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216by Princess Eugenie
FEATURES182 THE BUTTERFLY EFFECT Cover
star Jessica Chastain on liberation,late success and her terror of beingthe centre of attention
216 THEPRINCESSANDTHEARTISTUnlikely friends Tracey Emin andPrincess Eugenie discuss art’s abilityto shock, New York life and beds
232 AMAZING GRAYSON The nation’sfavourite cross-dressing potter,Grayson Perry, the improbablealpha male of art
FASHION192 SHAPE UP Geometric autumn
dresses – it’s all in the angles202 AMONGST THE BOHEMIANS
Painterly dresses adorn the art-filledrooms of Charleston House
F fake
ons101 ON THE RISE A talented new
designer is bringing a fresh attitudeto the Swiss label Bally
107 MY LIFE, MY STYLE The cleanlines and modern look of Bazaar ’sstylist Miranda Almond
150 MONOGRAM MOMENT KarlLagerfeld, Marc Newson, CindySherman and Frank Gehry areamong the great minds reinventingLouis Vuitton’s classic pieces
192
CONTENTSNOVEMBER 2014
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JEWELLERY143 PICTURE PERFECT Jewelled
still-lifes worthy of an Old Master148 GIVE ME A T… Tiffany’s latest
covetable collection
SHOP BAZAAR158 FULL PELT Sumptuous shearling
coats for a cosily glamorous autumn
TALKING POINTS168 INTERIOR JOURNEYS Discover
must-buy one-offs at the PAD art fair170 DARKNESS RISING The brooding
creations of the painter Anselm Kiefer
171 MY CULTURAL LIFESusan Sarandon
172 FATHER FIGURES The novelistEsther Freud recalls how her fatherLucian’s style of working inspiredher latest book
173 THE THRILL OF IT ALL For fansof Gone Girl, there’s a whole newgenre of hair-raising suspense novels
175 THE CLASH Designers throw thecolour rule book out of the window
176 A MOMENT IN TIME Thecharismatic photographer PeterLindbergh explains how he keeps hiswork vibrant and fresh
ACCESSORIES115 BUT IS IT ART? Bags, purses, heels,
hats, rings, brooches and shadesinspired by bold paintings andsinuous sculpture
CRUISE133 BAZAAR CRUISE REPORT
The light, bright cruise collectionsare a vital part of any modernfashion house’s output. Bazaargoes behind the scenes in Dubai,New York and Monaco as Dior,Chanel and Louis Vuitton revealtheir latest lines
www.harpersbazaar.co.uk32 | HAR P E R’S BA ZA AR | November 2014
CONTENTS
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Jessicawears éin thiscover story
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CONTENTS
50 | HAR P E R’S BA ZA AR | November 2014
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COVER LOOKS Above left: Jessica Chastain wears tulle and net dress, from a selection, Armani Privé. Above, centre (subscribers’ cover): embroidered tulle dress, from a selection,Elie Saab Haute Couture. Styled by Leith Clark. See Stockists for details. Hair by Kevin Ryan at Art + Commerce, using Unite Texturiza and Unite Boosta. Make-up by Kristofer Buckle at Crosby Carter
Management, using YSL Beauté: Fusion Foundation in BR10; Touche Eclat in No5; Rouge Pur Couture the Mats in Rose Perfecto; and Mascara Volume Effet Faux Cils in Black. Manicure byCasey Herman at Kate Ryan Inc for CND using CND Vinylux in Romantique. Photographs by David Slijper. Above right (limited-edition cover available exclusively at the V&A):
‘The Legs’ (2014) by Tracey Emin © Tracey Emin, courtesy White Cube, photo: Ben Westoby
SUBSCRIBE toHARPER’S BAZAAR
turn to page 127 or 179, or ring 0844 848 1601
BEAUTY BAZAAR240 MESSAGE IN A BOTTLE
The scents and sights, from AncientGreek statues to Picasso paintings,that inspire classic perfumes
244 BACK ON TOP Classic hairstylesupdated for the A/W 14 catwalks
253 BETTER, NOT YOUNGERHow carefully applied cosmeticprocedures can make you look freshbut still characterful
258 SUPERMODEL SECRETSStephanie Seymour’s skincare tips
260 THE NEW PALETTE Autumn’schicest lip shades – bold coloursworn softly
262 HOW TO… MAXIMISE FACEMASKS Newby Hands’ beauty advice
AT HOME266 THE ART IN THE CRAFT Step
inside the 18th-century atelier ofceramics maestros Astier de Villatte
ESCAPE269 ART WORLD Destinations for art
lovers, from Miami to Bogotá276 TRAVEL NOTEBOOK The
swimwear designer Heidi Gosmanon the British Virgin Islands
FLASH!278 FROM LONDON, WITH LOVE
Women For Women International’sstar-studded, musical fundraiser inthe Royal Opera House
REGULARS65 EDITOR’S LETTER76 CONTRIBUTORS128 WORK BOOK Fashion advice for
the modern businesswoman178 HOROSCOPES November in the
stars. By Peter Watson281 STOCKISTS290 HOW BAZAAR Classic moments
from our archives revisited
202Louis Vuitton silk in
‘Among thebohemians’
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HARPERSBAZAAR .CO.UKNOW ONLINE AT
.CO.UKHOME FASHION PEOPLE&PARTIES CULTURE&NEWS TRAVELBEAUTY
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HARPERSBAZAAR .CO.UKNOW ONLINE AT
.CO.UKHOME FASHION PEOPLE&PARTIES CULTURE&NEWS TRAVELBEAUTY
ART IN FASHIONBurberry, Chanel, Dolce & Gabbana:get creative with your autumn looks
THE BEST ART HOTELSWhere to rest your head and broaden your
mind at the same time
WHAT TO BOOKThe latest Bazaar-recommended shows,
exhibitions and installations
JESSICACHASTAINStyle file
From McQueen to Mary Katrantzou, our November cover star’s red-carpet wardrobe
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Published on 1 October
JUSTINE PICARDIEEditor-in-chief
Creative director MARISSA BOURKEDeputy editor SASHA SLATER
Assistant to the editor/events manager LUCY HALFHEAD
Managing editor CONNIE OSBORNE Chief sub-editor DOM PRICEPicture director CHLOE LIMPKIN
Associate editors SARA PARKER BOWLES, AJESH PATALAYSenior contributing editor TOM MACKLIN
FASHIONFashion director AVRIL MAIR
Global fashion director CARINE ROITFELDExecutive fashion director EUGENIE HANMER
Executive fashion and jewellery director JULIE-ANNE DORFFStyle director-at-large LEITH CLARK
Senior contributing fashion editorsMIRANDA ALMOND, CATHY KASTERINE
Fashion production and bookings editor MEGAN MCCLUSKIEJunior fashion editor LINH LY
Senior fashion assistants EMMA SHAW, FLORRIE THOMAS,ANNA ROSA VITIELLO
Junior fashion assistant CHARLOTTE DAVEY
FEATURESCommissioning editor VIOLET HUDSON Assistant features editor HELENA LEE
Contributing features assistant EMMA ZACHARIA
BEAUTY AND HEALTHBeauty director SOPHIE BLOOMFIELDBeauty director-at-large NEWBY HANDSAssistant beauty editor VICTORIA HALL
ARTArt director JAY HESS
Picture editor LIZ PEARNArt editor AMY GALVIN
Art co-ordinator ALBY BAILEYPicture assistant BROOKE MACE
COPYDeputy chief sub-editor MELANIE LAW
Sub-editor and online travel writer CAROLINE LEWISContributing sub-editor ROBIN WILKS
WEBSITEOnline editor SARAH KARMALI
Online assistant editor REBECCA COPEAssistant content producer ROSIE REEVESContributing editor FRANCES WASEM
CONTRIBUTING EDITORSSAM BAKER, LYDIA BELL, HANNAH BETTS,
SOPHIE DENING, SOPHIE ELMHIRST, AMANDA HARLECH,NATALIE LIVINGSTONE, GIANLUCA LONGO,
JULIE MYERSON, CAROLINE ROUX, LAURA TENNANT
CONTRIBUTING PHOTOGRAPHERSTOM ALLEN, DAVID BAILEY, HENRY BOURNE, JULIAN BROAD,
REGAN CAMERON, LIZ COLLINS, HARRY CORY WRIGHT,VICTOR DEMARCHELIER, FRANÇOIS DISCHINGER, PAMELA HANSON,
ERIK MADIGAN HECK, ALEXI LUBOMIRSKI, MARY MCCARTNEY,TRENT MCGINN, JEAN BAPTISTE MONDINO, BILL PHELPS, MARK SELIGER,
DAVID SLIJPER, BEN WELLER, YELENA YEMCHUK, PAUL ZAK
Harper’s Bazaar ISSN 0141-0547 is published monthly (12 times a year) by Hearst UK c/o USACAN Media Distr.Srv. Corp. at 26 Power Dam Way Suite S1–S3, Plattsburgh, NY 12901. Periodicals postage paid at Plattsburgh, NY.
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MERIBETH PARKERGroup publishing director
Publisher JACQUELINE EUWE
Group creative solutions director HELEN BROCKLEBANK
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FINGERTIPSSubscribe to the digital edition of
Harper’s Bazaar and enjoy the perfect mixof breathtaking fashion, compelling
features, authoritative beauty and dreamytravel whenever you want it
Just download the free Harper’s Bazaar app online,and purchase a digital version of the magazine to read on the go
THE EXPERT SUMMER
& THE POWEROF THE DOWNTONWOMEN
MichelleDockery
BAZAAR’S BEST OF THE
NEWSEASON
+ T H E U LT I M AT E CAT WA L
Subscribe todownload everynew digital issuethemoment itgoes on sale
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ENTREPRENEURIALWOMEN MASTERCLASS
Meet Laura Tenison, the founder andMD of JoJo Maman Bébé, at Hotel CaféRoyal on 28 January for a discussionabout starting your own business.Tickets cost £35, including drinks, a
Bazaar subscription and a goodie bag.
‘THE BOOKSTHAT BUILT ME’
Bazaar hosts a talk with India Knight atHotel Café Royal on 12 November tolaunch her latest book, In Your Prime.Tickets cost £30, including the book, a
Nyetimber Classic Cuvée drinks reception,a Prestat gift and a Bazaar subscription.
Private views, opening nights, exclusive visits, hidden gems
Join Bazaar ’s editor-in-chiefJustine Picardie at theDesign Museum in London
on 11 November for a lessonin dressing powerfully. An expert
panel, including the television presenterKirsty Wark, the Browns founderJoan Burstein and the award-winningengineer Morwenna Wilson, willexplore inventive ways women haveused fashion to define themselves.Tickets cost £25, including a drinksreception, a private tour of the‘Women Fashion Power’ exhibition, aBazaar subscription and a goodie bag.
‘Women FashionPower’
DesignMuseum:
Fashiondiscussion
CANDLELIT TOUREnjoy the Egyptian antiquities, crimsonwalls and convex mirrors of Sir John
Soane’s Museum on an evening tour ofthe exquisite townhouse, on 8 December,with Bazaar and jelly-makers Bompas &Parr. Tickets cost £45 including a cocktail,
goodie bag and Bazaar subscription.
Literaryevent
Expertadvice
Exclusiveviewing
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Ticket prices include a 12-month subscription to BAZAARFOR MORE INFORMATION AND TO BOOK, VISIT
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The conversation between art and fashion hasbeen at the heart of Harper’s Bazaar ever sincethe magazine launched in the 19th century, andit continues on a daily basis here, not least inour working relationships with artists (includingTracey Emin, who has done a second limited-edition cover for the V&A this month; her firstappeared last year, and is now a highly sought
after collectors’ item).It seems to me a cul-de-sac to argue over whether f
is art, or vice versa. Instead, I’m interested in exploringshared landscape, through our collaborations with thworld. These appear in each and every issue of Bazaarthis month, they are central to the edition. Considerfashion story on page 202, which was shot at Charlestothe country home of the Bloomsbury Group, andplace where the artworks of Duncan Grant andVanessa Bell make up the very fabric of the building.Bazaar already has a creative association with thehouse – we are proud to partner with its Literary Festiv– but given the clear inspiration that the fashion wotakenfromCharlestonthisseason(mostnotablyatBurit has been a joy to place the new collections in such i iand painterly surroundings.
Elsewhere in the issue,we featureaconversationbetTracey Emin and her friend, Princess Eugenie, whounexpected art-world enthusiasms; and an intri iinterview with Grayson Perry by Hannah Rothschild
ARTMEETSLIFE
Right: thegarden at
Charleston.Below:
a BurberryProrsum lookfrom ‘Amongstthe bohemians’
(page 202)
EDITOR’SPICKS
Being inspired by the art ofashion need not involve makan exhibition of oneself. I pref
perfect little black dress, worna sophisticated cream coat, su
yet sculptural shoes, elegantdiamond a ories, and this
b fly-adornedse
Right: cover star JessicaChastain in Dior HauteCouture (page 182).Below: Tracey Emin’s‘The Legs’ (2014),which appears on alimited-edition coverfor the V&A
From £2,450Tiffany & Co
£3,500Valentino Garavani
About £2,190Dolce & Gabbana
£450Jimmy Choo
£2,900Dior
£1,820Michael Kors
▼www.harpersbazaar.co.uk
EDITOR’S LETTERP
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Justine PicardiePS: to download your digital edition, visit the iTunes App Store,
Google Play Magazines or the Newsstand store on your Kindle Fire.
Right: modelsRaf Simon
2015 collecti222). Centre:
Perry (pa
happens, the last time I was at Charleston, I shared a stagewith Perry at the Literary Festival. The title of our talk: ‘IsFashion Art?’ Suffice to say, there was no right or wrongconclusion to the question – nor could there be – but it wasa thought-provoking encounter, with Perry every inch thealpha male in a pink rubber dress and neon platform shoes.
For those of you who prefer a less confrontational, yetequally creative way of expressing your identity throughclothes, we offer a wealth of suggestions in this issue: fromthe vivid geometrics of Erik Madigan Heck’s story on page
192 to the glorious couture outfits worn byour cover star, Jessica Chastain. (The Oscar-nominated actress is profiled on page 182 byour contributingeditorSophieElmhirst, andwhat becomes apparent is Chastain’s rarecombination of humility, outstanding talentand extraordinary range.)
Finally, I was fortunate enough to inter-view Raf Simons for this issue (page 222). Adesigner whose artistic vision has been givena global platform in his role as the creativedirector of Dior, his collections have beenwonderfully true to the brand’s impressiveheritage, while also offering a contemporary
interpretation of clothes that women will actually want to wear,rather than constrictive museum pieces or self-conscious costumedrama. It is this aim, along with the ambition to liberate and inspire,that I hope we embody at Bazaar. For, to quote Yves Saint Laurent(himself a former Dior designer): ‘Over the years I have learned thatwhat is important in a dress is the woman who is wearing it.’
From far left: ageometric Chloé dressin ‘Shape up’ (page192). Embroideredshearling in ‘Fullpelt’ (page 158)
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EDITOR’S LETTER
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The writer examines how herfather Lucian’s painting processinforms her own work on page172. Trained as an actress, Freudappeared in The Bill and DoctorWho before turning to writing.Her first novel Hideous Kinky wasadapted into a film starringKate Winslet. Her latest, Mr Macand Me (£16.99, Bloomsbury),explores Charles RennieMackintosh’s sojourn in Suffolk.If I could live in any momentin time… ‘I’d choose the 1950s
Bazaar ’s senior contributingfashion editor shows us herNorfolk home on page 107.As a child growing up in leafysouth-west London, Almondonly wore jumble-sale clothesor a bridesmaid’s dress. Shehas since worked at numerousfashion magazines and hasstyled some of the world’stop models and actressesfor Bazaar, includingCate Blanchett, Sarah JessicaParker and Miranda Kerr.Favourite piece of art ‘Aconceptual subway entranceby Martin Kippenberger Isaw in Venice. As you enterthe room, the “shaft” reactsto your presence by emittingwarm compressed air andrattling noises through thegratings. Simple but effective.’Fantasy dinner party ‘There’dbe quite a few comics to makeus all laugh: Kathy Burke,Eddie Izzard and Stephen Fry.And Michelle Obama, who issuch a cool First Lady.’
The Greek-born designershares her A/W 14 inspirationon page 98. Trained at CentralSaint Martins, Katrantzou madejust nine dresses for her 2009debut, but that was enough; shehas since won a British FashionAward and collaborated withAdidas, Swarovski andLongchamp. Known for hertrompe-l’oeil prints andflattering cuts, she has alsoproduced three collections forTopshop that sold out in days.Favourite artist ‘Jeff Koonsis one of the most importantliving artists. He has blendedthe concerns and methods ofart with populacreate a uniqueWhere do youinspiration? ‘Fmy travels, butthrough explorevery nook of tinternet for imaOne image cana whole new id
O p g 2 2,interviews Grayson Perry.Rothschild is the author of TheBaroness: The Search for Nica,the Rebellious Rothschild (£6.99,Virago), a biography ofher jazz-loving great-aunt. Herwork has appeared in The DailyTelegraph, The Times and TheNew York Times. She is anaward-winning documentaryfilm-maker whose subjectsrange from Peter Mandelsonto the Medicis. A trustee ofthe National Gallery and Tate,she lives between London andthe south-west of England.Favourite piece of art‘It changes according tomy mood and what I’veseen recently; this monthit’s Watteau, Auerbach andGaudier-Brzeska.’New York in the 1980s orLondon in the 1990s? ‘Iwitnessed the insanity andwonder of both places in both
ondon –world.’
76 | HAR P E R’S BA ZA AR | November 2014
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Small, chic and perfectlyformed, this season’s art deco
clutches make a sparklingaddition to any night out.
VICTORIABECKHAM: the
woman, the brand,the phenomenon…
and now the boutique.Newly opened at 36Dover Street, it’s an
ambitious retail spacewith three floors ofready-to-wear and
exclusive accessories.Also launching this
month is the new storefrom the eveningwear
favourite EMILIAWICKSTEAD: anelegant additionto Sloane Street.
THE
STOEN
IN
£595Shrimps
£155Charlotte Simone
£923Nathalie Trad
£1,310Lanvin
£2,995Jimmy Choo
£7,020Chanel
£1,280Edie Parker
£520Victoria Beckham
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T H ETA L K I N G
P O I N TAs Dolly Parton would testify,
a lot of money to look this chAccessories go Pop this season
with witty takes onsupermarket essentials: fromCHANEL’s milk carton toKATE SPADE’s takeaway
container via ANYAHINDMARCH’s Frosties box,the most unlikely objects aretransformed into handbags.But it’s not all Kellogg’s and
bons here – the consumeristnd extends to DIOR’s new brandede and JW ANDERSON’s eagerlyanticipated debut for LOEWE.
Clutch, £1,245Charlotte Olympia
£895Loewe at
Net-A-Porter
£3,300Dior
Clutch, £595Anya Hindmarch
Clutch, £995Anya Hindmarch
Clutch, £895Anya Hindmarch
Bag, £345Kate Spade
Clutch, £995Anya Hindmarch
£765CharlotteOlympia
£7,190Chanel
Bag, £2,775Chanel
Clutch, £275Kate SpadeNew York
▼www.harpersbazaar.co.uk
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T H EI N I T I AT I V EThis is an accessory that reallywill change lives. Marking the
second year of MICHAEL KORS’partnership with the United Nations
World Food Programme, everyone of these new, limited-edition
100 Series watches willprovide 100 meals for children
in a hunger-stricken area.Watch, from £279, Michael Kors.
Available in stores and onlinefrom October 2014.
Rep
da
EN
DI, this isa
trendthatw
llFrom £550Chanel
From £550Chanel
From £550Chanel
From a selectionMarni
£220Fendi
From £550Chanel
From a selectionMarni
£22Fend
From £550Chanel
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From £550Chanel
STYLE
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THE JE
LL
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cessories so convincing they deserve their
Ring, £355Saint Laurent by
Ring, £620Saint Laurent by
Hedi Slimane
£1,360Louis Vuitton
Hand jewel,£1,225Chanel
Rin
g, £
340
Loui
sV
uitt
on
Bracelet, £2,765Bottega Veneta
Clutch, £3,495AlexanderMcQueen
Brooch,about £240
Céline
Necklace, £590Fendi
Cuff, £395Fendi
Cuff, £1,149Salvatore
Ferragamo
Cuff, £2,300Louis Vuitton
Bracelet, £1,150Dior
Cuff, £370Valentino
at Net-A-Porter
Cuff, £755Roberto Cavalli
Brooches, £355
Laurent byHedi Slimane
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Mary Katrantzou on the emblems that inspireher ornate, embroidered A/W 14 collection
The power of symbols and visual language was the starting poifor Mary Katrantzou’s A/W 14 collection: fitting for a designer whhas built her aesthetic on extraordinary digital prints. Inspired buniform and its many guises – from Scouts and schoolgirls tbusinessmen’s pinstripes – she based the collection around thesignificance of these signs. ‘I thought, “What if there was nolanguage and we had to communicate through symbols?”Collages of contrasting badges, including heraldic insignia anroad signs, were used in intricate gold-thread dresses and layereheavily beaded embroideries. But symbolism emerged through sKatrantzou’s silhouettes, too, where a metal butcher’s apron inspasymmetrical chainmail dress. ‘We really experimented with tethrough handwoven jacquards and Swarovski-crystal-enccookie-cutters, among other materials,’ says Katrantzou. ‘Bmeaning of each icon is not lost: they are juxtaposed to expand on anaesthetic language and enrich our offering.’ ANNA ROSA VITIELLO
MOODBOARD
rantzou’soodboard.s from thecollection
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ONTHERISE
Bally’s new design director, Pablo Coppola,on the art of creating wearable classics
By AVRIL MAIR
This page andoverleaf: selectionsfrom Bally’s A/W
14 lookbook. Below:the label’s designer,
Pablo Coppola
£450
£895
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From aselection
£1,195
£395
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STYLE
You won’t have heard of Pablo Coppola.He has been the design director atthe Swiss heritage brand Bally since
February thisyear;hisdebutA/W14collectionis only just starting to arrive in stores. But you
will know his work. A former accessories designer for Burberry,Alexander McQueen, Tom Ford and Dior, this clever, charming36-year-old Argentinian has been responsible – quietly anddiscreetly, behind the scenes and under the radar – for some of thepast decade’s more significant luxury goods. Now he has takencharge; and at one of Europe’s most important leather houses, at
that. ‘When they asked, I thought, “Are you kidding me?”’he says. ‘“Are you actually talking about someone else?”’
