus Berger (right), who was on set during the five-hour erich; shoot, snapped by legendary photographer Peter Lindbergh (second from left). Stylist Clare Richardson (left) picked out an

elegantly tailored wardrobe for the star. “I really wanted to tap into a smart, dapper look,” says Richardson. Even when passersby pascal p gathered around Pharrell and requested their own photos with him, he never missed a beat. “He was so polite,” says Richardson. D en;

“He spoke to all the fans.” Writer Robert Haskell, who interviewed Williams at a recording studio in the San Fernando Valley over ar sushi delivered from Katsuya, also picked up on the relaxed vibe the singer radiates these days. “He’s transformed from a prince m of pop to a more thoughtful superstar,” says Haskell. “He has a genuine sense of gratitude for his success.” irabelle rappo; Dylan Don; m tefan

JUERGEN TELLER ALEC SOTH RICH COHEN TINA TYRELL ROBERT RABENSTEINER Photographer Photographer Writer Photographer Stylist

hOw OkwUI ENwEzOR vaRSIty aESthEtIcS p. 86 lEt’S makE a dEal p. 90 lIvINg cOlOR p. 88 BEFORE SUNRISE p. 112 clockwise from top left: s chaNgEd thE aRt wORld p. 106 EvER FaIthFUll p. 130

40 wSj. magazINE soapbox THE COLUMNISTS WSJ. asks six luminaries to weigh in on a single topic. This month: Habit.

JEFF PALOMA THOMAS AUDRA MICHAEL MARIA KOONS PICASSO KELLER McDONALD KORS SHARAPOVA

“In my day-to-day life “I resist habit. One of the “I’m a naturally habitual “I’m currently play- “At the end of the day, “It’s important to turn I am a person of habit. I reasons I started travel- person. I find that I’m ing Billie Holiday on my most consistent habit disciplined behavior into come to the studio every ing at an early age—on comfortable in situa- Broadway, and she’s is that I’m a contradic- a habit: early to bed, not day around 8:30 a.m. my own, and for work—is tions or environments someone who had terri- tion. There are parts of too many splurges in and I leave around that travel has always where repetition is ble habits. One thing I do me that fully fall in the my day-to-day routine. 5:30 p.m. I have a strict been a way of stepping the norm, and I try to before I go onstage is I comforts, the rhythms However, as a profes- diet—every day I have out of habit. If you’re in establish that wherever have a bottle of gin in my of life. Iced tea is a sional athlete it’s really the same amount of a different place, you do I go. In kitchens, we’re dressing room and I take constant in my hand— important not to fall pistachios and the same things differently. When all looking for great- a little bit of it and put it doesn’t matter what prey to habit. Success amount of Cheerios and designing a collection, ness. And in order to behind my ears, on top of time of day or year. on the court means I’ll eat two Zone bars I often use high tables; be great, you have to be my mouth between my When I travel to places being able to adapt to throughout the day. but I’ve also worked consistent. Do you want lips and nose and on my I go to often, I always go changing conditions, I try to be right on the while lying on the floor to be a Peyton Manning, wrists and neck so I have to the same place: to different players, edge of getting the or sitting on a plane. I’m a Derek Jeter? What the smell of gin around I think I’ve stayed in the playing styles and more. exact best proportion of not a person who needs makes these guys who me. It reminds me that same room at Claridge’s One of the things I love fats, carbs and protein. to design out of a special have been in the game she’s slightly inebri- in London for 20 years. most about tennis is that I enjoy the discipline, studio or with special 20 years great is that ated when she starts the I can only draw with it’s an ever-changing and it lets me not really tools. My father [Pablo] they’re great every day show. As actors, we do a Sharpie and I like to game. No two matches have to think about my never had a special hour they go out and play. these little magic tricks sketch on lined paper; are alike, and the diet, so I can think about for working; there was Does habit interfere with to get out of our own I’ve been sketching responsiveness to other things. I train five nothing he did par- inspiration? Not at all. way. During a long run like that since I was a change is what sets great days a week at lunch- ticularly geared towards If I’m cleaning a salmon, of a show, it’s very easy teenager. But, at the players apart. For me, a time between noon and habit. I created a per- in the first two years to get ingrained in doing other extreme, I have the huge part of recuperat- 1 p.m. I have a gym at my fume as a self-portrait of doing that I’m really things certain ways. It attention span of a gnat ing from my shoulder studio and I go there for that I wear almost every paying attention. But can lose spontaneity. I and I want something injuries was about being one hour, and it lets me day. But the problem is after a while, I don’t have always say, if you usually new and I’m curious in touch with my body forget about everything that the smell becomes to concentrate so much. look left at a certain about what’s next. It’s and every action’s reac- else. When it comes to so much a part of you It becomes habitual, point, look right. It always a swing between tion. The ability to tune my work, I would say that you can’t smell it which allows me to start changes perspective and the two. I’ve been going in and edit my response that my process, the any longer. So I have thinking about what I’ll all of a sudden there’s to Peter Luger’s steak- was the way I was able way I go about starting one or two other scents do with the salmon once freshness. Billie Holiday house since I was four, to unlearn the bad habits to think about a work, that I put on every now I’ve cleaned it—look at never sang a song the and the steak sauce there I’d fallen into from my is the same—I just and then. When I break the fat content of the same way twice, and is like Proust’s made- injury. Being able not follow and focus on my the habit, I can smell my belly or what to do with that’s what made her a leine. But if there’s a new only to adapt but to interests.” fragrance again, which a fillet. That’s when you true jazz artist.” restaurant and they’re anticipate the need to is really a part of me.” can start to be inspired not open yet and there’s adapt is more important by the salmon. You no phone number, I’ve to me than habit.” become liberated by got to go there in the repetition.” first three days. It’s one extreme or the other.” Picasso is a designer famous Keller is the only American chef McDonald is an actress for her jewelry collection to have earned three Michelin and singer who has won six Sharapova is the for Tiffany & Co. and her stars at two restaurants, Per Se Tony Awards, more than sixth-ranked female tennis Koons is an artist. namesake perfume. and the French Laundry. any other performer. Kors is a fashion designer. player in the world.

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TO BREAK THE RULES, YOU MUST FIRST MASTER THEM.

FINE COMPANY Takayama (left) and IN 1892 AUDEMARS PIGUET BECAME THE FIRST WATCHMAKER Gagosian at Takayama’s TO PRESENT A STRIKING MINUTE REPEATER IN A WRISTWATCH. first restaurant in New York, the 26-seat Masa. THE 2014 MILLENARY MINUTE REPEATER IS THE LATEST EXPRESSION OF THIS PIONEERING SPIRIT.

THE EXPOSED CALIBRE OF THE MILLENARY SERIES ALLOWS THE FINE DECORATION AND CRAFT TO BE FULLY VISIBLE. THE DISTINCTIVE ASYMMETRIC STYLING CONTRASTS THE TRADITIONAL BLUED STEEL OF THE HANDS AND CHIMES, AND GREAT MINDS EAT ALIKE THE GRAND FEU ENAMEL OF THE GOLD DIAL. PROGRESSIVE Larry Gagosian is the art world’s most powerful gallerist, and Masa Takayama is his equivalent DESIGN, LEGACY CRAFTSMANSHIP. among sushi chefs. Now they’re joining forces for a new restaurant, Kappo Masa.

BY HOWIE KAHN PHOTOGRAPHY BY MATTHEW KRISTALL

N ONE SIDE of the sanded hinoki bar stands As far as origin stories go, theirs is the answer to Center in 2004. “Over the last 10 years, I’ve eaten at the 60-year-old chef Masa Takayama. the riddle: What happens when Robbie Robertson, Masa, on average, two times a month,” he says of his On the other side, the gallerist Larry Paul Allen and Larry Gagosian walk into a bar? The favorite restaurant, where the median meal price Gagosian, 69, is sitting on a stool, hungrily year was 1989 and Takayama’s Ginza Sushiko, in a hovers around $450 per person before tax, tip, drinks Owaiting. The two men, partners in a new restaurant, Los Angeles mall, had become a destination for the and supplemental ingredients like Kobe beef. Kappo Masa, opening this month in a subterranean most discerning and deep-pocketed of sushiphiles. Over a scoop of toro, topped with a spherical col- chamber one floor below Gagosian’s Madison Avenue Gagosian, a native Angeleno, had come to town ony of caviar the size of a golf ball, Gagosian explains location, have just hugged their way through a photo from New York, where he was busy shaping the eco- that he’s been in the hospitality business before. shoot here at Takayama’s eponymous, 10-year-old nomic structure of the contemporary art market. “In the '90s,” he says. “A place downtown. Moomba. flagship. For the duration, each grinned ebulliently, Over dinner with friends—The Band’s lead guitarist, You’d see everyone there. Jack Nicholson. Leonardo almost boyishly, in a way that breaks dramatically Microsoft’s cofounder—he got hooked on Japanese DiCaprio. He said a real sweet thing to me. He said, with their public personas: Takayama, the Dalai cuisine unlike anything he’d previously experienced. ‘You know, Larry, I’m too young to have ever been MILLENARY “Going there became a habit,” Gagosian says, to Studio 54, but isn’t this a little like Studio 54?’ It MINUTE REPEATER Lama of American sushi; Gagosian, the great white IN PINK GOLD, ALLIGATOR shark of the art world. And now, they’ve taken their one that became far more frequent once Takayama was very sweet the way he was asking me.” Moomba, STRAP. AUDEMARS PIGUET BOUTIQUES. 646.375.0807 positions for lunch. moved to Manhattan and opened in the Time Warner which Gagosian co-owned with other investors > NEW YORK: 65 EAST 57TH STREET, NY. 888.214.6858 BAL HARBOUR: BAL HARBOUR SHOPS, FL. 866.595.9700 AUDEMARSPIGUET.COM wsj. magazine 57 N OPERATED AND EJT N.I EKHR HATHA BERKSHIRE A IS INC. NETJETS what’s news

THE ART OF SUSHI Gagosian, too, has beverage service plans for the BY NETJETS The menu at Kappo Masa will opening and hopes there won’t be a conflict. “We feature delicacies like Suzuki Japanese sea bass (left) and have my friend coming in from Paris with the AV Nakaochi tuna rib with fresh Latour,” he says of the coveted French wine. “Yes,” AIN N. WHOLLY A INC., IATION, wasabi (bottom). Below, a sketch Takayama clarifies, “but the Latour is for during the by chef Takayama of the sea bass WA meal. The sake is for before.” Both men laugh. “It’s a dish, served on a glass cube. Y different kind of partnership than what I’m used to,” CO says Gagosian. “I don’t have partners in business. OFFERED AIRCRAFT ALL MPANY. But this is Masa’s vision and Masa’s talent. My job is to listen and learn.” That’s not as passive as it sounds. Gagosian hints OW that if this model works, his other galleries—14 on NETJET INC. NETJETS OF SUBSIDIARY NED three continents—might also find themselves with high-end commissaries. But he’s starting with one and treating it as a permanent exhibition of all

things Masa. “I don’t want it to look like there’s an BY agenda, a place to hang some art so people buy it NETJET after having a couple bottles of sake,” says Gagosian. S®

Instead, Takayama’s own work will set the mood. UNITED THE IN He’ll have designed all the flatware himself, using the same team of Japan-based artisans that has cre- including Oliver Stone and Laurence ated his bowls, dishes and plates for the past three S, EX ST Fishburne, folded unceremoniously decades. One prominent wall will be made from oya, JET MARQUIS THE AND ECUTIVEJET AT

when its managing partner, as a volcanic stone native to Takayama’s home prefec- ES

Gagosian puts it, “lost focus.” Warhol and Basquiat work in their ture, Tochigi. There will be sushi, but served with JET MARQUIS THE UNDER USE OR LEASE, SALE, FRACTIONAL FOR Takayama is focus personified. studios. “I wasn’t going to put less ritual than at Masa, where a chef hands each His food conveys concentration, in Larry’s Diner or Larry’s Bar.” new piece of fish to the customer upon consumption clarity and the essence of mastery. Takayama took the offer immedi- of the last. Prices won’t be nearly so stratospheric, Still, when Gagosian got hold of ately, before even seeing the space, and the menu will be largely a la carte. Takayama the retail space and the basement a move Gagosian admired. “He’s explains that the name, Kappo Masa, reflects a beneath his uptown gallery and ambitious,” says the gallerist. broader style of cooking, incorporating a variety committed to converting some part of that into a “Oh, my God,” extols Gagosian, taking another of techniques and a more casual style of service. “If CA restaurant—“a nice amenity for my business,” he bite of sushi. “Mmmm. This is killer.” Takayama Japanese people hear it,” says Takayama, “they’ll LL IP, NETJETS ©2014 MARKS. SERVICE REGISTERED ARE RD says—Takayama wasn’t the first chef he consid- only presents the morsel by its name. “Shima aji,” hear it as Masa’s Japanese Restaurant.” ered. “Masa’s so committed to his own restaurant he says, nothing more. Although Gagosian has eaten Takayama is hoping to broaden his own reach, that it didn’t initially occur to me that he’d do this,” here scores of times, his praise of the food is so lib - not only by cooking for a bigger audience—Kappo he says. Instead, Gagosian took proposals from eral that it might as well be his first visit. In between Masa will have 82 seats to Masa’s 26—but also by another restaurant group, one he will not name, Takayama’s taxonomic descriptions and Gagosian’s making his mark in the field of industrial design. and ultimately didn’t like its plan, leaving his new delighted cooing, the two men beam at each other “I make beautiful things,” says Takayama. “What endeavor without a concept or a chef. while talking like summer-camp friends reunited Larry does goes far beyond that. I want to learn

“One night,” he says, “I just popped the question to after many years apart. to take those beautiful things and sell them.” CA

Masa.” It was fall 2012 and Gagosian, whose stable of “I got the nicest gift the other day,” Gagosian says. Gagosian nods and takes down the last morsels— PRIV AND RD® artists—from Pablo Picasso to Richard Prince—reads “Brad Pitt and Angelina Jolie sent me four cases of shaved summer truffles blossoming around an orb like both an investor’s prospectus and a treatise on wine from their vineyard. Maybe we can try it out of sticky rice, tuna scraped off its bone with a sharp- art history, knew it wouldn’t suffice to create an in- together?” Takayama agrees and tells Gagosian ened abalone shell—emitting more Oh my Gods and AT

house restaurant that lacked the aesthetic might or about a special sake he’s arranged to import for Mmmms that start to sound like mantras. “That’s TRAVEL JET E cultural pull of the multibillion-dollar business above Kappo Masa’s opening night. “Whenever there’s a my goal,” he says, looking at Takayama, as both men C. L IHSRESERVED. RIGHTS ALL it. “Masa’s an artist,” says Gagosian with a certainty big opening in Japan, like a railroad or whatever, start to laugh again. “To make sure Masa can afford FIFTY YEARS OF he’s earned from watching masters like de Kooning, there’s always a barrel of sake,” says Takayama. some good art.” CA D RGASAEMANAGED ARE PROGRAMS RD™ REWRITING THE RULES

buy the book Confidence doesn’t just happen. It’s developed. We know. For as long as we’ve been here, we’ve READ, SEE AND DO been raising the safety standards for private aviation, like requiring 30 more safety checks than The shows Jeffrey Deitch mounted at his self-named New York art space tended the FAA. So we can safely take you where you want to go – with the assurance that should follow. to spotlight viewer participation. So it’s fitting that a new Stefan Sagmeister–designed FLY WITH PEACE OF MIND. 877 JET 2909 / NETJETS.COM coffee-table tome celebrating Deitch Projects’ 15-year run comes equipped with a plastic plate that suggests readers literally dine off it. “We really did ‘live the art,’ ” Deitch says. “We tried to embody this spirit in the book and celebrate the community of extraordinary people who contributed to the energy of the gallery,” among them

Dan Colen, Cecily Brown and Kehinde Wiley. Live the Art, $100, rizzoliusa.com. BLACKLETTER/PATRICK CRAWFORD (FOOD); COURTESY OF MASA TAKAYAMA (SKETCH); PHOTOGRAPHY BY F. MARTIN RAMIN (BOOK) for business, for family, for life 58 wsj. magazine what’s news

the cause POSTER BOY An image created by Snow of a VISUAL FEAST model wearing his “nautilus” bandanna, sweater is a noD to It’s said that we eat with our eyes and jeans. Available jules VeRne’s Fictional first, our sight conditioning our at Colette and suBmaRine Opening Ceremony. taste. The relationship between these two senses is exactly what Philadelphia middle school teacher

the Deva Watson explores with her inno- nautilus plume vative arts education program, Fresh Fountain pen costs Palates to Palettes, which coaches $1,650 students in both visual and culinary appreciation. An instructor at the city’s Wissahickon Charter School, Watson brings her class, largely hailing from low-income neighbor- hoods, into the kitchens of acclaimed local chefs such as Top Chef winner Kevin Sbraga. The students sketch still lifes of dishes the chefs cook for them and then share the meals. After, they develop their sketches into fully realized paintings, which are then sold to benefit arts pro- gramming in the region. As Fresh Palates to Palettes enters its third year this September, schools beyond closet case Philadelphia are beginning to take

leatheR notice: Pilots in Denver and Santa Fe pen cases are in the works. —Drew Lazor LET IT SNOW anD silk- BounD noteBooks New York visual artist Maxwell Snow had trouble finding the accompany perfect motorcycle vest. Then it was black roper boots, so he had the l aunch both items made. Now he’s launched a self-named clothing line to outfit men head to toe in such covetable pieces, including black Japanese selvedge jeans and cashmere-cotton blend sweatshirts. SO WRITE “Everything serves a purpose,” says Snow, 29, of linings with RF For the first pen from shielding to limit smartphone radiation and pockets for cameras French house Hermès— and other “contraband.” His stylist wife, Vanessa Traina, is an the sleek, one-piece Nautilus, manufactured advisor. “When she steals something, it’s the ultimate barometer,” by Pilot—artistic he says. Thefts thus far? Snow’s sleek black tees and hoodie. director Pierre-Alexis Dumas tapped designer Marc Newson. “We share a fascination for simple shapes,” says PAPER TRAIL Dumas, who prizes the journals of his late This month, French fragrance house father, Jean-Louis Diptyque debuts the 34 Collection, Dumas. “He used to say, a range of personal perfumes, scented ‘If Hermès makes a pen, candles and objets. Highlights include it must be capless.’ a limited-edition collaboration with When I met Newson, he stationer Papier Tigre that features took a capless pen out textile-inspired graphic notebooks, MEALS TO MEASURE Students in Fresh of his pocket. It was a Palates to Palettes enjoy rabbit and polenta postcards and a calendar. Left: sign.” For details, see with James Beard Award–winning chef Jeff

Notebooks, $25, diptyqueparis.com. Sources, page 142. Michaud at his restaurant, Osteria. CLOCKWISE FROM TOP LEFT: COURTESY OF MAXWELL SNOW; F. MARTIN RAMIN; MICHAEL PERSICO; COURTESY OF DIPTYQUE PARIS

60 wsj. magazine ’  panerai.com

  NEW YORK STORY )

FOR ENGLAND Clockwise from above: ROWING BLAZERS John Ray, Dunhill leather portfolio, cashmere cable-knit sweater, wool coat and suede bomber. For details see Sources, page 142.

