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MASTER THE LIGHT

may 2014

28 EDITOR’S LETTER 32 CONTRIBUTORS 36 COLUMNISTS on Obsession 112 STILL LIFE Michael Cunningham The Pulitzer Prize–winning author shares a few of his favorite things. Photography by Brian W. Ferry

What’s News.

39 The Met’s Renovated Costume Center Eve Kaplan’s Abstract Ceramic Sculptures

42 The Frieze Art Fair’s Pop-Up Hotel Pro-Level Bar Tools

44 A Club Monaco Line Gives a Nod to Tulum Sustainably Sourced Scents Gain Traction Rotring’s Versatile Pencil-Stylus Hybrid Andrew Wyeth Watercolors Show in D.C.

45 Norway’s Design Heritage Gets a Second Look Ocean-Inspired Home Accessories A Handbag Salutes Fiamma Ferragamo

46 Chef André Garrett Cooks at Cliveden House Five Stylish Men’s Anoraks for Spring Showers An All-Black Timepiece from Emporio Armani

48 A New Monograph Celebrates Bruce Nauman

the exchange.

51 TRACKED: Dan Colen The artist looks back with a retrospective at the Brant Foundation. By Christopher Ross Photography by Tim Barber 54 DESIGN’S DYNAMIC DUO Architecture firm Fuksas generates aesthetically daring buildings. By Ian Volner 56 JAPAN’S RED-CARPET SERVICE The Land of the Rising Sun has perfected hospitality culture. By Oliver Strand Illustration by Patrik Svensson

ON THE COVER Julia Roberts photographed by Josh Olins and styled by Elin Svahn. Céline sweater and her own rings. For details see Sources, page 110. 76 THIS PAGE The living room of interior designer Steven Volpe’s San Francisco home, photographed by Mark Mahaney. 92

84 106

Market report. style and design issue.

59 CLOSE ENCOUNTERS 68 THE GODDESS OF 96 THE CULT OF Five pieces that loom large over today’s SMALL THINGS CAVIAR KASPIA design landscape. Academy Award–winning actress This hidden Parisian spot has Photography by Adrian Gaut Julia Roberts brings her star power to produced the fashionable set’s Styling by Jocelyne Beaudoin the small screen in a new HBO film. fuel for nearly 90 years. By Elisa Lipsky-Karasz By Julia Reed Photography by Josh Olins Photography by Nacho Alegre Styling by Elin Svahn 100 THE TINKERER 76 KING OF THE HILL Tyler Hays founded a design firm, Interior decorator Steven Volpe’s BDDW, and created a homegrown San Francisco apartment showcases vernacular all his own. his one-of-a-kind design collection. By Robert Haskell By Sarah Medford Photography by Martyn Thompson Photography by Mark Mahaney 106 WILD THING 84 WELL SUITED Artist Walton Ford has become Model Liu Wen powers through famous for wildlife paintings that a season’s worth of looks that take bring a primal kingdom indoors. menswear into a feminine realm. By Claire Howorth Photography by Daniel Riera Photography by Leonora Hamill Styling by Sara Moonves

CLOCKWISE FROM TOP LEFT 92 STATES OF GRACE Grace Coddington with her cat Bart; Fashion icon Grace Coddington artist Walton Ford in his studio; collects everything from ceramics model Liu Wen wears a Tom Ford jacket and trousers, Trademark necklace and curios to folk and feline art. and Saint Laurent by Hedi Slimane belt. By Tim Blanks New Yo rk, D&D Building, 979 Third Avenue, Suite 1424. Tel. +1 212 334 1271 For details see Sources, page 110. Photography by Arthur Elgort CLOCKWISE FROM TOP LEFT: ARTHUR ELGORT; LEONORA HAMILL; DANIEL RIERA Miami, 10 NE 39th Street, Miami Design District. Tel. +1 305 573 4331 Los Angeles, Pacific Design Center, 8687 Melrose Avenue, Suite G170, West Hollywood. Tel. +310 358 0901 8. Repeat 1. Observe low-fuel DRIVING DIESEL warning light DRIVING LEXUS HYBRID DRIVE

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STUDY IN CONTRASTS Bast shows that a feline fi gure looks good in print, while Anubis remains stoic in a solid three-piece suit. Both wear Dolce & Gabbana.

WHILE REVIEWING LAYOUTS for our May Design issue, disparate elements, whether it means helping a cli- larger design (one that, conveniently, has provided we stumbled upon an unexpected theme running ent balance a trifecta of architecture, design and art, her with a long and brilliant career). But she’s grate- through several of this month’s features: animals. or fi nding a way to match a 1930s Jean-Michel Frank ful above all for her loving family and their ability This leitmotif—see Grace Coddington and her cats; console with a 2011 Rick Owens chair in his own foyer. to live a miraculously normal life. Whatever your artist Dan Colen’s stock of cows, chickens and lambs; Curiosity and energy are also traits that defi ne approach to design—whether it’s about fashion, fur- and Walton Ford’s wildlife paintings—may not have Tyler Hays, founder of the furniture fi rm BDDW. In his niture or fi nding a family pet—we hope this issue YORK NEW AVENUE MADISON 870 been intentional, but as a psychoanalyst might say: quest to develop a modern American design vernacu- o› ers ample inspiration. There are no accidents. Creatures that combine evo- lar, Hays draws on countless infl uences, from Shaker lutionary e­ ciency with an organic versatility are a furniture to elk blood (used to dye T-shirts). What’s kind of paradigm of good design in themselves. made his business successful is an undying commit- Even acclaimed interior designer Steven Volpe, ment to his specifi c vision—his tripod lamp, initially a whose gorgeous Pacifi c Heights mansion we visit poor seller, is now one of his most iconic pieces. in this issue, accessorizes his home with a Norfolk Our cover story on Julia Roberts reveals that Kristina O’Neill terrier and a French bulldog. Aided by his boy- the Oscar-winning actress frequently invokes fate, [email protected] ish enthusiasm, Volpe has a knack for harmonizing alluding to the possibility that we are all part of a Instagram: kristina_oneill

 .  EDITOR IN CHIEF Kristina O’Neill

CREATIVE DIRECTOR Magnus Berger

EXECUTIVE EDITOR Chris Knutsen PUBLISHER Anthony Cenname GLOBAL ADVERTISING DIRECTOR Stephanie Arnold MANAGING EDITOR Brekke Fletcher BUSINESS MANAGER Julie Checketts Andris BRAND DIRECTOR Jillian Maxwell FASHION NEWS/FEATURES DIRECTOR Elisa Lipsky-Karasz COORDINATOR Molly Dahl

DESIGN DIRECTOR Pierre Tardif EXECUTIVE CHAIRMAN, NEWS CORP Rupert Murdoch CHIEF EXECUTIVE OFFICER, NEWS CORP Robert Thomson PHOTOGRAPHY DIRECTOR Jennifer Pastore CHIEF EXECUTIVE OFFICER, DOW JONES & COMPANY William Lewis EDITOR IN CHIEF, THE WALL STREET JOURNAL Gerard Baker SENIOR EDITOR Megan Conway SENIOR DEPUTY MANAGING EDITOR, THE WALL STREET JOURNAL Michael W. Miller MEN’S STYLE DIRECTOR David Farber EDITORIAL DIRECTOR, WSJ. WEEKEND Ruth Altchek

FASHION MARKET/ACCESSORIES DIRECTOR David Thielebeule HEAD OF GLOBAL SALES, THE WALL STREET JOURNAL Trevor Fellows MARKET EDITOR Preetma Singh VP MULTIMEDIA SALES Christina Babbits, Chris Collins, Ken DePaola, Etienne Katz, ART DIRECTOR Tanya Moskowitz Elizabeth Parks, Mark Pope, Robert Welch VP VERTICAL MARKETS Marti Gallardo PHOTO EDITOR Damian Prado HEAD OF DIGITAL ADVERTISING AND INTEGRATION Romy Newman ASSOCIATE EDITOR Christopher Ross VP GLOBAL MARKETING Nina Lawrence VP STRATEGY AND OPERATIONS Evan ChadakoŒ PRODUCTION DIRECTOR Scott White VP AD SERVICES Paul Cousineau VP INTEGRATED MARKETING Paul Tsigrikes RESEARCH CHIEF John O’Connor EXECUTIVE DIRECTOR, WSJ CUSTOM STUDIOS Randa Stephan SENIOR DIRECTOR, EVENTS Sara Shenasky JUNIOR DESIGNER Dina Ravvin SENIOR MANAGER, 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 Raveena Parmar AD SERVICES BUREAU ASSOCIATE Laura Chernyavskiy

FASHION ASSISTANTS Katie Quinn Murphy, Sam Pape DIRECTOR OF CORPORATE COMMUNICATIONS Colleen Schwartz 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, Claire Howorth, Howie Kahn, Joshua Levine, WSJ. Issue 47, May 2014, 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. CONTRIBUTING SPECIAL PROJECTS DIRECTOR Andrea Oliveri Magazine is provided as a supplement to The Wall Street Journal for subscribers who receive delivery of the Saturday Weekend Edition and on newsstands. WSJ. Magazine is not SPECIAL THANKS Tenzin Wild 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.

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THE GODDESS OF SMALL THINGS P. 68 Few Hollywood celebrities embody the term “movie star” more fully than May’s cover subject, Julia Roberts. But shooting in Malibu, California, with stylist Elin Svahn, photographer Josh Olins felt a mixture of awe and ease. “When I looked through the camera,” he says, “I’d think, ‘I can’t believe it’s Julia Roberts we’re having such a laugh with!’” Just one day before the Academy Awards, the shoot seemed to provide a respite before the impending red-carpet storm—if not the actual rainstorm that drenched the set. “She was totally game for posing in the rain,” says WSJ.’s Fashion Features/News DirectorElisa Lipsky-Karasz, who interviewed Roberts for the cover feature. For Lipsky-Karasz, sitting down with the actress proved fruitful in more ways than one: “We talked about balancing work and motherhood. It was the first time I’d left my son, Arthur, then 3 ½ months. I needed all the advice I could get!”

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#progressmakers © 2014 Citigroup Inc. Citi and Citi with Arc Design are registered service marks of Citigroup Inc.  THE COLUMNISTS WSJ. asks six luminaries to weigh in on a single topic. This month: Obsession.

DANIEL ANNA SEBASTIAN AMY MARIO SARAH BOULUD NETREBKO KNUTSSON CHUA SORRENTI SZE

“By nature, chefs are “Obsession is a kind “When I was a kid, I “Obsessive people tend “When I shot the “In the creative process, already pretty obsessed of sick thing, I think. played ‘Tetris’ so much not to be very good at Obsession campaign obsession changes people. It takes a lot It’s not a very positive I could actually see the leading happy, balanced for Calvin Klein in the linear time. You become of perseverance and word for me. The people patterns in front of my lives, and they’re not ’90s, I was going out with entirely engrossed: stamina to be able to who are driven by obses- eyes even when I wasn’t very fun to be around. Kate [Moss], and we were Time becomes lost, become a great chef. sion tend to be very playing. It was that sort They’re tormented. fairly young. We were elastic, and things shift If you want to be an sensitive people and of gaming obsession. But at the same time, really in love. All the and glide in ways that Olympic swimmer or very strong in a way, but Games in particular do obsessions are responsi- guards are down when we don’t usually experi- champion, you have to also weak because they have a way of sucking ble for so much of human you’re with somebody ence in the world. It’s obsess about training cannot protect them- you in, so you don’t stop greatness and accom- you completely trust, not only when you’re for something like eight selves. Obsession can thinking about them. plishment throughout which led to these creating but also when hours a day. Cooking really ruin a personality With ‘Candy Crush,’ history: Michelangelo, incredibly intimate you’re experiencing is usually 12 hours and the person them- there’s a continuous Beethoven, Einstein, photographs. I think art, like a piece of music a day. Everyone I know selves. I guess it’s good loop of positive feedback Steve Jobs. How many Calvin recognized in my you’re obsessed with. who is a chef like me to experience, but it’s that keeps bringing the people who have photos a sort of darker, That’s why people has a devouring passion even better if you stay players back: It becomes changed history would deeper mood. I had this become addicted to the about being truly away from it. The fact very challenging and you describe as ‘chill’? raw thing I was trying to creative process. This creative and attending is, if you’re really dying frustrating, but when What obsession gives achieve with my images. kind of obsession has to perfection all the to have something, it’s you get past the hurdles, people is an almost To me, the pictures of nothing to do with anxi- time. We are fanatic usually sort of run- you get this happy pathological focus and Kate were a declaration ety and in many ways about cleanliness, order, ning away from you. feeling of reinforcement. single-mindedness. But of love, but other people is a relief from anxiety. avoiding waste. I can Obsession occurs for You feel annoyed when sometimes the success took them in a di–erent When I start to dream see 20, 40 feet away me when I fall in love. you can’t complete it, that obsession generates way. I remember we were about a piece of art I’m something wrong in the It’s horrible. I hate it. so you feel elated when can come at the cost of trying to find a sound- working on, that’s when dining room that no one It’s like a sickness—you you do. People often others. I became a little track for the commercial, I know I’m in the middle else has seen: a napkin can’t do anything, you connect obsession with obsessed with making and I ended up going into of an interesting pro- on the floor or a frame only think about that something negative, my two daughters real- a recording studio and cess. I’ve lately become that’s a little sideways. one thing. You’re wait- but obsession can har- ize their potential with talking about how I felt sort of obsessed by Chris We always try to enforce ing for phone calls. ness your focus and get their piano and violin about Kate and added Marker’s movie La Jetée. a certain order of func- It can be beautiful, but you to actually deliver. playing. But even now some hard, ambient It’s about a person who’s tioning, and it quickly I don’t like to be weak— That’s how I try to work, my daughter will say, sounds. When that was obsessed with an image becomes an obsession I don’t like to be under actually—I get slightly ‘Wow, I can’t believe I edited together with all of his past, and because to maintain that. Your the control of something obsessed with a new played the Mendelssohn the imagery, it did end he’s so obsessed, people ambition drives your else. When you are game or project, sit up concerto at 13.’ There is up feeling a bit obses- can use him as a tool obsession and your obsessed and in love, late at night, get into a satisfaction, a real feel- sive and crazy. But at the for time travel. I love obsession drives your you’re silly and stupid, flow and just try to ride ing of joy and fulfillment, time I was just trying this idea that obsession ambition. I don’t know and your whole life the wave.” in the product of obses- to hold on to something liberates you from which comes first.” stops around you. I like sion that I think people very precious.” linear time and allows being in control—I have underestimate.” you to become a vehicle too many things to do.” for something else.” Boulud is a Michelin-starred Knutsson is chief creative Chua is a Yale law professor chef and restaurateur. o cer at King Digital Enter- and the author of Battle Hymn Sze is an artist who creates His DB Brasserie opens in tainment, the developer of the of the Tiger Mother and co- Sorrenti is a fashion and art sculptures and site-specific Las Vegas this month. Netrebko is an opera singer. game “Candy Crush Saga.” author of The Triple Package. photographer. installations.

 .       &   what’s news.  

THE EXHIBITIONISTS The Costume Institute’s Andrew Bolton (le ) and Harold Koda stand among a trio of Charles James’s dresses.

HAUTE-TECH FASHION The Met’s fabled Costume Institute celebrates its renovated and newly named gallery space this month with a state-of-the art exhibition celebrating the exquisite creations of couturier Charles James.

