harpers bazaar uk 2013-11
TRANSCRIPT
ATLAS®
November 2013 | Har p e r’s ba za ar | 29www.harpersbazaar.co.uk
contents — november 2013
on tHe cover
176 Exclusive: Jennifer Lawrence
157 Carine Roitfeld’s Romeo & Juliet
Features176 playing tHe game
our cover star Jennifer lawrence
lives life by her own rules
214 costume drama on the heels
of the mcQueen and bowie shows,
blockbuster fashion exhibitions are
storming museums around the world
218 ralpH lauren Justine Picardie
travels to montauk to meet a true
believer in the american dream
Fashion157 romeo and Juliet carine
roitfeld celebrates star-crossed love
186 tHe golden age a chic rock
chick dazzles in the glowing piazzas
of the eternal city
200 a russian romance drama
and passion run high in the grounds
of vladimir nabokov’s country dacha
208 tHe new poise monochrome
elegance puts a spring in the step of
autumn style
style75 10 tHings we love our style
highlights this november
94 between tHe lines
thinking fashion
97 stitcH perfect How the
french luxury house Hermès sews
perfection into every piece
106 our moodboard the sacred
inspiration of valentino couture
108 bags of talent penélope
cruz’s spanish objects of desire
111 rise up the enduring legacy of the
man who invented the stiletto
115 my life, my style inside artist
polly morgan’s taxidermy-filled home
accessories123 past masters dutch paintings
and baroque embellishment inspire
the season’s loveliest bags and shoes
shop132 dress code suit up in navy and
cream tailoring
talking points144 buyers’ market
browse basquiats and mirós in
london’s berkeley square
147 bibliotHerapy books for a
better life: boost your creative side
148 tHe contender daniel
radcliffe reveals why he’s fighting his
way to ever greater dramatic heights
150 tHe space woman the
architect who shapes the art world
151 under tHe influence
ancient themes meet modern
creativity at frieze
151 my cultural life
novelist elizabeth gilbert
152 romancing tHe stones
one man’s quest to bring together
india’s most spectacular jewellery
153 don’t miss… Jim broadbent, Judi
dench and benedict cumberbatch
star in november’s best new films
▼
photograph:ben
hassett
176page
www.harpersbazaar.co.uk38 | HAR P E R’S BA ZA AR | November 2013
CONTENTS
COVER LOOKS Above, far left: Jennifer Lawrence wears tulle, lace and chiffon dress, to order, Zuhair Murad Haute Couture. Gold crown, about £465,Jennifer Behr. Gold and diamond ring, about £5,570, Parulina. Above, centre left (subscribers’ cover): silk top; pleated silk skirts, all to order, Dior Haute Couture.Right hand: gold, sapphire and coral ring, £11,000; left hand, from left: gold and tourmaline ring, from a selection; gold and diamond ring, about £3,390, all DiorJoaillerie. See Stockists for details. Styled by Julia von Boehm. Hair by Adir Abergel at Starworksartists.com. Make-up by Monika Blunder at the Wall Group, usingDior: Diorshow Fusion Mono eyeshadow in Hypnotique; Diorshow New Look Mascara; Diorblush in Mimi Bronze; and Rouge Dior lipstick in 5th Avenue.Manicure by Marissa Carmichael at Streeters. Photographs by Ben Hassett. Above, centre right: limited-edition cover available exclusively at the V&A.Photograph by Harry Cory Wright. Above, far right: limited-edition issue, complimentary with a make-up appointment at Dior counters at Selfridges in London,Manchester and Birmingham in October*. Illustration: ‘Rouge Dior’ by Aurore de la Morinerie, using Rouge Dior lipstick in 999
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HARPER’SBAZAARturn to page 155, or ring 0844 848 1601
BEAUTY225 MODERN MASTERPIECES
Cosmetic creations that please
the eye as much as the skin
231 SOMETHING IN THE AIR
When art and perfume mix, they
hit the perfect notes
234 DARK ARTS Inky nails for autumn
236 WATERS OF LIFE Tap into the
delights of blissful bathing
AT HOME240 WONDER LAND A Scottish garden
where poetry lives in moss and stone
ESCAPE244 ART IN RESIDENCE Ten hotels
for globetrotting aesthetes
251 TRAVEL NOTEBOOK Jeweller
Monica Vinader explores the
mulitifaceted gem of India: Jaipur
FLASH!252 POWER DRESSING The Royal
couture collection draws glamorous
style-lovers to Kensington Palace
253 FRAMES OF ATTRACTION
Art, fashion and film collide at Tracey
Emin’s Royal Academy dinner
REGULARS57 EDITOR’S LETTER
64 CONTRIBUTORS
139 WHY DON’T YOU…? Ideas to add
a little joie de vivre to your day
140 THE AGENDA Retail inspiration
for the month ahead
154 HOROSCOPES November in the
stars. By Peter Watson
254 STOCKISTS
262 HOW BAZAAR A classic moment
from our archives revisited
157PAGE
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Published on 3 October
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November 2013 | HAR P E R’S BA ZA AR | 57
EDITOR’SLETTER
EDITOR’S
PICKS
Stephen Jones is the artist of
millinery, and a feathered hat from his
new collection is a delightful embodiment
of creative flight. I am also constantly
inspired by Phoebe Philo at Céline, and Maria
Grazia Chiuri and Pierpaolo Piccioli at
Valentino; all designers who have made me
see the Flemish Masters in a diferent way
this season. Finally, to Andy Warhol,
whose drawings for Harper’s
Bazaar are a constant
source of joy…
About £1,175
Céline
£2,125
Valentino
£540
StephenJones
Millinery
Andy Warhol
Drawings (£10.99,
Chronicle Books),
published on
1 November
I’ve always thought that a good magazine – and hopefully you
will count Harper’s Bazaar as one – should feel like a friend; and like
all the best friends, share ideas and pleasures together. The catalyst
for the November issue – which takes art as its theme – arose from
an enjoyably talkative day I spent earlier
this year with the editors of Bazaar ’s
international editions. Three of them had
already launched Bazaar Art magazines
(in Russia, China and Arabia), and by
the end of our time together, I had been
inspired to do the same.
So our first edition of Bazaar Art
accompanies this issue, but some of the
ideascontainedwithin itarealsoreflected
here,andviceversa.This ispartlybecause
we are asking wide-ranging questions –
to what extent does art overlap with
fashion, and is fashion itself an art form?
– and these need time and space to
develop, as in any thoughtful conversation. I also
hope you will find the pictures on the following
pages as inspiring as we do: with fashion shoots
inRomeandStPetersburg,andmodelsincluding
the Russian ballet dancer Oksana Skorik. As
always, Carine Roitfeld’s contribution to Bazaar
extends the wonderfully varied range of
models even further; this month, with her series
of couples in a radically contemporary take on
Romeo and Juliet.
On a different note, we are thrilled to have Jennifer
Lawrence as our latest cover star, with an interview that
is as punchy as her portraits are beautiful. What becomes
refreshingly clear in her encounter with our writer, Tom
Shone, is the strength of her independent spirit – and her
refusal to conform to Hollywood clichés. Hence no star-
vation diets, plenty of crisps, and a subversive streak that
allows her to laugh at herself, as well as the absurdities
of celebrity; all of which suggests that being Jennifer
Lawrence is not entirely dissimilar to Oscar Wilde’s
PURE
IMAGINATION
A look from the
fashion story ‘Romeo
and Juliet’, styled by
Carine Roitfeld
(page 157)
▼
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58 | HAR P E R’S BA ZA AR | November 2013
EDITOR’SLETTER
Justine Picardie
PS: to download your digital edition, visit theiTunes App Store, Google Play Magazines or
the Newsstand store on your Kindle Fire.
A look from the
fashion shoot
‘The golden age’
(page 186). Below,
clockwise from left:
a collage by Roger
Vivier; a Vivier heel;
and a sketch for the
label (page 111). A
Warhol-influenced
Dior clutch (page 88)
PHOTOGRAPHS:R
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CAMERON,V
ALERYKATSUBA,P
AULZAK,C
OURTESY
OFROGERVIV
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HEBATA
SHOEMUSEUM/©
STÉPHANEGARRIG
UES
www.harpersbazaar.co.uk
definition of art as ‘the most intense mode
of individualism that the world has known.’
Elsewhere in the issue, the art of fashion –
and fashion’s influence on art – is clearly
apparent. Consider Hannah Rothschild’s
perceptive article on the fashion blockbuster
exhibitions that have proved to be such hits in
museums around the world (I’m still hoping
that ‘Savage Beauty’, the immensely successful
AlexanderMcQueenshowattheMetropolitan
Museum of Art in New York, will at some point
be staged in this country, the designer’s home-
land). Meanwhile, my own journey to America,
to interview Ralph Lauren, has prompted
further discussion with my colleagues at
Bazaar about the designer’s significant effect
on the wider culture. Meeting Lauren at his
home in Montauk was one of the most
intriguing encounters I have ever had in my
professional life. His fame
over four decades and his
ability to transcend fashion
with evocative story-telling
remind me of that great
visionaryCocoChanel; and
also of the Hollywood pio-
neers who gave America a
sense of itself, as well as an
escapist dream.
If, like many people, you
read magazines backwards,
then by this point you may
have already formed a view on the contents of the
November issue. What I hope is that some of it
will stay with you; and though I do not claim that
Harper’s Bazaar is an art form (good journalism is perhaps more
of a craft), it might take you on a journey too. For my personal
interpretation of the role of art in this context – which is doubtless
as idiosyncratic as anyone else’s – is that at its best, it allows us to
lose ourselves, and then find ourselves, as well. With this in mind,
take courage, my friends, and let your imagination flow…
Please
join us at 10am
on 9 October for the
launch of the Harper’s
Bazaar pop-up boutique at
Bicester Village. I’ll be there
with the Bazaar team to
show you around. (www.
bicestervillage.com)
www.harpersbazaar.co.uk64 | Har p e r’s ba za ar | November 2013
contributors
against the backdrop
of Classical rome,
photographer regan
Cameron captures the
allure of autumn’s jewel
tones in ‘The golden
age’ (page 186). His
wide-ranging repertoire
includes fashion and
beauty campaigns for
burberry, estée Lauder
and MaxMara, and
among his previous
subjects are Gwyneth
paltrow, Nicole Kidman
and Kate Winslet.
Theartof style is…
‘simplicity.’
Who’s thegreatest
artistofour time? ‘steve
Jobs, because he brought
architecture, beauty and
simplicity to an everyday
item: the phone.’
Artwork you’dmost like
in your living-room
‘anything from picasso’s
blue period.’
Paintingyouwishyou’d
created ‘Irving penn’s
portrait of picasso.’
The vibrancy of Jaipur
entrances Vinader in
‘Travel notebook’ (page
251). The jeweller’s
distinctive style
originated from a
passion for travel, and her
globetrotting took her to
Chile, Morocco, India
and the Far east before
she settled in Norfolk.
Fans of her work include
Cara Delevingne. Her
second London store
opens in November.
Theartof style is…
‘confidence.’
Artworkyou’dmost like
inyour living-room ‘a
relief by basque sculptor
eduardo Chillida. I have
always admired him,
and we were born in
the same town.’
Sculptureyouwish
you’dcreated
‘Constantin brancusi’s
sculpture Bird in Space.
I love its simple lines.’
Originally a graduate
of the admiral Makarov
Naval academy in st
petersburg, Katsuba
turned his talents to
photography in 2000
after working as a
journalist. Carine
roitfeld published one
of his early photo stories
in Vogue Paris in 2006.
This month, he shoots
two stories with the
stylist sarajane Hoare
in russia (pages 200 and
208). His latest works
are exhibited at artMost
gallery until March 2014.
Theartof style is… ‘to
combine landscapes,
interiors, people, clothes
and create harmony.’
Paintingyouwishyou’d
created ‘Michelangelo’s
sistine Chapel frescoes.
They make me wish to
photograph man flying,
being free and creative.’
In such breathtaking
locations as the banks
of the Neva and st
petersburg palace,
sarajane Hoare styled
two stories to showcase
the best of the new
season (pages 200 and
208). Her career began
with Mario Testino in
the 1980s, before she
became fashion director
for The Observer and then
of british Vogue. Now,
after long stints with Us
Bazaar and Vanity Fair,
she consults for ralph
Lauren and Vera Wang.
Theartof style is…
‘what is true to you.’
Who’s thegreatest
artist? ‘picasso.
He challenged
people’s conceptions.’
Artworkyou’dmost like
inyour living-room
‘anything by my father,
the artist Jeff Hoare.’
In ‘The new poise’ (page
208), the dancer skorik
models the new season’s
lace and chiffon in
balletic fashion within
st petersburg’s russian
academy of arts. at 15,
she was the subject of a
film, A Beautiful Tragedy,
which charted the
struggles of the young
ballerina. The
Ukrainian-born
skorik then joined the
Mariinsky ballet in 2007
and has toured with it
to Japan and the Us.
Theartof style is… ‘to
be different, but yourself.’
Artworkyou’dmost like
inyour living-room ‘a
painting by my favourite
artist, arkhip Kuindzhi.
He depicts the power
of nature in russia.
Or The Ninth Wave
by Ivan aivazovsky.’
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10 THINGS WE LOVEBazaar rounds up November’s fashion hits
‘Hello, I’m a FendI Peekaboo bag.
I’m part of a new bug-eyed family of accessories
– also starring clutches, purses, pouches, heels and furry key-chains –
and I’m friendly, if a bit funny-looking.
Would you like to take me home?’
FENDI BAG
TH
E
OBJECT
OF
DE
SIR
E
£3,720
Fendi
style
Edited by avrIl maIr
PHOTOGRAPH:PAulzAk.seesTOckisTsfORdeTAils
www.harpersbazaar.co.uk
style
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sT
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kis
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fO
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eTA
ils
£1,495
Burberry Brit
£6,295
Loewe
£2,995
Bally
£6,540
Hermès
£2,390
Fendi
£1,535
Balenciaga at
matches
fashion.com
from about
£2,820
Givenchy byRiccardo Tisci
£2,375
Saint Laurent by HediSlimane
thek
ey piec
e
It’s sartorial shorthand for rebellion.
No wonder the biker jacket remains a style staple,
almost a century since it was first created by Irving Schott.
For A/W 13 – a season in which the spirit of ‘grunge luxe’
again stalked the catwalk –
this iconic leather piece was reinvented by…
well, just about everyone.
biker jackets
▼76 | HAr p e r’S bA zA Ar | November 2013
THE NEW SOLE QUEEN
ISA TAPIA
When you’ve trained at Parsons the New
School of Design and honed your craft
under MARC JACOBS, is it any wonder
that the outcome is this chic? Probably not,
if Puerto Rico-born, Manhattan-based
ISA TAPIA’s A/W 13 collection is anything
to go by. It’s elegant, yet effortlessly cool –
we want it all. But beware: these single-sole
heels will induce a decision-making vertigo.
£329
Isa Tapia at
Shopbop.com
£365
Isa Tapia at
Shopbop.com
£395
Isa Tapia at
Shopbop.com
£423
Isa Tapia at
Shopbop.com
THE DRAPED LOOK
ROSIE ASSOULIN
THE FEMININE LOOK
ISA ARFEN
Growing up in Ravenna, Italy, ISA
ARFEN’s 31-year-old founder SERAFINA
SAMA was captivated by the quirky,
inimitable elegance of the women that
surrounded her. Now based in London, the
designer tries to convey this mixture of
irreverence and polish through her label.
‘My aesthetic is feminine, sophisticated
and relaxed, with a touch of Italian
eccentricity,’ she says, ‘and the woman I
design for is definitely not a fantasy woman.’
£640
Isa Arfen
£815
Isa Arfen
£430
Isa Arfen
About £1,895
Rosie
Assoulin
About £1,640
Rosie
Assoulin
About £1,010
Rosie
Assoulin
She’s the under-the-radar designer with
a knack for exquisite tailoring and
dramatic silhouettes. So it’s no surprise that
29-year-old ROSIE ASSOULIN learned to
drape with OSCAR DE LA RENTA and
cultivated her tailoring skills at LANVIN
with ALBER ELBAZ, experiences that
have left the New York-based designer
‘eternally grateful and humbled’. Her
Resort 2014 collection – a mixture of
dramatic dresses and elegant separates –
is, in her words, ‘romantically fantastical
and reliably practical’. Simply divine.
www.harpersbazaar.co.uk
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78 | HAR P E R’S BA ZA AR | November 2013
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TTHHEE NNAMESTOO
WATCCHH
▼
Boule Collection
L O N D O N B O U T I Q U E , 1 4 A N E W B O N D S T R E E T - T E L . ( + 4 4 ) 2 0 7 4 9 9 2 2 2 5
H A R R O D S , 8 7 - 1 3 5 B R O M P T O N R O A D - T E L . ( + 4 4 ) 2 0 7 7 3 0 1 2 3 4 E X T . 3 1 6 3
www•degrisogono•com
A B U D H A B I • D U B A I • G E N E VA • G S TA A D • K U WA I T • L O N D O N • M I A M I • M O S C O W • N E W Y O R K
PA R I S • P O R T O C E R V O • R O M E • S T B A R T H E L E M Y • S T M O R I T Z
It’s the ribbed collar;
the exaggerated shoulder; the extra-long sleeves.
It’s the champion of the new serenity
– that perfectly poised modernity –
beautifully exemplified here by The Row.
To what do we refer?
The sweater, of course – A/w 13’s unsung hero.
summed up in one exquisite wool and
Unassuming simplicity and uncompromising luxury
cashmere piece. Perfection.
the sweater
style
PHOTOGRAPH:cOuRTesyOfTHeROw
the
UNs
UNG herO
Rings, from a
selection
SolangeAzagury-Partridge
£450
Jimmy Choo
TRETHE
N
D
Inject colour and wit
into your new-season wardrobe
with these playful accessories.
POP ART
Rings,
£2,900 each
SolangeAzagury-Partridge
Kenzo£150
£149
PrettyLoafers
Clutch, £795
Stella McCartney
Ring, £510,
Lanvin at
Browns
Clutch, from
a selection
Fendi
Single earring,
£326 Delfi na Delettrez at
Matches
fashion.com
£396
Valentino Garavani
▼
CuR , £6,200
Eternamé
£495
Charlotte Olympia
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82 | HAR P E R’S BA ZA AR | November 2013
www.eliesaab.com
NEW EAU DE PAR FUM IN T ENSE
This most utilitarian of prints
leather trainers at VALENTINO and
– spectacularly – this jacket by CHRISTOPHER KANE,
who revisited the theme of his S/S 08 collection
for a very glossy take on camo.
CAMOUFLAGE
turned into silk dresses at WHISTLES,
gets a luxe makeover for winter,
THE PRIN
T
£3,795
Christopher
Kane
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THE
FASHIO
NREAD
S
THE ANATOMYOF FASHIONWhy, historically,have women’s legscaused so much
controversy? Andwhat was JEAN
PAUL GAULTIERthinking when he
created the now-iconiccone corset for
Madonna in 1990? Inhis new book TheAnatomy of Fashion(£59.95, Phaidon),Colin McDowell
addresses these andmany other fascinatingquestions surrounding
the relationshipbetween fashion and
the human body.Captivating, to saythe least. Out now.
CHLOÉATTITUDES
A celebration of thegreat Parisian label’s
history, Chloé Attitudes(£50, Rizzoli)
chronicles six decadesof influential fashion,from the story of the
label’s founder, GABYAGHION, to the
evolution of the houseunder KARL
LAGERFELD andPHOEBE PHILO.
Iconic campaigns andsalvaged sketches
from the 1950s renderthis book a visualfeast, as well as
a fascinating story.Published on15 October.
ART/FASHIONIN THE 21STCENTURY
PRADA and JAMESJEAN; STELLA
MCCARTNEY andJEFF KOONS;
LOUIS VUITTONand STEPHEN
SPROUSE: art andfashion have long
gone hand in hand,and from these
collaborations tothe synchronicitybetween fashionand architecture,
Art/Fashion in the 21stCentury (£32, Thames
& Hudson) is afascinating look at therelationship betweeninterlocking worlds.
Published on11 November.
VALENTINO:OBJECTS OFCOUTURE
Before the Rockstudbags and the
camouflage sneakerscame a legion ofVALENTINO
accessories, each oneas definitive as thenext. A stunning
compilationof specially
commissionedphotographs by
David Bailey, amongothers, Valentino:Objects of Couture(£50, Rizzoli) is a
tribute to a legacy ofaccessories design.
Published on29 October.
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THE ACCESSORY DIOR CLUTCHES
£2,700
Dior
£2,700
Dior
First commissioned for this
that offered RaF SimonS
inspiration for his DioR a/W 13 show.