Five Beekman Street has had its run of bad luck. In recent years, hospitality magnate André Balazs and a host of other would-be proprietors tried— and failed—to reinvent the Financial District building, with its gasp-inducing central atrium (shown above), as a luxury hotel. Finally, GB Lodging president Bruce Blum is poised to suc-    ceed. “The economics just didn’t work based on the existing footprint to develop the Beekman as a stand-alone hotel,” says Blum, who has provided DRIVING FORCE the logistical and fi scal know-how for the Ace Fall, not spring, is the season of rebirth this year for Dunhill, as the brand’s New York and Palm Springs outposts, “so 121-year-old British brand unveils its fi rst collection under creative director we came up with a mixed-use strategy.” John Ray. With it, the house’s o‚ -touted Anglo roots are proudly showing, in When it opens at the end of 2015, the Beekman the form of longer jacket cuts, racing scarves that nod to the company’s early- Hotel will be restored to its late-19th-century motor-era origins, rain-treated outerwear and, of course, plenty of three-piece glamour, from its intricate tile fl oors to its suits. Ray, who spent 10 years at Tom Ford’s Gucci, is working closer to home ironwork dragons, while next door, a now-vacant now, lining lambskin bomber jackets with shearling because, the Scotsman lot will become the adjoining 51-story Beekman says, it’s “more honest” than fur. —Darrell Hartman Residences. The 68 units in the condominium tower, created by architecture fi rm Gerner Mediterranean Sea. Kronick + Valcarcel, with lavish interiors by “Gamma” men in training. BLAZERS OF GLORY Danish designer Thomas Juul-Hansen, will go on The diver emerging from the water The modern American prepster has the the market this September, with prices expected sporting kit of Oxford and Cambridge is wearing aPanerai compass on his wrist. to range between $1.2 million and $12 million. rowing clubs to thank for his splashily Occupants will have access to in-home dining hued, striped-and-piped wardrobe. A new book, Rowing Blazers (Vendome), from the property’s o¡ cial caterer, chef Tom devotedly catalogues the lore of crew historyandheroes. Colicchio, whose ground-fl oor restaurant will sit culture through the kaleidoscopic lens side by side in the hotel with another eatery from of the blazer—a term derived from the “blazing red” color worn by oarsmen downtown tastemaker Keith McNally. of St. John’s College. “They range from The net e¤ ect? A one-stop outpost of hipness the understated to the absurd,” says luminor 1950 3dayschrono flyback (ref. 524) in Lower Manhattan. “We think we can own the the book’s author, Jack Carlson, of available in steel and red gold henley jackets, “and it is di„ cult to lifestyle market down here,” says Blum. say which end of the spectrum is more

—Ian Volner prestigious.” $50 —Megan Conway RICHARD BARNES (BEEKMAN); F. MARTIN RAMIN (DUNHILL); ANDREW VOWLES (RAY); F.E. CASTLEBERRY (BOOK); COURTESY OF PETER ANDREW HENRY (CARD).STYLING BY ANNE CARDENAS (DUNHILL, ASPEN •BAL HARBOUR SHOPS •BEVERLYHILLS •BOCARATON •DALLAS

 .  FORUM SHOPS AT CAESARS •LAJOLLA•NAPLES •NEW YORK •PALM BEACH ExclusivelyatPanerai boutiques and select authorized watchspecialists. 64 news what’s Sonoma County, California. Sonoma County, California. St. Regis Polo Club debuts Polo debuts Club Regis St. The St. Regis hotel brand, brand, hotel Regis St. The standing association with with association standing West Coast this month at at month West this Coast its first-ever event on the first-everits the event on Wild Oak Saddle Club in in Club Saddle Oak Wild founded in New York in founded by the pastime of the elite. elite. of the pastime the John Jacob Astor IV in in IV Astor Jacob John Fitting, then, that the the that then, Fitting, 1904, has had along- had 1904, has HOOF DREAMS HOOF behind him. Photograph Photograph him. behind Queens studio, a section asection studio, Queens of his next installation installation next his of Hashimoto, 41, in his his 41, in Hashimoto, by Nick Heavican. Nick by editions and will be available be will and editions FLYING HIGH FLYING HIGH sought after by art collectors art by after sought verte glowing from a cigarette holder. from acigarette glowing verte The attenuated, in the United States through through States United the in vintage Agostini designs are designs Agostini vintage being reissued in numbered in reissued being Paris, his slim frame often propped with a Gauloises Gauloises a with often propped frame Paris, slim his donghia.com donghia.com he handcrafted in andbronze elegant, hewere handcrafted equally and top decoratorsand on the an atelier. month,an 19 This surrealist-influenced sconces, lamps and furniture furniture and sconces, lamps surrealist-influenced Left Bank, where he Bank, kept Left Félix Agostini cut a sharp figure in 1960s and ’70sandin 1960s figure cut asharp Félix Agostini for dinner party season. season. party for dinner A LITTLE LIGHTA LITTLE MAGIC Donghia—just in time Donghia—just time in that unfolded throughout throughout unfolded that As a painting student at the Art Institute of Chicago in the early ’90s, Jacob Hashimoto asked asked Hashimoto Jacob ’90s, early the in ofChicago Institute Art the at student apainting As ENRIQUE MARTINEZ Gas Giant Gas multimedia roman à clef àclef roman multimedia materials that are organic and react to doors opening, people walking around, body heat,” says body around, walking people opening, doors to react and organic are that materials ing immersive installations with thousands of cable-suspended bamboo kites, which referenced referenced which kites, bamboo ofcable-suspended thousands with installations immersive ing soon realized the potential they had—when painted and arranged en masse—to turn an entire entire an turn masse—to en arranged and had—when they painted potential the realized soon constructed a 34-foot-tall Brutalist “building” hewn from more than 15,000 square black kites. kites. black square 15,000 than more from hewn “building” a34-foot-tall Brutalist constructed —Sarah Medford SITE Santa Fe hosted Fe hosted Santa SITE kites?’ This spring, the work enveloped the ground and second floors of L.A.’s MOCA Pacific Design L.A.’s of floors Design second MOCA and Pacific ground the work enveloped the spring, This his father for some career advice. “He was like, ‘Man, you need a hobby. Why don’t you build ahobby. don’t you need you build ‘Man, Why like, “He was advice. for career some father his Center. For his first New York installation, opening September 6 at Mary Boone Gallery, he’s Gallery, Boone Mary at 6 September opening New Center. For first installation, his York That structure will explode from a “field of grass and flowers.” and versus grass “It’s of a“field from architectonic the explode will structure That everything from geometric forms to the digital landscapes of Minecraft. In 2012, he unveiled unveiled he 2012, In ofMinecraft. landscapes digital the to forms geometric from everything Celaya’s Celaya’s space into a kinetic canvas. The Colorado-born, New York–based construct went big, Colorado-born, The canvas. artist akinetic into space a half dozen rooms. dozen a half IN IN A WORLD CELAYA

” Taking that counsel, Hashimoto built toy models that he would fly in Grant Park and and Park Grant in fly would he that toy models built Hashimoto counsel, that ” Taking The Pearl The GRAND IMMERSION GRAND , an elemental 30,000-kite structure that appeared a year later at the Venice Biennale. Venice the at Biennale. later ayear appeared that 30,000-kite structure elemental , an Hashimoto. “All those things you control.” can’t “All things those Hashimoto. , a , a Below, four of the most extrasensory art environments of the past two years: two past ofthe environments art extrasensory Below, most ofthe four

In the weeks leading up to to up leading weeks the In his MOCA retrospective, MOCA retrospective, his a pop-inflected fantasia fantasia a pop-inflected study in design in study out of 308 tons of clay. of tons 308 of out Fischer enlisted 1,500 1,500 enlisted Fischer volunteers to shape shape to volunteers URS FISCHER URS art talk

dissolve into painterly pat painterly into dissolve the David Zwirner Gallery. Zwirner David the Room Kusama’s Kusama’s terns—drew long lines at at lines long terns—drew by 75 hanging LEDs that that LEDs by 75 hanging YAYOI KUSAMA —a mirrored cube lit lit cube —a mirrored ($9,580) rests on a three-toed bird’s foot. foot. bird’s athree-toed on ($9,580) rests lamp Tripode two-tone the ($8,150). Left, lamp Cocotte bronze The Above: EFFECT RADIANT Infinity Mirrored Mirrored Infinity —Michael Slenske - it did at Seoul’s Daelim Daelim Seoul’s at did it The London-based art art London-based The technology to “actify” “actify” to technology collaborative employs employs collaborative environments, which which environments, wsj. magazine TROIKA Museum. -

COURTESY OF ERIC SWANSON (CELAYA); BRIAN FORREST (FISCHER); MARIS HUTCHINSON/COURTESY OF DAVID ZWIRNER AND YAYOI KASUMA STUDIO INC. (KUSAMA); COURTESY OF GALERIA OMR AND THE ARTIST (TROIKA); MICHAEL VON AULOCK (LAMPS) GOODMAN A BG. CO /ODA GOMN 5TH @GOODMANS M/GOODMAN METBRE/RES / BURKE EMMETT SA VO TA RTU / URATEUR AV STEMOMENT THE RS ENUE AT IN 58TH VA LENTINO ST ET22393327 339 212 REET LONDON MOSCOW NEW YORK MILANO WHOLESALE 8-10, Hans Road - SW3 1RX Bolshaya Dmitrovka 20/1 - 107031 The Plaza - 5th Avenue at Central Park South - NY 10019 Corso Matteotti 8 - 20121 [email protected] Ne w Yo rk Lo s An ge le s Ba l Ha rb ou r Ho us ton # PE AC ER OC KS Ringo St Pho r:Cs della Casa arr: to gr aphed by john Vi an lnh 20 Clinch, Danny st va ,Hollywood, a, rv atos.com/peaceroc CA 14 ks

CLOCKWISE FROM TOP LEFT: GETTY IMAGES; MAX ROMMEL; F. MARTIN RAMIN (4); LUDWIG CIUPKA, AGENCE TUXEDO. STYLING BY JILL TELESNICKI (SCARVES); STYLING BY ANNE CARDENAS (BASSAM) POWERPLAYERS  .   tom-made Superman cleats. Then there’s his polished postgame postgame polished there’s his Then cleats. Superman tom-made wardrobe. “I don’t have a suit collection for nothing,” he jokes, for jokes, he nothing,” “I don’t collection have asuit wardrobe. smell of Drakkar Noir, defi men’s the that scent ofDrakkar smell decade. the ned similar attire. “You can’t wear it with sweatpants or a jogging ajogging or “You sweatpants it with attire. wear can’t similar quarterback Cam Newton, the face of the spearmint-and-musk- ofthe face the Newton, Cam quarterback on the cult classic—and a charismatic new spokesman. “It’s spokesman. new no acharismatic classic—and cult the on noting that Essence’s “elegant and confi and Essence’s “elegant that noting dent” profi requires le who made headlines last September for wearing a pair ofcus- apair for wearing September last headlines made who The brand is hoping to have similar success with an update update an with success have to similar hoping is brand The If the 1980s had been bottled, the resulting fragrance would would fragrance resulting the bottled, been 1980s had the If tinged Drakkar Essence. Bold moves are old hat for Newton, for Newton, hat old moves are Bold Essence. Drakkar tinged secret that this is a bold fragrance,” says Carolina Panthers Panthers Carolina says fragrance,” abold is this that secret —Celia Ellenberg —Celia $88, macys.com. Essence, suit.” Drakkar “Superman” —Football fans fans —Football “Superman” 6 feet 5 inches, 245 pounds 245 5inches, 6 feet Rookie of the Year (2011) the of Rookie Heisman Trophy (2010); Trophy Heisman Under Armour (2011) Armour Under Blue and black and Blue everywhere                       :  :             1985 FiFi Award, Most Successful Successful Most Award, FiFi 1985 Men’s Fragrance: Drakkar Noir Noir Drakkar Men’s Fragrance: “Our Chanel No. 5.” —L’Oréal Chanel “Our Mr. T, for Drakkar Noir ( Noir Mr. T, Drakkar for Blue, black and white and black Blue, Designer Fragrances Designer 6 inches, 6.7 ounces 6.7 ounces 6 inches, 1986 )

well as its clothing, such as anew-for-fall such as clothing, its well as reversible long- cashmere wood out of solid and handcrawere furniture making minimal ed, Eleven years ago, the Connecticut-based design fiEleven ago, years design Connecticut-based the BassamFellows rm right—what’s le house.” our we? That’s what in want ONLY BEST THE    having opened a Milan showroom to display its signature furniture as as furniture signature its showroom display to aMilan opened having tides have moved their way, and BassamFellows is riding high this year, this havetides high moved way, their riding is BassamFellows and brass, a philosophy they dubbed “Cra they dubbed aphilosophy brass, Modern.”sman design The co-founder Scott Fellows. He and partner Craig Bassam, by contrast, byco-founder contrast, Bassam, Craig Fellows. Scott partner He and entered a market enthralled with “colorful plastic,” in the words the plastic,” “colorful of in with enthralled entered amarket says, “that doesn’t fi doesn’t notsays, quite is “that that adetail t perfectly, has that uncomfortable,” that’s Fellows out everything wesleeve edit “If tee. hand-painted silk, which can can which silk, hand-painted a low-profi scarf Florentine le around 300 new o new 300 around in erings retailers, including Barneys Barneys including retailers, company founded in 1991 by in founded company Monica Sarti as an o an as Sarti Monica shoot and Los Angeles’s Maxfi Los and eld. Johnny Depp and Angelina Angelina and Depp Johnny business. Each season sees sees season Each business. cashmere, virgin wool and wool and virgin cashmere, Jolie are just two famous famous two just are Jolie devotees of Faliero Sarti, Sarti, ofFaliero devotees be found at in-the-know at found be of her family’s textile textile family’s of her From $312. $312. From WRAPS UNDER UNDER “perfect” boot for men. men. for boot “perfect” and shirt cashmere fi reversible ne-gauge desk; leather-topped and chair Mantis brand’s the featuring Milan, in showroom le„ : BassamFellows’s from Clockwise TOUCH ARTISANAL —D.H. —D.H.  what’s news

upstart TO THE POINTE From top: Peck, a San Diego native; a MODERN DANCER NYCB performance of Everywhere We Go; a still from upcoming The New York City Ballet’s latest resident choreographer documentary is electrifying the medium with fresh vision and sound. Ballet 422.

IT’S BEEN A HIGH-FLYING YEAR for New York City Ballet Columbia Ballet Collaborative choreographer and dancer Justin Peck—the career with a three-minute piece for equivalent of a grand jeté. The company’s world pre- two dancers. His early work at miere of his new ballet, Everywhere We Go, which he NYCB’s Choreographic Institute created with indie musician Sufjan Stevens, met with convinced Martins to give him a a sensational reception when it debuted in May, elic- year-long residency there, lead- iting predictions from critics that Peck was dance’s ing to his first commission for Next Big Thing. Those predictions appeared validated the company. when, two months later, the NYCB named Peck its Everywhere We Go is the 20th official resident choreographer at the age of 26. piece Peck has choreographed, The move reflected a larger recent change in the and it brought the usually con- art form: Peck is at the forefront of an up-and-coming servative crowd at the NYCB’s generation of male ballet stars who are infusing spring gala to its feet. The show, which will be per- the form with youthful energy and cross-cultural formed four times next month, features an unusually appeal. Most notably, David Hallberg, 32, made head- large cast of 25 dancers fluidly combining and recom- lines in 2011 when he became the first American to bining into geometric figures as Stevens’s piano join Moscow’s prestigious Bolshoi Ballet as a prin- score trills in the background. cipal dancer. And NYCB alum Benjamin Millepied, “For me, choreography has always been an explo- 37—choreographer for the hit movie Black Swan and ration or unveiling of music,” says Peck. He first now the husband of the film’s star, actress Natalie collaborated with Stevens in 2012 on his second piece Portman—will assume the role of director of dance for NYCB, Year of the Rabbit, inspired by and set to a for the Paris Opera Ballet this month. score adapted from the musician’s electronica album Peck stands apart for his ability to channel an Enjoy Your Rabbit. Stevens, who was not a fan of bal- almost conservative approach to ballet through an let before working with Peck, soon fell in love with athletic idiom that’s easy for newcomers to appreci- it, and the duo developed a strong creative rapport, ate. “His work is fresh and different,” says the NYCB’s working together on Everywhere over the course of ballet master in chief Peter Martins of Peck. “He’s two years. willing to break the rules but stay within the classical Despite his exacting standards, Peck is a natural vocabulary.” His position requires that he create two team player: His rehearsals are uncommonly upbeat ballets a year for the next three years, while also jug- and collegial. That atmosphere is captured in the gling his duties as a soloist dancing in the company’s new documentary Ballet 422, directed by Jody Lee productions. It’s an achievement doubly impressive Lipes and out this winter, which gives audiences a for the fact that Peck was a late starter, beginning backstage view, from conception to completion, as his first lessons at 13 in his hometown of San Diego. Peck choreographs the NYCB’s 422nd ballet. After moving to New York City at 15, he enrolled at While he’s commissioned ballets for other com- the School of American Ballet, the educational arm panies, including the Miami City Ballet and the of the NYCB, and entered the corps de ballet in 2007, Pacific Northwest Ballet, Peck considers the NYCB making soloist in 2013 and distinguishing himself his true artistic home. “Ballet is a perfectionist art with his strong sense of musicality and attack. form,” he says. “Every day in the studio, we’re try- His first foray into choreography was for the ing to improve.” —Ted Loos

SETTING THE BARRE Three stars of the New York City Ballet corps—Sara Mearns, Megan Fairchild and Gretchen Smith—have partnered with Cole Haan to create danseuse-inspired fashions. Their debut collection of footwear, available in colors like Black Swan /NEW YORK CITY Metallic and Sugar Plum, hits stores in October. Details such as tutu-like tulle patterning, grosgrain ribbon and a pale-pink canvas-sock lining give the flats stage-worthy authenticity. “The more we spoke to Cole Haan, the more we realized BALLET 422 we had a lot in common,” says Katherine Brown, executive director of the NYCB, “especially with regard to our respect for tradition and innovation.” FROM TOP: HENRY LEUTWYLER; PAUL KOLNIK; COURTESY OF The Cole Haan Avery Ballet Studio Collection, in Cole Haan stores and at colehaan.com, $168 per pair. BALLET; F. MARTIN RAMIN, STYLING BY ANNE CARDENAS (SHOES)

66 wsj. magazine ’  IWC Portuguese. engIneered for navIgators. Dao-Yi Chow and Maxwell Osborne of Public School, Brendan Mullane of Brioni and Alexandre Mattiussi of Ami are up-and-coming menswear designers who are mixing street style with luxury and cutting-edge fashion with tradition. They’re redefi ning the modern man’s uniform—  . and enjoying the fi ner things in life at the same time. —Sade Strehlke

1. Where do you most 5. What’s the most prized possession love to travel? in your home? MO: Brazil. DC: My Sony Walkman by the artist DC: Hong Kong and Tokyo. Daniel Arsham that Maxwell gave to me as a birthday gift. 2. What are your travel MO: My projector. So when I’m home, essentials? which is rare, I can watch the Knicks game. MO: Cashews. DC: We both love the Beats 6. What is your favorite book? by Dre Pill [shown] and DC: The Wind-Up Bird Chronicle by Haruki headphones, and Tumi Murakami. portable chargers. MO: The Fountainhead by Ayn Rand.