BY CHRISTINA BINKLEY PHOTOGRAPHY BY MATTHEW KRISTALL

THIS MONTH, after a two-year, $40 million reno- to the physics of fabric,” says Koda—making him the like Millicent Rogers and Dominique de Menil—felt astercollection by mariacanale forforevermark vation, the Metropolitan Museum of Art unveils perfect match for the newfound center’s technologi- nearly weightless. its Costume Institute’s revamped galleries, newly cal prowess. The center’s state-of-the-art additions extend Beautiful, rare,and responsiBlysourced—forevermark diamonds. christened the Anna Wintour Costume Center, with Visitors to the 4,200-square-foot space will have beyond the main gallery to a new conservation lab, an inaugural show dedicated to master couturier the opportunity to hear recordings of James’s voice equipped with wide doors to accommodate large Charles James. James occupies an almost saintly and see three-dimensional projections that reveal gowns, a wet lab for treating fabrics and a fume- position in the fashion world—Cristóbal Balenciaga interior layers of the roughly 70 garments on dis- extraction unit. There’s also an updated storage called him “the world’s best and only dressmaker”— play—all via a new sound system and advanced system to handle the museum’s collection of more but it was not merely his stature or influence that video technology. X-ray images will display the than 35,000 costumes and accessories, sourced from led curator-in-charge Harold Koda to select him as complex inner structure of the designer’s midcen- five continents and dating back to the 16th century. the crown jewel for the institute’s renovation. The tury ball gowns, whose foundations of millinery These changes mark the first major modern- show’s title, “Charles James: Beyond Fashion,” is an blocking net, willow and buckram can weigh up to ization of the museum’s fashion wing since 1992. allusion to the scientific approach and mathematical 12 pounds. Thanks to James’s rigorous approach Originally opened as an independent entity in tailoring that underpin James’s famously sculptural and detailed knowledge of anatomy, the volumi- 1937, it merged with the Met in 1946 and came into designs—“So much of what he did was antithetical nous, architectural dresses—worn by socialites its own as a curatorial showcase in the 1970s > 1.800.365.7989 neimanmarcus.com/forevermarkdiamonds

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under the supervision of legendary Vogue editor Diana Vreeland. Incorporating music, lighting and props, Vreeland transformed the sleepy depart- ment into a theatrical platform for lavish, visually rich exhibitions such as “The World of Balenciaga” and “The Glory of Russian Costume,” redefining what such exhibitions could be and sparking unprec- edented boosts in attendance. Current Vogue editor in chief (and Condé Nast’s artistic director) Anna Wintour has played a similarly active role, raising approximately $125 million for the institute and revamping its annual gala from a garden-variety fund-raiser into a glamorous red-carpet event that attracts Hollywood celebrities and fashion-world luminaries. Following the Brooklyn Museum’s trans- fer of its costume collection in 2009 (they supplied much of the Charles James materials), the institute is now home to one of the largest and most compre- HAVING A BALL hensive costume collections in the world. Clockwise from top le‚: In recent years, the Costume Institute has hosted Diana Vreeland some of the museum’s most popular and successful preparing the famed 1973 Balenciaga show; exhibitions. “Alexander McQueen: Savage Beauty” in a dress from the 2011 was one of the top 10 most visited ever; mem- institute’s Jacqueline bership doubled from the previous year, and the Kennedy exhibit; Anna Wintour at the show was extended a week due to public demand and gala for the Prada/ caused the museum to stay open until midnight for Schiaparelli show, 2012; the first time in its history. a display from 2011’s “Alexander McQueen: What excites the institute’s curators now are Savage Beauty.” the center’s versatile facilities, built to accommo- date quick transitions between shows. “The idea behind it was to create a more tabula rasa place,” with New York’s Gensler design firm, says technol- Prada and Elsa Schiaparelli, for which filmmaker says Costume Institute curator Andrew Bolton, a ogy is helping turn museum exhibits into a kind of Baz Luhrmann filmed Prada in imaginary conversa- “white cube” that will allow the museum to create “hyperreality” by blurring the distinction between tion with Schiaparelli, played by actress Judy Davis. “more conceptual” exhibitions. Bolton is consider- performing arts and traditional displays. “It’s the They also plan to reach out to other artists—such as ing a multimedia installation that would explore the idea of intensifying the viewer experience,” she says. Sofia Coppola, Nick Knight and Chris Cunningham— sounds generated by fabrics. “I always wanted to do In its new capacity, the Costume Institute will with innovative approaches to storytelling and a show called ‘The Rustle of the Bustle,’” he quips. eventually extend its exhibition season to 10 months technology. Another idea Bolton and Koda have discussed is aim- a year and plans to mount two to three shows annu- The institute has in many ways mirrored the ing digital projections at mannequins to explore the ally, interspersed with smaller displays drawn from changing perceptions of fashion through time, and changing silhouette of men’s suits over time. the permanent collection. Bolton has long dreamed of the redesign above all promises to add new dimen- Met director Thomas P. Campbell is pursuing doing a “Freud and Fashion” show, which would bring sions to the public’s understanding of the creation of digital technology as a means to bring collections to a psychoanalytic perspective to fashion. a piece of clothing—a process that can be as complex life throughout the museum, a larger trend within The curators intend to sponsor more collabora- as painting or sculpture. “Fashion is an art form,” the industry. Maddy Burke-Vigeland, a principal tions like the 2012 exhibition on designers Miuccia says Bolton. “That’s what we want to show.”

   EARTH, GILT AND FIRE

As an art student in the ’70s, Eve Kaplan worshipped the Abstract Expressionists, adopting a gutsy style she describes as “all of my hand.” She then began restoring gilt-wood antiques, learning the vernacular of Baroque and rococo decoration that filtered into the ceramics she began making a decade ago. In 2009 Kaplan showed her experiments in earthenware, MARK DAVIS low-fire glazes and gold (at le† is Five-Piece Garniture) to antiques and contemporary design dealer Gerald Bland, one of her restoration clients. Soon tastemakers like decorator Michael Smith were lining up to take them home. This month Kaplan’s first solo exhibition inaugu- rates a new Manhattan location for Bland. One standout piece: a gilt chandelier with arms like a loose-limbed de Kooning woman. “The chandelier was a bit terrifying, to be honest,”

she admits, “but I can’t wait to do it again, bigger.” $8,500 to $30,000 —Sarah Medford CLOCKWISE FROM TOP LEFT: © BETTMAN/CORBIS; © JFK LIBRARY FOUNDATION; BFANYC.COM; © THE METROPOLITAN MUSEUM OF ART BARNEYS.COMNEW YORK BOSTON CHICAGOLAS VEGASLOS ANGELES SANFRANCISCOSCOTTSDALESEATTLE

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  CHECK IN AT FRIEZE This May, Frieze Art Fair New York, on Randall’s Island, will feature a restaging of artist Allen Ruppersberg’s iconic Al’s Grand Hotel, which for six weeks in 1971 converted a Cra­sman house on Hollywood’s Sunset Boulevard into a gallery, performance space and fully functioning hotel. Organized in collaboration with the Los Angeles–based art space Public Fiction, the

SELTZER BOTTLE installation within the fair will welcome guests for both daytime visits and overnight stays while Morgenthaler recommends the the event lasts (May 8 to 12). Frieze Projects curator Cecilia Alemani and Lauren Mackler, iSi soda siphon, which provides a home bar with an endless founder and curator of Public Fiction, spoke with Anne Prentnieks about the project. supply of super-fizzy club soda. $100; isi-store.com The original Al’s Grand Hotel was in Los Angeles. How do you think the restaging will change in a New York context? Cecilia Alemani: “We are very aware that it is a completely dierent scenario. My hope is that the hotel at Frieze will function as a space where people can physically and mentally take a break from the bombardment of the other galleries ICE SAW at the fair and walk into a time capsule where you can almost jump back to 1971.” The Takumi Dozuki hand saw’s fine-tooth crosscut edge Lauren Mackler: “Instead of being six weeks, it’s five nights. Instead of a huge will produce perfect, precise house with seven rooms and multiple in-rooms, it occupies the space of three blocks for your old-fashioned. booths. So the translation from the past project to the new project—either from $60; woodcra .com Los Angeles to New York, or from the house to an art fair—is the space where we have an opportunity to make something new. On top of that, Al and I are collaborating on new elements.”

Will guests see visuals of the original Al’s Grand at Frieze? LM: “Yes, they’ll be seeing backdrops of the original. Cecilia’s curatorial vision is that she’s creating a tribute, and what we’re doing on top of that is layering a new experience.” CA: “I think it’s also important to add that we are not a museum. The Frieze Projects’ series of tributes have never been meant as a re-creation.”

BARREL Barrel aging cocktails is one OPEN FOR BUSINESS Clockwise from top: Will items within the hotel be for sale, as with the original? of home bartending’s biggest Inside the tents at last year’s Frieze Art LM: “We decided that nothing will be for sale, except for beer, postcards and trends: Batch up some aged Fair New York, on Randall’s Island; matches. We’ll have a little bar. It’s very much meant to be a place for gathering.” Negronis with this white-oak a brochure for the original 1971 Al’s Grand

model. $60; tuthilltown.com Hotel, in Los Angeles; the work’s signage. Hotel reservations: 646-578-8471 COURTESY OF JONATHAN HÖKKLO/FRIEZE (FRIEZE NY); COURTESY OF ALLEN RUPPERSBERG

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    HOTEL LIVING NORWAY HOME Devotees of the Coqui Coqui boutique hotels in Mexico’s Yucatán Peninsula can now dress as Scandinavian midcentury modernism has long enjoyed a if they were in Tulum without trekking to the beach town. This summer, Club Monaco is oering devoted following, but even hard-core enthusiasts might draw a capsule collection of Coqui Coqui–inspired pieces designed by Francesca Bonato, who owns a blank at the names of Norwegian masters Sven Ivar Dysthe the intimate retreats with her model husband, Nicolas Malleville. On oer will be sandals, rebozo and Torbjørn Afdal. In contrast to that of its Nordic neigh- scarves and fragrances (favored by the hotels’ fashion industry regulars), all hand-produced bors, Norway’s design heritage is still an emerging market.    in Mexico. “We love everything that is artisanal,” explains Bonato. coquicoquiperfumes.com Fuglen, an Oslo-based coee-and-cocktail bar that moonlights as a vintage furniture store and design gallery—and recently MUST SEA launched a Tokyo bar-cum-gallery with Japanese artist Takashi When Italian silversmiths Murakami—is working hard to change that. This May, cour- Pampaloni gave designers tesy of Fuglen, “Norwegian Icons,” a traveling sales exhibition George Yabu and Glenn showcasing 500 period furnishings, will take over a NoLIta Pushelberg carte blanche to storefront for 10 days. And at New York’s Collective Design Fair create home accessories, next week, the Fuglen booth will feature colorful ’50s Grete they plunged in. The results    Prytz Kittelsen dishware and a 1955 hide-back lounge are two ocean-inspired by Fredrik Kayser. “Our furniture industry was ignored and forgotten, even by Norwegians,” laments PURE ESSENCE collections: a trio of nautical current Fuglen owner Einar Kleppe Holthe, who, along with vintage-furniture dealer Peppe Trulsen tabletop pieces and a series and mixologist Halvor Digernes, has transformed the ’60s coee shop into a clubhouse of the city’s Forget “fruity floral.” The fragrance of whimsical yet functional ), ), COURTESY OF COQUI COQUI; © ANDREW WYETH creative class. (Even the chairs and teak tables at which patrons sip espresso and gin fizzes are for sale.) buzzword du jour is “transparency.” objects such as this urchin- A challenge of promoting the region’s rich legacy is that there is no singular aesthetic. “[Norwegian Consider the latest addition to like bowl. “We’ve always high design] grew out of localized traditions, which you can see in the diversity of pieces,” Holthe industry giant Givaudan’s Innovative had a fascination with the continues. “At the same time, there was a lot of dialogue between craœs and disciplines.” That’s a Naturals program, which as of otherworldliness underwater,” tradition that Fuglen is keeping very much alive. norwegianicons.com —Jen Renzi January ensures the sustainable explains Pushelberg. planting and local distillation Available exclusively at New York City’s of Malaysian patchouli via a From left: Rebozo la Avenue Road, 212-453-9880. Piedad scarf, Virginia GENIUS BAR partnership with Borneo’s Balung sandals, Viva Mexico The midcentury-modernist printed tote, cotton coin River Plantation. It’s a coup for interior of Oslo’s Fuglen, necklace, all part of the a coee shop, bar and design Coqui Coqui for Club the responsible-ingredient-sourcing emporium. Above: A 1955 Monaco collection. For Fredrik Kayser lounge. movement—and for GaiaOne, details see Sources, page which helped broker the deal. Set up 110. Above: A room at the Coqui Coqui hotel and by New York–based entrepreneur spa in Tulum, Mexico. Elizabeth Gaynes, the company has helped Balung market its essential oils since 2008. But before teaming with Givaudan, Gaynes had another SO SKETCHY high-profile partner lined up: Helena Those who draw for a living— Christensen. “We both have boys designers, artists, architects, at the same school,” the Danish inventors—swear by the supermodel says of their introduc- mechanical pencils from German tion. Now the duo, under their newly company Rotring, which minted artisanal perfume brand, has been manufacturing writing NEW VINTAGE ERH1012, is o—ering deadofnight, Ferragamo’s latest accessory WINDOW TREAT instruments since 1928. This a blend of Balung’s oud oil, violet pays homage to the brand’s luxe legacy. Painter Andrew Wyeth’s 1975 watercolor month, analog meets digital with Named the Fiamma, aer Salvatore leaf, amber, sandalwood and white Rod and Reel is one of the showstoppers the introduction of this pencil- Ferragamo’s late designer daughter—the

musk for an “intoxicating and from this month’s “Looking Out, Looking stylus hybrid, which is as precise , 1975, DR. AND MRS. JAMES DAVID, © ANDREW WYETH; COURTESY OF VENDOR (PENCIL) creative mind behind hits such as the hypnotic” e—ect, says Christensen. In,” an exhibition of Wyeth’s window Vara flat—the ladylike handbag is paintings—some showing in public for the on touch screens as it is on paper. available in five sizes in python, calfskin —Celia Ellenberg first time—opening at the National Rotring 800+ mechanical pencil and stylus. and other materials. Crocodile Fiamma

For details see Sources, page 110. Gallery of Art in Washington, D.C. For details see Sources, page 110. COURTESY OF BALUNG PLANTATION, COURTESY OF VENDOR (GAIAONE); ROD PHOTOGRAPHYAND REEL BY F. MARTIN RAMIN, STYLING BY ANNE CARDENAS (PRODUCTS handbag, $27,000; ferragamo.com

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WN Gaia, Coqui, Pencil, Wyeth, Fuglen, Urchin, Ferregamo - 02 [PU].indd 44 4/3/14 3:18 PM  $QQSPWFEXJUIXBSOJOHT ’ 

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ENERGIZING THE ANORAK Men’s outerwear requirements for spring are as follows: Lighten up and stay dry. Accordingly, the pullover anorak is the perfect transitional piece—not to mention a breeze to pack. This season brings myriad options—from floral to canary yellow—equally suited to sun and showers. —Tasha Green

From left: Bally waterproof nylon jacket, Dries Van Noten rose-print Vance jacket, Gucci double-face poly poplin windbreaker, Burberry Prorsum

weatherproof zip-top cagoule, Prospekt Supply Japanese polyester windbreaker. For details see Sources, page 110. COURTESY OF CLIVEDEN HOUSE; COURTESY OF ARMANI; PHOTOGRAPHY BY F. MARTIN RAMIN, STYLING BY ANNE CARDENAS (ANORAKS)

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WN3- Anorak, Andre, Armani Watch [PU].indd 46 3/31/14 3:57 PM  $QQSPWFEXJUIXBSOJOHT WN_Nauman -02[PU].indd48    ’ Bruce Nauman has rarely agreed to interviews. So why So he say did interviews. to rarely has agreed Bruce Nauman THE ART OF DEFLECTION , 1967. Truths Mystic Revealing World by the Helps Artist True The signs, neon many Nauman’s of first The yes anew, to in-depth work? and monograph life about his Throughout his long career, the pioneering artist long career,Throughout his artist pioneering the SIGNS SIGNS      BY CAROL KINO KINO BY CAROL SIGNIFIERS AND 04022014120327 Approved withwarnings F    .           .  1974. For most of that decade, Plagens and Nauman Nauman and Plagens decade, that of most For 1974. in Art American until of America and New York Europe toured then and Museum Whitney the trav to 1972, eled late in Art of Museum County Angeles Los at the opened which survey, career grappling first his with and shows to o™ jetting artist,” famous “neighborhood the writes, Plagens as was, Nauman and critic, try and painter a was as himself Plagens establish to when ing 1970s, the in Angeles in Los other each known had men two The evanesced. over. and over Iwant.’” what not studio “‘That’s Nauman’s from hearing recalls Renshaw me,’” on retrospective career complete a “‘I don’t anyone want toin tovain. always write him, writers di™erent 20 suggested have must she adds, she years, the Over list.” my of top the on of artists one the was Nauman on. book a make art should of books publisher self-respecting any thought I ists h ws h at rtc for critic art the was who painter abstract an Plagens, Peter by Written said yes. Nauman when repre moments it rare the because of one only sents if occasion, red-letter a is artist, the on graph company more than 20 years ago. ago. years 20 than more company toto get agree a Nauman she since project the joined to trying been had Renshaw, Amanda co-publisher, Phaidon’s that fact the count you if longer, even or 2008— since works the in been has book the 2003, and career. career. and else work to put his he’sit, as said “totalize,” might that anything or interviews retrospectives, to no saying always almost for known is Nauman as fruit less, often are inquiries And Myers. Juliet con years, is world of 29 gatekeeper and manager outside studio his via ducted the with Communication Rothenberg). Susan of painter the 25 wife years, his with time little ride a spend to and presumably (and breed horses train, to only studio cluttered from his emerging Fe, Santa of south a on ranch time 700-acre his of most spends now he and Mexico, New to moved he 1979, In it. with away been get to he’s able celebrity—and own his of to demands the pandering in uninterested entirely seems who artist rare museum the is Nauman and him, behind biennials exhibitions international a of half nearly century with installation, to conceptualism ’    .’”    ’ , ‘’        ‘’ , But when Plagens came on board, the obstacles obstacles the board, on came Plagens when But Early on, Renshaw says, “I made a list of the art the of list a made “I says, Renshaw on, Early o hs ot’ pbiain f hio’ mono Phaidon’s of publication month’s this So .    .    “         “ R AY YEARS MANY OR vrtig rm efrac t vdo to video to of performance pioneer from influential everything vastly a as Known world. art the in position unusual an pied –    –  Bruce Nauman: The True Artist True The Nauman: Bruce Bue amn a occu has Nauman Bruce , Newsweek from 1989 to