That the brand – founded by Carl Franz Bally morethan 160 years ago along the principles of innovation andfunctionality – has put an unknown designer in charge isn’tso strange.This seasonalso sees theappointmentof JuliedeLibran, a former studio director at Louis Vuitton, to SoniaRykiel; and Nadège Vanhee-Cybulski, a designer for theRow and Céline, to Hermès (both showed for the first time
in Paris in September). Perhaps it’s a response to the success of MariaGrazia Chiuri and Pierpaolo Piccioli at Valentino, who spent 10years in the design studio before stepping out of the shadows. Ormaybeit’sanodtothecurrentfashionclimate,whereunderstatementand pragmatism are de rigueur. Whatever, as Coppola says witha smile: ‘I thought it was time to try and do something… nicer.’
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£1,6
£1,195
‘It’s a softer styleof luxury where
products arecreated forreal people’
£2,250
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£1,550
£1,395
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102 | HAR P E R’S BA ZA AR | November 2014
STYLEThat he’s succeeding is unquestionable: Bally’s A/W 14
collection was a bold and assured debut, respectful of thebrand’s history of craftsmanship, emphasising qualityand construction but with a modern sophistication.‘It’s a softer style of luxury where products are createdfor real people,’ says Coppola. ‘Something elegant,but not in an ostentatious way. I see how the womenaround me dress now and it’s always pared down.’
The main focus is on accessories: the foun-dation of Bally, which first created the pump in1890 and has some 35,000 shoes in its Swissarchive.Alongwithstack-heelbootsandpointystilettos, Coppola has created a new signaturebag, the Gentlewoman, square and structuredwith one corner sliced off its base, imitating theheel of a century-old Bally men’s shoe. Offered in snake-skin with minimal hardware, it’s a classic in the making. ‘Theidea was that the shape of the bag would be the logo,’ he says. ‘I don’tknowanyonechicwho’sdyingtoadvertise thebrandthey’recarrying.’
The collection also includes 15 ready-to-wear looks – describedby Coppola as ‘accessories to the accessories’, but so much morethan that. Inspired by men’s tailoring and offered in gloriously luxefabrics, these are the most elevated sort of basics: elegantly oversizewool trousers worn with a sharply tailored peacoat; a shearlingbomber jacket with a crisp white shirt; a Prince of Wales-checksingle-breasted coat; a cashmere-bonded leather blouson. ‘I like thattomboyish idea,’ says Coppola, ‘thethought that something mightbe borrowed from a husband, aboyfriend or a lover. Also, I wantedit to link with the men’s collection.Abitof masculinityneverhurts…’The new Bally London flagship storeopens in October at 44–46 New BondStreet, London W1.
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azaar ’s senior contributing fash-ion editor Miranda Almond andher husband, Darren, anacclaimed artist whose work has
been exhibited at Tate Britain and theMetropolitan Museum of Art, have lived intheir renovated Victorian barn near King’sLynn for just over three years. After a seren-dipitous encounter one summer in Ibiza,they fell in loveandmarried. ‘Itwas,’Almondsays, ‘love at first sight.’ The couple nowlive with their two children, Caspar (10)and Uma (seven), between north Londonand Norfolk.
‘We loved the area straight away,’ shesays of their earliest visits to west Norfolk.‘The flatness of the landscape, the wide,open skies, the space and freedom that theybring… It has been so wonderful to watch
the wheat grow and changecolour over the seasons, fromgreen to golden brown.’
You get the feeling, listening toher and looking around, that thebarn’s locationhashadthegreatestinfluence on its design. Like thatstatement on building from AynRand’s The Fountainhead, ‘the site,[and] the material determine the shape.Nothing can be reasonable or beautifulunless it’s made by one central idea, and theidea sets every detail’. Almond describesthe house as ‘raw and simple’ – and she isright. Original electric lever switches havebeen left uncovered – ‘a nice reminder of thebuilding’s use as a threshing barn’ – andthere is cork-like board everywhere. Fromkitchen surfaces to bedside tables, beds and
Above: the living space,with wool cushions onthe Florence Knoll sofa.
Below: HelmutNewton’s ‘Sumo’ on
the coffee table
The Norfolk homeof Miranda Almond.
Right: Almond wearing
The stylist Miranda Almo d l d b kwardrobe is reflected in her elegantly simple
converted barn in NorfolkBy EMMA ZACHARIA
Photographs by OLIVER HOLMS
MYLIFE,MYSTYLE
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Left: artwork inprogress. Below: asofa, with cushions
from Heal’s
Clockwise from belowleft: the living space.Fresh flowers on the
counter. Almondwearing cotton shirt,£270, Equipment, in
front of artwork by herhusband Darren
even in the bathroom, this flat, woodenparticle-board feels industrial and unifying,as well as cool.
‘I adore the mid-century Modernism ofhouses from the 1940s and 1950s,’ Almondsays, citing the Californian ArchibaldQuincy Jones as one of her favourite archi-tects of the period. ‘I think it was one of thebest eras for quality of life.’
A slim, tan-leather chaise made by theseminal American design maestros Charlesand Ray Eames in 1968 exemplifies this lovefor sleek design. Only 18 inches wide, it wascreated for the Eames’ director friend BillyWilder, who discovered that snoozing on anarrow bed, with arms inevitably folded, isthe most natural way to power nap. ‘Whenyou go to sleep,’ Almond says, ‘your arms fallby your sides and automatically wake you up.
‘We’re also lucky to have an amazing
fishmonger nearby in King’sLynn,’ she adds. ‘Cookingbig family meals is one of thenicest things to do here. I’minto experimenting, espe-cially with sushi and ceviche.[The restaurant] elBullí’scookbook The Family Meal ismy favourite’.
As for shopping, Almondexplains that she and her husband haveenjoyed purchasing the major pieces overtime. ‘We are both lucky enough to travelto amazing places with our work, and sousually try to bring things back with us fromour trips.’ The mismatched collection ofempty bowls scattered across the coffeetable is one such example, having journeyedall the way from Tokyo’s National ArtCenter. ‘We also buy furniture at auction,’
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Clockwise from right:a Hans J Wegnerrocking-chair by
the woodburner. Thelight-filled downstairs
area. The bedside table.The main bedroom
she adds, ‘like the sofas – they are byFlorence Knoll.’ And then there is a Hans JWegner rocking-chair they found on aDanish auction site called Lauritz. ‘Theyhave the most brilliant collections.’
‘Music is an integral part of life at thebarn,’ she says, ‘as are movies. We projectthem on the back wall – it feels like a cinemawith all the speakers.’ Art and reading arecentral to the Almonds’ home, too. ‘Theheight of the ceilings in our main spacemakes it a great place to think and formulateideas,’ she explains. National Geographic’sthree-volumepicturepedia Around theWorldin 125 Years is a favourite, along with HelmutNewton’s titanic Sumo (a book weighingabout 30 kilograms).
Valuing space to think is something thatseems to extend to Almond’s wardrobe aswell as her fashion shoots, which evokewomen who are cool, spirited and feminine.She has dressed stars including Karlie Klossand Cate Blanchett, dreaming up scenarios
for showgirls and surfersalike. ‘I am very minimalhere,’ she says, ‘and I liketo keep it to the essen-tials. I have a lot more inLondon, but in Norfolkit is cable-knit cashmere
STYLE
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MIRANDA’S WORLD
Above: Almondwearing cotton and
linen jumpsuit, £410,Isabel Marant Etoile.
Left: bowls bought on atrip to Tokyo. Right: thedoorway to the garden
£2,950Balenciaga
£62Tom Ford
£45Neom
sweaters from Ralph Lauren and EricBompard, pinstripe masculine shirts fromEquipment and jeans [she lists Current/Elliott, Levi’s and MiH Jeans as her go-tobrands], along with a pair of smart flatsby Manolo Blahnik or Isabel Marant whenI’m not in my wellies or Nike Frees.
‘Shoes,’ she adds, ‘are my greatestpassion. But I also like to keep a few specialdresses here for the evenings.
‘I shop for most things at Selfridges andMatches when I’m in London, and then mixit all up with vintage. I recently picked up abeautiful silk bomber jacket in Kyoto, whichI like pairing with a floaty black slip dress byMarios Schwab. I also love the Rose BowlFlea Market in LA, and try to visit wheneverI’m in the city for work.’
£115CityCows
£950Hermès
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BUT IS IT A RT?
SEESTO
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ACCESSORIES
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artistic zing to future heirlooms
TOTE MODE R N
Eye-popping brights bring an
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ACCESSORIES
Bracelet,
f Dior
Clutch,
£2,500
Dior
£630
Manolo Blahnik
£60
Le Specs
£1,305
Chanel
£1,750
Ralph Lau
ren
Collect
ion
Cuff, £1,070
Chanel
Cuff,
about £400
Céline
£1,430
Fendi
£625
Aurélie
Biderm
ann
£650
Dior
£295
Paul Sm
ith
£790
Saint L
aurent
byHed
i Slimane
£6,125
Botteg
a Veneta
£595
Anya Hin
dmarch
£375
Bally
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NEW FOR MS
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Enjoy the unexpected combinations
of autumn colour
L D STROK E S
ACCESSORIES
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About £915Paula
£545Prada
£395Bally
£520Manolo Blahnik
£450TabithaSimmons
Ring, £430Fendi
Bracelet, £285 Eddie Borgo
£1,585Dolce &Gabbana
£1,030
Prada
£540
Victoria
Beckham
Ring, £30
Bex R
ox
£825
Pierre
£2,77
0
Fendi
£1,36
0
Bulga
ri
Aurélie
id
£305Fendi
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PL
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From abstract lines to Surre :
a varied treasure-trove
CTA
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WALSER.
SEESTO
CKISTSFORDETA
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ACCESSORIES
£320
Dior
Bang
le,
abou
t £70
Sonia
Rykie
l
Clutch
, £59
5
Anya
Hindm
arch
£485
Sport
max
£280
Marni
Broo
ch,
£505
Chan
el £670
Empo
rioAr
mani
£380
Empo
rio
Arman
i
£620
Botte
ga
Vene
ta
£1,120
Louis
Vuitton
Ring,£6
8
Eddie
Borgo
Bracelet, £520Louis Vuitton
£1,355PierreHardy
About £454Céline
£2,495Burberry £3,570
Delvaux
£670
Dior
0
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A bright shirtor knit canhelp youstand outwhen youneed to.
I N T H EA R D R O B E :C O L O U R
A pop of colour worksers on your confidencein the workplace.
If you prefer not to dresstoo flamboyantly, try
accessorising boldly instead;an orange clutch or a
crimson bracelet can lifta dark suit or dress.
Bright accessories
£695DKNY
£240Zadig &Voltaire
£479Paul Smith
£695Pringle ofScotland£695
Agnona
£119Hobbs
£195Russell &Bromley
£1,500Nancy
Gonzalez
£683Frey Wille
WORKJO GLYNN-SMITH edits the most stylish
clothes and accessories for the professional woman
BOOK
Put a spring inyour step witha bright shoe.
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I N T H E
BA
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I love playing wthe juxtapositio
colour and femininity,and challenging the‘rules’ of how colour
should be worn. I havealways been drawn to
vibrant colours for theirwarmth and strength.
ROKSANDA ILINCIC
THEBAND
on a classic recently?Acqua di Parma Rosa Nobil
eau de parfum, £70 for 50ml, isa modern take on a traditional
scent, and wonderfully feminine.And this gorgeous Rose Balm,£25, by Aerin is super-luxurious
– use it instead of lipstick fora modern ‘barely there’
make-up look.
ED…
approach when it comes to jewelleryfor their working wardrobe, try thesimplicity of a single cuff or a slim
band of diamonds. It’s a subtle,sophisticated look.
£630Sonia Rykiel
From £125Anya
Hindmarch
Cuff, £9,950Theo Fennell
Bangle, £2,950Theo Fennell
Rings,£999 eachErnestJones
£295 eachWilliam& Son
TIME TR AVEL
Om
ega’s new Seamaster watch is both elegant and pr
actic
al.
Seam
asterA
qua
Terra
Master Co-Axial, £8,730 Omga
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WORK BOOK
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A new magazine that is woven into the fabric of British society.168 years of unrivalled history in the US – don’t miss Town & Country in the UK.
www.townandcountrymag.co.uk
The Best of Both Worlds
Established. Authoritative. Iconic.The winter issue, on sale 4 November
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REPORTE
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FOR CHANEL’S CRUISECOLLECTION, Karl Lagerfeldconjured up a futuristic sultan’spalace on a deserted island inDubai’s lagoon. Interlinked Cs
clad the building, and palm-trees– imported for the purpose –
flanked the long carpet leadingfrom the landing bay to thecatwalk. And here, sleek asdesert lynxes, patrolled the
models. In a collision of Chanelcodes and Middle Eastern
influences, they had crescentmoons of diamonds in their
back-combed hair, tweed suitsin sparkling gold dusted withsequins, harem pants baggyenough for any caliph… and
quilted handbags in the shapeof oil drums. Glamorous,
excessive and deeply desirable,it was everything the assembled
audience of sheikhas couldhave wished for.
CRUISE REPORT
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All looks fromDior Cruise 2015
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A NAVAL YARD INBROOKLYN, an LED-light
installation and an audience of1,000 including Rihanna: it
could only be the Dior cruiseshow, transporting French chicto the unlikely location of NewYork City’s outer boroughs. Butthe trip was worth it – and not
just for the Dior-clad male-modelsailors manning the ferry. Aside
from impeccable moderntailoring (a given from Raf
Simons), the 66-look collectionfocused on abstract, painterly
prints, some of which weretaken from the house archivesand reworked in bold brightson tunics and silk tops, wornwith high-waist trousers or
flowing silk skirts. Add sportysandals – another given – andcocktail dresses that mixed upevery kind of sequins, stripesand embellishment, and you
had the designer’s most playful,colourful show to date.
CRUISE REPORT
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LOU I S
VU I TTO
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CRUISE REPORT
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IF NICOLAS GHESQUIÈRE’SDEBUT collection for Louis
Vuitton was a perfect exercise inParisian chic, his cruise showlooked a whole lot more fun.
To start with, it was staged in asee-through tent in Monaco’sPalace Square, with a digital
aquatic scene showing under theglass catwalk. Then the clothes,
offering even less restraint:though sharing A/W 14’s Sixtiessensibility with their fit-and-flaresilhouette, they threw cautionto the wind with mismatched
prints, mad colourcombinations and an exciting,
unexpected variety. High-waistflared trousers were the keypieces, echoing those old
Balenciaga must-haves but withthe luxe ramped up. And let’s
not get started on Ghesquière’sPetite-Malle bags… This isa designer already operatingat full speed. It’s quite a trip.
CRUISE REPORT
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Photographs by ROMAS FOORD
Jewellery styled by FLORRIE THOMAS
PIC T U R E PE R F E C T
JEWELLERY
Set design by HELEN MACINTYRE
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JEWELLERY
ROMAS FOORD
All prices from a selection,except where stated.
THIS PAGE, top left: rosegold, ruby and diamond watch
cuff, Piaget. Rings, from left:blue, white and pink diamond,
David Morris. Rose gold,diamond and ruby, De
Grisogono. Diamond and pinktourmaline, £6,500, Chatila.
On table, from left: rose gold,cabochon, amethyst and
diamond ring, £4,800, William& Son. Pink gold and precious
stone necklace, Bulgari.PREVIOUS PAGE, from left:
white gold, diamond and pearlnecklace, Cartier. White gold,diamond and black aventurinebracelet, De Beers. White gold
and diamond cameo ring,£11,200, Breguet. White goldand diamond flower brooch,Graff Diamonds. White goldand diamond feather brooch,Chanel Fine Jewellery. Whitegold, opal, diamond and pearl
cuff, Boucheron
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JEWELLERY
ROMAS FOORD
All prices from a selection,except where stated.
Clockwise from top left:platinum, diamond and
sapphire brooch, Tiffany &Co. White gold, emerald bead
and precious stone necklace,Van Cleef & Arpels. White
gold and precious stonebracelet, Dior Joaillerie.Platinum, diamond and
tourmaline cuff, Boodles.Platinum, emerald and
diamond earring, Chopard.See Stockists for details
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GIVE ME A T...
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M O M E NT
MO
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OG R A M
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Twisted Box, Frank Gehry and Louis Vuitton.
Grooming by Sam McKnight and Tom PecheuxJacket and T-shirt, both Louis Vuitton.
FR ANK GEHRY
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Camera Messenger and Studio in a Trunk,
Dress and boots, both Louis Vuitton.Cindy Sherman and Louis Vuitton.
Hair by Marc Orsatelli. Make-up by Emmanuel Sammartino
C I NDY SH ERMAN
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K, when you’re going to the organicmarket,’ Christian Louboutin is
explaining, ‘youcanbesuper-glamorous.You don’t have to feel like a loser with your
leeks inside your bag.’Louboutin is talking about a caddy – ‘a classic bag, the most
Parisian bag’ – that he designed as part of Louis Vuitton’sCelebrating Monogram project. In honour of the house’s 160thanniversary, six creativevisionaries –Karl Lagerfeld,ReiKawakubo,Cindy Sherman, Frank Gehry, Marc Newson and, of course,Louboutin – reinterpreted the famed Vuitton monogram with aseries of accessories. Each of them, in their own way, enhanced orsubverted the logo that has long lived in both the public’s conscious-ness and in its wardrobes.
Sherman, known for her unset-tling self-portraits, went behind thescenes with the trunk she created.‘I was thinking, sort of selfishly, ofwhat I coulduse. Initially,my ideawasjust a make-up case, just a small old-fashioned kind. The team at Vuittonwas so taken with the idea that theysaid, “Well, what if we did a trunk? Inyour ideal fantasy world, what wouldyou like?”’ So she started to thinkbigger. ‘At home in New York, I haveshelves for fake eyeballs, fake nails,eyelashes and things like that. Soit became a little travelling studio ina way’ – a fold-out trunk complete with labelled drawers, amake-up mirror and a stool, and covered in retro travel stamps fromimaginary destinations.
Lagerfeld, who photographed and illustrated this portfolio, wasin the mood for a fight – of the luxury kind. His Punching Bag and
Trunk (yes, for the Punching Bag) are a handy fashion-industry meta-phor if there ever was one. (Not to mention the fact that his adoredcat Choupette is carried around by her maid in a Vuitton duffel.)
Meanwhile, the enigmatic Comme des Garçons designerKawakubo’s traditional tote is partially burned out, with three holes
revealing the bag’s lining. But whenNewson designed his backpack, hehad practicality in mind, thoughhe acknowledges that his classiclogoed design topped with orangefleece isn’t your average backpack.‘I’d like people to use it like anyother backpack, as an excellent travelcompanion.’ Pause. ‘But not forcamping, obviously.’
Gehry explored another land-scape: the architecture of style. (Hewas commissioned to design theFondation Louis Vuitton, a grandcontemporary-art museum in Paris’Bois de Boulogne, scheduled to open
in October.) The Louis Vuitton executive vice-president DelphineArnault also asked Gehry if he would be interested in designingVuitton’s store windows. ‘There’s a history that’s very emotional forme to talk about,’ says Gehry. ‘My father never went to school, wasa street kid. He worked in a grocery store, and he won an award atthe Canadian National Exhibition for designing a grocery-storewindow. This was the guy who ended up never going anywhere,everything against him all his life – that was the one thing. So whenthey asked that, I had a little tear in my eye. I never told Vuitton this.’
Gehry’s bag is true to form. ‘It’s a rectangular box, and it’s twisteda little bit. I think a curve is feminine; it just adds a feminine touch,’he explains. ‘We made 10 variations, but they loved that one. We alldid.’ Will Gehry love it enough to carry it to the museum’s opening?He laughs. ‘OK, if I have to.’
Gehry’s bag istrue to form: ‘It’s
a rectangular box,and it’s twisted
a little bit’
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Fleece Backpack, Marc Newson and Louis Vuitton.
Grooming by Diego Da Silva and Tom PecheuxClothes, Newson’s own.
MARC NEWSON
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Classic Caddy, Christian Louboutin and Louis Vuitton.
Shoes, Christian Louboutin.Grooming by Diego Da Silva and Tom Pecheux
Shirt and trousers, both Louis Vuitton.
CHR I S T I AN LOUBOUT I N
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FULL PELTSoft, luxurious and unexpectedly playful,
shearling gives the feel of the season
Photographs by JOACHIM MUELLER RUCHHOLTZ
Styled by MIRANDA ALMOND
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THIS PAGE: lamb-skin gilet,£3,566, Akris. Cotton and silkshirt, £150, Leon Max. Wooland cotton trousers, £870,Roberto Cavalli. Suede flats,£545, Tabitha Simmons.Leather and shearling bag,£250, Diane von Furstenberg.OPPOSITE: leather andshearling jacket, £3,150,Bally. Cotton and elastaneshirt, £110, Polo RalphLauren. Wool trousers,£150, Jaeger. Shearling bag,£688, Stuart Weitzman
SHOP BAZAAR
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JOACHIM MUELLER RUCHHOLTZ
THIS PAGE: shearling jacket,£1,595, Coach. Poloneck, £20,
Intimissimi. Acetate and viscoseskirt, £470, Sportmax. Suede,goat-skin and shearling heels,
£570, Chloé. OPPOSITE:leather, shearling and nylonjacket, about £1,995, Sacai.
Wool poloneck, £295, Kenzo.Faux-leather skirt, £38, Next
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THIS PAGE: goat-shearlingcoat, £2,080, MSGM. Jersey
crepe jumpsuit, £825, Kenzo.OPPOSITE: shearling coat,£5,760, Ermanno Scervino.