3. What is the best 7. What’s your go-to footwear? restaurant you’ve ever MO & DC: Public School’s Generic Man visited abroad? Braeburn sneakers. MO & DC: Tsui Wah in Hong Kong. On fl ights, we love to drink the kiwi- fl avored Cathay Delight on Cathay Pacifi c.

4. What’s your best recent discovery? MAXWELL MO & DC: Color.  OSBORNE &  DAO-YI CHOW    

Few designers have propelled New York’s hip-hop culture into high-end  fashion as deftly as Dao-Yi Chow and Maxwell Osborne, the duo behind Public School. Earlier this year, they received the Council of Fashion Designers of

America’s award for menswear design, and they’ve launched a successful di€ usion line and a capsule collection Portuguese Perpetual Calendar. year – until 2499 – is shown in four digits. In with J. Crew. Chow, 41, and Osborne, 32, met while working at Sean John in Ref. 5032: One thing at IWC always remains short: a watch that has already written the Manhattan and launched Public School in the same: the desire to get even better. Here future. iwc. engineered for men. 2008 with the intention of shaking up is one of the finest examples, with the larg- the menswear market. Their line o€ ers est automatic movement manufactured by  Mechanical IWC-manufactured movement, Pellaton elegantly designed, monochrome pieces IWC, Pellaton winding and a seven-day punctuated with bold details. Chow automatic winding system, 7-day power reserve power reserve. The perpetual calendar with display, Perpetual calendar (figure), Perpetual glass, Sapphire-glass back cover, Water-resistant and Osborne, who hail from Queens and shows the date and moon phase, and the moon phase display, Antireflective sapphire 3 bar, 18 ct red gold Brooklyn, respectively, produce most 8. Who’s the best fl orist in New York City? of their merchandise in New York, which What’s your favorite bookstore? IWC SCHAFFHAUSEN BOUTIQUES: NEW YORK | BAL HARBOUR | BEVERLY HILLS | SOUTH COAST PLAZA | LAS VEGAS serves as a tribute to the spirit of their MO & DC: For fl owers, Ovando on Bleecker Street. IWC.COM Our favorite bookstore is Rizzoli. brand. The Public School name is a nod For more information please call 1-800-432-9330 or contact [email protected] to their educational backgrounds, which 9. What is your favorite indulgence? Chow and Osborne credit with exposing MO & DC: Knicks games. And one of our favorite places  them to a range of cultures. > to shop is at Madison Square Garden. JUSTIN BRIDGES (OSBORNE AND CHOW); GETTY IMAGES VINTAGE (1); COURTESYBOOKS, OF A BEATS DIVISION BY DREOF PENGUIN(2); COURTESY RANDOMOF TSUI HOUSE WAH (6); (3); COURTESY© YAY MEDIAOF PUBLIC AS/ALAMY SCHOOL (4); COURTESY(7); COURTESYGALERIE OF OVANDO PERROTIN (8); NBA/GETTY (5); COURTESYIMAGES (9) OF

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6. How would you describe your home decor?  My decorating style is very Bauhaus, mixed with Italian aesthetics. My 1960s Haussmann chandelier lights up my whole Rome apartment.

7. What’s your secret indulgence? I love wine gums. They are my weakness.

8. What’s your favorite recent discovery? Cambodia; it’s one of the most delightful and emotional places I’ve ever visited.



1. What is your favorite BRENDAN shop abroad? Deyrolle in Paris; I love MULLANE taxidermy.  2. What’s your most beloved fashion object? When Italian heritage label Brioni My vintage Hermès Haut à set out to revitalize its brand in 2012, Courroies bag. it tapped designer Brendan Mullane to 3. What’s the best hotel be its new creative director. Mullane, you’ve ever stayed at? who was previously the head menswear Il San Pietro di Positano on

designer for Givenchy, immediately the Amalfi Coast in Italy. went to work updating the 69-year-old 4. What item can you not company by bringing its storied past live without? to the fore. Founded in 1945 by an Italian Santa Maria Novella rose tailor and his business partner, Brioni water; it’s a must. was known for specializing in custom suits that were favored by everyone 5. What shop do you frequent in your from celebrities like Clark Gable and hometown? politicians such as Robert Kennedy to The menswear boutique the mobster John Gotti. Mullane, 38, Motelsalieri near was tasked with forging a new chapter the Cavour area in Rome.

for Brioni, which had grown predict- able. So far, his work has been met with praise. He’s returned to the archives and produced updated classics such as a suede basket-weave bomber jacket and fl oral-print blazers—glamorous odes to Hollywood’s golden age, which, quite aptly, was Brioni’s as well. >

9. What item in your closet do you wear constantly? My double monk-strap shoes in bordeaux brushed calfskin from the Brioni winter collection. I also adore Comme des Garçons shirts and Hermès accessories.

10. What museum inspires you the most?  The Kunsthalle Zürich in Switzerland.  COURTESY OF BRIONI (MULLANE); © MARC DANTAN LLC/CORBIS (1); VICENTE (6); © SAHUCCARACCIO, (2); STEPHEN/THECOURTESY OF FOOD HOTEL PASSIONATES/CORBIS (7);IL © SAN JOSON/CORBIS PIETRO (8); COURTESY DI POSITANOOF BRIONI(3); COURTESY (9); © OF STEFAN LAFCOALTENBURGER NEW PHOTOGRAPHYYORK (4); PEPPE TORTORAZURICH (5); (10) © SWIM INK 2,

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 1. What are your go-to grooming products? Dr. Hauschka facial cream [far left] and Crest toothpaste [below].

2. What’s the best hotel you’ve ever visited? The Beldi Country Club in Marrakech.

3. What do you always eat when traveling? French bread and Italian co ee.

 

4. What’s the best new store in your hometown? The Ami store, which just opened on Rue de Grenelle.

5. What are your favorite ALEXANDRE shoes? The pair of J.M. Weston MATTIUSSI black leather boots that I  just ordered.

6. Do you have a fashion Designer Alexandre Mattiussi icon? launched his proprietary line, Ami, to Yes; the French actor Louis o er men wearable clothes at a ordable Garrel [shown in 2003’s prices. After honing his skills at Givenchy, The Dreamers]. Dior and Marc Jacobs, Mattiussi, 34, went 7. Where’s the best place out on his own in 2011. The name Ami, to eat in Paris? a play on the letters in Mattiussi’s name, My cousin Audrey’s also means friend in his native French, restaurant, Au Passage, on and that’s exactly whom he intends Passage Saint-Sébastien. to dress—young men much like himself, with style dictated not by trends but by their own sensibilities. His work has been recognized by the prestigious Andam association, which awarded him its top  prize in 2013 along with $334,000. Ami features everything from the casual— ribbed henleys and colorful trainers—to the formal, such as topcoats in neutral hues and wool trousers. Carried in high-end retailers and Mattiussi’s two Parisian boutiques, Ami has friends of  its own in the editors, store buyers and customers who await Mattiussi’s new collections each season. •

8. What’s your latest investment piece? I recently purchased a Vespa (my last one was stolen). It’s my favorite way to navigate the streets of Paris.

9. What is your favorite travel destination? The Spanish island of Formentera. When I travel, I look for  a nice sunset spot for my friends and me to have a drink and listen to good music. COURTESY OF AMI/PAUL WETHERELL (MATTIUSSI); TOOTHPASTE: PHOTOGRAPHY© SEB OLIVER/CORBIS BY D. MARTIN (3); © RAMIN;YANN DERET FACIAL (4); CREAM:COURTESY OF COURTESYJ.M. WESTONOF DR. (5); © HAUSCHKAAF SKINARCHIVE/ALAMY CARE (1); (6); AU COURTESY PASSAGE (7); OF COURTESYBELDI COUNTRYOF PIAGGIO CLUB GROUP (2); (8); © IMAGE SOURCE/CORBIS (9)

 .    Stefano Ricci reinterpretation of René Gruau “Illustration for the house of Dormeuil, 1985” © Société René Gruau Paris fashion & design forecast MARKET REPORT. september 2014

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PHOTOGRAPHY BY JARREN VINK STYLING BY CHARLOTTE SIMS

HIGH FIVE Pick up a pair of these winter essentials in supple suede, crocodile or lambskin. Top, from left: Fendi, Façonnable, Canali. Middle, from left: Z Zegna, Mulberry. Bottom, from left: Dunhill, Tod’s.

Fashion Editor: David Thielebeule

wsj. magazine 77 market report

SILVER LINING These intricate timepieces sport faces in shades of gray. Top, from left: Harry Winston, Patek Philippe. Middle, from left: Omega, Girard-Perregaux, Glashütte Original. Bottom, from left: Audemars Piguet, Breguet.

CABLE NETWORK These thick knits work on duty or off, in rich burgundy, brown and blues. Top, from left: Rag & Bone, John Varvatos. Middle, from left: Hermès, Kent and Curwen, Calvin Klein Collection. Bottom, from left: Berluti, Burberry Prorsum.

78 wsj. magazine market report

STRAPHANGER Leather messenger bags are a welcome alternative to stiff briefcases. Top, from left: Kent and Curwen, Ralph Lauren. Middle, from left: Coach, Prada, Filson. Bottom, from left: Bally, Ghurka.

BUCKLED UP Ankle boots, whether rugged or sleek, are fall’s favorite footwear. Top, from left: Bottega Veneta, Emporio Armani. Middle, from left: Berluti, Coach, Prada. Bottom, from left: Salvatore Ferragamo, Hugo.

For details see Sources, page 142.

80 wsj. magazine leading the conversation the exchange. september 2014 RALPH LAUREN Pink Pony

HEAD CASE Pigozzi tries out a virtual reality headset from Oculus Rift for the first time.

tracked

“When someone we love has cancer, we are JEAN PIGOZZI The legendary lensman, art collector and bon vivant stars in his own reality TV show. all affected–husbands, wives, mothers and fathers, sisters,

BY DANIEL DUMAS PHOTOGRAPHY BY CARLOS CHAVARRÍA brothers and friends. Pink Pony is the symbol of our effort

in the fight against cancer–toe mak a difference N A WEDNESDAY MORNING, the jet-setting quality and the raison d’être of his show (debuting this stopped acquiring interesting acquaintances. In multimillionaire entrepreneur and pho- month): intimate access to the most famous people in one 20-minute period he casually name-drops Mick tographer Jean Pigozzi is having a side of the world, compliments of the ultimate man-about- Jagger, Martha Stewart, Rick Rubin and Calvin Klein. all around the world.” outrage with his breakfast. In Silicon Valley town’s vast network of boldface-name friends. His 6-foot-4 frame, booming baritone (he sounds like Oto film a segment for his new show on the Esquire Pigozzi moved from France to the United States in Henry Kissinger if he’d grown up in Paris) and larger- Network—My Friends Call Me Johnny, which follows 1970 to attend Harvard University. The son of Henri than-life persona dominate any room he walks into. Ralph Lauren the 62-year-old on his glitzy international adventures— Pigozzi, the founder of French automaker Simca, Today, Pigozzi embarks on a grueling 12-hour pro- he’s stumbled across a personally offensive bit of tech the younger Pigozzi leaned toward taking photo- duction shoot that will include 64 miles of driving, news on his iPad Mini. An iconic image he snapped in graphs, partly because of his dyslexia. Before long, meetings with tech moguls and design experts and 1983 of a young Steve Jobs flipping the bird to an IBM he was making frequent trips to New York City and several minor temper tantrums—all under hot lights building in New York has been irreverently altered by a shooting candids of his new group of friends and and omnipresent TV cameras. Pigozzi, who once tech blog—the middle finger turned into a peace sign— mentors, including Jann Wenner, Lorne Michaels lived by the motto “Never be in the office before to illustrate the newly announced partnership between and Andy Warhol. Since then, Pigozzi has had an noon,” has traded his nocturnal gadabout lifestyle THE PINK PONY CAMPAIGN IS RALPH LAUREN CORPORATION’S INITIATIVE IN THE FIGHT AGAINST CANCER. the computing giants. Though the repurposing dis- eclectic career—contemporary African art collec- for the day shift. As he puts it, “I’ve never worked so TWENTY-FIVE PERCENT OF THE PURCHASE PRICE OF PINK PONY PRODUCTS IN THE US BENEFITS THE PINK PONY FUND OF mays him, the photo points to Pigozzi’s most defining tor, tech investor, fashion magnate—and has never hard in my life.” > THE POLO RALPH LAUREN FOUNDATION. TO LEARN MORE, PLEASE VISIT RALPHLAUREN.COM/PINKPONY wsj. magazine 83 the exchange tracked

8:01 a.m. 2,000 Breakfast feet at the Four Seasons in Palo Alto: Daily quota of swimming Pigozzi egg whites, fruit bowl, arugula salad. tries to commit to. “I hate all forms of “I eat for speed and quantity,” he says. exercise,” he says. 200 emails 8:47 a.m. received by Pigozzi in a typical day. Stops by Stanford to interview David Kelley, head of the university’s acclaimed d.school. 60 emails he writes in response.

12:20 p.m. Meets with 216 Ebbe Altberg, the new CEO of Linden Lab—the feet creator of the 3-D virtual world Second Length of the Amazon Express, the Life—outside the company’s headquarters. 3:19 p.m. colorful yacht Pigozzi converted from a Downtime fishing trawler. Severely jet-lagged, Pigozzi takes an afternoon break, though he can’t escape the cameras. 12 pills Taken daily for everything from cholesterol to high blood pressure. 3 cameras 5:01 p.m. Pigozzi travels with. His current favorite Records is the Sony Cyber-shot RX100 II. voice-over for the first four episodes of the show in a hotel suite. 10,000 pieces 7:15 p.m. of contemporary African art in Pigozzi’s Catches up collection, the largest in the world. on the day’s news: he regularly reads The Wall Street Journal, Wired, Esquire, The Atlantic and GQ. 4 residences in Geneva, Paris, New York and Panama. 7:47 p.m. Tech check Before retiring for the evening, Pigozzi plugs in his 0 laptop, two phones, three marriages cameras and pair of iPads. “It’s never going to happen,” he says. •