------, 4/2/14 12:58 PM

THE TRUE ARTISTHELPS THE WORLD BY REVEALING MYSTIC TRUTHS (WINDOW OR WALL SIGN), 1967, ARTIST’S PROOF, PHILADELPHIA MUSEUM OF ART, BRUCE NAUMAN ©ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/DACS, LONDON WN_Nauman -02[PU].indd49 FROM TOP: CLOWN TORTURE, 1987, [STILL], BRUCE NAUMAN ©ARS, NY/DACS, LONDON, COLLECTION LANNAN FOUNDATION, LOS ANGELES, COURTESY DONALD YOUNG GALLERY, CHICAGO CHK; ONE HUNDRED LIVE AND DIE, 1984, COLLECTION BENESSE CORPORATION, NAOSHIMA CONTEMPORARY ART MUSEUM, KAGAWA, BRUCE NAUMAN ©ARS, NY/DACS, LONDON, PHOTO BY FUJITSUKA MITSUMASA; BOUND TO FAIL, FROM ELEVEN COLOR PHOTOGRAPHS, 1967–70, © 2014 BRUCE NAUMA N/A RS, NY, IMAGE COURTESY OF PHILLIPS; COURTESY OF PHAIDON; GAMMA-RAPHO VIA GETTY IMAGES; PHOTO BY PETER PLAGENS round. There’s also the cartoonish 1987 1987 cartoonish installation video the also merry-go- There’s a on round. circling animals of casts a Fox) (George Skins grotesque, sculpture 1988 the in oddly as and challenging, more become pieces his horses, training starts Nauman as Mexico, New In categorize. to hard increasingly grows also it time, With original. so it is because precisely first, at comfiting dis seems work writes—Nauman’s he wrong,” was extensively. from quotes he which review, gave he a damning 1973, retrospective LACMA Nauman’s In “smart-alecky.” and “superficial” exhibition them found art he that book the in German writes “Documenta,” 1968 the at images the ing and and that like photographs clichés, verbal color enacting him show punning of lot a (1967). Truths” Mystic Revealing by World the Helps Artist True “The that reads spiral blue-and-red a sign, neon first where Francisco, San his he in a makes studio, storefront working in years early the Chair My Under Space like sculp volumes, negative of tures first his of and conceives also performances He films. create own to his body using rangy and sculptures detritus making studio up from ends but figurative a painter as out starts he where Davis, California, of University the at days school career. and life Nauman’s of to guide a is it history as world art modern-day social the a much Venice as the of it’s history Biennale, the to art in neon of use the from book ranging subjects the on ri™s of Full makes delight. a such what also that’s But digressions. mighty toward tends who chatterbox unrepentant to criticism art utes contrib who Plagens, Garbo, Greta art-world an and Man Marlboro the a as between looms cross Nauman 72.) (He’s age.” to Nauman’s 73 acertain of guys white old grizzled are “we because be just that might it posits Plagens occasion, another On Wayne, Indiana. Fort in Nauman and Ohio, Dayton, Midwesterners—Plagens in born originally both because or they’re suggests, he Lakers, the about breeze the shoot to used they because was it Maybe York. New in Nauman with interview last his of footsteps the we retrace as Village, East the in lunch over Plagens say why “I couldn’t tance, said yes Bruce to me,” says against a black background, panting desperately desperately place. in panting staying void while the into background, black a against on of a of footage treadmill men and women running 1975 Nauman’s in film performed also Plagens game. basketball artists’ Monica Santa weekly a in played they and Pasadena in block same the on studios had Yet as Plagens grew to realize over the years—“I years—“I the over realize to grew Plagens Yetas During this period, Nauman also makes makes also Nauman period, this During graduate- Nauman’s with begins Plagens While way,Either for they make pairing. a curious u ohr hn ht eaiey aul acquain casual relatively that than other But Pursuit Paes encounter Plagens, Words. Own My Eating , which features more than 24 minutes minutes 24 than more features which , Clown Clown Torture , which puts taxidermy taxidermy puts which , h Wl Sre Journal Street Wall The (1965–68). Next come come Next (1965–68). Hanging Carousel Carousel Hanging A Cast of the of Cast A , featuring , featuring Fail to Bound - Artforum , is an an is , - - - -

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he gathers 40 he gathers • 4/2/14 12:58 PM ------leading the conversation the exchange. may 

FARM BOY Colen at his property in upstate New York, where many of his large-scale pieces are constructed.

  DAN COLEN The formerly fast-living artist slows down and looks back with a retrospective at the Brant Foundation.

BY CHRISTOPHER ROSS PHOTOGRAPHY BY TIM BARBER

HE 34-YEAR-OLD ARTIST Dan Colen lives in that’s going to a”ect how you create,” he says. highway, that there is currently a warrant out for his Manhattan’s East Village, but the majority This month, the Brant Foundation, in Connecticut, arrest (he missed a court date for carrying a type of of his work is made either at his new studio is mounting a comprehensive exhibition spanning his knife that’s illegal in New York City). in Brooklyn’s Red Hook, overlooking a blue entire career. His trademark pieces blending abstrac- Descending from a line of makers—his father Texpanse of the Upper New York Bay, or at his 40-acre tion with low materials—paintings made from bubble sculpts with wood and clay, and his grandfather was a farm in Pine Plains, New York, where roosters crow gum or resembling bird poop, papier–mâché boul- mechanic and inventor—it’s not surprising that Colen and the air smells of manure. These are not his native ders covered in gra›ti—will be displayed alongside now nearly resembles a construction foreman. In the ©2014 California Closet Company, Inc. All rights reserved. Franchises independently owned and operated. environments: Raised in Leonia, New Jersey, he came newer works that seem to reflect his change in scen- course of a day, he consults with riggers installing an to fame in the mid-aughts as a member of a gritty, dec- ery: small landscape paintings, a heap of scrap metal outdoor piece at Brant and discusses with foundry adent clique of artists (including Dash Snow and Ryan occupied by canaries. Preparing for the opening, workers how to move boulders. At his farm, one mem- McGinley) who helped define the New York downtown he lopes around the museum with a rangy energy, ber of his crew is strapping an ash-wood barrel shut arts scene and whose bacchanalian exploits are still wearing a tight-fitting jean jacket and Chuck Taylor while another is tinkering with guitar cases. He coun- legendary. Colen is sober now, and the location of his All-Stars. Sporting a terrifically cowlicked head of sels his sta” of artisans and workers not to focus so studios says something about the scale, direction and hair, he sometimes resembles an overgrown boy. His much on formal perfection as on an intuitive process pace of his work these days. “Walking out of your stu- irreverent former self appears in flashes, like when he of discovery. “I tell them it’s not about virtuosity,” he californiaclosets.com | 866.488.2747 dio and seeing water instead of the Holland Tunnel, mentions, as a cop car passes his Range Rover on the says. “It’s about commitment.” >

.      6’6” Colen’s height He started thinking about becoming an artist when he realized a career in the NBA 8:43 a.m. wasn’t in the cards. Drives an hour from New York City to the Brant Foundation in Greenwich, Connecticut, 44,550 to discuss his upcoming pounds exhibition. Combined weight of six boulders, painted to look like M&M’s, that Colen will feature in an outdoor New York City show this fall. 10:29 a.m. Arranges layout of the guitar case installation upstairs at Brant. Water will be 1 pumped through tubes in the cases. hour Typical length of Colen’s morning run. He jogs over to East River Park and does pull-ups and dips.

7:05 a.m. $578,500 At home Price paid for Colen’s 2010 gum-on-canvas S&M painting at a Phillips auction. in Manhattan, Colen drinks co”ee with almond milk before heading out for a morning run. 32 chickens 12 ewes, 12 cows, 12 pigs, four cats, three 12:38 p.m. goats and two rams live on Colen’s farm. Lunch with studio manager Elias Hansen at the Stewart Airport Diner in upstate 4 New York: a tuna melt, grilled minutes chicken salad and co”ee. to choose an album to play on the car ride to the foundry. He settles on The Essential 1:41 p.m. Kris Kristoerson. At Polich Tallix, a foundry in Rock Tavern, New York, that is producing some of Colen’s pieces for a fall show. 95 percent of the food raised on Colen’s farm is donated to food banks. One 1,000-pound cow can yield more than 600 pounds of beef. 6:20 p.m. Dinner with the workshop and farm sta”: chicken Marseilles, salad, Brussels sprouts and quinoa. 2,000 phone books shredded by 30 volunteers over three days for Colen and Dash Snow’s “Nest” show at Manhattan gallery Deitch Projects in 2007. 5:45 p.m. Makes rounds at the farm, which raises 3 livestock and will soon times have a greenhouse. Colen refills his plate at dinner. He also eats berry cobbler for dessert. •

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“     ,     —      . ’      ; ’    .” –   

MARRIED TO THE JOB From le: One of eight structures the Fuksas firm designed for the New Milan Trade Fair, a complex of convention and exhibition spaces; Doriana and Massimiliano Fuksas; the Tbilisi Public Service Hall; Shenzhen Bao’an International Airport Terminal 3; the restored Renaissance o”ces of studio Fuksas.

 in tandem with Doriana Fuksas, his wife since 1981. design, a style that sees nothing wrong with put- build them. “I’ve always been a citizen of Europe and the bureaucratic hang-ups that have daunted them “Maybe we’re complementary,” says Doriana (née ting industrial fluorescent lighting under an ancient of the world,” Massimiliano says. “Globalization is closer to home. “In Georgia, it’s like in China,” says Mandrelli). “We love the same things, the same wooden ceiling with delicately painted co ers. really important to me and always has been.” Among Doriana. “You have an idea and they do it, with DESIGN’S DYNAMIC DUO feelings and moods—just in a di•erent way. I’m The Fuksases are likewise a mix. Doriana was their most recent projects is China’s Shenzhen almost no change.” much more pop; he’s more classic.” The creative trained not as an architect but as an art historian, Bao’an International Airport Terminal 3. Completed That taste for action helps drive Fuksas studio’s The husband-and-wife team behind Rome-based architecture interplay between the two is something of a mys- and she met her future husband when she enrolled in November 2013, the building is configured as the productivity. The o¤ce has turned out jewelry (its firm Fuksas generates some of the world’s most tery even to them, but whatever the particular steps in a design course he was teaching at Sapienza crossing of two tubular sleeves—or two sleeves- “Islands” series of necklaces and bracelets, a col- in their pas de deux, they’ve carved out a niche in Università di Roma. Even then, and for several years within-sleeves—their layered, latticed membranes laboration with the artist Mimmo Paladino, debuted technically and aesthetically daring structures—all while the architecture world, expanding their practice after they married, she didn’t go into art or design, allowing natural daylight to filter through in beguil- in 2006) and two new mirror designs in the last refusing to build in the same style twice. vertically—with ever larger and more ambitious working instead as a journalist before taking a more ing patterns (and cutting down on the need for year alone (the amorphously contoured “Lucy” and projects—as well as horizontally, into products and active role in the studio in the mid-1980s. electric lighting). Unusually for a project of this size, “Rosy,” both for Fiam), to say nothing of a series furniture that possess the same quirky sensibility Massimiliano’s architectural lineage marks him Massimiliano says, “everything is Fuksas”—the firm of elaborate temporary installations at the annual as their buildings. as a purebred Italian modernist, a former pupil of designed both the envelope and the interior. In this Milan Furniture Fair and elsewhere. In their entre- BY IAN VOLNER To accommodate its 100-odd sta•, the duo’s oper- theorist and designer Bruno Zevi, the grand old instance, the labor was shared equally by husband preneurial outlook as well as their bold aesthetic, the ation occupies four floors of a Renaissance palazzo man of Italian 20th-century architecture. Zevi and wife, with Doriana and Massimiliano both tack - Fuksases display a brashness in their work, perhaps in Rome not far from the Piazza Navona. “I like to championed uncompromising modernism spiked ling the design of the terminal’s overall structure the product of two people whose intimate dynamic think of my ošce as being like the studio of an arti- with a deep sense of social commitment, and and its furniture and fixtures. has tended to reinforce each other’s instincts. N 2011, Italian architect Massimiliano Fuksas household-name contemporaries, Fuksas has man- san or a craftsman,” says Massimiliano. “You can do Massimiliano took his ideas to heart—along with The studio is also wrapping up work on a building Yet for all their confidence, they are motivated penned an article for the Rome-based weekly aged to make work—like his futuristic, bubble-bound contemporary work even when you’re in a historic some of Zevi’s politics, becoming deeply involved in Tbilisi, Georgia, the centerpiece of a new urban not by the pursuit of banner projects for their own l’Espresso. In “Starchitect? No Thanks,” the Fiera Milano exhibition center and his glitzy Fifth context.” As defiantly unnostalgic as the couple’s in the European student movement of the late ’60s. park at the heart of the city. The as-yet-unnamed sake but by the same conviction that drove Bruno now 70-year-old Fuksas took on the culture Avenue store for Armani in Manhattan—that’s both work can be, the Fuksases evidently feel grounded Massimiliano’s family lineage, meanwhile, is very musical theater and exhibition hall in Rhike Park is Zevi—a strong belief in the power of design as a force Iof celebrity that has sprung up around big-name technically daring and visually extravagant without in the older space. They restored its lime putty walls much a hodgepodge: His Jewish Lithuanian father described by its creators as “a periscope to the city.” for good, especially in a fast-changing, diverse and designers and their ever-more-spectacular build- lapsing into the kind of easy icon-making that can be to reveal centuries of layered plaster and paint. Set met his Italian-born mother in the 1940s. The fam- Situated near a bend in the Mtkvari River, its horse- increasingly global society. Italian-born Pritzker ings. “Wouldn’t it be better,” he asked, “just to make reduced to a metaphor or a napkin sketch. against some very non-Renaissance furniture— ily name, he claims, means “unexpected” (though no shoe plan addresses the cityscape both upstream Prize–winner Richard Rogers, a friend for decades, good architecture?” A key element of his success is that for much of much of it designed by the couple, like the Haworth Lithuanian dictionary will confirm that). and down—including a nod toward another Fuksas says they “see architecture as I do, as a social art, not For nearly 45 years, Fuksas has been operating his career, he hasn’t been doing the work alone: Castelli “Mumbai” table and the “Ma–zik” chair Unexpected or not, the Fuksases’ blended back- building in Tbilisi, the Public Service Hall, opened in just a technological profession.” As Massimiliano on the premise that it would. Avoiding the signa- In a field that often relegates women to the back- for Saporiti—the Fuksases’ studio environment grounds have informed not just the look of their 2012. The Fuksases have found building in develop- puts it: “We don’t look only for new projects. We try ture gestures and pet theories of some of his more ground, the Fuksas firm is a shared enterprise, run announces their breezy comfort with ultramodern THIS PAGE, FROM LEFT: MARIZIO MARCATO; RAMON PRAT. OPPOSITE PAGE, FROM LEFT: ARCHIVIO FUKSAS X 2; MORENO MAGGI projects but the places where they’re looking to ing countries to be a liberating experience—free of to imagine another world.” •

