@ US POL OAS SN | USPO LOA SSNGLO BA L. CO M
VOLUME IV / ISSUE X / OCTOBER 2020
Ambassador Claude-Alix Bertrand Publisher
Joshua Jakobitz Editor-in-Chief
Gregory Bertrand
Elle Chrysler
Copy Editor
Polo Contributor
Claire Barrett
Brand Representatives Anne-Isabelle Saint-Pierre - Dubai Rudy Volel - New York City
Eva Espresso
Michael J. Snell - The Hamptons Stanley Pierre-Etienne Caribbean Sara Ali - London Jessica Foret Wax - Santa Fe Charles Ward - Montecito K & Co. Media - Los Angeles
Head of Photography
Contributing Photographer
Cezar Kusik
Wine Contributor
Raphael Dapaah Art Contributor
Joey Velez
Wellness Columnist
Jyoti Paintel
Spiritual Contributor
Stanley Pierre-Etienne Style Contributor
Brett Chody
Style Contributor
Anne-Isabelle Saint-Pierre Style Contributor
Michael J. Snell
Lifestyles Contributor
Philippe Lucas
Luxury Contributor
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William Smith
Philanthropy Contributor
Contributing Photographers
Ralph & Russo Michael J. Snell Justine Jacquesmot Greenwich Polo Club U.S. Polo Assn. Polo Lifestyles is a publication of HT Polo Publishing Co. 995 Detroit Avenue, Suite A Concord, CA 94518 Content Copyright Š Polo Lifestyles 2020 All Rights Reserved. For information or to advertise Contact editor@htpolo.com Read online at www.pololifestyles.com Cover Photo by Ralph & Russo of Hauli, an avatar model
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WESTWORLD OF SCOTTSDALE The Stella Artois Polo Classic GHANTOOT RACING & POLO CLUB Pink Polo Sultan Bin Zayed Polo Cup Emirates Polo Championship International Al Amal Polo Day for Charity HH President of UAE Polo Cup WORLD POLO LEAGUE The All-Star Challenge The Founders Cup ARGENTINE SEASON 80th Abierto de Tortugas 127th Abierto de Hurlingham 127th Abierto de Argentina THAI POLO & EQUESTRIAN CLUB Thai Polo Open Al Habtoor Polo Club UAE National Day Cup Sir Winston Churchill Cup
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SCOREBOARDS & COCKTAILS S O C I A L D I S T A N C I N G P O L O
EAST COAST OPEN
WHITE BIRCH RULES AT G R E E N W I C H P O LO C LU B
page 30 POLO LIFESTYLES EDITORS & CONTRIBUTORS
Ambassador Claude-Alix Bertrand
Josh Jakobitz
Publisher Polo Lifestyles @haiti_polo_captain
Editor-in-Chief Polo Lifestyles @joshuajakobitz
Elle Chrysler
Stanley Pierre-Etienne
Polo Contributor U.S. Polo Connection @ellechrysler
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Style Contributor Lanmou Pou Ranyon @stanleypierretienne
Claire Barrett
Head of Photography
Claire Barrett Photography
@clairebarrettphoto
Eva Espresso Photographer
Eva Espresso Photography
@eva.espresso
Raphael K. Dapaah
Jyoti Paintel
Vernissage Contributor Dapaah Gallery @dg_luxe
Spiritual Contributor Polo Lifestyles @jyotipaintel
Michael J. Snell
Gregory Bertrand
Lifestyles Contributor MJS Groupe @agnello_1
Copy Editor Polo Lifestyles @bertrand7367
Cezar Kusik
Wine Contributor Polo Lifestyles @cezartastesearth
Joey Velez
Brett Chody
Style Contributor Polo Lifestyles @brettchody
William Smith
Wellness Columnist
Philanthropy Contributor
@velezmentalhealth
@willismith_2000
Velez Mental Performance May & Stanley Smith Charitable Trust
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Models and their masks page 102
Casa Ferrari revs it up in The Hamptons page 72
Beam me up, Scottie! No New York's street style stole Fashion Week pg 114 really... page 66
THE ANNUAL FASHION ISSUE
TH E D I G I TA L AG E I S BE ING R U L ED BY A POW ER F U L F E W
Will everyone else be left behind? Or can they catch up? Page 84
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STUARTWEITZMAN.COM
LETTER FROM THE EDITOR
Creativity. That’s the word I kept coming back to this summer and early fall. Creativity has never been more important in my life: it keeps me busy, stretches my skill set and, frankly, passes the hours that could otherwise drag into days and weeks. My friends and colleagues have inspired me with their creativity. Over the course of dozens of group texts, we’ve exchanged ideas and offered a critical eye when necessary. Creativity is also what’s saving the fashion industry right now. In the midst of unprecedented challenges, the designers and houses rising to the top, like Ralph & Russo, are the ones fully embracing extreme creativity. I imagine the meeting in which Hauli, their avatar model and our cover girl, was conceived. There had to have been some push back. No major fashion house had ever shown with a computergenerated model successfully. But for Ralph & Russo, that was the point – get creative, make it perfect, be the first, lead the way. The result is stunning, and for me personally, one of the top takeaways from this fashion season. Avatars certainly aren’t going to put models out of work or completely eliminate the catwalk, but the technology is accessible and the result – believable. The fashion industry, overall, has been put to the test by the Digital Age this year. Most insiders would agree that the results have been mixed, with a few designers managing to wrangle their digital collections into something inspiring. Fashion shows presented by Zoom are so 2020, I predict, and with a steady stream of technological advances, precariously unsustainable. One such technology that’s already being rolled out in Japan and the Middle East is the PORTL hologram machine, which can beam threedimensional images into an acrylic lightbox, either in real time or using hours of pre-recorded footage, assisted by artificial intelligence, to be interactive and intuitive. Our story on this too-good-to-be-true technology this month is both relevant and timely because, frankly, I’m tired of propping up my iPhone or lap-top at just the perfect lighting angle. Best, Josh Jakobitz josh@pololifestyles.com
VOLUME IV / ISSUE X / OCTOBER 2020
ayitipromotion Housing projects envisioned to improve the quality of life for masses in the Caribbean
iamreginaking Being in lockdown means playing dress up when you missing putting on couture to go to the Emmys
polo_trends_africa Bright polos for the season in Africa as tournament directors weigh the decisions of matches going forward page 26
callmyassistant US Supreme Court Justice Ruth Bader Ginsburg was a "Lion of the Court" for equal rights under the law
kerbito Awards and accolades for designer Kerby Jean-Raymond of Pyer Moss
thebakerhouse1650 Casa Ferrari popped up in The Hamptons at The Baker House 1650 where these cookies were tasty treats
donatella_versace Fabulous in purple and underneath the Fall @versace ad campaign
irisvanherpen The one-piece collection stunned the world of fashion with its creativity and flawless execution
jeanelie Social-distancing for the Emmys took a variety of forms, including this one from the cast of Insecure @hbo
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Click and comment on our choices... tag @pololifestyles. We will share noteworthy comments with you next month.
edoardomaintelliphoto Polo at Villa a Sesta is in full-swing and polo/equestrian Edoardo Maintelli was there to capture every second
monacoyachtshow_off The Monaco Yacht Show will go on in 2020, details coming next month on how it went
unitednations The U.N. General Assembly will be held digitally rather than in person due to concerns over COVID-19
gavinnewsom Californians woke up to this strange orange and brown haze over the San Francisco Bay Area #wildfires
nyfw Garden delight from MarchesaNotte's Spring 2021 collection, inspired by Frida Kahlo's La Casa Azul
usopen Smile if you won the U.S. Open this year @naomieosaka and @dominicthiems
harmlessharvest Treat yourself to a cocktail with Harmless Harvest coconut water; recipes on their Instagram page
rollsroycecarsna The 2021 Ghost has arrived and it is truly a piece of architectural delight for drivers and passengers
uspoloassn On the field, or between chukkers, these clothes are sport-inspired pieces from the authentic polo brand page 27
2020 BMW X6
The Ultimate Driving Machine.
CHOOSE YOUR X. THE BMW X RANGE.
NOW WITH 0% FINANCING.
VOLUME IV / ISSUE X / OCTOBER 2020
20eme OPEN DE FRANCE DE POLO
L E S L I O N S PA N A R E A 1 0 / 6 TA L A N D R A C A S P O L O C L U B D U D O M A I N E D E C H A N T I L LY P R O M V P : B E R T O C A S TAG N O L A A M AT E U R M V P : D I L LO N B AC O N B E S T P L AY I N G P O N Y: F E D E R I C O , P L AY E D B Y B . C A S TAG N O L A page 30
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OPEN DE FRANCE DE POLO
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SA I S ON 20 20 ODEAUVILLE P E N D E F R AP NOLO C E DC E LUB POLO
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OPEN DE FRANCE DE POLO
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The creation of this exceptional clock draws its inspiration from the concept "tempus fugit" (times flies), providing an endless source of fascination. Whether long or short, friend or foe, time runs wild and free. The idea of "taming" it - not to gain mastery over it but rather to better appreciate it - this was the starting point of the amazing adventure which gave birth to the mare and her foal, an automaton and exceptional clock baptized “Hippologia.� The Parmigiani Haute Horlogerie Manufacture has mastered the fine art of creating beautiful timepieces shrouded in mystery. Through its restoration work, Parmigiani is intimately acquainted with historical masterpieces, enabling it to hone its own creativity. This manifests itself in the form of unique timepieces, each a real piece of watchmaking bravura. In the past, the manufacture has already created many table clocks decorated with sculptures reproducing a dynamic movement. This year, Parmigiani Fleurier wanted to dream bigger and go further.
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EAST COAST OPEN 2020
E A S T C O A S T O P E N F I N A L : S U N D AY, S E P T. 2 0 GREENWICH POLO CLUB FINAL: WHITE BIRCH 13 / 10 BLACK HOUND W H I T E B I R C H ( C H R I S B R A N T, PA B L O L L O R E N T E , J R . , MARIANO GONZALEZ AND PEKE GONZALEZ) SCORED A 13-10 WIN OVER BLACK HOUND (WILL T O M I TA , L U C A S D I A Z A L B E R D I , T O R O R U I Z A N D M AT I A S M AG R I N I ) T O N O T C H T H E I R RECORD 13TH EAST COAST OPEN TITLE. M A R I A N O AG U E R R E WAS N A M E D M V P W H I L E H I S 7 -Y E A R - O L D M A R E , M A C H I T O S F R A N C I S C A , E A R N E D B E S T P L AY I N G P O N Y H O N O R S . page 42
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Photos by Alice Gipps Equine Photography @alice_gipps_equine_ photography Right: Dillon Bacon takes on Facundo Pieres in the final of the Cartier Queen's Cup 2020.
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G R EENW ICH PO LO C LUB · EAST C OAST O PE N
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G R EEN WI C H POLO CLUB · E AST C OAST O P E N
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G R EEN WI C H POLO CLUB · E AST C OAST O P E N
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THE 2021 GHOST BY ROLLS-ROYCE
RELENTLESS PURSUIT OF PERFECTION
I
N 2009 ROLLS-ROYCE ANNOUNCED A NEW ADDITION TO ITS PORTFOLIO THAT OFFERED SOMETHING ENTIRELY DIFFERENT TO ITS FLAGSHIP PHANTOM. FIRST SOUGHT-AFTER WITH A RELENTLESS PURSUIT OF PERFECTION IN DESIGN, ENGINEERING AND CRAFTSMANSHIP, THE MARQUE’S MISSION WAS THEN TO CREATE A MORE MODEST AND MINIMALIST EXPRESSION OF ROLLS-ROYCE, WELCOME TO THE GOODWOOD GHOST. After Ghost’s decade-long market presence, Rolls-Royce utilized data collected by Luxury Intelligence Specialists to allow for the re-envision – gathering behaviors in how Ghost clients use their motor car, how they commission it and how they perceive Rolls-Royce. It is now that we see the latest vision in the company’s 116-year history, after Ghost’s formidable success, the market welcomes a new collective result being a motor car precisely tailored to its clients, appearing perfect in its simplicity, underpinned by remarkable substance, and focused on less is better. This is the “Post Opulence” take on the new Ghost. What this new generation offers is nothing short of engineering mastery. As our eyes glanced upon the redesigned saloon during first previews at the prestige Manhattan Motor Cars Rolls-Royce showroom, it was viewed in its most pared-back form. New lines, tech features and a true client-centric experience are what the brand was driving at (pun intended). Hitting the road with an increased vehicle with to subtly communicate its presence, you are initially greeted by a new illuminated grill. With 20 LEDs placed just underneath it’s top, a subtle glow is cast down each of the pantheon veins. The glow is further accentuated by a subtle design integration upon the initial introduction of this feature, the aesthetic team felt the reflection was too striking, so each of the veins features one brushed side to mute and amplify a softer feel. The iconic Spirit of Ecstasy which sits atop each vehicle, has also been simplified, now positioned to sit snugly within the vehicle’s hood. The body itself also sees a softened appearance, taking cues from boating design with a smoothed lower waft line and striking roofline arch recalling the coach-built days of the Silver Dawn and Silver Cloud. The rear is also minimalistic, keeping with the cues which are notable to the brand but with a tighter more-breathy boot, speaking to its modern feel.