84 wsj. magazine the exchange

performance-based artwork to limited-edition fur- sounding boards and co-creators, including designer niture. A unifying trademark of their work is the Sammie Warren, artist David Horvitz and photog- fusion of aggressively mundane materials with high- rapher Alec Soth, whose work they referenced for a falutin cultural references—an attempt to reconcile diorama that was recently acquired by Minneapolis’s their love of often-impenetrable art theory with an Walker Art Center. equally strong desire to connect with a broad audi- While the studio’s output has diversified, land- ence. Despite RO/LU’s genre-bending work, they have scape remains an important part of the practice. Their been successful at resonating with everyone from founding principle was to channel “the first wave suburban Minneapolis homeowners to the clientele of modern design that was about accessibility and of the annual fair DesignMiami, where last year they improving life,” says Olson. “We love the challenge showed sculptural seating based on works by con- of a small budget.” (Their landscape projects now ceptual artist Lawrence Weiner. This month range from $10,000—half the price of one of sees a trio of RO/LU exhibitions: A collabora- their seven-tiered bookcases—to six figures.) tive performance piece debuts at Lower East Working with plants is also largely about giv- Side art destination Jack Hanley Gallery ing in to natural forces beyond the artists’ at the same time that two furniture shows control. Says Olson, “The final product is con- open at Chicago’s Volume Gallery and Patrick stantly changing and in flux,” whether native Parrish’s brand-new New York gallery (for- flowers that bloom and die or Cor-Ten steel merly modernist mecca Mondo Cane), which retaining walls that rust into a lush patina. will feature the wire pieces. Terrestrial elements often wend their way “What makes RO/LU so interesting is that into RO/LU’s more conceptual efforts. In fall they straddle the tide line between art and 2011, Brady and Olson executed Here There, design,” says Parrish. “That line is constantly There Here, a piece loosely inspired by Walter moving, and they seem to always be just ahead De Maria’s 1977 installation The Lightning of it, helping to create the zeitgeist.” Parrish Field that involved laying a two-mile-long not only chose RO/LU as the inaugural show strip of white felt in Joshua Tree, California, for his new Tribeca digs, he also had the studio as part of artist Andrea Zittel’s art collective design a 30-foot-long cantilevering shelving High Desert Test Sites. “I noticed that while unit and desk made of Masonite for the space. we were installing the piece, locals were com- Some will recognize the inspiration of Raum fortable asking us about it,” explains Brady. 19, a seminal 1968 installation by German artist and “But when we were finished, and we weren’t sweaty Joseph Beuys disciple Imi Knoebel. “The way Matt and and carrying hammers, people seemed nervous.” Mike are able to tame complex art historical theories Their takeaway was that their work is fundamentally and bring them to life in a 3-D manner through design ephemeral. “Art is alive for a minute while it’s being is quite remarkable to me,” says Parrish. made,” says Olson. “We care about the end result, of For RO/LU, design is less a craft than an excuse course, but we are perhaps more interested in things to ponder deep thoughts, wrangle them to manage- that happen around it and lead up to it.” able size and then express them in tangible terms. That epiphany fueled a subsequent residency at FIELD OF DREAMS Accordingly, ergonomics and factory manufacturing the Walker in summer 2012. Among the works the “I want to create a chair are not overriding concerns when it comes to furnish- pair conceived was a series of outdoor galleries in that my mind wants to sit in, not that my body wants ings like an origami-style chair in crude plywood or the institution’s grassy back lot on which to display to sit in,” is a mantra for a bookcase with zigzagging shelves. Although RO/LU 25 reproductions from its permanent collection; WIRE ACT From top: An example of RO/LU’s land- Mike Brady (left) and Matt would no doubt bristle at the label “art furniture,” museumgoers could grab a hammer and help re-create Olson of RO/LU. scape design; Olson’s dog, Mojo, with prototypes in that’s probably the most succinct way to describe the RO/LU studio; RO/LU’s “Praying Table,” which Yoko Ono’s War is Over! (If You Want It) and Richard pieces like a soil-filled Plexiglas chair that pays tribute will be on show at Patrick Parrish. Serra’s Prop. “It was one part performance, one part to Donald Judd and a giant swing set they installed in ‘making exercise,’ ” Olson says. “Really a chance to talk one of the Netherlands’ oldest cathedrals, Grote Kerk to people about really huge ideas”—such as the notion T THE CENTER of the sky-lit, white-walled interior alchemy Mike Brady have an unusually vast creative purview Den Haag, in 2012. “[Dutch architect] Gerrit Rietveld work with me on this project?’ To his surprise, I said of museums as mausoleums, the impact of the Internet workspace belonging to design and art stu- that makes a sport of eradicating traditional bound- once said something like, ‘I want to create a chair that yes.” The pair founded RO/LU (the moniker is adapted on our understanding of history and the question of dio RO/LU is a welded-wire mesh form of a aries. The new wire pieces, as with much of their work, my mind wants to sit in, not that my body wants to sit from their mothers’ maiden names, Rosenlof and how an artwork evolves over time. The last concept man on all fours. It takes a moment to real- VARSITY transcend functionality. “We hope they will make in.’ That’s become a mantra for us,” says Olson. Lucas) as an umbrella for their work in varied media. informs RO/LU’s new piece for Jack Hanley Gallery, a Aize this is a table. Next to it is a chair also fashioned people think about trust, and what it means to let go Such an unorthodox approach might be a holdover At first, the two did everything together, but they group show with composer Alexis Georgopoulos and from the geometric open weave, which bestows a AESTHETICS of gravity at that last second when you sit down,” says from their days on the Midwestern punk rock scene, divvied up duties as RO/LU grew increasingly suc- filmmaker Paul Clipson. Olson and Brady designed 40 kinetic effect on the pieces. As you move around the Olson. “It activates a heightened awareness—you’re which is where Olson and Brady first met. They were cessful. While both still conceptualize projects, Brady modular pieces in raw pine that will be arranged every furnishings, they seem to shape-shift, suggesting an open, you’re not sure what’s happening. For us, that’s friends for years before partnering professionally: now handles fabrication in the studio’s northeast morning by a group of friends and artists, including instability that’s reflected in their tongue-tangling The Minnesota-based studio our furniture’s ultimate function.” Both worked briefly in advertising and lived in the Minneapolis wood shop and warehouse, while Olson photographer Thomas Dozol and musician Michael name: Surfaces on Which Your Setting and Sitting RO/LU is challenging the Nerve-racking chairs were not the main event same northeast Minneapolis duplex, and both are is RO/LU’s de facto spokesman and pundit, oversee- Stipe. Visitors are then invited to rearrange the Will be Uncertain. Both the grid motif and the title are when Olson, 46, and Brady, 41, set up shop in 2003 married to women named Amy. One day, Brady, who ing the studio’s blog. “Mike has always been more a objects so the exhibit is ever evolving. nods to two of RO/LU’s Italian design heroes: the for- categories of art, furniture and in their hometown of Minneapolis/St. Paul. Their holds a degree from St. Paul’s College of Visual Arts, maker-doer and I more of a researcher…. I don’t get my It’s just one of their category-defying efforts, part mer to ’60s radical architecture firm Superstudio and contemporary design. specialty was minimalist residential landscaping took on what he swore would be his last sideline hands dirty; that’s Mike’s job,” jokes the voluble Olson, of a puzzle that the pair is no rush to solve. “I think the the latter to the late Ettore Sottsass, the founder of projects; think sculptural concrete planters and grass landscaping gig while pursuing an art career. Olson, a big bear hug of a man to Brady’s quiet craftsman. question is, are RO/LU’s pieces design or are they art?” design group Memphis, who was known for toggling terraces traced by low steel walls that undulate like meanwhile, was taking a year off, a decision that gave Although the company itself remains small—rang- says Parrish. “It’s interesting to see the dichotomy between architecture, artistic works and products. BY JEN RENZI a Richard Serra–esque topographic map. Gradually, his father much agita. “I was telling Mike about my ing from three to six, depending on the workload—an that arises with these pieces that are neither one or Like Sottsass, RO/LU’s founders Matt Olson and PHOTOGRAPHY BY ALEC SOTH RO/LU’s vision expanded to include everything from dad’s concern, and he jokingly asked, ‘Do you want to extended family of collaborators is often enlisted as the other. They really are their own thing.” •

86 wsj. magazine the exchange

REST STOP Far left: Brice and Helen Marden with their dogs. Left: Jean Prouvé’s SP chairs and a Sputnik chandelier in the restaurant. Below: The hotel overlooks a main intersection of the town.

PAINTERLY PALATE Far left, top: A room features a Room & Board bed. Far left, bottom: Tycoon Blue marble tops the custom-made tables in the new restaurant. Left: Italian mid-century chairs found on eBay. Above: Local harvests are the basis for the menu at new restaurant the Corner.

worth the trip Reunion Goods & Services on the renovation.) “We each have a hobby,” says Helen. “Golden Rock and the rates, starting at $210 on weekends, are actu- The main bar is a fat slab of Fior di Pesco marble, For the Mardens, the closure hit close to home. is mine, and this is Brice’s. But this is the end of our ally slightly cheaper than they were before. and the tables in the dining room are topped with “Brice just wanted a place to eat his chicken,” jokes hotel chain.” Since the couple has far-flung and busy lives, the slices of a stone called Tycoon Blue—its veining is LIVING COLOR Helen, 73, by way of explaining their “not-thought- “It’s a wonderful, pretty little town,” Brice says first step was getting professional assistance to make strongly reminiscent of the sinuous ribbons of color out” purchase, since her husband often ordered the of Tivoli. “There’s a great mix of old Hudson River it a reality, and to update its Victorian B&B aesthetic. in Brice’s paintings. A similar periwinkle tone was Artists Brice and Helen Marden are bringing their eclectic style to a dish for dinner at the hotel under its previous owners. people and Bard students. The kids give it some zip.” Their elder daughter, Mirabelle, a photographer, lightly washed onto the original Douglas fir floors, an small hotel and restaurant near their home in Tivoli, New York. The Corner will offer a roasted version stuffed with Rose Hill, an Italianate affair with sweeping views sat in on meetings and connected her parents to her inspiration courtesy of Mirabelle. herbs from the Mardens’ own garden, part of a menu of the Hudson and the Catskills, is Brice’s favor- high school friend Laura Flam, one of the principals Although Flam found the marble at ABC Worldwide studded with Mediterranean and Moroccan accents. ite of their houses, and they bought it to afford him of Reunion Goods & Services. (The Mardens’ other Stone in Brooklyn, it was cut in Kerhonkson, across The personal touches even extend to the doorway distraction-free work time. (“He basically lives here,” daughter, Melia, is a cookbook author and chef at the Hudson from Tivoli—part of a concerted effort BY TED LOOS PHOTOGRAPHY BY TINA TYRELL moldings, which are covered in a custom gray paint says Helen.) Since the Mardens acquired Rose Hill downtown Manhattan hot spot the Smile.) It turned to source both materials and labor from the local hand-mixed by Brice, who had a one-man Museum in 2002, they have also annexed the neighboring out to be a match made in decorating heaven. area. The dazzling mid-century Murano glass light of Modern Art retrospective in 2006 and whose property that used to belong to the singer Natalie “We’re trying to make it look like the other prop- fixtures, a series of kaleidoscopic star bursts, were HE AXIOM “buy local” is everywhere these says Brice, 75. “I’m anxious to get it open.” abstract canvases sell for millions at auction. Merchant, and he has turned that house into a studio. erties in the Mardens’ life: eclectic and effortless,” purchased from Skalar in the antiques hub of Hudson. days, but few people have taken it to the When the former owners announced that the The secret to the color—referred to as “Brice Gray” Brice has been spending even more time there says Flam, who toured their houses to soak in the The chandeliers are the showiest touch in the extreme that the painters Brice and Helen hotel, then called Madalin, was closing two years on the site—is adding some cadmium orange to a reg- of late, working on a top-secret, 40-foot-long paint- paint-splattered Marden lifestyle. hotel, which mixes the well-known SP chair by the Marden have. When a hundred-year-old ago, it seemed to let the air out of the town. “I would ular old Benjamin Moore gray. “It takes the rawness ing commission. “It’s too big to put in my studio in Like their homes, the hotel features art created late French designer Jean Prouvé with beds from the Thotel where they had popped in for dinner for years, drive in, and it was empty,” Brice says. “It was a little out of the gray and softens it, makes it more interest- New York City,” he says. His wife calls the piece “the by friends, and they jointly decided what to hang. Minnesota-based contemporary furniture company located about a mile from their home and studios in depressing.” Other establishments in Tivoli, a sleepy ing,” says Brice, supervising the finishing touches and monster” and says she’ll celebrate with a bottle of Clemente’s portrait of Helen is upstairs, across Room & Board. The scheme is not shy about color, as Tivoli, New York, closed down, the couple decided Hudson Valley community in upper Dutchess County, wearing, as always, a burglar-style knit cap. Champagne when it’s done. (She has her own studio, the hall from an abstract canvas by her. Robert seen in the lipstick-red banquette in the dining room, to purchase it. And then they spent nearly a year population 1,120, include the Lost Sock Launderette A boutique hotel project like this seems unusual painted red and yellow, that’s even closer to the hotel.) Rauschenberg is represented by a print signed a couch in the upstairs hallway that is covered in pink renovating it to their specifications. across the street. for someone of his stature—akin to Martin Scorsese When the Mardens took on the task of breath- “Happy Birthday Brice, Love Bob,” and Lynn Davis teddy-bear fur and the smattering of Moroccan rugs Now filled with art by the Mardens and friends The Mardens are hoping that the hotel and its opening a diner. But this couple has always had a ing new life into the old hotel, they tried to take a by a photograph of Victoria Falls, while the first-floor gathered on Helen’s travels in that country. “Some of such as Francesco Clemente, the 10-room Hotel Tivoli small restaurant will be a nexus for locals and the healthy interest in real estate. In addition to their low-key approach. “We don’t want it to be thought of restroom walls are covered in many-hued stripes by the pieces are off-center, but it’s not heavy handed,” has been transformed by a redesign including pops crowd affiliated with Bard College, located just to nearby residence, Rose Hill, they own several other as fancy,” says Helen, who says she took inspiration painter and decorator Ricky Clifton. says Flam of the flights of fancy. of color and sensuous slabs of marble. It has just the south, as well as visitors from the buzzed-about houses and multiple studios (including a West Village from the simplicity evoked by the title of the Ernest Perhaps the most striking aspect of the design is For their part, the Mardens already look settled in reopened, with a 100-seat restaurant called the Corner town of Hudson to the north. (Much of the vintage spread and a home on the Greek island of Hydra). And Hemingway story A Clean, Well-Lighted Place. “People the use of marble, inspired by the Mardens’ 40-year- as the hotel is readied for opening night. The canvas (with a focus on local food, naturally). “There’s always furniture filling the hotel was sourced there by the they already have a hotel, the Golden Rock Inn on the can sit at the bar and have a glass of wine and a burger.” long tradition of trips to their house in Greece, where is almost complete. As Helen puts it, “We didn’t want been a place here, and it’s good that it stays going,” Mardens, who collaborated with new design firm Caribbean island of Nevis, which they bought in 2006. The Mardens have a team in place to run things, the material is everywhere. this to be a dark corner. We wanted to lift it up.” •

88 wsj. magazine the exchange

the firm, calls me and says, ‘What are you doing this give it a shot.’ We called it Le Dock. It’s still there.” The relationship that changed Suarez’s life, that summer?’ Now remember, I never went below Central When you bank a restaurant and it succeeds, you moved him out of advertising for good, began with Back story Park. I go to 625 Madison, one of those addresses, quickly become known by everyone in that business friends insisting he accompany them to Lafayette, the and it’s like, Wow! I see beautiful gals, suave-looking as a guy who can finance dreams. In 1980, the owner restaurant in the Drake Hotel where a young French Italian art directors, Jewish copywriters, WASPy of Patroon called. “ ‘Phil, I have a great location—20th chef was working magic. “This guy is cooking an amaz- LET’S MAKE account execs. Like Mad Men—exactly like that. and Park Avenue South. It would be the only restau- ing new type of food,” his friends said. “No butter, no “I pitched every week. We won three, four years in a rant between 14th and 23rd.’ I said, ‘OK, I’ll take a cream. He cooks with infused oils and carrot juice.” A DEAL row. Our infield was making more than the Yankees. We shot.’ Then, just when we were ready, he’s out. For “Jean-Georges had the first open kitchen,” Suarez had legendary advertising guys—Sam Scali and Carl whatever reason. I said, ‘You know what? I’m doing told me. “He walked around, very handsome. A four- Phil Suarez, longtime partner of Ally—playing first, playing third. Eventually they saw it anyway.’ We’d made commercials in Positano, so I star chef. I hired him as a consultant. One day, out I had brains and some interest. I said to myself, ‘This said, ‘I’m gonna do an Italian restaurant called of the blue, he called and says, ‘Phil, would you be—’ Jean-Georges and producer is not bad, this place.’ They put me in the television Positano.’ I went to Italy and interviewed chefs. Before he finished the sentence, I was at his door. He of Kinky Boots, has a simple recipe production department, and George [Lois] became my Everyone recommended the same kid, a handsome wanted to open his own place. I wrote a check for mentor. He looked after me. What a tremendous break. Italian right out of a De Sica movie. I liked his name: $250,000. Boom-boom-boom-boom-boom. We opened for success: Take many shots. Just that one conversation. ‘What are you doing this Luigi Celentano. I flew him to New York, sent him to JoJo. The food was utterly new.” summer?’ ” Phil Suarez is the ringer who stuck around. Berlitz to learn English, had him work at Da Silvano In the ensuing years, Suarez and Vongerichten From there, he lived the classic up-from-the-streets and Tre Scalini. One day he comes in and says, ‘I think built an empire upon which, in the way of its British BY RICH COHEN story of American ascent: title to title, triumph to we should change the ambience.’ I thought, Holy s—. predecessor, the sun never sets. Thirty four- and five- PHOTOGRAPHY BY BJORN IOOSS star restaurants scattered around the globe: Spice Market, WD-50, ABC Cocina and the Mercer Kitchen in New York; Market in Paris and Los Cabos, Mexico; OU CAN LIVE in New York for decades and Kauai Grill in Hawaii; J&G Steakhouse in Scottsdale, still remain an outsider, blocked from the Arizona; Fern in Bahia Beach, Puerto Rico; Prime main action and the big rooms. You know Steakhouse in Vegas; Lagoon in Bora Bora; J&G Grill in there’s a party—now and then, you hear the Park City, Utah; Pump Room in Chicago; Jean-Georges Ymusic—but you can’t find it. In this, New York is like and Mercato in Shanghai. the great cities of yore, London, say, or Venice, where I asked Suarez how he knows a location is good. hordes of moneymen passed through long enough to “Gut feeling,” he said. “Smells right. Then we talk. make a fortune and a name but remained forever at a We like to go in without a handicap. I don’t want a remove from the core. In fact, only a handful ever truly gorilla on my back. I want a clean deal. Affordable possess the place, an elite who were formed by the city rent. For instance, when I opened Spice Market in the and transform it in turn. They do not announce them- Meatpacking District, we were the second people. UP THE ANTE selves, but if you happen to meet one of them, you’ll This year, Suarez Pastis, then us. The rent was nothing. It smelled right.” know it right away. has opened new For those lacking confidence in Suarez’s gut, con- Take, for example, Phil Suarez, the 73-year-old restaurants with sider Kinky Boots. One day, he got a call from a guy Jean-Georges adman-turned-restaurateur, partner with French Vongerichten in looking for investors in this musical. His wife, Lucy, chef Jean-Georges Vongerichten in some of the best Tokyo, Shanghai BEHIND THE MUSIC Suarez (second from left) in loved the movie, so Suarez figured, what the hell, eateries in New York—JoJo, Spice Market, Patria, ABC and Pound Ridge, 1983, with Bob Giraldi (wearing hat) and members of and took a small position. His accountant said, “Are New York. Kitchen—Tony-winning producer of Kinky Boots and the Jackson family. Suarez produced Michael Jackson’s you out of your mind? The only business worse than “Beat It” video. Right: Suarez with Vongerichten. a charmer of all trades. It’s not his wealth or accom- restaurants is Broadway.” So Suarez decided, “He’s plishments or connections that put Suarez in that right. I’m taking a big position.” If you’re on thin ice, rarefied air. It’s his manner, his risk taking, his smile, you might as well dance. “I called ’em and said, ‘Up my suits, failures and strokes of genius that make him less that seem to sag beneath the sunset. His parents were sternest-looking adult I’ve ever seen. “Who’s that?” triumph. In the early 1970s, he started a production He’s already got command of the language and soon thing.’ If I’m gonna do it, I might as well really do it. a businessman than a personification of his town. “It’s Puerto Rican immigrants; he has three siblings. “I “A teacher who told me, ‘You’ve got potential,’ ” company with Bob Giraldi, whom he’d met during a he’s going to negotiate a new deal! He’s still with me to A few months later, I’m on TV accepting a Tony. Am the way I take shots,” he told me, “push it all back on didn’t grow up in a neighborhood where half of my Suarez said. “It was his way of saying, ‘Sorry about basketball game. (“We had a fistfight, so we remem- this day. We have two restaurants: Gigino at Wagner I an aficionado? Do I know what the heck I’m doing? the table and say, ‘Roll ’em.’ ” friends died of an overdose and the other half went the D.’ ” bered each other.”) Giraldi/Suarez Productions carved Park and Gigino Trattoria in TriBeCa.” No. But I took a shot. Like I’ve taken shots all my life. Suarez is at a table at the Inn at Pound Ridge, one to prison,” he says. “I lived in a neighborhood that was Suarez went to college on an athletic scholarship. its place with unforgettable commercials and videos, It’s what I do. I take shots.” of the newer restaurants in his stable, at a nearly filled with the sons and daughters of transit workers Iowa. Cornfields. Country girls. A longing for cement. including the Miller Lite “tastes great, less filling” OU KNOW, IT’S FUNNY, but my love of food I asked how the restaurant business has changed. 200-year-old country inn in northern Westchester and cops, Irish, Italian, Jewish. We used to sing doo- He was soon back in New York, taking classes. When I campaign, the Bob Uecker “I must be in the front row” really began with George Lois,” Suarez said. He laughed. He told me that the critics used to be County. Vongerichten has a weekend house nearby, wop on the yeshiva steps. When you walked out of your asked what he might have done had he not gotten the commercial and Michael Jackson’s “Beat It” video. “We used to play other agencies in basket- everything. They’d come to the restaurant in disguise, so it was his idea—Suarez tends to stick to Manhattan. house, your folks said, ‘Come back before dark.’ And big break, he said, “I probably would’ve taught school. “First year, we won seven Clios,” Suarez said. ball. And after every game, George took us but you usually found them out. “One night, I got a call The restaurant is still having its soft opening, and you played great games: kick the can, Johnny-ride-the- Or been a coach. Or hustled. I was good at selling and The move into restaurants, which to some might Yto La Fonda Del Sol. This place, it was way ahead of from my guy at Positano. He said, ‘Phil, we have a credit this is the closest I will come to a convocation of that pony, hide the belt, three steps to Germany.” hustling. I could have run a craps game.” seem an illogical leap, makes sense to anyone with its time, the beginning of everything. George would card here someone forgot.’ Whose? ‘Ruth Reichl!’ Ha! secret elite, a few dozen family and friends who are Hide the belt? In the summer of 1963, Suarez was playing softball a basic understanding of the advertising business, always order a bottle of Chablis Grand Cru and a bottle I called her; she’d already canceled it.” (Reichl was tasting everything and putting the staff through its “Yeah, one kid hides a belt and the other kids look in Washington Heights, an ace pitcher with a nearly where almost every pitch is made over a meal. “I did of Nuit-Saint-Georges. I didn’t know if I was drinking the New York Times restaurant critic; her credit card paces. Martha Stewart is at a banquette 50 feet from for it. The kid that finds the belt gets to whack all the unhittable fastball. Meanwhile, a friend was working a lot of entertaining,” Suarez explained. “I had four Old Mr. Boston or what, so the first time I took a cli- hangs in Suarez’s office.) “Now, it’s all about the blog- Richard Gere, who talks to Tommy Mottola—probably other kids till they make it back to home base.” at Papert, Koenig, Lois, an ad agency headed by the reservations every day: a standing reservation at La ent to lunch, I ordered what George ordered. The check gers, tweeters, Facebook posters.” about Buddhism and how to escape the wheel. But if Suarez went to George Washington High School, visionary designer George Lois—several of his Esquire Grenouille; my own table at Gallaghers. The Palm had comes. I almost fell off the chair. The lunch was $9.50, Suarez looked at his watch. It was suddenly you were in this place, eating this food, why would you where he excelled in baseball, basketball and being covers are in the Museum of Modern Art’s permanent my picture on the wall. I went place to place. Boom- the wine was $46.80. I didn’t have it. My salary was very late. The restaurant was empty. Midnight in seek any other existence? cool. Even then, he was good to look at, less hand- collection—who, for whatever reason, had become boom. So in 1976, a friend from Fire Island calls and $75 a week. I called the office and said, ‘Send some- Westchester is 2:00 a.m. in Manhattan. Suarez stood, Suarez had a classically old-time Manhattan some than sparkly, alive. In his office, he has a obsessed with the advertising softball league. The says, ‘Phil, you do a lot of entertaining. The restaurant body up here with cash.’ That’s how I found out George turned and took a last loving look at the room. childhood, the sort of story line that Leonard picture of his junior high class, where all the ’50s friend took Lois aside: You want to win that trophy? out here stinks.’ It was an ice cream parlor where the had been serving us the best wine in the world. That “It’s gonna work,” he told me. Bernstein might have scored. He grew up at 188th kids look the same. But you spot Suarez right away, I know a way. idea of food was Cheez Whiz with Ritz crackers. So I began my interest in food. I thought to myself right “How do you know?” I asked. and Amsterdam, in one of those apartment houses awake in a crowd of sleepwalkers. In back stands the “So my friend Dennis Mazzella, an art director at GROOMING BY JOSHUA RISTAINO; PROP STYLING BY LISA GWILLIAM FROM LEFT: COURTESY OF PHIL SUAREZ; JAMEY STILLINGS said, ‘I don’t know anything about restaurants, but I’ll then, I better look into this further.” “Gut feeling.” •