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 returns at least once a year, and he tells me that my given a courteous but firm no, possibly oered a glass meal at Ishikawa is how it’s done in Japan. “He actu- of Champagne in the lobby or my room. It’s a safe bet ally hands it to you. He asks you, ‘How are you? Are the hotel wouldn’t have reopened its marquee bar for JAPAN’S RED-CARPET SERVICE you enjoying it? Is it to your liking?’ It’s a sense of hos- one last $14 whisky. pitality that comes across as genuine, not as part of a According to White, what I experienced at the Park From a department store’s elaborate welcoming rituals to a hotel’s nearly uncanny sense of its guests’ needs, training program,” says Kinch. Hyatt Tokyo was an example of omoiyari. “It means one writer explores how the Land of the Rising Sun has perfected hospitality culture. Just as important, you don’t pay extra for that the active sensitivity to other people,” she tells me. “It care. There is no tipping in Japan. It’s not only dis- anticipates the needs and desires of other people. It’s couraged, it’s simply not done. There’s no tip line on not broad-brush, it’s fine-tuned.” White explains that a credit card slip, and if you try to press cash into the omoiyari is taught to children and praised in school. hand of someone opening your door or taking your When the sta reopened the bar for me, it was because coat, the person will look as confused as your dentist they could tell it would make me happy to play out my would if you tried to slip him or her $20 for being so Lost in Translation fantasy. generous with the Novocaine. And it’s more than just an expression of national The service culture of Japan, which always over- character. “There are real institutional reasons why delivers, directly contradicts the tipping culture of service is so good,” says Amy Borovoy, associate pro- the United States, which supposedly incentivizes fessor of East Asian studies at Princeton University. superior service but can have exactly the inverse “Sociologists call it stakeholder capitalism versus eect: Tip well, or watch out. “You have to remember shareholder capitalism,” she continues. “In the United that in Japan you don’t have a category called service, States you have shareholder capitalism, in which because it’s completely integrated into what you do,” shareholders will pressure a company for short-term says Merry White, author of Coee Life in Japan and profits. Japan and Germany have a stakeholder sys- professor of anthropology at Boston University. “It’s tem, which lets companies invest in workers who are not an extra. It’s valued, but it isn’t monetized.” better trained, more loyal and more informed.” I find the Japanese system liberating. The price is You find loyal, informed workers even in the most the price, and if you are treated well it’s not because modest settings. “I believe that the world’s best you’re expected to pay extra. “We [in America] are the McDonald’s service is in Japan,” says Tokyo-based ones who separate it out,” White notes. The service I book editor Masanobu Sugatsuke. “The same goes experienced in Japan wasn’t simply a better version of for Starbucks. No sta sighs during work and there is what I find in the United States and Europe, it was the no extensive chatting between co-workers,” he adds, expression of a profoundly dierent understanding of describing the reverse of almost every McDonald’s what we consider “work.” and Starbucks in the United States. “    - A job means more than just checking o a couple I found omotenashi in a municipal agency that   of boxes. According to Masaru Watanabe, the execu- rented bicycles for what worked out to 85 cents a day. I tive director and general manager of the Palace Hotel walked down a flight of stairs into a windowless stor- ,   Tokyo, a grand hotel overlooking the grounds of the age room located under the sidewalk and was greeted     Imperial Palace, it demands an emotional commit- by an elderly gentleman who welcomed me, carefully  — ’  ment. “Although Japanese hospitality, or what we call went over the contract, then personally checked the    omotenashi, has developed a reputation outside of wheels, gears, brakes, handlebars and seat before Japan as being a benchmark for exceptional service, it escorting me to the street. The attendant wasn’t being  , ’  can be very di›cult to define. It’s as intangible as it is servile or obsequious or overly concerned by my obvi-   .” palpable, something to be felt rather than explained,” ous foreignness. When he bowed and wished me well BY OLIVER STRAND ILLUSTRATION BY PATRIK SVENSSON —   says Watanabe. “To me, [it is] hospitality that’s with what seemed like heartfelt sincerity, he was extended with the utmost sincerity, grace and respect, being professional. • however big or small the gesture or the task. Not to be mistaken with the other, perhaps more commonly experienced ver- HE LAST TIME I was in Tokyo, I made an with an arm held at a perfect 90-degree angle. When by well-traveled friends to expect a level of customer that she kneeled before answering. In fact, she always sion of service, which is superficial service LAMY excursion to the Nihonbashi branch of the elevator door opens, an operator—dressed like a service so polished and comprehensive that even the A kneeled before speaking. She wore a slim-fitting delivered out of a sense of obligation and Takashimaya, a chain of department stores stewardess from a competing airline (di‰erent color most basic transactions can take on a ceremonious kimono, and when she lowered herself she gracefully with an expectation of reward.” founded in 1831, because a friend told me jacket)—welcomes you with more bows and greet- air. But that’s like somebody telling you what it’s like corkscrewed her body so that her knees settled on the I experienced that one night when I Tto ride the elevators. Architecturally, the elevators ings. This is when the display of politeness turns into to drive loops on the Nürburgring Nordschleife test ground without her needing to steady herself. went for a nightcap at the New York Bar aren’t anything special—the building dates to 1933, a delicate series of choreographed movements: You track or watch a Big Sur sunset: It’s just words until it I felt awful—and elated. What a wrong, beauti- on the top floor of the Park Hyatt Tokyo, and it looks like other grand department stores from step into the elevator; the operator pivots and extends happens to you. ful manner in which to be guided through dinner. At where I was staying. The sta reopened that era. But it’s sta‰ed by employees so attentive and her arm to protect you from the closing grate; and Even though I was impressed with Japanese civil- the end of the meal she, Ishikawa and what seemed the bar—even though it was well after last polite that they transform the act of moving between the attendant in the lobby turns to face you and bows ity from the moment my passport was stamped at like the rest of the sta escorted me to the sidewalk. call—because it was my birthday. How did floors from a mundane, even annoying, task into a pag- deeply, holding the position with practiced stillness. Narita airport, I didn’t fully appreciate the extent They stood in a line and bowed. At the end of the block, they know? My mother had a cake deliv- eant of ritualized courtesy. Third floor, please. of the country’s service culture until I was partway I glanced over my shoulder. They were still in forma- ered to my room earlier, and it seemed It starts as you approach the elevator bank. An Is it too much? Maybe. The bowing and gesturing through a multicourse meal at Ishikawa, a small Tokyo tion, and when they saw me turn they bowed again. the entire hotel was notified. Looking out attendant in the well-tailored uniform of a 1960s might be unnecessary—if you’ve made it to Tokyo, you restaurant with three Michelin stars. I was sitting at “You have a three-star restaurant in Japan, the over the blinking red lights that punctu- stewardess (jacket, skirt, gloves, pumps, jaunty hat) know how to work an elevator—but it sends a message: the counter, directly opposite chef Hideki Ishikawa. At famous chef with all the awards—and he’s not only ate the Tokyo skyline, with a long pour of welcomes you with a series of bows and spoken greet- From the moment you walk in the door, the employees times he explained to me what he was preparing, but he preparing the food, he’s preparing it for you,” says a Yamazaki single malt, I thought about DOMO ARIGATO An elevator attendant bows at one of Tokyo’s ings that continue, without pause, as she pushes the are completely attuned to you. left other dishes to my waitress, who spoke excellent David Kinch, the chef and owner at Manresa, in Los what might have happened at a similar branches of Takashimaya. Above le : The top-floor bar of the Park Hyatt

call button and directs you to the arriving elevator Before I went to Japan for the first time, I was told English. After asking her a quick question, I noticed FROM TOP: COURTESY OF PARK HYATT TOKYO; © ALEX S EGRE/ Gatos, California. Kinch, who once worked in Japan, hotel in London or Paris: I would have been Tokyo, which was reopened a er closing time for the author’s birthday.

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Download the BR SCAN app to reveal exclusive content The Goddess of Small Things The Academy Award–winning Julia Roberts, thankful for the life she shares out of the spotlight with her family, brings her star power to the small screen in HBO’s film adaptation of The Normal Heart.

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STAY COOL “I don’t consider myself a celebrity,” says Roberts. “At least not how it is fostered in our culture today.” Céline sweater, Jaeger- LeCoultre watch and Roberts’s own bracelet (both worn throughout).

 HE CONCEPT OF FATE comes up a lot in seems to have tried to slow things down, and after WHITE HOT conversation with Julia Roberts. “I Henry was born in 2007, the family moved full time “That’s what Julia has been best at,” don’t want to toy with the gods,” she’ll to a relatively modest, secluded house that Roberts says Mike Nichols, say. Or, “I don’t want to tempt the and Moder built on a sprawling lot in Malibu. “maintaining a real fates.” This is understandable since by As a result, “for a long time,” she says of her chil- life.” Tom Ford blouse, Gucci silk any accounting she has been phenom- dren, “they weren’t even aware I had a job because I twill pants and Tenally lucky: a career that has lasted more than 25 was home so much. Now they get it.” Still, they have Superga sneakers. years and includes a best-actress Oscar, legs that are never seen the best-actress Oscar she received for still coltish at 46 and a marriage that has sailed past 2000’s Erin Brockovich, the film for which she became the decade mark and given her three kids. But these the first Hollywood actress to be paid $20 million. days, she’s trying to live a life more ordinary, admit- (Her Oscar ended up at her older sister Lisa’s New York tedly a di‚cult proposition for someone who found apartment, Roberts says, breaking into a gleeful smile. superstardom at 22 with 1990’s Pretty Woman and to “They were doing this photo album where everyone date has brought in $2.6 billion in box o‚ce receipts— who visited the apartment would pose with it.”) almost twice the annual GDP of Belize. So tinkering is “That’s what Julia has been best at, maintaining not something that Roberts is keen to do. their real life,” says Nichols, who has been a constant Nor is she eager to scrutinize the inner workings reassuring presence for Roberts since directing her in of her life, as though doing so might destroy the fine 2004’s Closer.“It’s the little things that tell the tale. balance between being an acclaimed actress direc- When you visit them, there is nobody working at their tor Mike Nichols compares to Greta Garbo and her house, sweeping their hall. There are toys all over, and quiet existence in Malibu, where she has lived since it’s just Julia and Danny and the kids. She always slips 2007. “We’re just grateful for the sense we have of away from the center.” being like any other family down the street. I don’t It’s a life she’s hard-pressed to give up, so she question it, frankly,” says Roberts, who the morn- filmed The Normal Heart during the children’s sum- ing of WSJ.’s photo shoot is settling in with a plate mer and Thanksgiving vacations, with them in tow. of scrambled eggs and toast that she o˜ers to her The project is not from the typical Julia Roberts play- tousle-haired children, 9-year-old twins Hazel and book: There are no big laughs, no fairy-tale romance Finn and 6-year-old Henry. (She tries to instill sib- and certainly no big hair, which is coiled into a low ling harmony as much as the next mother, handling bun as Roberts plays the tightly wound, wheelchair- a skirmish over toys with a quick “Guess what? We bound Dr. Emma Brookner, a polio victim who has are sharing everything.”) become an AIDS doctor. It’s a small but pivotal role This is the life that Roberts, in her own Garbo- in an ensemble piece, an unflinching movie about esque way, is trying to protect—a relative rarity in the 1980s AIDS crisis in New York City, adapted by today’s Hollywood, where so many stars mine their activist playwright Larry Kramer and director Ryan personal lives to generate self-branded mini-indus- Murphy (the creator of Glee) from Kramer’s origi- tries. But that would go against another cornerstone nal 1985 play. The character of Dr. Brookner—based of Roberts’s philosophy: that of deep gratitude for on the real-life Dr. Linda Laubenstein, also a polio “having found your ‘people,’” as she calls the family survivor and New York City physician who treated she created with cinematographer husband Danny early AIDS cases—is a vociferous campaigner for Moder, whom she married in 2002. So although last AIDS research funding and a proponent of the wildly “’  night she made an appearance at a party thrown by unpopular, and at the time scientifically unsup-   one of her agents, CAA’s Kevin Huvane, and tomor- ported, recommendation of abstinence.   row she will walk the Academy Awards’ red carpet The material is di‚cult and, according to Murphy,     in a custom Givenchy gown, she seems content right who also directed her in 2010’s Eat Pray Love, calls where she is—dressed in a sweater and jeans, newly upon Roberts to evoke the same sort of “emotional      blond hair pulled back, her delicately lined face free advocacy” she displayed in Erin Brockovich. Roberts    of makeup, with her children climbing into her lap deflects his theory with a grin. “Ryan just likes it when   to collect hugs. I’m yelling,” she says, laughing and switching into a  . ’ Almost all of her acting work is shot around their deep drawl. “He’s like, ‘I love it when Lady gets mad, schedule, even her most recent: an adaptation of The cheeks get red.’”   .” Normal Heart, a play about the early fight against “I selfishly wanted to see Julia do this role,” Murphy –    AIDS, airing on HBO this month. “By the time we admits. “There is a famous scene where her character had kids, I had accomplished things and felt secure just explodes. Julia has said her heart is directly con- about that part of my life,” says Roberts. “I was so nected to her brain, so when she has an explosion you joyful moving into the family phase of my life in believe it and you feel it. She is someone who has been a sincere way.” When the twins arrived in 2004, able to harness not just anger but passion.” she had been working for 18 years, and she’d been Locating that passion is crucial for Roberts. “Part a marquee name since the release of her second of the attraction [to a role] is to something that aligns film, 1988’s Mystic Pizza. From 1997 to 2001, a Julia within you to that person,” she says. In fact, she had Roberts vehicle pretty much guaranteed an average already turned down the role of Dr. Brookner twice opening weekend of $25 million, and most went on (the film option had previously been held by Barbra to earn well over $100 million. She had become so Streisand) because she saw only the character’s hos- famous by the time she was expecting Hazel and tility and rage. But when Murphy brought this version Finn, her part in 2004’s Ocean’s Twelve was rewrit- to her, Roberts thought, “This is getting ridiculous. I ten so that her character could pretend to be a need to pay attention to why this keeps coming back pregnant Julia Roberts. But from then on, Roberts to me.” Watching a documentary about polio provided