Stamped on clutches,
they are every bit as fabulous
as their original incarnations.
anDy WaRhol created whimsical shoe illustrations
magazine in the 1950s,
PHOTOGRAPH:PAulzAk.seesTOckisTsfORdeTAils
www.harpersbazaar.co.uk88 | haR p e R’S ba za aR | November 2013
style
▼
£480
Stella
McCartney
HT
THE SPOTLIG
OSCAR WILDE once remarked that ‘fashion is a form of ugliness
so intolerable that we have to alter it every six months’,
and that’s worth remembering this season;
specifically, when looking at shoes.
That’s exactly the point, though: these tractor-soled wedges,
to balance out A/W 13’s ladylike shapes,
clunky lace-ups and chunky brogues are designed
and are so intentionally bad they’re actually
really,
really good.
UGLY SHOES
£420
Miu Miu
£645
Nicholas
Kirkwood
£421
Jil Sander at
Stylebop.com
£700
Bottega
Veneta
£368
Robert Clergerie
at Matches
fashion.com
Tommy
Hilfi ger
John Rocha
Stella
McCartney
Stella
McCartney
£400
Marni
£425
Rochas
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Bag, £641
Moschino
t h e an
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MOsChinO tUrns 30
Happy 30th birthday, MoscHino! or, better yet, auguri! Founded in 1983,
this italian fashion house is marking a milestone and celebrating its unique
DnA with a special-edition collection of trinkets and accessories,
from classic logo belts to zip-up pouches – each one as collectable
as the last. it’s the perfect way to mark the occasion.
www.harpersbazaar.co.uk
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style
‘An artist is somebody who produces things that people don’t need to have,’
said andy Warhol; a maxim – if true – that might suggest fashion has a
place in the pantheon of art. (Or, to quote Warhol again: ‘Making money
is art and working is art and good business is the best art.’) That said, the
protracted argument about whether fashion is art shows no sign of resolution; and
several of its key contemporary practitioners dismiss the notion that their primary
task is artistic. Karl Lagerfeld, for example, has said that designers who call them-
selves artists are ‘second-rate’, while Miuccia prada – as influential a figure in the art
world as she is in fashion – has expressed similar reservations. Not that this stops
the continuing conversation; indeed, as Thomas Campbell, the director of the
Metropolitan Museum of art, observed at the launch of last year’s schiaparelli
and prada exhibition at New York’s Costume Institute: ‘schiaparelli’s collabora-
tions with Dalí and Cocteau, as well as prada’s Fondazione prada, push art and
fashion ever closer, in a direct, synergistic and culturally redefining relationship.’
Or to put it more simply: art and fashion inhabit the same landscape, and
sometimes overlap. Consider raf simons’ current Dior collection, which includes
several of andy Warhol’s original 1950s illustrations for Harper’s Bazaar (more
evidence, perhaps, of the artist’s ability to remain fashionable in a myriad of genres
and eras). and there is an equally pleasing resonance to be had in the knowledge
that Christian Dior himself had an art gallery before he became a fashion designer,
showing works by Dalí and Giacometti, among others.
elsewhere – and hopefully throughout Bazaar – there are inspiring examples of
how fashion can make one see art in a different way, and vice versa. It was impossible
not to feel the artistry that suffused alexander McQueen’s autumn/winter 2013 pres-
entation, both in the intriguing beauty of sarah burton’s collection (created in the
final weeks of her pregnancy with twins), and the staging itself at the baroque Opéra
Comique inparis.The iconographyofdoubling (twinning?)wasdramatic:darkangels
and white, and grave pairs of nun-like figures in pearl-embellished pieces that might
havesteppedoutofa portrait masterpiece of elizabeth I,Gloriana,or theVirginQueen.
all of which makes me wonder whether one should reframe the question about
fashion as art, and ask instead if art is also a form of fashion. Certainly, artists go in
and out of fashion; and one could imagine Damien Hirst as the successful creative
director of a global fashion brand – ‘Think dots!’ Conversely, it is not inconceivable
that alexander McQueen himself would have been happier as a fine artist than the
lynchpin of a commercially driven corporation.
One final thought: as I write this, I am waiting for the new round of shows to begin,
and hoping for that surge of creativity on the catwalk that makes me go on believing in
the art of fashion. If fashion, like the Warholian take on art, is only concerned with the
reactionof themarketplace, then it risks losing itsunquantifiablealchemyof inspiration
and imagination. Yes, I understand that money talks: but I still believe in magic…
ILLusTraTION bYaurOre De La MOrINerIe
Thinking fashion
This season, the worlds of fashion
and art collide and unite
By JusTINe pICarDIe
between
the lines
PAR I S
www.comptoirdescotonniers.co.uk.
If Microsoft was built on a chip, the
freedom of black Americans was
built on a dream, and Disney was built
on a mouse, then Hermès was almost
certainly built on the strength of a single
stitch. The saddle stitch, which was first
employed by the famed French fashion
house in 1837 at the opening of its modest,
Paris-based harness shop, founded by an
innkeeper’s son called Thierry Hermès, is
created using two needles working in tensile
resistance. The process can only be under-
taken by hand and, if done properly, it will
never come apart.
Although Hermès’ first customer was
a horse, as Xavier Guerrand-Hermès, the
great-great-grandson of founder Thierry,
joked in an interview for People magazine in
1980, the ensuing client list was altogether
loftier: Tsar Nicholas II of Russia commissioned saddles and har-
nesses, as did Napoleon III. Jackie O was a big fan of the Constance
bag, and shared a passion for Hermès’ print silk scarves with the
Queen, who favours the Galop Chromatique. Grace Kelly used her
eponymous bag to screen her pregnant stomach from prying
paparazzi. And then, of course, there is Jane Birkin’s chance
encounter with the chairman Jean-Louis Dumas, which resulted in
Anewcreativedirector is takingthehouseofHermès in intriguing
directionswhilekeepingatightholdonthebrand’sextraordinaryheritage
STITCH
PERFECT
£810
£550
£280
£280
£550
Right: the Hermèscreative director
Christophe Lemaire.Below: backstage
at Hermès’A/W 13 show
£390
By SARA PARKER BOWLES
Portrait by CAMILLA ARMBRUST
November 2013 | HAR P E R’S BA ZA AR | 97www.harpersbazaar.co.uk
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RIDING HIGHLeft: an Hermèsshow-jumping saddle.Above, from far left:a model backstage atthe A/W 13 catwalkshow. A look fromthat collection
the creation of the now almost-mythical Birkin, a narra-
tive that has passed into fashion folklore for ever.
Hermès’ legendary status has seen it name-checked
and featured in everything from F Scott Fitzgerald’s TenderIs the Night and Wes Anderson’s The Royal Tenenbaums to Sexand the City and songs by Jay-Z and Kanye West. Jane Birkin has said
that when she travels to America to perform, they say: ‘Birkin? As in
the bag?’ And she replies: ‘Yes, Birkin as in the bag, and the bag will
now sing.’ Christophe Lemaire, the house’s current creative director
of womenswear, says that when he asked Robert Dumas, Jean-
Louis’ father, to explain what set Hermès apart, he replied: ‘Hermès
is different because we are making a product
that we can repair.’ ‘It’s so simple,’ says
Lemaire. ‘And it’s not so simple.’
Hermès is nothing if not singular. Its
famous orange boxes, legendary accessories
and profound understanding of the concept
of good taste inspire a lust that is not often
experienced in the over-saturated, jaded
environs of contemporary fashion. Equally
legendary is itsunrivalledattention todetail:
a single small bag can be 48 hours in the
making, and a larger piece of luggage could
take up to a week. The label’s perfectionism
also scales unprecedented heights – workers
in the atelier (the apprenticeship lasts a
minimum of five years) have been known to
spend three seasons searching for the perfect
sound that a piece of hardware should make
when a buckle shuts on a bag. As a result, its
waiting lists are the stuff of legend: time and tide may wait
for no man, but boy, will we wait five years for an Hermès Birkin…
All of this makes the prospect of designing clothes at Hermès a
coveted but daunting one, and no one is more aware of this than
Lemaire, whose predecessors include Martin Margiela and Jean Paul
Gaultier. ‘I like the idea here at Hermès that one approaches every-
thing as a beautiful object, whether it’s a bag or a scarf or a dress,’
says Lemaire. ‘Hermès is the antithesis of disposable, short-term
fashion. It’s about classic pieces that embody
timeless style, with the intention of being
around for ever. This is possible because
they are made by incredibly talentedartisans
with real passion, and also because Hermès
occupies a very privileged and unique posi-
tion in fashion: I always think of it as slightly
off fashion – not outside it; perhaps just a
little to the left of it.’
While it eschews the mainstream, pro-
cessed concept of luxury, Hermès still needs
to meet quotas. It may be one of the oldest
family-owned and family-controlled compa-
nies in France, but this is a surprisingly
progressive organisation that understands
that both total ownership and change are
good forbusiness.Througha seriesof smart,
directionaldecisions, fromacquiringapatent
on the zipper in the early 20th century to the
1979 advertising campaign spearheaded by
Jean-Louis Dumas that featured chic young
Parisians teaming theirHermès scarveswith
jeans (a bold high/low take on fashion for
the time), it has ensured its own survival.
For Lemaire, it’s all about longevity
– building a modern wardrobe for life –
and that means clothes you can move in,
clothes that are tactile and ‘as perfect inside
as they are outside’ and, crucially, clothes
that are functional. ‘Clothes are not about
social disguise for me,’ says Lemaire. ‘They
are about freedom.’
Workers spentthreeseasonsfinding the
perfect soundabagshouldmakewhenit shuts
£495
£280
£3,920
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Corals, skullsandwingeddeer inspiredMariaGraziaChiuriandPierpaoloPiccioli’sValentinoHauteCouturecollection
OURMOODBOARD
Art in all its forms was the starting point for Maria Grazia Chiuri
and Pierpaolo Piccioli’s Valentino Haute Couture collection for
A/W 13. Enchanted by the ‘cabinet of curiosities’ – Renaissance
Europe’s term for rooms filled with unidentified objects, often pieces
of natural history – the designers looked across centuries of iconic
figures and mythic creatures to build their vision. Regal capes and
strong shoulders were inspired by portraits of Queen Elizabeth I,
and Jacopo Zucchi’s 1585 The Coral Fishers was the painting behind
a coral print. ‘Couture is celebrated in its essence,’ they say. ‘It is
the maker of dreams, because imagination creates reality.’ Hans
Friedrich Schorer’s 1651 painting Skull in a Cartouche informed the
intricate gold embroidery on dresses, and inspiration from a piece
from Thomas Grünfeld’s Misfits sculpture series – a bat-winged
deer – lent an ethereal feel to the collection. ANNA ROSA VITIELLO PH
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Maria Grazia Chiuri andPierpaolo Piccioli’s moodboard
for Valentino HauteCouture A/W 13. Below:
looks from the catwalk show
108 | HAR P E R’S BA ZA AR | November 2013
For me,’ says Penélope Cruz, ‘fashion
is for every day. A woman needs to
look good, of course, but comfort
comes first.’ Spain’s most famous female
faces, Penélope and her sister Mónica, are
sitting at the Loewe HQ in Madrid, where
they are unveiling their new project: a polka-
dot‘Cruz’bag,whichlaunches
in November. They are used
to working together, but
thrilled to have a project that
is trulySpanish, they say. ‘The
most important thing was
that it was all made here,’
explains Mónica.
Loewe is to the Spanish
what Hermès is to the French
and Rolls-Royce is to the
British. Every aristocratic
Spanish grandmother owns a
piece, and it is the first luxury a teenager
might crave. ‘We’ve known the brand ever
since we were kids,’ says Mónica. Indeed,
legend has it that Loewe was where Ernest
Hemingway took Ava Gardner to lift her
spirits after her split with Frank Sinatra.
Today, the jewel in the brand’s crown is the
Amazona – introduced at the end of 1975,
just as Spain emerged from decades of dic-
tatorship under Franco. ‘It was designed,’
says Stuart Vevers, the brand’s out-
going creative director, ‘to celebrate
the new freedom that women had –
working and travelling by themselves
for the first time.’ So it was big enough
toholdall theirbelongings; and itwas
timeless – a quintessential classic.
The Cruz sisters took the
STYLE
BAGS
OF
TALENTPenélopeCruzandhersisterMónicahavedesignedan
exclusivehandbagforLoewethat isasglamorousas theyare
By SACHA BONSOR
Amazona as their inspiration. ‘I need to be
able to fit a lot in my bag, especially since
becoming a mother,’ says the heavily
pregnant Penélope, who has since given
birth to Javier Bardem’s second child, a
daughter, Luna. ‘But we also wanted some-
thing really Spanish and the polka-dots
reminded us of flamenco dancers.’ It’s
impossible to bid goodbye to a man often
called the King of Leather without asking
him the secret to the bag’s design. ‘It’s not
about being sexy,’ says Vevers. ‘It’s about
being sensual, being pulled together, but not
uptight – and a certain boldness and flam-
boyance.’ A good description of Loewe’s
new ambassadors, perhaps? ‘Precisely.’
To order the Cruz bag in an exclusive stone and
burgundy, £1,850, visit Harpersbazaar.co.uk.
Above and bottom: Mónica and Penélope Cruz with their Loewe bag. Right: the bag in colours available exclusively from the Bazaar website.Left: Ava Gardner and Frank Sinatrain Rome in 1953
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If Cinderella had really existed, the Fairy Godmother
would undoubtedly have conjured up a Roger Vivier
slipper for her to lose. For no other label’s shoes
haveeverbeenso rich in luxury,historyand fantasy.
‘Lines have always enthralled me,’ said the famous shoe-
maker. And, in 1954, he created the first stiletto. For better
and for worse, he realigned our hips, elongated our calves,
accentuated our curves, raised us up – and cast us down,
causing untold twisted ankles, blisters and taxi fares.
Women were wooed by the wit and beauty of Vivier’s lines.
The Virgule, a sleek, quick comma of a heel, is magical in the impos-
sible engineering of its curve. The thigh-high scarlet fun-fur boot is
a creation that only a marmalade cat could really carry off. The Pied
de Chèvre, or goat-hoofed heel, may sound eccentric, but once it
has been embroidered with silver thread and decked with
topazes, it is suddenly fit for Princess Soraya of Iran – who had
Vivier heels made to match her every gown.
In 1936, Elizabeth Bowes-Lyon, the Queen Consort, wore
gold-embroidered, white satin Viviers for the coronation of her
husband, George VI. Not surprisingly, 17 years later,
her daughter Queen Elizabeth II also chose Vivier to
design the gold kid-skin and seed-pearl sandals she
wore for her own Coronation. Christian Dior allowed
Vivier’s name to appear on shoes designed for his label
A combination of wit and glamour seducesqueens and stars, models and princesses,
into wearing Roger Vivier’s legendary stilettos
RISE UP
By SASHA SLATER
STYLE
Above: a 1991 paper collage by Vivier. Above left: the Blue Angel heel from A/W 12. Left: Blue Feathers Choc from A/W 13. Below: a sketch from Frisoni’s Prismick collection
Right: Roger VivierEnvelope Soft WallpaperPeluche and the Open ToeBottie Prismick Peluche.Below, from top: BrunoFrisoni’s sketch ofthe Diligence bag forA/W 09. A Roger Viviersketch from 1987
From above: Vivier in 1987.Pop-Poppy Doo from S/S13. Right: the Rendez-VousLimited Edition CollectionPilgrim Carre Buckle Bijoux
November 2013 | HAR P E R’S BA ZA AR | 111 ▼
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112 | HAR P E R’S BA ZA AR | November 2013
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‘Asimple,well-madeshoewith the
perfectarch is suchapleasure.Myonly sin is shoes’
–CatherineDeneuve
– a unique privilege at the time. And Elsa Schiaparelli, Yves
Saint Laurent, Marc Bohan, Pierre Balmain and Madame Grès
all clamoured to pair his shoes with their catwalk creations.
In Belle de Jour, Luis Buñuel’s 1967 exploration of the dark
sexuality of the bourgeoisie, Catherine Deneuve wore Vivier
pilgrim-buckled black patent shoes. The effect was equivocal,
primyetprovocative. ‘Asimple,well-madeshoewith theperfect arch
is suchapleasure,’Deneuve saidof those solid-heeledclassics, adding:
‘My only sin has always been shoes.’ Grace Kelly, Elizabeth Taylor,
Sophia Loren, Marlene Dietrich, Jackie O and Audrey Hepburn all
posed in Viviers. Brigitte Bardot raised temperatures when she
modelled thigh-high Vivier boots astride a Harley-Davidson.
This glorious past is being celebrated at the Palais de Tokyo in
Paris with an exhibition devoted to 140 of
the label’s most spectacular shoes. Vivier
himself, a Parisian who spent some time in
New York during the war, died in 1998. But
in 2000 his brand was spectacularly revived
by Diego Della Valle, the CEO of Tod’s
Group. In 2003, Della Valle coaxed the
Paris-born designer Bruno Frisoni to
become creative director of the label. Since
then, Frisoni has taken Vivier’s potent
alchemy of stardom, fantasy and wit to new
heights. ‘Mr Vivier had a playful side, of
course. And I have always been very playful
with what I’ve done. That was one of the
elements that decided me as the right person
for the brand,’ says Frisoni over coffee at
Claridge’s. ‘My work is about a chic attitude,
a sexiness, a playfulness.’
And so Frisoni dreams up new forms and
shapes in keeping with the heritage of the
maison yet unique to him. ‘Archives are good
if you make them relevant to today,
tomorrow,’ he says. ‘You don’t go for precise
revivals – you take elements, or silhouettes,
and recreate them so they are perfect for
now. I try to understand the philosophy
behind Vivier’s passion, and write a new
page in the label’s history.’ That page
includes not just exquisite shoes, but jewel-
lery and bags. And the stars who wear and
carry them, from Rachel Weisz to Cate
Blanchett, Marion Cotillard to Anne
Hathaway, Nicole Kidman to Carla
Bruni-Sarkozy, are every bit as high-
wattage as any of the famous women
Vivier himself attracted in his heyday. The model and formerChanel
muse Inès de la Fressange, with her aristocratic, witty and elegant
Frenchness, is a spokesperson for the brand.
The label is just as inventive today.Frisoni’sLicorneSansLecture
court shoe from 2010 twists goose feathers into a proud unicorn’s
horn.Tricky towear, perhaps, but also impossible to forget.HisBelle
en Vivier boot from 2004 is a classic shape rendered in shocking-pink
foal-skin leopard-print. A favourite of mine is the Rose n’ Roll, with
its needle-thin high heel designed to look like a rose twig, complete
with sculptural thorn. This was inspired, Frisoni tells me, by a Vivier
rocket heel and the work of the jeweller and furniture-maker
Hervé Van der Straeten. ‘I was looking for a new stiletto,’ he says.
‘And I was looking for a very organic shape. You look for
lines and I knew what I wanted in my head, but spent two
Then I woke up, and went to my desk and…’ he mimes a
lightning-quick sketch, ‘it’s done.’ This season, instead of
finding inspiration in nature, the Prismick range is all about archi-
tecture and angles, jigsaw puzzles and geometry. From a distance a
Prismick heel can look like the sweetest curve, while close up it
resolves itself into a succession of precise angles.
And though Vivier may have invented the stiletto, it’s Frisoni
who has taken it to vertiginous new heights, up to 110mm from
Vivier’s now modest-seeming 75mm. But, as Frisoni says: ‘It’s not
about the height; it’s never just about the height. Never.’
‘Virgule, etc: In the Footsteps of Roger Vivier’ is at the Palais de Tokyo, Paris(+33 1 81 97 35 88; www.palaisdetokyo.com),from 2 October. ‘Roger Vivier’ (£47, Rizzoli) byVirginie Mouzat and Colombe Pringle is out now.
days sketching and throwing paper away and not succeeding.
Above: CatherineDeneuve and Inès dela Fressange wearingmodern versions ofVivier’s buckle shoes in2012. Left, from top:a 1991 collage byRoger Vivier. A/W 13’sPink Mink Prismickclutch. Below, fromleft: Frisoni. Thedesigner’s sketch of theGant de Satin for S/S 14
Catherine Deneuve onthe set of ‘Belle deJour’ in 1966 wearingRoger Vivier. Below:A/W 13’s Blue LesageEmbroidered Virgule.Top: the Bottie OpenToe Camouflage heel
November 2013 | Har p e r’s ba za ar | 115www.harpersbazaar.co.uk
style
styled
byemma
shaw
.hair
and
make-upbyrozelleparry
atdw
management.seestockistsfordetails
Not many people would ask
for a scalpel and a pair of
pliers as their desert-island
essentials, but it only takes
10 minutes in the company
of the artist polly Morgan to realise that she
is not most people. Charming, funny and no
sufferer of fools, 33-year-old Morgan is a
cool, blue-eyed blonde with a ready smile.