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From its simultaneously hand-welded points, the body and chassis are now rebirthed with the expectation of luxury. New Ghost, which features a proprietary aluminum spaceframe architecture, now has the flexibility and furthermore scalability to allow the marque to serve both the unique aesthetic and mechanical demands to be seen. This new platform has created an acoustically superior, highly rigid and dynamic proposition for this model’s future. The Rolls-Royce architecture is based around four fixed points, one at each corner of the motor car. The moveable aluminum bulkhead, floor, crossmembers and sill panels were positioned specifically to ensure that the new Ghost meets client expectations as a motor car that is equally enjoyable to drive as it is page 54
to be driven in. Two of the cast suspension mounting assembles were pushed to the very front of the new Ghost, which placed its upgraded 6.75-liter twin-turbocharged V12 engine behind the front axle to achieve an optimum 50/50 weight distribution. The engine sees a power increase from the previous 6.6-liter and now boasts a remarkable 627lb of torque, so if you are concerned about propelling the total 5628.4-lbs of curb weight, don’t be. Along with some other technical upgrades, we see an evolution in the marque’s hallmark Magic Carpet Ride. Specialists have added the new Planar Suspension System, which incorporates a world-first, an Upper Wishbone Damper unit located above the front suspension
assembly. This works in direct conjunction with the vehicle’s Flagbearer camera system that reads the road ahead and helps prepare for suspension and driving changes. This also uses the vehicles Satellite-Aided Transmission, which helps select the optimum gear to keep your corners sharp and hills filled with torque. Upon entering the vehicle, you are greeted with the fully powered door operating system, allowing you to now close and open with power assistance at the push of a button or grab of a handle. Refined cabin ambiance was a factor in Ghost’s “Formula for Serenity” with many of the technical design cues that included an obsessive approach to make your driving or riding experience
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virtually silent. Double-glazed windows, redesigned steering and drive shaft, interior acoustic dampening panels and a new seamless body silhouette all add up to equal the perfect formula to acoustically-harmonizing the car. You will also be greeted by the hallmark Starlight Headliner, which features over 1,300 individually placed fiber-optic points, but also something a little extra. The illuminated facia, which sits above a newly refined tyle of open-poor wood, now features the Ghost nameplate and also features 152 individual LEDs, mimicking the headliner and warming the interior ambiance. The vehicles’ Bespoke audio system also received an upgrade as it now features 18 individually controlled channels providing a 1300W output for optimal audio enjoyment. Serenity isn’t
truly found unless you experience the integrated “MEPS” or Micro-Environment Purification System. With a set of highly sensitive impurity detection sensors, the ability to detect poor air quality is instant, allowing for all airborne contaminates to be passed through a nanofleece filter removing ultra-fine particles in less than two minutes. Drive, ride, listen and breathe better with glost. If safety should be a question, this model is noted to be the most technologically advanced of the Rolls-Royce line up yet. Equipped with LED and laser headlights that feature more than 1,900 feet of illuminated range, a vision assistant that includes day and night-time wildlife and pedestrian warning, an alertness assis-
tant, and the unparalleled collision and cross-traffic assistant that are all available on the integrated heads-up display. Of course, if you need the reassurance, all standard features like a premium navigation and entertainment system, a Wi-Fi hotspot and self-park are there too. The new Ghost is a showcase in the emerging design movement that brands strive to achieve while possessing the insight and intellect of their most valuable resource, its owners. Should you have the means to drive, experience, and possibly own one of the fine-tuned saloons, you will understand why the mastery of this heritage brand is so highly coveted.
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WELCOME TO THE
2021 GHOST BY ROLLS-ROYCE
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US OPEN DOMINIC THIEM & NAOMI OSAKA CAPTURE SINGLES TITLES
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S O C I A L D I S TA N C I N G P O LO A N D STRICT TESTING PROTOCOL FOR AS P E N VA L L E Y P O LO T E A M S
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US OPEN TENNIS 2020 A R T H U R A S H E S TA D I U M · N YC
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MEN'S SINGLES FINAL SEPTEMBER 13
WOMEN'S SINGLES SEPTEMBER 12
A. ZVEREV D . T H I E M
N. OSAKA 1 6 6 V. A Z A R E N K A 6 3 3
6 6 4 3 66 2 2 6 4 78
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THE FUTURE BE IN TWO PLACES AT THE SAME TIME PLUG-AND-PLAY HOLOGRAM TECHNOLOGY THAT'S ALMOST TOO GOOD TO BE TRUE
H
JOSH JAKOBITZ Editor-in-Chief @joshuajakobitz
IGH-END HORSE BUYERS ARE GOING GA-GA FOR A NEW TECHNOLOGY THAT BEAMS THE MAGNIFICENT CREATURES INTO A MUSEUM-QUALITY SHOWCASE BEFORE THEIR VERY EYES – EITHER LIVE OR PRE-RECORDED. THE PORTL IS A SEVEN-FOOT BY 4.5-FOOT WHITE LIGHTBOX THAT COMES COMPLETELY ASSEMBLED AND SELF-CONTAINED.
Plug the power cord into an outlet, connect the PORTL to the WiFi, check your time zone and connect with sellers in Argentina. For our demonstration, available horses were walked back and forth, left to right and then back again, in front of a basic video camera and white backdrop in Argentina, while in Los Angeles, we viewed the three-dimensional images page 66
and even carried on a conversation in real time with the hologrammed sellers. “This is too good to be true,” said an observer. “It’s not too good to be true,” countered David Nussbaum, inventor and CEO of PORTL. “And it’s happening in real time right in front of us.” The technology uses a patent-pending production process to create a realistic image with one camera. That image is beamed into the PORTL, a fully lit, self-contained, acrylic light box. Shadows are cast onto the projection, creating depth and adding to the magical experience. “This will change the horse-buying experience,” remarked another observer. With travel bans in effect, horse buyers can’t travel as easily to see the animals personally. PORTL makes the experience, well, almost like being there. “It’s an emotional experience,” Nussbaum said. “This is far beyond a square on a screen.” To create all of that magic, a basic production team is all that’s needed on the projecting end, and in our case, cooperative horses, too. Sure, there are lights and WiFi connections, but it sure
beats the hassle of an airport and 14-day required quarantine upon arrival in Buenos Aires. Nussbaum’s original PORTL, which we demo’d, is called The Epic and there’s a five-month production back order right now. He’s also in the process of finalizing the app to accompany it. The app will be a powerful and complementary tool that will take the power of a production studio and put it into the hands of a smartphone operator. Enhanced app features will make it easier to adjust lighting, shadows, effects and depth. The technology has existed for years, Nussbaum explained, but in simpler scenarios. Take for example, the meteorologist on the local news. The meteorologist records segments in front of a green screen and then in production, the maps, effects and digital features are added. As far back as 1977, Star Wars fans were delighted with hologram messages of Princess Leia (“Help me Obi Wan Kenobi, you’re my only hope”) projected by a droid named R2D2. In 2020, the hologram can be an Argentine stud for auction and the droid projecting it in front of you is PORTL.
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Swae Lee and Kane Brown at the iHeartRadio Festival. Image courtesy iHeart Radio.
The concept has already taken off in Japan and parts of the Middle East, where shopping malls and retailers have adopted early versions of The Epic. Three-dimensional, hologrammed models have replaced lifeless mannequins, showing clothing and accessories, either on a loop or interactively using artificial intelligence. The PORTL can also gather and report demographic information to retailers: how many potential customers walked by, viewed, engaged or dismissed the machine.
rities to awards shows or meetings they can’t attend in person. He led the team that owned the technology that beamed Tu-Pac to the Coachella Music Festival in 2012. For Easter one year, a mega church requested that he beam Jesus Christ walking on water into the sanctuary. Prior to the 2016 debacle, he beamed Julian Assange from the Ecuadorian Embassy to a speaking gig. He’s beamed Jimmy Kimmel to the Country Music Awards and Jack Black to a meeting in Madrid.
In the USA, much of Nussbaum’s business has been projecting celeb-
Up next for PORTL is a miniature version that will be only 18” high. Also
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in production is a machine called The Corner Office, which will be similar in size to The Epic but designed to fit into the corner of an office or conference room. Nussbaum’s been on the cutting edge of the technology in this growing field of beaming for years, and he’s excited about the growth and potential for the industry, especially as companies grow weary of Zoom meetings and FaceTimes. “We’re making this (beaming) as easy to use as possible. If you can use a smart TV, you will be able to beam with our products.”
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PORTL HOLOGRAM CAPABILITIES IN THE USA, MUCH OF NUSSBAUM’S BUSINESS HAS BEEN PROJECTING CELEBRITIES TO AWARDS SHOWS OR MEETINGS THEY CAN’T ATTEND IN PERSON. HE LED THE TEAM THAT OWNED THE TECHNOLOGY THAT BEAMED TU-PAC TO THE COACHELLA MUSIC FESTIVAL IN 2012. FOR EASTER ONE YEAR, A MEGA CHURCH REQUESTED THAT HE BEAM JESUS CHRIST WALKING ON WATER INTO THE SANCTUARY. PRIOR TO THE 2016 DEBACLE, HE BEAMED JULIAN ASSANGE FROM THE ECUADORIAN EMBASSY TO A SPEAKING GIG. HE’S BEAMED JIMMY KIMMEL TO THE COUNTRY MUSIC AWARDS AND JACK BLACK TO A MEETING IN MADRID.
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HIGH SOCIETY
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HIGH SOCIETY
I N S I D E TH E H A M P TO N S M OS T E XC LUS I V E I N V ITE S
CA SA FE RR ARI RE VS TO LIFE
E
ACH SUMMER, CITY-GOERS USUALLY HOP ON THE FIRST PLANE, TRAIN OR BOAT AND END UP IN THE HAMPTONS. THE EAST COAST RETREAT FOR THE SOCIALLY VIBRANT IS USUALLY BRIMMING WITH SWANKY SOIRÉES AND MUST-ATTEND GALAS; HOWEVER, 2020 POSED A DIFFERENT SCENE (FOR OBVIOUS REASONS.) IN TRUE STYLE, ONE OF THE SEASON’S MOST SOUGHT-AFTER EVENTS STILL TOOK PLACE, AND SAFELY WE MIGHT ADD. WELCOME TO CASA FERRARI - HAMPTONS. page 73
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HIGH SOCIETY
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Casa Ferrari, a notable feature at Pebble Beach Concours d’Elegance during Monterey Car Week, is the inspiration for this concept. The east coast launch idea came as the iconic car show announced a year-long postponement and several other car-weeks and regional Concours d’Elegance events such as “The Bridge”, held in Bridgehampton. The concept itself consists of a stunning showcase of VIP hospitality clad in the recognizable Ferrari “Rosso Corsa” red and features fine Italian cuisine, aperitivo and dolci, all while being among the lucky few to first preview select autos, which always include the beautifully customized Tailor-Made options. This Casa also holds a special reveal – the new Ferrari F8 Spider as a part of the “Wild at Heart” tour. The backdrop chosen for The Hamptons experience was The Baker House 1650, a boutique hotel noted for its casual, European flair for luxury
in the heart of East Hampton. The estate, which dates back to the 1600s, encompasses two homes and is styled in the traditional Cotswold architecture, which was a perfect setting for an event of this magnitude. At the helm was local dealer Ferrari of Long Island and overseen by Soojin Kim, experiential marketing and partnerships director, and her team. In a collaborative addition, Michael Snell, founder of the press and marketing firm, The MJS Groupe; and Antonella Bertello, owner of The Baker House 1650, also assisted in the planning and execution of this auto-esperienza. Both self-proclaimed petrol addicts, Snell has sat in the directors’ seat of companies like Tesla and Rolls-Royce N.A. overseeing their marketing. Bertello has formed a very healthy stable containing some serious horsepower. She has a life-long love of adrenaline, F1 Racing, flying and boating. The east coast dealer, who is
part of The Experience Auto Group, has been noted for its high sales volume, unique in-demand vehicles and premium service, not to mention curating unique experiences for their clients. This was no exception. Guests arrived in the main house’s sunken garden after passing some serious security for an afternoon Aperitivo Al Fresco, while soft notes of Bossa Nova wafted through. The event attendees, who were limited to a very select group of Ferrari VIPs, influencers and press, were welcomed at the Out East Rosé and Á L’EST Champagne lounge along with their Co-founder and President Cori Lee Seaberg. In attendance with her husband Jeffrey Berman, Seaberg provided insight into the formulation, craft and her true passion of wine making. Additionally, guests had the pleasure of sipping hand-crafted cocktails by Shaken or Stirred founders Fredrick Wallenmaier and Rael Petit. Noted for page 75
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A POLO WEDDING IN PRETORIA
HIGH SOCIETY their ability to incorporate premium ingredients like fresh-squeezed lemon juice, egg whites and Angostura bitters, they created the Classic Ferrari Sour, which was topped with the iconic Ferrari Cavallino for this occasion. Cocktails featured Simple Vodka, a farm-to-table potato vodka that also has the mission of fighting hunger. The brand’s co-founder, Christine Prydatko attended and explained that for every drink made, two meals are donated, which is equal to 40 meals per bottle in the hopes of ending hunger in America. Jimmy Choo rolled out the red carpet for the event as well. They designed an experience that was quite complementary to each shelf of the home’s library, turning each space into small vignettes of luxury goods. The brand also attended with a little something extra, their ‘Choo-To-You’ van, which was located at the foot of the property and served as a luxury on-the-go showroom. Pretty Rugged Gear, a sustainable faux fur fashion house, was situated under the properties’ 300-year-old wisteria, complete with a showroom-worthy boutique lounge as attendees tried on some luxe apparel page 76
with Executive Vice President Sheila Mendleson. Guests perused a lineup of Ferrari-themed art, which was procured by Aced Gallery and adorned different areas of the property as Gallery owner Michael Cassiliano personally installed each piece. The dis-
play consisted of a mix of sculpture and mixed medium pieces to complement the ambiance. There was no shortage of curated fine faire as a selection by Southampton Social Club and Union Sushi & Steak was avail-
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able, which are notable Hamptonsbased restaurants owned by restaurateur Ian Duke, who attended with general manager Chris Cappiello. Guests also had the pleasure of tasting specialties directly from the hands of Chef Michele Casadei Massari, who showcased items from his menu at Lucciola, including his famous risotto that features premium ingredients like Urbani Truffles. In the Cohiba lounge, guests explored the world of elite cigars and even gave the premium Cohiba Royale a try while sipping scotches and whiskies of their choice. During the event’s formal unveiling, guests made their way to the Baker Carriage House, where the F8 Spider
made a splash as it was revealed to a socially distanced crowd. As the red reveal cloth was lifted, the striking Giallo Modena yellow paint gleamed, showcasing Ferrari’s unique customization ability. The car featured blue brake calipers, brilliant silver-forged wheels and was finished with an extended-leather interior in Blu Sterling and a complementing Giallo Modena stitching. Two Tailor Made 488s flanked The F8 Spider as guests experienced the exciting audio-visual experience. Spectators were then welcomed to explore each sparkling model that had been luxuriously hand-detailed by the ProShine Hamptons team whose founders, Thomas and David Sant watched in excitement.