 LOREM IPSUM Bus ipsum faceat quaepti oribeatae assequi niet que culles inctur, odit fugiti cusam WARMING UP nihilla boratur reptint “For a long time, my dit, int aut as dolorupta children weren’t even que aut invenit iscimus, aware I had a job because sinimusam solupicae I was home so much,” as dolor moditem says Roberts. “Now they experumquae pro ipsam, get it.” This page: sequodis nulliquia Stella McCartney jacket dessecum quid qui and pants, Michael Kors ressim faceper umquis sweater and Jennifer dolore voluptas doluptat Meyer rings (worn throughout). Opposite: The Row coat, Proenza  Schouler top and pants. LEAN OUT an epiphany. “I suddenly understood who she was in career, where having arrived meant a dinner invita- Roberts has been content terms of this scary, inexplicable plague—what origi- tion to agent Sue Mengers’s house and “there seemed to “find new creative outlets at home, with nally seemed [to me] to be anger was actually her to be a method to it,” she says. “You had your job and my family, as I get older determined pursuit to be part of a solution that she you got paid $1, and you got your next job and got paid and work as an actress wasn’t part of with the first plague that she experi- $2. It made sense to me.” Today, when the only surefire less.” Michael Kors mohair cardigan worn enced. Everything fell into place for me after that. I hits are star-packed blockbusters like The Avengers over Proenza Schouler could see these are just really scared people who won’t or tentpole franchises starring relatively unknown merino cardigan give up on finding the answers.” actors, it’s unclear who can reliably open a movie and Stella McCartney necklace. Roberts prepared extensively for the role, inter- anymore. (It’s telling that both Roberts’s current film viewing a doctor who worked with the late Dr. and her most recent one, August: Osage County, were Hair, Serge Normant; Laubenstein and bringing a 1980s-era wheelchair adapted from plays that have a more narrow, focused Makeup, Genevieve Herr; Manicure, Lisa Jachno. home for practice. “It was the most actor-y I’ve ever appeal. Meanwhile, Pretty Woman is currently being been,” she says. “But you don’t want to be bumping transformed into a splashy Broadway musical.) “It “   For details see Sources, into walls and doorjambs and scraping your knuck- used to be that you could build from weekend to page 110.    les on things. I thought being in a wheelchair would weekend and people talked,” says Roberts, who also be so easy and quiet, but it was actually quite tiring.” has a production company. “Now, if there have been      Despite being shot mostly from the waist up, she two showtimes and it hasn’t sold 10 bazillion tickets, .  wore a heavy orthotic shoe with a significant lift to you’re dead in the water.    mimic a polio survivor’s leg. “It was really just for “I don’t consider myself a celebrity, [at least not]   me,” she says. Roberts also studied the e˜ect a slightly how it is fostered in our culture today,” she adds. “I paralyzed lung would have on her breathing pattern. don’t know if I’m old and slow, but there seems to be   “I think I drove Ryan crazy.” a frenzy to it.”  
. “I’ve never seen her work harder,” says Murphy. Recently that frenzy caught up to Roberts when ’  Her e˜orts also earned her the respect of her co-stars, her half-sister Nancy Motes died at 37 from a pos-    including Mark Ru˜alo, who plays Ned Weeks, a writer sible drug overdose in early February. Motes, who had and activist who joins forces with Dr. Brookner in the worked on Glee as a production assistant, allegedly     fight against AIDS. “My first couple days I was terri- left a suicide note reportedly alluding to her estrange-    fied—she is part of the royalty of Hollywood,” he says. ment from her family. Interviews with Motes’s friends 
 .” “But it was like butter. She was so easy and accommo- and acquaintances fed daily headlines. Meanwhile, –  
 dating and egoless. You had this person who is the star Roberts maintained her silence, choosing to grieve of all their movies be an ensemble player in a humble, privately. timid, reflective way.” When asked about her sister’s death, Roberts’s face “My preference would forever be ensemble,” says tightens as she pauses and looks toward the ocean. Roberts. “It’s where I started, and it’s what I love. It’s “It’s just heartbreak,” she says, tearing up. “It’s only just fun and interesting to see what your fellow actors been 20 days. There aren’t words to explain what any are coming up with. Mystic Pizza was like that, Steel of us have been through in these last 20 days. It’s hour Magnolias was like that. It’s like being in a big family.” by hour some days, but you just keep looking ahead. “You don’t want anything bad to happen to anyone, HIS LATEST FILM was literally a fam- but there are so many tragic, painful, inexplicable ily a˜air, as Moder was the director things in the world. But [as with] any situation of chal- of photography. He and Roberts have lenge and despair, we must find a way, as a family,” she collaborated on six films, starting with continues before straightening up in her chair. “It’s The Mexican in 2001, where they first so hard to formulate a sentence about it outside the met on set. “I find it nerve-wracking in weepy huddle of my family.” Tthe best schoolgirl kind of way, and he knows that and One of the things that surely has helped Roberts is a good sport,” she says. “I am usually hoping he’s through this time is her near-daily meditation. not looking into the camera and thinking, ‘What is she “Meditation or chanting or any of those things can be doing?’ We have worked together a lot and whenever so joyous and also very quieting,” says Roberts, who we get there, I think, ‘Why are we doing this again?’ has introduced the practice to her children. “We share But it’s great, and it allows us to travel together.” and just say, ‘This is a way I comfort myself.’” “Her family is a major part of what she does,” adds Perhaps this too is why she has a very Zen-like Bradley Cooper, her co-star in 2010’s Valentine’s Day calm about not having any other movies lined up and the 2006 Broadway play Three Days of Rain, dur- after The Normal Heart, something that would have ing which, he recalls, a dressing room was turned into been unthinkable for Roberts a few years ago. But, a playroom for the 1½–year-old twins. “Her children she says, she’s been content to “find new creative are always around.” outlets at home, with my family, as I get older and And as several hapless paparazzi have found, she is work as an actress less.” It’s a commonplace luxury willing to go into lioness mode to protect her cubs. “I she has worked hard to attain. “As odd as it is to say,” think there is a dehumanization that goes with fame, says Cooper, “I feel that she is coming into her own.” especially in the present culture of it, which isn’t the How does she feel about not having another role culture I started o˜ in,” she says. “There wasn’t this in the pipeline? “It’s nice. We have the rest of the analysis of every iota of every moment of every day,” school year,” she says, brightening at the thought. she continues. “Nobody cared about what you wore, “The thing about being a parent is that as your kids nobody cared what haircut you had, if you had on get older, Fridays start to get superexciting again, makeup or didn’t—it’s become this sort of sport.” and Sundays start to get melancholic. Spring break Roberts is nostalgic for the Hollywood of her early is exciting again.” •

 NIGHT VISION Volpe stands on a balcony of his building, a 1912 mansion wedged among Victorian neighbors. Opposite: In the living room, a photograph by Hiroshi Sugimoto hangs above a cork table by Martin Szekely; the chair is by Arthur Espenet Carpenter; the sofa is Volpe’s design.

KING OF THE HILL Interior decorator Steven Volpe transformed his San Francisco apartment, a duplex in a Beaux-Arts mansion in Pacific Heights, into a showcase for his art and photography collection, his one-of-a-kind furniture—and his highly specific design vision.

BY SARAH MEDFORD PHOTOGRAPHY BY MARK MAHANEY

“’       —   ,   .       .” –   

ARVEY AND VIVIAN, a Norfolk terrier reshaping the apartment he’d purchased in this hill- and a French bulldog with a perilous top neighborhood. His new home occupies the top two underbite, are antsy for a walk, braid- floors of a petite Beaux-Arts mansion just south of ing their leashes around each other’s Broadway. Built in 1912, the bu‰-colored building had legs as they encircle the master of been divided into a pair of flats in the 1970s, and Volpe the house. It’s a Friday afternoon in acquired the upper 4,300-square-foot duplex, with HPacific Heights, and decorator Steven Volpe is home two bedrooms, a pocket garden and an unexpectedly after four full-tilt days in New York. Though he missed elegant gated entrance. It took him a year to overhaul out on some gallery visits and endured a few too many the plumbing and electrical systems and expand the site meetings, he is upbeat about his trip. “The most cramped kitchen, which now resembles the inside important thing is that my clients were at the open- of a Flemish bake house. But the project was no gut ings,” he says in a boyish tenor, kneeling down in job. The former owner had installed an 18th-century his Thom Browne suit to untangle the dogs and give Hungarian-point parquet floor in the entry hall, and Vivian a scratch. “It’s very hard to get clients with the Volpe liked it so much he had it matched and extended trifecta—interested in architecture, design and art. into the living and dining rooms. He also went to the But mine tend to have all three.” trouble of replating a mountain of gilded French door Volpe works for a cross-section of the new San hardware in a dark nickel finish, which he describes as Francisco, from executives at Google to venture capi- “more modern.” “Truth is,” he says, “the bones of this BEAUTIFUL FINDS Opposite: The master bedroom talists and angel investors based here and abroad (he little house were very strong.” includes a desk, leather chair and bedside tables by also has his share of social clients, including his friend It’s a good indication of where Volpe’s current RXDXT Poul Henningsen. Above: In the dining room, chairs by Denise Hale). A few years ago he pulled o‰ a trifecta interests lie that the first thing you notice about Joaquim Tenreiro encircle an Italian First Empire table. Above right: In the library, Volpe lounges on a sofa of of his own when—with an unusually fine assemblage the apartment isn’t the 10-foot ceilings, the crepus-

GXTTXR C his own design, with his dogs, Vivian (le ) and Harvey. of paintings, photography and furniture—he began cular gray walls or even the furniture, but the art.

 

Volpe [PU].indd 78 4/1/14 1:12 PM Volpe [PU].indd 79 4/1/14 1:12 PM 04012014121424 Approved with warnings 04012014121408 BOOK SMART In the library, wood side tables by Wendell Castle (le ) and Martin Szeleky flank a pair of sheepskin armchairs by Franco Albini and Franca Helg from 1959. A fabric painting by Wyatt Kahn hangs above a pair of carved Egyptian ibises on the mantel.  Arrayed throughout the rooms are works by Sterling “ Ruby, Lucio Fontana, Ruth Asawa and others, as well   as a collection of photography that spans the rigor- ous formalism of Hiroshi Sugimoto and Christian ,  Marclay and the unconventional beauty of Nan  Goldin, Diane Arbus and Peter Hujar. Volpe bought    many of his best photographs from Jeƒrey Fraenkel,    a revered international dealer and a Bay Area resi- dent who is now a friend and client. (“I almost had   to think of myself as Steven’s pro bono case,” says  — Fraenkel, whose budget was decidedly modest. “His   tastes, and I think anyone will tell you this, veer   toward the more costly.”) The furnishings in conversation with all this art   are Volpe’s stealthy triumph. Understated in form    and color, they run the gamut from a 1930s Jean-   .” Michel Frank console and a 2011 Rick Owens stone –  curial chair in the foyer to an Italian First Empire olive-wood table and 1960s Joaquim Tenreiro chairs in the dining room. French 1940s side chairs by Gilbert Poillerat join a midcentury table by Kurt Østervig and a Georges Jacob fauteuil in the stair hall; the airy adjacent living room mixes vintage seating by Robert Mallet-Stevens, Joseph-André Motte and Arthur Espenet Carpenter with a sequence space had brick walls and a dearth of windows; he many of them regard design not simply as functional of contemporary low tables by Martin Szekely (in spent 18 years there. “It was magical and something of or soul satisfying, but also as representative of an crystal), Forrest Myers (aluminum) and HunChung a lab for me,” he says. “I really loved it, but at a certain often staggeringly valuable new asset class. “Steven Lee (stone and concrete). According to venture capi- point I felt it was holding me back—I needed to put my and I bought a Marc du Plantier console that is really talist Danny Rimer, who finished a house with Volpe key in a diƒerent door.” exceptional for my San Francisco dining room,” says last year, “Steven’s archival knowledge of furniture Never quite having given up on Pacific Heights, Christopher Bass of Oak Hill Capital Partners. “We made is pretty astonishing. If you remember something Volpe kept tabs on a few buildings he admired, includ- it just under the wire—a year later and it would have you’ve seen, he knows just what you remember and ing the Beaux-Arts mansion. When the lower unit been an impossible get. Of course a year earlier would he’ll find it—or more likely he’ll find something that’s came up for sale, he prepared an oƒer. But an old have been even better.” like it, but a lot more important or interesting.” friend who was ill needed a ground-floor apartment in When he isn’t traveling, Volpe can be found at What unites the various objects in Volpe’s rooms is a hurry, and Volpe turned over his bid to him, figuring home with his dogs, Vivian and Harvey, holed up in formal integrity and a simplicity that might be called he’d move into the place in good time. When the owner his library with a laptop and a pile of art books he’s minimal, though the results he achieves are often not. of the upper duplex died unexpectedly, in 2011, he put pulled down oƒ the shelves. This room is where the “It’s important to me that rooms look modern but in an oƒer before it hit the market. Three weeks later hardworking arranger displays the smaller objects not trendy,” says the decorator, 56, who has the rare the apartment was his. he collects. “Everywhere else I try to be restrained— ability to place name-brand furnishings side by side in here there are layers, and they just keep coming,” without creating discord. “Furniture is not fashion, EVERAL OF THE MORE recent pieces Volpe he admits. “Because no matter how much I try to stop and arrangement is a major part of my conceptual pro- has bought for his new place—including myself, I invariably find something else I can’t live cess—to find the uncommon relationships between the Rick Owens chair, a Szekely table and without.” Propped against the walls and on the man- furniture and objects that make rooms work. When I a mirror by Sam Orlando Miller—come tel are dozens of highly personal treasures: a pair of was young and toiling away on traditional rooms, I was from Hedge, a gallery of contemporary Egyptian ibises from the estate of interior designer attracted to minimalism, and I think my real strength design he co-owns with his friend Roth Anthony Hail; a tiny Giacometti figure from Volpe’s today is being able to combine the two worlds.” SMartin. “Hedge gives Steven an opportunity to exer- years in Paris; several sculptural wooden discs that Growing up east of the Bay area, Volpe studied cise another part of his brain—the curator part—and are Chanel haute couture minaudières signed by the fashion and then apprenticed with several high-style to bring adventurous, world-class design talent to late Ibu Poilâne, a friend. San Francisco decorators, including Eleanor Ford and a city that hasn’t had many venues for such things,” Now that he has a proper kitchen and dining room, Anthony Hail, before moving to Paris in his late 20s, says Fraenkel. “He and Roth have done a great job in Volpe loves to entertain, and he prefers to handle the where he spent four years working for an interior encouraging San Franciscans, at least the ones who cooking himself. “It’s a challenge to be creative on com- designer on what he calls “very small projects for very can aƒord it, to think diƒerently, maybe less predict- mand, and I have to do that in my work,” he says with grand people.” ably, about how they live.” a hint of weariness. “But cooking is something I do for “Paris had a profound influence on me,” he says. Volpe’s way of working is all consuming, and his pleasure.” Last Christmas, he spent two days prepar- “Things in a house reflected who one was; there was clients, who are based on both coasts and increasingly ing a holiday meal for eight guests, among them chef a value to what things were and people knew it, knew abroad, tend to see it either as a charming anachronism Michael Tusk of local restaurants Quince and Cotogna. what they meant. It was important to balance old and or the height of contemporary luxury. He travels with “I made 90 percent of it myself, down to the stocks,” new, and to tell a story with an interior. Obviously peo- them, shops with them and occasionally feeds them Volpe says. “I invited Michael into the kitchen to do the ple were collecting antiques and objects in the States, real-estate advice. That they make time to cultivate white tru¬e risotto, but otherwise it was me.” but it seemed to be with a diƒerent focus.” meaningful collections of art and design objects—and For Volpe, his new home could serve as a subtle Back in San Francisco, in 1990, Volpe started his multiple Volpe-designed residences to put them in— reminder that what he wants, he usually gets. Not own business and soon moved to a loft in a neighbor- says as much about the decorator’s enthusiasm as it everything, but the right things. “In San Francisco, hood that was slowly evolving into South of Market. does about their aesthetic commitment. there are many grand houses,” Volpe says, “but “I wanted Pacific Heights, but I couldn’t aƒord it, so I Bullish on collecting furniture for himself, Volpe there aren’t a lot of little, perfect houses. Which is went the other way,” he says with a grin. His open-plan passes his insights along to clients, fully aware that what this is.” • HEDGE FUNDS Vivian tours Volpe’s private garden planted with fern,  boxwood and other shrubs. TOP NOTCH Be bold but not boyish in wide lapels and strong stripes. Giorgio Armani jacket and pants, BLK DNM tank, Trademark necklace, worn throughout, model’s own earrings, worn throughout. Opposite: Dior jacket and pants, Saint Laurent by Hedi Slimane shirt and belt.

WELL SUITED

Model Liu Wen powers through a season’s worth of business-inspired looks that take menswear into a dramatically feminine realm.

PHOTOGRAPHY BY DANIEL RIERA STYLING BY SARA MOONVES



Suiting [PU].indd 84 3/28/14 2:12 PM Suiting [PU].indd 85 4/1/14 2:31 PM 03282014131521 04012014133211 THE NEW CROP A simple necklace is the ideal adornment for both a traditional jacket-and-pant or a distinctly modern take on the three-piece suit. Jil Sander jacket, top and trousers, Banana Republic belt. Opposite: Ralph Lauren Collection jacket and pants.



Suiting [PU].indd 86 3/28/14 2:12 PM Suiting [PU].indd 87 3/28/14 2:12 PM 03282014131521 03282014131522 FEMININE MASCULINE Reap the dividends of innovative proportions with a cropped jacket or a trompe l’oeil jacket masquerading as a tunic. Balmain jacket and pants. Opposite: Maison Martin Margiela jacket and pants.



Suiting [PU].indd 88 3/28/14 2:12 PM Suiting [PU].indd 89 3/28/14 2:12 PM 03282014131537 03282014131537 BONUS CHECK Go big with an oversize jacket in a classic glen plaid or create a sleek silhouette with a slim belt. Ralph Rucci jacket and pants, Saint Laurent by Hedi Slimane belt, Max Kibardin for Ralph Rucci shoes. Opposite: Saint Laurent by Hedi Slimane jacket, shirt and pants. Model, Liu Wen; hair, Holli Smith; makeup, Emi Kaneko. For details see Sources, page 110.