What’s extraordinary about her, though, is
that her work, which uses taxidermy almost
exclusively, has placed her at the centre of
britain’s new generation of contemporary
artists. Her singular, subversive, often sur-
real sculptures, which include quail chicks
emerging from a telephone receiver and
hummingbirds pulling on octopus tentacles
that have impaled a dead fox, have been
championed by Damien Hirst and collected
byCharlessaatchi.Thesedays,herworkcan
command hundreds of thousands of pounds.
Thequirky touches in theartistPollyMorgan’seast-Londonhomecontrastwithherchic,understated lookBy sara parker boWles
Photographs by
CHrisTopHer sTurMan
MYMY life,
MYstYle
Morgan grew up in the Cotswolds in
little Compton, a village near Chipping
norton, surrounded by the animals her
father traded as a livestock breeder. The
youngestof three sisters, herupbringingwas
comfortable but chaotic, due to her father’s
eccentricity and affection for animals. at
one point, they had 200 angora goats, llamas
and ostriches, as well as a menagerie of cats,
dogs and budgies that ran riot through the
house. baby goats often slept in the dog bas-
ket. ‘i’m an animal lover; i’ve grown up with
them all my life,’ says Morgan. ‘i had to
accept from an early age that animals die.
as a consequence, i’m not at all squeamish.’
after school, Morgan read english
literature at Queen Mary, university of
london but hated the student mentality.
Then one day, at 19 and in search of a job,
she walked into the shoreditch electricity
showrooms, a nineties-art-scene hangout.
Polly Morgan with her dog, Tony, in her sitting-room, wearing cotton
shirt, about £490; wool trousers, about £475, both Céline. Suede heels, £440,
Manolo Blahnik. A work by Tim Noble and Sue Webster hangs above the couch
and a buffalo skull above the stairs
▼
www.harpersbazaar.co.uk116 | Har p e r’s ba za ar | November 2013
style
she began working behind the bar and
immediately felt at home; she ended up stay-
ing for six years, eventually becoming the
manager. The friends she made among
the regulardrinkers includedTimNoble and
sue Webster, Jake and Dinos Chapman and
the sculptor paul Fryer, who she was in a
relationshipwith for fouryears.These friend-
shipswere integral toherdecisiontobecome
an artist: ‘all my friends and boyfriends had
always been artists, and I remember saying
that it was weird I wasn’t an artist too.’
The manager’s job came with a small flat
above the bar. Morgan wanted to decorate it
with stuffed birds and rodents, but failed to
find any taxidermy she liked: ‘I couldn’t
understand why all the
animals looked alive,
when I wanted them to
look as they were, dead.’
a friend suggested she
have a go at making her
own and so, one evening
in October 2004, she took
a train to edinburgh and
signed up for a course
with the scottish taxider-
mist George Jamieson.
Twenty-four hours later
and she was on her way
back home to London, a
crudely stuffed pigeon in her arms, a ream of
notes in her bag and a big smile on her face:
‘I fell in love from the first lesson,’ she says.
but Morgan was never going to be a con-
ventional taxidermist. ‘I had always loved
art, but I hadn’t found my “thing”,’ she says.
‘I had messed about with clay and even tried
my hand at ink drawings
and photography, but
nothing clicked, and I
was surrounded by
very talented artists who
were already producing
incredible work in all
the fields in which I was
dabbling. I’m naturally
competitive, and when I
realised that I wanted to
use taxidermy, I had a
sense that no one else was doing that, and
perhaps this was an opportunity to try to do
something new.’ Morgan started out
mounting small birds in unconventional
contexts. she was commissioned by two
former fashion designers, pablo Flack and
David Waddington, to produce some work
for the opening of their restaurant,
bistrotheque. Her chicks perched on coffins
encased in bell jars caught the eye of two
artists: thefirst,WolfevonLenkiewicz, asked
her to make something for his stand
at the zoo art Fair; the second was banksy.
Morgan made a rat asleep in a cham-
pagne glass for the art fair and it sold for
£2,200 before the show opened. six months
later, at banksy’s santa’s Ghetto pop-up gal-
lery, Kate Moss bought her blue tit lying
asleep on a prayer book, and media interest
flared. In 2009, the German collector
Thomas Olbricht bought Departures, a flying
machine held aloft by three white-backed
vultures and a huge flock of smaller birds, for
£85,000. This led to a solo show at the
Haunch of Venison gallery; the money made
from that show enabled Morgan to buy her
The dining-room, with one of Mat Collishaw’s ‘Insecticide’ series above the
cast-concrete table. Left: Morgan on the sofa in the antechamber with Tony, in mohair jumper, £180, Acne. Crepe de chine skirt, £365, Mother of Pearl.
Flannel heels (beside sofa), £440, Manolo Blahnik. Below: 19th-century
images of birds by Hullmandel
▼
seestockistsfordetails
BY EDC
77 MARGARET STREET
LONDON W1W 8SY
T. +44 020 73233233 - F. +44 020 75804020
E-MAIL: [email protected]
WHITE SEATING SYSTEM
DESIGN RODOLFO DORDONI www.minotti.com
118 | HAR P E R’S BA ZA AR | November 2013
STYLE
home, in Trafalgar Mews, Hackney Wick.
‘Thebiggest change Imade to theflatwas
bringing the downstairs up,’ says Morgan
over coffee in her dining-room, an open-
plan space with high ceilings and the large
industrial windows that were retained when
the building was converted from factory to
flats. ‘I restructured the layout so the living
area and sleeping area were up here and the
entire ground floor became my workspace.’
The mews is home to many other artists
and photographers, and the Chapman
brothers used to work from a studio opposite,
so the place has a warm, creative-commune
feel. Morgan’s studio is littered with all the
aforementioned desert-island essentials –
pliers, tweezers and scalpels. It also houses
her grisly freezers, which are full of the
roadkill and donations from vets that even-
tually become her work: layers of deceased
rats, mice, stoats, foxes, rabbits, quail chicks,
magpies, canaries and crows (all of which
have died from natural causes).
Upstairs is warmer: of course, there are
taxidermy twists at every turn – a stuffed
baby chimp and a buffalo skull, a present
from her friend, the fashion designer Maia
Norman – but there’s also a lot of art: Tracey
Emin sketches,worksbyNoble andWebster
and the Chapmans, and 19th-century prints
of parrots and parakeets by Hullmandel.
There are books about Gilbert & George, Jeff
Koons and The Secret Language of Birds, and
works by the artist Mat Collishaw, her boy-
friend of six years, including a painting in the
dining-room from his ‘Insecticide’ series.
Although thepair (both self-confessedwork-
aholics) live separately, they spend most
evenings together – either out to eat at Hix
or Groucho (Morgan exchanges her work
for food tabs at her favourite restaurants), or
in, cooking and hanging out with her dogs.
Like her home, Morgan’s personal style
is chic and unfussy, with a touch of tomboy.
She favours tailored, classic separates from
Acne, Céline, Maison Martin Margiela and
Les Chiffoniers. She recently collaborated
with Maia Norman’s label, Mother of Pearl,
on a capsule collection, which includes
prints on scarves and shirts. One, a scarf
with rows of eyeballs, was inspired by the
glass-eyecharts sheuses forherart: aperfect
example of how this artist’s work blends
into all areas of her life and home.
POLLY’S WORLD
£16.50 for 50ml
Avène
(£8.99, Penguin)
Clockwise from right:‘Soul Matter’, one ofMorgan’s works. Thebathroom, with lights byLee Broom. The kitchen.Morgan on the roofterrace wearing cashmerejumper, £670, the Rowat Browns. Crepe dechine skirt, £365,Mother of Pearl.Earrings, her own
PH
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£230
Acne
Murano-glass
vase, £276
from Rainbow
London
£95
Nike
£95
Nike
accessories
Edited by AVRIL MAIR
or the drama of a golden mosaic, art inspires fashion’s highest flights this season
Whether it’s the cool beauty of a Flemish painting
Leather heels, £685,
Valentino Garavani
pastm
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Photograph by pAuL zAk
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www.harpersbazaar.co.uk
ACCESSORIES
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FO
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CLASSI
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Softest dove-grey, pearls and buckles provide
luminous details
£895 B
ally
£539
Laurence Dacad
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at Styleb
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£33
5 Ral
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£1,39
5 Sai
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by
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About
£76
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Necklace, £
850
Saint Laurent
by H
edi Slim
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About £
3,350
Giam
battista V
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Earring
s, £155
Alb
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£775 Jim
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Bra
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£25
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£660 M
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Earring
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4,4
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£715 Stella M
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▼
nydj.eu
“NYDJ”anditsiconlogoareregisteredtrademarksofNYDJApparel,LLC.Allrightsreserved.Copyright2013.
n y dj the or ig i n a l s l imm ing f i t
November 2013 | Har p e r’s ba za ar | 129www.harpersbazaar.co.uk
se
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to
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Mosaic bag, £2,560, Dolce & Gabbana
tr e a sur e
troveJewelled, embellished, beaded –
and fit for a Byzantine princess
accessories
▼
paul zak
www.harpersbazaar.co.uk
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Crimson and gilt, putti and emeralds
for a richly Baroque look
£259
Dian
e von F
ursten
berg
£810
Em
porio
Arm
ani
£495 A
lexander M
cQueen
Bracelet, £
165 Lu
lu Fro
st
Head
piece, £
2,060
Dolce &
Gab
ban
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£37
0 T
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Burc
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£640 B
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Cas
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£1,29
5 Ji
mm
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350 A
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dm
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3,14
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610
Bott
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£1,29
5 Jimm
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Ear
ring
s, £
2,17
0 A
med
eo
Download the free
Blippar app from the
Apple App Store or
Google Play and install
it on your iPhone, iPad
or Android device
BLIPP
Download the free
Blippar app
Scan any page in the
Beauty section where
you see this sign
Open the Blippar app
and hold your iPad,
iPhone or Android
device over any page
in this month’s Beauty
Bazaar section
BROWSE
Buttons will appear over
the products on the page.
Simply tap to shop any
of the products
instantly online
BUY
Buythismonth’sbeautyproductsstraightoffthepage,usingyour
iPhone,iPad,smartphoneortablet.Justfollowtheseinstructionsandturnto
page226tostartshopping
SHOP TH I S MONTH ’ S BE AUT Y PAG E S I NSTA NTLY
BEAUTY TO GO
PH
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AV
IDS
LIJ
PE
R,JA
SO
NL
LO
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,P
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Sleek, smart and strictly tailored:
navy and cream are the uniform of the season
Shop the look at Harpersbazaar.co.uk
dress
code
Photographs by tom allen
Styled by Cathy Kasterine
shop bazaar
THIS PAGE: cotton shirt, £42, Esprit. Neoprene jumper, £295, Atea. Twill trousers, £375, Joseph. Faux leather heels, £515, Stella McCartney. Leather bag, £425, LK Bennett. Gold ring, £115, Monica Vinader. OPPOSITE: wool mix coat, £2,979, Brunello Cucinelli. Silk dress, £744, J Brand. Leather boots, £390, Paul Smith.
Shop the look at Harpersbazaar.co.uk
Leather bag, £7,620, Delvaux. Ring, as before
tom allen
shop bazaar
THIS PAGE: silk shirt, £150, Thomas Pink. Jacquard jacket, £915; matching trousers, £570, both Neil Barrett. Leather loafers, £65, Office. Faux nappa bag, £715, Stella McCartney. OPPOSITE: cotton shirt, £195, Atea. Wool jumper, £350, Studio Nicholson. Wool bouclé skirt, £100; suede clutch, £99, both Hobbs. Gold bangle (sold as set of three), £565; gold ring, £85, both Dinny Hall Shop the look at Harpersbazaar.co.uk
shop bazaar
THIS PAGE: cotton shirt, £243, Studio Nicholson. Wool blazer, £189, Hobbs. Wool
trousers, £370, Isabel Marant. Pony-skin boots, £565, Tod’s. Faux nappa clutch, £450, Stella
McCartney. Right hand: gold ring, £115, Monica Vinader. Left arm: gold bangle (sold as set of three), £565; gold ring, £85, both Dinny Hall. OPPOSITE: cotton shirt, £350, Victoria
Beckham. Leather and twill jacket, £495, Burberry Brit. Leather trousers, £1,790, Jitrois.
Pony-skin clutch, £518, Sophie Hulme. Metal belt, £435, Burberry Prorsum. Ring; bangle ( just
seen), both as before. See Stockists for details. Hair by Chi Wong at Julian Watson Agency,
using Unite. Make-up by Thomas De Kluyver at D+V Management, using Dermalogica Skin
Care. Manicure by Adam Slee at Streeters London, using Rimmel London. Stylist’s
assistants: Benjamin Canares and Vincent Pons. Model: Melinda Szepesi at Union Model
Management. Shot at Spring StudiosShop the look at Harpersbazaar.co.uk
tom allen
LaunchingOctober2013
B
One-offbags,exclusive jewellery&thousandsofourbestbeautybuys
IntrOducIng
OnlyatshOpharpersbazaar.cO.uk
shop
.co.uk
ba
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1,16
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inc
November 2013 | Har p e r’s ba za ar | 139www.harpersbazaar.co.uk
inspiration
whydon’tyou...?
Illustration by kareem iliya
…framesilk scarves thathave
growntoodelicate towear,
andhang themaswall art?
…seehowthewarmglowofapair
of KikiMcDonoughearrings
in topaz,November’sbirthstone,
reflectsgentle,flattering light
ontoyour face?
…doasJuliaCameronsuggests in
TheArtist’sWay, andwrite ‘Morning
Pages’– threesidesofwhatever
comes intoyourheadasyouwake
–tounlockyourcreativity?
…visit thepictureofoneofyour
heroesorheroines in theNational
PortraitGallery?We’re intrigued
byJohnHoppner’s luminous
MaryRobinsonasPerdita,which
immortalisesan18th-century
actress,poet, feminist andmistress
of thePrinceRegent.
…enjoy theartofgardening, and
plantanacerpalmatum forasplash
of red inwinter;orbring theoutside
inwithavaseofchrysanthemums
orberry-red twigs?
…revisit thepaintingsyou lovedasa
child?Becausesomeartistic treasures
will remain forever inourhearts.
…searchforpresents ingallerygift
shops?Welove theV&AShop,
whichsellsunique jewelleryby
up-and-comingdesigners.
…drawinspirationfromtheRoyal
Academy’srecentportraitexhibition,
andseekoutanewtalent to
commission topaintyour loved
one?ValeriyGridnev isaname
towatch–amodern-day
JohnSingerSargent.
…wear theartyou love?Justchoose
yourperiod–fromJWAnderson’s
mid-20th-centurycartoonprints
toBalenciaga’sClassical-inspired
marbled jacketsandAlexander
McQueen’sRenaissancebeading.
...followtheexampleof themodel
of themomentKendraSpears, and
accentuateabeautymark toadd
glamouranddramatoyour look?
www.harpersbazaar.co.uk140 | HAR P E R’S BA ZA AR | November 2013
BLACK LACEBackstage at AlbertaFerretti A/W 13.Below left: bluemake-up at DonnaKaran A/W 13
LOVE LACEWhen Louis Vuitton showed a collection of lacy
boudoir looks for autumn, we knew this was
a trend that would stick. If stepping out in a
nightie isn’t your thing, try this cute fitted lace
dress with skinny straps from Pinko. For a
daytime look, this shirt by the Kooples works
well with a neat leather skirt from French
Connection, or Comptoir des Cotonniers’s
black leather stretch trousers. Finish with a
cross-body bag from Massimo Dutti and
flat brogues or boots: these lace-inspired
ribbon-laced boots from Gina would
look great with a simple black dress.
Pinko (020 7499 0631). The Kooples
(020 7589 6865; www.thekooples.
co.uk). French Connection
(www.frenchconnection.com).
Comptoir des Cotonniers
(www.comptoirdescotonniers.
com). Massimo Dutti
(www.massimodutti.com).
Gina (www.gina.com).
IndigogirlsJust a touch of blue
make-up can look fabulous.
Try Clinique’s Quickliner
for Eyes Intense for a bold
look, or Guerlain’s L’Ecrin
2 Couleurs for a softer take.
For nails, we love Chanel
Le Vernis in Blue Satin.
Clinique (0870 034 2566).Guerlain at House of Fraser(www.houseoffraser.co.uk).Chanel (www.chanel.com).
THEAGENDA
EverythingyouneedforastylishNovember
By JO GLYNN-SMITH
£150
The Kooples
£905
Gina
£150
French Connection
£520
Comptoir des
Cotonniers
£89.95
Massimo Dutti
£229
Pinko
£18
Chanel
£15
Clinique
£30
Guerlain
PH
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DIRECTORY
Aswornby…BoDerekwasgiven theoriginal versionof theAquaracerbyher fatherwhenshewasfilming 10 in 1979.
GREENGODDESS
Coloured stones are
making a comeback
and there’s nothing
more stunning than
this platinum and
diamond necklace
featuring 33.86-carat
Gemfields emeralds.
Available at Mappin &
Webb (020 7287 0033;
www.mappinand
webb.com).
The lowdown:
UGGAUSTRALIAWhat:UggAustralia is a footwear company
famous for the classic sheepskin boot. It was
founded in 1978 by surfer Brian Smith and
in 1995 purchased by Deckers Outdoor
Corporation, which repositioned it as a luxury
brand. The first UK shop opened inWestfield
in 2008 and there are over 40 stores globally.
Style:Casual, but with attention to design
and quality.
What’s new: It is celebrating 35 years, so look
out for store activity and
new products.
Where: 10 Glasshouse
Street, LondonW1
(02071127772;www.
uggaustralia.co.uk).
Put the boot inThe perfectwelliesare here:Hunter’s
colour-block boots arebold and beautiful, in arange of gloss finishes
includingFeatherBlue, Crimson,
MossGreen andSovereignPurple.
www.hunter-boot.com.
THREE OFTHREE OF THE BEST
BLUE COATS1 For work: Bright tailored
wool coat. Lacoste,
52 Brompton Road, London
SW3 (020 7225 2851).
2 For the weekend:Neat
cotton trench with a contrast
collar.Coach, 41Ð42 New
Bond Street, LondonW1
(020 3141 8901).
3 For evening:Wool blend
embroidered coat. Shanghai
Tang, 6a Sloane Street,
London SW1
(020 7235 8778).
SUPERIOR MOTIFS
Wear this tiger sweater from Zadig & Voltaire or this Lotus Eye
neoprene top from Kenzo with a pencil skirt for a feminine look.
Kenzo (www.kenzo.com). Zadig & Voltaire (www.zadig-et-voltaire.com).
MODERN CLASSIC
TAG Heuer, the ultimate
sports watchmaker, has
released its new Aquaracer
Lady, a more luxurious
and refined version of
its classic model. We love
this steel and rose-gold
34mm version with a
mother-of-pearl face.
www.tagheuer.com.
£275
Kenzo
£590
Zadig &
Voltaire
£3,450
TAG Heuer
£95
Hunter
£420
Coach
£710
Shanghai Tang
From a
selection
Mappin & Webb
£320
Lacoste
MARYLEBONETOTE•ASPINALOFLONDON.COM•08450526900
PHOTOGRAPHS:ALLIM
AGESCOURTESYOFTHEEXHIB
ITORSOFPAD
LONDON
2013
Basquiats in Berkeley Square.Plus: flawless emeralds,cutting-edge buildings
and Daniel Radcliffe
ART FOR
ART’S SAK E
Edited by AJESH PATALAY
PHOTOGRAPHS:COURTESYOFGALERIE
PASCALLANSBERG,PARIS,LOUISA
GUIN
NESSGALLERY,LONDON,MIC
HAELHOPPEN
GALLERY,GALERIE
MERMOZ,GALERIE
KREO,PARIS,
©FABRIC
EGOUSSET,VAN
DEW
EGHEFIN
EART,NEW
YORK,STELLAN
HOLM
GALLERY,NEW
YORK,GETTYIM
AGES,CORBIS
144 | HAR P E R’S BA ZA AR | November 2013
Louisa Guinness isn’t one to rush things. After 10 years dealing in
artists’ jewellery, she has finally opened her own gallery. ‘It was the
right time for me,’ she says of finding the space in Conduit Street,
‘but also the market has grown – I needed a proper base.’