A Hamptons event isn’t complete until guests also receive note-worthy gift bags, which contained a hand-crafted model of the Ferrari F8 Spider encased in a Carbon Fiber with the official Ferrari Lithograph F8 launch book. Additional goodies included the luxe Mediterranean Beach Towel generously provided by Frette, a gift from Jimmy Choo, matching yellow premium vehicle polishing cloths by ProShine Hamptons and an full selection of the Cohiba Royale Cigars. If you were on the list and able to attend, you definitely had quite the treat between the Cavallino-shaped sweets and seeing AND hearing some serious horsepower. page 77
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POLO LIFEST YLES SN E AK PE AK
AIRBUS ACH160
ALL-NEW CABIN & ADVANCED AVIONICS
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THE VIRTUAL
FASHION REVOLUTION LOOK CLOSELY
Ralph & Russo's Swahili-inspired model, Hauli, is actually an avatar. Ralph & Russo's current campaign features Hauli in their couture gowns in front of the seven wonders of the world. And it's 100 percent digital. page 85
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LIGHTS! CAMERA!
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AVATAR!
N PARIS, THE FUTURISTIC WORLD OF ARTIFICIAL INTELLIGENCE AND THE RANK-AND-FILE FASHION INDUSTRY COLLIDED BEFORE OUR EYES WHEN A BRAND-NEW MODEL PRESENTED EIGHT OF RALPH & RUSSO’S 52 COUTURE LOOKS IN EXQUISITE SETTINGS.
Hauli, introduced to the fashion world just weeks ago, is brand-new because she is entirely artificial. In the world of technology, she is called an avatar.
In the world of fashion, she’s called ground-breaking, unbelievable and, certainly, unforgettable.
Hauli, who modeled eight couture looks for the couture house, is inspired by Swahili women. For the show, she was superimposed over landscapes of the seven wonders of the world. The results are breath-taking: the effect was realistic, yet futuristic and abnormally perfect. In one swift – nay, deft – move, Ralph & Russo grabbed the world of fashion and forced the future of virtual presentations and artificial intelligence upon it.
“While avatars may not be necessarily new, I do feel that they are yet to be fully realized in the business of couture, given its inherent nature of tradition and craftsmanship,” said Ralph & Russo co-founder Tamara Ralph. Of Hauli, Ralph said, “She is a beautiful black woman, whose name in traditional Swahili is synonymous with strength and power. The ultimate modern woman, fusing both old and new, elegance and strength.” The backdrop against the collection was a digital recreation of the Colosseum in Rome, Petra in Jordan, the Great Wall of China, Chichén Itzá in Mexico, the Taj Mahal, Rio de Janeiro’s Christ the Redeemer and the lost city of Machu Picchu.
Images courtesy Ralph & Russo / Written by Josh Jakobitz page 86
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DOLCE & GABBANA
FASHION FOR THE SOUL WEAR THIS, FEEL BETTER
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DOLCE & GABBANA'S GARDEN FASHION FEAT IN FLORENCE
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HE DOLCE AND GABBANA ALTA MODA COLLECTION WAS EXECUTED BY ARTISANS IN THEIR BOTTEGA HOME--A NEWLY ASSEMBLED CORPS OF 50 EMPLOYEES, ALL AGED UNDER 30 AND DEDICATED TO VARIOUS FORMS OF EMBROIDERY, MAKING THIS THE
FIRST ALL IN-HOUSE FABRICATED ALTA MODA COLLECTION FROM DOLCE AND GABBANA. The result of their work was shown in the hillside garden of the Villa Bardini, just outside the city, and set to a dreamy Nino Rota-composed soundtrack. Gold-leaf dusted prosecco might have contributed, but what unfolded on
the garden’s steps felt pretty dreamy: a long and languid procession of fascinator-wearing models in a catalog of expansively explored and extravagantly embroidered 1950s and early ’60s silhouettes. There were Sofia Loren-worthy wiggle dresses in golden raffia to full-skirted Liz Taylor-as-Cleopatra-esque gowns in 3D floral-embroidered silk via splitskirt black velvet body huggers that
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Anita Ekberg would have swum in wonderfully. These were on-purpose references to classic cinematic costumes from the golden age of Cinecittà, a tandem-to-fashion Italian cultural flourishing that was embraced by the wider world. The models first descended Bardini’s steep stone garden staircase, then climbed up it again—a feat made less fearsome by universally worn flats—before slowly arranging themselves in a group mise-en-scene in front of Monica Belluci, Kitty Spencer and the rightly-rapt Mayor of Florence. As the last model took her position, the designers stepped out from the villa to mingle with the clients and sip more gold-seasoned proseccos as fireworks arced up from the banks of the Arno below.
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CHRISTIAN SIRIANO'S MASKED MODELS WALKED IN HIS BACKYARD
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den and local farmers markets, dove into his childhood comic collection, and rewatched some of his favorite movies, including Troop Beverly Hills, Don’t Tell Mom the Babysitter’s Dead, Clueless, and The Wizard of Oz.
The designer was one of the very first in New York to turn his studio into a mask-making facility. The team has manufactured and donated almost a million face coverings so far. At the same time that Siriano was engaged in those good works, he was hunkering down in his new modern home in the coastal town of Westport, Connecticut. He cooked a lot, enjoyed his gar-
“It was kind of cool to see all those things come back to life,” said Siriano, who filtered his inspirations through his imagination into a collection that translated fairly recent fashion history for a young, fun-loving audience. Poufs, asymmetric hems, bra tops, and a jazzy paint-stroke print brought back the 1980s; there were also some references that seemed derivative of more recent couture shows. Siriano attributes the many ’80s and ’90s touches to his film list. “I like that,” he said post-show, “because it reminded me of when I was
OSTALGIA IS THE SIREN OF THE PRESENT DAY. WITH MANY PEOPLE ISOLATING AT HOME, THE LURE OF MEMORY IS UNDERSTANDABLE. IF ANYONE SEEMS TO INDULGE IN A BIT OF NOSTALGIA, IT’S CHRISTIAN SIRIANO.
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growing up wanting to be a fashion designer—that’s kind of what inspired everything.” If Siriano’s idea of glamour is somewhat traditional, he made inclusivity a core value of his brand early on, regularly casting models of different backgrounds, sizes, and ages, as he did again today when he presented his spring 2021 show in the backyard of his home. Models in high heels from Sarah Jessica Parker’s line walked over bridges spanning the pool and around the lawn, and were watched by an audience, most of whom had been Lyfted in from New York and were seated six feet apart. “I wanted this to be an escape for everybody—fantasy, to have fun with fashion,” the designer said.
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LONDON FASHIONISTAS
THE GREAT CLASS DISPARITY IN FASHION
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TO SEE AND BE SEEN
LONDON'S FRONT-ROW FASHIONISTAS LAMENT THE NEW NORMAL IGNITING FASHION WEEK'S NEWEST CLASS WARFARE
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ITH ON-GOING LIMITS ON SOCIAL GATHERINGS DUE TO THE FLUCTUATING COVID-19 SITUATION, IT SEEMED ONLY SENSIBLE THAT LONDON FASHION WEEK SHOULD RETURN THIS SEPTEMBER WITH A SERIES OF PHYSICAL EVENTS, FEATURING A STRICTLY LIMITED GUEST LIST, COUPLED WITH AN EXPANDED DIGITAL EXPERIENCE (ALL UNDER THE HEADING OF “RE-SET”).
The physical events vary from timed appointments and exhibitions to limited-number catwalk and salon shows. That’s the way it should be, right? It’s almost like in the good old days: the VIPs get to turn up in person and air kiss to their heart’s delight, while the vloggers and B-listers content themselves with logging in to watch the shows online. Suppose you are looking for a model of how to manage socially distanced fashion shows. In that case, one only needs to look to the classic era of Parisian haute couture – when invitees would gather in grand venues, sat individually or around Rive Gauche-style café tables (no more than six at a time, darling), as the models sashayed between them. It’s a chic approach that never dates (look page 110
at Chanel’s 2019/20 Cruise show, or Louis Vuitton’s SS 2019 Men’s show – both at the Grand Palais) – and for the lucky few, it is both a privilege and a validation. The perennial power play between the front-row elite and the plebs becomes even starker. You’re either there, or you’re not: it’s the difference between turning left for first-class on a plane – or stepping onto a private jet and sitting wherever you like. For the in-crowd, of course, this is no problem. But what about the rest? Fashion has always had a generous portion of elitism about it – but in many respects, it’s the tension between the haves and have-nots that creates the atmosphere. What’s the point of having a front-row without them being able to turn the heads of those in the cheap seats behind them? This is all part of the catwalk theatre – and precisely what bloggers, influencers and Instagrammers feed off. Like the proverbial tree falling in an empty forest – if there’s no-one to film you sat in the front row, was there really a front row in the first place? As noble and innovative some of the better digital presentations have been thus far in the “new normal” – they are missing that frisson of excitement, the buzz of a room slowly filling with people, the sense of occasion and privilege… yes, even the haughtiness and bitchiness. On that note, while deputy
editor on a high-profile lifestyle magazine in the early 2000s, I once found myself sat in the front row by default at a graduate show – strictly speaking, I wasn’t on the fashion desk, but I was senior enough to merit the placing. Turning up unfashionably early, I hung around in the shadows with a photographer friend in time to spot a contributing fashion editor (one who freelanced for my own title, no less) pick the card bearing my name off the designated chair, drop it onto the row behind and take his place in my seat. I appreciate this is hardly an unfamiliar experience for most of you who attend fashion shows. But the sheer chutzpah still took me aback. When the lights dimmed, I walked over and told him he was in my seat. Fantastically, rather than adopting one of the two options I’d prepared myself for – denial or apology – he instead stared fixedly into the middle distance, refusing even to accept my presence and then turned to talk to his (i.e. my) neighbor. Since – as we’ve already established – this was someone who I not only vaguely knew but who was technically employed and commissioned by me, blanking me seemed a very odd strategy. Eventually, a PR who’d invited me sidled into view and started trying to defuse the situation, I just laughed and said I’d rather sit with my photographer friend anyway. The situation isn’t much of an anecdote, granted. But I was reminded of it while thinking about the “new nor-
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mal” that we face as the fashion weeks return to European countries experiencing a second wave of coronavirus infections. Back then, my reaction was one of miscomprehension (imagine actually caring so much about a seat!) For me, it was just an example of the meaningless class war between the front-row elite and the plebs. But, with the perspective of experience (and admittedly having moved further into the world of fashion), I have become more understanding over the years. I get why people want to brag their way into prime positions – and how precarious and dog-eat-dog the freelance life can be. Perhaps fashion needs more elitism in these strange new times. But I cannot help thinking that an unintended consequence of the need to distinguish between VIPs and the great unwashed in the new, socially-distanced world of fashion weeks will result in some uncomfortable truths.