Suiting [PU].indd 90 3/28/14 2:12 PM Suiting [PU].indd 91 3/28/14 2:12 PM 03282014131537 03282014131538 STATES OF GRACE Fashion icon Grace Coddington collects everything from ceramics and curios to feline and CAT POWER Coddington in the folk art—and nude photography, the subject living room of her New York City apartment, of an online auction she’s curating this month. surrounded by a few of her photographs and collectibles. The cat cushions were a gi, two from designer Nicolas Ghesquière and the middle one from Vogue colleagues. BY TIM BLANKS PHOTOGRAPHY BY ARTHUR ELGORT

 STUFF HAPPENS In the kitchen, shelves are crowded with the English ceramics and cat teapots and mugs Coddington has collected for decades. PILLOW TALK Le: In Coddington’s bedroom, her cat Bart lounges on a Chanel blanket. Above: Cat pillows she’s owned since the early ’80s. NAKED LUNCH From le: Paddle8’s auction includes a Bert Stern portrait of Marilyn Monroe (1962), Coddington photographed by Antonio Lopez (1975) and Mainbocher Corset (1939) by Horst P. Horst. , , ORSET 8 E8 ORLD RENOWNED for her magic with its polar opposite by reconceptualizing the nude photographs as something to collect and own. “I had walls of the living room and bedroom mezzanine oŠering,” he declares. “We’re trying to find individu- HER CORSET

DD LE “    C ADDL touch with clothes, Grace as a kind of canvas for her work. “We start out on a photos before, but I didn’t really seek them out,” she PA    to similarly intimate eŠect. Coddington also met als who bring in a new perspective. Grace’s romantic

Coddington is curating an auc- fashion shoot with a girl who has no clothes on, and says. “Years ago at Condé Nast in London, they used P OF Boubat when Weber photographed him, just before eye and aesthetic rigor have a great appeal for our Y OF MAINBO MAINBOCHER C SY

ES    

tion celebrating their absence. we build from that: the hair, the makeup, the clothes. to print everything upstairs on the top floor. When S; he died, in 1999. Up there is the picture Irving Penn audience. This is the ultimate nude as presented by TE OS;

Although the irony of that will But she starts with nothing.” they sold it, they just threw everything out, and you’d MO    gave her after an exhibition of her work at the James one of the most creative minds of our time.” Ultimate OURT OUR C RAM RA be lost on no one, Coddington’s Though an appreciation for the blank slate is go and find these incredible prints in the garbage. I Danziger Gallery in 1993. Over here is a photographic nudity in the age of the Internet usually means

AN ,    career in fashion actually began with a nude—her clearly one of Coddington’s native talents, she got a couple of Beatons. That was good. But when I souvenir of a Vogue shoot in El Mirage Dry Lake, uplift that is pneumatic rather than aesthetic, but YORK. C W D JU  :  first picture ever, when she started modeling in 1959. describes herself as a hoarder. The Chelsea apart- met Bruce, I got totally hooked by him. Photographs California, with Elgort. And there is art too, most Coddington is contrary enough to get a kick out of AN NEW Z AND JUAN ,    ,

“I think I was very naive. It didn’t occur to me that ment and weekend home in the Hamptons she shares became something I no longer just did for work. His Y, NEW YORK. memorably a large painting by Guy Bourdin, spectac- defeating such expectations with a selection that is PE RY, it was a weird thing to do, but I thought Norman with her boyfriend, hairstylist Didier Malige, are whole lifestyle infected me.” One means of transmis- ER  .” ularly obsessive in its abstract crosshatching, which practically PG. There is joy and energy and formal- O LOPEZ IO IO LO ALLE ALL Parkinson was an extraordinary photographer, and clotted with curios, especially cardboard boxes sion was the pictures Weber gave to Coddington. And NI sits alongside the original of the Michael Roberts ism and sensuality and wit in her selections from the O

E G –  NT ISE G when he asked me to take o‚ my clothes, it was just (orange Hermès and black-and-white Balenciaga they weren’t just his own. “Bruce was always nos- IS collage that was used on the cover of Coddington’s likes of Juergen Teller, Steven Meisel, Mario Testino, -W F ANTON the same as ‘Stand up’ or ‘Sit down.’” What “Parks” being favorites), English ceramics, plates (a few from ing around and finding interesting photographers, Y-W earlier book, a visually sumptuous survey of her Horst P. Horst, Herb Ritts, Ryan McGinley and Sheila EY E OF A

actually got her to do, though, was run around naked Café de Flore and the Ritz in Paris), jugs (for flowers), not the Avedons and the Westons necessarily but ALE years at Vogue, also titled Grace. There will be paint- Metzner, but there’s nothing to scare the horses. TAL /ST E/S in the woods, as she o‚handedly recounts in Grace, little old folk-art–y cotton sheep and, famously, any- names that you didn’t know.” Bert Hardy? Raymond ESTAT ings in “No Clothes” as well. “Again, people I know,” “I do not like very sexual nudes,” she says firmly. her 2012 memoir. thing to do with cats. Voinquel? There are volumes of their work among the says Coddington, “like Chuck Close.” “They bother me. About as risqué as it gets would be ESTAT

, 1975, © O ESTATE Coddington assumed that when Alexander Gilkes, The photos lining Coddington’s walls are some- hundreds of photography monographs in Coddington , 1975, © The nudes are mostly upstairs, displayed Weber- a Helmut Newton, and it’s probably the older Helmuts ST ST ESTATE ST co-founder of the online auction house Paddle8, first thing else altogether. She certainly owns enough of and Malige’s bookcases. CA set higher than our usual selection process. That’s a style along a shelf mounted above the bed. The I prefer to the newer ones.” She’s also not particularly AI /HOR M approached her it wasn’t because of her knack with them to constitute a hoard, but the particular nar- Her friendship with Weber also set the tone for her T/HOR standard we should aspire to in future.” standout is a Jock Sturges photo of his adolescent partial to male nudes, though her first encounter AST

nudes. “I thought it would be fashion pictures, so I rative sensibility that threads images as diverse as collection—she likes having a personal relationship NAS She doesn’t seem particularly precious about her muse Misty Dawn. “I think all those nudes are very with a naked man on a shoot—a Weber aŠair—did

said yes, and then it turned out to be portraits,” says Joseph Szabo’s sulky ’70s teen and Édouard Boubat’s with the photographers whose work she collects. NDÉ N own collection. Chelsea morning sunlight is blasting beautiful,” says Coddington. “It’s more about them yield one of the more striking images in her recent Coddington. “If there’s one thing I’m known for, it’s 1947 portrait of his wife Lella betrays the point of “It’s an extension of the picture,” says Coddington. a Lartigue as we speak. Some of the Weber photos not having clothes on than [that] it’s a nude.” Which memoir: Coddington standing under a tree as model ODDINGTON, JA OF CO OF

‘Don’t crop a picture.’ I want the feet in it. So portraits view of a collector. Coddington has always been a “I have a lot of photographs by people I’ve worked Y OF CONDÉ on the wall are faded; one is completely solarized. raises the question: Is there a diŠerence between Bruce Hulse does a slow striptease over her head. SY CE C ES

weren’t working for me. And they didn’t want fashion storyteller with her styling. “A narrative doesn’t with.” That means quite a gamut, from Arthur Elgort TE “What am I going to do?” Coddington says. “Put them being nude and being naked? “Yes, it depends Coddington’s own collection includes polariz- GRACE CODDINGTON, JAMAICA GRA

pictures—I guess they don’t sell for as much—so then have to be 10 pages, it can be one picture,” she says, to Steven Klein. She approached “No Clothes” in N; in a drawer?” That’s one way of underscoring the fact which way you light it,” is Coddington’s enigmatic ing work, like Sally Mann’s nudes of her children RN; , COUR ER E T

they said nudes.” pointing to a Guy Bourdin photo of three women sit- the same way. “I said what photographers I liked, ST that she collects for love, not money. “I don’t get pic- response. On the shelf, there are also images that and Sturges’s adolescent girls, but the ambiguity of

“We felt it was the best way to celebrate the artist ting on a couch. “In that one picture, you can feel a Paddle8 went to them, asked if they had any nudes RT ST tures to pass on or sell,” she adds. “I get them because she created with Weber for a Pilates feature in such images never occurred to her until the 1990s, . HOR

and the quality of photography,” says Gilkes. “Strip whole story. Something just happened, something is they’d like to sell.” She makes the process sound a P they resonate with me.” British Vogue, a rare instance of her own styling when accusations of pornography were leveled at ST ST P. HORST, COURT ST away the clothes and focus on the nude.” Hence the about to happen.” The same idea could be applied to little more casual than Gilkes does. “I was surprised A snap of Sam Shepard and Patti Smith on a bal- work with nudes. “There’s not a huge calling for them. “I’ll probably sound like a complete idiot, but , 1962, © BERTBE S

title of the auction (viewable at Paddle8.com from a lot of the work on her walls. It helps that so much of by how rigorous and involved Grace was in every F HOR cony at New York’s Chelsea Hotel (Weber gave her them at American Vogue,” she says dryly. “Working I’m really interested in my perception of them, not

May 1 to 16), slightly arch in light of Coddington’s role it is by Bruce Weber, a modern master whose pictures step of the process,” he says. “She defined the list, we E OF HOR that) and a picture of William Burroughs and Paul with nudes was much easier in England—the U.S. is everybody else’s, so since I don’t have any ulterior as the creative director of Vogue: “No Clothes.” Even embody exactly what she is talking about. agreed to talk to the artists and then we’d present her Bowles taken by Allen Ginsberg certainly fit that bill. much more prudish.” motives, they’re not a sexual thing at all for me.” ESTAT though she was keen to curate something within the Coddington, who turned 73 in April, worked regu- with the selection. In the first round, very little made Coddington met Bowles when Weber photographed Although not if U.K.-born Gilkes can help it. You’ll be able to make up your own mind when the 1939, © O ESTATE 1939, © area for which she is best known, she made peace larly with Weber from 1980 on. He opened her eyes to the ‘yes’ pile—maybe 10 or 15 out of 150. The bar was THE LAST SITTING him in Tangier. You could work your way around the “Provocation and humor are the mantras of Paddle8’s auction goes live. •

 

Grace Coddington [PU].indd 94 3/31/14 3:52 PM Grace Coddington [PU].indd 95 4/2/14 1:32 PM 03312014145520 04022014123659 Approved with warnings The Cult of Caviar Kaspia This intimate spot in Paris has made the humble baked potato—albeit topped with spoonfuls of caviar—the favorite fuel of the fashionable set for nearly 90 years.

BY JULIA REED PHOTOGRAPHY BY NACHO ALEGRE

HERE’S A SCENE in Anna Karenina in vodka.” When he finally takes a seat amid the “fuss restaurant retains the prerevolutionary sensibili- which Oblonsky, Anna’s brother and and bustle, the surroundings of bronzes, mirrors, ties—and impressive artifacts—of its founder. Carafes irrepressible man about town, bounds gaslights,” he orders a bottle of champagne. Tolstoy of house vodka are iced down in silver buckets at the into his favorite Moscow restau- may have published his novel’s first installment in tables next to quaint bowls of pickles, while the crystal rant accompanied by his compatriot, 1875, but that particular scene—or one awfully close implement Tsar Nicholas II used to seal his correspon- the more earthbound Levin, who is to it—is still reenacted countless times a day (and dence is displayed in a glass case alongside impressive Tfresh from his country estate. Levin is in awe of the night), six days a week at Caviar Kaspia, the quixoti- 19th-century Russian silver and porcelain. Waiters— “restrained radiance” that immediately takes over his cally chic restaurant in Paris’s eighth arrondissement flawless, though not, perhaps, Tartars—wordlessly friend’s entire being; he watches Oblonsky direct “the on the Place de la Madeleine. replace even slightly warm flutes of champagne and in Tartar waiters,” greet acquaintances “joyously” and First opened in 1927 by Russian émigré Arcady one deft motion spoon and smear clarified butter from help himself to “a preliminary appetizer of fish and Fixon and situated in its current spot since 1953, the Limoges pots onto blini.



Caviar Kaspia [PU].indd 96 DBL SIGNOFF 4/1/14 5:04 PM Caviar Kaspia [PU].indd 97 DBL SIGNOFF 4/1/14 5:04 PM 04012014160628OK TO PRINT ART ______COPY ______PROD ______04012014160644 OK TO PRINT ART ______COPY ______PROD ______and exuberant table-hopping was the his native Spain. But he has been almost fanatically norm. The late designer Yves Saint careful in his updates to a space that another frequent Laurent, lover of all things Russian, diner compares to “your grandparents’ living room.” was a dinner regular; his muse Betty A subtle brown stripe was added to the black-and- Catroux still drops in. Tods CEO Diego gold banquettes to better complement the boiserie Della Valle is known for his intimate panels, for example; a new mosaic (mimicking the dinners there, as is the designer caviar tins) along the stair hall looked so at home Valentino Garavani, who most recently that most customers assumed it had been lurking hosted a table in February following behind mirrored panels all along. “I won’t be calling his namesake brand’s fashion show. Philippe Starck,” he says, adding that Kaspia “is not a Carlos Souza, Garavani’s longtime pub- trendy place. By nature, those go out of fashion. I just licist and close friend, calls it the “Paris want to retain the cozy and intemporal feel.” fashion cantina,” while others refer to If the atmosphere has remained constant over the it as the Kaviar Kafeteria. Even on the decades, it is Kaspia’s star menu item that has under- quietest of nights, there is that sense of gone the most dramatic change. When Fixon and the inherent camaraderie that comes from Petrossian brothers arrived in Paris to introduce knowing you are in the right place. caviar to the Occidental world during les Années “Because it is on the second floor, Folles (as the French termed the 1920s), sturgeon you cannot see inside from the street, were almost ridiculously plentiful. But after the fall and you have to go through the ground- of the Soviet Union, poaching and overfishing in the floor shop, so it seems like a secret,” Caspian Sea cut a large chunk of the supply. Since says Kaspia CEO Ramon Mac-Crohon, a 1997, the U.N. and other organizations have orches- Madrid-born marketing expert who has trated a series of bans on caviar’s export; as recently run the company since 2011. There’s also as December, Russia and the other countries bor- the luxuriously straightforward menu dering the Caspian Sea again agreed to stop fishing (seven choices of caviar, smoked fish and sturgeon for up to five years. The years of uncer- MASTER OF HIS DOMAIN The CEO of Kaspia Group, foie gras, a handful of salads and soups). tainty, scarcity and wildly varying quality led to Ramon Mac-Crohon, who aims to expand to the U.S. “It’s high-end gastronomy without the formation of a sophisticated aquaculture indus- being stu¢y or stuck-up,” he adds. Last try and now, like other high-end purveyors, Caviar orders are taken at the accommodating Kaspia’s o™erings are exclusively farm-raised. The By the time the meal comes to a close with tiny hour of 1 a.m., while behind the enfilade finest roes remain beluga, osetra and sevruga, from fraises des bois and de rigueur glasses of cherry- of three small dining rooms is a fourth the three species of sturgeon most prized in the flavored vodka, it’s hard not to imagine Oblonksy space where the chicly attired guests wild. But as farming has gotten more sophisticated, waving for the bill across the room. But Caviar can smoke without having to trek down- other high-quality varieties have been introduced. Kaspia’s old-world elegance attracts a decidedly stairs and stand on the street. (An oft-pinched Kaspia goes for a comparatively modest 29 euros, while a The two that have made the cut on the Kaspia menu more contemporary clientele: Jay Z and Beyoncé memento was the restaurant’s signature turquoise plate of smoked Scottish salmon is the same price. are Imperial Baeri, which is farmed in France and (who ducked in for dinner à deux during a tour ashtray in the shape of a minaret, which Mac-Crohon No matter what’s on the plate, the restaurant Bulgaria and has a grain somewhere between an stop); style icons and young swans including Ines has recently reissued.) itself serves as a rite of passage—an initiation into osetra and sevruga, and white sturgeon, which is de la Fressange, Carine Roitfield, Sofia Coppola and The menu of choice, all agree, is the crab salad the cosseted world of modern-day Oblonskys. When farmed in Italy and comes from a species called the Charlotte Gainsbourg; and designers Tom Ford, (king crab and crayfish simply dressed in a balsamic screenwriter and Louisiana native Robert Harling Acipenser transmontanus. Diane von Furstenberg, Alexander Wang, Olivier vinaigrette on a bed of lettuce) followed by a twice- had his first success with 1989’s Steel Magnolias, Instead of being a setback to the restaurant, the Rousteing, Haider Ackermann and Giambattista baked potato topped with caviar, accompanied by “I was still just a country bumpkin,” he says. After industry crisis has actually had positive e™ects. Not Valli, who created a commemorative Kaspia caviar crème fraîche and a mother-of-pearl spoon. The fash- the movie’s release, he attended the Royal Premier only are some of the new varieties more a™ordable, tin ringed with an illustra- ion-world regulars “think in London with Prince Charles and Princess Diana, there is also better quality control. “Caviar Master” tion of his signature pearls. they are eating healthily opened the Berlin International Film Festival and, on Valerie Maia, the on-sta™ procurer for Caviar Kaspia Those bold-faced names and mindfully,” Talley says, a last stop in Paris, was taken to Caviar Kaspia by the since 1998, says, “With farm-raised caviar, we have combine with local literati, but they also like to see and film’s director, Herbert Ross, and his then-wife, Lee the opportunity to select our own tins, as opposed the occasional politician, be seen. “All the big editors Radziwill. “I’d never seen anything like it—dinner to wild caviar, which used to arrive in a big batch.” gallerists and late-night love going to find out who is there was the perfect closure.” My own first outing These days, Maia is much like a sommelier, going from theater- and operagoers to at whose table, what design took place in 1992 at a lunch with Talley and John farmer to farmer checking for the color and shine of create one of Paris’s most house is going to pick up the Galliano, just after the latter’s game-changing fash- the grain, the firmness and, of course, the taste. perpetually interesting tab.” To be sure, the tabs ion show. When I asked another friend, who was then Mac-Crohon may be vigilant about the Kaspia mixes in an intimate wood- can be considerable—if the a Paris-based editor, where the two of us should take history and reputation, but he is keen to expand the paneled space that often baked potato is crowned fashion’s newest star, she didn’t miss a beat: “There brand in the United States and beyond. The restau- feels more like a private with beluga, for example, it is only Caviar Kaspia.” rant is now owned by a holding company with a board GRAND TRADITION The decor of the restaurant has remained untouched by modern trends. “It’s exactly how one club than a restaurant. “You will set you back 335 euros, More than two decades on from that memorable of directors that still includes a Fixon family member, would imagine a Parisian fashionable restaurant,” says fashion editor André Leon Talley, a longtime patron. have the best of the Paris or about $460—but relative lunch (borscht and lots of caviar), little has changed. but the Kaspia Group also now owns La Maison de la beau monde,” says long- bargains can also be had. Stelio Conforti, the Italian manager who has been Tru™e, centered on tružes (there are currently two in time regular and American The “Vladivostock potato,” at Kaspia for the last 30 years, still greets regulars Paris, including one on the Place de la Madeleine, but opening an outpost by the beginning of 2015. so crazy that it becomes like “dinner theater,” says Vogue veteran André Leon topped with salmon roe, by name—and will remember where even the most there are plans to expand those as well), along with a While some Manhattan regulars at the Place de la Mac-Crohon. But it’s an unwritten rule that no one Talley. He compares Kaspia decidedly non-bold-faced diner last sat. Mac-Crohon, high-end bistro called Kwint in Belgium, and even an Madeleine will welcome a more convenient outpost, dare document the show. Though there is a photo- to Manhattan’s legendary who early in his tenure established Kaspia brands upscale eatery at Paris’s Charles de Gaulle Airport. it might prove impossible to replicate the combina- graph of Betty Catroux rather impressively doing a haunt Elaine’s in its ’60s FULL SERVICE The ground- of vodka (Polish), champagne (by Duval-Leroy) and In 2012, a sort of pop-up version of Caviar Kaspia tion of French chic and Tsarist-era Russian luxe that split on the carpeted floor with Tom Ford at her side, and ’70s heyday, “when it floor shop oers Kaspia white wine (a Sancerre from Joseph Mellot), also opened for a year in the lobby of Miami high-fashion imbues a sense of insulation and, occasionally, aban- evidence of such shenanigans is rare. It’s like Vegas, products, including smoked was the hangout of the great fish and caviar. Above right: made additions to the menu, including king crab boutique The Webster. These days Mac-Crohon has don in its clientele. Sometimes the table-hopping and says Mac-Crohon. “What happens in Caviar Kaspia intellectuals and writers” The restaurant’s waitsta. from the Bering Sea and velvety jamón bellota from his sights on Manhattan’s Upper East Side, perhaps impromptu carryings-on among certain patrons get stays in Caviar Kaspia.” •