Mohair jumper, from aselection, Jacob Cohen.
Denim jeans, £288, J Crew.Leather and shearling bag,
£500, Diane von Furstenberg.Leather boots (just seen),
£1,105, Sergio Rossi
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THIS PAGE: embellishedshearling coat, £5,040, Erdem.
Silk blouse, £860, BrunelloCucinelli. Wool mix trousers
(just seen), £65, Next.OPPOSITE: PVC and
shearling jacket, £3,450,Christopher Kane. Cashmere
poloneck, £550; matchingskirt, £895, both Bally.
Calf-leather and shearling bag,£2,100, Fendi. See Stockists
for details. Hair by NaokiKomiya at Julian Watson
Agency. Make-up by JennyCoombs at Streeters, using
Giorgio Armani Beauty andSkincare. Manicure by Sabrina
Gayle at LMC Worldwide,using Chanel Christmas 2014
and Body Excellence HandCream. Stylist’s assistant:Charlotte Davey. Model:
Stephanie Hall at Models 1
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The most exciting designs at the PAD London art fair.Plus: the subtleties in Anselm Kiefer’s extraordinary paintings;
Esther Freud’s childhood memories; and Susan Sarandon’s secrets
CUTTINGEDGE
Edited by AJESH PATALAY
TALKING POINTS
‘Concetto Spaziale,Atteste’ (1968) by
Lucio Fontana, whichwill be exhibited byRobilant + Voenafor PAD London
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RIE
andiceing
in fashion (as a marketing
e ipves.
ountry’sazil’sal andbiningaranda,n lines –
they returned to Paris and founded
they’re exclusively showing work
Brazilian Modernists.
INTERIOR JOURNEYSfurnitu d
NINA
Yashar’sNilufar, on
Spiga, is t tof 20th- t
historic c tby gro
twentyso1998, Yacarpets
come from Tehran in 1963,and that was the family
business. But on a work tripto Sweden she discovered
a warehouse full ofScandinavian mid-centuryclassics, and that was that.
Now she’s the dealer of choicefor Miuccia Prada and Anna
Zegna, among others.Highlights at her PAD standinclude a chandelier by theLondon designer Bethan
Laura Wood.
Left: José ZanineCaldas’ ‘Z’ armchair
(1951). Bottom, fromleft: Nina Yashar.
‘Untitled (Central ParkMap with Compass)’
1954) andAngry Dog)’
(ab 56), both byAndy Warhol
New York and asked if ther
of 1950scan andin contra debt ttook awbook. Tat PAD luding two commissioned foBazaatrunk oaside as l a u last year, talkiabout the discovery.
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Hoppen, ndon photography gallerist,always has a good story to tell. Among them isone about a dinner he unexpectedly shared withthe great sybarite Hunter S Thompson in Aspen.‘He pulled out a gun and shot out a couple oflightbulbs; he didn’t disappoint,’ says Hoppen.
hough years ago, the encounter eventuallyo Hoppen staging a show of Thompson’s
n photography – personal pictures of homefamily – a year after the writer’s death in
5. ‘We had 300 to 400 visitors a day,’ recallsppen. The show was a sell-out, but nowof the prints has come back to him: a
sunset-soaked image of Thompson’s wife and belovedDoberman, taken in Big Sur in 1961. ‘It’s an incrediblepicture,’ says Hoppen. ‘You can feel the smells, thesounds; it’s so nostalgic and complete.’ Although not yet
l probably sell in the region of £50 000
TALKING POINTS
SÈVRESIt’s easy to view Sèvres porcelain as the essence of Versailles ex ie Antoigilded tea service, for example, or her carriage clock topped ed swan
the Sèvres factories outside Paris (once royal, now owned by try of C– how very French!) are repositories of incredible skill. In th LouiseBourgeois used the facilities to create bizarre four-footed f the
Italian Ettore Sottsass of the collective Memphis, whose col niturenow lives in museums, made white and gold vases and cup cently,
Holland’s Aldo Bakker produced six seductive pieces includin ceous juThese will appear at PAD alongside an extravagant porcelain he Brazicouturier Gustavo Lins. It seems the spirit of Marie Antoine
PAD London is in Berkeley Square, London W1, from 15 to 19 Oct .pad-fairs.com).
DAVIDCOLLINSSTUDIO
No more sandwichesand coffee at art fairs.
Now it’s all aboutfabulous food and big
names. This yearDavid Collins Studio
(which designedthe Wolseley and
Claridge’s Bar, amongothers) is creating thelook of PAD’s pop-up
restaurant in itsBerkeley Square tent.Although the studio’s
namesake passed awaylast year, he left a
strong design languagethat continues to workwithout him. At PAD,that means bentwoodchairs, the colour navy
and marble-printedpaper tablecloths.
Photographs fromMichael HoppenGallery’s selection,clockwise from left:‘Sandy and Agar, BigSur, 1961’ by HunterS Thompson. ‘Nude,Taxo d’Aval, France,1957’ by Bill Brandt.‘Salina Turda, Turda,Romania’ (2013)by Alfred Seiland
MICHAEL HOPPEN GALLERY
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He is one of the towering figures of contemporary art,and is now nearly 70; it can seem that everything aboutAnselm Kiefer is of a grand scale – his paintings (oneseries is 50 metres high, created for the interiors of agroup of towers he built around his former studios inBarjac, south-west France); his knowledge (conversa-tions dart from Lot’s wife to Montesquieu’s take onconstitutional law to Korea, North and South); his art’smarket value (paintings sell for in excess of £3 million).
Even the man himself cuts quite a figure. Earlier thissummer, Kiefer, tall in a black suit with a serious cigar inhis hand, was to be found in London in the garden of theRoyal Academy of Arts’ new Keeper’s House restaurant.‘Everyone thinks I do only big works, and this is not true,’said the artist, firing up the cigar. ‘I wanted to correct this– 60 per cent of my production is intimate books, andyou
have to turn the pages, be with themon the table.’ The RA’s retrospectiveshow of his work – his first in the UK– aims to address this misconception.According to its curator, KatherineSoriano: ‘It is not just about themonumental. There is a lot here thatis sublime.’
ART
From left: ‘WinterLandscape’
(1970). The artist.‘Heroic Symbol V’
(1970). Aboveright: ‘Palette
on a Rope’ (1977)
From left:Anselm Kiefer’s
‘The Orders of theNight’ (1996).
‘The Rhine(Melancholia)’(1982–2013).‘For Georges
Bataille: Blue ofNoon’ (2013)
A new exhibition reveals the monumentalstature of the German artist Anselm Kiefer
By CAROLINE ROUX
DARK NESSRISING
TALKING POINTS
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SUSANSAR ANDON
Sublime, though, is not Kiefer’s stock-in-trade. Much of his worktackles the dark past of Germany, where he was born weeks afterHitler’s suicide in 1945. Since 1992, he has lived in France. ‘I seeGermany better from the outside,’ he said.
His career began with a series of photographs called Occupations,in which a young Kiefer enacted the Nazi salute in front of variousEuropean monuments; it’s likely these will have as much resonanceat the RA today as back in the early 1970s. The show then takes visi-tors through his dramatic paintings, often created from unorthodoxmaterials including ash, earth, flowers, fabric, sand and straw anddealing with Germanic myths and, later, the occult, Egyptianhistory, mysticism and more. Though outwardly a lavish layering ofgreys, up close they are filled with colour and sometimes decay. ‘Ilike transition,’ said Kiefer. ‘Sometimes I leave paintings out inthe sun and rain.’ Sometimes he electrolyses them. Next come theoutsize books that are sculpted out of lead and reference his fascina-tion with alchemy. There will also be a number of new works,including two sculptural installations, a number of watercoloursand paintings and a large-scale vitrine in the RA courtyard.
Kiefer likes to maintain a super-size studio – the current oneon the outskirts of Paris is 36,000 square metres, the former ware-houses of La Samaritaine department store. ‘To me, it’s quite cosy,’he said. ‘It’s like working in my own brain. All the things I collect arethere, along with paintings going back to the 1970s that I mightreturn to. It’s like being in my head.’ Unusually for an artist of his heft,
he makes all his own work. Hisfleet of assistants might stretchcanvases and prepare colours, butthat’s all. ‘A couple of years ago, Ihad an operation on my shoulder,’he explained, ‘so I tried to workwith other people on my paintings.It didn’t work. Now when I have anew idea, I build a room withina room to work in.’ He has ayoungish family in Paris, ‘but Ispend more time in the studio’, hesaid unapologetically.
Time, of course, is what thiswork takes, though a change ofcontext can be useful, too. ‘It’salways good to see your work in anexhibition,’ he continued, ‘because
it’s a new situation and reveals good and bad. You can see painting asan accumulation of failures. But then, you could say that about life,too.’ And then he laughed, a very big laugh indeed.The retrospective of Anselm Kiefer’s work is at the Royal Academy of Arts (www.royalacademy.org.uk) until 14 December.
Book that changed your life ‘DeadManWalking.’Recurring dream ‘Trying to round up my siblings in
a catastrophic situation. I’m the oldest of nine.’Most loved fairy tale ‘Rumpelstiltskin.’
Favourite cliché ‘Everything happens for the best.’Poem known by heart ‘“Had I the heavens’ embroidered cloth…”
– WB Yeats.’Would sing a duet with… ‘my son Miles, the musician.’
Book you would ban ‘I don’t believe in censorship.’Irrational fear of… ‘sit-down dinners at “galas”.’
Dream lunch dates ‘Ellen DeGeneres, Tennessee Williams,Truman Capote, Jesus.’
Would appoint as culture secretary ‘Harry Belafonte.’Signature dance ‘In my kitchen.’
Brains or beauty ‘Brains.’Apollo or Dionysus ‘Dionysus.’
Good cop or bad cop ‘Firefighter.’Grace Kelly or Grace Jones ‘Both, wearing each other’s clothes
Style icon ‘Tilda Swinton.’Favourite hour of the day ‘Dawn.’
Personal motto ‘A new dawn, a new day.’Artwork you would appear in ‘Anything by
Andy Goldsworthy.’Most en ous of… ‘people who sing effortlessly and pass
Film you wish you’d been in ‘Starman.’Most inspired by… ‘women.’Worth staying in for ‘Sex.’
Susan Sarandon stars in ‘The C lli ’ i i ti id 10 O t ber.
MY CULTURAL LIFE
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FOOD CONFECTION PERFECTIONThe Belgian chocolatier Pierre Marcolini has collaborated with th
accessories designer Olympia Le-Tan on a pair of witty chocolate boxeof her design. You can either fill them with her choice of fonda
raspb hearts or with your own selection of macaroons or chocFrom £27; available at Selfridges and www.marcolini.co
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A s a child growing up in the country, I would come to Londonseveral times a year to visit my father. There was nowhereelse to see him except his studio, so I’d stand on the bare
boards and inspect his paintings. ‘Poor Dad,’ I’d think. ‘How longcan it take?’ I’d peer at the details of each picture, measuring themagainst the last time I’d been there, wondering why some things hadbeen scrubbed out, why others had leapt forward. From one visit tothe next, progress seemed agonisingly slow.
Even now, I can mark my age against some of his paintings. Fromseven to nine, he was working on Wasteground with Houses, Paddington;from 15 to 17, Naked Man with His Friend. I tried to remain polite.‘Why did you take out the bicycle?’ I asked once, and his answerperplexed me: ‘Too easy on the eye.’ ‘Really?’ I remember thinking.
‘Does it matter? Don’t you just wantto finish it, get on to something else?’
It wasn’t until I starting writing myfirst novel that I began to understandhis working method. Making thingstakes time, and once you’ve started,you have to keep going until it’s right.I realised that watching my father inhis studio was the most useful lessonI could have learned. On the dayswhen all I wanted was to get to theend of the page, the chapter, the entirebook, I reminded myself of hispatience, and I felt consoled.
In my new book, writing about thearchitect Charles Rennie Mackintosh,I found myself drawing on this earlyexperience. I wanted to weave intothe story the beauty and precision ofhis work, and so, without even reallyintending it, I gave the job of revealing
his genius to my main character, a young Suffolk boy, Thomas, whoknows nothing about art. He is at first bewildered and impatient –just as I had been – watching him sketch a frond of winter stock,abandon it, begin another, scratch it out again. But slowly, surely,he begins to see what Mackintosh is aiming at, and stops countinghis efforts as a waste of time. Eventually, he sits down beside him,and begins to see the world throughhis eyes.
It’s hard to write about art. It canoften come across as hectoring andsuperior, and that was never what Iwanted to do. But writing aboutsomeone learninghowanartistworks– that’s something I do know about.‘Mr Mac and Me’ by Esther Freud is out now.
Paintings by CharlesRennie Mackintosh,right, from left: ‘The
Tree of Influence’(1896). ‘Polyanthus,
Walberswick’(1915). ‘Anemones’
(1915–1916).‘Collioure’
(about 1924)
Left, from top: EstherFreud. Her fatherLucian, photographed byDavid Dawson in 2011.His ‘Wasteground WithHouses, Paddington’(1970–1972)
ESTHER FREUD on drawinginspiration from her
childhood experience asthe daughter of an artist
FATHERFIGURES
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‘The Tree of PersonalEffort’ (1896) by
Charles RennieMackintosh
IGone Girl ’s rampant success two summers ago gave riseto an apparently new genre of writing, which pundits
dubbed ‘domestic suspense’, if for no other reason than thatthese novels tend to pivot around relationships and are
often, but not exclusively, written by women. (SJ Watson’sBefore I Go to Sleep is an honourable exception.)
But the genre is not, in fact, new. Domestic suspense,psychological thriller, call it what you will, has its roots
in the works of a woman writing in the middle of the lastcentury. Patricia Highsmith is best known for her creationTom Ripley: the definitive anti-hero, an outsider for whom
one felt compelled to root, even as he strangled the onlyperson he’d ever truly loved, wept and walked away.
While Ripley remains her most famous creation, Highsmithwrote 22 novels in total and her wider bibliography is worthexploring, in particular a moving lesbian love story, Carol,
now adapted for the big screen in an upcoming versionstarring Cate Blanchett and Rooney Mara.
Highsmith, of course, was not alone; she was simplythe most high-profile of a generationof female suspense writers, most of whosereputations did not survive them. Onewhose did is Shirley Jackson. Her novels,including The Bird’s Nest and We HaveAlways Lived in the Castle, were lauded fortheir skill in counterbalancing the terror ofdomesticity with a more obvious horror.The influence of these largely unsung womenis evident in the work of a new generationof female writers who dwell in the shadows
where literary and crime fiction meet. Consider ErinKelly’s Brideshead-esque novel of suspicion and envy,
The Poison Tree; Harriet Lane’s tense tale of revenge, Her;or Louise Doughty’s Apple Tree Yard, which explores
the darkness that lurks within us all.An addition to their ranks comes in the form of You,
the debut novel from Caroline Kepnes – a twisted tale ofa bookstore worker, Joe Goldberg, and his obsession with a
young writer. In Goldberg, Kepnes has created a TomRipley for the social-media age: a texting, tweeting,email-hacking stalker who – like Ripley – somehow,
perversely, you can’t help feeling for.
THE THRILLOF IT ALL
Patricia Highsmith’s Mr Ripley is inspiringa new generation of suspense novels
By SAM BAKER
f you have somehow thus far managed toevade Gone Girl, Gillian Flynn’s skilful tale of maritalduplicity, you might be persuaded to take another look
with the release of the film adaptation this month.
BOOKS
Sam Baker
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www.harpersbazaar.co.uk
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TALKING POINTS
Jimmy Choobiscuits (served
as part of thePrêt-à-Portea), £50
The Berkeley
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PHOTOGRAPHY
E arlier this year, I flew out to Portofino to watch PeterLindbergh at work. One of the greatest living fashionphotographers, Lindbergh was shooting the models
Karolina Kurkova and Adriana Lima. His aim, as on any shoot,he said, was ‘always to be interesting. For example,’ he added,‘Karolina, she looks very new today, no? Last night I persuadedher not to do a red lip, no mascara, and she looks totally different.’Do models always heed his advice? ‘Ja, ja. I make them believe it,’he said, laughing. Lindbergh’s instincts are worth following: for
it was he who persuaded Linda Evangelista tocrop her hair all those years ago, resulting in thegamine cut that kick-started her career.
Taking pictures with the giddiness of a child,Lindbergh commanded his large crew with thegeniality of Santa Claus; his laugh even soundedlike ‘ho ho ho’. ‘Aren’t you jealous of looking likeAdriana?’ he asked no one in particular at onepoint, answering with singsong glee: ‘I am.’
The final edit from the day’s shoot is beingshown this autumn as part of an exhibi-tion hosted by the Swiss watchmakerIWC Schaffhausen. It marks the launchof a new ‘Midsize’ range in its Portofinocollection, the first designed to appealto women. One can see why Lindberghwas recruited for this cause: his work ispeopled with exactly the kind of strongwomen the company hopes to attract.
‘Eight thousand five hundred shots,’ Lindberghmarvelled at the final tally. ‘A crazy day. You work fastand grab everything you see.’ This is his method: shootwidely, edit down; then deviate from the plan if neces-sary. ‘You have an idea, of course,’ he said. ‘But then I change it ifI feel something else is happening that we should get. The art isto [shoot] and see what is great [afterwards].’ This approach hasresulted in some of his strongest work. Consider his rain-soakedimages of Naomi Campbell on the beach in Deauville in 1988:Campbell was styled to look like Josephine Baker and the day’sdownpour lent a silvery magic to the final shoot. ‘What is bad?’Lindbergh asked. ‘Sometimes a good sky is bad. Sometimesrain is great. You can do a lot of things even in pouring rain.’
Of course, Portofino presents no such challenge. ‘It’s incred-ible,’ Lindbergh says, waving his hand into the middle distance,at the uninterrupted blue sky. ‘I like it.’ And who could not?See Peter Lindbergh’s ‘Portofino’ shoot, also featuring Cate Blanchett, EmilyBlunt and Ewan McGregor, at www.iwc.com.
A MOMENTIN TIME
The magic of Peter Lindbergh’s imageslies in his ability to capture an instant in
a way that endures By AJESH PATALAY
Peter Lindbergh’sphotographs featuringAdriana Lima (left)
and Karolina Kurkova(below) for IWCSchaffhausen in
Portofino. Below right: aportrait of Lindbergh
TALKING POINTS
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ETERLINDBERGH©
PETERLINDBERGH,W
ARD
IVAN
RAFIK
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Agift for every readerTHE NUMBER-ONE MASCAR A FROM ESTÉE LAUDER
MONTH WITH
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For weekly updates, visit www.harpersbazaar.co.uk/horoscopes
Thefuture revealed: your essentialguide to NOVEMBER By PETER WATSON
LEO24 July – 23 AugustBy quietly fulfilling obligations in several different areas at once,you’ll feel entitled to some acknowledgement. But don’t assumethat others will kowtow to you. They’re more likely to leave youto your own devices, thinking you’d always choose work over play.Perhaps they need re-educating as to what you’re really about.MOTTO OF THE MONTH The absent are easy to blame.
CANCER22 June – 23 JulyTension within relationships is inevitable, but don’t think itindicates anything sinister. You’re feeling more passionate thanusual about some aspects of your life and you’re not in the moodto be overlooked. You needn’t cause endless arguments, but you willhave to ensure your voice is heard and issues are taken seriously.MOTTO OF THE MONTH Sickness can become anyone’s master.
TAURUS21 April – 21 MayHaving remained silent about a relationship matter, you might bewondering what your next move should be. Take inspiration fromMercury changing signs on 8 November and reminding you that,by saying nothing, you might give the nod of approval. Andthat’s not what you want to do on this occasion. Start talking.MOTTO OF THE MONTH Quick and well rarely go together.
GEMINI22 May – 21 JuneAs you no doubt have strong views on how certain people shouldbe cared for or an idea nurtured, you must share them. Ignore otherswho might find fault with what you’re suggesting. Sometimes youhave to put on a show of self-belief and keep detractors at bay.MOTTO OF THE MONTH Whenever a large sum of money changeshands, it changes people.
ARIES21 March – 20 AprilDon’t be shy about putting up a proposal to someone with whomyou’d like to enjoy or create something special. You might beafraid you’ll come across as pushy or self-seeking when, actually,you’ll be perceived as extremely resourceful. It would be a crimeto let the best of your ideas go to waste. Use them.MOTTO OF THE MONTH Praise paves the way to friendship.
PISCES20 February – 20 MarchYour rational approach to demanding work or commitments mayhave got you through. But around 9 November, with Venus atodds with Jupiter, you’ll decide that a difficult individual needsto be taken to task. Although you won’t do anything threatening,you’ll ensure that you’ll never be mistreated in the same way again.MOTTO OF THE MONTH Don’t applaud a fair day till evening.
AQUARIUS21 January – 19 FebruaryIf you’re attracted to a different job or lifestyle, don’t assume it’sout of bounds and will remain so for ever. Ask questions and letthe appropriate people know you’re keen to find out more aboutwhat they do and how you could become a part of it. Show themyou don’t feel entitled to a free ride.MOTTO OF THE MONTH Those ashamed of asking are afraid of learning.
CAPRICORN22 December – 20 JanuaryAt first you’ll assume you’ll miss out on fun and excitement thatothers are enjoying. But once you have certain obligations outof the way, you’ll find that you too can indulge in the good life.Don’t look as though you’re sulking when, initially, you thinkyou’re not one of the favoured few. Keep smiling.MOTTO OF THE MONTH Peace must be bought, even at the highest price.
SAGITTARIUS23 November – 21 DecemberUpheaval in the past weeks may have left a mark. During the secondhalf of November, with Venus and the Sun in your sign, you’ll gaina more balanced view of what has been going on. You’ll also feeloptimistic about what’s likely to happen – and it’s not all bad.MOTTO OF THE MONTH Try to weave steel, as well as silk, intothe fabric of your life.
SCORPIO24 October – 22 NovemberDevelopments in your private life might eclipse financial orprofessional matters that others see as your main priority. Onlyyou can decide who or what deserves your attention. Don’t feelforced to focus on areas that aren’t nearly as important to you aswhatever your heart is trying to tell you. Refuse to be manipulated.MOTTO OF THE MONTH You cannot shoe a running horse.