Fashion needs a community, and it’s the masses who create the atmosphere. Get rid of them, and what’s left, a class divide, led by a minority of self-regarding solipsists who will refuse to look you in the eye while sitting in your seat?
Bataclan in Paris, scene of the 2015 terrorist attack by ISIL, just to add to the emotional impact. The result was a visceral, primal scream of an event. Personally, it left me emotionally drained and close to tears – all while staring at a laptop screen.
This might all seem a little over the top in response to those people just trying to make fashion weeks viable, but, as ever, it pays to look at other industries to see how they are navigating the current situation. Let me introduce you to an English band called Idles, who combines the raw energy of punk with the righteous indignation of 2020’s post-woke generation. They are one of the most thrilling live bands I have seen in decades. So, what did they do in the lockdown? They streamed a new concert film, “as live”, to their fans via YouTube, encouraging them to comment as the show went along, with all of the band joining in on the discussion. The show in question was recorded at the
What’s the lesson in this? Atmosphere and passion and shared experiences are still possible in the age of Zoom. Perhaps the answer is the flipside of the class war of haute couture and all the seat-stealing that entails. If we’re going to get through this, we need to understand we are all in this together: address the elephant in the room and encourage a bit of collective expression. We could go back to the future with demure salon shows – or we could engage in a little scream therapy. By Mark Hooper, Editor-at-Large London/The Impression page 111
NEW YORK FASHION WEEK
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NEW YORK
FASHION WEEK PRESENTED VIRTUALLY
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& MOSTLY UNPREPARED
HE UNPRECEDENTED BRIEF THREE DAYS OF ‘SHOWS’ OF NYFW CLEARLY SHOWED HOW UNPREPARED AMERICAN DESIGNERS WERE TO ADEQUATELY RESPOND TO THE CURRENT CRISIS, AT LEAST IN A CREATIVE MANNER. CREATIVITY IS THE ONLY WAY FORWARD REGARDLESS OF THE CHOSEN AND AVAILABLE PLATFORMS, LIVE OR, AS THEY CALLED IT IN THE OLD DAYS, ‘MEMOREX.’ Yes, there were many moments of sparks, but they were few and far between: the short films from Wolf Morais and Kenneth Nicholson were spectacular moments because the films were personal narratives about isolation and growing up. But the clothes were just supporting cast, not the main action. Of course in these two films, the protagonists wore a lot of the clothes – new looks for Wolk Morais and on-sale-now for Kenneth Nicolson. They were superb and thoughtful because the clothes became part of the narrative and not separate from the story. You paid attention if you want to actually look at the clothes.
Elsewhere, though, most of the online videos shown were not terribly interesting in terms of content and creativity. In an age where amplification is the last word in everything, it is inconceivable that given the time designers had, they did not put enough thought into how or what this season would be, look and feel. Nothing shown was surprising. None of the films or videos that I saw - from morning to night - caught me off guard. Most of the videos felt disjointed, like a patchwork of moving images without real connections and worse, no relevance to the process. Great fashion isn’t about predictability – it comes from the designer’s ability to surprise the audience with an attempt at something new. With a modicum of experimentation, and certainly with an imaginative narration, great fashion sows context into clothes. This is what is needed – and, unfortunately, this is not what was delivered this season in New York. It is what it is. This is the current situation. But the current situation is not at all hopeless. In fact, many critics see it is a new road forward. We heard Lazaro Hernandez and Jack McCollough of Proenza Schouler say as much them-
selves. As a part of the IMG NYFW: BTS Series programming of The Talks, in conversations with industry leaders at the Spring Street hub, Samira Nasr, the new editor-in-chief of Harper’s Bazaar, and the Proenza Schouler guys, Hernandez and McCollough, spoke frankly about the current times, and about not having a show for the first time since they started in 2002. “For us, the work that we do is autobiographical. We always have something to say about the moment that we live in. Since the very beginning, every collection has been a reaction to something we’ve seen, something we’ve done, someone we’ve met, a trip we’ve taken,” said Hernandez. “No matter where the world is or what’s happening, and the highs and lows, there’s always something to look at and be inspired by or to pull from, and we just sort of create out of the feeling of the moment. Every moment has a feeling no matter what. There is also something to feel.” “We just sat down with our pencils and our paper, and wanted to focus on something that felt completely optimistic,” McCollough added. “We have a process after all this time. We employ for every collection research, building boards, walls, finding vintage, doing our archive looks with vintage, creating page 115
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"OBVIOUSLY IT’S BEEN HORRIBLE WHAT’S BEEN GOING ON, BUT AT THE SAME TIME, SOMETIMES IT TAKES A FORCED CHANGE FOR THINGS TO EVOLVE TO A NEW PLACE." – JACK MCCOLLOUGH OF PROENZA SCHOULER
silhouettes – silhouette studies - we call them. Then we go back to our studio in the woods and draw from all this inspiration in the room,” Hernandez clarified about the design process. "This time we sat down for the first time with pieces of paper and pencils and we just drew for like 10 straight days without nothing and it just kind of came out: mood and feeling and what we want our clothes to look like. It’s just pure imagination,” Hernandez said.
“The city will become a very different place,” McCollough added. Nasr said that she hoped new creative energy will return to New York to build a sense of collaboration and fill the vacuum while paving a new road forward. She understands that this will be part of her role as the debuting editor-in-chief of a major fashion publication. With regard to the current politics of fashion, Hernandez added, “And now
fashion is so much more layered. There’s a social component to it. Your brand has to stand for something." It is no longer a game of the right dress or the right bag. The duo from Proenza Schouler expects to do a show sometime later this fall perhaps in the latter part of October. By Long Nguyen for The Impression/Special to Polo Lifestyles
NYFW HIGHLIGHTS: STREET STYLE
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GABRIELA HEARST
2020 CFDA WOMENSWEAR DESIGNER OF THE YEAR TAKES HER MENSWEAR TO THE STABLES
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ABRIELA HEARST WON HER FIRST WOMENSWEAR DESIGNER OF THE YEAR AT THE 2020 VIRTUAL CFDA ANNOUNCEMENT MADE ONLINE VIA VIDEO BY THE CHAIRMAN TOM FORD. While Hearst show has been moved this season to Paris, where she will be showing her women’s spring collection, the designer has been incorporating a few menswear looks in the recent seasons in page 120
New York, a small peek into what is now a larger range for spring 2021. A slim and lean tailored silhouette with light artisanal handiwork construction pervades the entire range of clothes from the collection from the navy or ice blue wool two-buttoned single-breasted jacket pantsuit to white or navy wool or double face cashmere ankle-length trench coats or peacoats to salmon wool sweater paired with navy linen cigarette five-pocket pants. These are the staples of any men’s wardrobe like a handknit pullover in two-ply knit recycled
speckled cashmere yarns. The real difference is that the entire production of these clothes is made from repurposed materials from cashmere to wool to silks, linens and cashmere corduroy, all reworked so that the fabrics are light and can easily drape. Even a light brown suede blouson is made from leather treated on the reverse with nappa finish. Hearst has built her business on making durable, luxurious clothes with a sustainability model up and down her entire supply chain.
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JASON WU
JASON WU KICKED OFF THE NEW YORK SHOWS THIS PAST SUNDAY WITH A LIVE-STREAMED SHOW, ONE OF VERY FEW WITH AN IN-PERSON, SOCIALLY DISTANCED AUDIENCE. IT WAS SURPRISING THAT THE SHOW ITSELF DIDN’T FEEL THAT…DIFFERENT. THERE WAS STILL AN ENTIRE CAST OF MODELS IN HAIR AND MAKEUP, STILL A SHOE AND JEWELRY COLLABORATION, STILL DECOR.
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KHAITE'S SLEEK SHORT
FILM SHOWCASES CLOTHES (AND NOT MUCH ELSE)
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T LAST SEASON’S KHAITE SHOW IN BROOKLYN IN, A SETTING WITH TREES AND GOLD LEAVES, THE DESIGNER CATHERINE HOLSTEIN CEMENTED HER STATUS AS THE NEW SUCCESS OF AN INDEPENDENT FASHION BRAND THAT MANAGED TO GAIN BUSINESS FOOTINGS AMONG THE MAJOR RETAILERS LIKE BERGDORF GOODMAN AND E-COMMERCE SITE LIKE SSENSE, MATCHES FASHION AND MY THERESA AS WELL AS EARNINGS ACCOLADES AMONG THE FASHION CROWD FOR HER PARED-
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DOWN AND NO-NONSENSE BUT LUXURIOUS CLOTHES. Khaite should be on the list as one of the strongest New York shows this September, but unfortunately, Holstein, a firm believer in live fashion shows, has to settle for a short film instead of what could have been, for her, another blockbuster which is rare since her designs aren’t considered as trendy or avant-garde or any of those kinds of classifications. The short film is a hybrid between a mock-up showroom buyers appointment setting where models wore different clothes by request from a particular store and a photo shoot session with a camera close up of the garments. Irina Shayk opened the sequence wearing a long white dress with a curved boat neckline and a brown leather bag. This
was followed by closeup shots of Alex Wek in a black corset strappy long dress and white sandals as she posed against the corner of a concrete wall. Then, it was Abby Champion’s turn in an oversized white jacket with a shorty puffy skirt. These and all the other garments are shown like the long double-breasted tailored jacket and coat in black and white, the white ruched square neck long dress with side slit, or the black boat neck long flare dresses belted at the neck are quintessentially Khaite – the kind of clothes women can slip into effortlessly and with little fuss. The video is sleek but product-oriented, which is the norm for Khaite, not an anomaly. Even with live shows, Holstein never strayed from her mission that focused on the clothes and also recently, shoes and bags. This strategy works well for Khaite.
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THESE AND ALL THE OTHER GARMENTS ARE SHOWN LIKE THE LONG DOUBLEBREASTED TAILORED JACKET AND COAT IN BLACK AND WHITE, OR THE BLACK BOAT NECK LONG FLARE DRESSES BELTED AT THE NECK ARE QUINTESSENTIALLY KHAITE – CLOTHES WOMEN CAN JUST SLIP INTO EFFORTLESSLY AND WITH LITTLE FUSS.
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I MAXHOSA TRADITIONAL AFRICAN BEAD WORK TAKES THE RUNWAY
T’S BEEN A DECADE SINCE LADUMA NGXOKOLO LAUNCHED HIS FASHION COMPANY EXACTLY A DECADE AGO WITH THE GOAL OF PRODUCING KNITWEAR PRODUCTS THAT ENCOMPASS LOCAL CULTURE AND MANUFACTURING THAT EMPLOYED SOUTH AFRICAN MOHAIR AND WOOL AS WELL AS INCORPORATING THE TRADITIONAL AFRICAN XHOSAI BEAD WORK THAT WAS VIRTUALLY UNKNOWN OUTSIDE OF THE CONTINENT.
The entire collection shown as a video runway show with models walking on top on a white sheet runway with a backdrop of stacks of colorful knits rectangular pieces hanging from the walls. Knitwear based on traditional Xhosa techniques and patterns is the centerpiece of Maxhosa where the series of colorful stripes sleeveless long dress, pink patterns double-breasted jacket pantsuits, and a collar polo dress encompass the different patterns, symbolisms, and colors The menswear consists primarily of knit polo shirts with matching long shorts or with cotton pants and blousons made in a variety of colors and mixtures of patterns – red, brown, and pink, dark chocolate patterns. These matching polo/short constitute a new version of a suit albeit more casual and perhaps more in tune with the now with the square checker pink and purple polo with contrasting collar and trims paired with shorts a great choice. Just in case a more formal look is required, there’s the double-breasted diamond shape multicolor pantsuit. It’s a refreshing take and more than ever this is coming at a just the right moment in time. Hopefully, these knit outfits that celebrate the traditional Xhosa aesthetic and its bead work heritage can now have an inroad to going global.
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ULLA JOHNSON
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TOM FORD
CASUAL & EFFORTLESS
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T A MOMENT OF REAL UNCERTAINTY IN AMERICA AND AROUND THE WORLD, DESIGNER TOM FORD OFFERED A MEDITATIVE MESSAGE RATHER THAN ONE OF OPULENCE. KNOWING HOW TO READ THE TEMPERATURE OF SOCIETY CORRECTLY AND CREATE FASHION THAT CORRESPONDS TO THAT MILIEU IS A SKILL OF ITS OWN. TOM FORD DEMONSTRATES THAT ACUMEN TO A "T.". “A still casual world but one where I actually felt like making a bit of an effort to get dressed, and I noticed that our guests seemed to feel that way too. Caftans – yes, I live in L.A. – or simple dresses and flat shoes, but at least it was a start. Men, too, seemed to want to put on a clean shirt, a nicely cut pair of pants and to actually wash their hair. There was a light at the end of the tunnel. Or at least an imaginary light: the hope of a happier time to come,” Ford said.