Caviar Kaspia [PU].indd 98 DBL SIGNOFF 4/1/14 5:04 PM Caviar Kaspia [PU].indd 99 DBL SIGNOFF 4/1/14 5:04 PM 04012014160644OK TO PRINT ART ______COPY ______PROD ______04012014160644 OK TO PRINT ART ______COPY ______PROD ______AST SEPTEMBER, Tyler Hays was sitting in the cab of an old backhoe, directing the dig of a geothermal pit underneath a 140,000-square-foot building he owns in North Philadelphia, when the teeth of the giant bucket emerged drip- Lping with clay from two contiguous 20-inch strata. “It was a serendipitous accident,” says Hays, who had been installing a ceramics studio with kilns fired by waste wood, the run-o­ heat from which was fueling a small brewery upstairs. (He had planted hops out back the year before.) The beer is employees-only, but the excavated earth has found its way into a collec- tion of stoneware mugs priced at about $150 each and sold at BDDW, the SoHo furniture store that is Hays’s most successful, but not his first, experiment in turn- ing rough matter into achingly luxurious objects. If it’s hard to get Hays to talk about the pieces that have made BDDW a design firm beloved by both billion- aires and bearded young Brooklyn woodworkers, it’s because his mind is so quickly diverted to other, newer fascinations. In addition to ceramics, Hays is either busy making or planning to make kit boats, leather wallets, hair-care products, denim and cutlery. “We thought about reviving the shoe industry in America but changed our minds,” he says, apparently in ear- nest. He is taking a knitting class. He is raising bees. In the middle of northwest Oregon’s recent hunting sea- son, he bought jars of elk blood for dyeing T-shirts. He is designing dresses whose flower prints—“whacked- out Laura Ingalls Wilder,” as he describes them—are made using orange pigment extracted from the saw- dust of the Osage wood he uses. “To be honest, I don’t care as much about fur- niture as I do about heating systems and material science,” says Hays, a massive man in a thick, shawl- collared sweater, seated on one of his new sofas in the soaring Crosby Street showroom whose lease he signed on September 3, 2001. “There’s a lot of stu­ I don’t know how to do, like run a business, but if you ask me to do anything with my hands, from fixing a car to building a furnace—it’s all second nature.” Perhaps only a man brimming with self-assur- ance and possessed of a lifelong understanding of the alchemical potential of materials could build a successful business out of $3,800 floor lamps and $22,800 credenzas. Hays, a self-described hillbilly, never intended to be a luxury-furniture maker. THE “After September 11, everyone was looking for a job,” he remembers. “You’d drink and talk about what magazine was closing that week. And rich peo- ple were nesting, so they were the only ones buying furniture. At that time we had a few extravagant pieces, and that was all we could sell. In my mind TINKERER I thought there were 20 people in the world who would spend $20,000 on a credenza, not 20 on this Tyler Hays—furniture maker, ceramicist, block alone.” Though he is perfectly aware that those prices woodworker and self-described hillbilly—founded elicit bewilderment, if not outrage, in the uniniti- a high-end design firm, BDDW, and created a COVER ME ated, up close Hays’s furniture makes a convincing homegrown vernacular all his own. Wingback chairs await case for itself. Take one of those credenzas—a leather finishing touches in the a­air with campaign details. Aircraft-grade honey- upholstery department of BDDW’s Philadelphia comb panels are upholstered inside and out, front and studio. Opposite: Hays, back, in raw, vegetable-tanned bridle leather that’s in his New York City lo. been colored, treated, embossed and stitched by Hays or one of the 40 or so craftspeople he employs. The BY ROBERT HASKELL PHOTOGRAPHY BY MARTYN THOMPSON

 hinges are cast in bronze in his foundry, then hand- searching for the core of something, of an essentially “’    engraved with whimsical illustrations. On the back of American vernacular. We are both, I think, drawn to   ’  the cabinet, a vent for A/V lines is adorned with hand- things that 99 percent of people would ignore, but he turned walnut spindles, and a calligraphed leather turns those things into something that 99 percent of   ,  label has been fastened with bronze rivets. The level people would think is fantastic.”   , of detail is, to use Hays’s word for it, “psychotic.”      People tend to connect BDDW’s designs to the work AYS GREW UP in Joseph, Oregon, a     of George Nakashima, the 20th-century Japanese- tiny town named for Chief Joseph, American master furniture maker who sought to leader of the Wallowa band of the  , release the expressive power of a slab of wood, with Nez Perce tribe. According to family      all its knots and burls. They are more correct when lore, his great-great-great grand-    they cite the influence of Shaker furniture, with its father was the first non–Native , ’  elegant simplicity and privileging of the functional HAmerican born in the town. Hays grew up trapping over the decorative. Paula Rubenstein, who owns a mink and muskrat, “shooting anything that moved,  .” cultish antiques shop on Manhattan’s Bond Street out of boredom,” he says. (He remembers a disaf- –    where Hays is a frequent customer, places him in fected teenage version of himself skinning a raccoon that Shaker tradition. “What he responds to is a while wearing eyeliner and listening to Echo & the certain integrity,” she says, “something that’s genu- Bunnymen.) His father was a sign maker, and his ine—not a reproduction of or ‘in the manner of’—a mother ran a doughnut shop in town. He recalls feel- surface that’s worn in just the right way, or the shape ing so starved for visual stimulation that he would ask of a leg that might get stuck in his imagination. He’s friends to bring him magazines from Portland so that

ROUGH MAGIC Dining room tables under construction in the slab workshop. Opposite: Crocks, mugs, plates and vases at various stages of completion in the ceramics studio.

 he could cut out Giorgio Armani ads and paste them him believe that here is the real Tyler Hays, a man Hays never managed to sell much in Freeman Alley. “I “    he spends more time in a SoHo loft filled with BDDW the neck of a tripod lamp, and within a week someone on his bedroom walls. And yet there was a sense of who, as the writer Jonathan Safran Foer puts it, “pairs started to understand that people who can a•ord nice     overflow. On weekends he makes kites and rockets will have asked to buy it that way. At the end of the the power of handiwork in the Hays home: His mother a child’s curiosity with adult taste.” Foer walked things want it to be easy,” he explains. “They’re not with his 5-year-old son, and in the summer they go to year, the top 30 teams get seeded for a final tourna- bought antiques at yard sales and refinished them; into the showroom one day and was so moved that going to come to you.” So he came to them, borrow- ,  Wallowa Lake in Oregon, where years earlier he taught ment, accompanied by a huge, semiformal outdoor he received a sewing machine as a present from his he wrote Hays a fan letter. The two became friends ing every penny he could for the deposit on Crosby    Chief Joseph’s great-great-grandson how to fish. Hays weenie roast upstate for hundreds of competitors, grandmother when he was 5 and made much of the and are now in the middle of an ongoing discussion Street. The store opened on Valentine’s Day 2002,   .” seems to want his son’s world to unfold slowly, as his friends and family. “It’s like Burning Man meets The clothing he wore through adolescence. about how to design a dining table that converts into and Hays designed most of the furniture the week did. “I say to my ex-wife, ‘You’ve got to not take him Great Gatsby,” Hays says. –      But he was an unhappy kid, “suicidal,” he says. a ping-pong table. “He’s like Charles and Ray Eames, before, including his now-famous captain’s mirror. to a museum every week. You’ve got to hold that stu It’s easy to forget on such occasions that the host, He ran away from home at 17 and soon found himself just enthralled by experimentation,” Foer says. “My He had found an old orange lacquer mirror hanging back, develop curiosity bit by bit.’ I had so much curios- wearing a bear costume, helms a luxury furniture playing in rock bands in Eugene’s burgeoning grunge strong impression is that Tyler doesn’t give a s— from a leather strap at the 26th Street flea market, ity that I felt like I was a bullet by the time I left home, brand. Hays himself tends to forget it, or in any case scene. “I didn’t know Europe existed when I went to about how he’s classified, or what people think of him, which reminded him of the way he used to hang his like nothing could stop me.” is less impressed by it than the visitors who circle college,” he recalls. Girlfriends at the University of or what the outcome is.” paintings—an a•ectation borrowed from Vincent van Every other Tuesday, BDDW hosts an evening of somewhat nervously through his hushed, museum- Oregon laughed at him for not having heard of any Hays, who at age 45 counts many of his rock-star Gogh, who suspended his canvases from a triangle of archery in the showroom. It’s a sort of hipster ri on like store. Nearly every day, he trains a new BDDW great or famous people. “I missed out on all the cul- heroes as clients, remembers the early years of his string. Though he has been accused of copying a mid- the corporate softball league: Nearly 20 teams show recruit to mull leather, apply patinas or turn a dowel. tural references.” century Jacques Adnet mirror, Hays says up for each match, from institutions as varied as HBO, There is, he says, no mystery in it. It wasn’t until his senior year of college he had never seen one (or heard of Adnet), Helmut Lang, Thom Filicia and the Moth. The bows “People used to tell me about the Hermès factory, that Hays discovered fine arts. He took a and he notes with amusement that the are hand-carved, of course, and the smoked meats the level of the craftsmanship, all that,” Hays says. painting class and was so successful that Adnet mirror was reissued in 2011: a copy are driven in from Bucks County, Pennsylvania. “It “My grandmother worked in a garment factory, and he ended up with a scholarship and, not of his copy of a copy of the original. often ends with us singing karaoke until the small she was an expert. There’s just a proven way to do long afterward, a gallery in Portland. “I Several other early pieces—the tri- hours,” says the fashion designer and sometime- things, which nobody reinvents. Give me two days, was like a little art star,” he remembers, pod lamp, a square guest chair with a archer Phillip Lim. Once in a while, an arrow lands in and I could be a sewer in an Hermès factory.” • selling close to $30,000 in paintings his slung leather seat—have also become senior year of college. “My professors BDDW icons. Hays is unsure whether they hated me.” endured thanks to brilliant design or In 1994, Hays moved to New York, set- because he committed fully to them. “The tling into a vast, caved-in Greenpoint first year, I maybe sold one of those tri- warehouse with no heat or water. When a pod lamps, when it was priced at $1,200,” college friend started apprenticing for an he says. “But people saw it again the next architect, Hays got jobs working as their year, and again the year after that. We handyman. “I grew up making stu•, so appeared to believe in it, when the fact I just started figuring things out. I’d fix was that we couldn’t a•ord to do new stu•. your tile, whatever. I became a plumber It’s like if you open a fashion company and and an electrician because I had to make do 10 pieces of clothing and present them the Greenpoint loft livable.” every year. People are going to start to By the time he turned into a general believe they’re classics. I started to believe contractor, in the late 1990s, Hays could that myself. Now the lamp is $3,800, and a•ord to install a little wood shop in the we sell one almost every day.” loft. At the end of a project, he would build Despite the company’s success, Hays a small piece of furniture as a parting has never been much interested in scaling gift—a square block for an end table, a sim- up. “I don’t want to do it if I can’t do it all ple shelf to hang on a wall. On his invoices, myself,” he explains. This month, a BDDW he drew a cartoon of the Greenpoint build- showroom will open in Milan, but Hays ing’s brick smoke stack, which appeared to is counting on it less as a revenue stream have the letters BDDW painted down the than as an excuse to visit Italy more side. (In fact, Hays had misread EDDW, the often. Instead, he craves new avenues insignia of the building’s original occu- for a nearly diagnosable restlessness. pant, Eastern District Dye Works.) Recently Hays bought the general store “We used wood because it was cheap FINE LINES Two popular designs from BDDW—a tripod in his hometown, where his great-great- and we had a table saw, and we did mini- lamp and a captain’s mirror—in Hays’s lo. grandparents were shoppers. He’d like it malism just because it was easier,” says to be a place where he can sell a hundred Hays. “At the time, there was all this products of his own fabrication, “a Sears, Michael Graves postmodern stu•, so it felt fresh to furniture career as a manic blur. He worked from Roebuck for all my stu•,” he says. have a piece of raw wood that was solid and square 6 a.m. to midnight, seven days a week. At least one Hays is an insatiable collector himself—of old and thick. Calvin Klein Home was the coolest place family member wondered whether he was strung woolen blankets and hunting scenes painted on huge in town, but you’d flip over the furniture and find a out on drugs. (He wasn’t.) In 1997 he opened his swaths of muslin, as well as rusted industrial equip- ‘Made in the Philippines’ tag on top of 10 coats of black first showroom in Freeman Alley, which he says was ment desperate for an overhaul, such as the giant lacquer. I liked the idea of being the guy who actually three feet deep in garbage and littered with used green woodworking joiner in his showroom and the made the thing.” needles, in what is now the throwback haberdasher old linotype press that may or may not inspire another It’s tempting to view this narrative—of the Freemans Sporting Club. (If Taavo Somer, creator career-within-a-career. And though he has gotten rich, SUITE LIFE benighted boy sawing and hammering his way of the restaurant Freemans and its spin-o• cloth- his tastes remain fixed. “Some guys buy Lamborghinis, In Hays’s living through New York’s sophisticated corridors—as a ing line and barber shops, universalized the urban and I bought a $300,000 five-axis water jet,” he says, room, an armoire mythos cultivated for the purpose of throwing his woodsman aesthetic, Hays exalted it. There are no which allows him to cut knives out of stainless steel. (no longer available), an Abel ultrarefined work into starker relief. Hays admits to antlers in the BDDW line, though Hays admits that “This is my hobby, so it’s what I want to be doing on club chair and a feeling seduced by the story himself. “I’d cut the tree his house in the Catskills looks exactly like one of weekends.” Hays lives in an old converted schoolhouse Cannon side table, for the table and have dinner at the table with the Somers’s restaurants.) outside Philadelphia, the walls still mainly black- all by BDDW. tycoon who bought it,” he says. But those who know He got some press in the fashion magazines, but board, though now that he is in the middle of a divorce,