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SUNSHINE SUPERMAN After a chart-topping campaign to unleash happiness, the pop-world style icon is bringing his coaching talents to NBC’s The Voice. This is the dawning of the Age of Pharrell.

BY ROBERT HASKELL PHOTOGRAPHY BY PETER LINDBERGH STYLING BY CLARE RICHARDSON

94 S DUSK BEGINS to paint a warm summer day in pinks and oranges, Pharrell Williams arrives at a studio in L.A.’s San Fernando Valley whose atmosphere seems entirely consis- tent with the mystical calm of a man Awho has lately seemed to float into public appear- ances on a lotus flower. In a courtyard behind a pair of tall, ivy-framed wooden doors, a mossy fountain babbles and blue jacaranda blossoms pool on the flagstones. Just inside the studio itself, beneath a plaque certifying the multiplatinum status of Rihanna’s Good Girl Gone Bad, a celadon Buddha presides over a couple of music technicians watch- ing a football game and eating M&Ms. One of them uses his knees to squeeze a pillow embroidered with the words “You Have Free Will.” Down the hall, per- fectly insulated, Snoop Dogg toys with rhythms for a new track. Pharrell arrives late. A crew from NBA 2K, the hugely popular basketball video game, has already assembled on a freshly built set, where Pharrell’s avatar will be generated by 68 cameras aimed simul- taneously at his head. As if prepping for an MRI, he is asked to remove all metal objects from his person, including several Chanel necklaces whose costume jewels he has replaced with large pearls and jade beads, as well as a set of gold tooth caps he commis- sioned from a Brooklyn jeweler named Gabby. (All members of Pharrell’s retinue wear these discreet grills on the sides of their mouths. “It makes us feel like a tribe,” explains his wife, Helen Lasichanh, who also wears a camouflage jacket and shorts embel- lished with little yellow ducks, by the designer Mark McNairy, and oversize houndstooth stockings.) Pharrell sits down, and the director guides him through a sequence of facial expressions: Pucker your mouth as if saying Wednesday; wrinkle your nose like a rabbit; squint as though you’re in an old western; glare as if you’re ready for a fight; grin, gape, scrunch, snarl, smirk. Finally, he asks Pharrell for sorrow, and the musician responds by lowering his eyelids and letting his jaw slacken. There are no hyperbolized frowns or lavish sobs. “Now, that is the best sorrow I’ve seen in a long time,” the direc- tor declares. “Most people can’t do sorrow like that.” A wry smile suggests that the irony is not lost on Pharrell, the 41-year-old singer, songwriter, pro- ducer, fashion designer, art collector, philanthropist and, starting this month, coach on NBC’s The Voice, who ascended to superstardom this year on a cam- paign of universal happiness. Indeed, 2014 has been a sort of sustained coronation. It began at the Grammy Awards in January, where Pharrell won in four cat- egories, including producer of the year, and where he donned a giant, dimpled hat that became the season’s most contemplated item of haberdashery. It reached its peak when the song “Happy”—penned for the Despicable Me 2 soundtrack and repurposed as the first single off his solo album G I R L—topped

STREET SMART “Go inward,” says Williams, “so that you can go onward and then upward.” Dior Homme overcoat, wool jacket, waistcoat, pants and cotton shirt, and Church’s loafers. Previous pages: Comme des Garçons shirt and Williams’s own earrings (worn throughout).

96 shoes.”) “I think I was just feeling really humbled,” 12, his grandmother bought him a snare drum and he continues. “People hoisted my music to a place it suggested he take lessons. had never been before. It’s like, life is a mosaic, and He developed quickly as a musician, and in his my song is one little piece. All those other pieces are school’s marching band he met a talented Filipino- “It took me a all those people’s reactions to it.” American saxophone player named Chad Hugo. Both Pharrell’s conversation occasionally veers into he and Hugo were tapped to participate in a summer mInute to fInd runic New Age–speak, though it embarrasses him to program for gifted musicians, where they played in my purpose; have this pointed out. His comments have the tidy, a jazz band together. “From there,” Pharrell says, I knew affirmative style of a life coach: “Go inward, so that “we started experimenting with trying to make our somethIng you can go onward and then upward,” he says. At own tracks, using these cheap Casio keyboards and other times they sound like echoes of an ayahuasca tape recorders, whatever we could get our hands on. was mIssIng. trip: “The movie of life is a kaleidoscopic time lapse It was always gratifying to hear it back. Still, to this now I want to of co-creation.” day, when you make something and it feels good, make musIc It’s tempting to regard all this as a deft obfus- it’s an endorphin release.” Pharrell and Chad called wIth somethIng cation, a clever way to keep his personal life out of themselves the Neptunes. view. And yet Pharrell glimmers with something He remembers hearing A Tribe Called Quest’s extra to It. like a sense of enlightenment. “It took me a minute “Bonita Applebum,” off the band’s 1990 debut album, I want to make to find my purpose,” he says. “I knew something People’s Instinctive Travels and the Paths of Rhythm, It feel good.” was missing, and then I realized, OK, you’re able to around that time. “That song changed me,” Pharrell make music; now you have to inject purpose. I want explains. “It was like the whole song was the sweet —pharrell to make music with something extra to it—a holistic spot of a song, which I didn’t know at the time was property. I want to make it feel good. I’m not the only called a bridge. It’s the dreamiest, trancy-est record one doing this. Kendrick Lamar’s music feels amaz - ever. It’s hip-hop, it’s jazz, it’s meditative, it’s like a ing. Adele’s music feels amazing. Alicia [Keys]’s Jeff Koons sculpture in the sense that it’s alchemi- new album feels amazing. The distinction between cal. It turns nothing into something.” sounding amazing and feeling amazing—that’s the It happened that Teddy Riley, the hip-hop pro- thing. People, I think, are looking for a feeling.” ducer who pioneered the style known as New Jack the charts in 25 countries. In the United States, the With its references to Roy Ayers and Curtis Swing, had a studio next door to Princess Anne single sold more copies in the first half of the year Mayfield, “Happy” tunes in to the moment when High School, where Pharrell was a student. Riley than any song has ever sold in the first half of any ’70s soul-funk basked in gentle rhythms, twinkling discovered the Neptunes at a high school talent year in digital history. sonic effects and pronouncements of peace and love, show and signed them upon graduation. They soon To coincide with the release of “Happy,” Pharrell when a record player could serve as a refuge from established themselves as a production duo, first for launched a website called 24hoursofhappy.com, the dangerous American cities of the day. If Pharrell hip-hop acts like Noreaga and Busta Rhymes, and which billed itself as “the world’s first 24-hour has found the perfect pop-music expression for this then, as their reputation grew, for pop stars such music video.” Shot on Steadicam in Los Angeles, era, it’s partly because he is swimming against dark as Britney Spears, whose “I’m a Slave 4 U” became it captures one person after another dancing with counter-currents. He is a kind of anti–Kanye West, their first worldwide hit, in 2001. Others followed, abandon to the song, whose four minutes are looped a man who doesn’t spend the bulk of his time—to and by the summer of 2003, according to one sur- 360 times to cover every moment of the day. The borrow the title of Pharrell’s debut single as a solo vey, more than 40 percent of all songs played on video, a collage of jubilant but also touchingly inti- artist in 2003—frontin’. American radio were Neptunes productions. mate testimonies to the leveling power of music, Pharrell concedes that fatherhood—he and Helen The term backpacker, which Pharrell has often unleashed a worldwide phenomenon: Thousands have a five-year-old son, Rocket—may have softened used to describe himself, initially referred to the of cover videos appeared across the globe, each the sharp edges. But he believes that he has been the 1980s graffiti artists who carried their rattle cans, one uploaded to YouTube under the name of the beneficiary of a larger movement. “I just think the markers, spray tips and underground hip-hop cas- city in which it was made. In May of this year, six world felt cold for a second,” he explains, “and we sette tapes in large backpacks. The term then young Iranian “Happy” dancers were jailed for were making music that was callous. The Internet is came to describe, often derogatorily, someone who their video, which Tehran’s chief of police deemed responsible for all this connectedness, but bad news listened exclusively to the nerd-rap subgenre of an affront to traditional codes of behavior. Hassan travels faster than good. People were inundated hip-hop; this person was likely to be a white subur- Rouhani, Iran’s president, stepped in via Twitter. with tragedy and travesty, and then it was like, what ban kid who bristled at the gangsta rap of Dr. Dre “#Happiness is our people’s right,” he tweeted. “We are we so mad about?” and the Notorious B.I.G. Pharrell confesses that shouldn’t be too hard on behavior caused by joy.” Music dominates Pharrell’s memories of Virginia when the Neptunes started making millions, he When Oprah Winfrey interviewed Pharrell and Beach, Virginia, where he grew up. His mother, disavowed his backpacker origins in favor of the invited him to view a series of the tribute videos, Carolyn, a schoolteacher, and his father, Pharaoh, Cristal-swilling style of the most successful rappers from Slovakia, Detroit, Malawi, the Philippines a handyman, listened to a lot of Earth, Wind & of the time—though with his own wonkish spin: an and elsewhere, he sat on his stool across from her Fire and the Spinners. His aunt, who lived nearby, 18-karat-gold Blackberry and a diamond-encrusted and wept. favored the psychedelic soul of Parliament and the Rubik’s Cube, for example. He suspects that the fail- “That was heavy,” Pharrell says of the Oprah 5th Dimension. Later, when his family moved to ure of his first solo album, in 2006, may have been moment. We are seated in the studio’s courtyard, and the suburbs, he heard Steely Dan and the Doobie the result of fans’ recognition that all the bluster Pharrell wears a yellow leather jacket from the line Brothers. “Music was ubiquitous,” he recalls. “It was inauthentic. he designed for Adidas (the first few pieces appear was so thick, you could cut it in the air. The songs “I think when I put out my first solo album, the in stores this fall), as well as a one-off carbon-fiber with the crazy chord changes, which I would always music was just eclipsed by all the braggadocio,” he fedora that Adidas deemed too expensive to produce. associate with certain colors, were the ones that says. “That was me feeling like I had to be like Jay or His jeans, barely suspended by a gray patent-leather would keep my attention.” Pharrell bought records Chanel belt, reveal a pair of boxers by A Bathing Ape, for 10 cents at local thrift stores, unaware that he the Japanese line he favors, and his Ugg boots come was on a strict diet of classics. He used to take a CHART TOPPER “People hoisted my music to a place it had never been before,” Williams says of his single from a limited-edition Comme des Garçons collabo- whisk from the kitchen, line up the pillows on the “Happy.” Lanvin suit jacket and button-down shirt and ration. (Pharrell calls these his “trust-fund hippie sofa and pretend he was a drummer. When he was Williams’s own hat.

98 Puff. I didn’t realize that that was their story—the story of the struggle to will your way out of where you’re from, to cash in on that, first for yourself, then for other people. But I didn’t see that. All I saw was the planes, the cars, the girls—the ornaments but not the tree they were hanging on. I was making music with and for Jay-Z and Puff, but I was a weirdo in that world. We had A Tribe Called Quest, we had the Fugees, but it seemed like those other guys were running things.” Though Pharrell the producer has often said that he is happy to be “the guy next to the guy”—the man behind the curtain of an Oz more splendid than himself—by the time he wore his famous hat to the Grammy Awards, it was clear that hip-hop had a new sheriff. He finds it awkward, he says, to discuss the hat and the jewelry and fashion generally, despite the obvious seriousness he brings to the enterprise. “It embarrasses me a bit to be a figure in fashion,” he says. “I think everyone is interested in what they put on, even if you dress conservatively. Whatever you’re trying to mask, the mask itself says some- thing about your personality.” So what does the hat say about him? “Give Vivienne Westwood the acco- lade,” he protests. “I bought it in London years ago. I just liked it. I’m as surprised as anybody else that it became a thing.” But with the hat’s Seussian proportions, Pharrell seemed to be playing with an idea that has fasci- nated him for a long time—that of the man with the enthusiasms of a boy, a hip-hop Peter Pan whizzing through a world of men preoccupied with the codes of adult sophistication. This spring he curated an art exhibit in Toronto called This Is Not a Toy, the subject of which was toys for grown-ups. He loaned several canvases from his own collection of works by KAWS, a New Jersey–born graffiti artist, painter and toy designer, including large paintings of the Smurfs and SpongeBob SquarePants that hang in his exuberant Miami apartment. (Other furnishings: a fiberglass monkey riding a horse and a life-size facsimile of Agent Smith from The Matrix.) Pharrell recently put the apartment on the market; his family has spent most of the past two years in hotel rooms, and he wants to find a place with a yard for Rocket. But the hat proves what the art has long argued— that there is room in hip-hop for lightness. Gwen Stefani, who also joins The Voice this season as a coach, did not realize the extent of Pharrell’s fame until her “Happy”-obsessed eight- year-old son, Kingston, told her that he wanted to be in his next video. The artists first met years ago, when Stefani’s band, No Doubt, hired Pharrell to collaborate on the song “Hella Good.” “He does something so rare, which is hip-hop with an injec- tion of rock,” she explains. “But it’s not aggressive. It all seems driven from this positive place. He just doesn’t go negative. We have a sort of unspoken connection in that we both love Japan and Japanese style and culture and fashion. And I think we also have this nerd connection.”

PATHS OF RHYTHM Pharrell is “driven from this positive place,” says Voice co-star Gwen Stefani. “He just doesn’t go negative.” Dior Homme wool jacket, waistcoat and cotton shirt.

101

FEW WEEKS LATER, on Stage 12 in the Universal Studios lot, Pharrell assumes the red-vinyl coach’s seat previously occupied by CeeLo Green (the artist who, coincidentally, took an original crack at “Happy” before studio execs Aencouraged Pharrell to record it himself). The Voice is in the middle of season seven’s blind auditions, in which the four coaches—Adam Levine, Blake Shelton, Gwen Stefani and Pharrell—are to choose teams, their backs turned away from the contestants as they per- form. The set suggests the interior of a spaceship: Rings of colored lights wrap around the discoid space, and the walls glitter with stars. Pharrell hears a voice he likes, slams his buzzer and swivels round. He reacts immediately to the young man’s style. “You have tat- toos,” Pharrell says, “but you also have glasses.” A familiar type, in other words: a nerd with an edge. At a time when critics have augured the demise of televised singing contests, and when judges’ (or coaches’) panels offer a lifeline to necrotic music careers, landing a star of Pharrell’s caliber seems like a coup for NBC. “You want to know why I’m doing this,” he says, as if to preempt any skepticism. “Producing is what I do every day, talking to people about what they want in their track, giving them advice about what sounds good juxtaposed with their voice and their style. That’s what I’ll be doing on the show, but it’s a huge platform, and it’s about paying it forward. The universe has been good to me, so it’s like, ‘What can I share with you guys?’ I’m hoping that some person in Iowa can take some of my advice, internalize it and go and be bigger than all of us put together.” For the moment, there are few juggernauts quite like Pharrell himself. Beyond the music, television and video games is a media empire that includes a pair of clothing lines—Billionaire Boys Club and Icecream, its sister brand. The Adidas collabora- tion is one of many. Pharrell owns a company called Bionic Yarn that turns plastics into textiles, and he is curating a line of clothing made from the fiber for the denim brand G-Star Raw. This month, Comme des Garçons will release a fragrance composed by Pharrell called GIRL, a name that conveniently ties in with his latest album. Rei Kawakubo, Comme des Garçon’s founder and designer, is one of Pharrell’s idols, and she inhabits a pantheon that includes Koons, Walt Disney, Coco Chanel, Takashi Murakami and Stevie Wonder—art- ists united by a rigorous utopianism, if little else. “These are people,” Pharrell explains, “who had epiphanies and then did something with them. As I see it, you can live two ways. You can live life the way you always imagined it would play out, or you can try to make the thing you dream of making. If you choose the second, get ready for an amazing ride. That’s the ride I’m on.” •

FUTURE’S SO BRIGHT “People are looking for a feeling,” says Williams, seen here in a Lanvin tuxedo jacket and button-down shirt and Williams’s own sunglasses. Previous pages: Prada jacket, cashmere knit, wool pants and fur scarf, Church’s loafers and Williams’s own hat.