She points out that a necklace by Alexander Calder, the
20th-century artist famed for his kinetic sculptures, sold
recently at auction for $600,000. Guinness reckons
that 95 per cent of her customers are art collectors.
‘Most buy a piece of jewellery as an extension of
their collection,’ she says. ‘But some are first-time
buyers. After all, you can own a pair of earrings by
Anish Kapoor for £5,000, and you can take them
everywhere.’ Guinness herself often wears a 1961
Man Ray pendant called La Jolie. At PAD, she’ll be
showing work by the Japanese artist Mariko Mori,
who is famous for working with light; in jewellery,
she seems to have found a dazzling new medium.
‘With the art market reaching ever higher levels andprices seeming to get further from reach, remember that
one can still acquire the very best photographs for a fractionof the price of comparable paintings’ TIM JEFFERIES, GALLERIST
OUTSIDE THE LINESThe French gallerist Pascal Lansberg
will be showing works by Jean
DubuWet, a leading proponent
of outsider art, which is currently
enjoying renewed interest. ‘DubuWet is
a revolutionary artist,’ says Lansberg.
‘He reinvented art and the way we
think about it, with the concept of
“Art Brut”. His contribution still has
to be fully discovered, which is why
he is a great artist to collect and
a sound investment.’
BUYERS’ MARK ETAt the Pavilion of Art and Design fair in London, collectors are encouraged
to blend fine art with jewellery, or ceramics with tribal sculpture,for a unique aesthetic By CAROLINE ROUX
ART & DESIGN
Right: ‘Mire G 107(Kowloon)’ (1983)
by Jean Dubuffet
‘Tulips, MayFlowered’(1900) by
Charles Jones
Artists’ jewellery, from left: ‘Ring’ (2013) by
Mariko Mori. ‘Bracelet’ (1968) by Pol Bury. Max Ernst’s ‘Groin
Pendant’ (1937). Right: ‘Planets’ necklace (2013)
by Mariko Mori
PRECIOUS
PORTA
BLE PIECE
S
November 2013 | HAR P E R’S BA ZA AR | 145
Kreo, the Parisian gallery run by the husband-and-wife team Didier
and Clémence Krzentowski, has been encouraging designers to
deliver their most experimental and exquisite work since 1999. Its
clientele includes art- and fashion-world heavyweights from Karl
Lagerfeld and Reed Krakof to Muriel Brandolini and Azzedine
Alaïa. (Clémence, incidentally, is never seen wearing anything other
than Alaïa.) This year, the pair has worked closely with the Dutch
designer Wieki Somers, whose new lights are shown above, with
François Bauchet’s resin and fibreglass bookshelf and Alessandro
Mendini’s lamp, which is covered in 24-carat-gold mosaic tiles.
A LIGHT TOUCH
The painter Jean-Michel Basquiat achieved
a lot in his 27 years – performing in bands,
graffiti-ing New York under the tag Samo,
dating Madonna, collaborating with Warhol
and reaching an insane level of fame as part
of New York’s 1980s art scene. Now, 25 years
after his death, his work is more sought-after
than ever. In May, at Christie’s in New York, a
seven-foot canvas called Dustheads, depicting
two African-mask-type faces, fetched $48.8
million – a record for his work. Basquiat’s
appeal is based partly on the content of his
work, a still-contemporary mélange of tribal
African and urban references, as well as its
rarity, a result of his early
death from a heroin overdose.
Among his most dedicated
collectors is Jay-Z, who has
acquired major pieces, and
continually names him in
his lyrics. Works by Basquiat
will be shown at PAD by
Van de Weghe Fine Art
and Stellan Holm Gallery.
widely: mixyour art and
furniturewith wine
and tribal art.The magic is
in the mix’JULIAN A
TREGER,
COLLECTOR
Above: ‘Seated Figure’(400–100 BC), availablefrom the Galerie Mermoz
‘Collect
▼
TALKING POINTS
BASQUIATFOR EVER
Above: Basquiat in1988. Right: his‘Tuxedo’ (1983).
Far right: a posterfor an Andy Warhol
and Basquiatexhibition in New
York in 1985
Jean-MichelBasquiat in StMoritz in 1983.Left: ‘Head’(1985) byBasquiat. Aboveright: the artist’s‘MP’ (1984)
From left: WiekiSomers’ ‘Yuu Cord
Lamp’. FrançoisBauchet’s ‘CellaeH6–1 Bookshelf ’.
Alessandro Mendini’s‘LampadA’ (2002).
‘Rei Cord Lamp’,another light by Somers
www.harpersbazaar.co.uk
A LIGHT TOUCH
www.harpersbazaar.co.uk
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Joan Miró, the 20th-century Catalan
artist, was judged by André Breton, the
founder of Surrealism, to be the most
Surrealist painter of all. Now he is
considered to be one of the best invest-
ments, too: prices smashed through
the $20 million barrier at Sotheby’s in
2012. But the artist also applied his
skills, and intentionallychildlike imagery(areflectionof hisanti-
bourgeois position), to the more affordable media of ceramics
and lithography. A combination of Swiss, French and Spanish
galleries is bringing a full complement of Miró to PAD London
in October, with works from lavish oil paintings to humbler
pieces on corrugated board that still merit museum prices.
BEST SEAT IN THE HOUSEBEST SEAT IN THE HOUSE
Kidassia Chair (2013)by Fernando and
Humberto Campana
Egg chair(1958) by
Arne Jacobsen
Rotation Armchair(2012) by Juan andPaloma Garrido
Armchair ‘Distex’(1953) by Gio Ponti
for Cassina
Office chair (1960s)by Hans Wegner for
Johannes Hansen
‘Buyanartistordesigneratthebeginningoftheircareer,whentheymostneedthesupport’
JANICE BLACKBURN, DESIGN CURATOR
All thegalleriesanddealersfeatured,plusmanymore,willbeatPADLondon(www.pad-fairs.com/london),BerkeleySquare,LondonW1,from16to20October.
THE SURR EAL DEAL
The Israeli designer Ayala Serfaty
and the Spaniard Nacho Carbonell
both create work that looks as
though it is alive – fascinating
forms in unusual materials that
might be lights or seats or desks,
but are best when seen quite
simply as beautiful, if strange,
objects. The Parisian outfit Galerie
BSL is bringing both to London for
PAD, including Serfaty’s glass and
polymer lamps and Carbonell’s
agate-lined timepieces.
CURIOUS
CREATIONS
146 | HAR P E R’S BA ZA AR | November 2013
‘Femme Oiseau’ (1976)by Joan Miró
‘Clear’ (2013)from Serfaty’s‘Soma’ series
Far left: ‘Time is Treasure I’(2013) by Nacho Carbonell
Serfaty’s‘Golden Clear’
(2013) and‘The Rest’
(2013)
www.harpersbazaar.co.uk November 2013 | Har p e r’s ba za ar | 147
talkingpoints
What to readwhen… you’re in need of a creative boostBy sam baker Artwork by su blackwell
BIBLIOT
HER
APY bOOks
Creativity. It’s a difficult concept to pin down. Is it, as einstein
said, ‘intelligence having fun’? Or does intelligence play
no part in it? Is it all about waiting for the muse to strike?
Or is it, more probably, a less alchemical combination of discipline
and ‘ just do it’? For every writer, artist and designer I know, the
truth is, creativity is far more about the deadline or the mortgage
than a moment of 3am inspiration. and in my experience, if you wait
for the muse, you could be waiting a long time.
but literature shows us that the routes to inspiration are many and
various. Virginia woolf ’s 1929 feminist classic A Room of One’s Own
captures this dilemma perfectly. a treatise on the place – or absence
– of women in fiction, woolf ’s work has become a touch point for
generations of female writers. In it, woolf sets out to prove that this
has everything to do with means; for what is creativity without the
means to act on it?
‘a woman must have money and a room of her own if she is to
write fiction,’ she argued in a sentence now so oft quoted it is close
to cliché. add to these intellectual freedom and worldly experience,
and all the key enabling ingredients are in place. To prove her point,
woolf imagined for shakespeare a sister, his equal in every way but
for gender, who would have been, at best, anonymous. (‘anon, who
wrote so many poems without signing them, was often a woman.’)
as it happens, woolf had no shortage of either money or a room to
add to her talent and inspiration. sadly, she had other demons to
thwart her.
Nowadays, the intellectual and social wherewithal for which ‘a
room of one’s own’ was a metaphor is easier to come by; though the
time and space may be more problematic. as ever, inspiration, if
and when it strikes, does so in the most varied ways. It can be found
in a family album, a snatched conversation, a moment of despair.
Natasha solomons found inspiration for her new novel, The
Galleryof VanishedHusbands, inmisfortune: thatof hergrandmother-
in-law rosie, whose husband vanished in 1948 leaving her penniless
with two children. married but not, single but not, she became, as all
women in her position did in the post-war period, invisible. For
Juliet, the fictional alter ego, left with two young children and
excluded by the Jewish community in which she lives, this invisi-
bility brings a new lease of life. On a trip to buy a refrigerator, she
spontaneously spends every penny of her savings on a portrait
instead – which turns out to be the the first step in a creative quest.
Onesmall side-swerve leads toa job inagallery, the forgingof herown
identity and the start of a journey to find her erstwhile husband and
gain her freedom. and true freedom, as Virginia woolf also reminds
us in A Room of One’s Own, leads to real creativity: ‘there is no gate,
no lock, no bolt that you can set upon the freedom of my mind.’
‘The Gallery of Vanished Husbands’ (14.99, Sceptre) is out now.
148 | Har p e r’s ba za ar | November 2013 www.harpersbazaar.co.uk
talking points
irst impressions clearly matter to Daniel radcliffe. He is
as solicitous about creating a good one as he is about everything else
in his career. We meet in a hotel suite, filled with representatives for
his latest film Kill Your Darlings, in which he plays the young allen
Ginsberg. In the far corner, radcliffe sits hunched over a table,
wolfing down his lunch, a jobbing actor on a tight schedule. He spots
me, jumps upand weaves across the room. ‘I’m so gladwe could make
this happen,’ he says, shaking my hand firmly; 24 and professional
beyond his years. Interviewers often remark on his height (he is a
slight five-foot-five) but his stature, the assured presence of a veteran
movie star, is just as striking. I feel like a bit-part player in the
ensemble, catching the kindly attention of the lead for the first time.
‘Danielis anaturalcompanyleader,’confirmsMichaelGrandage,
who directed radcliffe on stage in The Cripple of Inishmaan earlier
this year. ‘In the rehearsal room he bows immediately to anyone
with experience, but he knows that it’s his face on the poster and he
doesn’t take that responsibility lightly.’ In the programme of that
play, radcliffe noted, perhaps surprisingly, how intimidating he
found walking into a rehearsal room, where most actors expect him
fIlM
the
A leaner, fitter Daniel Radcliffe is fighting off
the ghost of Harry Potter by taking a role as the Beat poet Allen Ginsberg
contender
By ajesH patalay
F
November 2013 | Har p e r’s ba za ar | 149
to be ‘unpleasant’, the brattish child actor. In truth, he is anything but
– bright, hardworking, genuinely humble. (‘I allow myself to set
lofty ambitions,’ he tells me. ‘but I shut them away and never tell
anyone.’) even so, the weight of expectation, the shadow cast by his
years playing Harry potter, continues to define his professional life.
‘He makes sure that the public and the industry don’t put him in
a box,’ Grandage says. ‘He cautions himself against complacency.’
If his roleasadisabledIrishmaninTheCripple of Inishmaan struck
a blow against typecasting, Kill Your Darlings delivers the death
punch, coaxing out the rawest performance of radcliffe’s career.
The film tells the story of Ginsberg at Columbia University in 1943,
where he met the budding beat writers Jack Kerouac and William
burroughs and fell in love with Lucien Carr, the group’s charismatic
leader, to whom Ginsberg later dedicated his collection, Howl and
Other Poems. although a real-life murder drives the plot, the film is
less a thriller than a coming-of-age drama about (gay) love in which
the ‘un-bloomed stalwart’ Ginsberg finds his voice.
radcliffe says he is ‘really proud’ of his performance and that it’s
the one film of his that he has most enjoyed watching. ‘I look so
unlike myself,’ he explains. by this, he means the curly black hair
and thick glasses he wore for the role, but also the transformation
he has undergone since playing Harry potter. ‘I used to be worried
that any facial expression I made, people would see Harry,’ he says.
‘I was proud of The Woman in Black, but there were points where I
still saw potter. In the last two years I’ve got
fitter, which has given me confidence.’
His features are noticeably sharper; his
jawline more chiselled. When he lifts an arm,
his bicep shows under his T-shirt, conspicu-
ously defined from all the rock-climbing
he’s been doing lately. ‘I had a moment,’ he
says, ‘ just before Kill Your Darlings, when I
was like, “Your face is always going to be the
same as the one that played Harry potter.
You’ve just got to forget about that.”’
still, his wizard alter-ego haunts this
film, not only in the title (with its hint of
laying ghosts to rest), but also in the char-
acter of Ginsberg, who at one point rails: ‘I
don’t want to be the person they think I am,’
givingvoice toradcliffe’sownpreoccupationasanactor. ‘Ginsberg
is somebody who knows what he wants to do,’ he says, ‘but is terri-
fied of failure, and his reaction to that is to find it within himself to
be a great artist. There are definitely parallels, in that I’m coming
out of Potter and it’s important I take steps away from it.’ Kill Your
Darlings’ writer/director John Krokidas heaps praise on radcliffe
for his ‘discipline, rigour and empathy’. but fearlessness also springs
to mind. ‘You learn so much more if you throw yourself in at the
deep end,’ radcliffe says about his motivation for choosing parts.
‘also, if I were to start making safe choices, it would be far too easy
for people to say, “Well, that’s not really a stretch.”’
playingallenGinsberg
meant tackling a number
of highly intense emo-
tional scenes (and a gay
sex scene). according to
Krokidas, radcliffe’s capacity to
nail those was proof of an emo-
tional range that the actor wasn’t
even sure he had. It also led to a kind
of catharsis: ‘One technique of mine,’ radcliffe says, ‘is to tell the
director everything about myself and let him use those things to
emotionally manipulate me. There was a line in the script saying,
“allen weeps openly.” I said to John, “I’ve never cried on screen
properly before.” He came over before the scene, we talked about
stuff and within moments it started coming. When you let the tears
go in front of a huge room of people, it’s very powerful. some of that
stuff I hadn’t accessed before. Weirdly,
when you’re on set every day as a kid, you
learn quickly that the way you are affects
the whole set. so there was some part of me
as a kid that thought I was not allowed to
express anything negative about my life.
The expectation of me is that I should just
be delighted all the time.’ He laughs. ‘I do
have a wonderful life and I’ve been very for-
tunate, but in the last few years I’ve been
going, “You do have a wonderful life, but
you also have a very weird life at times
and you are allowed to have feelings about
that.” I am generally upbeat though.’
He says he’s ‘obviously tired’, but it’s
radcliffe’s tirelessness as a performer, his
constant searching to be better, that impresses me. He’s about to
start filming the second series of the black comedy A Young Doctor’s
Notebook with Mad Men’s Jon Hamm, and after that, a string of roles
including Igor in a remake of Frankenstein. ‘I’m only tired when I get
home,’ he says. ‘at work, I’m a ball of energy.’ He admits he’s afraid
of stopping. ‘I’ve always been on set, with a sense of structure. If you
take that away, I don’t know what to do with myself.’ but the good
news, Grandage says, ‘is he wants to have as many challenges in his
career as possible. While all of that is going on, I’m not going to
worry about him stopping’. Thankfully, neither should we.
‘Kill Your Darlings’ is released nationwide on 8 November.
‘Therewassomepartofmeasakid that thought
Iwasnotallowedtoexpressanythingnegativeabout
my life’
Left: Radcliffe in ‘The Womanin Black’. Above, from top:stills from ‘Kill Your Darlings’.With Jon Hamm in‘A Young Doctor’s Notebook’P
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www.harpersbazaar.co.uk
Should you be lucky enough to be invited to Annabelle
Selldorf ’s Fifth Avenue apartment in New York, you will
quickly realise why she is the favourite architect of the
world’s gallerists. It’s not just the perfect grey and white striped mar-
ble floor, which, she says, puts her in mind of 1950s Rome, or the
collection of exquisite drawings on the walls, from Old Masters to
present day. (‘Look at this one by Enrico
David, it tells you so much about the artist,’
shedeclares.) It’s Selldorf ’s knackofdrawing
everything together in a way that feels so
effortless, including the pasta with an elk
ragu that she served for a supper I once
attended with a gaggle of art-world friends,
and the generous amounts of excellent
German wine. ‘It is,’ says Selldorf, in an
American accent still lightly dusted with
her original German, ‘all about the things you don’t see.’
In her 20-year career, Selldorf, who moved to New York to study
and has never looked back, has reinvented the interiors of many
private galleries and art collectors’ houses. These include six
projects for the Swiss husband-and-wife team Iwan Wirth and
Manuela Hauser, among them their art-filled home in Notting Hill.
She was just 30 when she created a SoHo gallery interior for the
dealer David Zwirner and, earlier this year, she completed a whole
new 30,000-square-foot building for him in Chelsea that steps
upwards over five floors and offers beautiful day-lit spaces.
In London, apart from designing a house for the collectors Katrin
and Christoph Henkel, Selldorf last year waved her wand overFrieze
the spacewoman
From left: Annabelle Selldorf in NewYork in 2012. Le Stanze del Vetro galleryin Venice. A room in David Zwirner’sgallery. Below, from left: a Chelsea loftdesigned by Selldorf. Le Stanze del Vetro
Interiorsby thearchitectAnnabelleSelldorfareall clean lines andclear colours.Nowonder
theartworldclamours forher servicesBy CAROLINE ROux
ARCHITECTuRE
www.harpersbazaar.co.uk November 2013 | Har p e r’s ba za ar | 151
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my cultural life
art
First record bought ‘Barbra Streisand’s
Greatest Hits Volume 2. That nose!
That voice!’
Books that changed your life ‘The entire
Wizard of Oz series.’
Recurring dream ‘Tidal wave. (Horror.)
Also: high school. (Even more horror.)’
Tech must-haves ‘I can’t live without my
podcasts (The Bugle, Bullseye, Judge
John Hodgman,On Being…).’
Favourite cliché ‘You’re responsible
for your own happiness.’
Most overrated ‘Rating systems.’
Most underrated ‘Naps.’
Would sing a duet with… ‘Clive Owen.
(“Singing a duet” is a euphemism, right?)’
Guilty pleasure ‘Pancakes with peanut
butter and honey.’
Worth fighting for ‘forgiveness.’
Would appoint as culture secretary
‘Does culture need a secretary? Is culture
really that busy?’
Brains or beauty ‘Brains are beauty.’
Money or sex ‘As long as it’s not sex for
money, I’ll take both.’
Grace Kelly or Grace Jones ‘Grace Kelly
dressed as Grace Jones. (Somebody
please Photoshop this immediately!)’
‘Success is…’ ‘contentment.’
Which artwork would you appear
in? ‘That one with the naked people
having lunch in that park.’
Favourite tipple ‘Big lusty Spanish reds.’
Style icon ‘My Grandma Nini, who looked
like Ingrid Bergman, even when she was
wearing her husband’s old work shirts.’
Elizabeth Gilbert’s new novel, ‘The Signature of
All Things’ (£18.99, Bloomsbury), is out now.
ElizabEth
gilbErt
Above: the staircaseat Zwirner’s gallery.Below: 200 11thAvenue New York,designed by Selldorf
From left:‘Sonho de Valsa’(2004–2005)byBeatriz Milhazes.John Currin’s‘Rippowam’ (2006)
talkingpoints
masters, a new addition to the frieze art fair
where connoisseurship is the order of the day
and dealers show older and somewhat grander
work than at the more rackety parent show.
using spare framing devices rather than solid
walls to create booths, and what she calls ‘50 shades of grey’, her airy
design was an instant success. ‘i think the overall calmness did help
sales,’ she says modestly. ‘though some of the dealers were furious
at first. they thought i’d imposed my restrained version of the world
upon them. theirs is full of dark greens and reds.’
selldorf, who is as sharp and clever as the tailored garments she
likes to wear (often by timothy everest – a good friend and former
client), says she has learned a lot from her art-collecting clients.
‘these are people who are considerate about things, and who are
willing to talk about pure space in order to work out how to house
their objects,’ she says. but now her world has expanded somewhat.
‘We have 35 to 40 projects in the studio, including a number of new
high-end apartment blocks in manhattan.’ for one, completed last
year in chelsea, residents are able todrive into theblock,withunprec-
edented access. ‘it’s my favourite innovation,’ says selldorf, smiling.