Tyler Hays [PU].indd 104 4/3/14 12:01 PM Tyler Hays [PU].indd 105 4/3/14 12:01 PM 04032014110243 04032014110258 SNAKES AND LADDERS Ford in his TriBeCa studio, at work on Rhyndacus, one of several new large- scale watercolors on show this month at Paul Kasmin Gallery. WILD Walton Ford has become famous for monumental wildlife paintings that bring a primal kingdom indoors. As the artist embarks on the next chapter of his life, his latest works reveal a new thoughtfulness—though nothing will tame his savage beasts. THING

BY CLAIRE HOWORTH PHOTOGRAPHY BY LEONORA HAMILL

 P ONE WALL of Walton Ford’s messy with these Southern parents. The food was good—I mother, who now lives on Cape Cod, recently sent and nobody had ever told him to do them large.” my stone room very early this morning. I made them turtle rescue; he thinks the reptiles “are cool, and not Manhattan studio stretches nine or had all the eccentricity and none of the repression.” Walton a package filled with his childhood e”orts: “His pictures are so subversive and yet so beau- chase me a bit at first but finally I let them put the tight charismatic enough to get a lot of attention.” ALLERY; ALLERY; so feet of a fantastical snake, his thick “My dad was a wild, alcoholic, womanizing, brawl- colorful boa constrictors; sweet Beatrix Potter–esque tiful,” says Guinness, whose art collection includes strap around my middle. They led me out on a chain “Walton is working through this inventory of tail coiling along the banks of an ing guy,” Ford continues. “But for that generation, if rabbits; a narrative tableau featuring the family cat. Chaumière de Dolmancé, an unsettling depiction of past the other rooms,” reads the text below Happy ideas,” says Kasmin. “His paintings are surprisingly KASMIN G Anatolian river, his jaw unhinged as you were funny enough, creative enough, interesting It was with his mother’s encouragement that ALLERY a captive monkey. “They’ve got an enormous amount Jerry, who is depicted smoking a clay pipe, as he did related to what goes on in his life. So you’ve had very

a flock of delicate Turkish birds flut- enough, it didn’t matter.” (His parents did divorce he attended a summer session at the Rhode Island AUL of humor, and they are saying something, whether in real life, on a chair at Windsor Castle. black periods, you’ve had very lively periods.” ter down his gullet. Rhyndacus, the title of the nearly when Ford was 11.) The boozing was one part of the cul- School of Design, which led to his college education it’s political or emotional or historical. The more I Ford says his sobriety has made him “weirdly His newest ideas include a graphic novel, based KASMIN G

U T AND PAUL KASMIN GALLERY; 10-by-5-foot painting, is inspired by an ancient ture that shaped young Walton: Enfield Berry “Flicky” there. But after graduating in 1982 and moving to know Walton, the more fascinated I am.” more compassionate,” and these texts explore what on the memoir of an animal handler in 1920s IS AUL Roman account of real and fabled creatures, On the Ford, who died in 2003, was a Don Draper type, a Time Brooklyn, he struggled to find his stride. Over the In this latest show, two of the other new works his friend Robert Thurman, professor of Buddhist Manhattan. Ford is also working on Visions of Paleo Nature of Animals, and is one of several new works Inc. creative executive whose crowd included car- next decade, Ford made ends meet with carpentry are portraits of primates, the mammal Ford identi- studies at Columbia University, recently told him: Art: 1830-1980, an anthology of 19th- and 20th- AND PAUL KASMIN GALLERY KASMIN PAUL T AND

that Ford will present at a solo show at Paul Kasmin toonists, comic book illustrators and artists. work, painting landscapes in oil when he could— IS fies with the most. (“I have a serious Curious George that Ford is a medium for his animal subjects. century depictions of prehistoric life written by his Gallery this month. The massive painting is remark- For all of his flaws, Father Ford instilled the love nothing that got him much buzz in an era that was all problem,” he says.) One is Susie, a gorilla who was “Walton is not painting so everybody will be a girlfriend, 24-year-old art journalist Zoë Lescaze, to able not only for its scale and spectacle, but for what of nature that fuels both of his sons—Walton’s older about neo-expressionists like Julian Schnabel. TESY OF THE ART displayed at the Cincinnati Zoo in the early 20th cen- vegetarian—he’s trying to wake people up. And he’s a be published by Taschen. OUR

it reveals about Ford’s life these past couple of years. brother, Flick, is an angler and naturalist artist. When Jones, whom he had met at RISD and mar- COURTESY OF THE ARTIST AND P tury. The other is a mandrill named Happy Jerry, an vehicle for that in his paintings. That’s why they have All of these projects seem necessary to occupy GE C

“I can’t have enough. It’s never enough. I swallow (Ford also has two sisters, Ashley and Emily.) In the ried after graduation, won a Fulbright for a six-month TESY OF THE ART object of amusement for King George IV, that “gouty such a power,” says Thurman. his frenetically creative mind. “When you are one of MAGE MA : I

it all. Everything that’s beautiful in my life is going summers, they portaged to a remote Canadian lake stint in India in 1994, Ford went along. He found that OUR playboy,” as Ford calls him. Ford has yet to decide if Ford doesn’t attach a specific spirituality to his us,” meaning addicts, “you wake up with some pretty COURTESY OF THE ARTIST AND P down my throat,” says Ford. house. “It had no electricity, just Coleman lamps, a he took a liking to the local birds, which inspired FT he’ll give Happy Jerry genitalia—many of his male work, but he has begun to spread his compassion crazy shit in your head every day. Things like medita- GE C MA The serpent, the 54-year-old artist explains, reflects wood-burning stove. You had the whole lake to your - the metaphorical wildlife watercolors that would MAGE animals are depicted showing o‹ outsize sexual beyond the studio. He has contributed works to ben- tion or prayer are sophisticated psychological tools to his struggles with addiction and his newfound sobri- self. That was my dad’s idea of heaven.” become his focus. anatomy. “It’s nice to have a penis,” he says. “I think efit the Natural Resources Defense Council and last keep you alive rather than dead. I don’t want to end ety—a state in contrast to the realm of his work over In art, though, Flick, six years Walton’s senior, “I remember when I first went to his studio,” says I’ll probably do it because I can never resist.” year’s 11th Hour auction at Christie’s that raised $38 up like Jackson Pollock or Philip Seymour Ho‹man.” the past two decades. Part of the charisma of Ford’s was his “first teacher,” he says. The two would spend Kasmin, who has been his dealer since 1996. “I could A departure for Ford lies at the bottom of these million for the Leonardo DiCaprio Foundation, which says Ford. And his art has reaped the benefits of his WISE FROM TOP LE

watercolors, which many compare to the illustrations hours drawing critters in their shared bedroom. “It tell he was hugely ambitious but not doing what he CKWISE FROM TOP LEFT: I portraits, where there are short, childlike narratives is dedicated to ecological preservation. Ford plans new way of life. “I see all kinds of helpful lessons that LEONORA HAMILL; I CLOCLOCK of famed naturalist John James Audubon for their was always animals,” says Ford of his artwork. His wanted. He knew how good he was at the watercolors, LEONORA HAMILL; I from the primates’ points of view. “I was taken from to team up with the New York hotelier Eric Goode on I never did. This is a good place to be.” • meticulous realism, is that unlike Audubon’s, they are often debauched and violent. His beasts copulate, feast and kill. Each sprawling piece is based on text—a pas- sage from George Orwell, an arcane field guide—and “   conceptualized through classical wildlife drawings.   Ford’s images are allegories of colonialism, conserva- tion, or human nature, though humans rarely appear. . ’  The work, which commands up to $1 million per can-   vas, is both accessible and compelling, and Ford has   . found fans beyond the art world: The Rolling Stones   commissioned him to create a logo for their 50th anni- versary, and Leonardo DiCaprio and Daphne Guinness   collect his work, which is also in the permanent collec-   .” tions of the Smithsonian American Art Museum, the –  Whitney Museum of American Art and the Museum of Modern Art. Before Ford got sober two years ago, he says, “I just was blowing stu” up. You can’t really sustain relation- ships if you’re acting like that. It was time to straighten up. You’ve had enough at some point. Thirty years of being a maniac.” In short and chaotic order, he split from his wife of 23 years, the artist Julie Jones, with whom he has two daughters, and quickly married a book editor. Though that marriage ended within 10 months, it brought him back to New York City from rural Massachusetts, where he had lived since 1996. “It finally felt like I’d had enough of the Berkshires. It never felt like home up there,” he says, rubbing his chin. Ford has an impish face, and physical brawn courtesy of his artwork—the pieces, at a huge scale that’s rare for watercolors, can take months to com- plete, and Ford often paints with his arm held high ANIMAL HOUSE Clockwise from le: in the air for hours. His TriBeCa studio has double- The “flotsam and jetsam” height ceilings to accommodate the works. of Ford’s intense research Back in the city, he’s removed from nature—“the fills a corner of his studio; La Fontaine, a 2006 work, worst part”—but everything else feels steadier. Ford which sold for nearly doesn’t flinch from talking about his proclivities, or $750,000 at auction; how it runs in his family. Ford’s library displays a fully functional .22 rifle His parents both came from old Southern families sculpture, by Ford’s (Ford says he’s related to the plantation owners of the friend, artist Tom Sachs, same name as those in 12 Years a Slave), artsy types alongside vintage plaster death masks of animals; who fled north to Larchmont, NY. “Heretics,” Ford calls a 2012 work titled them. “I was lucky. I grew up in Westchester County Calvaire.

 

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WELL OPENER     Giorgio Armani jacket, The Row sweater, $890, $2,620, and pants, $1,725, Neiman Marcus, Calvin both 212-988-9191, BLK Klein Collection trousers, FREYWILLE DNM tank, $65, 237 $3,095, 212-292-9000, Lafayette Street, New York Mastersoffireenameledfinejewelry, Jaeger-LeCoultre watch, DORCHESTER COLLECTION EXPLORE ZAMBIAN EMERALDS $3,250, Camilla Dietz FREYWILLE created the Sarah Bernhardt Bergeron, ltd., (worn   Fromcaptivatingstyletostate-of-the-art collection as part of our Homage to Experience the world of Gemfields’ throughout) Ralph Lauren Collection facilities and outstanding locations, Alphonse Mucha.Thisartnouveauinspired responsibly-sourced emeralds and follow jacket, $2,695, and pants, each hotel embodies the culture of Diva Bangle in burgundy is available in brand ambassador Mila Kunis on her COVER isi-store.com, ice saw, $895, both ralphlauren .com Céline sweater, $4,750, $59.99, woodcra£ .com, THE GODDESS OF its surroundings. FREYWILLE boutiques exclusively. personal journey to Africa. SMALL THINGS Barneys Madison Avenue, barrel, $60, tuthilltown .com   New York  – DORCHESTERCOLLECTION.COM FREYWILLE.COM GEMFIELDS.CO.UK Céline sweater, $4,750, Jil Sander blazer, $1,440,   Barneys Madison Avenue, top, $660, and trousers, Rebozo la Piedad scarf, TABLE OF CONTENTS New York $1,460, all Barneys New $289, Virginia sandal,   York, and Banana Republic $149.50, Viva Mexico Tom Ford jacket, $4,250,   belt, $49.50, bananarepublic printed tote, $49.50, cotton and trousers $1,390, both Tom Ford blouse, $1,950, .com Tom Ford New York and coin necklace, $169.50, Tom Ford New York, Gucci all from the Coqui Coqui Tom Ford Beverly Hills pants, $1,250, gucci .com,   capsule collection for Club and Superga sneakers, $65, Balmain jacket, $2,950, and Monaco, available at Club superga-usa .com WHAT’S NEWS Monaco stores, deadofnight pants, $2,500, both Barneys New York   perfume, $245 for 10ml, MiN   Bally waterproof nylon New York, 212-206-6366, The Row coat, $2,490, jacket, $695 for similar Rotring 800+ mechanical Neiman Marcus, Proenza   styles, 212-751-9082, Dries pencil and stylus, $85, Schouler top, $1,050, and Maison Martin Margiela Van Noten rose-print rotring .com pants, $1,650, both 212- jacket, $1,960, and pants, Vance jacket, $830, 248- 585-3200, Jennifer Meyer $985, both 212-989-7612 220-4999, Gucci double-face   diamond bar ring, $450, poly poplin windbreaker, Pampaloni, pieces from and hammered ring with   $2,300, gucci .com, Burberry $250 to $14,000, diamond detail, $825, both Saint Laurent by Hedi Prorsum weatherproof Avenue Road, 212-453- barneys .com (both worn Slimane jacket, $2,950, zip-top cagoule, $2,195, 9880, Salvatore Ferragamo throughout) shirt, $590, and pants, burberry .com, Prospekt handbag, $27,000, $1,085, all 212-980-2970 ASTROLAB DINING TABLE GUESS & DENIM DAY EXCEPTIONAL DESIGNS FOR EVERY ROOM Supply Japanese polyester ferragamo .com/fiamma   windbreaker, from $250, Stella McCartney jacket,   Discover the perfect combination of technology InhonorofDenimDay2014,GUESS?,Inc. California Closets creates your perfect closet, prospektsupply .com $1,645, and trousers, $595, andluxurywiththisstrikingpiecefeaturinga and the GUESS Foundation made a entryway,garage,oranyspaceinyourhome. CLOSE ENCOUNTERS Ralph Rucci jacket, both 212-255-1556, and combined donation of $100,000 to fund Visit us online or call today for a complimentary     $2,828, and pants, $746, power-operated system which sets the visible Michael Kors sweater, $995, Peace Over Violence. in-home design consultation. The Bar Book: Elements Céline calfskin and brass select Michael Kors stores both 212-819-9066, Saint clockwork mechanism in motion. CLOCKWISE FROM TOP LEFT of Cocktail Technique, shoes, $2,190, Barneys Laurent by Hedi Slimane Dinosaur Designs Beetle bowl; Max Lipsey Acciaio $30, Chronicle Books, New York   belt, $295, 212-980-2970, ROCHE-BOBOIS.COM SHOP.GUESS.COM CALIFORNIACLOSETS.COM lounge chair; Céline calfskin-and-brass shoe; julep strainer, $15.95, Michael Kors mohair and Max Kibardin for RO/LU Nature/Nurture bookcase; Johan Lindstén lamps. cocktailkingdom .com,   cardigan, $1,495, Ralph Rucci heels, price

For details, see right (“Close Encounters”). seltzer bottle, $99.95, Max Lipsey Acciaio michaelkors.com, Proenza upon request ADRIAN GAUT

© 2014 DOW JONES & COMPANY, INC. ALL RIGHTS RESERVED. 6AO1382  .  Follow @WSJnoted or visit us at wsjnoted.com

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  MICHAEL CUNNINGHAM The author—whose new novel, The Snow Queen, is out this month—shares a few of his favorite things.

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“THE JAR WAS A GIFT from my partner, Ken Corbett, plastic Godzilla is a limited-edition model from the typical of her to find something on a beach and mail and it sits on my windowsill. We make things for ’60s that I got in Tokyo. You can’t find them anywhere it to me. I seem to pick up orbs like those gray and each other on birthdays and Christmas. The paper anymore. The plate I bought from the gift shop at the orange ones. They’re very satisfying to roll around, says ‘east’ because I’ve had this idea since I was Charleston house in East Sussex, England, where like little baby planets. The picture of Virginia Woolf young that writers lived on the East Coast and the Bloomsbury group hung out. I was with Susan has been on my desk since I wrote The Hours. I owe hung out in little coeehouses in New York—which Sontag, and we both bought one. I picked up the hand her a great deal. One ought to have a genius looking has mostly proven to be true. I grew up in L.A. with in an antique shop in Europe somewhere. I wear the over one’s shoulder. The award was from when I was lots of Mexican tchotchkes around; that’s where the chain with the crystal out of that old human desire Cub Scout of the Month as a kid. Between that award Virgin Mary comes from. I like the spikiness of this for adornment and some very, very vague sense of at the age of 8 and my Pulitzer Prize, no one ever gave version: She’s a ‘Don’t f— with me’ Virgin Mary. The magic. My sister sent me the piece of coral: It’s very me any other prizes.” —As told to Christopher Ross Exclusively at SEPHORA

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