Tailor, Brian Frank; grooming, Sabrina Bedrani. For details see Sources, page 142.

104 How Okwui Enwezor Changed the Art World

Next year, the Nigerian-born curator and writer will become the first African director of the Venice Biennale, where he’ll continue his career-long project of challenging the status quo—from the very grounds of the exhibition to the art on display.

BY ZEKE TURNER PHOTOGRAPHY BY JUERGEN TELLER

FINE AND DANDY Enwezor photographed at the London offices of architect David Adjaye. In addition to collaborating on a forthcoming exhibition with Enwezor, Adjaye is helping to design the appearance and structure of the 2015 Venice Biennale. over Dubai to Italy. His luggage, the museum’s retrospective of works by the mixed- museum in Chicago and Munich. Adjaye describes the Bronx apartment he was Art, partly as an oppor- however, did not—so Enwezor media artist Ellen Gallagher earlier this year and Enwezor as his “intellectual barometer.” He is also going to share with a friend tunity to educate the is on the phone with Emirates a 2013 show of the photographer Lorna Simpson’s helping him design the structure and appearance from back home, he remem- insular art world about airlines requesting tracking work, the Haus der Kunst will have already presented of his exhibition in Venice, a sprawling, citywide bers thinking, “My god, this contemporary African and information and spelling his nearly as many major solo shows of black artists as canvas that each Biennale’s artistic director must is a veritable apocalypse.” African-American artists. email address. (For the past sev- the Museum of Modern Art in New York has in the confront and manipulate, loosely conducting the Escaping a summer heat “The art world was a very eral nights, he has made do in past 20 years. chorus of voices emerging from the national pavil- wave, residents of his new deeply segregated and very the evenings with a navy Prada Since his 1996 breakthrough as a curator of ions and anchoring it all with certain areas the neighborhood crowded white society and commu- suit that fit him off the rack.) In/Sight: African Photographers, 1940 to Present, director curates himself. onto the sidewalks early nity—still is,” says Enwezor. The attendant on the other end Enwezor’s plans are still forming, but given his in the morning. Enwezor Nka is an Igbo word that of the line doesn’t understand. track record, his approach is sure to change the usual remembers them wearing means art but also connotes “No,” he says, switching from terms of Europe’s oldest contemporary art exhibi- Adidas tennis shoes with fat to make, to create. “Part of the phonetic alphabet of his own tion. In announcing his appointment of Enwezor, laces and playing music on the reason I called it that invention to the international Biennale president Paolo Baratta cited the curator’s large stereos. Grandmaster name was to foreground the standard: “Alpha, Oscar, Lima.” interest in “the complex phenomenon of globaliza- Flash, the father of rap, was fact that my language is not Enwezor is accustomed tion in relation to local roots.” heard everywhere, and “The mumbo jumbo,” he said. “It to constant travel. He was in “He’s a towering figure who really believes in Message,” with its slowly has meaning.” Australia for one week meeting dealing with the misrepresentation of history,” says flowing couplets, was the The twice-yearly maga- artists and seeing work—part of Adjaye. “Okwui is a unique character in the sense song of the summer. zine—still published two the colossal research involved in that his experience of globalization and the way he As he worked to complete decades later by Duke conceiving, assembling and man- sees the world have created who he is.” his degree, Enwezor become HOUSE AND HAUS University Press—also intro- aging the 56th Venice Biennale, a near-constant partici- Above: The spring 2014 edition of Nka, duced new critical voices. An featuring the artist Theaster Gates. Left: The opening in May 2015. He’s in N SEPTEMBER 1982, 18-year-old Enwezor pant in the city’s nightlife, essay by Enwezor entitled ABSTRACT EXPRESSION Haus der Kunst, opened by the Nazis in 1937. Venice today to attend this year’s Above: Part of Township Wall by Antonio Ole, from boarded a plane in Lagos and, after a stop at clubs like the Paradise “Redrawing the Boundaries: Architecture Biennale, directed Enwezor’s show The Short Century: Independence and in Liberia, arrived at the Pan Am terminal Garage and Danceteria, Towards a New African Art by Rem Koolhaas. (He’s also Liberation Movements in Africa, 1945–1994. Left: A detail at New York’s Kennedy Airport dressed in as well as its galleries and Discourse” opened the inau- of Dirty O’s (2006) by the artist Ellen Gallagher. devising plans for his own show, a black double-breasted mohair suit and museums. When he graduated, he moved downtown gural issue, which also included exhibition reviews, which in years past has been led oxfords. The youngest son of an affluent fam- and took up poetry. He began “having a voice, hav- a short story and an interview. He recruited schol- by curators such as Robert Storr, Iily of Igbos—a minority in Nigeria known for their ing a place,” he says. If he was unimpressed with ars and thinkers such as Chika Okeke-Agulu, Salah Germano Celant and Francesco an exhibit of 30 African photographers at the tradition of intellectual debate—Enwezor had con- his classmates at college (“Talk about provincial!” M. Hassan and Olu Oguibe—professors at Princeton, Bonami.) And the following Guggenheim Museum, Enwezor has alternated he says), he found his intellectual home in the world Cornell and the University of Connecticut, respec- week he is to meet with poten- between ambitious international exhibitions of literature and art. He performed at the Knitting tively—to edit the issue and write for it. tial donors in Paris to make up that seek to define their moment—biennials in Factory and the Nuyorican Poets Café AS IN AQUA, O as in orange, L as the gap in funding between what the eponymous Johannesburg, Gwangju and beyond, along with in the East Village, and dismissed in lemon,” says the Nigerian-born foundation behind La Biennale provides, and the the Paris Triennale in 2012—and historically the work of his American contem- museum director, curator and art cost of realizing one of the largest exhibitions in the driven, encyclopedic museum shows centered on poraries who scatted or rhymed. “I critic Okwui Enwezor, talking into world—still La Biennale, in an age when every city topics such as African liberation movements in the was opposed to rhyming,” he says. “I one of his two cell phones on the seems to have one. 20th century, the arc of apartheid and the use of wanted the language I used to have terrace of a hotel in Venice, Italy. Then, with scarcely a moment between, he’ll visit archive material in contemporary art. Enwezor is weight on the page. I wanted the words Big-lensedA Persol sunglasses with tortoiseshell Munich, where he’s in the the first curator of his all put together to have a meaning, frames conceal his eyes, and a black handkerchief, third year of a five-year generation and the sec- and through those words to find the knotted in the front, encircles his neck. Enwezor, contract as director of the ond ever to command vinced his parents it was a good idea for him to emotional and the poetic intelligence 50, is best known as the director of the Haus der Haus der Kunst. There, two of Europe’s most pursue a degree in political science at Jersey City underneath .” Kunst museum in Munich, and earlier this year, he Enwezor will introduce precious cultural ter- State College. In 1991, Enwezor attended a talk was appointed artistic director of the next Venice an onstage conversation ritories—Documenta, Enwezor had already completed one semester and panel at the artist-run space Art Biennale. But before he had anything to do with con- between the Swiss cura- the five-yearly exhibi- at the University of Nigeria. He says his move to in General, which was then host- temporary art, Enwezor was a poet. tor Hans-Ulrich Obrist, tion in Kassel, Germany, America was about expanding his worldview and ing an exhibition called Positions Famously, he is also something of a clotheshorse, the American composer and now the Venice getting involved with the downtown Manhattan art of Authority. There he met Glenn favoring bespoke double-breasted suit coats and Jonathan Bepler and the Biennale—and the first scene he’d read about in magazines. (He still keeps Ligon, one of the artists in the show. pocket squares to the art world’s unofficial mini- American artist Matthew African to direct either an apartment in Brooklyn’s Fort Greene; his ex-wife “Okwui came and just spoke in the way malist uniform. Yet on this morning in June, he is Barney, whose River of one. and teenage daughter live nearby in downtown that Okwui can speak,” remembers without the bulk of his wardrobe. The day before, he Fundament, a monumen- With the call to Manhattan.) His parents weren’t convinced. In their Ligon, who compares Enwezor to the flew from Melbourne through Sydney and onward tal work that includes 25 the airline concluded, minds, the country was violent and fraught with American philosopher Cornel West tons of sculpture, much of Enwezor returns to the racial difficulties—hardly a safe place for their son. and the Jamaican-British cultural the- PREARRANGED it forged in Detroit, is on Above: Stan Douglas’s Two Friends (1975), included in breakfast table, where CLOCKWISE FROM TOP RIGHT: COURTESY OF DUKE UNIVERSITY PRESS; ELI WEINBERG, UWC-ROBBEN-ISLAND MUSEUM MAYIBUYE ARCHIVES: JAMES ISBERNER, © MCA CHICAGO; JENS WEBER, MÜNCHEN Indeed, as he crossed the Whitestone Bridge toward orist Stuart Hall. “It was one of those display. During the stop a current show of his work at the Haus der Kunst. Left: the British-Ghanaian things where you had to turn around at the museum, Enwezor Matthew Barney’s Secret Name (2008–2011), from architect David Adjaye and look because, ‘Who is this?’ ” his River of Fundament series, installed at the museum. will also check on prep- and Zoë Ryan, a curator Three years later, Enwezor founded arations for the June from the Art Institute Nka: Journal of Contemporary African opening of Mise en Scéne, of Chicago, are wait- a show by the Canadian artist Stan Douglas com- ing. Two well-worn books—Paul Gilroy’s The Black posed of photographs and a film, all shot and staged to Atlantic: Modernity and Double Consciousness and LIVING HISTORY appear documentary. Peter Rowe’s Civic Realism—rest on the table. The Left:The Short Century, installed at Chicago’s Enwezor’s curatorial project has been global since books, the curator and the architect are part of a Museum of Contemporary Art. Right: A 1961 photo of Nelson Mandela, included in the the beginning, pushing African and diaspora artists working breakfast to plan a forthcoming exhibition show Rise and Fall of Apartheid: Photography

to the foreground. And between the Douglas show, of Adjaye’s work that will travel between Ryan’s CLOCKWISE FROM TOP LEFT: © ELLEN GALLAGHER, GEUTER,HAUSER & COURTESYWIRTH OF COLLECTION,MATTHEW SWITZERLAND;BARNEY AND COURTESYGLADSTONE OF MOMAGALLERY, PS.1;NEW COURTESYYORK ANDOF STAN BRUSSELS, DOUGLASINSTALLATION ANDVIEW DAVID ZWIRNER,HAUS DER KUNST, 2014 NEW YORK; MAXIMILIAN and the Bureaucracy of Everyday Life.

108 109 Nka came to the attention of the Spanish curator gallery” off the museum’s lobby to display docu- Enwezor’s approach to Documenta may offer and critic Octavio Zaya, whom the Guggenheim had ments and curios from its history. clues about what he has in mind for Venice. approached about putting together an exhibition “It’s these many different parallel realities To use his terms, during Documenta, Kassel func- of contemporary African art. Zaya felt awkward which all come together” that set Enwezor apart, tioned as a platform at a train station connected about the fact that three westerners were curat- says Hans-Ulrich Obrist, the co-director of the with other platforms around the world. He “deter- ing the show. Furthermore, the Guggenheim was Serpentine Galleries in London. “He comes from ritorialized” the fair, he says. He “eviscerate[d] already facing criticism over Africa: The Art of a this incredible background in literature. He’s an the terminus.” It took “chutzpah.” Enwezor can Continent, which failed to include a single contem- extraordinary curator. He’s also an extraordinary be unremittingly prolix, and he resorts to heavy porary African artist. So Zaya brought Enwezor in intellectual, a writer, a poet.” words to anchor the thoughts taking shape in his to interview and, even without his having curated a As director of the museum, Enwezor has acti- mind. Abrogate. Distantiation. One critic, reviewing museum show and with just one issue of Nka under vated a much-needed renovation, which David his Documenta, suggested that the curator “appar- his belt, hired him to work on what became In/Sight. Chipperfield Architects won in competition. In addi- ently enjoys spouting what sometimes sounds like “He was always confident, tion to the Ba rney, Douglas gibberish.” Another referred to his “sometimes he was very outspoken; and Gallagher shows, cumbersome language.” you never shut him up,” he has devised a strik- But the artists who work with him describe a says Zaya. “there was nobody ingly varied program, curator who focuses on the meaning behind their In/Sight was one of the dedicating exhibitions to work. In his Documenta, Enwezor included paint- first shows anywhere to who quote-unquote the late American sculp- ings from Ligon based on James Baldwin’s essay put contemporary art from opened the doors. tor, illustrator and painter “Stranger in the Village.” When they were first Africa in the historical and the doors were Richard Artschwager, the talking about the canvases, Ligon remembers, “the political context of colo- American conceptual art- discussion was less about what those paintings nial withdrawal and the resolutely shut.” ist Mel Bochner and the were going to be—what they were going to look emergence of independent —okwui enwezor now-defunct Munich- like, how big they were going to be—but more about African states. Its success based avant-garde music the sense of James Baldwin’s essay being this pan- led to Enwezor’s appoint- label ECM, which recorded oramic take on European culture: the legacy of ment as the curator of the artists such as Chick colonialism and the relationship between Europe second Johannesburg Bienniale in 1996. Enwezor Corea, Keith Jarrett and Steve Reich. The museum and America.” From the start, the artist and curator used that platform to show that he could not only also hosted Enwezor’s Rise and Fall of Apartheid: were speaking in the language of ideas. “I love cura- execute a biennial but could curate shows around Photography and the Bureaucracy of Everyday tors who go there first,” says Ligon. big ideas. Deploying the idea of trade routes, he the- Life, which he co-organized for the International “It’s interesting that he started off as a poet and atrically changed the terms of the show, bringing in Center of Photography in New York, where he is an ended up within the academia of contemporary art,” a team of international curators. “I didn’t want to adjunct curator. It now hangs in Johannesburg, its says the video artist and director Steve McQueen, do an African show; I wanted to do an international run recently extended until April 2015. “There was whose 12 Years a Slave won the Oscar for best pic - show,” he says. nobody who quote-unquote opened the doors,” ture in 2014, and who worked with Enwezor in Within a few years, he had gathered the cre- Enwezor says, looking back on how his career has Johannesburg and Kassel. “There’s a sense of mean- dentials and the momentum to become a sleeper unfolded. “The doors were resolutely shut. I’m as ing; there’s a reason behind the practice,” he says. candidate to lead Documenta. “It was an earthquake surprised as the next person about where I am.” “There’s a vitality about his exhibitions that I hope in the art world. It wasn’t just some black guy—it will happen in Venice.” was a guy from Nigeria,” Enwezor remembers about HE DAY AFTER his breakfast meet- The map for the Biennale requires constant being selected to direct the exhibition in Kassel, ing in Venice, Enwezor steps onto a updating and re-examination from each successive sometimes termed the Olympics of the art world. stage set up in the courtyard of the artistic director. Bound to two specific places on the “ ‘Have they gone out of their mind? Who’s this per- Swiss Pavilion for an onstage inter- island, namely the Arsenale, a centuries-old ship- son?’ It was an improbable thing. Imagine. Even view with Rem Koolhaas. Obrist is yard, and the Giardini—the park where countries being a candidate would have seemed impossible.” mediating. It’s the official opening keep national pavilions—the grounds of the show “The art world was very Eurocentric and very Tday of Koolhaas’s Architecture Bienniale. “The are primed for the kinds of disruptions Enwezor westerncentric, and it needed strong curators market is completely absent in this Biennale,” says likes to introduce to his projects. In the spring, he to change it,” says Els van der Plas, the general the Dutch Pritzker Prize winner. “Maybe that is for was looking at other gardens around Venice that he director of the Dutch National Opera & Ballet, who me the greatest satisfaction. It is not marked by the could incorporate into the exhibition’s usual space. collaborated with Enwezor in Johannesburg and size or the quantity of the boats that are moored on As exciting as such large-scale, globalized Kassel. “Enwezor positioned several projects in the quay side.” Though Koolhaas does not intend exhibitions may be, Enwezor says that next year’s a very strong way, which gave a different view of the comment as a dig at the city’s more famous art Biennale might be his last. “This is exhausting,” he the world and different views on the history of biennale, it’s true that the fair Enwezor is orga- says. “In any case, there’s a need for other people post-colonialism, of what Africa contributed to the nizing has tended to occasion swarms of wealthy to do them, and what other biennial should I go and world’s development and of how different countries patrons. While nothing is officially for sale at the do?” He thinks he might add filmmaking to his list of in Africa are positioned in the world debate.” Biennale, upwards of 350,000 people attend, and it accomplishments. He’s excited that actress Lupita Enwezor’s ease of reinvention and intellectu- holds tremendous command over the value of the Nyong’o has signed on as a producer and costar alism still drive him as director of the Haus der artworks that appear there. for the film adaptation of the book Americanah by Kunst. Like Douglas’s fictionalized historical pho- Koolhaas, busy from the crunch of his open- the Nigerian author Chimamanda Ngozi Adichie, tos, Enwezor operates, he says, “outside of time.” ing week, exits the stage early, while Obrist turns and he’s quietly acquired the movie rights to some Still, less than a century ago, the museum, housed the question of the market to Enwezor. Black books himself, including The Trial of Jomo Kenyatta in a fortress-like building behind a 22-column por- neckerchief in position, he cocks his head back to by Montagu Slater. “Life is too boring if all the great tico bedecked with tiled swastika mosaics, began look at the open sky above the courtyard. “Maybe stories are about Europeans and Caucasians. It’s as a space to showcase art admired by the Nazis. Rem can get away with that,” Enwezor says, lean- completely stupid. The world is bigger!” he says. Enwezor combats this legacy by channeling a new ing forward toward the microphone, “but I’m not so But for now he’s focused on the work ahead in Venice. mix of voices into the institution’s monumental sure that the market is the biggest challenge that “We want to see and be seen,” he says. “We want LIFE OF THE MIND halls. He has also installed what he calls an “archive the art world faces.” to speak.” • Enwezor keeps close ties to the academic world. He contributes regularly to exhibition catalogues and essay collections and has served as a visiting professor at New York University’s Institute of Fine Arts and Columbia University, among other institutions. 111 BEFORE SUNRISE Rich materials and deep-hued suits impart an air of mystery and poetic ardor to an after-dark adventure in the streets of the Eternal City.