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He continued, “That is what this collection is for me: the hope of a happier time. Still a somewhat casual moment as it relates to fashion but at a time in which we need clothes that make us smile. Clothes that make us feel good.” This season's collection showed signature Ford clothes made anew for the times. Sexy and signature fabrics like leopard and zebra prints found new vibrant colors. Florals popped in brilliant hues. Jackets, kneelength dresses and of course fabulous caftans, along with easy evening gowns, were the crown jewels to the collection. I cannot think of any man who would not want to wear Tom Ford. Tailoring has always been a Ford forte – in fact, his first menswear collection launched for fall 2008 was about strict tailoring; not just for suiting, but also for the sportswear clothes: an ice blue quilted hooded leather biker jacket or the light pink perforated leather blouson fits like a glove on anybody and both the light pink linen suit with drawstring pants and the brown large lapel silk wool single-breasted relax fit is simply the perfect spring suit. The silhouette was slim at the waist with a cropped floral jacket and straight-leg floral pants. Sure, the floral motif prints worked better in the men’s clothes than their women’s counterparts in green or pink. It is never easy to make a guy looked sensual and sexy in clothes without being overt.
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ROYAL OAK CONCEPT FROSTED GOLD FLYING TOURBILLON CASE Hammered 18-carat pink gold case, glareproofed sapphire crystal and caseback, crown set with a translucent sapphire cabochon. DIAL Multi-layers graded blue dial with sunray pattern, pink gold Royal Oak hands with luminescent coating. BRACELET Hand-stitched “large square scale” blue alligator strap with hammered 18-carat pink gold AP folding clasp. Additional shiny blue rubber strap.
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THE FALL 2020 COLLECTION
U.S. POLO ASSN. LIVING AUTHENTICALLY
IN POLO'S SPORT-INSPIRED BRAND
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U.S. POLO ASSN.
FALL 2020 COLLECTION GETS COZY, RETURNS TO BASICS & FOCUSES ON AUTHENTIC CONNECTION TO THE SPORT
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N THIS, THE 130TH ANNIVERSARY OF THE UNITED STATES POLO ASSOCIATION (USPA), THE U.S. POLO ASSN. BRAND TOOK A SPORT-INSPIRED, YET FRESH AND FUN APPROACH TO ITS 2020 FALL COLLECTION. For this eye-catching collection, U.S. Polo Assn.’s artistic direction focused on the sport’s rich history and classic styling, remixed with looks featuring page 138
seasonal elements and autumn staples, all drenched in deep, warm colors. U.S. Polo Assn. shot this season’s campaign differently than those past, with social distancing, on-site PPE and locations close to home. Ultimately, the shots were no less iconic, with the beautiful backdrops of the majestic Port Mayaca Polo Club in Okeechobee, Fla., alongside polo ponies ready to play, and Villa Vizcaya on Biscayne Bay in Miami, with its extensive Italian Renaissance gardens, native woodland landscape and a historic village compound.
Notice layered looks featuring sweaters, woven shirts and fleece. The layers pop with leather accessories and chukka boots, the shoe of the season, to complete the fall 2020 trend. Plus, fall is all about texture - whether it’s a plaid flannel, brushed wool or softened denim. These classic collegiate styles and patterns are enhanced with golden hues, bright hints of blue and rich, earthy reds. Autumn is also the time to raise the bar on basics with oxford cloth, denim and cotton sweaters that have new stretch technology with long-lasting recovery to
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Sport-inspired looks - from U.S. Polo Assn., the heritage polo retailer since 1890 - whether you're in the barn, riding, or at home.
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Collegiate-inspired choices for Fall 2020, in rich and bold colors with exceptional tailoring and luxe accessories.
give you comfort. This season’s classic, yet bold patterns make a statement, particularly when mixed with denim made from sustainable fabrics, low-impact dyes and little to no water. Tees take on new meaning, with messages allowing you to express your point of view. This season, U.S. Polo Assn. page 140
Suede chukka boots, the shoe of the season, are certainly a look we can get into, whether we're watching live chukkers or polo action on Global Polo TV.
re-invigorated its “Live Authentically” tagline as an overarching campaign theme. Both on and off the field, U.S. Polo Assn. invites those who wear the brand to Live Boldly. Live Passionately. Live Proudly. And always, Live Authentically. Wear these statement tees alone or layered under cozy classics.
launches and fewer capsule collections, U.S. Polo Assn. was able to pivot and bring consumers what they want right now - a back-to-basics approach,” said J. Michael Prince, President and CEO of USPAGL, the exclusive licensor of the multi-billion dollar U.S. Polo Assn. brand.
“In a challenging year that brought fewer styles from retailers, later seasonal
“But basics don’t have to be boring and ours certainly aren’t this season. Our
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U.S. POLO ASSN.
#LIVEAUTHENTICALLY TEES TAKE ON NEW MEANING WITH MESSAGES FOR YOU TO EXPRESS YOUR POINT OF VIEW Comfortable, casual, back-to-basics: that's what customers are looking for this season. U.S. Polo Assn. nails these looks.
classic, sport-inspired, American styling offers comfort and a relaxed sensibility that’s always ideal for work-from-home, back-to-school and beyond.” “In times of uncertainty, our brand stands out as one with roots dating back to 1890, but with a style and message that are firmly focused on living today and looking forward to tomorrow,” added Prince.
U.S. Polo Assn. re-invigorated its “Live Authentically” tagline throughout the fall season as an overarching campaign theme - both on and off the field. U.S. Polo Assn. invites those who wear the brand to Live Boldly. Live Passionately. Live Proudly. And always, Live Authentically.
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WALKING A MILE IN BRIAN ATWOOD'S HEELS
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RISING TO THE CHALLENGE BRETT CHODY Style Contributor @brettchody
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ONG BEFORE HE WAS AN INTERNATIONALLY RECOGNIZED SHOE DESIGNER, BRIAN ATWOOD WAS DESTINED FOR A PROSPEROUS CAREER IN FASHION. Now in the midst of the COVID-19 pandemic, he reflects on the deeply personal and multi-dimensional facets of the industry that shot him to fame – and how he believes fashion should adapt to modern standards.
Growing up in Chicago, Atwood taught himself how to sew as a teenager and hosted fashion shows on his family’s front lawn. “I loved seeing the whole process of women getting dressed up in beautiful clothes. I was mesmerized by it,” Atwood said. “My destiny was already set.” When he graduated high school, Atwood did a stint at Southern Illinois University before moving to New York City to study at the Fashion Institute of Technology. While he loved his time in New York, Europe always fascinated him. “I felt that Europe was still somewhere that was so much more open to creativity and experimentation… I wanted to try that out,” Atwood said.
Upon graduation from FIT, he picked up and moved to Milan where he became a sought-after runway model. “I used modeling as a vehicle to get to Europe and meet the designers that I wanted to work for.” After modeling for seven years and making contacts within major fashion houses, his bulked up resume was ready to be delivered at a few fashion offices. Modeling wasn’t Atwood’s end game – and it was time to let the world know. His resumes worked. Versace called him back that day. Atwood’s talents engaged everyone at Versace immediately. He worked with Donatella herself on her Versus line and was asked to design a shoe for couture. “I had never designed a shoe or been inside a shoe factory,” Atwood said. The page 145
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team was thrilled with his work and he soon became the designer for women’s shoes. “That is how I got my start in the shoe industry… it was written in the stars, I’d say.” Atwood spent nine years at Versace in Milan but there was always a fire in him to create his own brand. In 2001, he received Donatella’s blessing to do so and began working on his own shoe line while continuing at Versace. He juggled both for five years before his brand’s success demanded his full-time attention. Throughout the years, Lady Gaga, Jessica Alba and Taylor Swift have sported his signature heels. Atwood understands the fashion industry through his own unique lens developed from his diverse experience within it. He perceives it from four major cruxes: from student to model, to a head at Versace to a designer of his namesake brand. As Atwood reflects on the crisis surrounding the coronavirus, he acknowledges that the industry he knows and loves has failed to evolve to modern technology. With fashion weeks across the world rapidly approaching, fashion houses-both large and small-- are scrambling to decide how to execute a runway show page 146
per usual. Traditionally, fashion shows, normally a highlight of the industry, are rendered nearly impossible as well as impractical by the coronavirus. “I don’t know how many people are willing to get into a packed and crowded fashion show even though fashion shows have been everything in fashion [before coronavirus],” Atwood said. “[Fashion shows] set the tone, they provoke, they engage, they inspire, but without that we really have to use technology in a creative way to bring that excitement to the customer.” In Milan, Prada is digitally broadcasting its show and Giorgio Armani is presenting two shows without audiences. But Atwood isn’t sure if this is enough to excite consumers. “Just copying the traditional runway show and putting it digitally is not enough. I think people need to feel something personal; they have to feel something intimate and they want something tactile to touch.” To Atwood, the fashion industry is still stuck in its traditional ways and has yet to adapt to technology. “In fashion we pride ourselves on being
constantly evolving, every four or six months it’s a new look. But with technology, we figured that we wouldn’t change and everything would adapt to us. This has shaken everything up completely.” Atwood himself ensures that his brand is constantly evolving to capitalize on modern technology. To him, social media is a magnificent, powerful tool if it is used correctly. “It’s a direct channel to your consumer that some [fashion brands] don’t even use,” Atwood said. His next collection is following a similar pattern as his last few: he focuses on smaller, more exclusive drops throughout the year that are consistent with the seasons. He promotes them via his social media profiles. It’s no secret that the coronavirus has permanently altered the fashion industry, but Atwood isn’t worried about its future. “Everyone’s like, ‘Fashion is dead,’” Atwood said. “But I think that we will dress up again. Think about after any extremes in the world – there has always been beauty that comes out of it... We need beauty, we need to be inspired, we need clothing and I think that something exciting will come out of all of this.”
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SHOE DESIGNER BRIAN ATWOOD KNOWS MILAN LIKE THE BACK OF HIS HAND. HERE ARE HIS FIVE FAVORITE PLACES IN THE INCREDIBLE CITY FOR A BITE, COFFEE OR HAPPY HOUR. MARCHESI 1824: This historic pastry shop is “great for coffee or a drink,” he said. BAR BASSO: The renowned cocktail bar is one of Atwood’s favorite places for aperitivo, known for their Negroni Sbagliatos. DA GIACOMO: A classic Italian trattoria serving Tuscan dishes. GIACOMO BISTROT: Another Italian spot that focuses on seafood dishes. LANGOSTERIA BISTROT: A favorite of many in the fashion industry, this seafood restaurant is always bursting with energy. page 147
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IRIS VAN HERPEN'S
LOCKDOWN SHOWPIECE
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T’S FAIR TO SAY THAT IRIS VAN HERPEN’S COUTURE DRESSES — WITH THEIR INIMITABLE MELDING OF SCIENTIFIC INSPIRATION, PAINSTAKING CRAFTSMANSHIP AND POETRY — ARE NOT THE EASIEST THINGS TO WEAR OR TO DESCRIBE. The one she created for her fall couture film, dubbed the Transmotion dress, is no exception, anchored by an intricate lattice of black branches — laser-cut and hand-stitched in duchess satin — that erupt into flower-like sprays of white silk organza petals, the edges crimped and undulating. What’s more, the
bodice and hem sprout delicate, transparent filaments that end in seed-like black crystals. They orbit the dress and have a life of their own. Given the lockdown, the designer decided not to do a full collection, instead, she embraced change and collaborated with people that inspire her. That’s simple to understand. Together, they created a brief but poignant moment until couture resumes its normal runway life. “This film project is literally the seed of a new beginning and new collection that we are creating now in the atelier for our January show,” she said. page 151
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LUXURY AMERICANA x GLAM COÛT DE LA LIBERTÉ BALANCES SENSUALITY WITH PLAYFULNESS
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MICHAEL J. SNELL Luxury Lifestyles Contributor @mjsgroupe
ITH A BRAND-NEW LUXURY FASHION COLLECTION, WE SEE DENIM CONNOISSEUR JEFF LUBELL FINDING INSPIRATION WITHIN PERSONAL SPACE. A dynamism is seen in his Fall 2020 launch, perfectly elaborating on Coût de la Liberté style cues. A fashion world superstar, Lubell is famous for having founded the True Religion Brand and building it into a billion-dollar denim conglomerate. For Lubell, building a denim brand was about taking careful measures of the market and customer base. His new venture, a full men’s and women’s luxury fashion house, is about
living up to something more internal, fulfilling a passion that comes from the heart. “Coût de la Liberté is really personal for me,” explains Jeff Lubell from his California design studio. “It’s about freedom and expression. And the truth is, it comes from wanting to design clothes for my beautiful wife.” The brand, which was a part of both the 2020 Fall New York and London Fashion Weeks this September, is also stoked to participate in Paris Fashion Week at the beginning of October. The team’s aim is high, and they are set to sell the lines to only the creme-de-lacreme of retailers globally, and currently does at the Montaigne market in Paris and Jades in Düsseldorf. Set to produce signature aspirational products in parallel, these items will be
highly appealing to those with a very unique point of view for the luxury consumer. If you are looking for the best fit available, only in the highest-echelon of premium textiles, then you are in luck. Not afraid of design, Lubell creates with ‘70s sexuality and playfulness in each piece. This was framed in the brand’s latest campaign staring vixen Stella Maxwell. Fringe swings, pant bottoms bell-out wide and bejeweled fabrics dance in the sun as you see the line set against a Ranch located in Palmdale, California. Maxwell, shot in couture cowboy boots that simultaneously crumple at the ankle and tease up high to the knee, created the alluring essence of what it means to dress and be dressed in luxe. But, more than anything, there’s a certain posture, a certain demeanor as page 157
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a whole that the brand conveys on the body. In a word, confident. The brand, which was recently profiled by Vogue, had an exciting campaign launch as it also recently took over the Vogue.com homepage while it’s E-commerce platform officially opened for sales. The fall line, which consists of 60 pieces in the woman’s collection and 35 in the men’s, is curated and deeply rooted in luxurious Americana lifestyle, especially in its inception collection. “It has to be the best,” Lubell says. “The denims, the velvets, the corduroys, the silks, picking the right ones is everything — all by how it feels, not just on the outside but on the inside too.” To Lubell, it’s important that a dress or a blouse not just look beautiful, but also feel good on the body of the wearer. The magic that is essential to great
fashion comes out of a synergy between the wearer, her body, the fabric and the silhouette—adding comfort to that equation allows a certain freedom of expression. It allows one to project inner emotions and feelings through the medium of style. All the fabrics are imported from the best mills, from Italy to Japan, but the pieces themselves are made in America, in California—“in my own backyard, where I can control my destiny,” as Lubell puts it. Aside from the value he places on supporting local manufacturing, that ability to micromanage the production process is vital to Lubell, he’s all about quality control. Everything gets produced ethically and fairly, and the quality of the cut and sew—down to the finest detail of fit—can be finessed to perfection.