‘people can ride in a taxi into the building and up ramps right to their
own apartment door.’ ideas don’t get more artful than that.
UNDER THE INflUENCE in a series of talks at FriezeMasters, contemporary artistswill be acknowledgingtheir debt tomuseumcollections. theBrazilian artistBeatrizMilhazeswill honour thewealth of inspiration
in theV&a, and thenewYork-based painter JohnCurrinwill pay homage to thenational gallery’s Cranach the
Elder paintings. (www.frieze.com).
www.harpersbazaar.co.uk
Left: Cartier’s Broche deCeinture. Above: MaharajahPratapsinhrao of Barodawith his wife and son
The Maharajah of PatialaSir Bhupindra Singh withmembers of his family American socialite Marjorie
Merriweather Post,wearing a pendantmade usingIndian emeralds,with her daughter
Raja Krishnaji Rao II Puar of Dewas. Below: a ceremonial diamond necklace
Left: a Cartierbrooch. Below:MaharajahRanjitsinghjiof Nawanagar
In a photograph from the National Portrait Gallery
archive taken in 1931 (above), the Maharajah of Patiala,
Sir Bhupindra Singh, is surrounded by his entourage. He
looks proud, stately – wearing a turban and rich fabrics –
and his wives and consorts seem duly deferential: two sit
at his feet, all are swathed in delicate
saris, their expressions unsmiling.
And then, when you look a little
closer, you see it: the choker. It is
worn by one of his wives, perched
in front of the Maharajah. The
band wraps tightly around her
neck and the necklace fans out
across her chest in an abundant
wave of jewels: rubies, diamonds
and pearls. She seems blissfully
unaware of the riches she wears.
Over 80 years later, the choker
nestles in a collection of Indian
jewellery assembled by His
Excellency Sheikh Hamad
bin Abdullah Al Thani,
cousinof theEmirofQatar.
But the necklace took a
while to get there.
Originally made by
Cartier, under commission
from the Maharajah, the
choker was mysteriously
turned into a bracelet and
only reappeared at auction
in 2000. No one realised
that this was a segment of
the famous choker until
Cartier researchers identi-
fied it, bought it back, and
restored it to its original
form at their workshop in
Geneva. It only came on
the open market last year.
Amin Jaffer, the international director of Asian art at Christie’s
and Sheikh Hamad’s collection adviser, recalls how a friend
rang him to say it was available. Jaffer was in New York, Sheikh
Hamadwas inAustralia and Jaffer spent a hair-raising few hours
trying to get hold of him, terrified that someone else would
snap up the necklace. ‘A piece like that is so beautiful and has
such history, many people would want it,’ explains Jaffer. As
soonaswordgot tohim,SheikhHamad leapt at thechance: ‘Yes,
yes, yes, tell them I want it!’ And he got it.
Building a collection like Sheikh Hamad’s is an art in itself.
Although the Sheikh had a long-standing interest in jewellery
and gems, his previous acquisitions were usually historic
Western pieces. In 2009, after attending an exhibition of Indian
jewellery at the V&A Museum in London, he switched focus.
Jaffer explains that Sheikh Hamad began assembling his
collection with pieces from the Mughal era, buying mostly
for private pleasure, until the purchases started to gather
momentum. They both realised a major collection was in the
making, and the Sheikh broadened his interest to 20th-century
ROMANCINGTHE
STONESOnesheikh’sceaselesshuntfor the jewels thatadorned
theprincesof IndiaBy SOPHIE ELMHIRST
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MMCF,UDAIPUR,PLANETPHOTOS
November 2013 | Har p e r’s ba za ar | 153
Clockwise from left: theMaharajah Tukojirao Holkar IIIof Indore. Maharajah Jai Singh ofAlwar. Princess Durrushevar
From above left: twophotographs ofMaharaja YadavindraSingh of Patiala.A turban ornament
talkingpoints
work, much of which was made by Cartier using Indian gems,
such as the choker. It made sense to bridge the gap between the
earlier pieces and the more recent, so the sheikh began to buy
19th-century works, ‘a very odd age’, says Jaffer, of the late
regency and belle epoque. Many people skip over the period
but, as Jaffer puts it: ‘This collector is unconstrained.’ The
sheikh’s interest runs to the contemporary – there are pieces
from craftsmen, such as Viren bhagat, working in India today.
The collection has now been gathered together and cele-
brated in a beautiful new book, Beyond Extravagance. I saw a
number of pieces on private display recently and the sheer force
of their quality is evident, even to someone rarely confronted
by huge emeralds, luminous pearls and glittering diamonds.
although in many cases these are items to be worn – as
brooches, belts, tassels, necklaces and more – they are works
of art as much as madly luxurious accessories. The older
pieces, Jaffer tells me, had particular meaning depending on
your gender: historically, men in India wore more jewellery
than women, and used gems to demonstrate status and wealth.
Women simply wore pieces as adornment. The stones them-
selves had a hierarchy, too: diamonds were considered the
most important for men (their hardness was a sign of
virility), but not for women, who tended to wear col-
oured gems: rubies and emeralds. and the emerald has
a story all of its own: it is the stone most central to Indian
jewellery, its vivid green an important colour in Islam
and associated with the prophet Muhammad. The
stonewasn’tfoundinIndia,however,butinLatinamerica.
The spanish, on their conquering imperial quests, dis-
covered mines rich in the gem and began exporting
them, some to europe but mostly to India, where the
demand from Mughal emperors was ceaseless. Jaffer
showed me perhaps the greatest emerald in sheikh
Hamad’s collection: the Taj Mahal emerald. ‘It has
nothing to do with the Taj Mahal,’ he explains, but nonetheless
it is a rare and exceptional piece – when he holds it up, the light
passes through the stone cleanly, clear and pure. ‘You don’t get
clear emeralds very easily,’ says Jaffer, with understatement.
asked to explain sheikh Hamad’s attitude towards col-
lecting, he says it comes down to his passion for individual
pieces, their provenance and history. For him, he says, ‘col-
lecting is instinctive’, and his ambition is for the collection to
be a reference point for specialists, connoisseurs and scholars.
The sheikh is still acquiring new works. They aren’t all to
be kept under lock and key at his Doha residence, the rayyan
pavilion:membersof his familyhavebeenknowntowear some
of thepieces,whichmeans that thecollection livesandbreathes
– and Jaffer approves. so instead of festering in glass cabinets,
the jewellery is used as its makers intended: worn against the
skin, catching the light and attention of everyone in the room.
as for sheikh Hamad, he will carry on buying as long as his
passion remains alive: ‘My eye,’ he says, ‘will always be drawn
to the rare and beautiful.’
‘Beyond Extravagance’ (£165, Assouline) is published in November.
Althoughtheseare items tobeworn, theyareworksofart asmuchasmadlyluxurious
accesssories
THE FIFTH ESTATE
Dubbed a ‘mass propaganda attack onWikiLeaks’ by the film’s subject, Julian assange,
this is a tense look back at the website’sbeginnings and assange’s friendship with his
former colleague Daniel Domscheit-berg.benedict Cumberbatch leads the cast, whichalso includes Dan stevens and stanley Tucci.
‘The Fifth Estate’ is released on 11 October.
PHILOMENA
Judi Dench stars in the true story of anIrishwoman forced to give up her son foradoption in america in the 1950s. steve
Coogan plays the journalist Martin sixsmith,who joins her on her search to find him. Their
odd-couple friendship gives a lightness of touchto this otherwise heart-rending tale.‘Philomena’ is released on 1 November.
LE WEEK-END
Hanif Kureishi’s homage to the New Wave filmdirector Jean-Luc Godard concerns itself with
love as it really is: joyful and messy. a couple (theexcellent Lindsay Duncan and Jim broadbent)
celebrate their anniversary in paris, and thetenderness of a long-term marriage has never
been more beautifully or painfully dramatised.
‘Le Week-End’ is released on 11 October.
DON’T
MISS…
FILM
www.harpersbazaar.co.uk154 | Har p e r’s ba za ar | November 2013
horoscopes
VIRGO24 August – 23 September
Those who feel it’s time to be more creative and, perhaps, daring
concerning a joint venture might not see the implications of what
they’re suggesting. a pluto-Uranus clash could introduce all sorts
of complications into procedures, and people might fall out with
one another. sometimes a tried and tested formula is hard to beat.
MOTTO OF THE MONTH Tears are words the heart can’t express.
LEO24 July – 23 August
Try not to listen to those suggesting there are easier ways to earn
a living or do your job. It might be tempting to cut corners, but
you know that, in the long run, it will leave you dissatisfied. apart
from that, your reputation means a lot. Guard it with your life.
MOTTO OF THE MONTH Great love and great achievements involvegreat risk.
CANCER22 June – 23 July
Who better than you to take charge of an idea or project that
needs delicate handling? put yourself forward and convince those
concerned that you have whatever it takes. and if anyone suggests
you are over-confident, let their comments go right over your head.
MOTTO OF THE MONTH Everyone makes way for you when you knowwhere you are going.
GEMINI22 May – 21 June
perhaps you’ve been distracted from someone close, but you’ll want
to make amends. That needn’t mean abandoning something you
wish to support wholeheartedly. but you must allocate your time
differently. Others grow tired of being made to feel second best.
MOTTO OF THE MONTH Why do so many people offer to carry the stoolwhen the piano needs moving?
TAURUS21 April – 21 May
You’ve been relaxed about relationships, but you’ll wonder
whether to take a more serious approach. The sun’s tie-up with
saturn emphasises the importance of observing boundaries.
Will you automatically become a killjoy? Not for a moment.
MOTTO OF THE MONTH If you find yourself saying it can’t be done,don’t interrupt whoever is doing it.
ARIES21 March – 20 April
people will ask endless questions – especially about money – and
you’ll wonder whether they’ll ever stop. Try not to appear rude
when you’re providing answers. They no doubt have a genuine
interest in you and the way your world works. If you really can’t
face giving them confidential information, you must say as much.
MOTTO OF THE MONTH Indifference is the greatest threat to our future.
PISCES20 February – 20March
It might suit you to be more self-indulgent than usual. but you’ll
arouse envy in people who suggest you’ve taken advantage of the
situation. It won’t be easy to decide how vigorously to fight back,
but you must find a powerful but polite way of defending yourself.
MOTTO OF THE MONTH Artificial intelligence is no match fornatural stupidity.
AQUARIUS21 January – 19 February
at last you’re seeing work, money or a promotion in a clearer light.
The solar eclipse in early November will remove any confusion
preventing you from taking an important decision. but keep one
particular person involved. You want to make progress without
offending someone who is a permanent source of support.
MOTTO OF THE MONTH Reality can be beaten with enough imagination.
CAPRICORN22 December – 20 January
No matter how keen you are to make changes to the home or
family set-up, you must take on board the opinions of those less
adventurous than you. If you are forced to make adjustments that
leave everybody feeling more contented, that’s what you must do.
MOTTO OF THE MONTH Self-respect is the cornerstone of everythingyou build.
SAGITTARIUS23 November – 21 December
Has it been hard to see why some situations make you anxious?
With Mercury moving forward from 10 November, you’ll have
a clearer idea of what you should or should not worry about. You
might even be able to help others who are losing confidence.
MOTTO OF THE MONTH Everyone’s gifted, but some never openthe package.
SCORPIO24 October – 22 November
Having explored new and different aspects of your private life, you’ll
be ready to talk about them. but you must respect the opinions
and ideals of one or two people who aren’t as free-thinking as you.
as soon as you sense that you risk stamping all over some very
sensitive ground, you must stop. Never underestimate diplomacy.
MOTTO OF THE MONTH Is freedom ever really free?
LIBRA24 September – 23 October
as you feel torn between work and personal commitments, you’ll
quickly decide on priorities. Don’t complicate matters by leaving
anyone feeling marginalised. Find a way to appear to be treating
everybody and everything equally – even when you’re not.
MOTTO OF THE MONTH A half-baked idea is OK as long as it’s stillin the oven.
For weekly updates, visit www.harpersbazaar.co.uk/horoscopes
Thefuturerevealed:youressentialguidetonovember By peTer WaTsON
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NOVEMBER2013
ThE aRT Of fashiON
JenniferLawrence leads thehollywood lifeherownway
andRalphLaurenembodies theamericandreamathome,
while in fashion, a rockchickshimmers inablazeofRomanglory,
aRussiandramaplaysoutatNabokov’sdachaandaballerina’sgrace lightsuparegalpalace
PHOTOGRAPHS BY BEN HASSETT
STYLED BY JULIA VON BOEHM
BY TOM SHONE
JenniferLawrence’s rawtalentbaggedheranOscar,andhergauchefrankness
winsherfriends,but it ishersurprisingstarquality thatmakesherunforgettable
PLAYING THE GAME
This page: Jennifer Lawrence wears
black velvet, faille and satin cape, Christian
Lacroix for schiaparelli. previous
page: silk top; pleated silk skirts, all to
order, Dior haute Couture. right hand:
gold, sapphire and coral ring, £11,000; left
hand, from left: gold and tourmaline ring,
from a selection; gold and diamond
ring, about £3,390, all Dior Joaillerie
ben hasseTT
November 2013 | Har p e r’s ba za ar | 179www.harpersbazaar.co.uk
My one worry, in advance of meeting Jennifer Lawrence, is that
someone has told her to clean up her act. sure, it was OK for the
young ingénue to go on the Late Show with David Letterman and
compare herself to a cat peeing on the red carpet. It was endearing
when, upon ascending the podium to collect her Oscar for Silver
Linings Playbook, she tripped over her dress, recovering with point-
blank honesty – ‘You guys are only standing up because I fell and you
feel bad’ – and then gave everyone in the press room the finger.
but it felt too good to last. somehow, the forces of pr-regulated
piety would have descended on the poor girl and drummed all
that out of her.
Indeed, in preparation for The Hunger
Games, she was given media training — how
to make more eye contact, regulate the
volume of her voice and rein in the nervous
laughter — and during the Oscars someone
(she won’t say who) told her to tone it down.
‘“Otherpeoplearegettingupandowning the
stage and you sound like a stuttering idiot.
pull it together.” and I said, “I’m not doing it
on purpose, I’m uncomfortable and when
people get uncomfortable they resort to
their shit. Imakeawkward jokesandstutter.”’
she winces a little. ‘That was actually a
momentwhenI reallywanted it tobespecial.
That was not the time I wanted to be the
Down-home Girl. I wanted to be graceful.’
actually, she’s very graceful, like a cat.
The girl who emerges from the lift in the
lobby of the Hotel Casa del Mar in santa
Monica wearing robert Clergerie flats and
some seriously distressed ralph Lauren
jeans ismuchfiner-featured inperson thanonscreen,with long, long
limbs that she throws about the place with the carelessness of
a teenager. The first thing she does is lie down on the sofa, straight
out — ‘I’m finding it difficult waking up these days,’ she says — and in
the course of our interview, drapes herself over the arms of a sofa
and two chairs, her legs hoisted up over the side. she’s one of the
most naturally supine people I’ve ever met. ‘Your tape recorder
is pointed at my vagina,’ she announces. something tells me that
isn’t to be found in The Hunger Games media-training manual.
I needn’t have worried. at 23, Jennifer Lawrence is a testament to
the globe-conquering power that flows from her mixture of a) fame,
b) raw talent and c) not giving too much of a hoot about either a)
or b). she got $10 million to reprise the role of Katniss everdeen in
the second Hunger Games movie, Catching Fire: enough money that
her lawyers got her to write out a will — it all goes to her family and
favourite charities. she hasn’t had a chance to spend any of it. she
used to have an apartment in santa Monica, but that got infested
with paparazzi, so now it’s hotels and couch-surfing with friends.
she spent last night managing to convince her best friend Justine
that the lift of the Casa del Mar was haunted. That’s her biggest fear:
ghosts. Not acting opposite robert De Niro. Or tripping over her
dress in front of 40 million people. The undead.
‘I’ll lay in bed and hear a noise and imagine the scariest possible
scenario, and then my adrenalin starts going and then I tell myself
that because my adrenalin is going, the spirit is feeding off my adren-
alin! Or if there’s a spider. I try to kill it and I miss it. Great. Now it
knows what I look like. It can’t just be, “Oh no, the spider’s still on the
loose.” No, it’s, “That spider knows what you look like and knows
you tried to kill it.”’
psychopaths, on the other hand, don’t worry her so much. ‘at
least that makes sense. It’s here. I sleep with a bow and arrow under
my bed. I have pink mace in my bag. I’m like, “You just wait, you’re
walking into a world of pain.”’
Today her handbag has no mace — she
has a bodyguard these days — but it does
contain a bottle of perfume, an iphone, some
multi-vitamins (unopened), a silicone bra
insert from a recent photo-shoot and her
diary, thefirst entryofwhichreads: ‘Keeping
journals always makes me nervous people
are going to find it, so if you’re reading this,
just stop. Don’t be a journal reader. Those
people suck.’ The picture on her iphone is
of her nephew. ‘are you in for a world of
cute?’ she asks. ‘Isn’t he precious? Do you
want to see him count really fast?’ and
shows me a video of a curly-haired toddler
counting from one to 10.
Ten seconds also happens to be the
rough length of time it takes for an average
human being to fall in with Jennifer
Lawrence like she’s your sister. she’s very
funny, with something of the compulsive
honesty and ability to warm up a room of the
great comedians — seth rogen, only prettier.
JShedrapesherselfover
thearmsof thesofa, legs
hoistedovertheside.She’soneof the
mostnaturallysupinepeopleI’veevermet
▼
this page: black silkgown, to order, alexis
Mabille haute Couture.gold and diamond choker,
from a selection, CathyWaterman. Right hand, fromleft: gold and diamond ring( just seen), about £3,460,
Dior Joaillerie. gold,spectrolite and diamond
ring, £13,830, Noor Fares.opposite: satin dress,
to order, Valentinohaute Couture
ben hassett
www.harpersbazaar.co.uk182 | Har p e r’s ba za ar | November 2013
When I ask her what she most likes about her new life, she doesn’t
miss a beat. ‘The money,’ she says, in her husky, bacall-esque voice.
pause.
‘I’m joking. The work, the work…’
she puts so little store by the usual pieties that prop up the celeb-
rity interview — the love of the work, the importance of craft, the
dedication to one’s art, the method behind
one’s madness — that at times the whole
structure threatens to come crashing down
with one push. she could be the most radical
talent currently working in Hollywood — a
pure natural, a slob genius in the tradition of
great slob geniuses that includes the young
elizabeth Taylor and elvis, with the same
hold on the audience’s emotions, the
same ruby-like glint of trashiness in her soul.
she never even intended to be an actress, but
her first break in the business came when she
was spotted in New York’s Union square.
‘I was offered a number of modelling con-
tracts soon after but turned them down. I
was like, “actually, I think I’m going to be an
actor.” That was an incredibly dumb thing to
do at 14 but was probably the one time when
my self-assuredness paid off.’ she has never
had an acting lesson. she doesn’t rehearse or
research her roles and only commits her
lines to memory the night before. before
each take, she is normally to be found eating
crisps and joking around with the crew.
‘It’s normally chips. My bodyguard
Gilbert, right before they call “action”, I’m like, “If there aren’t
Cheez-Its here by the time they call “cut”, just go home.” and he’ll
start running. It cracks me up how seriously he takes it. I’m just lazy.
Whenever Dps [directors of photography] are like, “I’m so sorry to
do this, but would you mind not saying that one line?” I’m like,
“Dude, I don’t want to say any of it. Whatever is easiest. believe me.
It’s not my performance that is motivating me. I want to get the
on-set catering.”’
and then, just when her director is starting to sweat a little, she
knocks it out of the park. ‘she’s one of the least neurotic people I’ve
ever met,’ says David O russell, who directed her to her Oscar in
Silver Linings Playbook. ‘she came onto the set like some gee-whiz
kid, “What’s it like to have people ask for your autograph, Mr De
Niro?” and then she jumped in and took over the whole scene from
every actor in the room. De Niro turned to me and nodded, like:
“Wow, this kid is really bringing it.” He loved it. she’s like Michael
Jordan. Her jaw doesn’t get set. That’s how top sportsmen can go in
under pressure, because they’re so loose.’