VIRGO24 August – 23 SeptemberThose anticipating lighthearted, fun-filled experiences mightexpect you to make them happen. Yes, a Mars-Pluto connection isemphasising your love of the good life, but that doesn’t mean youshould be at everybody else’s beck and call. One or two people inparticular must be told they can’t expect a free ride.MOTTO OF THE MONTH Accept the help of many, advice of few.
LIBRA24 September – 23 OctoberBe bold, take chances and persuade a friend or loved one tocollude with you on something daring. Even if some financialinput is required, you’ll gain a lot from developing an idea thatyou’ve fantasised about for ages. Sometimes it’s better to makea move, any move, than wait for the perfect time to act.MOTTO OF THE MONTH If it comes with sin, it will go with sorrow.
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NOVEMBER 2014
This month,Bazaarbrings you a celebration of sheer talent –
to the bold geometrics of the A/W 14 catwalks,
from Jessica Chastain’s spellbinding presence
contrasted with the season’s painterly prints inspired by Charleston,
home of the Bloomsbury Group, and the setting for our latest fashion shoot.
Meanwhile, Grayson Perry, Raf Simons, Tracey Emin and Princess Eugenie
explore the meaning of creativity today.
Where does fashion end and art take over?
You decide…
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Jessica Chastain wearsembroidered tulle dress,
from a selection, Elie SaabHaute Couture
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Fame came late for Jessica Chastain – in the form of an Oscar nomination at 35 –and she hasn’t stopped working since.
Here, she talks about the liberation of transforming herself for a role,in a year when her films range from period drama to intergalactic epic
T H E B U T T E R F L Y
PHOTOGRAPHS BY DAVID SLIJPER
BY SOPHIE ELMHIRST
STYLED BY LEITH CLARK
E F F E C T
November 2014 | HAR P E R’S BAZA AR | 183www.harpersbazaar.co.uk ▼WorldMags.netWorldMags.net
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This year, Jessica Chastain had a birthday party. The photographsare all over her Facebook page: Chastain playing ahigh-stakes gameof ping-pong, bellowing into a microphone mid-karaoke, blowingout candles on her birthday cake. And finally, that classic end-of-night shot, the one when you’re drunk on love for your friends andthe music’s turned up loud: Chastain has an arm in the air, eyesclosed, red hair flying across her face, and she looks ready to danceuntil sun-up.
These moments don’t happen often. It was Chastain’s firstbirthday party for as long as she can remember, she says now. Shehates being the centre of attention, and her life, when she’s notworking, is peaceful, low-key. Chastain likes routine: a walk on thebeach with her dog Chaplin; green tea; yoga. Her time is not usuallyfrittered away in bars. It’s certainly notspent in the thick of a crowd, especially acrowd who are all there for her, singingher name. ‘I hate it when people sing“Happy Birthday” to me,’ she says, stillcringing. She is, she insists, shy. To beinterviewed is almost liberating becauseit forces her to talk in a way she wouldn’tusually,especially toastranger. ‘Probablythere are some people who feel greatabout themselves and don’t second-guess anything they say or do or wear,but that’s just not me.’
It’s strange hearing an actress talk likethis, untypical of the trade. Most easily,and emptily, self-deprecate, but therearen’t many who are so candid abouttheir vulnerabilities. Her reaction tofinding out that Harper’s Bazaar wantedto put her on the cover was: ‘Why wouldyou want to do that?’ She still finds suchthings surprising, still isn’t remotely sureof herself, still experiences attention as a discomfort rather than herdue. Her shyness is understandable: fame has recently turned thespotlight on Chastain’s personal life, such as her relationship withGian Luca Passi de Preposulo, an executive at the Italian fashionbrand Moncler. It has also exposed her sensitive family history – itwas reported last year that her biological father, from whom she wasestranged, had died, and at the same time it emerged that heryounger sister Juliet had allegedly committed suicide 11 years ago,at just 24. Chastain does not discuss her family’s past, is instinctivelydeeply private, and so embodies that classic thespian contradiction:she fiercely conceals her true self, but appears to be entirely at easebaring the most intimate parts of herself on-screen. Any shynessdisappears when she’s being someone else, and Chastain is able topeel off layer after layer to give raw, exposing performances thatrange from brittle (Maya in Zero Dark Thirty) to stricken (Eleanor inher new film The Disappearance of Eleanor Rigby). As an actress, shegoes for total immersion, sinking so deep into character that her face
seems to change shape with each one. You recognise her instantly– that shock of red hair – but, at the same time, hardly at all.
Today, sitting in a corner of a hotel lounge out of the SantaMonica sun,Chastain is almostamovie star.Thehair is loosearoundher shoulders, she wears large sunglasses and high-heeled blacksandals; but then, as she points out, there’s the sunburn on her armsfrom a bike ride along the beach a couple of days ago, the absence ofmake-up, the fact that her hair, on closer inspection, has not beenblow-dried, is a little frizzy around the edges. Chastain is still unusedto people asking for her picture, to being recognised at all, and isn’tabout to start primping every time she leaves her house. When famecomes late – Chastain is 37 – you don’t bow so readily to its demands.Anyway, she’s off duty. She hasn’t been near a film set for threemonths, and intends to stay that way for the rest of the year. It’s thefirst break she has had since her career changed gear in 2011, the firsttime in three superchargedyears that shehasbeenable tocomebackto her home in Santa Monica, stare at the ocean and relax for morethan a snatched day or two.
It was all a quirk of timing. Aftergraduating in 2003 from Juilliard, thedrama school in New York, Chastainslogged away in the business for eightrelatively thankless years and then, in2011, released four huge films in quicksuccession: The Tree of Life, Take Shelter,The Help and The Debt. She was no one,and then she was everywhere. ‘I’m theunknown everyone’s already sick of,’ washer catchphrase at the time. Zero DarkThirty followed, the Kathryn Bigelowfilm about the hunt for Osama Bin Ladenin which Chastain’s portrayal of stony,workaholic Maya won her a GoldenGlobe and an Oscar nomination. Afterthe maternal sweetness of her parts inThe Tree of Life and Take Shelter, Mayawas a revelation.
But this has always been Chastain’sway, right from the start. Take one part,thenplay itsopposite.Don’t, for a second,
allow yourself to be boxed. She remembers, now, when Val Kilmercameto talk toherclass at Juilliard. ‘Hesaid, “Thebusiness isn’t unim-aginative, they’re anti-imagination… it’s like aggressively choosingnot to imagine you as anyone else.”’ So once that first brace of filmswas out, once Chastain was in a position to choose her parts ratherthan ‘work my butt off ’ for each and every one, she picked wisely andweirdly. She took a part in a surreal horror movie, Mama, then did aplay on Broadway – The Heiress – and over the next few months she’llrelease Miss Julie (period drama), a Northern Ireland-set LivUllmann adaptation of August Strindberg’s play, also starring ColinFarrell and Samantha Morton; Interstellar (sci-fi epic); and Crimson
Her shynessdisappears
when she acts;Chastain peelsoff layer afterlayer to give
raw, exposingperformances
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When famecomes late –Chastain is
37 – youdon’t bow soreadily to its
demands
Peak (gothic ghost story). Her inclusion in Interstellar – a keenlyawaited Christopher Nolan space odyssey, set to be one of thebiggest films of the year – cements her Hollywood status. Chastainis in major-league company, starring alongside MatthewMcConaughey and Anne Hathaway, and she’s showing that she isequally comfortable doing big-scale action: wormholes, time travel,swooping strings on the score. Nothing says you’re a star moreclearly than appearing in a film about the stratosphere.
The workload, however, has been immense. Chastain was sowired by the sudden blast of success that she didn’t stop working forthree years, back to back, project to project, one immersion afteranother until the inevitable realisation hit. If you act the wayChastain acts, surrendering herself to acharacter (and these aren’t just any parts:Chastain’sCVis fairly lightonromcoms),then it ‘really takes a toll… If you’re doingsomething dark, when you leave, part ofyou is going to be empty.’ And if you dosomething dark over and over, you veerdangerously close to burnout. To keepacting the way she acts, you need a break.
So what was it like to stop? ‘Super-weird.’ Holidays aren’t really in Chastain’srepertoire.Shecan’teven lie in, loathes thefeeling of wasted time; it puts her in a badmood for the rest day. Not working felt ‘alittle bit like grief ’, she says now, her widesmile fading, ‘and I started to feel reallynegative about myself, down on who Iam, and then I realised it’s because I’vehad so much time away from me that Idon’t really know what I like to do anymore. I’m out of it now, but there was this feeling of being sad ordepressed… wanting to go to another project’. Like an addiction?‘Yeah, perhaps it is like that… maybe the [past] three months weremy withdrawal!’ Gradually, though, her life started to reassemble, alife away from work. Her family came and stayed with her in NewYork; she travelled to Italy with her sister; has spent time with herboyfriend; and has come to this interview straight from a long lunchwith friends in Malibu. Slivers of normality.
Perhaps the greatest shock of the past few years has been therealisation that she can’t spend time with people in the way she usedto. She says how ‘fortunate and happy’ she feels to be with Passi dePreposulo, but ‘this is a difficult business to be in and try to maintainpersonal relationships’. It’s the same for her friends, the ‘ragamuffincrew’, as she calls them, of fellow actors, writers and directors, mostof whom she had known for years before fame hit, either from stud-ying at Juilliard, or in her early years in the business in LA. TheDisappearance ofEleanorRigbyat least allowedher toworkwith them.The movie is directed by Ned Benson, who Chastain met at theMalibu Film Festival just after she’d moved to LA 10 years ago –she’dseenhimact inashortfilmthathe’dalsodirected,andaccosted
him afterwards, insisting they work together. They became closefriends, and Benson wrote the part of Eleanor Rigby expressly forChastain, and the part of Eleanor’s sister for Jess Weixler, Chastain’sbest friend from Juilliard. Benson saw the pair together – the cocktailof affection and silliness that only a true, long friendship can mix –and wanted to capture the dynamic on screen.
Weixler’s now engaged, and Chastain says they were talking theother day about how strange it would be if one of them has a baby,‘because you grow up in the mirror of your friends, right?’Motherhood seems to be at the front of her mind. She likes livingan itinerant life, a life where she never knows quite where she’ll be,or for how long, from one year to the next. The one definite elementin her future is becoming a parent, ‘in whatever incarnation thatis, because, you know, sometimes things don’t unfold the way youimagine they would’. At the moment, she’s at the research stage,trying to work out how you balance life as an actress hitting herstride with the needs of small children. ‘I’m talking to a lot of families
who are travelling circuses… trying tofigure out how that is possible in this busi-ness.’ Chastain doesn’t say any of thislightly: she’s clearly giving the matterserious thought, aware of the profoundchallenges parenthood opens up, andthough she feels no societal pressure tosettle down, she does feel a self-imposedpressure to be ‘a good mother’. Everychild on Earth blames their parents forsomething, everything, at some point,but she wants to raise her own ‘with theleast possibility that that happens’. Herthinking seems so deep, I wonder if thiswill happen soon. ‘Hopefully. Whoknows? Ihopeso…Iknowa lotofwomenwhowant tobemothers, but, youknow…’
She doesn’t need to spell it out. Thereare no certainties. Playing Eleanor Rigbyacquainted her with the worst-case sce-
nario: what happens to a mother when she loses a child. Chastain’sEleanor is buried in grief, hardened by it. She’s in acute pain, butthere are no histrionics, no gushes of tears. She wears the loss like asuit of armour. Or, as Chastain thought about it, in the way a wildanimal suffers a wound: ‘If they’ve been through a trauma, they’llbite you.’ What intrigued her about the part was how grief on thisscale transforms a person, how they experience their own partialdeath when someone they love dies. ‘I thought, “How interesting –she has no idea who she is now, and she doesn’t want to think aboutwho she was.”’
Portraying someone in a state of such existential uncertaintycame fairly naturally to Chastain. She says repeatedly during ourconversation that she doesn’t know who she is. Not that she seemsoverly perturbed by the fact – it’s more of an CONTINUED ON PAGE 280
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THIS PAGE: wool andleather dress, £4,285, Prada.OPPOSITE: crepe dress,£3,915, Valentino. Suede heels,£395, Rupert Sanderson
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ERIK MADIGAN HECK
THIS PAGE: organza dress,£4,500, Christopher Kane.OPPOSITE: embroidered crepedress, £5,100; suede heels, £550,both Dior. Perspex bag, £1,365,Charlotte Olympia
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THIS PAGE: embroidered woolcrepe dress, £3,035, Chloé. Gold,platinum, diamond and emeraldbrooch (worn in hair), from aselection, Van Cleef & Arpels.OPPOSITE: cashmere top,£1,865; cashmere skirt, £1,465,both Agnona. See Stockists fordetails. Hair by Tomi Kono atJulian Watson Agency, usingBumble and Bumble. Make-upby Deanna Melluso at the MagnetAgency, using Crème de la Mer.Manicure by Elena Capo at theWall Group. Set design by AndréaHuelse for Art Department.Model: Magda Laguinge atNext Model Management
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PHOTOGRAPHS BY TOM ALLEN
STYLED BY CATHY KASTERINE
Where better to showcase the season’s painterly prints than Charleston,the storied home of the Bloomsbury Group
A MONGST T HE BOH EMI A NS
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THIS PAGE: silk dress,£1,944, Louis Vuitton.Felt hat, £517, MaisonMichel. All rings, wornthroughout: right hand,from left: gold and quartzring, £2,100; gold andperidot ring, £5,500,both Talisman Gallery.Vintage paste and metalring, £220, Cobra &Bellamy. Left hand,from left: gold-platedand turquoise ring,£340, Aurélie Bidermann.Gold and peridot ring,£5,500, Talisman Gallery.OPPOSITE: decorativemotifs on a wall inCharleston House
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THIS PAGE: silk dress,£2,750, Hermès. All socks,worn throughout, from £5,
Falke. Silver and preciousstone necklaces, from £1,870,Talisman Gallery. Right arm,
from top: gold vermeil andchalcedony necklace (worn
around wrist), £2,350,Talisman Gallery. Gold andchalcedony bracelet £2,500,
Amrapali. Left arm: gold andlapis cuff, £3,750, Talisman
Gallery. OPPOSITE:silk cotton trench-coat,
£2,395; silk georgette dress,£1,495, both Burberry
Prorsum. Leather shoes(worn throughout),
£215, Grenson
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TOM ALLEN
THIS PAGE: lace dresswith sequins, from aselection; lamb-skin coat,£6,800, both Chanel.Right wrist (both wornas bracelets): goldvermeil and chalcedonynecklace, £2,350; goldand amethyst necklace,£1,950, both TalismanGallery. OPPOSITE: silkdress, £1,025, Paul Smith.Pony-skin patchworkcoat, £895, Daks. Wooland leather bag, £3,295,Burberry Prorsum
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TOM ALLEN
THIS PAGE: canvasdress, from a selection,Fendi. Right hand, ringfinger: gold and peridotring, £5,500, TalismanGallery. Left arm: gold
and labradorite cuff, froma selection, Pippa Small.
Left hand, ring finger,from top: gold and
green tourmaline ring,£3,000, Pippa Small.
Gold and diamond ring,£2,500, Van Cleef &
Arpels. OPPOSITE: satindress, £3,235, Prada
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TOM ALLEN
THIS PAGE: leatherembroidered dress, £795,Hilfiger Collection. Gold
plated and turquoisenecklace, £3,290, AurélieBidermann. OPPOSITE:
silk cotton trench-coat,£2,395; silk georgette
dress, £1,295, bothBurberry Prorsum
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THIS PAGE: silk dress,£1,025, Paul Smith.
Shearling coat, from aselection, Valentino.Diamond and ruby
necklace, £1,850, AnninaVogel. OPPOSITE: silk
blend dress, £1,845, Etro.Coral and jade necklace,£900, Cobra & Bellamy
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THIS PAGE: a detail of the colourfuldecor of Charleston. OPPOSITE:silk georgette dress, £1,495,Burberry Prorsum. See Stockists fordetails. Hair by Chi Wong at JulianWatson Agency. Make-up by JaneenWitherspoon at Julian WatsonAgency, using Dior 5 Couleurs FallLook and Capture Totale Dreamskin.Stylist’s assistant: Emma Shaw.Production by the ProductionFactory. Model: Lera Tribel atNext Model Management. Shoton location at Charleston House(www.charleston.org.uk). Withthanks to the Charleston Trust
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PRINCESSTHEAND THEARTIST
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Top left: TraceyEmin’s Not Too
Much to Ask (2004).New works for
the White Cubeshow, clockwise
from top right: JustMe (2014). The LastGreat Adventure Is
You (2013). So Pretty(2014). Good Body(2014). Good Red
Love (2014)
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have thought it? In the history oft be one of the least likely. But herevocateur and the seventh in line
to the throne: best of buddies. How did that happen? You’d have tolook across the pond for an explanation. The pair met throughmutual friends years ago, but it was only in New York over the pastyear that their friendship blossomed.
Her Royal Highness Princess Eugenie of York moved there lastSeptember to take up a position with Paddle8, the online art auctionhouse launched in 2011, backed by Damien Hirst, Matthew Mellonand Jay Jopling, among others. Following an internship at Christie’sin 2010, this was the 24-year-old’s first proper job, her first significantstep into a career in art. As for Tracey Emin, the artist had been travel-ling to New York for years and had grown weary of hotels. So lastyear she bought herself a place off Union Square, a pied-à-terre tojoinherotherresidences,whichincludeatownhouse ineastLondon,a farmhouse in the South of France and an apartment in Miami.
And so they found themselves, two expats living in the Big Apple,mixing in the same circles, going to the same dinners, drawn to eachother in that heady world where art and celebrity overlap, and‘always getting on like a house on fire’, as the Princess puts it. Whatis it they call New York? A melting pot.
Of course, Eugenie had long been a fan. On her 21st birthday, hermother Sarah Ferguson, Duchess ofYork, had given her a small drawing pro-cured from the artist herself. Emin hadbeen heartened to learn the Princess wasan admirer and the seed of friendshipwas sown.
Today, the pair are meeting at Emin’sfour-storey studio building in Spitalfields.After having their portraits taken forBazaar, they settle around a table withcups of black tea and honey to chat. Onthe floor surrounding them lie sketches,sculptures, canvases and assorted para-phernalia, including a pair of tin bathsand a scattering of miniature chairs.
It’s the first of July, an important dayin the London art calendar, and not justbecause the Serpentine Galleries’ annualSummer Party, another crucible of artand celebrity, is being held this evening.(Both Emin and Eugenie attend, alongside Alexa Chung, BradleyCooper, Keira Knightley, Zadie Smith and Cara Delevingne.) Alsoscheduled to take place is the sale at Christie’s of Emin’s most iconicwork, My Bed, for which she was shortlisted for the Turner Prize.Hitherto owned by Charles Saatchi, the piece consists of a mattresscovered in stained sheets, discarded condoms and empty bottles ofalcohol. It was made in Emin’s council flat in Waterloo in 1998.
Eugenie was eight at the time, attending prep school in Surrey.Now the age difference fuels their dynamic. Emin is almost
maternal towards her royal ward, encouraging her as she embarks onthis new career, but protective too; especially today, in the presenceof the press, lest anything clumsy is said (Eugenie calls her ‘a guar-dian angel’). The Princess, meanwhile, is a little nervous but eagerand endearing as she pulls out her notebook and runs through thequestions she has diligently written out in advance for her friend.