WHEN IN ROME Dress for a night of PHOTOGRAPHY BY NATHANIEL GOLDBERG romantic rambling in an all-enveloping coat. STYLING BY ROBERT RABENSTEINER Giorgio Armani wool coat and pants, Bottega Veneta slippers and vintage Christian Dior Monsieur sunglasses. MAKING HISTORY Statement outerwear, flung dramatically over a shirt or double-breasted jacket, means that no appearance will be forgotten. Burberry Prorsum coat, fisherman top and tweed trousers, Burberry London shirt, John Lobb loafers and vintage Christian Dior Monsieur sunglasses. Opposite: Louis Vuitton wool coat, jacket, tank and trousers, and Christian Louboutin velvet loafers. 115 AN ITALIAN AFFAIR Painterly tones like stygian blue or Byzantine purple are an alluring alternative to stodgy colors. Prada mohair coat, silk shirt, scarf and gabardine pants. Opposite: On her: Valentino chiffon gown. On him: Dolce & Gabbana velvet and silk suit, shirt and tie, and 116 vintage Persol sunglasses. 117 BEAUTIFUL RUINS “Oh Rome! My country! City of the soul!” rhapsodized Lord Byron, one of the legions who have fallen in love with the capital. Roberto Cavalli wool pants. STONE AGE Carve out a personal style with silk cravats and jewel-tone fabrics. Hermès jacket, shirt and trousers, and vintage Christian Dior Monsieur sunglasses. Opposite: Salvatore Ferragamo wool coat, silk jacquard robe, shirt and wool trousers, Paul Smith silk scarf, Giuseppe Zanotti Homme loafers and Haider Ackermann socks. 121 TWILIGHT OF AN EMPIRE Evening wear shouldn’t be limited to the basic black tuxedo—try a more glamorous option. On her: Prada silk dress, scarf and shoes. On him: Saint Laurent by Hedi Slimane metallic woven jacket, shirt, jeans and creepers. Opposite: Valentino wool 122 and silk suit, shirt and tie. NIGHT MOVES Show some flair with surprising twists like silk paired with tweed or a traditional suit cut in a narrow silhouette. On him: Bottega Veneta shetland coat and Prada silk shirt and scarf. On her: Prada wool dress and silk scarf. Opposite: Ralph Lauren Purple Label wool tartan suit, shirt and tie and Bottega Veneta slippers.

Models, Matthew Avedon at DNA and Holly Rose at Next; hair, Diego da Silva; makeup, Arianna Campa.

For details see Sources, page 142. 125 NEED FOR SPEED Singer Porsches VROOM SERVICE take advantage of a unique design quirk: Singer Vehicle Design has fashioned the most retro-looking supercar Nearly every 911 part from the air-cooled on the road today—a bespoke remix of the classic air-cooled Porsche 911. era (1963–1998) can be transplanted into any other air-cooled Porsche 911. BY KARL TARO GREENFELD PHOTOGRAPHY BY ADRIAN GAUT

126 OB DICKINSON, 49, recalls the first The legendary Porsche 911, time he saw a Porsche 911. His family introduced by the Stuttgart-based was motoring up the highway toward carmaker in 1963, is in many ways Béziers, during their annual vacation the archetypal sports car: long in France’s Languedoc region, when snout, slanted rear, two front seats his father, something of a car buff, with tiny spaces behind each, wick- Rtold Rob and his brother to look out the back window. edly fun to drive and instantly “There’s a car approaching,” he said. “That’s recognizable, even if, accord- called a Porsche 911.” ing to Dickinson, the later models Five-year-old Rob leaped up on the back seat and with their liquid-cooled engines gazed at the metallic green Targa screaming up have lost some essential, visceral the inside lane. “It made a huge impression on me,” Porscheness. Air-cooled Porsches, Dickinson says, “the sense that the 911 has two char- which include the original 911 (made acters, this bright, smiley, happy fat front face and from 1963 to 1989), the 964 Series this angry rear end which goes hand in hand with the (’89 to ’93) and the 993 Series (’94 raspy sound of the thing.” to ’98), are considered by Dickinson That madeleine moment, an anthropomorphic (and many other purists) to be “real” first glimpse of the 911 as a living, breathing ani- Porsches. “Don’t get me wrong; the mal, triggered a lifetime spent adoring, owning and new Porsches are great cars, won- dreaming about the car. Every childhood birthday he derful, but they’re touring cars,” asked his father, a French teacher, to take him to the he says, and then he hurls what he nearest Porsche dealership in Colchester, England, intends as the ultimate insult: “They GET SPORTY so he could sit in the showroom cars. It is also the might as well be Jaguars.” Customized foundational moment of Singer Vehicle Design, a Singer’s modification of the details from one of Dickinson’s 911s. Sun Valley, California, company that produces what Porsche 911 manages to be both The latticework is officially called the Porsche 911 Reimagined by a tribute to those classic models dash and Bakelite Singer, though that long-winded name barely begins and a 175-mph rocket with finger- shift knob are Singer trademarks. to explain what Dickinson and his team actually twitch-sensitive handling that can create. If the great car designers of the 1960s had had hold its own against the latest offer- access to today’s ultralight carbon fibers and alloys ings from Ferrari (or Porsche, for and computerized fuel injection, braking and sus- that matter). Dickinson has created pension systems, they might have built something this supercar by being uniquely true to the Porsche quickly realized “this slavish adherence to original- Dickinson offers a telling perspective on the jeweler’s scratch for Singer by design and manufacturing firm Road, tossing the car into the hairpins and causing like the Singer. It’s essentially a hypermodern car heritage, building air-cooled Porsches more beauti- ity wasn’t for me, because the car wasn’t as good as precision that goes into rebuilding and refinishing Aria Group—allows the car to weigh in at just 2,700 Dickinson to visibly cringe. I’m riding the clutch too wrapped in timeless, artisanal retro styling—today’s ful, more drivable and quicker than almost anything it could be.” each component, even those purchased new from pounds (400 pounds lighter than a typical 911). The hard for his liking and then freewheeling into some version of yesterday’s supercar of tomorrow. Or, as Porsche itself managed to do by taking advantage of Dickinson broke up the band in 2000—“I didn’t Porsche. That intake manifold, for example, typically flat six-cylinder engine comes in three options, rang- turns before downshifting, all of which reveals that Car and Driver calls it, “The best early ’70s Porsche a unique Porsche quirk—virtually every part from want to be an old rocker. It’s a nasty business”—and costs about $150, but Singer grinds off the excess ing from 280 horsepower to 390 horsepower. (The I’m a novice at handling this much air-cooled power. 911 that never existed.” every Porsche 911 in the air-cooled era from 1963 moved to Los Angeles. At last he was able to rebuild metal, takes the flashing marks off it, polishes it to original engine cases are always reused after machin- Then the car makes a strange ticking sound—and to 1998 can be transplanted to any other air-cooled a Porsche that embodied his vision of what a 911 a mirror finish, and then sends the manifold to a ing, so the engine and chassis numbers match.) The dies on a straightaway. Porsche 911. This allows Dickinson to choose the best should be: a Bahama yellow 1969 911E that became custom fabricator who builds and attaches the Singer has a wider stance and fatter haunches than Dickinson, wearing his trademark Goorin Bros. of breed for every nut, bolt and switch on the car, or famous among 911 enthusiasts, in part because it flanges. After that it goes to a laser engraver who a standard 911; the chubby 17-inch wheels, designed green cap, shakes his head and groans, “That sounds else to manufacture better versions himself. “Let’s was the poster car for the influential R Gruppe, a etches on the word PORSCHE, and then the final and built according to Singer’s specifications, make fatal.” As we’re sitting on the side of the desolate two- take the best engine, shove it in the best chassis, purist Porsche club whose members strive to metic- touch is mounted: an original the car appear muscular. A trade- lane road waiting for assistance, Dickinson is barely put the best brakes on it, the best wheels, best, best, ulously restore and modify vintage 911s. Dickinson gold badge from a Porsche 356. mark center-fill gas cap atop the restraining himself from blaming me for ruining a best,” he says of his initial inspiration for Singer. “I was living in Hollywood at the time, and everywhere The manifold costs about $3,000 “I knew If I front hood manages to make $500,000 car due in a few weeks to a buyer in Dubai, have a very clear knowledge of when I know some- he went, people were offering to buy his car. “I was by the time Singer is done with it. could buIld the Singer look utterly new yet pointedly lamenting my “brutal clutchery.” thing feels right. There was never any doubt that if I sick of people asking, but I knew if I could build this Now imagine that level of bespoke thIs car, immediately familiar. It retains, While we’re waiting for the team from the Singer was allowed to build the car I wanted to build, people car, make it repeatable, if we got this right, I knew detail on every single aspect of Dickinson says, “that friendly factory to pick us up, Dickinson says he’s been would love it.” something good would come of it.” the car, from wheels to engine make It Porsche face. It’s a car that women thinking about his next project: a Singer Clubsport The success of Singer is built partly on Dickinson’s to seats to interior, and you get repeatable, take an immediate fancy to.” version of the 911, an ultralight car with modified F YOU WATCHED a lot of MTV in the early ’90s, still formidable frontman charisma. He is the chief an idea why his vehicles cost somethIng Driving the Singer Porsche suspension. He also believes he has cracked the code you probably saw Rob Dickinson fronting designer, creative director and co-founder of the $500,000. Dickinson says he is good would 911 is a revelation—especially that would allow him to do a Turbo version. “What the alternative rock band Catherine Wheel, company and its best salesman. He has accepted barely breaking even on each car. for anyone who owns a newer we have planned for the engine is literally game- whose biggest hit, “Black Metallic,” reached deposits for more than 40 cars; there are currently 15 “Building a half-a-million-dollar come of It.” Porsche 911, as I do. From the changing stuff in terms of an air-cooled engine,” he No. 9 on Billboard’s alternative rock charts in collections around the world. (Technically, Singer 911 is not the most sensible busi- –rob dIckInson moment I sink into the Singer says. “The car will look pretty spectacular. I’m just in 1992. Rob, whose cousin Bruce Dickinson is modifying the cars, not building them, as each ness plan,” he says. seats, the custom-designed sus- starting to generate some renderings. Maybe we Iis lead singer of the heavy metal band Iron Maiden, customer delivers to the Singer factory a Porsche The same meticulous attention pension transfers the engine’s can make five of them, but they will be horrendously spent the ’90s being a rock star, playing on bills 911 964 that is then officially “restored.”) The factory to detail that goes into the engine, suspension and happy gurgles up my arms and down my fingers. I expensive, more than a million dollars each.” with the Foo Fighters and INXS and touring with in which he is now turning out a car roughly every brakes is all made tactile and visible in the cockpit, release clutch, tap gas, steer, shift and start swing- A mechanic comes up from the Singer factory, the Smashing Pumpkins and Radiohead, with whom three weeks holds what must be the largest collec- where every material—from the leather latticework ing the car into the twisty mountain roads a few takes a quick look at the car, tries to turn it over, Catherine Wheel was most frequently compared. tion of Porsche parts from the air-cooled era in the dashboard to the Bakelite gearshift to the Recaro miles from the Singer factory. The tight yet smooth checks the gas gauge and then pours some gasoline With his rock ’n’ roll money Dickinson bought his United States, with piles of red brake calipers (from seats—is manufactured by Singer yet harks back suspension, the responsiveness of the car to each in the center-fill gas tank. first Porsches, including rock guitarist Alvin Lee’s the 993 Turbo), air-conditioning compressors (also in poetic fashion to the late ’60s and early ’70s. If turn of the Momo Prototipo wheel bolted to an It turns out we’ve run out of gas. ultrarare 1973 2.4S, and set about restoring them from the 993), gear boxes (from the 964) and intake James Bond were to step from his Aston Martin into early-’70s steering hub, make driving the Singer Back on the road, Dickinson apologizes for having to original factory specifications. Dickinson, who manifolds (from the 996 GT3) piled neatly in bins in a Porsche, it would be the Singer. Porsche 911 a visceral experience. Dickinson calls intimated that I was somehow to blame. “I’m a hor- FRONTMAN Rob Dickinson, co-founder of Singer had actually worked a brief, pre–rock star stint as a vast storerooms. Yet the Singer is in no way a retro car. The carbon- it “being connected to the car,” and that’s how I rible passenger, full of neuroses about the car,” he Vehicle Design, was formerly in the band Catherine Wheel. designer for British sports car manufacturer Lotus, Walking through the Singer storage area with fiber, ultra-lightweight body—custom-built from feel as I push the Singer up Little Tujunga Canyon says. “I know too well how much goes into each.” •

129 ERTAIN LIVES STAND for an entire era. in 1964. And no one’s ever been older than she is on childhood was tough. Her parents split when she was Cole Porter is the Jazz Age and the the new record. She’s a dance-hall singer, moaning six years old; there was never much money. Faithfull crash. Alfred P. Sloan, whose reign in a dive on the edge of town, her voice rough from was educated at a convent, where she learned the at General Motors began when city years of smoking, shouting, staying out all night in basics of this world and the next. streets were still rank with manure the rain—a wisdom-filled rasp. It’s the quality that “Were you Catholic?” and ended with them awash in tail made those late Frank Sinatra records, after his “Not originally, no, but I had to become a Catholic. Cfins, is the auto age. Marianne Faithfull, who had her voice was shot, electrifying. It’s not just the songs I couldn’t have survived otherwise. I had been a very first hit record in 1964, a song written by a 20-year- you hear; it’s the life—though the song titles alone bright pupil in the sixth form at the convent. I was old Mick Jagger and his friend Keith Richards, is tell a story: “The Price of Love,” “Give My Love to preparing to go to university or art school or maybe rock ’n’ roll. She was 17, a primly blond Brit who London,” “Love More or Less,” “I Get Along Without music school. And then—well, I was discovered, for elicited aristocratic fantasies. Approaching her at a You Very Well.” Here’s a singer with her eyes on God’s sake! I wouldn’t have been human if I hadn’t party where members of the Beatles and the Rolling the horizon. “This is a very personal record about wanted to get out of home.” Stones were in attendance, Stones manager Andrew things I’ve been going through with my loved ones,” The first big moment came in 1964, at a launch Loog Oldham said, “I’m gonna make you a star, and she said. “It’s about how to get through.” party for a teen singer named Adrienne Posta, a that’s just for starters, baby!” Faithfull is 67, splits her time between Dublin famous soiree of that swinging London moment; In the ensuing decades, Faithfull lived a multi- plicity of lives, riding and, at times, nearly being destroyed by an ecstatic energy she helped unleash. She was the “It Girl.” A pop ingénue in ’64, a head- liner in ’65, a torrid one-night stand of Richards’s in ’66, the muse and partner of Jagger for several years, the singer who rejected Bob Dylan, Miss X at the notorious Redlands drug bust in ’67, best friends with model Anita Pallenberg; dabbler in black magic and hallucinogens. She tasted and touched everything that fascinated her baby-boomer demo- EVER graphic. “She was always perceived as someone very brave, very cool and very much self-created,” said British actress Charlotte Rampling. “She’s always been her own woman, in no one’s mold, and it’s very impressive when a person can live that way.” FAITHFULL Faithfull’s life echoed the course of rock ’n’ roll itself, which started with the playful excitement of Onetime pop ingénue, style icon and muse to the Rolling sock hops and Frankie Lymon and the Teenagers and dead-ended, for a time, in atonal melodies and Stones, Marianne Faithfull releases a new album on concept albums—which is just another way of say- the 50th anniversary of “As Tears Go By”—and recalls ing “experience.” By the ’70s, she had lost it all and was on the street, a junky cadging a dose. She turned her gloriously reckless rock ’n’ roll life. whispery, desperate. She came back in 1979 with the titanic break- through record Broken English, turning her brush with the dark side into music. She had followed the classic trajectory of the hero: the rise to stardom, BY RICH COHEN the split with society, the journey through a shadow ILLUSTRATION BY MATS GUSTAFSON land, the return. Through it all, she’s remained an object of fascination, allegedly a subject for iconic songs, among them “You Can’t Always Get What You Want,” by the Rolling Stones. When I asked if she was the inspiration behind the Stones’ “Wild Horses,” she said, “I was told so, but that doesn’t mean anything. Musicians do that all the time. ‘This and Paris, smokes (e-cigarettes), walks, sings, Faithfull’s social circle and her connections to song’s for you, darlin’.’ ” writes, thinks. Though no longer the sex symbol she the city’s exploding music scene had brought her It’s been 50 years since the release of her first once was, she’s still beautiful. I caught up with her to a party where several young rock stars were in single, “As Tears Go By,” the hit that began it all. A by phone in Paris. She’d broken a hip this summer, attendance. And here comes the Stones’ exotic boy new record—Give My Love to London—will mark the which, along with another injury, gave her time to manager, approaching the convent girl through a anniversary. If you want to experience the passage reflect. “Six months on your back will do that,” she haze of cigarette smoke. “Andrew f—ing Oldham, of decades, play the new album beside her first num- told me. “You become introverted. You start think- excuse my French,” Faithfull recalls, laughing. “He bers. In the early ’60s, her voice was not faux-naïf but ing about things, too many things.” was fascinating. I had never met a man who wore the real thing—simple, childlike—which was part We talked about her childhood growing up in a makeup, never met anybody who talked that way: of its appeal, the fantasy of innocence corrupted. small town just north of Liverpool. Her mother was ‘I’m gonna make you a star, baby.’ I had watched No one has ever been younger than Faithfull was an Austro-Hungarian aristocrat, Baroness Erisso, Sweet Smell of Success and all those Laurence Harvey whose great uncle, Baron Leopold von Sacher- films, so I did understand where he got his persona.” Masoch, wrote Venus in Furs, the book that gave A week later, Faithfull was at a recording ses- LIVE THROUGH THIS “This is a very personal record rise to the term masochist; her father was a British sion with Oldham and engineer Mike Leander. about things I’ve been going through with my loved ones,” Faithfull says of Give My Love to London, out this month. intelligence officer in World War II, later a profes- According to legend, Oldham had locked Jagger and “It’s about how to get through.” sor of Italian literature. Despite this pedigree, her Richards in a kitchen in Chelsea a few months before,