If you want the moment when Lawrence won her Oscar, that
scene with De Niro – reversing the flow of his superstitious sports
ju-ju with one magnificently delivered speech — was it. she says she
didn’t understand a word of what she was saying. For her new film
with russell, American Hustle, about a famous FbI sting operation in
the 1970s, she plays the hard-drinking wife of a conman, played by
Christian bale. shegot todressup in boob tube, furs andacrylicnails
— playing it big and crazy, ‘but this hilarious kind of crazy that just
cracks me up’, she says. ‘I had the most fun I have ever had as an actor
doing it. ever. It would get so out of hand so fast that when David
called“cut” itwas likewakingupoutofadream.Thatwasexactlyhow
it felt: like waking up. Now if there is a movie I’m looking at, I’m like,
“Can I do it with Christian bale? Christian
bale? Christian? Christian? Christian? ”’
suddenly she sounds all of seven years
old — the little sister nagging her big brothers
to let her play with them. One of the reasons
her work with russell rings so true is the
fidelity with which it recreates the bois-
terous, fond dynamic of her family back in
Kentucky. ‘We’re very loud, but as soon as
one of us calls you an asshole, we like you,’
she says of her family, who still run a chil-
dren’s camp with barns and horses. she was
always trying to hang out with her two older
brothers, spying on them, hiding under their
beds, ‘to jump out and mess with them’ or
pouring their cologne down the sink when
they refused to play. They would sometimes
fight over ‘who could bully me. so if blaine
beat me up, ben would beat blaine up and
then come and mess with me. It was fun. It
was a good deal that we had’.
The relations she had with her female
cousins were another matter — ‘because the
insults are so much deeper. ben and blaine
and I would do really fucked-up stuff but we
knew never to take it to the parents, but the first thing girls do,
because they want to make your life as miserable as possible, is
instantly bring the parents in — long emotional letters that the
parents read, painting this person as the victim, a really well-
thought-out war strategy. With the brothers it was like, “I hate you
and I hope that you rot but I don’t want you to get in trouble.” We
would punish each other.’
she’s very observant, particularly of her fellow females. at one
point, she stops me to gaze at a teenage girl on the other side
of the lobby: hair down to her waist, in full eighties gear, about
13. Lawrence is mesmerised. ‘To be that bold at that age,’ she
wonders. ‘You can’t just grow hair like that overnight. she’s been
Beforeeachtake, she’s
eatingcrisps.‘It’snotmyperformance
that ismotivatingme.Iwant togettheon-setcatering’
▼
Black embroidered tulleand rhinestone jacket, to
order, Armani Privé. Blackjersey knickers ( just seen),
£80, Eres. Gold, spectroliteand diamond ring, £13,830,
Noor Fares
BEN hAssEtt
Silk gown, to order, AlexisMabille Haute Couture.
Gold and diamond choker,from a selection, Cathy
Waterman. See Stockists fordetails. Hair by Adir Abergel
at Starworksartists.com.Make-up by Monika Blunderat the Wall Group. Manicure
by Marissa Carmichaelat Streeters
Ben HASSett
November 2013 | Har p e r’s ba za ar | 185www.harpersbazaar.co.uk
committed to that look for a really long time. That’s how adults
are dressing when they’re trying to dress, like, unique and different,
and she’s like 12.’
I ask if there’s an element of self-recognition there.
‘No,’ she says. ‘admiration.’
I am reminded of something Francis Lawrence, the director of
The Hunger Games: Catching Fire, told me. ‘she picks up on the
nuances of people’s body language instantly — in a blink or a wink.
While we were filming, she knew in a second when I was anxious
or upset. and I don’t show emotion that easily. There’s no fooling
her. The Jen that went into the machine is pretty much the Jen
who came out of it.’
The biggest sacrifice she has had to make in the last year, at least
for such a student of naturalism, is this: people acting naturally
around her. Or, as she puts it: ‘My bullshit
detector is going off all the time.’ Her agent
and publicist know not to try any of the
‘You’re wonderful’ stuff, and when I try to
compliment her acting she cuts me short.
she can hear dead air in an instant. The only
thing she can’t pick up on is passive hostility.
‘I’m totally blind to it,’ she says. ‘somebody
could be totally hostile and I’m like, “Great!
see you later!” It’s not until someone is really
blatant that I notice, “Wow, you hate me.”’
I ask her the last time someone made
her cry. she thinks for a bit, then tells me
about something that happened right at the
beginning of her career. ‘I was young. It was
just the kind of shit that actresses have to go
through. somebody told me I was fat, that
I was going to get fired if I didn’t lose
a certain amount of weight. They brought in
pictures of me where I was basically naked,
and toldme touse themasmotivation formy
diet. It was just that.’ someone brought it up
recently. ‘They thought that because of the
way my career had gone, it wouldn’t still
hurt me. That somehow, after I won an Oscar, I’m above it all. “You
really still care about that?” Yeah. I was a little girl. I was hurt. It
doesn’t matter what accolades you get.’
shepauses. ‘I knowit’ll neverhappen tomeagain. If anybodyeven
tries to whisper the word “diet”, I’m like, “You can go fuck yourself.”’
‘Just whip out your Oscar,’ I tell her.
‘Yeah, right. Is he too fat, motherfuckers?’ she folds in laughter.
I’ve been interviewing Hollywood actresses for almost 20 years
and I’ve never met anyone who seems as resolutely normal as
Lawrence, and yet so obviously a star. You’d think the two would
cancel each other out, but such is the magic of her personality that
her ordinariness and her charisma seem to pass in and out of one
another, like twinnedbutopposingwaves.asourallottedhour turns
into two, and our two comes up fast on three, we get hungry and
I remember something I had promised my wife, who is four months
pregnant: that I would eat a banana in honour of the size of our baby.
‘That’s some weird-ass shit,’ says Lawrence. ‘I support that.’ The
only problem: there are no bananas on the menu at the Casa del Mar.
‘Just tell them I’m super-famous,’ she says.
I get the waiter’s attention.
‘Hi,’ says Jen, taking over, ‘Do you have
any bananas in the kitchen? His wife is preg-
nant and the baby is the size of a banana so
he wants to eat a banana in celebration.’
The waiter looks a little thrown. ‘Yeah…
I think we got ice-cream, we got bananas.
You want a banana split? I can have him
make you one.’
‘awesome,’ she says. ‘people do weird
stuff when they procreate. I’ll have the beet
salad and the lobster club. Jeez. I’m more
normal than him.’
The waiter departs. ‘I knew that I was
selling you down the river because I knew it
would get you what you want. What is weird
is if you go, “I wanna banana,” they’d be
like, “Well, I don’t make the rules around
here.” but if there’s a baby involved…’
‘You don’t think it was the Oscar?’
‘either way, you’re welcome.’
Five minutes later, the waiter arrives back
with a lobster club, a beet salad and a banana
split. ‘Was it thebabyor theOscar?’ I askhim.
‘My girlfriend’s five weeks,’ he says, and pulls out an ultrasound
scan of his baby. We coo over it, an impromptu little gang, and
then he leaves.
‘Phew,’ says Lawrence.
‘What is it?’
‘I just really saved myself from something pretty bad. There
was, like, a thing.’
‘What thing?’
‘On her uterus. There was a thing. I started looking around her
organs and was like, “What’s that white orb in there? Is that like
a cyst? Is that normal? should she go back to the doctor? Oh and
congratulations. Be paranoid.” but I didn’t say it.’
‘You’re getting better.’
‘I’m getting better,’ she says. ‘Can I eat your cherry?’
at which point, I realise something with a pang: I’m going to
miss this girl.
‘The Hunger Games: Catching Fire’ is released nationwide on 11 November.
‘SomebodytoldmeIwasfat,
thatIwasgoingtogetfiredif Ididn’t loseweight…If
anyonesays theword“diet”, I’mlike, “Youcan
gof***yourself”’
PhotograPhs by regan cameron
Autumn’s jewel tones and sequins shimmeragainst the landscape of Rome,
along with a flutter of feathers and lace
styled by miranda almond
t h e g o l d e n ag e
regan cameron
This page: lace top, £4,040;sequined skirt, £5,000, both
Tom Ford. suede boots, £605,stuart Weitzman. gold-plated
and rhodium necklace,£160, Dominic Jones. horn
necklace, £165, pebble. goldbangle, from a selection,
Jennifer Fisher. right hand, fromleft: gold ring, £2,175, Lola rose.
gold ring, £59, Dina KamalDK01. Left hand, from left:
gold-plated ring, £162; silverring, £95, both Lucy Folk. goldstacking rings (sold as set of 10),
£2,680, Dina Kamal DK01.previous pages: tulle, feather
and sequin dress, £9,070, gucci.gold-plated bracelet, £125,
susan caplan vintage collection
Angora and polyamide jumper,£700; leather skirt, £4,750, bothBalmain. Suede boots, £1,095,Gianvito Rossi at Joseph. Goldchain ( just seen), about £635;gold tusk charm (on chain),about £445, both Jennifer Fisher.Left arm, from left: gold stackingrings (sold as set of 10), £2,680,Dina Kamal DK01. Brassbangles, both from a selection,Jennifer Fisher. Gold-platedbangle, £216, Lucy Folk. Rightarm: brass bangles, as before
regan cameron
Velvet dress, £338,Diane von Furstenberg.Suede boots, £1,828,Emilio Pucci. Goldchain, about £635;gold tusk charm (onchain), about £445,both Jennifer Fisher.Steel and semi-preciousstone necklace, £89,Lola Rose. Gold tasselnecklace, £295, AstleyClarke. Right hand:brass ring, about£65, Jennifer Fisher.Left hand: silver ring,£95, Lucy Folk
regan cameron
this page: silk dress, about £2,530, Marc Jacobs. suede boots, £750, Laurence Dacade at Joseph. gold and enamel necklaces, from £265, both astley Clarke. Brass bangle, from a selection, Jennifer Fisher. Right hand, from left: gold ring, £2,175, Lola Rose. gold ring, £59, Dina Kamal DK01. Left hand: gold-plated ring, £162, Lucy Folk. OppOsite: silk dress, £2,825, Chloé. suede boots, £1,080, giuseppe Zanotti Design. Brass and crystal necklace, £140, pebble. Right arm: gold-plated bangle, £216, Lucy Folk. steel and turquoise ring ( just seen), £65, Lola Rose. Left arm: gold-plated bangle, £405, Dominic Jones. Brass bangle, as before. Rings, from left: metal ring, £75, pebble. gold-plated ring, £62, Maria Black. gold-plated ring, £108, Lucy Folk
regan cameron
Silk and feather dress,from a selection; silkknickers ( just seen),
£535, both LouisVuitton. Suede boots,£1,828, emilio Pucci.right hand, from top:silver ring, £49, maria
Black. Brass ring, about£63, Jennifer Fisher. Left
hand, from left: silverring, £95, Lucy Folk.
gold-plated ring, £73,maria Black
regan cameron
this page: velvet dress,£2,998, Ralph LaurenCollection. gold stackingrings (sold as set of 10),£2,680, Dina Kamal DK01.OppOsite: silk, sequin andjersey dress, about £4,340,Donna Karan. suede boots,£1,828, emilio pucci. Brassnecklace, £180, pamelaLove for Zadig & Voltaire.gold bangles, both froma selection, Jennifer Fisher
regan cameron
Suede and chainmaildress, £8,010, roberto
cavalli. Suede boots ( justseen), £750, Laurence
Dacade at Joseph.gold and agate pendant,£140, Kara by Kara ross
collection. From left:gold-plated ring, £162;
silver ring, £95, bothLucy Folk. gold stacking
rings (sold as set of 10),£2,680, Dina KamalDK01. See Stockistsfor details. Hair by
ali Pirzadeh atcLm, using L’oréal
Professionnel. make-upby Florrie White at D+V
management, usingL’oréal Paris True match
Foundation. Productionby mascioni associatiInternational. model:
ginta Lapina at Stormmodel management
A RUSSIAN
ROMANCEThebanksof theNeva,
thestepsofadesertedStPetersburgpalaceandthecolonnadesofVladimirNabokov’s
countrydachaset thescenefor thenewseason’s fairy-talegrandeur
PHOTOGRAPHS BY VALERY KATSUBA
STYLED BY SARAJANE HOARE
LEFT: Dasha wears wool and angora top,£750; matching skirt, £3,088, both Rochas.Calf-skin boots, £1,145, Ralph LaurenCollection. Leather gloves, £175, Aspinalof London. Scarf, stylist’s own. Daniil wearscashmere jacket, £3,890, Hermès. All otherclothes, his own. BELOW: black wool coat,£4,250; black wool trousers, £635; blackleather boots, £725, all Balenciaga. Whitecotton shirt, about £850, Azzedine Alaïa.PREVIOUS PAGES: wool turtleneck, £220,Ralph Lauren Blue Label. Cotton skirt,£2,990, Gareth Pugh. Calf-skin boots,£1,590, Hermès. Rabbit-fur hat, £495, JonnyBeardsall. Cashmere gloves, stylist’s own
VALERY KATSUBA
Right: wool coat, £2,535, Valentino.Wool turtleneck, £220, Ralph Lauren
Blue Label. Wool leggings, about £540,Azzedine Alaïa. Calf-skin boots, £1,145,Ralph Lauren Collection. Rabbit-fur hat,£495, Jonny Beardsall. Cashmere gloves,
stylist’s own. BeLoW: cream bouclédress, about £1,890; matching shrug,
about £475, both Céline. Calf-skin boots;cashmere gloves, both as before
Valery Katsuba
THIS PAGE: linen and cashmere jacket, £4,300, Chanel. Silk taffeta skirt, £6,000, Ralph Lauren Collection. Calf-skin boots, £1,590, Hermès. Rabbit-fur hat, £495, Jonny Beardsall. Cashmere gloves, stylist’s own. OPPOSITE: goat-skin gilet, from a selection; sleeveless cashmere jacket (worn underneath), £3,890; linen shirt, £860; calf-skin boots, as before, all Hermès. Wool leggings, about £540, Azzedine Alaïa. See Stockists for details. Hair and make-up by Yana Yakubenok. Model: Dasha Maligyna at Nathalie Models, Paris. With thanks to the Russian Academy of Arts, St Petersburg, the estate of Vladimir Nabokov, the Mariinsky Theatre and the Four Seasons Hotel Lion Palace St Petersburg(www.fourseasons.com/stpetersburg)
VALERY KATSUBA
the new poiseAutumnfashionstrikesafinebalancebetweenthedrama
of rustling,floor-lengthgownsandthe litheeleganceofthe lightestwispsofchiffonandtulle
PhotograPhs by Valery Katsuba
styled by saraJane hoare
this page: chiffon dress,about £3,300, Lanvin. Cottontights (worn throughout),£24, Falke. tie (worn asheadband throughout), stylist’sown. Ballet shoes (wornthroughout), ballerina’s own.opposite: cotton andlace shirt, £1,055, Dolce &gabbana. Nylon and elastaneknickers, £42, Wolford
this page: cream taffetadress, about £13,155, Lanvin.
Black velvet ribbon (aroundwaist), from £4.35, VV
Rouleaux. opposite: satinand silk dress, £3,950, Jason Wu
Valery Katsuba
Valery Katsuba
this page: black tulle and velvetdress, £6,800, giorgio armani.OppOsite: silk, leather and crystaldress, from a selection, Balmain.see stockists for details. hair andmake-up by Yana Yakubenok.Ballerina: Oksana skorik. Withthanks to the Russian academyof arts, st petersburg, the estate ofVladimir Nabokov, the Mariinskytheatre and the Four seasons hotelLion palace st petersburg (www.fourseasons.com/stpetersburg)
Asartgrowsevermorecommercial andfashionreachesnewaestheticheights,who’s to judge
whichbelongs inamuseumandwhich inashop,asksHANNAHROTHSCHILD
dr ama
costume
PHOTOGRAPH:RexfeATuRes
An exhibit fromthe MetropolitanMuseum ofArt’s ‘AlexanderMcQueen: SavageBeauty’ show in2011. Opposite: a suitdesigned by FreddieBurretti for DavidBowie’s 1972Ziggy Stardusttour, on display atthe V&A’s ‘DavidBowie Is’ exhibitionearlier this year
nce upon a time, few museums took fashion seriously. Costume departments were
relegated to a dusty backwater; their curators ranked low on the academic pecking
order. Clothes were seen as a subsection of social history, addenda to a bigger,
more interesting picture. Many argued, and still do, that art is about creativity,
while fashion is about business: so art belongs in a museum, fashion in a shop. The
creation of a work of art is an essentially purposeless act; the making of an item
of clothing is practical. Art is free to exist outside market forces; fashion is a prisoner of economics.
Audiences, however, have voted with their feet; frocks rock the box office. The Metropolitan Museum
of Art’s show ‘Alexander McQueen: Savage Beauty’ was the fourth most attended exhibition worldwide
in 2011, with more than 661,000 visitors. This year, the V&A sold a record 67,000 advance tickets to its
‘DavidBowie Is’ show, a fusionof fashionandpopular culture, andaround300,000peoplepoured through
its doors. In Colorado, the Denver Art Museum extended
the hours of its exhibition ‘Yves Saint Laurent: The
Retrospective’ to cope with demand. In 2012, there were
more than 44 costume shows in major museums worldwide.
This reclassification of fashion pieces as museum-worthy
works of art makes many nervous. The art business depends
on keeping art exclusive, rarefied and otherworldly. ‘Fashion
is fashion and art is art,’ says Damien Whitmore, director of
programming for the V&A. ‘Art is about meaning; fashion is
a craft.’ The V&A, with an established textile and fashion
department, puts on exhibitions that explore the stories and
skills behind costume. As Whitmore says: ‘We’re not just
about “wow”, we’re about “why” and “how”.’
Yet the hard lines that separate high and low culture have
blurred; and the roles of feminism and micro-history
have also elevated fashion’s status. The art historian Richard
Martin observed that fashionable attire was devalued in
Western culture because it was seen as the province of
women. ‘While the feminist movement of the 1960s might
be cited as a reason for the reassessment of fashion,’ says
Harold Koda, the curator in charge of the Costume Institute
of the Metropolitan Museum of Art, ‘I think it has
more to do with a broadening of the definition of art
in the 20th century.’
Traditional classifications of what constituted a work of
art ended a century ago when Marcel Duchamp signed a
urinal with ‘R Mutt’. ‘Art is not about itself but the attention
we bring to it,’ he said, placing the lavatory on a pedestal for
inclusion inanart exhibition. Since then, anartist’shandonly
has to hover near his or her work. When Charles Saatchi
commissioned a pickled shark from Damien Hirst for
£50,000, most thought the collector had gone mad. Yet,
armed with a lofty title and a lot of attention, The Physical
Impossibility of Death in the Mind of Someone Living sold for a
reputed $12 million. If a box, a shark or a lavatory qualifies as
art, many might argue that a shoe, hat or bra should too.
There is, after all, a rich interplaybetween fashionandart.
Inportraiture, clothes are a reflectionof character and status.
Velázquez was careful to put Philip IV in far more important,
bejewelled clothes than his subjects. Queen Elizabeth I’s
portraits were full of sartorial messages: dresses decorated
with vine leaves demonstrating England’s love of the natural
world; clothes decorated with pearls to depict virginity and
purity; complex ruffs of the finest lace, available only to a
ruling monarch. The early Impressionists shocked society
by painting the middle classes in their everyday
garb. Jean-Auguste-Dominique Ingres lavished so much
attention on the detail of his sitters’ clothes that their faces
became the supporting act. Despite being famed for his
O
Clockwisefrom left: theA/W 11 DiorParis catwalkshow at the
Musée Rodin.Bianca and
Mick Jagger atthe Met. Stella
McCartneyand Gwyneth
Paltrowat the 2011Costume
Institute Gala
www.harpersbazaar.co.uk
PHOTOGRAPHs:GeTTyim
AGes,©
ken
PRObsT/cORbis,RexfeATuRes
nudes, Lucian Freud painted his models’ apparel
with astonishing attention to detail.
Mass production and delegation are nothing
new for artists. Canaletto had a studio to crank
out views of Venice to sell to tourists; Andy Warhol
his ‘factory’, whose amateur employees made screen
prints.Meanwhile, anhautecouturedress isaone-off
creation needing many hours of skilled labour
to realise a particular fantasy. Many cost more
than works of art. Even high-end ready-to-wear
looks are manufactured in smaller editions than
Damien Hirst’s Spot prints. So which object
is more deserving of inclusion in a museum?
How do we judge?