And Lubell is obsessed with that process. “I love making these pieces. I love designing clothes that make people feel good about themselves, and that’s what’s missing today,” says Lubell, who does not plan on abiding by any industry rules that might interfere with his and his wife’s passion for Coût de la Liberté. “Especially right now, living in the world that we are, I’m all about optimism, letting go of negativity. We’re doing colors, even if it’s black and white that sells. We’re doing custom fabrics, even if it’s harder. There’s no season on these products; it’s a permanent collection. Look, this idea is a seed right now, but we’ll nurture it, and it will grow to become a tree, and that tree, one day hopefully, will become a forest.” Coût de la Liberté is one line that speaks to the heart of America and directly into the passion of fashion. page 159
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A VERNISSAGE SERIES
PATRONS' PLACE WHAT GOES ON INSIDE THE MIND OF A COLLECTOR?
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RAPHAEL DAPAAH Art Contributor @dg_luxe
I currently have 30 pieces.
Occupation: Physician, Radiation Oncologist
What drew you to collecting, and what does contemporary art by Artists of African heritage mean to you?
Location: Mechanicsburg, Pa., U.S.A. Collector Level: Established RD: When did you buy your first piece of art, and what was it? My wife gifted me a portrait of my grandmother soon after she passed in 2015 - a pleasant surprise which sparked the start of me collecting art. How many pieces of art do you currently have in your private collection?
CCH Pounder has had and continues to be a huge influence for me when it comes to collecting. She has a beautiful collection of art with African heritage, from various parts of the world in her home. The artwork always provided a spark for conversation. Through that, I gained an understanding for how art can tell stories about a generation, a culture, etc. Without speech, art, by using lines and shapes, conveys energy and emotions. Art allows people to connect.
Tonya and Ato Wright
ATRONS’ PLACE” EXPLORES THE COLLECTIONS AND INSIGHTS OF BUDDING AND ESTABLISHED ART COLLECTORS AND PATRONS. THIS SERIES RUNS EVERY OTHER MONTH WITH THE ARTISTS’ VERNISSAGE SERIES, THUS HIGHLIGHTING THE CONTINGENT JOURNEYS OF ARTISTS AND COLLECTORS.
Name: Ato O. Wright
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Forces Within by Kpe Innocent
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You can learn a lot about a person’s core values by the way they interpret different types of imagery. Which piece of art in your collection is your favorite, if any, and why? I do not have a favorite. Favorites may change based on what I may be growing through. Perhaps I can share a story of
one of my pieces and why I love it. Kpe Innocent: “The Visitor II” (acrylic on canvas) I enjoy this painting because, at first glance, this painting, like the majority of Kpe Innocent’s paintings, exudes a meditative calm. However, taken in full, the illustration conjures up an
ambiguous and much larger proposition on intimacy, the human form and its interaction with the space in which it exists. He has the uncanny ability to use figures that are stripped down to their basic form, yet they evoke mood and emotion. There is minimalist geometry in all elements of the illustration; however, the emotional response from interacting with the piece is enormous. page 163
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The Visitor by Kpe Innocent
magazine article that “if she (Mapule) is growing, maybe I (Mr. Makamo) should grow too.” In the same vein, I would love to know what Flyboy and Lil Mama become or perhaps how he would imagine them in their adult form. What about an artist and their work attracts you the most? Art tells us that every space is beautiful, and that how you perceive it depends on the circumstances around which you interact with the space and what that space reminds you of. I like artists and artworks that aim to tell new stories about everyday imagery. Those that are able to ignite your emotions. Is there a particular theme to your collection? The beauty of human expression. What advice would you give to a new or budding art collector who wants to start a collection?
What is really going on in each piece seems mysteriously familiar. Like many of Kpe Innocent’s works, the imagery delivers an emotional punch. Drooping shoulders, a head tilt, etc.... without any facial expression, immediately conveys feelings, mostly of warmth. On the other end of the emotional spectrum, you can also appreciate the anxiety, conflict and tension we all have felt when visiting someone or when someone visits us. In his own words, “I pray they (artwork) stir up in you the need for healthy conversations and relationships based on love, and genuine love alone!” Name three living artists you would love to include in your collection in the future. Harmonia Morales, Bisa Butler and Solomon Adufah Name three late artists you would love to page 164
include in your collection in the future. Cal Masey, Jacob Armstead Lawrence and John Biggers If you could have dinner with any artist, dead or alive, who would it be, and why? I would love to sit down with Hebru Brantley. He has created child characters in the likes of Flyboy and Lil Mama. Characters that reflect positive imagery of Black kids, that I hope all people can identify with. Images of kids in positive, vibrant colors, being adventurous, gives us all the sense of optimism about this world. When I think about one of the sentiments expressed by another phenomenal artist, Nelson Makamo, whose characters reflect childhood optimism, I learned that some of his paintings were based on his 11-year-old cousin, Mapule. He expressed in his Time
I consider myself a new collector, and I am not even budding yet. I would advise them to go to museums, post COVID-19 and get a sense of what they like. Follow artists on social media and get connected to other art collectors. It’s becoming more and more apparent to me how much artists are connected to their collectors. What advice would you give to unknown and emerging artists who want to attract collectors and art patrons? I would say consistency is the key. I would advise them to keep producing. Create their unique message, and the right crowd will gravitate to it. Do not confuse “studying” the people you admire on your growth journey with “imitation”. Study and apply the elements from all those you love to create your visual voice because, as my Grandma Maud used to tell me, “there is nothing new under the sun.”
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Philome and Robert by Lois Mailou Jones
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CONJURING UP SCARY STORIES "I HOLD A WOLF BY THE EARS" RECALLS CAMP-FIRE STORIES TOLD AFTER DARK GREGORY BERTRAND Copy Editor @bertrand7367
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ORROR MOVIES
NEVER FRIGHTENED ME MUCH, NOT EVEN AS A CHILD. I’D LOOK AT FREDDY KRUEGER OR JASON VOORHEES, AND I’D PRETTY MUCH SHRUG. THAT’S BECAUSE REAL LIFE IS ALWAYS MORE HORRIFYING THAN ANY SLASHER OR MONSTER MOVIE COULD EVER STRIVE TO BE.
vicious gig-economy despite her once lofty dreams of being an architect. She’s a dog-walker/landscaper/delivery woman, and, in her strangest gig, an impersonator of dead wives. She calls it “grief freelancing:” dressing up and acting out the normal habits and tics of these deceased women for their grieving widowers. Our narrator says of her situation, “…what an unbelievably exhausting moment to be alive, in this era of gig economy.” In constantly fulfilling the desires of random men, our narrator is at risk of losing track of who she really is.
This is never truer than for the women in Laura Van Den Berg’s stellar and spine-tingling new short-story collection, “I Hold a Wolf by the Ears.” Also known as, the scariest lineup of stories that I’ve read in a long time. However, if you are expecting monsters, ghost or demons, then you need to broaden your concept of horror.
In “Lizards.” the plot feels ripped from the headlines as it centers on a high-profile judge charged with multiple allegations of sexual assault. However, the judge’s case plays as a backdrop to the drama between a woman and her husband. The narrator feels “so angry she’s surprised surfaces don’t ignite when she touches them.” While her husband, who sees himself as “a good man,” tries to artfully navigate his wife’s rage as she tries to pin him down on whether or not he has ever committed or been a witness to sexual assault or situations that have gone too far.
These 11 stories center on women— most of whom are nameless—on the brink of a knife’s edge. Horror for them comes in the form of confronting their own realities. In “Your Second Wife,” a woman finds herself trapped in the
Rage and sadness make for two of the most common themes for the women of “I Hold a Wolf by the Ears.” In “Karolina,” one of Van Den Berg’s standout stories, two ex-sisters-in-law have a tense reunion in Mexico after
a devastating earthquake. The titular Karolina is homeless on the streets and confronts the narrator about events in the past concerning her ex-husband (the narrator’s brother). In facing Karolina, the narrator must reckon with the reality that her beloved brother, a man who she thought was so kind and wouldn’t harm a fly, could actually be responsible for driving Karolina to these dire circumstances. While there is nothing of the supernatural in “I Hold a Wolf by the Ears,” there is a whole lot of preternatural. In “Last Night,” the collection’s opening story, a woman narrates the story as if she’s already in her grave, except, she is very much still living; this element gives the story a campfire tale-like quality. In “Slumberland,” we follow a woman as she stalks the dark streets of Orlando as she takes voyeuristic photographs of peoples’ most private moments. These forays into the night are her escape from her neighbors’ unending weeping and wailing that drifts through the walls and into her apartment. Furiously intense, surprisingly funny at times and wickedly tender, regardless of your gender, Laura Van Den Berg’s “I Hold a Wolf by the Ears” is a must-read for fall. page 167
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SPIRITUALITY DEFINING THE DIVINE
NAVIGATING 2020 UNLEASHING INNER POWER THROUGH MEDITATION, FOCUS AND EXPRESSING JOY
“This is your last chance. After this, there is no turning back. You take the blue pill- the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill- you stay in Wonderland, and I show you how deep the rabbit-hole goes. " - MORPHEUS, THE MATRIX
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JYOTI PAINTEL Spirituality contributor @jyotipaintel
N LAST MONTH’S ARTICLE ON MYSTICISM, I INTRODUCED THE IDEA THAT WITH A CERTAIN AMOUNT OF FOCUS, INTENTION AND TRAINING, WE CAN EXPERIENCE WHAT ALL MYSTICS SEEK: INNER TRUTH AND UNION WITH THE DIVINE. The practices of the most famous mystics in the world tend to be rooted in the more formal religions, so this will be a good place for most of us to start, as we might have had prior experience with the rituals involved, such as song and prayer. One of the greatest art forms revered since cultural antiquity was recorded is the dissemination of word, idea and
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story through visual or auditory delivery methods. This is also the main medium for mysticism. Written or spoken word that was widely disseminated also became a crucial and effective way of spreading and sharing ideological, political, social and theological beliefs or questions about the existence of man during the time of Plato, Aristotle and Machiavelli. These great thinkers were also gifted storytellers as they understood that they could reach and influence the masses by providing a simple foundation or process to study and debate ideas and conceptual thought. Yet the tradition of word has connected and bridged the ancient past to the modern present with timely relevance– it might surprise you to learn the Wachowskis siblings’ most famous supernatural film series, “The Matrix Trilogy”, is actually based on Plato’s “Allegory of the Cave”.
THE POWER OF MYTH AND MYSTICISM “But I don't want to go among mad people," Alice remarked. "Oh, you can't help that," said the Cat. "We're all mad here. I'm mad. You're mad." "How do you know I'm mad?" asked Alice. "You must be," said the Cat. "Or you wouldn't have come here." – “Alice in Wonderland” by Lewis Carroll
Narrative, expository, documentary and other types of story-telling have taken on an almost desperate significance today: if the current pandemic had hit even 20 years ago when streaming services such as Netflix and Amazon Prime weren’t around to spin out news, television and movies daily to distract us from our real-world sorrows, we would be anxious, depressed and dreadfully bored during these extreme times of sheltering-in-place, quarantining and social distancing that we live in to survive. Unfortunately, the escapism of the digital form of story and the ability
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PRACTICE GAZING
PERMISSION TO PEER WITHOUT RESTRAINT INTO SOMEONE’S EYES IS NOT SOMETHING WE ARE GRANTED OFTEN, SO DON’T BE SURPRISED IF ALLOWING THIS TYPE OF INTIMACY BRINGS ABOUT INTENSE EMOTIONAL REACTIONS, DEEP FEELINGS OF BELONGING AND BEST OF ALL, PURE JOY. to tune in any time can also lead to us to tune out – for example, addictively binge-watching all 54 episodes of a television series without interruption. While this guilty pleasure is understandable occasionally, I fear we will be reduced to always looking into digital oblivion for most of our waking hours, instead of looking for the inspiration and the power in our own story, which cannot be underestimated, especially right now- a moment in time we won’t soon forget.