130 “Marianne has always been her own always own her has been “Marianne that way.” iM artiste, as they say, with an e an say, with they as artiste, com recording a a became of I when It’s life. different beginning pletely the also was it released; was By’ Go Tears ‘As that just not it’s “because significant,” said, she very “It’s number? a just it is or cant, the core of it of all. core the X—at Miss mystery—the the became not was named, bombed she because who, woman a of company the in getting LSD on and hangers-on Jagger age: various acid and the Richards of watermark high Redlands, a as at bust drug Itstands that a was tabloid of coast scandal England. the southern the on Sussex, in home with country Richards’s ’67 in came it does. until end, to never seems that aday like unfurled that moment golden a was It fun. much so and had mainstream and took drugs parties, They threw avant-garde. of fusion remarkable a had achieved band circle—the inner Stones’ the inside life a for touring up gave she theaters, and motels of time, tired a For London. swinging of Zelda and Scott F. the era, the of couple reigning a were They Jagger. with mind public the in connected By was behind. she him 1967, leaving sometimes along, bringing son her sometimes Jagger, and Dunbar between drifted she For Jagger. time, a way, with meaningful more a in later, then, and Richards, with first up ing hook from her stop not did which son, young a had couple the 18, she and when was Dunbar She married meet). first would Yoko Ono and is Lennon John where Gallery Indica (his Dunbar John named owner lery gal a with relationship serious a in already was She days. before last his in dead him knew she but birthday, was 28th his Stones, the a Jones, of Brian member boys. founding were they and girl a was she as she’s aged. as sadness song’s the into grown She’s resonance. new magic.” It was sang. and in went then twice, or once that heard I Keith. and must’ve Mick of There acetate an side?’ been B the try we don’t ‘Why said, Leander Mike wrong. Itobviously was Bart. by Lionel of song scam awful an some tosing meant was I whereby was Andrew’s It side. B the be to meant was it single; the be to meant wasn’t “It said. stu- the Faithfull dio,” in By”] Go other Tears [“As to heard out first “I them clients. farmed Oldham tunes. mel- ancholy ballads, were numbers early Their for Stones. compose the to how out figure to ages them took song.” It a written you’ve till out come “Don’t saying, wo Rdad ws y oet f rt, hn I when truth, of moment my was “Redlands Waterloo, her point, turning the Faithfull, For since Richards and Jagger known has Faithfull os h 5t anvray tie e a signifi as her strike anniversary 50th the Does play watch children the and I sit day. the of evening the It is finding since, song that rerecorded has Faithfull pressive when a person can live aperson when pressive M an, in no one’s M one’s no in an,

–c harlotte on the end.” the on . raM old. old. pling - - - - i t’s very very t’s then you’re at your own funeral listening to what what you.” about say people to listening funeral own your at you’re then And choose. you is it whatever window, the out ing jump dying, yourself see actually you when That’s split. superego the and ego the id, the sui where cide, the of insanity describes he it In melancholy. on wrote Freud essay an me gave she and Boston in shrink good a had I when later years it understood I dead! be you’ll forgetting Completely that!’ done have shouldn’t they dead I’m when realize do They’ll “I said. them! show ‘I’ll of she feelings these myself,” having remember to son England, tiny in little was my who to mother, my to Richardson, star. rock sleeping the beside down lay and pills of fistful a took she jumping, of instead so, sealed, were windows The glass. to the inside her him join beckoned He back. looking face Brian’s was and Jagger flew to Australia to appear in Tony in appear to Australia to flew Jagger and Faithfull death, Jones’s After died. they when 27 were all They Jim. Janis, Jimi, of Brian, run stars: a rock dead began This pool. swimming a in drowned the of out paranoia, from kicked suffering was and before weeks band been who’d Jones, Brian when stuff.” that all and women I Jagger. different the all longer, Mick any it stand couldn’t with simply gets woman every of problems sort usual the got I know, you then, And myself. about bad feel to beginning was I but fun, have still could we and OK was it pretend to trying that, time after a quite for on scuttered We rules. the against completely was woman—it a as But powerful. more naughty, more wicked, more brighter, stronger, ter, bet bigger, be to on went ’em, bless God Keith, and Mick depressed. very got I heart. to all it took every thing, believed I 20. only was I newspapers. the articles in awful most The forget. never “I’ll me. told Faithfull letters,” hate terrible got “I feel. you way defiance. her to demonstrate also but Keith and Mick support to court in up showed Faithfull ashamed, be to supposed was she Though Wheel?” a on Butterfly conservative Times the in London editorial an of publication the was Crucial freedom. their public secure before helped prison sentiment in night a spent Richards and Jagger outlaws. ’n’ roll rock as reputation Stones’ the tre a was cemented There trial—that show a were. trial—almost mendous friends other two and Richards It feel. would arrogance.” my to in me occur even didn’t people how envy, middle-class and working-class about forgetting completely us, touch could nothing believed We mistake: the made all we she guess I and time, long stand,” a for fun been had couldn’t “It me. told I situation a in was I realized I ws n wu tig o o o ik t Tony to Mick, to do to thing awful an was “It h pyhc ra cm i te umr f ’69, of summer the in came break psychic The the there’s then and pose, the there’s course, Of and Jagger but arrested, not was Faithfull ne te edie “h Bek a Breaks “Who headline, the under n loe i te irr It mirror. the in looked and bathroom the to dead-eyed walked jet-lagged, up, woke she point, some At hotel. tothe got she when flight, more the took before pills ing robber Kelly, movie Richardson’s about an outlaw bank bank outlaw an about . Faithfull took sleep took Faithfull Ned Ned ------F you down.’ ” you down.’ ” grind I buggers the let kind, ‘Never motto: my you give be will to just “But, laughing. me, told Faithfull storm. the after calm the in recollected chaos record: new her That’s better.” and better gets just she by, goes time As up. chin “She her keeps questions. always emailed to response in wrote Ono more to live,” Yokomany has and already, lives many so lived has “Marianne dignified. and old grown tion had taken 150 Tuinals and was unconscious for six six said. she fordays,” unconscious was and Tuinals 150 taken had “I side. her at mother her and Mick with hospital a in up woke She go. him let nowhere, of edge the to him walked She been. he’d lonely how her told who Brian, been a personification of her time. time. her of always apersonification been has end—Faithfull the at girl proto-grunge the ’70s, of beginning the at girl heroin the end; the by chick hippie the ’60s, the of ingé beginning pure the at nue The distillation. a as stand music—and beyond life a suggest they because best—powerful Go she had lived.” A string of great records followed: followed: records Strange Weather great of string A lived.” had she how and through been had she what about clearly so spoke it “And said. Rampling record,” you that on heard person another was “It experienced. wizened, English survived. Somehow, she Adam.” from me I knew Nobody it. address. no telephone, no had found finally I London, in was addict street I a since As 17. known hadn’t I something anonymity, was an admirable life,” she wrote later. “It was total junkie a being me, “For sam to experience. of kind quest every ple her to true remained she Yet, all, it queen. a through like commanded once out she strung streets Stone,” on Rolling of A princess “Like song ragged Dylan the the like seemed she times, son. At her of custody lost she friends, painfully, with Most touch family. lost She street. the to led that hole rabbit the down was it there, From jail. in night the spent then and Jagger’s arrested, got of drunk, got out, got learned she taxi, Pérez-Mora Faithfull Bianca toengagement Macias. London a in while everybody go.” her you let it unless you into drag of lives the wrecks around it friend, old Believe me, junkies. with heartbreak of lot a seen “I’ve Records. Jagger. told Ertegun do,” to Atlantic thing one of only “There’s founder the Ertegun, and Ahmet Jagger between overheard recounts she she conversation memoir, a her In self-destructive. Watergate, too dissolution, into became At Faithfull some point, bell-bottoms. OPEC, slide the malaise: general Vietnam, a of part also was ’60s the lowed ; “Everyone has to go through it themselves,” themselves,” it through go to has “Everyone Days went by as she slept. In a dream, she met met she dream, a In slept. she as by went Days These days, she stands for the rock ’n’ roll genera ’n’ roll for rock the she days, stands These When she found her way back in 1979 with with 1979 in back way her found she When later, time short A up. broke Faithfull and Jagger Horses and High Heels them, as well. It’s a bottomless pit, and she’ll she’ll and pit, It’s bottomless a well. as them, , it was with a new sound, a new voice—gritty, voice—gritty, new a sound, new a with was it , • o Fihul te agvr ht fol that hangover the Faithfull, for for disaster search personal A a escape. numbness, to a experience from for opiates, quest to drugs expanding mind- from a switch meant suicide near R FAITHFULL, OR ; Before the Poison . Her late albums are her her are albums late Her . the period after the ; Easy Come, Easy Easy Come, Easy Broken Broken - - - -

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: MICHAEL OCHS ARCHIVES/GETTY IMAGES; GAMMA-KEYSTONE VIA GETTY IMAGES; GETTY IMAGES; © LYNN GOLDSMITH/CORBIS; REDFERNS; GETTY IMAGES (2); © BETTMAN/CORBIS. RECORD COVERS AND SONGBOOK COURTESY OF MARIANNE FAITHFULL playing records at home in home at records playing the Redlands bust, 1967. bust, Redlands the single that started it all; all; it started that single Jagger’s sentencing for for sentencing Jagger’s Reading, 1964; leaving leaving 1964; Reading, Clockwise from right: right: from Clockwise “As Tears Go By,”“As Go Tears the the courthouse after after courthouse the Give My Love to London to My Love Give Faithfull’s new album, wisdom of asurvivor. of wisdom Faithfull in 1970; in Faithfull voices the hard-won hard-won the voices SMOKE DREAMS DREAMS SMOKE “IT GIRL” GIRL” “IT

, Clockwise from above: above: from Clockwise 1979 comeback album, album, comeback 1979 Clockwise from above: above: from Clockwise short hair in 1992; the the 1992; in hair short couple touring Brazil Brazil touring couple with boyfriend Mick Mick boyfriend with a wineglass in 1980; 1980; in a wineglass Faithfull in London London in Faithfull AS YEARS GO BY GO YEARS AS cover of Faithfull’s Faithfull’s of cover sporting a suit and and asuit sporting Faithfull holding in early 1968; the the 1968; early in WILD HORSES HORSES WILD Jagger, 1969; the the 1969; Jagger, Broken English Broken singer in 1994. in singer .

“Marianne “Marianne – already, and M has has M has lived so yoko ono ore to live.” to live.” ore any lives M any

133 THE PERFECT SCORE For the soundtrack of next month’s Gone Girl, director David Fincher revived an award-winning partnership with Nine Inch Nails rocker Trent Reznor and music producer Atticus Ross.

BY CHRISTOPHER ROSS PHOTOGRAPHY BY PARI DUKOVIC

BROTHERS GRIM “It’s been an uncompromising, fantastic creative process,” says Reznor (left) of scoring films with Ross (right) for Fincher.

135 M ting his back adjusted. “I was listening to that calming, to his back that “I calming, adjusted. ting was listening laughing. The idea first came tohim whilesays, he he was get parlor!” massage a not spa, a said “I ferently: and unravel.” unravel.” and curdle to starting sound that imagine then And OK. everything’s like feel you make to tries artificially it parlors,’” says Reznor. in way massage “The hear you that music terrible really the about ‘Think said, “He with. and for RossReznor tostart inspiration specific very a had Fincher Pike), Rosamund by (played wife his of murder possible and disappearance the sus- in a pect becomes who Affleck), Ben by Nick (played husband, Dunne a about thriller literary best-selling pelling interdisciplinary partnerships. com most today’s of one formed they’ve 2000, since Reznor’s of collaborator a Ross, with Together noia. para and terror of visions shot gorgeously delivered with films—including decades two past the over success critical commercial and both achieved similarly who unlike Fincher’s, not is arc career His workdays. eight-hour of regimen a strict a and maintains he and T-shirt, black haircut tight trim a music sporting he’s ’90s festivals—today of banshee mud-caked from long-haired, transformed the he way, the Along soundscapes. anxi synth-riddled produced, alienation, expertly but bleak ety—into emotions—rage, dark channeled a Hole” that Like “Head and “Closer” follow like hits with ing global a the built he present, through “industrial.” the into albums and 1990s studio as major eight classified Releasing music heavy, of genre the machine-made in figure pioneering a been has about the walls closing in on Nick. How does that sound?” that How does Nick. on in closing walls the about Girl Gone For first. narrative put always right, far Ross, and he says right, Reznor, MUSIC THE BEHIND is soe o 2010’s for score first Their high: are expectations and auteur, the with tion collabora third is their This week. is due following the his first Nine Inch Nails album, album, Nails Inch Nine first of his release 1989 the since who Reznor, for That first a orchestra. was live a with before day the recorded baritone. asonorous in deadpans he workload,” of terms in overwhelming of verge the on was been which hasn’t it say Music, can’t “I Apple. by Beats acquired recently with work his continuing also tour,while NIN a on road the hitting be he’ll in, is score the as soon As day. the of beverage seventh caffeinated his on man a of manner the with chair his in tensely sits frontman, Nails Inch Nine 49-year-old the Reznor, cigarette. electronic an on distractedly Reznor, pulls with co-produced frequently has who ducer pro and composer London-born cerebral a 46, Ross, soundtrack. best for Grammy a and nod Globe Golden movie, new Fincher’s on 2011’s on effort second their and music, original best for Oscar Fincher recalls the initial conversation slightly dif slightly conversation initial the recalls Fincher For Today they’ll listen to music for the film they they film the for music to listen they’ll Today Gone Gone Girl The Girl With the Dragon Tattoo Tattoo Dragon the With Girl The , an adaptation of Gillian Flynn’s 2012 Flynn’s of , Gillian adaptation an Seven USICIANS USICIANS fatalism. Their score for David David for score Their fatalism. game of air an with deadline ing approach rapidly a of barrel down the staring Hollywood, in stu dio a in sitting are Ross Atticus Gone Girl Gone h Sca Network Social The , Panic Room , in theaters October 3, 3, October theaters in , RN REZNOR TRENT Pretty Hate Machine Hate Pretty and Zodiac and , “We’ll think think , “We’ll garnered a a garnered netted an —that —that and and ------, his hand at creating an entirely new soundtrack for for soundtrack new entirely an creating at hand his to try Reznor to ask he decided that score a temporary album 2008 NIN’s from elements using of versions early on working was he when sequence 1995’s of credits opening on the “Closer” Reznor’s of a remix used and “Only” single 2005 NIN’s for video music the director made careers—the earlier their in paths artistic crossed arrangements. orchestral by the accentuated and melodies piano doleful with interspersed synths haunting of lilting, posed a com score you a give is result to The hug.” attempting that’s music with start to was notion the So wife. good the Christian, good neighbor, the good the of facade the about is movie The this. into tap to need we thought, and music placating Fincher and Reznor had had Reznor and Fincher Seven h Sca Network Social The . But it was only only was it But . - and found himself creators—what creators—what “they’re world world “they’re unlike what cgi unlike Ghosts I-IV Ghosts they do with with do they music is not not is music –d artists do visually.” avid as as

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GROOMING BY KRISTEN SHAW las ‘ht eln ae o tyn t evoke?’ to trying you are feeling ‘What always, almost is conversation “The Fincher. says reverb,’ ” of lot a have to sonic needs as ‘This never, “It’s themselves storytellers. seeing team, his with and narrative Fincher of language the speak two the ties, How Nick. for technicali on in focusing of Instead sound?” closing that does walls the of about feeling that think “We’ll Reznor. says mode,” sub conscious purely in operate and tangents on off go to us for fun “It’s onscreen. developing was what reflected work Their film. the for themes raw of hours two in resulted that music of batches composed Ross and on.” we open music same the on we close But that so feels sick. that to something loving and something warm feels from itself within “mutating Ross, of story,” the journey the piece says “The travels dies. melo- orchestral queasy into movie the with evolved gradually that a sound playing synthesizers, homemade with while motif woodwind-esque haunting the When onscreen. on appeared beginning that hum polisher the to floor score a the of tuning scene one in sounds, industrial and and music between Reznor line the landscapes. blurred Ross Nordic icy, film’s the Sanders and Lisbeth hero hacker-punk its befitting ity, rgn Tattoo Dragon for score The King.” Mountain the of Hall The Moog-like “In piece 1875 madcap, Grieg’s Edvard of Reznor’s version fit sequence—was to Regatta entirely edited in Royal much- minutes scene—the Henley one 10 applauded and score, down the film to response the trimmed actually Fincher keel. off vertiginously running mind electronica of danger speeding a in pointillist reflect to seemed and rhythms whose synths ’80s-era with responded Ross and Reznor and creativity,” of sound different the all art.” of piece one be to need film the of cinema, elements the in experience porting trans that create “To says. he DNA,” film’s the of part becomes music “The seamlessness. of feeling a score the says gives that end,” says, Ross the quality, that to it’s But Reznor. up right rewriting and modifying and you’re fixing work the because the times multiple “It’s shapes that script direction of theas film alternate it isin turn shaped bythe film. an like operating production, movie’s the with tandem in evolves score Fincher with their that so shot, been music has scene first of the before even role the about talking begin tion, (as or Adele fordid Bond credits itera James latest the contribute anmight original songstar to playpop a over most, the filmAt titles Fincher. says yard,” the things by buying “Like efficiency. on emphasis the puts that cut-to-fit a procedure It’s stages. editing final the in or compos locked already are that trained films for scores write ers classically Ellis, Warren and Cave Nick musicians Australian by soundtrack original an 2009’s and scored, Greenwood 2007’s notably a few exceptions, With cinema. mainstream in Fleetwood.) 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© 2014 DOW JONES & COMPANY, INC. ALL RIGHTS RESERVED. 6AO1394 142 wsj. magazine Follow @WSJnoted or visit us at wsjnoted.com still life GIORGIO ARMANI The master of understated luxury shares a few of his favorite things.

PHOTOGRAPHY BY ALESSANDRO FURCHINO

“I’VE HAD THOSE BRONZE sculptures on the left and the box set of Christopher Nolan’s Batman trilogy because larger crab paperweight below because I am a cancer right sides, representing two panthers, in my house in I designed Bruce Wayne’s clothes and because it’s a sign and because I have always found inspiration in Milan for two years. I find them confident, powerful dark and mysterious movie, with a tormented, gloomy the natural world. The other two objects on top of the and elegant. The Oriental Art-Deco style of the lamp, hero. Beneath that is The Little Prince, by Antoine books are Murano glass creations—I am fascinated with its simple geometric lines, has always been a de Saint-Exupéry. I like the apparent simplicity and by how they manage to create complex works of art source of inspiration. The photograph is a family por- naturalness with which the author says great truths, with such delicate material. I refer to the Les Années trait from the mid-’90s of me with my mother, sister, without emphasis, but with a touching tone. The bot- 30 books, as I’ve always been interested in the visual nephew and nieces in Piacenza, Italy, the city where tles are Bois d’Encens, a fragrance from the Armani/ arts of the ’20s and ’30s, which is reflected in my fash- I was born. The wooden leopard figurine represents Privé line created per my specific request. It seems ion. It was a period of emancipation, probably the two my love for big felines, animals that express agility intense but is actually light and remains imprinted on most chic decades of the century. I included a T-shirt, and vitality. At points in my life I have had up to five the memory. Those are my personal eyeglasses; I love so simple and elegant. If it didn’t exist, I would have to cats; I now have two, Angel and Mairi. I included the round frames. I have the little crab on the table and the invent it.” —As told to Christopher Ross

144 wsj. magazine MACY’S MACYS.COM ® , Inc. BLEU ® 014 CHANEL

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