Some – though not all – designers aspire
to be promoted to the first division of fine
arts; being exhibited in a museum elevates a
garment and adds to a brand’s allure. Labels
gain kudos by association with museums
and, increasingly, the language of art suffuses
the lexicon of fashion. Prada, Trussardi,
Cartier, Salvatore Ferragamo, Balenciaga,
Prada, Montblanc, Louis Vuitton, Hermès
and Gucci have all created foundations that
collect and show art, often alongside their
products. LVMH sponsors exhibitions, as well as providing classes
for children and a young artists’ award; Marni collaborates with
artists on its catwalk shows. And the overlap continues elsewhere
– in Paris, designers show their new-season collections in venues
traditionally associated with high arts: Versailles, the Grand Palais,
the Jeu de Paume, the Musée Rodin and the Louvre. Conversely, the
Gucci Museo in Florence recently showed work by the American
artist Cindy Sherman, and Gucci’s owner François Pinault, who also
counts Christie’s auction house and two museums in Venice among
his assets, has one of the world’s most important art collections.
It was a former fashion editor of this magazine, Diana Vreeland,
who invented the blockbuster fashion exhibition. When she left
publishing,Vreeland joined theMetropolitanMuseumofArt,where
she curated 14 shows before her death in 1989 (‘I was only 70; what
was I supposed to do? Retire?’ she
said about taking the position). There
had been a Costume Institute at the
Met since 1946 and an annual gala
since 1948, but these were dusty, matronly
affairs. Vreeland injected the proceedings
withglamourandpizzazz;morethan150,000
people saw her first show, ‘The World of
Balenciaga’. Another Vreeland masterstroke
was to appoint that doyenne of style Jackie
Onassis as co-chair; together they made the
Costume Institute Ball a must-attend event.
One critic accused her of creating a ‘thinly
disguised PR campaign for department-store
retailing’, and it’s true that Vreeland put
theatricality before accuracy. For her exhibi-
tion of ‘The Eighteenth-Century Woman’,
she ordered the wig-maker to use concrete blocks to exaggerate
the size of the hairpieces, as it would be ‘more amusing’.
With Anna Wintour joining as co-chair in 1994, the Costume
Institute scaled new heights. One show, ‘Dangerous Liaisons’ in
2004, was the first to integrate the clothes of 18th-century France
into rooms adorned with furniture and objects of the period. In her
first year, Wintour raised $1.3 million for the ball; last year, she
corralled cheques for $11 million. Thanks to a massive gift from
Lizzie and Jonathan Tisch, the Costume Institute is being revamped;
from next year it will have a 4,200-square-foot exhibition space, an
updated conservation centre, a library and expanded storage
facilities. Koda explains one of the new gallery’s technological inno-
vations: ‘We will be able to introduce isolated zones of sound – say,
of the drag of a mourning ensemble’s heavy satin train and the glassy
crackle of jet fringe in movement, or the dry abrasion of an 18th-
century court gown’s overdress against its petticoat.’
Putting on a show devoted to fashion does not always guarantee
success. This year’s ‘Punk: Chaos to Couture’
Acouturedressis aone-off
creation;manycostmore thanworksof art
Clockwisefrom left: theMet’s FashionBall in 1960.
DianaVreeland in1983. Bowiefans staginga flashmobat the V&A.
Jackie Onassisat a Met Gala.Bottom left:
VivienneWestwood at
the V&A
November 2013 | HAR P E R’S BA zA AR | 217
Continued on page 254
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An interior by RalphLauren. Opposite: thedesigner horse-ridingearlier this year
BY JUSTINE PICARDIE
RitaHayworth toJohnTravolta,GraceKelly
hascreatedabrandthatembodiestoWildWestcowboys,RalphLauren
Inspiredbyeveryonefrom
theAmericandream
he road to Montauk from Manhattan is slow
on a summer Saturday, winding through
the Hamptons where the rich escape from the
sweltering city; past the billionaires’ beachfront estates, in which
rap stars and new-money moguls relax alongside old-school
WASPs. Any visitor who happens to be an F Scott Fitzgerald fan
might begin to wonder about the possible location of Jay Gatsby’s
mansion, with its Normandy turrets and French Gothic library; and
it is tempting, for a romantic such as myself, to imagine the man I am
on my way to visit as a latter-day Gatsby. As it happens, it was Ralph
Lauren who designed Robert Redford’s clothes in the 1974 film
adaptation of The Great Gatsby; but beyond that, there are other
suggestive parallels. Just as Fitzgerald’s hero is the epitome of a self-
made American, the child of a poor immigrant family, who changes
his name from James Gatz to Jay Gatsby, so Ralph Lauren was born
Ralph Lifshitz in 1939, the youngest son of Jewish immigrants
to New York, who had left the oppression
of Eastern Europe in search of a better life.
If it takes one extraordinary star
truly to interpret another, then perhaps
Oprah Winfrey’s description of the
designer’s global success is the most
astute. ‘Ralph Lauren sells much more
than fashion,’ she has observed. ‘He sells
the life you’d like to lead. To own a
creation of Ralph Lauren’s… is to savour
a taste of the American dream…
More important, he has elevated what
Americans see as possible for ourselves
by offering a snapshot of a storybook
lifestyle that somehow feels attainable.’
The snapshot that I am seeing today is
at his Montauk beach house, with a view
across the pale sand towards the ocean,
stretching out to the limitless blue sky.
But it turns out not to be a Gatsby castle
(though he does have one of those, in New York state, along with
asleekManhattanduplexandanelegantCaribbeanvillaatMontego
Bay); rather, a low-lying Frank Lloyd Wright-inspired building that
is hidden from prying eyes. It is beautiful – with a cedar-shingled
roof, pristine white walls and the original wooden floors; fresh white
linen upholstery, and a coffee table arranged with illustrated books
(including his wife Ricky’s volumes of recipes and photographs
documenting their life in theHamptonsandat theirColoradoranch,
and another of his celebrated classic-car collection). The family are
in residence this weekend: Ralph and Ricky (who married in 1964),
their daughter Dylan (the owner of the Dylan’s Candy Bar stores
in New York, East Hampton, Miami and LA), their middle child,
David (executive vice-president of global advertising, marketing
and communications at Ralph Lauren), and his wife Lauren,
niece of the former president George W Bush. (Their eldest son,
Andrew, a film producer, will also be joining them.) The effect to a
jet-lagged incomer is of walking into a Ralph Lauren advertisement
featuring a golden-tanned clan, with warm smiles and clear eyes;
indeed, the family starred as themselves in early ad campaigns, as
the authentic embodiment of the world of Ralph Lauren.
Today, the founder of the brand is looking exactly as you would
expect: silver-haired, tanned, trim in a black poloneck and khaki
cotton shorts of his own design, with a Ralph Lauren Safari watch
that could be vintage but is in fact new.
His voice is soft, his manner gentle; he
seems entirely himself, while also respon-
sive to others, in a way that rich and
famous men rarely are (which makes me
think of Gatsby again: ‘If personality is
an unbroken series of successful gestures,
then there was something gorgeous about
him, some heightened sensitivity to the
promisesof life, as if hewererelated toone
of those intricate machines that register
earthquakes ten thousand miles away’).
The catalyst for our meeting is his
latest philanthropic project, one more in
a long line of enormously generous and
wide-ranging donations: among others,
to establish a breast-cancer clinic in
Harlem, and the $10 million he gave
towards the restoration of the original
Star-Spangled Banner in Washington.
His new commitment is to refurbish and modernise the Ecole
Nationale Supérieure des Beaux-Arts in Paris, France’s national
school of fine arts (past students include Henri Matisse, Claude
Monet and Hubert de Givenchy). It is not Lauren’s style to boast –
so he makes no mention that he was awarded the Chevalier de
la Légion d’Honneur in 2010 – but he does talk fondly of Paris,
where he restored a 17th-century mansion on Boulevard Saint-
Germain that is now home to the brand’s European flagship.
‘I always loved the way Paris looked,’ he says, ‘and I think I was
the first American designer in Europe. But my real romance
happened when I opened the store on the Left Bank, and I loved
being there. It was a lot of work, the building was a mess, but we
returned it to its original beauty.’
The idea of original beauty – authentic, untainted, genuinely
desirable – crops up regularly in our conversation; and perhaps it
goes back all the way to Lauren’s childhood in the Bronx. His father,
Frank, was from Pinsk (in what is now Belarus), a housepainter who
‘RalphLaurensellsmuchmorethan fashion…Hesells the lifeyou’d like to lead’–OprahWinfrey
T
www.harpersbazaar.co.uk220 | HAR P E R’S BA zA AR | November 2013
PHOTOGRAPHs:TOm
Allen,cOuRTesyOfRic
kylAuRen,cOuRTesyOfcHRis
AlleRTOn,cOuRTesyOfbRucew
ebeR,cOuRTesyOflesGOldbeRG,GeTTyim
AGes,cORbis,RexfeATuRes
▼
Ralph and Rickyon the road. Right:the designer withPrincess Diana inWashington in 1996
An advertising campaignfor the Polo Ralph Lauren
Wimbledon 2010 collection
Lauren in Coloradoin about 1985
Ralph and Ricky on the beach
Kate Moss and ChristyTurlington at the RalphLauren A/W 93 show
The Lauren family enroute to a Guggenheimcharity gala in 1977
RobertRedford wearingLauren-designedcostumes in The
Great Gatsby (1974)
The Laurens’ residencein Montego Bay, Jamaica
The Lauren family on the beach
Ralph and Ricky with their sons outside their East Hampton home in 1977
The Ralph Lauren A/W 12 campaign, photographed at Highclere Castle
Ralph LaurenCollection
S/S 13 designsphotographed
for a Bazaarshoot
Gwyneth Paltrow with her Best Actress Oscar in pink Ralph
Lauren in 1999
Naomi Campbellmodelling the
S/S 97 collection
Below: Princess Diana visitinglandmine victims in Bosniain 1997, wearing Ralph Lauren
Below, from left: A/W 12 designs modelled for a Bazaar shoot. The Duchess of Cambridge wearing a Ralph Lauren blazer in Wales earlier this year. Lauren in East Hampton in 1977
A portrait of the Lauren family in the American
countryside. Right: Ralph and Ricky with
one of their horses
A look from the S/S 14 collection
The family driving in East Hampton in 1977
was also an artist. ‘He was a very romantic man,’ says Lauren. ‘He
used to play the mandolin and the violin and the piano by ear. And
somewhere along the line he learnt how to do decoration – he’d do
murals on the wall, and he also did synagogues and churches, and
decorated the ceilings way up on high ladders.’ Ralph, the youngest
of four (he has two older brothers, Jerry, who still works with him,
and Lenny, who is seven years his senior; and a sister called Thelma),
remembers his father taking him to the Metropolitan Museum of
Art in New York to look at the paintings. Afterwards, inspired by
these masterpieces, Frank would copy them; and he also learnt to
do faux marble and wood effects with paint. But Ralph’s idea of
beauty was coming from other sources; not traditional art, whether
his father’s copies or museum originals, but Hollywood movies,
which he watched at the local cinema every weekend. ‘I was in love
with Rita Hayworth,’ he says, ‘she was like the girl next-door. And
when she dances with Fred Astaire, she’s so sweet and delicate,
and so beautiful it made my heart ache.’
As for the real girl next-door: ‘She was
called Harriet, and was a little older than
me. I don’t think she even paid attention
to me, but I used to make her bracelets out
of the wire that came around the bottles of
milk…’ But, above all: ‘Movies had a very
strong effect; movies were very much a
part of your life when you were a kid.’
At 16, like his brother Jerry, he changed
his name from Lifshitz to Lauren, ‘after
Lauren Bacall’ (another New Yorker
of Jewish-immigrant stock, who also
changed her name, from Betty Joan
Perske). ‘I wasn’t doing it to be preten-
tious,’ says Lauren. ‘I was a kid in school,
my brothers had the same issue – you go
to a public school crowded with all kinds
of kids and they’d hear the name and say,
“Is that shit? What’s in that name?” And they would make fun of the
name, so every time I got up I cringed. Fortunately, I was a cool kid
so I got through it, but inside I didn’t like it, it was very upsetting.’
Yet, with the perspective of age, he now says he sometimes
regrets changing his name. ‘Because I believe in authenticity, it
seems inauthentic to have changed your name. And I don’t like it to
be an issue, so when people write about it, it tilts what I’m truly
about.’ By this, he is referring to the lazy line, often trotted out in
profiles of Lauren over the four decades of his fame, that he changed
his name in a bid to become a WASP. According to this somewhat
patronising analysis, the same impetus was behind his early job
at Brooks Brothers, and his choice of a name for his fledgling
company, Polo Ralph Lauren (after all, what business did a poor
Jewish boy have in dreaming of such a distinctively aristocratic
sport?). But that reductive approach ignores the more intriguing
truth of how, and why, Ralph Lifshitz became one of the richest men
in America, with a brand that is sufficiently desirable to be worn
by British royalty (Princess Diana was a fan, and so are her sons)
and the East Coast upper classes that his son has married into.
You don’t get that far with fakery; on the contrary, Ralph Lauren’s
success – like that of Coco Chanel (with whom he has more
than a little in common) and the Hollywood pioneers (many of
them Jewish) – is in part attributable to his capacity to inspire
the dreams in others that he already believes in himself.
And again, like Chanel and her Hollywood contemporaries,
Lauren is a great storyteller, who under-
stands the transforming power of his
tales. Indeed, he tends to see his fashion
collections as filmic narratives. ‘When
someone comes up to me at the end of the
show and they say, “Oh, I love that dress,
that gown, that shirt,” I say, “Well, what
about the rest?” I never look at it simply
as clothes. I know editors are coming to
write about the new fashion, but I’m not
about the new fashion. I’m about the story,
and within that story I know that I have
to do something new, something that
makes you say, “Oh, wow, I love that.”’
And in doing so, his primary goal has
been to create stories that he loves, rather
than trying to second-guess the market.
His imagination has ranged from the
American prairies to African safaris; from
Grace Kelly evening gowns to Sante Fe suedes – and, remarkably, to
blend these not into pastiches or costume dramas, but something
recognisably his own. ‘I didn’t go into what I was doing to copy,
or to be anyone else but myself,’ he says, with quiet yet passionate
conviction. ‘I found something that touched the nerve for me all
the time… I’ve always believed in timelessness, I believe in longevity,
and that’s very important to me. It’s not a trend, it’s not a moment;
it’s life. And it’s a dream life, it’s a wonderful life, it’s not fake, it’s not
meant to be pretentious, it’s not meant to be, “Let me show you a way
to live,” and have you look like a cowboy. It’s, “Let me show you what
I see, let me make you love this, let me tell you the story.” And so far
I’ve been mesmerised by Indians and cowboys, by Scotland, and old
saddles, tweeds, andboots andglovesand leathers, andmotorcycles,
John Travolta, whoever it is, I have responded.’
Little wonder, then, that the world still responds in turn to Ralph
Lauren: the mythmaker, yet also a true believer. For, in an era when
so much looks uncertain, how reassuring to find a man – and a brand
– with such heartfelt commitment and faith.
‘I believe intimelessness.
It’s notatrend,it’snotamoment;it’s life.And it’s adreamlife, it’sawonderful life’
www.harpersbazaar.co.uk November 2013 | HAR P E R’S BA zA AR | 223
photographs:ben
toms,courtesyoflesgoldberg,courtesyofbrucew
eber,gettyim
ages
modern masterpieces
Bazaar’s portraits of the season’s perfectly-formed make-upand fragrances are a tribute to the art of looking fabulous
Photographs by paul zakBy victoria hall
T H E S C U L P T U R E
Inspired by a metal travel flask, Coco Chanel wanted the strong, square-shaped glass bottle to contrast
with the feminine, honey-coloured fragrance sealed inside.
Shop the page instantly with Blippar
beauty bazaar
paul zak
Chanel No 5 eau de parfum, £
67 for 50ml
THE
SKETCHER’ S
TO
OLS
Taking beauty as art in the most literal sense, Burberry’s chief creative officer
Christopher Bailey spent six months replicating the texture of his
sketching pencils for the brand’s lip definers.
BurberryLip Definer, £15.50 each
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‘Make-up can become many things – bold, transparent or graphic – which to me as a make-up artist is very important,’
says the Nars founder François Nars. With a similar texture to that of an artist’s gouache, Nars’ Eye Paints lend themselves to strong
looks, as well as light washes of colour across the lids.
Shop the page instantly with Blippar
TH
EEY
E
PA L E T T
E
Nars Eye Paints,
£18.5
0ea
ch
beauty bazaar
paul zak
T
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Such is the delicate craftsmanship behind
Dior’s blusher brushes that each and every
natural goat- and pony-hair is specially
selected to fit without being cut, in order
to preserve its original softness, and then
the brushes are carefully assembled by hand.
Dior Backstage Blush Brush, £43
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November 2013 | HAR P E R’S BA ZA AR | 231
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BEAUTYBAZAAR
While the alchemy of perfume is itself an art,
throughout history scent has looked to the arts for
inspiration. There may be analogies of content or
structure, and affiliations with artistic movements
or particular artists’ oeuvres; both forms of creativity must engage
in the process of restoration, of resurrecting classic works in a way
that makes sense of their past and present. Accordingly, painting,
poetry, music, sculpture, photography and film all enter into imagi-
native symbiosis with the scented sphere.
As Jean-Claude Ellena, nose for Hermès, remarked: ‘I am sensi-
tive to all different styles of art. Wherever I can, I make parallels,
associations, analogies… There are similarities between Cézanne,
Ravel and my fragrances. There’s a vision that veers towards
simplicity, the working drawing. I like Soulages because, like
him, I limit my palette enormously, yet manage to find new
shades within it.’ The relationship between scent and art
may be allusive and elusive, but that is where its beauty lies.
The Guerlain family has always maintained a close
affinity with the world of fine art. Jacques
Guerlain, the house’s first great nose, was an
enthusiast for and collector of Impressionism,
the movement that strove to understand the play
of light and shade. L’Heure Bleue (1912), his most
overt Impressionist tribute, took its
name from twilight: the moment at
which the scent of flowers intensifies,
smell gains ascendency over dimin-
ishing sight, and a visionary quality
takes hold. A lavish floral with a
powdery musk base, the scent has a richness that is undercut by
a piquant, vaguely troubling heart of aniseed, clove and heliotrope.
The first lady of the avant-garde, Gabrielle ‘Coco’ Chanel,
famously enjoyed friendships with – and played patron to – many
of the greatest artists of the age: Cocteau, Picasso, Apollinaire,
Stravinsky, Picabia, Dalí and Diaghilev. As the 1920s dawned, the
abstraction that had been gathering momentum since Picasso’s
Cubist revolution of 1907 flourished across art, literature and
music – and, no less, in Chanel’s No 5 (1921). Gone were
any mimetic or figurative aspirations; instead, what she and
Ernest Beaux created was the first abstract perfume.
For some, the affinity between the visual and the
olfactory is literal. Frédéric Malle, the editor of
his eponymousEditionsdeParfums, is a synaes-
thete who sees smells. He elaborates: ‘I see
colours, more or less transparent, and shapes that
are soft or angular. These are always abstract, andShalimar, £52
Guerlain
Coco
Noir, £75
Chanel
Coco,
£67
Chanel
▼
Honour,
£150
Amouage
Bazaar looksat therichinterplaybetweenperfume
andart throughtheages.
By HANNAH BETTS
SOMETHING IN THE
AIR
Shopthepage instantlywithBlippar
www.harpersbazaar.co.uk
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232 | HAR P E R’S BA ZA AR | November 2013
BEAUTYBAZAAR
evolve, a bit like smoke or water.’ The advantages are manifold:
‘It allowsus tostay inaworldsimilar tomusicandabstractpainting
– something quite immaterial.’ Not that everything Malle sees in
theworldofperfume isbeautiful. ‘Theclassicsgeneratemoreprecise
and simple shapes. Today’s junk fragrances look like wishy-washy
kaleidoscopes, as impossible to memorise as the scents themselves.’
Malle has produced images to accompany a number his edi-
tions. For Portrait of a Lady (2010) – all amber and patchouli,
topped by a vast rose – we have a plush brown and gold,
contrasting with the red, pink and purple of rose and
berry; while Carnal Flower (2005) is ‘milky, soft, see-
through, with a hard darkness at the centre’.
Dalí dreamed up a jasmine and rose confection in
1983, its flacon based on his Apparition of the Face of
Aphrodite of Knidos. Andrea Maack, an Icelandic artist
who recently exhibited at the Reykjavik Art Museum,
produces scents that are olfactory interpretations
of her visual creations. And Pierre Guillaume’s
Huitième Art Parfums are about recognising
perfume as the eighth art, after music, literature,
philosophy and the like.
On occasion, the synergy between
scent and art will be as simple as one
image,onescent.MillerHarris’Lyn
Harris is working on a fragrance
‘deeply inspired’ by Picasso’s La
Femme-Fleur, a portrait of his lover,
theartistFrançoiseGilot.Awork in
progress, it will be a bouquet domi-
nated by iris, with a tang of leather.