Inevitably, the questions touch on tonight’s sale, but also onEmin’s upcoming solo exhibition at the White Cube gallery and anauction she is curating with Paddle8. AJESH PATALAY
PRINCESS EUGENIE Right, I’m going to start with some light-heartedquestions. Whose bed would you most like to sleep in?TRACEY EMIN Well, actually, I’ve got an immediate answer for that.I really wanted to have a photograph of myself taken in the GreatBed of Ware at the V&A museum. I’ve always thought it was quitefunny. Twenty-six butchers and their wives are meant to have sleptin it for a bet; it is massive. When I first asked, the V&A said no,because it was too fragile. Now they’ve said yes. Otherwise, I thinkI’d like to spend all night sitting up in bed with someone like Daphnedu Maurier. Someone from history.PE Oh, yes. Joan of Arc.TE Withhot toddiesandhot-waterbottles inareallybigBaroquebed.PE OK. If you were stranded on a desert island, which artworkwould you take with you?TE I’ve always said if I could own one piece it would be Vermeer’sThe Love Letter, and if I could put it anywhere it would be in aDavid Chipperfield building. I’m almost there with the building –Chipperfield is building a new house for me in London. The Vermeeris a long way off.PE I think I know the answer to this, but which artists inspire you?TE Well, a lot of people are surprised, but my big inspirations are
Egon Schiele, Edvard Munch, GermanExpressionism and post-war art. Notcontemporary art. When I was at artschool I had very little in common withmy peers – I was always looking back.PE What do you collect?TE Much to my embarrassment, smallcute things. When I was a child I col-lected glass-blown animals. All along theseafront in Margate, maybe every fourthshop, there would be glass-blowers andyou could say to them: ‘Make me anoctopus,’ or ‘Make me a cat,’ and they’dmake these little animals for you. So if Isee any now, I often buy them. You seethem dotted all around my studio. I saidwhen I moved into my new studio that Iwas going to keep it really chic, not have
‘I’ve alwayssaid if I could
own one pieceit would be
Vermeer’sTheLoveLetter’
Tracey Emin
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any of these silly little things. Of course they are everywhere.Everyone buys them for me. I also collect ceramic cottages; I’vealmost got a whole village. I just need a church.PE And chairs.TE And I collect chairs and tables, which is a bit of a problem.Throughout all my properties I have at least 40 tables and 300 chairs.PE Some chairs you can’t even sit in because they’re too small.TE Tiny – but tiny people can sit in them.PE Do you collect art?TE I collect a lot of ceramics, by younger and older artists. But I don’tdisplay them, I just have them. I keeping saying that one day I’ll havesomewhere to put all my art collection, but I still haven’t.PE What was the last thing you bought?TE A ceramics piece from the Carl Freedman Gallery. The mostexpensive thing I ever bought was a small ceramic and bronze sculp-ture by Picasso. Everyone said to me: ‘Why have you bought a smallPicasso?’ And I said: ‘Because if I wantedI could just put it in my pocket and run.’ Imean, when I say to people I’ve got aPicasso and it’s a sculpture, people go‘Wow’, but it really is only about fourinches by three inches. It’s tiny.PE Sweet. Where is it?TE It’s so tiny; I think it’s in my safe.PE OK, good.TE I’ll tell you what I really regret. I wasgoing to buy a Louise Bourgeois stuffedsculpture in about 2000. And I didn’t. Ishould have done. I had the money andI could have bought it, but I used themoney for a deposit on my house instead.PE In London?TE Yes. I asked [Louise Bourgeois’s assis-tant] Jerry Gorovoy about it and he said:‘Louisewouldhavesaid,“Getthehouse.”’PE How do you find living in New Yorkand Miami? Are you inspired by both those cities?TE In Miami I just feel free. I hardly know anyone. I don’t have a car.I ride my bike every day. I get sunburned, much to my embarrass-ment. I read. And I go to bed. Every time I’m there, I get a thrill. It’sthe kind of place I can completely disappear and lose myself. NewYork, on the other hand, is the epicentre of the art world; there areso many collectors and galleries, it’s just full-on. Also, people inNew York are workaholics. So when I’m there I’m often doing showsor having meetings. It’s not a place I socialise much. But since Ibought myself a place and no longer stay in hotels, I enjoy beingthere so much more, and I have a much cosier time.PE Every time I’ve been with you in New York it’s always been socosy. Nice people and fun little places.TE Yes, exactly. It’s not flash, it’s the complete opposite. I’m notsaying my lifestyle in London is flash, but London is always aboutbig events with hundreds of people, whereas in New York it’s alwayssmall groups and tiny places.PE You feel so cool in New York everywhere you go. I remembergoing into the back room at [the restaurant] Emilio’s [Ballato].You had to walk through the kitchen to get there and it was just
the most incredible old Italian place.TE Full of old Italians wearing suits and everything.PE I love New York. It’s the same thing for me: London is full-on.TE The other thing is – don’t you find this? – in London if I don’tmake arrangements for the weekend I tend to spend it on my own.In New York, everyone’s doing stuff at the weekends. You’ve gotbreakfast, lunch and dinner.PE There’s food all day. They even have ‘linner’ – lunch and dinner.TE And everything is organised. You can have breakfast withsomeone between eight and 10, then you’ve got the fleamarket after.Everyone’s kind of like on a schedule at the weekend. It’s differentfrom London. I think it’s because people in New York are so seriousabout work. I can’t really explain it.PE Right, yeah. OK, now I have some serious questions.TE They weren’t that unserious.PE Well these are very serious.TE (Laughing) I’ll be in tears, I’ll be crying.PE Let’s talk about your bed. Your bed is going to be auctionedtonight. How are you feeling about that?TE Well, last week I was feeling so nervous and worried. Then at the
weekend I was on a massive high, becausethere were some really nice thingswritten about it in the papers, and Istarted to think: ‘It’s going to be all right.’Tonight I’m going to the auction, whichmost people would think is insane. But Iwant to see what happens, because it’shistory. And it’s the piece of art that hasgot me the biggest status, so I want to bethere to see what happens. I never likedthe analogy that your art is like your chil-dren, but sometimes they are a bit.PE I agree. It was a huge part of your lifeand now you’re almost letting it go bywatching it there. I don’t think I’ve everseen an artist at an auction.TE I’m often at charity auctions becauseI want to push the price up, but in thiscase I can’t do that. I have to be reallydemure and contained, which is also
going to be very difficult because I know I’ll probably faint or some-thing. (Laughs)PE When you did My Bed, it was very shocking. Do you think art stillhas the capacity to shock?TE I didn’t make the bed to shock. The first time I showed it was inJapan and they had a very different attitude to it. It was only when itcame to the Tate and was nominated for the Turner Prize that it wasseen as shocking. That was in 1999 and with the Turner back then,it was almost as if people wanted to be provoked, wanted to say: ‘Isthis art?’ There were always headlines in the tabloids. And the bedfulfilled those criteria for a lot of people. Now I think the bed is seenin a very different way; I think it’s taken seriously. And if you go andsee it at Christie’s, it actually looks very sweet.PE Do you think someone could come along and do something likethat again?
‘I’d love tobuy Basquiat’s
IronyoftheNegroPoliceman’
Princess Eugenie
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Works for the auctionEmin is curating forPaddle8, clockwisefrom above: Louise
Bourgeois’s I Love You(2007). Emin’s Best Friends(2006). It’s What I’ d Like to
Be (1999) by Emin. SmallStill Birth (2010) by PollyMorgan. Andy Warhol’s
Cat Drawing (about 1950)
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L O O K
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the serene dove-grey salon where I am to meet Rafimons at the Dior headquarters in Paris, there is a photo-raph propped on the mantelpiece, taken 60 years ago, athristian Dior’s autumn/winter 1954 couture show. Theicture, by Mark Shaw, reveals a bad-tempered woman inhe audience, apparently unmoved by Dior’s celebratedLigne H’ that season; aside from the fan she clutches in her, which nowadays would be a mobile phone, the scene isiliar. For how does a couturier inspire devotion and excite-
ment from a jaded audience of powerful buyers, toughened editorsand the richest women in the world?
Christian Dior proved himself more than able to rise to the chal-lenge, season after season, in the decade that he ran his couturehouse until his untimely death in 1957. He was replaced by his youngassistant, the equally brilliant Yves Saint Laurent; since then, therehave been only four other designers at the house of Dior: MarcBohan, Gianfranco Ferré, John Galliano and now Raf Simons, whowas appointed in April 2012 after months of speculation as towho would – or could – take on one of themost high-profile and demanding jobsin the multi-billion-pound fashion world.
‘The maintenance of the tradition offashion is in the nature of an act of faith,’observedChristianDioron thefinalpageof his memoir, written a year before hedied; and there is something monasticabout Simons, a man who has kept faithin the legacy of the house’s founder.When he walks into the salon this after-noon, several days after the autumn/winter 2014 couture show, his dark hair isneatly cropped, his eyes serious, his tonethoughtful, considered. It’s nearly twoyears since I first met him, in the back-stage mêlée after his first, triumphantready-to-wear show; then, as now, I wasstruck by his quiet authority (the anti-thesis of the cartoon cliché of a fashiondesigner, which tends to involve hysteriaor melodramatics). The other image thatstayed with me was seeing him with his family; his father – a militarynight-watchman who joined the army at 17 – had tears in his eyes;and so did his son, as the small group embraced, turning away fromthe clamour and cameras around them.
Simons was born in January 1968 in Neerpelt, a village in ruralBelgium; his mother was a cleaner who also loved gardening, andcherished her only child, as did his father. He was educated at a strictCatholic school, and then studied industrial and furniture design atcollege in Genk. As an intern for the influential Belgian designerWalter Van Beirendonck (one of an avant-garde group who becameknown as the Antwerp Six), Simons discovered fashion, going on toestablish his eponymous menswear label, and then joining Jil Sander
as creative director in 2005. Throughout, his career has beeninformed by his love of music – which dates back to his teenage yearsas a passionate fan of Joy Division, David Bowie and Kraftwerk,among others – although his commitment to the codes of under-ground youth culture that was so clear in his own brand has beenreplaced, at Jil Sander and Dior, with an exploration of what sophis-ticated women might want to wear.
It’s a process that he describes as ‘a dialogue, even though I don’tnecessarily talk to the customer. I think about the clothes that she
will enjoy wearing, rather than the spec-tacle of the show’. Which is not to saythat his shows at Dior have been unspec-tacular; his first couture presentationtook place in rooms lined with more thana million flowers, while this year’s cruisecollection transported the world of Diorto a Brooklyn naval yard, complete withbranded ferry-boats and sailors. Yet forall the splendid trappings, what remainsnotable about his shows is the sense ofintimacy; indeed, in his most recentcouture collection, he encouraged themodels to come closer to the audience;close enough for us to see the exquisiteembroidery and unrivalled craft of theDior seamstresses that he values sohighly. In one sense, this is a return to theoriginal days of couture, when it tookplace within a salon such as the one weare in today; but it is also because ofSimons’ own preference for ‘a more inti-
mate atmosphere’ and human interaction in real terms, rather thanthe digital world, which appears to be of far less interest to him. ‘Inever had an attraction to the digital world,’ he says with a shrug.And while he is passionate about the overlapping landscapes offashion, art and music, it is within the context of collaborative per-sonal projects – for example, with the artist Sterling Ruby – and theongoing process of working alongside the Dior team.
‘A lot of people saw me as being part of an underground, avant-garde or punk aesthetic,’ he says, ‘so that Dior couldn’t be a biggerchallenge to me.’ But it’s a challenge that he has met in a way thatturns it frombeinga conflict into aconversation (inhiswords) ‘abouthow women live their lives today’. He makes it sound simple: forexample, the jumpsuits and trousers shown in this season’s couturecollection arose from his observation that women might enjoy slip-ping into something ‘easy’ in the evening, and then ‘dance the wholenight after dinner’. But this effortlessly contemporary eveningwearwas also part of a show that included elaborate, sculptural gownsinspired by the 18th century, yet transformed into less constrictive
His collectionsare designed
to be wornin the real
world, ratherthan preserved
as museumpieces
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‘I like the attitude h n decisions,elate
to what we might know as high fashion’
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garments. ‘My background is that I’m a constructor – I was trainedas an industrial designer,’ he says, ‘so I’m really interested in theconstruction of clothes. In the beginning of my career, that wasmaybe more of a struggle, but I’ve been working at making clothesthat have an ease about them. I think it’s important that they relateto women’s lives today – jumping in the car, going to work, whatever.Marie Antoinette didn’t have to worry about those things – she had20 people to dress her.’
His approach is suggestive, ratherthan dictatorial; and it’s one of thereasons that his collections for Dior havebeen so appealing. As such, he avoids theworst stereotypesof the fashion industry;not least in his disavowal of an autocraticline on what should, or should not, beworn in any given season. Personally, Ithink his way is more relevant to contem-porary culture than the traditionaldiktats or rules, especially given the factthat the customers who have the meansto buy luxury-brand items are increas-ingly independent-minded, workingwomen. ‘I like the attitude of a womanwho makes her own decisions,’ saysSimons, ‘and sometimes that doesn’trelate to what we might know as highfashion. She might find herself a sublimecourt coat from the 18th century, but shewears it with jeans and a T-shirt. I reallylike that – and if I saw a woman walking in the street, dressed likethat, I think I’d be more impressed than when I see high fashion.’
rtunately for his employers at Dior, the successfulodern woman is more likely to find a sublime
oor-length coat designed by Raf Simons than anriginal 18th-century piece. And despite Simons’ndeniably artistic sensibility, his collections –hether couture or cruise – are designed to beorn in the real world, rather than preserved as
t makes no sense if nobody is going to wear them,’e only doing things for people to look at, I don’t
think that’s a task for a designer – why not make an artwork instead?’Indeed, this is one of the ways in which he separates his method
as a designer from those of his friends and contemporaries whoare artists – while also emphasising, again, the importance of team-work at Dior. ‘It’s a collaborative experience,’ he says. ‘If it wasn’ta collaboration, I would be a painter or a sculptor. What we do is acreative outing together. And Dior as a structure, as a family, isvery communicative.’
His sense of Dior’s remarkable identity is implicit; and he clearlyhas the confidence as a designer to be true to the brand’s legacy,while also interpreting it in a contemporary language rather thanconstantly asserting his own agenda. This, after the iconoclasm andprovocations of John Galliano’s last years at Dior (a time whenstraightforward communication was also in short supply at thecompany), goes some way to explain the new confidence and focushere. ‘I am obsessed with defining what is modern,’ says Simons, ‘butwith a historical understanding, as well.’ Hence his ability to findinspiration in the house archives – for example, the artistic printsfrom Christian Dior’s original scarves that Simons reinvented infresh-looking pieces for this year’s cruise collection in Brooklyn (theNew Look remade for the New World). ‘Christian Dior was verybold, very daring, and yet so commercially successful,’ observesSimons. ‘And he had a strong connection with women, whilealso working as the most extreme and innovative couturier. When
you deconstruct the original garments,they are architectural masterpieces –and yet he also remained sensitive to thefemale body.’
All of which reminds me of the con-versation I had with Sidney Toledano,Dior’s CEO, towards the end of 2011,when he was still searching for the rightperson to take on the all-important roleof creative director. We happened tobe standing in a small yet powerfullyemblematic inner sanctum at Dior’sheadquarters on Avenue Montaigne: thecabine, a dressing-room where modelsused to change for the couture showsin the grand salon across the corridor,during the decade that Monsieur Diorhimself was still in charge. ‘I come in heresometimesbymyself, andaskhim, “Whoshould we choose?”’ said Toledano; andin this place imbued with the spirit ofChristian Dior, it was clear that his ques-
tion was addressed to the founder of the house, rather than anyoneelse in charge today.
Threeyears later, theanswer toToledano’sprayers seemsathomehere,yetwithouta traceofarrogantentitlement. ‘Dior isn’tmybrand,’says Simons. ‘You come and you go – that’s the difference betweenbeing the founder of a brand, and a creative director. So it’s myresponsibility to take the brand through this period – to keep it rele-vant for this moment in time. But I always try to understand the ideasof the original founder, and maybe that’s why I find it a calming situ-ation.’ He smiles; a rare smile, which makes it all the more sincere.Calm, responsible, measured; these are not the qualities most oftenassociated with fashion, but it is a true pleasure to find them here.
His senseof Dior’s
remarkableidentity is
implicit; he hasthe confidenceto be true to thebrand’s legacy
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This page andopposite: the DiorCruise 2015 collection
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From fine art’s provocateur to bastion of mainstream broadcasting:Grayson Perry is a transvestite potter turned national treasure
G R AYSON
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PORTRAITS BY HENRY BOURNE
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Clockwise from left:Grayson Perry at homewith his wife Phillippain 2010. His ‘Map of an
Englishman’ (2004).In his studio in
Walthamstow. Hispottery-based work
‘World Leaders Attendthe Marriage of AlanMeasles and Claire
Perry’ (2009)
From far left: Perry’s ‘AMap of Days’ (detail;2013). ‘The FrivolousNow’ (2011). ‘Map of
Truths and Beauty’(detail; 2011). Previouspages, left: Perry dressedas his alter ego Claire.Previous pages, right:
‘Queen’s Bitter’ (2007)
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et back behind a red-brick wall in one of the loveliestparts of north London is Grayson Perry’s Victorianstudio. The large, modernised, top-lit room is mini-mally furnished with two kilns, a sofa, a coffee tableand a couple of chairs. Unlike many artists’ workspaces,this one is orderly and meticulously clean. Perry’s print
A Map of Days hangs on one wall, and thrown over the sofa is atapestry sample made for his 2011–2012 British Museum show,‘The Tomb of the Unknown Craftsman’. Standing on top of thekilns are two Perry figurines.
Leading off the main studio are smaller rooms, each dedicatedto an aspect of Perry’s world; one is for potting, another housesa large computer; there is a kitchenette and also the clothes-room,full of dresses and accessories, all wrapped carefully in polythene.Having these distinct areas makes sense: Perry is a man of manycompartments: Perry the potter, the television presenter, theTurner Prize winner, the cultural pundit,the sculptor, printmaker, draughtsman, andcoming soon to a field in Essex there willbe Perry the architect and Perry the poet.
Ringing his doorbell, I wonder who willanswer: at art events and openings aroundtown, I’mused to seeingPerry, a transvestite,dressed as his alter ego Claire in outlandishoutfits: baby-doll dresses, clown suits,S-and-M leathers, platform shoes, frillyankle socks, wigs and make-up, and car-rying a variety of handbags, looking, he says,like ‘acrossbetweenKatieBoyleandCamillaParker Bowles’. Today, the ‘other’ Perryopens the door. This one, a rather elegantand fine-featured man with all-over-the-place blondish hair, is wearing workmanlikeclothes, stripy socks and trousers held upwithbraces.Forme,Claire isalwaysarrestingbut not especially feminine; the dressesseem to accentuate, rather than hide, her masculinity. When I putthis to Perry, he laughs and, leaning towards me, says in a machotone: ‘I am all alpha male.’
While he makes tea, I ask how he manages his time; in the nextfew months there will be a new TV series, a show at the NationalPortrait Gallery, the completion of a house in Essex and the publica-tion of his Reith Lectures in a book, Playing to the Gallery; when doeshe actually produce any new work? ‘Time is my enemy,’ he says,pouring out two cups of builder’s tea from a traditional Brown Betty
pot. ‘I have to be organised, a bit brutal and very businesslike.’ Heclaims to keep normal nine-to-five office hours, only writingand filming the documentaries at weekends. I challenge whetherhe really can manage the business of making art in this segmentedway; creativity, in my experience, is not something that can beturned off and on like a tap – it has to be nurtured and protected.‘Some artists rely on drugs and alcohol and things like that becausethey can get you over the creativity threshold. I must admit thatI have got into the habit of drawing when I am a little bit tipsy,in order to make myself not care about getting it right,’ he says.Has success made being an artist and the act of creativity harder?‘It makes you much more self-conscious. That is why some peopleare defeated by success,’ he says. ‘Everything you do is goingto get that much more attention. You are going to get ripped toshreds if you make a mistake. And you have people dependent onyou for their income.’
Recently, Perry experienced a ‘big failure’ when he tried to createa portrait of contemporary Britain inspired by William PowellFrith’s 1856–1858 painting of Derby Day. The intention was tophotograph 80 people, from all walks of life, at Newport PagnellServices and then transfer the image onto a tapestry. ‘We had them allposed up and we were photographing them but it was too literal andit didn’t make good art,’ he says. ‘So I abandoned it after monthsand months of work.’ What did he learn from the experience? ‘It isgreat to have an idea, but not if it looks like shit,’ he says, laughing.
We take a break from tea-drinking to inspect the clothescupboard. Perry is adamant that dressing upis not performance art. ‘It’s a fetish and beinga tranny is enormous fun,’ he says. As ayoung man, Perry, thrown out of his familyhome in Essex after admitting to indulginghis fantasies, ended up in London in a squatwith the milliner Stephen Jones and thesinger Boy George. For a time, the threemen competed to see who could wearthe most outrageous outfits to Blitz, aNew Romantic club in Covent Garden.Nowadays, Perry commissions second-yearstudents on Central Saint Martins’ FashionPrint course to design clothes for him.He gives them a masterclass about his work,as well as a slideshow and a series of key-words to use for inspiration. ‘The first onethat comes out is always “humiliation”,’ he
‘A good dressis a bit of
a challengeto wear and
makes me takea deep breathbefore I leave
the house’
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says. ‘I half-joke that a good dress is a bitof a challenge to wear and makes me takea deep breath before I leave the house. Beingdressed up makes you incredibly vulnerable.Vulnerable to being pestered or abused,and incredibly visible.’ The first dress hepulls off the rack is a giant T-shirt, heavilybeaded and lined in silk; it must weighabout 10 kilograms. Each frock has a dif-ferent theme, texture and material. ‘Thisyear they were exceptionally brilliant,’Perry says. ‘I bought 21 out of 50 designsat about 500 quid a pop.’ Does he alsocollect other kinds of art? ‘The art I like istoo expensive, I couldn’t afford it,’ he says.
I had always assumed that Perry’s work was concerned withidentity: ‘Who Are You?’, a forthcoming exhibition at the NationalPortrait Gallery and accompanying TV series, features Perry’s por-traits of individuals made at a crisis point in their lives; his pots oftenexplore the themes of abuse, bad habits and the vagaries of self; Mapof an Englishman, one of my favourite pieces, is a large map chartingfacets of human neuroses and character traits in the form ofwords and ‘isms’ scattered across an imaginary terrain of rivers,mountains and seas. But when I put my theory to Perry, he dismissesit brusquely. ‘I am impatient with that easy analogy,’ he says. ‘Allartists arepartof theirwork. Identity is anongoingperformance.Myart is a stage set for ideas.’ Taking the Map of an Englishman as anexample, he says the work was a way of reclaiming ‘a territory ofemotions’ when he finished undergoing analysis. Although hetalked about the emotional palette of the work with his wife, thepsychotherapist and graphic novelist Phillippa Perry, he didn’t knowhow the narrative was going to evolve. ‘I started at the top-left-handcorner and worked my way down to the bottom-right-hand corner.’
Perry’s ability to talk openly, without pretension or a traceof highfalutin art-speak, is unusual. For some, he is too dextrous,too gabby and visible to meet traditional expectations of areclusive artist suffering in his garret. Reactions to his recentBBC Reith Lectures exemplify this split in opinion. Some foundthem ‘brilliant’, but one critic accused Perry of having the ‘analyticalsubtlety of a comic book and the organisational logic of a pinballmachine’. I ask if criticism hurts. ‘If somebody says somethingthat shines through my own insecurities, then yeah, that canhurt, because I think I should have done it better.’
Does he mind if people accuse him of not being avant-garde, orfailing to live up to expectations of what an artist should be? ‘They
don’t realise that while they are chewing away at the cuttingedge, I am sitting here having a revolution in the middle ground.Sometimes artists only want to appeal to a cutting edge and havethat argument in a Left Bank café, forgetting that down the roadin PizzaExpress there are a lot of people interested in culture.Meanwhile, the revolution has gone somewhere else.’
We leave the main studio and go into the computer-room to lookat photographs and images of a new house: a collaboration with thearchitectCharlesHollandandAlaindeBotton’sLivingArchitectureorganisation. It is an unusual-looking structure; the morphingof a gingerbread house with elements of Brighton’s Royal Pavilion,
reconfigured as a Russian chapel. An imagi-nary Essex woman, Julie, inspired thebuilding. ‘She is not an exceptional person,’he says. ‘She lives till about 60 and has thesort of life that is a bit thwarted; marriestwice, has kids; but ends up happy. I havetried to make it a poignant celebration of anordinary life. I call it the Taj Mahal of theStour.’ Perry is also designing some ofthe furniture and carpets, and has written anepic poem in her honour, to be published as aleaflet. From spring 2015, visitors will be ableto rent the house for weekends and holidays.