Create a safe, comfortable place and sit across from the person with whom you are eye-gazing. Light a candle nearby so there is ambient, soft lighting. With a smile, gaze into your partner’s eyes with focus and intent, allowing your face to relax slowly, one muscle at a time.
MEDITATION: ALL PATHS LEAD TO THE SOURCE
Permission to peer without restraint into someone’s eyes is not something we are granted often, so don’t be surprised if allowing this type of intimacy brings about intense emotional reactions, deep feelings of belonging and best of allpure joy in sharing something profound with your “Beloved.”
No mystical practice can begin without complete intention and focus, and the easiest way to achieve this is through meditation, but that is not to say that meditation is easy. In fact, it might be the most challenging thing one can attempt to do, but with the payoff being described as bliss or nirvana, it might be the most important thing we master in our time here in the physical plane. Connecting to past and future times, if you allow your mind to bend that way, is also possible. Find a form of meditation that works for you and practice getting into a place of calm. Here are some suggestions to get you started with mystical practices. SUFI EYE –GAZING (DONE WITH A PARTNER) The Sufi mystics believe devotional poetry, chanting, song, repetitive dancing in circles and mindful meditation are ways to achieve a state of bliss and union with their most “Beloved”, that is, God. The Sufis believe that one of the deepest connections we can experience is feeling the divine reflected through another’s soul by gazing at the stars in each other’s eyes.
It might feel silly, and you might laugh and lose focus – it’s okay, do it as many times as you have to until you can hold each other’s gaze for an extended period of time.
THE POWER OF MYSTICAL POETRY, STORY AND SONG: AMAZING GRACE Birds singing in the morning are the classic embodiment of joy for a reason. They innately know something that we humans take time to learn: we all have a magical gift inside that brings us happiness when we share it with the world. Happiness is the simple pleasure of listening to a beautiful melody being played on a guitar with friends, it is to sing in unison and in union, it is sure to move and dance with others in abandoned ecstasy– these are the most surefire ways to find your true mystical soul. It’s not as difficult as you might imagine finding others who are already doing this. Even if for now, it might be virtual sharing of bliss with others who are also looking for the same: to exchange the wealth of joy.
COMPOSING POETRY- LOVE LETTERS TO OUR SOULS ‘Thoughts become words, and words become things, so think good thoughts!” -Dr. Seuss
If you find yourself stuck when it comes to writing, then try this exercise. It will take practice and some discipline, but writing begins to feel like both sanctuary and salvation if we can focus our thoughts the right way. Put your name on the top of a piece of paper and then start to free-write – jot down every good attribute, feeling or thought that comes into your mind about yourself next in a list. You might have bad feelings crash in, too – it’s normal, but with firm self-compassion, train your mind to gently move on from the negative thought and look for the next good-feeling association and hang on to it, no matter how long it takes. Hovering over the negative self-doubt isn’t what mysticism is about; rather it is about loving ourselves into alignment so we can see the divine in our soul with clarity and conviction. Once you have 10 words down, look the words over – if that word was associated with a thought a feeling, an idea, a picture, place, color or sensation – what might it be? See if you can write a phrase or a sentence next to the word associated with the topic. You might be surprised just how much in our subconscious is waiting to be jotted down. The more we direct it toward nurturing, kind, loving thoughts, the closer we find ourselves in union with the Truth about who we really are. page 171
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In Search of Solace T R AV E L I N G T H E J U R A R E G I O N
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In Search of Solace CEZAR KUSIK Wine Contributor @cezartastesearth
S
OMETIMES, WE HAVE TO HEAR FROM ANOTHER PERSON WHAT WE ALREADY SUBCONSCIOUSLY KNOW FOR IT TO SURFACE TO THE REALM OF CONSCIOUS RATHER THAN SUBCONSCIOUS KNOWLEDGE. Recently, I watched the Netflix documentary, “Social Dilemma”; a must watch by the way. In a nutshell, it is a
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report on the widespread dangers and detrimental side effects of social media in nearly all aspects of our lives. The documentary is mainly a compilation of commentaries by some of the smartest people in the field with intimate knowledge of the subject. In its philosophical and sociological impact, the movie is subtly petrifying. It is eerily timely in its political pertinence. It evokes feelings of deep anxiety, insecurity and visceral skin-crawling fear. But this is the world we are surrounded by and the reality we are faced with. Is there a remedy? No. At least not yet. But the pain can be counteracted. Nature is where I have always looked for and usually found solace. In its pure and unadulterated form, with its timeless beauty and primal appeal, nature, among other things, transcends human folly.
One of the most naturally beautiful wine regions I have ever visited is the French district of Jura. It lies in Southeast France between Burgundy and Switzerland. Its pastures and rolling hills are guarded by the Jura Mountains, which were formed during the Cenozoic Era about 65 million years ago and stand tall to the east. The westerly one looks upon grassy pastures, orderly vineyards and rolling hills with dense oak and fir forestation spotted with fossil-bearing limestone formations. It’s a predominantly rural district with frozen in time like villages scattered about and a few larger cities on the region’s fringes. Jura’s vineyards have a similar micro-climate to Burgundy with their cold winters and relatively warm and dry summers. The soil composition comprised of clay, limestone and rich in
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Jurassic Era fossil matter is conducive to earthy, mineral-driven wines. And just like the region itself, the wines of Jura are unique. Before the devastation of phylloxera in the late 19th century, the region sported more than 40 different grape varieties. Now only five grapes remain to constitute a combination of international and indigenous varieties. Three reds; Poulsard, Trousseau and Pinot Noir. Two whites: Chardonnay, Savagnin. The region offers all styles of wines; white, red, rose, sparkling, sweet and the unique Vin Jaune (yellow wine) Vin Jaune is made from Savagnin grapes, and is produced in two distinct
stages. First, the wine goes through the regular white wine, malolactic fermentation. Afterward, it is transferred into used Burgundy barrels to be aged for at least six years in special caves where it forms a layer of yeast, subsequently leading to a slight oxidation. Sounds familiar? Yes or no, the process is nearly identical to that of making Sherry. And just like Sherry, the wines excel at complexity and unique flavor characteristics. The wines are dry, nutty with spicy notes of turmeric, ginger and cardamom. But that is just scratching the surface. The wines are bottled in traditional, unusually shaped clavelin bottles, squat with deep punt indentation and sealed with wax at the top. They can age
for decades. Chateau-Chalon, a single village appellation, arguably makes the best representations of Vin Jaune. Officially granted the AOCs designation in 1936, Chateau-Chalon was one of the first appellations in France. Arbois and Côtes du Jura, Jura’s subregions use all five grapes to give us white, red and rose wines in single variety or blended styles. All reds are rather light, with Trousseau having the most structure, power, complexity and a touch of exotic spice. Poulsard, also called Ploussard locally, tends to be pale sometimes mistaken to be a rose. It is light, fairly simple with characteristic floral, perfume-like aromatics. Pinot Noir here never reaches the sophistication of Jura’s page 177
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In Search of Solace
Western neighbor Burgundy. It’s often used in blends and by itself is pale and earthy. The price reflects it. You can buy a well-made Jura Pinot for under $20 and it’ll be satisfying. In the white grape department, Savagnin is the pride of Jura mainly because of its participation in the earlier mentioned Vin Jaune. When young, it produces wines of fine balance between mineral and floral flavors. When older, or sometimes intentionally oxidized it takes on a nutty and spicy complexity. page 178
Chardonnay is the most planted grape in the region with its main destination being Jura’s sparkling wines, Cremant du Jura. These sparklers are made in the traditional method (Champagne style), and if coming from the right source, they can be a less expensive, good quality alternative to their more prestigious counterpart. They have to comprise of at least 50 percent of Chardonnay. The L’Etoile appellation in central Jura is named after star-shaped fossils found in abundance in the area. The region
produces only white wines. Poulsard is grown here as an additional grape for Vin de Paille, “straw wine”. This style of wine is made throughout many other wine regions where the grapes are raisinated by being dried on straw mats until the sugars are concentrated and fully developed. Intensely sweet juice is fermented and aged in oak barrels resulting in decadently sweet wines of dried fruit, honey, nutty flavors. Lastly, there is Macvin du Jura which falls in the category of vin-doux-naturel;
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fortified wine (think Port or Madeira). It’s produced from all five regional grapes picked late in the harvest, aged in oak for 12 months, and finally spiked with a brandy (marc) made by the same winery. And there you have a full palette of Jura wines. I visited Jura 10 years ago and spent a few days there; I was with a group of wine friends. As much as I could do without being accused of insolence, I would break away from the pack and roam the hills and the vineyards solo. I ate simple but soulfully satisfying meals in centuries-old village taverns, and for the first time, I truly experienced the local wines in their full spectrum.
I remember the calm and the effortless feelings of knowing and reassurance that followed. And I miss them now more than ever. Considering the present circumstances in which truth and reality seem to be deeply compromised, it is imperative to look inside of ourselves and reflect. And where is it better to do so than in the presence of nature? Whether it’s the ocean, the mountains, the woods,
a soothing flow of a river or even a nearby patch of green in your neighborhood park, make sure you become a part of it once in a while; aware, selfless and respectful. If you happen to bring a bottle of wine with you, “good on you my blokes” as my Aussie friends would say. And if you are lucky and stars align for you just right you might see, even if for a glimpse, life for what it truly is. Cezar Kusik Wine Contributor Polo Lifestyles
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RANCHO SAN CARLOS 2500 East Valley Road Montecito, California, 93108 United States
$75,000,000 USD 12 BEDROOMS / 11.5 BATHS / 29,483 SQ. FT / 237.82 ACRES
The magnificent Rancho San Carlos, an approx. 237-acre estate property that for nearly 100 years has been under the ownership of one family. A once-in-a-lifetime opportunity to acquire a unique property of unprecedented grand scale, exceptional architecture, and historical significance. The sprawling hilltop Monterey Colonial manor was designed by noted architect Reginald Johnson in 1931 with an approx. 29,483-sq. ft. exquisite main residence comprised of over 30 rooms. Infused with an atmosphere of sophistication and refinement, the grand home is astutely sited on two natural terraces, and by planning the formal living rooms around a central courtyard and placing the master and family bedroom wings on the upper terrace, he effectively created a spatial separation that afforded privacy, calm and exceptional views. Additional features include 10 residential cottages, an office, producing orchards, and extensive equestrian facilities. page 184
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225 WEST 17TH STREET PENTHOUSE 2
New York, New York, 10003 United States
PRICE UPON REQUEST page 186
THE PINNACLE OF LUXURY Enjoy panoramic views of downtown to the Freedom Tower from floor-to-ceiling casement windows, and your private 375 sq ft terrace. Arrive through a private elevator landing into a commodious great room with window walls bathed in sunshine from
triple exposures and enjoy seamless indoor/outdoor living onto the south-facing terrace. High ceilings, wide-plank distressed oak floors, premium finishes, and a contemporary yet timeless aesthetic grace the ambiance throughout.
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1120 PARK AVENUE APT. 20/21A New York, New York United States
PRICE UPON REQUEST Multi Terraced Park Avenue Duplex This duplex residence showcases commanding views of Central Park, the East River, the George Washington Bridge, or downtown Manhattan from every window. The six private landscaped terraces offer the pinnacle in luxury indoor/outdoor living. page 188
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14 EAST 11TH STREET New York, New York, 10003 United States
$28,500,000 5 BEDROOMS / 6 FULL BATHS / 2 PARTIAL BATHS / 7,411 SQ FT.
Located on one of Greenwich Village’s most bucolic tree-lined blocks, this stunning 21’ wide townhouse is noteworthy for its handsome Italianate brick façade, and painstaking two-year renovation. Sun-filled, open and airy, the 7411 square foot house comprises five stories, an immaculately finished basement, over 1400 square feet of manicured gardens and terraces, and a private elevator. This one-of-a-kind home, conceived by designer Brad Ford, is matchless in page 190
scale, attention to detail and quality of finish. Enter the Parlor Floor, which is distinguished by 12’5” soaring ceilings, a breathtaking 53’ tall cascading Lindsey Adelman chandelier, herringbone floors in cerused quarter-sawn white oak and a surround of custom wood-paneled walls. Designed for entertaining, one can easily lounge in the grand living room highlighted by ornamental plasterwork, a breccia capraia marble fireplace and a southern glass wall of windows overlooking the beautiful gardens. Alternatively, stroll down to the wine bar and coffee room surrounded by a Dean Barger mural and Amuneal Industry built-ins. A gracious descending staircase leads to the wonderful eat-in kitchen - distinguished by superb cabinetry, top of
the line appliances including range by Florence Officine Gullo and two aged brass sinks. The accordion glass wall creates the ultimate indoor/outdoor experience, opening to a stylish bi-level garden - designed by Harrison Green. The owner’s suite occupies the fourth floor and incorporates a wood-burning fireplace, an abundance of closets and a luxurious bathroom clad in breccia capraia marble with a custom fireplace mantel. There are four additional bedrooms, all with en suite baths. Atop the home sits an expansive, fully appointed rooftop terrace. The finished basement offers a gym, playroom, powder room and Laundry room (one of two in the house).This smart home is replete with a Control 4 system governing the 10-zone CAC, lighting, AV, and security systems.