Looking at Perry’s house, with its shinygreen, white and gold façade, I can’t helpbut wonder what kind of building Britain’sother famous potter, Edmund de Waal,
might design; probably something elegant, minimal and white. It’san odd coincidence that these two men, working in the same artisticfield but with such dramatically different styles, are both lauded asarbiters of taste and authorities on culture. But while De Waal looksback in precious, minute detail at the survival of objects, Perry usesa broad anthropological sweep to explore how things define us.
Perry’s journey has been extraordinary: ostracised by hisown family, unsure at first what to do with his life, he has becomea versatile and successful artist, as well as something of a nationaltreasure. For many members of the younger generation, he is a hero,someone who is unafraid to be himself, to tell it as he sees it. Whatis Perry going to do next? ‘I have a whole roster of things to thinkabout. I am fascinated by people and what makes them tick andthe confluence of interests in style, class, taste and psychotherapy,and what makes the swirling structures underneath the surfaceof society,’ he says, before taking a rare pause in his stream ofconsciousness, then adding: ‘And it is very important to makeart because that is my anchor.’‘Who Are You?’ begins on Channel 4 on 23 October at 10pm; the accompa-nying free exhibition at the National Portrait Gallery, sponsored by Coutts,opens on25October.Perry’s book ‘Playing to theGallery’ (£14.99,Penguin)is out now.
‘All artistsare part ofthe work.Identity is
an ongoingperformance’
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A BIGGER SPLASH
SOPHIE BLOOMFIEL
BEAUTY
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Influenced by everything from Picasso to Klimt, Byzantium to AncientGreece, the most beguiling perfumes all have secret meanings
By EMMA ZACHARIA
MESSAGE IN A BOTTLE
Chanel No5 byAndy Warhol
BEAUTY BAZAAR
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artistry: the glittering burnished-gold mosaics and coins of DomenicoDolce’s native Sicily. The opulentByzantine decoration found inside theisland’s Norman-Moorish cathedrals
at Monreale, Cefalù and theCappella Palatina in Palermo havealready been referenced in Dolce& Gabbana’s fashion collections(fluted Corinthian columns inminiature supporting precariousstilettos; crumbling ruins printedacross structured tunics), and theOne Collector’s Edition invokesthem through scent. Each bottleis crowned by a golden Siciliancoin, embossed with Classicalgods and goddesses promising tobestow wisdom, courage andintelligence upon the wearer withevery airy spritz.
Meanwhile, Estée Lauder’s Modernis inspired by ancient mythology.floral mix of honeysuckle, amber
ewy petals, it celebrates the ninersonification of science and the arts,n paintings such as Andrea Mant-sus. The link to artistic tradition ismore tangible in Modern Muse’s
mpaign, shot in the cavernousk Lloyd Wright’s seashell-spiralgenheim Museum in New York.y, the Guggenheim legacy haswith J Crew’s two new scents,
Salvador Dalí said that ‘of the five sensesmell is unquestionably the one that begives the idea of immortality’. In h
characteristically oblique way, the paintwas on to something; fragrance can conjumoods, feelings and memories more quickthan most media. It can be personal, precioand, importantly, ephemeral – all reasowhy for centuries scent has beenassociated with fine art, poetryand legend. Though the idealof beauty (achieved throughharmony, proportion and truth)has been pursued by artists sincethe time of the Ancient Greeks,its properties are valued equallyby perfumers. Golden vialsinspired by Classical art andarchitecture remain as relevanttoday as they did to the AncientEgyptians, whose incense-based mixtures inaugurated thescented culture of seduction.
Take, for instance, Yves Saint Laurent’s aromatic cologne,Kouros, created in 1981 by the perfumer Pierre Bourdon.Blending dry coriander, sage and vetiver with sweet patch-
ouli, bergamot and honey, it takes its name andinspiration from the ancient Greek kouroi, thefreestanding, muscled male nude sculpturesoften found near temples dedicated to Apollo.Remarking on a trip to Greece he made beforethe fragrance’s inception, Saint Laurent said: ‘Iwas fascinated by the blue of the sea, the skyand its intense freshness… At the same time, Idreamed of the statues of young men with allthe splendor of the ancient Greeks. I had my
rfume, and its name.’lce & Gabbana’s latest offering, the Onetor’s Edition, also dr
takefrom ancient
Greek sculptures
Left: Ladywith Hat and
Feather Boa byGustav Klimt.Below: Pablo
Picasso’sWoman withYellow Shirt
£78 for 50mlJ Crew
£72 for 7Dolce & Ga
£78 for 50ml
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d’Avignon and Woman with Yellow Shirt drew inspira-tion from primitive artefacts and African tribalmasks. These canvases have in turn influencedByredo Parfums’ Bal d’Afrique, a sweet, warm blendof neroli, African marigold, heady jasmine andMoroccan cedar-wood.
From the same era, Gustav Klimt’s dreamyand mysterious portrait Lady with Hat and
Feather Boa engendered its own fragrance.Guerlain’s delicate, powdery iris, Nuitd’Amour, is dedicated to Klimt’s fair-skinned,redheaded model, glancing enigmaticallyfrom beneath her plumed hat. The house’slast family master perfumer, Jean-Paul
in, describes the fresh,dy scent as ‘a tribute to thetrait that still surprises me,nd the confusion one feelswhen meeting a womanwho possesses an indefin-able charm’.
But the most suc-cessful, ubiquitous andperhaps alluring modernblendofoldandnewcomes
distilled in the glassy polishedtear drops of Dior’s J’Adore L’Absolu.Developed by the brand’s perfumer-creator François Demachy in 2007,J’Adore combines Turkish damaskrose with jasmine and Indiantuberose, and is bottled in Dior’s con-temporary interpretation of anancient Greek amphora. A specialcollaboration with the French artistJean-Michel Othoniel in 2012 pushedtheconnection further,with thecrea-
tion of hand-blown Murano-glass bottles circled by fleckedthreads of glinting, dappled gold.
‘We perfumers are writers – composers and performers,’y says. ‘We converse in a language
d, but few can speak.’
No 31 and No 57.Born out of accountsof Peggy Guggenheim’s1943 ‘Exhibition by 31Women’, the fragrancescelebrate the first Amer-ican show of femaleartists, drawing on the punchy cocktailsand bold perfumes at the exhibition’s NewYork launch party.
And revolution has inspired perfumerstoo, prompting the exhilaration and vervethat comes with breaking from convention.The now unimpeachable Chanel No 5, forexample, redefined notions of modernitywhen it was created by Ernest Beaux in 1921.Motivated by the clean lines and elidingplanes of Pablo Picasso and Georges Braque’s ground-breaking Cubism, No 5’s cutglass, cuboid, stopperedbottle, with its faceted edges, was a world apart fromthe swirling, florid, crystal creations favoured byperfume houses at the time. Andy Warhol’s series oflurid silkscreen prints depicting the iconic bottlebrings this dialogue full circle.
Picasso’s works also influenced more recentperfumes. Depicting the buzzing dynamism ofParis in the early 20th century, paint-ings such as Les Demoiselles
Chanel No 5’s bottlewas motivated
by the clean linesof Cubism
CO
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BOTTLES
£5Ma
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£71 foJean Paul Gaultie
£47 for 30ml D
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BEAUTY BAZAAR
THE PERFECTBASE
Whether you wanta smooth, groomed
finish or more ofa lived-in feel, ‘it’s
easier if your hair is“day-old”, as it stays
in place’, says thehair stylist GuidoPalau. Use a spraysuch as Oribe Dry
Texturising Spray orShow Beauty Divine
Thickening Mistto create it. The
backstage hair stylistAdam Reed uses theGHD Aura hairdryer
as it leaves tressessmooth rather than
frizzy as it dries.
VA
LEN
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£28Oribe
BACKON TOP
New twists on classic hairstyles dominated A/W 14’s catwalksHere, the backstage professionals tell us how to recreate them
By VICTORIA HALL
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TWISTAND PIN
‘Play with yourbraid and twist
or pin it up,’says Palau. Try
plaiting your hairand putting it upinto a low bunto recreate the
loose up-doseen at Dolce& Gabbana.
STRUCTUREDAND SMOOTHValentino bridgedthe gap between
ponytail and braid.The smooth shapeis a starting pointfor those not usedto wearing plaits.‘It is strong and
structured, whichmakes it feel more
grown up,’ says Reed.Tame loose strands
with Redken’sDiamond Oil High
Shine Airy Mist andsmooth ends withJohn Frieda Perfect
Finish Polishin Serum.ELEGANT
PL
AIT
S
Braids are back, but not in the schoolgirlstyle we remember. ‘Plaits are
easy to create and any age can wear them,’says the hair stylist Luke Hersheson.
‘It’s how you adapt them that’s important.’
LOOSELYTEXTURED
‘Don’t make youbraids too tight orspecific – give thesome personalitysays Ken Paves, thcreative consultaat Color Wow. A
Chanel, the hair stySam McKnight mithe size and thickn
of each braid, anused Fudge Salt Sp
to create a dishevelfinish. We also lovWindle & Moodi
Oceanic Spray.
DOLCE & GABBANA
VA
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VA
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CHANEL
GIVENCHY BYRICCARDO TISCI
GIVENCHY BYRICCARDO TISCI
GIVENCHY BYRICCARDO TISCI
£6.29John Frieda
£16.50Color Wow
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TOUSLED WAVESAlexa Chung and RosieHuntington-Whiteley’s
hair stylist GeorgeNorthwood offers
tonging classes at hisLondon salon (020 75808195). The trick, he says,is to ‘tug lightly on the
strand you’ve justtonged, to avoid a ringlet
curl’. We love CloudNine ’s The Wand. For a
natural look, Hershesonrecommends ‘tucking[damp hair] behindyour ears as it dries’.
VOLUMECreating and
retaining volumethroughout the
length of the hair isessential to keep this
look modern andfresh, rather than
grungy. MoroccanoilRoot Boost is perfectfor this. ‘Use your
fingers to push hairup at the crown of the
head, to avoid itlooking too Sixties,’
says Hersheson.
CONDITIONAND GLOSS
Blow-dry treatmentssuch as KérastaseDiscipline Keratine
Thermique andL’Oréal ProfessionnelTecni Art Dual Stylers
Sleek & Swingsmooth out flyaways
and give tresses ahealthy shine. We’vealso found that theyhelp hold the style
for longer, too.
FINISHINGTOUCHES
At both Burberryand Isabel Marant
there was a frizz-free,slept-in texture.
Shu Uemura Art ofHair Texture Wave
and Sachajuan OceanMist are ourfavourites for
mimicking this finish.Use a small amountof Pureology StrengthCure Split End SalveTreatment to smoothand separate ends.
U
N-STYLED
TEX
TU
RE
Contrary to its name, ‘un-styled’ hair cantake a long time to perfect. The tousled look isone favoured by Rosie Huntington-Whiteley,
and is regularly seen on the catwalksof Burberry and Isabel Marant.
BURBERRYPRORSUM
ISABELMARANT
ISABELMARANT
ISABELMARANT
£18.85Moroccanoil
£18Sachajuan
£16.45Pureology
£119.95Cloud Nine
9alnnel
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THE PREP‘There is a differencebetween feminine,
ethereal flyaways andfrizz. The key is to
work with your naturaltexture, as long as it’s
well conditioned,’ saysPaves. Bumble and
Bumble Repair Blow Dryconditions hair without
weighing it down. Ifyou have fine hair,
spritz Percy & Reed DryInstant Volumising Sprayinto the roots for lift.
SLICKED BACKAND SEVERE
The buns at Prada wereinspired by dancersleaving the theatre.‘It was purposefully
severe,’ explains Palau.‘Women have to feel
very confident to wearthis look.’ Use L’OréalProfessionnel Tecni Art
Crystal Gloss or L’OréalParis Studio Line Boost& Gloss Volume Moussefor shine. Finish with
clear elastics andHersheson Get a Griphair grips to fasten.
MATTE ANDMESSY
For the softer look,‘don’t use a brushanywhere apart
from the ponytail tokeep the natural
texture. You almostwant to see your
fingers in the hair’,says Hersheson.
Use Kent Perfect ForBack-combing Brushto add volume, and
Alterna CaviarPerfect Texture
Finishing Spray orKérastase VIP VolumeIn Powder to tease
wisps out of the bunfor a relaxed finish.
BALLERINAB
UN
S
There was something romantic aboutthe buns on the catwalks. At Diane von
Furstenberg and Marchesa, the finish was softand matte; the high-shine style at Prada
was closer to a traditional ballet bun.
POSITIONING‘Height adds
elegance, while aloose texture keeps
it casual,’ saysPaves. For the mostflattering position,‘look at where yourcheekbones drawup to the crown’,
says Percy & Reedcreative stylist
Lacey Hawkins. Itwill instantly frame
your face.
49essionnel
£14Percy &
Reed
£3.69 Get a Grip,£6 for 75
Hersheson
£23Bumble and
Bumble
.50stase
£29.50Altern
DIANE VONFURSTENBERG
MARCHESA
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NOTBETTER ,
YOUNGERBy SOPHIE BLOOMFIELD
‘Erasing superficial lines is easily achieved with Botox;more difficult is ensuring that, in doing so, no detri-mental effecton thedeeper structuresof the faceoccurs.’A typical scenario starts with the relatively innocuousdesire to eradicate lines around the lower eyes byinjecting them with Botox. ‘This single, simple step cantrigger a cascade of undesirable effects,’ he says. ‘Theprimary function of these muscles is to lift the cheeks;relax them with Botox and the face starts to sag.’ Whichis where the problems really start. ‘When the cheeks
hile the ethics, psy-chology and sense of cosmeticprocedures can be widely debated,the distinction between work thatis aesthetically good (‘Has she hadsomething done?’) and bad (‘MyGod, what has she had done?’) isless nuanced. The slightly puffycheeks and curiously muzzledmouth; that duck-like upper lip,the motionless forehead and thosenarrow, feline eyes: when Botoxand filler conspire to distort the proportions of the face,the result is neither prettier nor younger. True, the wrin-kles have disappeared, but it simply looks, in the truestsense of the word, weird.
So why is it that we can all name many intelligent,beautiful and successful women – both in and out ofthe public eye – who have fallen into that twilight zoneof looking obviously ‘done’? According to Dr MichaelPrager, who is as genuinely aware of the slipperyslope to looking overdone as he is adept at avoiding it:
W
and these are the secrets of finding itFresh, not fake, is today’s holy grail…
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ARCUSOHLSSON/T
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touch of filler in the centre of the cheekcan simply put back the fat that was oncepresent, so looks entirely natural. Wherefiller goes wrong is when doctors attemptto exert artistic power over the face anduse it to create more prominent cheeks. Thisalways looks distorted.’
Whether or not injectables appeal, anUltraLift treatment with the laser expert DrDiana Piana-Mariton, £900 at Dr Sebagh’sClinic (www.drsebagh.com), is hard toresist. You know when you hold your handsat your temples and pull back slightly, won-dering how much fresher you would look
‘if it could just be a bit more like this’?Well, in 40 minutes, UltraLift tangiblyand painlessly tightens the skin andmuscles to achieve just this effect, withthe added bonus of stimulating col-lagen and elastin production in thelong term. Since you do not risk funda-mentally changing the shape of yourface or how it moves, the benefitalongside Piana-Mariton’s combina-tion of lasers such as Polaris (to shrinkpores and firm), IPL (for pigmentation)and Fraxel (to smooth and brighten)is that the results always leave youlooking like yourself, only better.‘What I particularly love about thistreatment is that it gives women theconfidence to do less, rather thanmore, to their faces in terms of Botoxand filler,’ says Piana-Mariton.
Could a laser treatment – in par-ticular, UltraLift – used in the placeof injectables be the secret to lookingfresh but not fake? I think so. Book into see Dr Piana-Mariton, and massageyour face. And never, ever let anyoneinject Botox beneath your eyes.For the best massage-based facials and essen-tial massage techniques to perform at homedaily, visit www.harpersbazaar.co.uk.
is not a bad thing,’ says Prager. ‘Keepinga lift is always preferable to erasing a line –I only inject Botox to muscles that pull downthe face.’ This theory works remarkably wellin practice: the few tiny injections thatPrager administers to the forehead and jaw(a site much overlooked by other doctors,but which ensures that the mouth does notpull downwards) leave the face softer butnot frozen and, vitally, with some attrac-tively characterful lines intact.
The prominent aesthetic doctor Jean-Louis Sebagh agrees that the secret tostaying on the right side of the needle ‘is allabout restoring beauty, rather than tryingto create it’. Like Prager, Sebagh is judiciouswith Botox and only uses injections ofhyaluronic-acid-based fillers to recovervolume that has been lost. ‘I see a lot ofwomen who look gaunt after they have had
their children,’ says Sebagh, byway of example. ‘A tiny
drop, the lower face takes on an aged, heavyappearance and the nasal-labial folds besidethe mouth become compressed and appearmore pronounced,’ he says. It’s at this pointthat attempting to soften these lines andre-plump the cheeks with a little filler canseem like a good idea (cue that muzzledlook) and the temporarily line-less lower eyeregion becomes a problematic long-termissue. ‘Without muscle structure there tosupport the tissue, the area under the eyesstarts to look more hollowed, and the skinactually begins to crease and age even fasterthan if you had never had Botox in the firstplace,’ says Prager. In short, it’s easy to seehow what started as a desire to turn back theclock a few years can set you on a slip-pery slope.
The facialists Nichola Jossand Alexandra Soveral bothsee the ill effects on their high-profile clients. ‘When Botoxis overused and the musclesthat lift the face atrophy,everything just drops,’ says Joss.Little wonder that appointmentswith these famed massage-basedfacialists have become such sought-after alternatives: in re-oxygenatingand detoxifying the facial tissue andreleasing muscular tension, ‘massagetonesand lifts the facialmuscles, givingthem a natural plumpness which isso much chicer than looking frozenand faux’, says Soveral.
Yet is there not a way to look as ifyou only rely on such facials, withouthaving to go au naturel? ‘Well, yes, butonly if you convince yourself that a line
COSMETICDERMATOLOGISTDr Rachael Eckel(+353 86 372 5695);
consultations, from £250Citing inflammation as a key issue,Eckel advises baby aspirin to keepskin plump and lifted. ‘In reducinginflammation, aspirin has impressiveanti-ageing potential,’ she says.
FACIALISTAlexandra Soveral (www.alexandrasoveral.co.uk),from £250 for a 90-minute
Anti Ageing Lifting Face Treatment‘Dry face-brushing before massagingthe face is a beneficial way tokick-start the drainage processand stimulate the skin,’ says Soveral.Alexandra Soveral Facial Brushes,£20 for two, are excellent.
FACIALISTNichola Joss ([email protected]), from £50 for a30-minute facial massage;
£250 for a bespoke facial‘Look in the mirror and forcefullypronounce six rounds of A-E-I-O-U,’says Joss. ‘It helps tighten the facialmuscles; all my clients swear by it.’
BO
OST
YOUR
SKIN
WITH
OUT SURGERY
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BEAUTY BAZAARWorldMags.net
The model and Eambassador Stephanie h
her tips for a flawlesBy VICTORIA
Overlooking a polo field in Connecticut, thetable is beautifully set with a pink tablecloth,matching napkins and bouquets of pink and
whitepeonies andorchids; but asStephanieSeymourtakes her place, the breathtaking setting is forgottenand all eyes are fixed on the 47-year-old. In a prettypeach Alaïa dress, Seymour is softly spoken andgracious, welcoming guests to a lunch to mark herappointment as Estée Lauder’s new ambassador.
From a distance it is her long, tanned legs andfabulous blow-dry that catch my eye. On closerinspection it is her flawless skin that dazzles.Refreshingly, Seymour admits: ‘It doesn’tcome that easy. It’s not like I’m using a bar ofsoap and throwing some moisturiser on.
I’m a little bit older and I haveto go through a process.’
Layering serums is pa tof that process and watip passed down bymother. ‘They penet tthe skin quickly anferent purposes, onfor brightening anIt seems approprito be the face ofserum, Re-Nutri U
Sculpting/Refinishing Duserum’s dual cylinders mein one’, using black truffles souFrance and 24-carat gold to boos nduction of collagen and elastin.
‘It kills two birds with one stone, as tthe firming and hydrating benefits in ’
SUPER MODELSE
CRETS
becnight penetration.’
Seymour has worked with some ofthe most talented photographers in fashionnd beaut
bed he
S o , efined brows,f us who
at leastge caused by
erum to bring uskin too.
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Chanel R
ouge
Allure Velvet Lumino
usMat
teLip
Colou
r,£26
DiorRouge Dior, £26
Charlotte
Tilb
ury
M
atte RevolutionLip
stick,
£23
Tom Ford LipCo
lor,£37
Bo
bbi Br
own CreamyMatteLip
Color,£19.50
L’OréalParisColle
ctio
nExclusive Lipstick, £
6.99
Chantecaille Hydra C
hicLipstick,
£30
Sisley
Phyto-Lip Shine, £29
Givenchy LeRo
uge,
£25
Dolce
&Gabbana ClassicCream
Lipstick,£24
NarsAud
aciou
s Lipstick, £24
THE NEW PALETTE
SHEERBERRY
SOFTNUDE
ROUGEMASSAÏ
BLACKDAHLIA
FAIRYMOSS
ROSEPLUMETIS
AMETHYST
LAFLAMBOYANTE
REDCARPET
RED
BLAKE’SPURERED
RITA
L’Oréal Paris Collect
ionEx
clus
iveLipstick,£6
.99
JULIANNE’SPURERED
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A fter years lost in a beauty Siberia athe back of the cabinet, face maskare creating a niche for themselve
as fast-acting, multitasking skin saviourwith a mix of new and targeted products
Waiting for a mask to work is a thinof the past; I now use Dior’s Hydra LifBeauty Awakening Rehydrating Mask asnight cream and the results are excellent: i
leaves skin plump, dewy and healthy-looking. The make-up artisAndrew Gallimore started my addiction for this mask (althoughany that hydrate, such as Clarins HydraQuench Cream-Mask, andGlamglow Thirsty Mud, £49.99, give the same results), after tellinme how he layers it on under make-up.