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MOLD YOUR MIND AVOID THE TRAPS OF PERFECTION MAKE PERFECTIONISM WORK FOR YOU JOEY VELEZ MA, MBA @velezmentalperformance Healthy Lifestyles Contributor
W
E ALL KNOW THE PHRASE “PRACTICE MAKES PERFECT,” WHICH STATES THAT THE MORE YOU PRACTICE A SKILL, THEN THE BETTER YOU WILL BECOME.
While practicing a skill is crucial for development, oftentimes, the idea of perfection gets misused. From this, the concept of perfectionism comes into the forefront. Perfectionism is defined as a refusal to accept any standard short of perfection. Perfectionism hurts development because you encounter this all-or-nothing thought process, having a success-failure mindset. Having this thought process can stunt page 194
growth and make it more difficult to experience a sense of free will. Due to that, being a perfectionist gets a bad rap. Being a perfectionist is viewed as a detrimental quality in that it keeps one from enjoying successes and can control one’s ability to experience life fully. But if you aren’t trying to do your best and achieve perfection, then what are you really doing? To better utilize your perfectionist qualities, you must differentiate “striving for perfection” and “being perfect.” Maladaptive & Adaptive Perfectionism There are two types of perfectionism: maladaptive and adaptive. Maladaptive perfectionism is characterized by excessive preoccupation with past mistakes, fears about making new mistakes and doubts about whether you are doing something correctly. This form of perfectionism is more “evaluative” in nature and is where one constantly analyzes and criticizes their actions. Even when achieving success, they fail to recognize their accomplishments and often think, “This isn’t good enough”. Perfection is something that is extremely difficult to achieve, and research
shows that perfectionism is related to numerous detrimental work and nonwork outcomes, including higher levels of burnout, stress, workaholism, anxiety and depression. For example, trying to become the valedictorian of your class. You put all this extra time and effort into your studies, you volunteered your time around campus with various projects, but they chose someone else as valedictorian. A maladaptive perfectionist might view themselves as a failure for not achieving valedictorian status. However, they failed to realize all the amazing work they put in and all the growth they made along the way. The type of perfectionism you want to have is called adaptive perfectionism. Adaptive perfectionism is defined by deriving satisfaction from achievements made from intense effort, but tolerating the imperfections without resorting to harsh self-criticism. This form of perfectionism is more geared toward the strive for perfection. The difference here being that you are still taking the same actions toward achieving your goal, but if you don’t reach that benchmark, you can still recognize the effort you put in, the growth that you made and you are able to build
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INSTEAD OF TELLING YOURSELF, “I SHOULD NOT MAKE MISTAKES,” TELL YOURSELF, “EVERYONE MAKES MISTAKES AND I AM NO DIFFERENT,” INSTEAD OF TELLING YOURSELF, “FAILURE IS A TERRIBLE THING AND SHOULD BE AVOIDED AT ALL COSTS,” TELL YOURSELF, “FAILURE IS COMPLETELY NORMAL AND WILL HELP ME LEARN.” INSTEAD OF TELLING YOURSELF, “IF I AM NOT PERFECT, THEN I AM A FAILURE,” TELL YOURSELF, “I CAN DO SOMETHING IMPERFECTLY WITHOUT FAILING AT IT.” off of that experience unlike those who are more maladaptive in nature. Let’s go back to that valedictorian example from earlier, an adaptive perfectionist might be disappointed they were not picked, but they are able to recognize the hard work and dedication they put into their journey, which helps them experience more joy and move on to bigger, better things. My Battles with Perfectionism Perfectionism did not make its way into my life until post-graduate school and has become more prevalent in my current employment. My job requires me to present topics and skills in front of a specific population, and part of the preparation is presenting those topics and skills to my colleagues. In high school, I would have described myself as a pessimist, but as I progressed through life and through my psychology programs, I began to describe myself as an optimist. Along with optimism, no matter what performance outcome I obtained, I always viewed those performances as learning opportunities and took something away from it to help me grow. Now that I have found employment directly utilizing my master’s degree, I have noticed that I have become a harsher critic of my performances. After each presentation, regardless of how it went, I tend to view it as “not good enough”. I want to be better; I am a subject matter expert and I want to express that through my presentation style. So, when a long-tenured colleague observes me, I am typically overly critical of myself, then, I discuss all the things I could have done to be better. Rarely do I touch on the things that I did well. The funny thing is, after I reflect on my poor performance with my colleagues, they proceed to communicate how well they thought I presented the topic. While my concerns and criticisms were valid, they felt that I was being overly critical and that I was performed a lot better
than I was describing. This battle with perfectionism is back and forth. There are times when after a performance, regardless of how I performed, I look at what went well and what can be improved, while keeping in mind I did my best and was satisfied with how I performed. But then there are times when, regardless of how I performed, I viewed it as “not being good enough”. This form of thinking adds unnecessary pressure and takes away all the good from your actions. While there is always room to improve, just because it was not perfect, does not mean that you are a failure. Make The Switch There are a couple of steps you can take to make this change from a maladaptive perfectionist perspective to an adaptive perfectionist perspective. The first step is to reframe your beliefs about mistakes and failures. With perfectionism, you may have the mindset that you should not make mistakes, that mistakes can be avoided if you try harder, that failure is a terrible thing and should be avoided at all costs, or that you must be perfect to be loved. These views are false because nobody can live without making mistakes or failing. They are a part of life and are how we grow, so accepting the truth about mistakes and failures can have a tremendous impact on your attitude towards perfection. Instead of telling yourself, “I should not make mistakes,” tell yourself, “everyone makes mistakes and I am no different,” Instead of telling yourself, “failure is a terrible thing and should be avoided at all costs,” tell yourself, “failure is completely normal and will help me learn.” Instead of telling yourself, “if I am not perfect, then I am a failure,” tell yourself, “I can do something imperfectly without failing at it.”
The key is to identify your beliefs about perfection. Once you identify them, you can start reframing those beliefs into a more beneficial perspective, which will lead to an increase in productivity and overall well-being. The second step is to celebrate small victories. After you complete a project, finish a performance, or at the end of a workday or a workweek, take some time and write down everything that you did well. As a society, we are extremely quick to look at flaws and talk about what needs to be improved. While this is important for development, just as important is looking at what you did well because you want to continue to do those things. Combining what you need to improve at and what you can continue doing will lead to a faster level of improvement. So do not shy away from all the good that you did. Celebrate those moments because it feels good to see that we did something well. It feels good to acknowledge that we are doing something correctly. Newtons’ first law states that an object in motion stays in motion, so you can use these small successes to help build towards something bigger. Final Thoughts Being perfect is something we may not be able to achieve. Trying to be perfect can ultimately lead to a decrease in production, self-esteem and overall well-being. However, that does not mean that you should not strive for perfection. Striving for perfection is something that is in your control. You control your effort, your focus and the actions you take towards achieving the results that you want. Whether you achieve those results or not, be proud of the work you did, celebrate the effort that you put in, and recognize that while you may not have been perfect in this one situation, that does not take away from who you are, how committed and dedicated you are, and how much of a hard-worker you are. page 195
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TOP 10 EXERCISES FOR DEFINED GLUTES
W
HILE WORKING TOWARD AESTHETIC GOALS IS FINE, THE FUNCTIONALITY OF THE GLUTEAL MUSCLES SHOULD BE THE PRIORITY IN EXERCISE PROGRAM DESIGN.
proper alignment and body mechanics during physical activity. Here are 10 exercises you can use with your clients to develop stronger gluteal muscles:
The gluteal muscles—namely the gluteus maximus, gluteus medius and gluteus minimus—work together to help us perform daily activities such as standing, sitting and walking.
Action: Lie in a supine position with the knees bent and the feet flat on the floor. Place the feet hip-distance apart. Tighten the core and move into a slight posterior pelvic tilt.
Strong gluteal muscles are essential for pelvic stability, good posture and
Exhale, contract the glutes and press the hips up and away from the floor. Inhale
BEGINNER EXERCISES 1. Glute Bridge Equipment needed: None
and lower the hips to the starting position. Complete 12 repetitions; rest and repeat for a total of two to four sets. 2. Side-Lying Hip Abduction Equipment needed: None Action: Come to a side-lying position on the floor with the legs extended and the hips neutral. Rest your lower arm under the head for support and align the head with the spine. Exhale and raise the top leg while keeping the foot flexed. Inhale and lower the leg with control. Complete 12 repetitions and repeat on the opposite side. Perform six sets total (three per leg).
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3. Step-up Equipment needed: Platform such as an aerobic step or plyometric box
FITNESS LIFESTYLE
Action: In the upward phase, stand facing a platform with your feet directly under your hips. Place your right foot on the platform and push off with your trail leg (left foot). Keep the torso upright and the foot, ankle and knee aligned while stepping up. In the downward phase, shift your weight forward slightly and load your right leg. Step backwards with your left foot and then your right foot to return to the starting position. Complete 12 repetitions and then repeat on the left side. Alternate lead legs for a total of six sets (three on each leg). INTERMEDIATE EXERCISES 4. Front Squat Equipment needed: Two dumbbells Action: Rest a dumbbell on the front edge of each shoulder and stand tall with the feet a little wider than hip-distance apart. Inhale and tighten the core as you shift your weight back into the heels while bending at the hips, knees and ankles. Lower down into a squatting position while driving the hips back and keeping the chest lifted. Exhale and press your feet into the floor while straightening the legs to return to a standing position. Complete 10 repetitions, rest and repeat for a total of two to three sets. 5. Goblet Squat Equipment needed: Dumbbell or kettlebell Action: Stand with the feet wide and the hips slightly externally rotated. Hold a dumbbell or kettlebell in front of the chest while keeping the elbows close to the body. Bend
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at the hips, knees and ankles to lower down into a squat. Continue until the hips are slightly lower than the knees. To stand, push the feet into the floor and return to the starting position. Complete 10 repetitions, rest and repeat for a total of two to three sets. 6. Transverse Lunge Equipment needed: Dumbbells Action: Stand with the feet under the hips with a dumbbell in each hand. Inhale and press the left foot into the floor. Next, externally rotate the right leg to step out and back with the right foot. Exhale and push off of the right foot and return to the starting position. Alternate legs for a total of 20 repetitions. Rest and repeat for a total of two to three sets. ADVANCED EXERCISES 7. Back Squat Equipment Needed: Barbell Action: Place the bar comfortably across the back of the shoulders so that it rests on the upper trapezius muscle (upper back). Stand with the feet under the hips with the toes pointing forward. Bend at the hips, knees and ankles to lower down into a squatting position. Keep the chest lifted and the torso upright throughout each phase of the exercise. (At the bottom of the squat, the spine and tibia bone should be parallel.) Return to the starting position by extending the knees, hips and ankles . Select a challenging enough weight that allows for 8-10 repetitions. Rest and repeat for a total of three sets. 8. Glute Activation Lunges Equipment Needed: Medicine ball Action: Stand with the feet under the hips while holding a medicine ball directly in front of the chest
with the elbows close to the body. Step the right foot out wide to the 3 o’clock position. Press into the right foot and drive the hips back to lower down into a lateral lunge. Press firmly into both feet to stand and return to the starting position. Next, step forward with the right foot and across the midline of the body (to the 11 o’clock position) while lowering into a lunge. Simultaneously, rotate the torso to your right to increase the load on the gluteal muscles. Exhale and return to the starting position. This is one repetition. Complete eight repetitions on the right leg and then switch legs. Complete a total of three sets on each leg. 9. Split Squat Equipment Needed: Bench and dumbbell Action: Assume a split stance with the right foot forward and the left foot elevated on a bench placed behind you. Hold a dumbbell in front of the chest with the elbows close to the body. Inhale and lower the left knee (back knee) toward the floor while keeping the torso upright. Exhale and push the right foot (front foot) into the floor to return to the starting position. Complete 10 repetitions and then switch legs. Complete three sets on each leg. 10. Lunge Jumps Equipment Needed: None Action: Assume a split stance with the right foot forward and the left foot back. Lower down into a lunge and then immediately push off the floor to jump upward while switching your foot position. Complete 16 repetitions total, alternating legs with each jump. Rest and repeat for a total of three sets. By Jennifer Turpin Stanfield/Special to Polo Lifestyles
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