So I now do the same with Crème de la Mer’s The IntensiveRevitalizing Mask, because it’s a waste to remove a mask (unless
they are of the clay or peeling variety). Plus, as the facialistNichola Joss explains: ‘Massaging it in gets theactive ingredients deeper to work better.’
Gel masks can be patted on overmake-up to freshen up dry skin, andmasks are a better choice than creamsfor long-haul flights; SK-II’s FacialTreatment and Sarah Chapman’s3D Moisture Infusion masks arepopular with those who face thepaparazzi on landing.
For those masks that come inindividual sachets, my tip is eitherto chill one in the fridge to helpfirm and de-puff skin, or warm itin the bath to relax tight muscles.
The new overnight masks makesense as a more potent, targetedalternative to a nightcream, such as
ilorga’sSleeAssociates’ Overn R i M
andClinique’sMoistureSurgFor when you need a quick im t
peeling masks deliver: my regulars include La PCellular 3-Minute Peel, and Elemis Papaya Enzyme Peel, £31. Both
remove dead surface cells – ideal to prepare skin for either a secondtreatment mask or an intensive cream. Follow with Sensai’smultitasking Lifting Radiance 3D Mask, or Elemis Pro-Intense
ift Effect Super System (its ‘chin-sling’ mask is low on glamourhigh on results). Although it has to be removed, Dr Sebagh’s
Perfecting Mask is worth the work, as it leaves oily, puffyskin looking velvety, clear and even.nger a once-a-week treat, these can be layered and mixed
g a hydrating mask with a nourishing one is brilliantor stressed skin, or even add a dab to foundation. The
ist Sarah Chapman layers her masks over serums ‘to reallysupercharge your treatment’. So, far from being forgot-ten and dusty, these are a new essential; in my bathroomI recently noted that I now have far more masksthan I do face creams.
M A X IMISEFACE M ASK S
This month, NEWBY HANDSains how to get beautiful
skin overnight
HOW TO
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£12
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BEAUTY BAZAAR
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£53 for 10 pairs
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AT HOME
he fashion world loves the elegant simplicity ofr de Villatte’s white china. Bazaar gets a glimpse behindscenes at its founders’ 18th-century Parisian workshop
FRAGILEDREAMS
Edited by MARISSA BOURKE and SOPHIE BLOOMFIELD
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Clockwise frombelow left: Astiernotebooks on theliving-room desk.Benoît Astier deVillatte and IvanPericoli with a
painting byAstier de Villatte’sfather. Salvaged
furniture inthe living-r
Right: j£150, Ade Villa
THE ARTIN THE
CRAFT
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mbuedwithdecayedgrandeur, the1 yapartment that serves as Ivan Pericoli and Benoît Astierde Villatte’s creative workspace is a fitting metaphor forthe ceramics that they design. ‘We make antiques thatwere never created in the past,’ says Pericoli, describingthe brand’s signature style, with its rustic handmade fin-
ish and veil of alabaster glaze.Stocked by discerning boutiques and collected by design and
fashion cognoscenti (Anna Wintour, a long-standing fan, specially commissioned giantcoffee jugs for her son’s wedding last year),Astier de Villatte elevates white tablewareto luxury status.
Not that you would immediately know it,judging by the age-old flagship store on RueSaint-Honoré, its wooden shelves piled highwith artisanal white porcelain. The shopdates back to 1788 (the original Au SingeViolet was a bazaar selling everything fromtobacco pots to tongue scrapers), and whenPericoli and Astier de Villatte took over thepremises in 2000, they did little to renovateit. But why would they? The timeworn par-quet, vintage paint and aged stone are theperfect backdrop for ceramics that areexquisite without being ostentatious.
After meeting at the Ecole des Beaux-Arts in Paris, Pericoli and Astier de Villatte
initially created their ceramic pieces to paint as still-lifes. ‘So wehavealwaysmadetheobjectswith theeyeofanartist,’ saysPericoli.When they founded thecompany in1996, ‘wehad little knowledgeof tableware, but a fascination with ancient detail and a dream ofcreating objects inspired by old treasures and things that areneglected. It could be anything from a broken fragment of tile to apiece of historic architecture. We want there to be a sense of thepast in the pieces, so they don’t feel new’. The decor of their work-space reflects this design ethos in a mix of antique furnishings: avintage armoire stacked with glasses and quirky china figurines,a felt tiger-shaped rug thrown on the original hexagonal-tile floor,alongside a selection of beautifully decrepit fabrics. The result iswonderfully idiosyncratic, and perfectly suited to a design duowho, as Astier de Villatte puts it, ‘invent dream objects’.
I
and MARISSA BOURKELUIS RIDAO
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Left: inspirationdesigns for notebook
patterns. Right:an Astier de
Villatte candle andvintage lamp inthe living-room.
Below: theliving-room with its
felt tiger-shapedrug and antique
furniture
Below: boxes ready tobe shipped. Bottom:inspiration in the formof vintage glasswareand quirky ceramics
Left: egg cup,about £50;
platter, about£100, both Astierde Villatte. Below:Peanuts-figurinecup lids by Astier
de Villatte
Left: Astier plates,and ornaments (acollaboration withSetsuko Klossowskade Rola). Right: thedining-room tablelaid with Astier deVillatte crockery
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ARTWORLD
From Miami to Doha, Bogotá to Amsterdam,Bazaar’s pick of the most creative destinations.
Plus: relaxation in the British Virgin Islands
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The best word for it is electricity. It flows through Miamilike charged particles in a neon sign. You feel it as soon asyou land. Perhaps it’s the static in the air from the nearbyGulf Stream or the Latin spirit that courses through the
veins of its population (which is 65 per cent Hispanic). Perhapsit’s just the promise of sea and sand and tropical heat in the middleof winter, which makes it the perfect draw for northern Europeanson the run from the cold and eager for the distrac-tions (and shops) of a city. Perhaps it’s the look of theplace,anarchitecturalwonderoneverystreetcorner.There is even a carpark here designed by Herzog& de Meuron, a seven-storey garage that looks likea giant house of cards and sits at the intersectionof Lincoln Road and Alton, which visitors come togaze at in awe.
Ever since Art Basel launched here in 2002, the artworld has embraced this city. How could it not? Lifein Miami is an arty blend of looking and appreciating,of mixing shapes and colours, of preening and osten-tation, whether it’s in the toned bodies that whip paston rollerblades along the beachfront or the art decobuildings on Ocean Drive with their pink, turquoise,aquamarine and yellow frontages and jutting ‘eyebrow’ windows,like cartoonish faces looking at you. Miami is a work of art in itself.
Fordealers andcollectors, thebest time tocome isduring thefirstweek of December, when Art Basel takes over and the city is floodedwith openings and happenings centred around South Beach. Butarguably themostanticipatedshowtakesplaceelsewhereanda little
SUN, SURFAND STYLE
In its blazing colours, inventiveness and sheer fun,the city of Miami is a living artwork By AJESH PATALAY
Top: Miami’s SouthBeach. Clockwisefrom above: the
lifeguard tower atMiami Beach. Worksat Art Basel. An art
deco building
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A party startsas street artistswork through
the night
A pool overlookingthe street. Top: a muralat the Wynwood Wallsstreet museum. Right:
works at Art Basel. Below:a street mural in Miami
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earlier, from the end of November, when a couple of blocks inWynwood, Greater Miami, become the epicentre of a burgeoningart movement. Thousands of people spill into the streets, music isplayed, an impromptu party breaks out as some of the world’s mostfamous street artists work through the night, up on cranes withspray cans and brushes, turning the blank walls of the neighbour-hood into giantworksof art.Thesemurals are fêted during ArtBaselweek but remain throughout the year as part of the Wynwood Wallsoutdoor street museum, a dazzling mishmash of imagery. (Whileyou’re in the area, pay a visit to the museum-worthy MarguliesCollection and Rubell Family Collection, and the WynwoodKitchen and Bar for cocktails.)
Another permanent fixture is the Pérez ArtMuseum Miami (known as Pamm) in the new29-acre Museum Park downtown. Its collection ofcontemporary art, which emphasises US, LatinAmerican and Caribbean acquisitions, is fresh andvaried, but as with Tate Modern or the CentrePompidou, it’s the building itself that initiallycaptures the imagination. The work of Herzog &de Meuron (again), it overlooks the glisteningBiscayne Bay and was modelled on the raised stilthouses native to the cape of Florida. Like a Mod-
ernist hut topped with tropical overhanging plants and columns offoliage that drop down like ringlets, the building is somehow bothdelicate and breathtaking.
Back in South Beach it’s a relief, given the razzmatazz elsewhereon Collins Avenue, where many of the flashiest hotels are located,to be staying at the Setai. From the outside, you wouldn’t even knowit was there; it’s that discreet. Formerly the Vanderbilt Hotel, itbacks onto the beach and has three pools nestled betweenpalm-trees and loungers,meeting the luxurious standardsof anyof itsrivals. But its Asian approach to hospitality, whichtranslates to understated decor (lattice screens anddark wood) and impeccable service, means that theminute you step through the door, you feel likeyou’re entering an oasis. No wonder so many ArtBasel regulars stay here. That said, the hotel’s court-yard bar becomes a hive of activity in the evening,and the magnificent Sunday brunch is among themost popular in town. Even in these hushed sur-roundings, the city’s buzz asserts itself.The Setai (+1 888 625 7500; www.thesetaihotel.com),from £450 a suite a night. Return flights with VirginAtlantic (0844 2092 770; www.virginatlantic.com)from London Heathrow cost from £619 a person.
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T ipu Sultan, a Mughal warlord, had Napoleon as his ally –and the Duke of Wellington as his implacable enemy. Youmight expect to find an exhibition devoted to his turbu-lent times in India, or even, at a pinch, in Paris or London.
But not in the Museum of Islamic Art in Doha. It is here, however,that the Tiger of Mysore, as he was known, is celebrated in a beau-tiful new display of rare 18th-century Indian paintings.
There are few countries that have poured such a huge sum ofmoney into art (some say around £700 million a year) as Qatar has,through its Museums Authority (QMA). Its investments range fromthe peerless beauty of IM Pei’s Museum of Islamic Art to the dramaof a Richard Serra sculpture work called East-West/West-East, deepin the desert of the Brouq Nature Reserve. This piece will oxidise in
the heat and salt and sandstorms.Even the new $17 billion airport has
been turned into a giant art space,where travellers will encounter worksby Damien Hirst, and Urs Fischer’sgiant yellow Lamp Bear – a monolithic,dystopian Pudsey. No wonder SheikhaAl-Mayassa, thechairof theQMA,wasrecently voted the most importantperson in the art world today.
Everything in Qatar is designed ona grandiose scale. The hotels are excep-tionally smart, whether you go for theurban comforts of the Four Seasons, orthe resort charmsof SharqVillage,withits many swimming pools and superbspa – a work of art in itself. The DamienHirst exhibition in Doha includedpieces that never made it into his TateBritain show, such as For Heaven’s Sake,the diamond-covered skull of a child;
the entire giant exhibition hall, Al Riwaq, was papered in polka dotsfor the occasion. And the most exciting new building here, rising likeamiragebytheArabianSea, is JeanNouvel’spoeticNationalMuseumof Qatar, a desert rose springing to life and set to open in 2016.
Stay at the Four Seasons Hotel Doha (00800 6488 6488;www.fourseasons.com/doha), from about £190 a rooma night. For more details about Sharq Village & Spa andto book, visit www.ritzcarlton.com. Qatar Airways(0333 320 2454; www.qatarairways.com) flies fromLondon Heathrow, Manchester and Edinburgh to Doha,rom £745 return in economy and £3,210 in business class.
DR AWNTO
DOHAThe Qatari capital is fast
becoming a hub for the world’sgreatest art exhibitions
By SASHA SLATER
Everythingin Qatar is
designed on agrandiosescale
From far left: Doha’sMuseum of Islamic
Art. Richard Serra’s‘East-West/West-East’sculpture in the Brouq
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There’s a wealth of creativity in Colombia’s
GOLDARTISTIC
of more than 60 art galleries and 58 museumsto absorb, including the Valenzuela Klenner
Gallery, Galeria Casas Riegner, Museo Botero and Museo de ArtModern de Bogotá. Just walking between these venues becomes anexhibit en plein air, where a vibrant street-art scene tells the storyof a city emerging from the shadows of military rule and guerrillaattacks. The Gold Museum is an absolute must – part of the collec-tion was exhibited earlier this year at the British Museum.
Never one to miss a trick, W Hotels (www.whotels.com)is opening a Colombian outpost in December, in northern Bogotá’sfashionable Usaquén District, just steps away from the neighbour-hood’s hip restaurants, cafés and shops. After a day of artisticexplorations, this striking gold-infused cocoon on the outskirts ofthe city, which nods to the legend of El Dorado, or ‘The Lost Cityof Gold,’ will offer a haven to unwind.
well-connected capital By LUCY HALFHEAD
Bogotá hasmore than 60galleries and58 museums
Bogotá might not spring to mind when exploring the inter-national art circuit, but a new direct Avianca air servicefrom London, with a flight time of just under 11 and a halfhours, couldn’t have come at a better time.
A decade of ArtBo – the International Art Fair of Bogotá – hasdriven and strengthened the contemporary-art market, and whatonce may have looked like a risqué pit stop is now a dynamic hub foremerging creatives. Mateo López, Carlos Rojas, Beatriz Gonzálezand Elsa Zambrano are among the rising stars luring curators, col-lectors and dealers from all corners of the globe.
‘The art scene in Bogotá has drastically changed, thanks to ourgrowing economy and the rapid development of our country, espe-cially in terms of security and increasing sociopolitical stability,’ saysDaniela Sánchez, a leading gallerist. ‘And then there’s the develop-ment of the new Bogotá Art District, a marriagebetween the evolution of a forlorn neighbourhoodand the amalgamation of galleries, institutions,private collections and artist homes and studios.’
Visitors are spoilt for choice, with the contents
Clockwise from above:the gates of Nuestra
Señora del Carmen inBogotá. Street-food
vendors. A mask in theGold Museum. Street
art. The old town
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caught Chov Theanly, a visualartist reviving the lost art of oilon canvas to show characterssemi-submerged in water, with justtheir noses emerging hopefullyinto clear air.
Then there’s Anida Yoeu Ali’slarge orange Buddhist Bug, possiblyinspired by Lewis Carroll; andNicolas C Grey’s playfully intenseHorrorVacui,or ‘fearofemptyspace’.
It’s also worth seeing the inno-vative gallery, Meta-House, and the
experimental space, Sa Sa Art. Then, after meandering along Street178 – also known as Art Street – to see the Reyum Gallery and theNational Museum, it’s back to Raffles for a cooling dip in the sap-phire pool beneath sun-soaked frangipani.A 12-night tailormade itinerary, including three nights at Raffles Le Royalin Phnom Penh, international flights and private transfers, costs from£3,135 a person with Scott Dunn (020 8682 5060; www.scottdunn.com).
Explore Cambodia’s surprisingart scene in Phnom Penh
By FIONA CAMPBELL
BEAUTYIN THECHAOS
The vast Mekong and Tonlé Sap Rivers meet in the chaosand bustle of Phnom Penh, and not far from their banksthe colonnaded, art-filled Raffles hotel is presiding oversomething of an artistic renaissance. Bolstered by a
decade of relative stability, native Cambodians – returning exilesand expats – are creating a uniquely fertile art scene.
Raffles is a haven, still handing out soothing cocktails on itsElephant verandah as it has since 1929 to everyone from Jackie Oto Somerset Maugham. Now art lovers on their way to AngkorWat stop off here to discoverthe creative, smiling city, punctu-ated by gilt-roofed temples insteadof skyscrapers.
At the hub of Cambodia’s artscene isDanaLanglois’ two-storey,gleaming Java Café, where I
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Take a short but perfectly formed journey
REMBR ANDTto discover hidden Amsterdam By CHRIS CALDICOTT
DINNER WITH
inportraits, you’ll behostedby themanhimself.Other treats includea canal tour with a gourmet lunch on a traditional barge, and exclu-sive visits to the opulent family houses belonging to the descendantsof prominent Golden Age merchants. In one, we watched as anoriginal Rembrandt was being restored.
Or, discover the city’s hidden art treasures at one of its leadingboutique hotels, the Dylan Amsterdam, whose new partnership withthe Morren Galleries sees a rotating exhibition take over the 17th-century landmark. Art from the talented Dutch duo Billy & Hells andthe American photographer Brooke Shaden kicks off proceedings.
Cazenove+Loyd (020 7384 2332; www.cazloyd.com) offers Inspired Journeys to destinations aroundthe world, from £2,180 a person. A new Amsterdamitinerary, to include a visit to the Hague, will beavailable this autumn.
A nyone who loves art, and enjoys being led off the beatentrackdownsecretpaths touniqueandmemorableexpe-riences, should sign up for one of Cazenove+Loyd’sInspired Journeys. A four-day trip, staying at the Hotel
Pulitzer and plunging into the glories and legacy of the Golden Age ofAmsterdam, is bespoke travel at its best; well-planned and creative.
At the Rijksmuseum, which opens its new Philips Wing thismonth with the first showing of its spectacular 20th-century pho-tographycollection, you’ll sail past the patiently waiting crowds intothe charming and informative hands of a private guide. Then thereare intimatedinners inRembrandt’shouseover-looking the courtyard where he painted TheNight Watch. And in the working studio of theoil painter Urban Larsson, surrounded by potsof brushes, palettes of paint and walls covered
A bicycle by the canal.Right, from top:
apartment buildings.Urban Larsson’s studio.A bridge over the canal.
Bottom: Rembrandt’s‘The Night Watch’
at the Rijksmuseum
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TravelNOTEBOOK
FAVOURITE HOTEL‘Rosewood Little Dix Bay.The white-sand beachand blue bay are heavenlyfrom dawn until sunset.’
FAVOURITEHOLIDAYMEMORY
‘A blissful dayisland-hopping with myfamily on the beautiful
boat La Boheme.’
by Heidi Gosman
£285Graf von
Faber-Castell£40
Jo Malone
£34Ligne
St Barth
£81Sisley
£550Prada
£271Tod’s
£950Anya
Hindmarch
£65Crème dela Mer
£29.95,Thames
& Hudson
Top; bottoms,£95 each
Heidi Klein
£240Heidi Klein
£13.99Moleskine
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Alfe Hollingsworth,and Charlotte Dellalin L’Wren Scott
Lily Cole
MelissaHemsley
AshleyShaw-ScottAdjaye
Julia Peyton-Jonesand Tom Hooper
Lianne La Havasand Jay Jopling
A star-studded evening at theRoyal Opera House raised money to
help female victims of conflict
On a warm night, a fashionable crowd flocked to theRoyal Opera House for the Women For Women
International & De Beers Summer Evening, to raisemoney for women in war-torn areas. The models
Arizona Muse and Naty Chabanenko were among thefirst to arrive and led the throng to the balcony, with
its glorious view of Covent Garden Market. They weresoon joined by David Furnish, Jasmine Guinness andCharlotte Dellal. The guests strolled into the twilitdining-room and sat down to a banquet of sea-bass
and samphire prepared by the Hemsley sisters. Thenthe performances began: Lily Cole sang in AncientGreek, giving a taste of her turn as Helen of Troy at
Shakespeare’s Globe; and Lianne La Havas deliveredher signature gravelly pop. Women For Women’s UK
executive director Brita Fernandez Schmidt spokeabout the hardships faced by women during conflict,and urged the guests to bid generously in the auction,which raised £400,000 for the charity. VIOLET HUDSON
FROM LONDON,WITH LOVE
Naty Chabanenkoin Grace
Edited by HELENA LEE
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Jade Parfitt
Lianne La Havas
Hikari Yokoyamaand David Furnish
Arizona Muse inTemperley London
Jasmine Hemsley inMatthew Williamson
MatthewWilliamson
Jasmine Guinness
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article of faith. People who are sure of themselves, who know theirplace in the world, should travel more, she says. Such clarity suggeststhey’ve stopped exploring, aren’t open to the possibility of change.For Chastain, that’s the joy of her job. Acting offers her a way offiguring herself out: ‘There’s something about when I go on set andplay a character, even the more different the characters are from me,the truth of who I am can come out and can be seen when a camerais looking into you.’ A camera, she believes, sees you far more clearlythan another person can: you can’t lie to it, you can’t hide. Forsomeone who’s shy, she has no problem watching her performancesback. More than that, she finds them instructive: ‘I learn aboutmyself when I’m watching myself on-screen.’
If acting isaportal to self-discovery, it’s alsowhatmakesChastainfeel free. She has known since she was a young girl that it was whatshe wanted to do, and was single-minded in her pursuit. She camefrom a family without much money – her mother was a vegan chefand her stepfather a firefighter – and she was able to attend Juilliardthanks to a scholarship funded by the late Robin Williams (he‘changed my life’, she said on Facebook). ‘I don’t know what I’d do ifI wasn’t acting. It doesn’t mean I have to be in movies or havesuccess… I was an actor in community theatre in northern Californiaand I was very happy.’ I believe her. If all the fanfare, great parts andmagazine covers fell away tomorrow, there’s no doubt that Chastainwould contentedly throw herself into whatever she could find, anyplay, any character, anywhere. For her, it’s oxygen. ‘I don’t knowwhat I’d do if I didn’t have this form of expression because it offersme a freedom I don’t have in my personal life.’ In her personal life,she cowers at the thought of a party, questions her every move.On-screen, she discovers parts of herself she never even knew werethere. And so she works, and works, and works. She smiles. ‘It’s abeautiful prison I’ve created for myself.’‘Interstellar’ is released nationwide on 7 November.
TE Well, there are things going on in galleries recently that haveshocked me. What I’m going to say is really controversial, but whatI find the most provocative is the commerciality of art in general.And the fact that a lot of people have forgotten what the meaning ofart is; what the intention behind it is. That makes me quite sad. I seea lot of people now who are creative or whatever, but I wouldn’t saythey were artists. I would say they were working on another level.PE It’s interesting, because I went to the Jeff Koons retrospective atthe Whitney [Museum of American Art] last week.TE Oh yes, how was it?PE It was great, I mean, there were a couple of rooms that were justunbelievable, and I really love the inflatable Hulk. Next question:beds have been a subject matter for other artists such as Rausch-enberg. How do you see your work fitting into that body of work?TE I think My Bed is probably the queen of that subject. (PE laughs)Definitely. A lot of men have used it as a subject. I mean, there wasan article in The Guardian this week in which Jonathan Jones wroteabout the men in history who have drawn a woman on a bed or ina bed, but I’ve actually made the bed and I’ve taken the woman outof it; but there’s still a ghost of a woman there.PE You recently said you hoped to see My Bed placed in an institu-tion. Do you see this as the best possible outcome for the piece?TE Definitely. I just hope that somebody buys it and donates it to theTate or to another museum. (‘My Bed’ was purchased for £2.54 millionby the German collector Christian Duerckheim, who has since confirmed thework will return to the UK on a long-term loan to Tate.)
PE Do you see this moment as a new beginning for you?TE Yes, because I’ve got this show coming up at White Cube inBermondsey, which is all new work – paintings, bronzes, works thatpeople don’t expect to see from me.PE Are you excited about the show? Are you all sorted?TE Bermondsey is a 58,000-square-foot gallery and I make reallytiny work, so that makes me nervous.PE When I last came to the studio, I saw your bronzes. They werejust beautiful. They’re going to be there too?TE Yes.PE Good.TE Some of the bronzes are really tiny, like four inches. Some aremuch bigger, like four or five foot. White Cube is a pretty machospace and it shows a lot of macho art and it’s quite a risk for me doingthe show there, in lots of ways.PE OK, I’m nearly done, this is my last question. How do you feelabout online art markets like Paddle8? Do you think it’s a good wayof showcasing art and artists and of collecting art?TE Well, I think Paddle8 is really good because, first of all, everyonecan access it because it’s online, everyone can bid and everyone canaskPaddle8 to sell theirwork.But I also like the ideaof artists comingin and curating an auction, which is what I’m doing. The pieces inmy auction will be a combination of the cute and the powerful,things that actually turn me on and I really enjoy looking at and also,you know, sweet things that people wouldn’t expect me to like. Sowe’re looking for artists whose work comes within those criteria.PE Your auction will go online for two weeks around the time ofyour White Cube show.TE You’re not going to get this from a [traditional] auction house.They’ll never take that risk.PE That’s what’s brilliant about Paddle8.TE What made you go into art? You went to Newcastle University,didn’t you?PE Yes. I did art history and English literature at Newcastle.TE With that degree you could have done many different things.And how come you decided that you didn’t want to be an artist? Alot of young people want to be artists, they’ll do anything. But youdecided to work on the other side, to facilitate art.PE Doing art at Marlborough, where I went to school, was reallyquite tough, and I knew that it wasn’t the direction I wanted to go.I’d rather show art and give people the joy of seeing it. I rememberwhen I was still at school I went to New York for two days and wentto see thegalleristTonyShafrazi. Iwasdoinga Jean-MichelBasquiatproject for my A-levels and I walked into his gallery and it was allBasquiat. And you know what Shafrazi’s like, he’s amazingly char-ismatic and he had this booming voice and he took me around theshowandever since then, I just thought: ‘Oh, Iwant todo that.’ Iwantto see this art, I want to put it on the walls, I want to give people thefeeling thathegavemewhen I saw it.Helping someonebuildup theircollection is just so exciting. I know that when I’m building mine up,it’s so much fun to see all the little bits you’ve got.TE OK, so if you could acquire any piece of art, what would it be?PE Well, I actually just bought a Conor Harrington print and it’ssitting in my bedroom. But if I could buy anything it would definitelybe Basquiat’s Irony of the Negro Policeman.TE Oh, brilliant. So it wouldn’t be My Bed then? (Laughs)PE Well, I’ve already got my own bed.‘Tracey Emin: The Last Great Adventure Is You’ is on at White CubeBermondsey (www.whitecube.com) from 8 October to 16 November. Herauction ‘Tracey Emin: From the Cute to the Powerful’ is open for biddingonline at Paddle8 (www.paddle8.com) from 4 to 13 November.
‘THE PRINCESS AND THE ARTIST’, CONTINUED FROM PAGE 220
‘THE BUTTERFLY EFFECT’, CONTINUED FROM PAGE 188
www.harpersbazaar.co.uk280 | HAR P E R’S BA ZA AR | November 2014
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AAgnona 4 Burlington Gardens, London W1 (020 7493 6464) Akris30 Old Bond Street, London W1 (020 7758 8060) Alexander McQueen4–5 Old Bond Street, London W1 (020 7355 0088) Amrapali 55 BeauchampPlace, London SW3 (020 7584 4433) Annina Vogel at Liberty (020 77341234) Anya Hindmarch 15–17 Pont Street, London SW1 (020 7838 9177)Armani Privé (+33 1 56 89 01 18) Astier de Villatte at Liberty (020 77341234) Aurélie Bidermann (+33 1 55 35 02 41; www.aureliebidermann.com)BBalenciaga at Matchesfashion.com Bally 37 Brompton Road, LondonSW3 (020 7491 7062) The Berkeley Wilton Place, London SW1 (020 72356000) Bex Rox (020 7792 9671; www.bexrox.com) Boodles 1 SloaneStreet, London SW1 (020 7235 0111) Bottega Veneta 33 Sloane Street,London SW1 (020 7838 9394) Boucheron 164 New Bond Street, LondonW1 (020 7514 9170) Breguet (0845 273 2400) Brunello Cucinelli 159Sloane Street, London SW1 (020 7730 5207) Bulgari 168 New Bond Street,London W1 (020 7872 9969) Burberry 121 Regent Street, London W1(020 7806 8904)CCartier (020 3147 4850) Céline 103 Mount Street, London W1 (020 74918200) Chanel 158–159 New Bond Street, London W1 (020 7493 5040)Chanel Fine Jewellery 26 Old Bond Street, London W1 (020 74931224) Chanel Haute Couture (+33 1 44 50 66 00) Charlotte Olympia56 Maddox Street, London W1 (020 7499 0145) Charlotte Simone(020 7535 5234; www.charlottesimone.com) Chatila 22 Old Bond Street,London W1 (020 7493 9833) Chloé 152–153 Sloane Street, London SW1(020 7823 5348) Chopard 12 New Bond Street, London W1 (020 74093140) Christopher Kane at Browns, 23–27 South Molton Street, LondonW1 (020 7514 0000) City Cows (020 7099 6616; www.citycows.co.uk)Coach 41–42 New Bond Street, London W1 (020 3141 8901) Cobra& Bellamy (07774 675416; www.cobra-and-bellamy-jewellery.co.uk)Comme des Garçons at Selfridges, 400 Oxford Street, London W1 (0800123400) The Conran Shop 81 Fulham Road, London SW3 (020 75897401) Crème de la Mer (0800 054 2661; www.cremedelamer.co.uk)DDaks 10 Old Bond Street, London W1 (020 7409 4040) David Morris 180New Bond Street, London W1 (020 7499 2200) De Beers 45 Old BondStreet, London W1 (020 7758 9716) De Grisogono 14a New Bond Street,London W1 (020 7499 2225) Delvaux at Selfridges (0800 123400) Dianevon Furstenberg 25 Bruton Street, London W1 (020 7499 0886) Dior (0207172 0172) Dior Haute Couture (+33 1 40 73 54 44) Dolce & Gabbana 6–8Old Bond Street, London W1 (020 7659 9000) Drummonds 642 King’sRoad, London SW6 (020 7376 4499)EEddie Borgo at Harvey Nichols, 109–125 Knightsbridge, LondonSW1 (020 7235 5000) Edie Parker at Matchesfashion.com Elie SaabHaute Couture (+33 1 42 56 77 71) Emporio Armani 191 BromptonRoad, London SW3 (020 7823 8818) Equipment at Net-A-Porter(www.net-a-porter.com) Erdem (www.erdem.com) Ernest Jones(0345 602 1112; www.ernestjones.co.uk) Ermanno Scervino 198–199Sloane Street, London SW1 (020 7235 0558) Etro 43 Old Bond Street,London W1 (020 7493 9004)F – HFabergé 14a Grafton Street, London W1 (020 7491 7256) Falke(www.falke.com) Farrow & Ball (01202 876141; www.farrow-ball.com)Fendi 141 New Bond Street, London W1 (020 7927 4172)Frey Wille 3 South Molton Street, London W1 (020 7499 8637)Graf von Faber-Castell at Selfridges (0800 123400) Graff Diamonds6–8 New Bond Street, London W1 (020 7584 8571) Grenson (0845293 0366; www.grenson.co.uk) Heidi Klein 257 Pavilion Road, LondonSW1 (020 7259 9418) Hermès 78–79 New Bond Street, London W1(020 7499 8856) Hilfiger Collection (020 3144 0900) Hobbs47–48 South Molton Street, London W1 (020 7629 0750)I – KIntimissimi (www.intimissimi.com) Isabel Marant Etoile atMatchesfashion.com J Crew (0808 234 3686; www.jcrew.com) JacobCohen at Harrods, 87–135 Brompton Road, London W1 (020 7730 1234)Jaeger (0845 051 0063) Jimmy Choo 19 Conduit Street, London W1
(020 7493 5858) Jo Malone London (0800 054 2411; www.jomalone.co.uk)Jonathan Saunders for the Rug Company 555 King’s Road, LondonSW6 (020 7384 0989) Kate Spade New York 1–4 Langley Court, LondonWC2 (020 7836 3988) Kenzo 31 Bruton Street, London W1 (020 74918469) Knot & Bow (www.knotandbow.com)LLanvin at Net-A-Porter (www.net-a-porter.com) Le Specs (07867 432969;www.lespecs.com) Leon Max (0800 030 4334; www.maxstudio.co.uk)Liberty 210–220 Regent Street, London W1 (020 7734 1234) Ligne StBarth at Heidi Klein (020 7259 9418) Lina Bo Bardi for Arper (+39 04227918; www.arper.com) Louis Vuitton (020 7399 4050) LuxDeco (020 35861536; www.luxdeco.com)MMaison Michel (+33 1 49 15 11 60; www.michel-paris.com) ManoloBlahnik 49–50 Old Church Street, London SW3 (020 352 3863)Marc Jacobs 24–25 Mount Street, London W1 (020 7399 1690) Marni26 Sloane Street, London SW1 (020 7245 9520) Martone Cycling Co(www.martonecycling.eu) Michael Kors 223 Regent Street, London W1(020 7659 3550) Miu Miu 150 New Bond Street, London W1 (020 74090900) Moleskine (020 3499 5017; http://store.moleskine.com) Moschino28–29 Conduit Street, London W1 (020 7318 0500) MSGM (+39 073340079; www.msgm.it)N – PNancy Gonzalez at Harrods (020 7730 1234) Neom (01423 878810; www.neomorganics.com) Net-A-Porter (www.net-a-porter.com) Next (0844844 8939) Nike (020 7660 4453; www.nike.com) Oliver Bonas (020 89740110) Omega (www.omegawatches.com) Paul Smith (0800 023 4006;www.paulsmith.co.uk) Paula Cademartori (www.paulacademartori.com)Philippe Starck for Flos (020 7691 9933; www.flos.com) Piaget 169 NewBond Street, London W1 (020 3364 0800) Pierre Hardy (+33 1 53 19 1924; www.pierrehardy.com) Pippa Small 201 Westbourne Grove, LondonW11 (020 7792 1292) Prada 16–18 Old Bond Street, London W1 (020 76475000) Pringle of Scotland 94 Mount Street, London W1 (020 3011 0031)RRalph Lauren 1 New Bond Street, London W1 (020 7535 4600) RobertoCavalli 20–22 Sloane Street, London SW1 (020 7823 1879) RupertSanderson 19 Bruton Place, London W1 (020 7491 2260) Russell &Bromley 24–25 New Bond Street, London W1 (020 7629 6903)SSacai at Browns (020 7514 0000) Saint Laurent by Hedi Slimane171–172 Sloane Street, London SW1 (020 7235 6706) Salvatore Ferragamo24 Old Bond Street, London W1 (020 7629 5007) Sergio Rossi207a Sloane Street, London SW1 (020 7811 5950) Shrimps at Net-A-Porter(www.net-a-porter.com) Sisley (0800 433 4483; www.sisley-paris.com)Sonia Rykiel (+33 1 80 06 98 59; www.soniarykiel.com) Sportmax19–21 Old Bond Street, London W1 (020 7499 7902) Stella McCartney30 Bruton Street, London W1 (020 7518 3100) Stuart Weitzman (01865920174; www.stuartweitzman.com)T – ZTabitha Simmons at Matchesfashion.com Talisman Gallery at HarveyNichols (020 7201 8582) Theo Fennell 169 Fulham Road, London SW3(020 7591 5000) Tiffany & Co (0800 160 1837) Tod’s 2–5 Old Bond Street,London W1 (020 7493 2237) Undercover (01493 752045; www.undercoveruk.com) Valentino 174 Sloane Street, London SW1 (020 72355855) Valentino Haute Couture (+33 1 55 35 16 00) Van Cleef & Arpels9 New Bond Street, London W1 (020 7493 0400) Victoria Beckham 36Dover Street, London W1 (020 7501 1122) William & Son 10 MountStreet, London W1 (020 7493 8385) Zadig & Voltaire 140 Sloane Street,London SW1 (020 7730 1880)Subscription offer (page 179) terms and conditions: this offer is valid for UK Direct Debit subscriptionsonly. Subscriptionsmay not include promotional items packedwith themagazines. All orders will beacknowledged and youwill be advised of commencement issue within 14 days. This offer cannot be usedin conjunction with any other subscription offer and closes on 3 November 2014. The free gift is subject toavailability and limited to the first 150 orders. Please allow 28 days for delivery. Theminimum subscriptionterm is 12 issues. Subscriptionsmay be cancelled by providing 28 days’ notice prior to the first anniversaryof your subscription. The normal cost of 12 issues is £51.60, based on a basic cover price of £4.30. For UKsubscription enquiries, ring 0844 848 1601. For overseas subscription enquiries, ring +44 1858 438838,or visit www.hearstmagazines.co.uk. For our data policy, visit www.hearst.co.uk/dp. All information is correctat the time of going to press.
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November 2014 | HAR P E R’S BAZA AR | 281
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VEEJAY FLORESCA X BRIDALVeejay Floresca isa designer basedin San Francisco,California.Madore is a lowerpriced luxury line forsoon-to-be brides.This is not a Ready-To-Wear collection.This is Ready-To-Order.The client willchoose a designfrom the collectionand we will makean entirely newgown based onher personalmeasurements.
She will undergo one fitting to make sure thedress fits her perfectly.www.madoreveejayfloresca.comemail: [email protected] +1 4155839663
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Autumn fashionOur picks this November
TRAVELLING CASHMEREWRAP!Made in England from 100% cashmere.The Ideal Travelling Companion! Folds intoa square, light as air. Seriously stylish, yetperfectly practical. Incredibly versatile, warmand fits into a handbag!Available in a range of stunning colours. £200.Visit: www.frenchvelvet.co.uk or call toorder on 01325 460669.
n.u.s.kBarcelona based brand n.u.s.k born out ofa desire to offer in-style and fair productswithout sacrificing style and quality. Headdesigner Sònia launched n.u.s.k after years ofexperience in companies like Hoss Intropia.Timeless and pure lines garments are based ona slow design process.Fabrics are organic certified cotton and wool.Details are made with upcycled leatherand denim.Go online www.nusk.esInstagram: by_nusk and Facebook: nuskContact [email protected]
HOUSE OF ZADAHouse of Zada is mainly inspired by the richand timeless Egyptian heritage of its designer.Growing up surrounded by plenty of vibrantstatement jewellery, sparked an interest injewellery making from a young age. Seen hereis a Lapis Lazuli gemstone statement necklace,which is just one example of the many versatileand unique handmade pieces this jewelleryhouse has to offer.Visit www.houseofzada.com for morestatement making and quality fashion jewellery.
BRITISH HANDMADELEATHER HANDBAGSHarriet Sanders designs and makes luxuryleather handbags in her London basedstudio, featured here is the Bella Bag atrans-seasonal vintage inspired cross-bodybag, her signature touch is a lining of fun,brightly coloured suede.Enter discount code ‘harpers’ to receive30% off at the checkout.www.harrietsanders.co.uk
SEMON CASHMEREChic, stylishand machinewashablecashmere madewith the highestquality Mongolianluxury yarn.London designerSemka Dashnyamhas created acollection withunique stylingto emphasiseand complementthe female formthrough sharptailoring withelegant and funkytwists. Bespokeservice available.For an exclusive 10% off your first order, quote“Harpers SEMON” when you shop online atwww.semkacashmere.com(exp. 7/12/2014)
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JEWELSTREETJewelStreetintroduces LondonRoad Jewellery,a collection ofgold and gem-set contemporaryjewellery.Skilfully madeby accomplishedcraftsmen, thedistinctive collectionof women’s jewellerypays homage to thediversity of London.The brightest diamonds and unusual cutgemstones embody the London Roadhallmarks of colour, texture and shape.Pictured is London Road’s latest additionto its Pimlico Bubble collection; pinktourmaline and diamond pendant set inrose gold, RRP £995.Find this and more at London Road’sJewelStreet boutique www.jewelstreet.com/London-Road
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Luxury jewellerySparkle this seasonCHAHATFine Jewellery
Chic, glamorousand exceptionalcreations thatare individuallycrafted bydesigner TinaUberoi. Chahatjewellery isa colourful,elaborate fusionof creativity,quality andperfection. Allthe gemstonesused are realpearls, precious
and semi precious stones in sterling silver orgold. Every piece of Chahat jewellery is anoriginal work of art.Visit www.chahat.co.uk to discover howChahat’s versatile signature necklace, theChahat Necklace (pictured here), can beworn in nine and more different ways,or email [email protected]
JOCHEN LEËNEach one of our objects is dedicated to modern craftsmanship and outstanding quality.A combination between top-grade gemstones and wearable contemporary art.Passionate Belgian jewellery designer Jochen Leën creates one of a kind quality objects,outstanding quality and modern craftsmanship formed into contemporary art. Featured ringsare handmade in Belgium from rose gold, set with green Beryl and peach colored morganite.www.jochenleen.net Relais & Chateaux La Butte aux Bois private jeweller. (€6400)
LAPISBEACHThe delicate wire mesh jewellery offered fromLapisbeach is truly a unique work of wearableart. Each piece is handmade and expertlyhandknit. Every item is one of a kind. Thisemerald gold wire cuff bracelet is adornedwith gorgeous semi precious stones, pearlsand crystals in beautiful emerald tones. Thesepieces make a feminine yet strong statement onthe arm. Shop various color combinations andstyles at www.lapisbeach.com
SARA LASHAYSara Lashaydesigns andcreates thefinest quality,contemporaryhandmadejewellery.Drawinginspiration fromthe naturalenvironment,Sara Lashay´sjewellery isintricately craftedfrom preciousstones, silver
and gold to create highly unique pieces. Eachpiece of jewellery displays a progressive colourcombination inspired by her love for fusing theclassic and contemporary in her work. Browseher online shop www.saralashay.comfor that special something that matches yourindividual personality and style or call+49 151 43223688.
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Greenland Luxury CruiseEmbark on an expedition cruise that takes you to Greenland, one ofthe world’s most remote outposts. Visit Inuit communities, see calvingglaciers, admire the UNESCO-listed Ice Fjord, spot graceful whales andother polar wildlife. Follow in the footsteps of the great explorerswithout compromising on comfort.
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T he first time Salvador Dalí wasasked to be a contributor toHarper’s Bazaar, he flatly refused.
Carmel Snow, then editor of the USedition, had dispatched the art directorAlexey Brodovitch to Paris to recruit him.The next time, Snow went in person andDalí reconsidered. ‘My reputed “charm”(and cash, doubtless…) accomplishedour purpose,’ she reported afterwards.
Money aside, one wonders at Dalí’s initial hesitation. As an artisthe was always keen to venture beyond the canvas, as is evident inhis collaborations with the fashion designer Elsa Schiaparelli andthe director Alfred Hitchcock (on a dream sequence for the 1945film Spellbound). Also, Bazaar provided an ideal platform, as a main-stream publication that was unafraid to be experimental. (Man Rayand Jean Cocteau were also contributors.)
In the end, Dalí’s work for Bazaar continued for decades. It
included a spread from 1939 featuring theartist and his wife Gala photographedagainst one of his works: a giant phonereceiver hovering above two fried eggs.In 1937, he submitted a similarly odddrawing of Harpo Marx sitting astride aharp with an apple and a lobster on hishead. In the accompanying essay, hehailed the comedian as ‘naturally the
most fascinating and the most surrealistic character in Hollywood’.Also striking is this portrait of Dalí taken by Richard Avedon in
1963. Coiled around the artist’s neck is the arm of the model Dovimaand the ‘Fountainof Heraclitus’ necklace (designedbyDalí), neitherof which distracts for long from his upturned moustache. Look care-fully and you can make out the word ‘Pop?’ (in Dalí’s squiggly hand)issuing from his right whisker. ‘Is Dalí the precursor to Pop Art?’ theartist spelled out in the caption, referring to himself in the thirdperson. From this portrait alone, one is tempted to say yes.
Salvador Dalí,Dovima andthe ‘Fountainof Heraclitus’necklace designedby Dalí,photographed byRichard Avedonin Paris, on 15January 1963
Iconic moments fromour archives revisited.
This month: Salvador Dalí’sSurrealist contributions
By AJESH PATALAY
HOW BAZAAR
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