She explains: ‘I was spurred by the photo of her
holding the iris; a beautiful woman with the most
beautiful flower. And the fact that we extract
the smell from the iris’ root is the soul of it all. The
painting enabled me to fantasise about female
beauty through the eyes of one of the greatest
painters. I love how Italian-looking she is, and the
spacing of her eyes and chin: imperfections that
lead to absolute beauty.’
ThefirstnewEstéeLauderperfume for adecade,
Modern Muse, an elusive, woody floral, plays
with a similar notion. It is described
by the company’s fragrance guru
Karyn Khoury as ‘inspired by the
complexity of a modern woman’.
She continues: ‘Its construction
reflects the same dynamic
tension as her personality.
People think of tension as a
negative word, yet in the
world of art, and not least in
the art of fragrance, creative
tensioncanbeagreat source
of inspiration, with the
influence of seemingly con-
tradictory qualities leading
to new heights of creativity.’ Restoration is no less an art.
I interviewed Guerlain’s Thierry Wasser after his creation of
a lighter, fresher version of Shalimar with Shalimar Parfum Initial
(2011), and he told me that while it was intimidating to tackle
Jacques Guerlain’s 1925 classic, he was obliged to create the future
while honouring the past. Out went the leather and the jasmine –
‘too old-school animalic, too much’; in stayed the rose and orris
of the house’s signature Guerlinade.
Chanel’s Jacques Polge, creating Coco Noir (2012)
from Coco (1984), observed: ‘A fragrance’s birth is an act
of pure creation and unique intuition that cannot be
retraced, only felt. What remains is the lineage. This
passage of time that enters the most unexpected olfac-
torycompositions intothehistoryofperfumeandrenders
them intelligible… Any fragrance, however individual,
can only exist because of those that came before it.’ And
it, in turn, will inspire the artistry of the future.
Trésor,
£40
Lanc™me
Jubilation
25, £165
Amouage
Illustration, design
and photography
Jacques Guerlain
started the vogue for
commissioning artists –
Darcy, Charnotet, Sevreau
– to produce advertising.
Dior’s relationship with
the illustrator René Gruau
became part of the
house DNA. Otto, Olivier
Polge’s scent for a candle
produced in tribute to Piero
Fornasetti, is as sublime as
the artist’s designs.
Film
Caron’s Narcisse Noir
inspired Powell and
Pressburger’s Black
Narcissus; and Billy Wilder
is said to have sprayed the
sets of Sunset Boulevard
with it. Recent campaigns
still ofer a veritable
filmography: Baz Luhrmann
and Joe Wright for Chanel;
Rob Marshall for Lancôme
Trésor; Anne Fontaine
directing Cate Blanchett
for Giorgio Armani Sì; and
Wes Anderson and Roman
Coppola for Prada Candy.
Sì, £63
Giorgio Armani
No 5, £67
Chanel
Narcisse
Noir, £136
Caron
Terre
d’Hermès,
£77
HermŽs
Modern
Muse, £60
EstŽe Lauder
Après
L’Ondée,
£74
Guerlain
www.harpersbazaar.co.uk
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EMPORIO
ARMANI
KENZO
KENZO
ELIE
SAAB
www.harpersbazaar.co.uk
SEESTOCKISTSFORDETAILS.M
ANIC
UREBYSABRIN
AGAYLEATLMCW
ORLDW
IDE,U
SIN
GLANCÔMEVERNIS
INLOVEIN
PURPLEFIC
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N.P
HOTOGRAPHS:J
ASON
LLOYD-E
VANS
BEAUTY BAZAAR
By SOPHIE FORTE
Cast a spell with intensely
Shop the pageinky black lacquers.
instantly with Blippar
Styled by FLORRIE THOMAS
Photograph by LOL KEEGAN
The abstract expressionist Ad
Reinhardt described his black
paintings of the 1960s as the
‘ultimate paintings’. They
appear monochromatic, yet
the multiple nuances of black
emerge on close inspection. The
same can be said of Lancôme’s
new trio of off-black polishes:
the ultimate in executing
this season’s black nails with
sophisticated subtlety.
Lancôme Vernis in Love in Purple
Fiction, Black Sepia and Grey
Lumière, £12.50 each
DARK
ARTS
From top: calf-skin and
metal bracelet, £810,
Hermès. Metal and fabric
bangle, from £550;
Plexiglas and chain bangle,
£1,080, both Chanel
Groundbreaking at the time of their release in 1990,
Elizabeth Arden Ceramide Youth Restoring Capsules
are still at the frontier of anti-ageing solutions. Small
but perfectly formed, the capsules owe their success to
a revolutionary concept: taking the most sophisticated ingredients
and sealing them in individual doses.
With no fragrance, preservatives or emulsi-
fiers to dilute the serum, each ceramide cap-
sule delivers optimal purity and potency.
At the heart of the formula lies Elizabeth
Arden’s patented ceramides – skin-identical
lipids to restore skin’s strength, smoothness
and moisture levels, with further essential
lipids to support collagen production.
For optimum anti-ageing results, follow your daily dose with
Ceramide Lift and Firm Day Cream SPF30, which has cellular-
plumping technology and a broad-spectrum sunscreen. Whether
at home (where they are a brilliant antidote to drying central
heating and look beautiful on the dresser), or away (the individual
doses are ideal for travelling), they remain
a beauty star worth investing in.
Complimentary trial for Bazaar readers
Discover the power of ceramide
for yourself: take this page to an
Elizabeth Arden counter and you’ll
receive a free seven-day trial with
a skincare consultation*.
BAZAAR | PROMOTIONR
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PEARLS OF
WISDOMAwordfromthewise–ElizabethArdenCeramideYouthRestoring
beautystarCapsulesareatrueanti-ageing
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for Cleansing, £49, Dr Hauschka
Spruce Bath, £9, and Sisley Eau
de Campagne Bath and Body Oil,
£56, are all more modern, more
elegant alternatives.
If bed is your imminent desti-
nation, toss a handful of Ina
Crystals White Gold Detoxifying
Crystal Salt, £47, under the
running tap; this is an excellent
antidote for tired limbs. Next, add
a liberal splashof soporificbathoil.
Aromatherapy Associates Deep
Relax Bath and Shower Oil, £39, is
fantastically potent. Or, if a bath
laced with roses is your idea of
pre-slumber heaven, then Ren
Moroccan Rose Otto Bath Oil and
Jo Malone London Red Roses
Bath Oil are blissful with Shiffa
1001 Roses Milk Bath.
A bathe in a hotel can be one
of the most sybaritic experiences
there is (the deep tubs at Le
Meurice inParis spring tomind)or
themostdisappointing (amagnifi-
cent Victorian bathtub… with nothing but a
decrepit bar of soap and an empty bottle of
something nondescript), so we suggest you
tuck Aromatherapy Associates Miniature
Bath and Shower Oil Collection, £32, or
Espa Bath Oil Collection, £27, into your
wash bag.
A note on bubble bath: never underesti-
mate its capacity for inducing pure joy. Our
favouritesareGuerlainShalimarVoluptuous
Foaming Bath, £31, and Dior J’Adore
Shower Gel, £33. But the definitive luxury
bubble bath is Chanel’s. Available from
November, No 5 the Foaming Bath whips
up a cashmere-soft foam.
The essence of every bath is in the detail:
never rush (along with tepid water, bathing
in haste borders on depressing) and always
have the largest towel to wrap yourself up in
afterwards. Giorgio Armani took a year to
perfect the weight and pile for the towels at
his Milan hotel: clearly a man who under-
stands the art of the bath.
A scented
candle provides
essential ambience.
I love Diptyque 34
Boulevard Saint
Germain Scented
Candle, £50, or Neom
Organics Relax Home
Candle, £39.50.
Drummonds
makes the best
cast-iron baths and
accessories. I chose
its bath lever taps,
as they’re easily
switched on and of
with a foot.
Darker wall
colours create a
cavern-like feel
for a bathroom.
Mine is Farrow & Ball
Plummett (a warm
grey) and Of-black
for the woodwork.
Store bath towels in
cupboards lined with
Jo Malone London
Scent Surround
Drawer Liners in
English Pear &
Freesia, £30 for five.
236 | HAR P E R’S BA ZA AR | November 2013
Combine a few luxurious products in your bath to create the most
blissfully soothing experience.
‘There must be quite a few things that a hot bath won’t cure,
but I don’t know many of them,’ said Sylvia Plath, and we
quite agree; the most pleasurable conclusion to a chilly day
is to sink into a deep tub, steamy and steeped in salts, oils or suds.
The perfect bath is an artfully alchemic affair; within a capful of this
and a dash of that lies the opportunity to transport body and mind.
With the air of a cosy country retreat, green and piney soaks are
wonderfully warming. The coniferous froth of Badedas Original
Bath Gelee, £6.19, is nostalgically cheering; but Ila Bath Salts
WATERSOF LIFE
£40Chanel
£100Shif a
£52Jo Malone
London
£33Dior
£30Ren
YOU
RBEST
B
ATH
By SOPHIE FORTE
BEAUTY BAZAAR
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www.harpersbazaar.co.uk
PHOTOGRAPH:fiO
nA
wATsOn
Edited by ajesh patalay
at home
Thismonth,Bazaarexplores theenchantinggardenofLittleSparta,
designedby thepoet IanHamiltonFinlayasagreenspace fullof ideasandmysteries
a place
to dream
A view of Little Sparta,South Lanarkshire,from a small art-studiohut in the grounds
www.harpersbazaar.co.uk240 | Har p e r’s ba za ar | November 2013
Asubmarineloomsfromapond,pathsleadnowhere,panpipeshangfromtrees…LittleSpartainScotlandismorepoemthangarden
By alice oswald
wonder
land
sentences on Gardening’:
‘a garden is not an object
but a process’; ‘superior
gardens are composed of
Glooms and solitudes and
not of plants and trees’;
‘The lawn is the garden’s
downfall’. This list is not
so much explanatory as
provocative. its discon-
nections lead you to infer
a fuller, more coherent philosophy of which
these might be only excerpts, but actually,
there is no source text, no coherence. The
argument is deliberately fragmentary.
‘a fragment,’ he said, ‘is a whole composed
of a part, completed by a mystery.’
when i first saw little sparta, i was
working at wisley, which is a garden
designed to eliminate mystery. its purpose
is to teach, and its essence is therefore
display. iwasamazed,havingcaught a series
of trains and buses to the pentland Hills,
to find myself in a garden whose essence
was mystery and whose main features were
invisible. like a graveyard, everything was
inscribed with a reference to something
unseen. so a fallen pillar, with lettering
on its side saying: ‘arcadia n. (noun)
a Kingdom in sparta’s neighbourhood’,
suggested another landscape, of which this
one was only the ruins; and the lake,
with boats drawn up along its edge and that
submarine poking from its shallows, seemed
to be not itself, but an emblem of the sea.
lake. an ‘english lane’,
set between hedges, nei-
ther meanders nor leads
anywhere. what are peo-
ple meant to make of all
this paradox?
Hamilton Finlay (born
in the bahamas in 1926)
started out as a writer of
short stories and short
poems. His style was
always spare, always aim-
ing to wear itself down to
something ‘scarcely larger
than a dot’. in the 1960s, inspired by edwin
Morgan, he began to write concrete poems
(poems whose typography contributes to
their meaning) and this sculptural approach
to language led him eventually to make
his poems three-dimen-
sional, writing them into
blocks of stone or wood,
or sundials, stiles, foun-
tains, stepping stones,
watering cans, plant
labels or boats.
out of this actualis-
ing impulse came the
garden at little sparta.
He moved to the
pentland Hills near
edinburgh with his wife
in 1966 and began to
populate his five-acre
garden with his poems.
in 1980, he produced
a booklet including two
pages of ‘Unconnected
At one end of my desk, i have a
pile of letters from ian Hamilton
Finlay, the scottish poet and
garden maker. i keep them there
so that i can dip into their clarity from time
to time. it’s good to be within reach of such
exact and melancholy phrases as this one:
‘would that my words could be still. it is
often my dearest wish (or second dearest)’;
or this one: ‘everything absolutely pure
is folded and scarcely larger than a dot (as
it were)’. i corresponded with him for seven
years, after applying for a job as his gardener
in 1990. None of the letters mentioned
whether i had got the job, but the corre-
spondence became an end in itself: a series
of footnotes to his extraordinary garden.
it’s an unsettling place, both protective
and disruptive. one moment you move
among the birch-trees
where a set of pan pipes,
half hidden in leaves,
tells you: ‘when the wind
blows/ venerate the
sound’; thenextmoment
you meet a stone tortoise
on whose shell is written
‘panzerleader’.There’s a
pool of reflected clouds,
a broken column, a path
of boat names; then sud-
denly gateposts topped
with hand grenades
leading to a huge decapi-
tated head of apollo.
a submarine’s conning
tower sticks up out of the
shallows of a very small
There is apoolof reflected
clouds,abrokencolumn, apathofboatnames
Clockwise from left: agoose-hut on Lochan Eckat Little Sparta. A beehive.The road to the garden. Astone sculpture. Below left:the gate to the sheepfold
athome
STONE AND WATERClockwise from top left: amodel boat in the windowof the main house. Aninscribed dry-stone wallinside the sheepfold. Astatue of Hypnos, Greekgod of sleep. Rain on asmall pond. A boatmoored on Lochan Eck,the small loch
Inner Compulsion
(sculpture), to order
Peter Randall-Page
Engraved
seesaw, £850
Stevenson
Brothers
£29
The Conran
Shop
It was there, on that
souvenir Mediterranean,
that my interview took
place. I had to answer
questions while rowing
from side to side, trying to
look my interviewer in the eye while also
avoiding the reeds. I did run aground
a couple of times, but at least it gradually
became clear that he was not going to quiz
me about plant names. He was much more
interested in ideas than plants. ‘What is the
difference,’ he asked, ‘between an aphorism
and a fragment?’ then answered the ques-
tion in a letter the following week: ‘A
fragment is an aphorism in a wild or
super-social state. (Aphorisms are
tamed fragments.) Aphorisms belong
to the world, fragments to the uni-
verse.’ It was not a conventional
garden interview.
Hamilton Finlay died in 2006.
His garden, which is now beautifully
managed by the Little Sparta Trust,
is still growing.PH
OT
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S:F
ION
AW
AT
SO
N,G
RA
HA
MW
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EE
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OC
KIS
TS
FO
RD
ETA
ILS
Cox
& Cox
£125
Cox
& Cox
SPARTASTYLE
Bird feeder,
£25
Cox & Cox
£3,950
Burford
£14
Anthropologie
Dream of a white Christmas in winter’s most desirable pieces
The december issue – on sale 7 november PH
OT
OG
RA
PH
: T
HO
mA
s l
OH
R
Jacket by Tommy Hilfiger
PHOTOGRAPH:dAvid
cROOkes
ESCAPE
Edited by CATHERINE FAIRWEATHER
picture
From sculpture on the savannah to Rodins in Singapore,
this
take a modern grand tour of the world’s most artistic hotels.
Plus: Monica Vinader on hunting emeralds in Jaipur
modErnlandscapEThe gardensat the segeraretreat in Kenya
PHOTOGRAPH:xxxxxx
EdEn Rock – St BarthS
One of the Caribbean’s most glamorous destinations is also a treasure trove of art. Rooms are
decorated with antiques and watercolours by co-owner Jane Spencer Matthews, who studied at the Slade
School of Fine Art. The new Villa Rockstar is lined with Matisse lithographs; in Villa Nina, Terry O’Neill prints
face an exhibition of contemporary art. And, if you can tear yourself away from the perfect crescent of white
sand, you can pick up a brush and create a masterpiece, with help from the artists in residence. sarah gilbert
Seven nights, from £2,989 a person B&B, including British Airways flights and transfers, with ITC Classics (01244 355527;
www.itcclassics.co.uk).
ThE SEgERa RETREaT Kenya
The last thing you expect to find in a block of restored stables
in the middle of the vast Laikipia Plateau in northern Kenya is one
of the largest private collections of contemporary African art.
On the walls are Zimbabwean Kudzanai Chiurai’s silent short film
Iyeza, a retelling of the Last Supper shown at this year’s Sundance
Film Festival, playing on a loop; drawings by the Ethiopia-born
Julie Mehretu (who recently had a White Cube solo exhibition);
video work by the British-Nigerian Yinka Shonibare; and
paintings by the Ghanaian Owusu-Ankomah.
Owned by Jochen Zeitz, a former Puma CEO who
recently launched Segera, a 50,000-acre reserve with six
villas, the collection is groundbreaking – not only for its
size, but also for the way it is set off by the landscape. Wire
sculptures and bronze figures are dotted around a neat,
emerald-green garden – a surreal sight amid the savannah
that stretches wild, untamed and tawny to the far horizon.
There are plans for events, such as a screening of the artist
Isaac Julien’s Ten Thousand Waves film on the plains.
The curator Mark Coetzee (previously the director of the
Rubell Family Collection in Miami), who has been working
on expanding the collection for the past four years, will rotate
the art every few months so there’s always something new
on show. All of which is part of Zeitz’s larger plan to offer guests far
more than the chance to spot elephants. His vision also includes the
philanthropic Zeitz Foundation, plus community and conservation
projects. More hedonistic guests can relax by the pool, have a spa
treatment and take sundowners on the star deck while the moon
illuminates a different kind of Migration – a series of boulders with
text inscriptions by the artist Strijdom van der Merwe. emma love
Five nights at the Segera Retreat, from £3,445 a person full board, including
transfers, with Mahlatini Luxury Travel (02890 736050; www.mahlatini.com).
Artinresidence
InfinitypoolsandFrettebathrobesareno longerenough.Thesedays,hotelsare investing inworld-beatingart
collections to temptdiscriminatingaesthetes tocheck in
ESCAPEPHOTOGRAPHs:DAviD
cROOkes
Not many hotels can claim to have an art collection
worth $3.5 million, but that’s what happens if you buy
works by Damien Hirst, Andy Warhol, David Hockney
and Auguste Rodin. True to the W brand, this 240-room
hotel overlooking the harbour seems to be aimed at
hipsters fending off middle age. There are big, luxurious
yet kitsch rooms with names such as Extreme Wow,
bathtubs that look like petri dishes, crooked lampshades embedded
halfway up walls and sculpted hands holding flowers emerging from
others; the poolside chairs even glow in the dark. You can admire
Wang Ziwei’s great Pop Art-inspired work, and a melancholy
portrait by the French artist Etienne Assénat; while a gorgeous
Rodin bronze cast dominates the lounge. KATE QUILL
W Singapore – Sentosa Cove (+65 6808 7288;
www.wsingaporesentosacove.com), from about £222 a room a night.
THE DOLDER GRAND ZURICH
The fairy-tale steeples of this landmark have towered above Zurich since 1899, and after a four-year
restoration led by Norman Foster, it reopened in 2008 as a modern masterpiece. The owner Urs
Schwarzenbach’s diverse art collection – around 130 pieces – adorns the walls. An enormous
Warhol panel hangs above the onyx reception desk; the Finnish artist Jani Leinonen’s We Love
Vodka & Freedom hangs in the bar; and a Dalí oil of ballerinas with lobster heads greets you at the
entrance to the two-Michelin-star restaurant. A fabulously curvy Fernando Botero bronze
overlooks the hot-tub, making everyone within seem svelte; and, after tucking into Heiko Nieder’s
culinary creations, Scott Campbell’s I’ ll Start My Diet Tomorrow seems very apt. An innovative iPad
app means you can tour the collection by artist or location at your leisure. SARAH GILBERT
The Dolder Grand (+41 44 456 60 00; www.thedoldergrand.com), from £413 a night in a Double Room Superior.
No, someone hasn’t spiked your
drink. This 51-room hotel really
is a riot of shocking pink, acid
yellow and lime green. The
colour scheme might not sound
very appealing, but somehow
Karim Rashid’s kooky interior
design – best described as magic
mushrooms meet sweetie shop –
really works. There’s a nod to
Pop Art in the cube-shaped chairs
and wavy sofas, the use of rubber,
plastic and perspex, and
the psychedelic pink light in the
reception area. Best of all is
the pool, which looks like a giant
green-and-blue swirly lollipop.
The hotel is owned by Dakis
Joannou, one of Greece’s biggest
collectors of modern art, and
works from his collection are
exhibited throughout. But while
the childlike joy in colour
continues in the bedrooms,
it is subtly toned down, so
your dreams won’t be too
Sgt Pepper. KATE QUILL
Semiramis (+30 210 327 3200, www.yes
hotels.gr), from about £149 a room a night.
SEMIRAMIS
ATHENS
W SINGAPORE – SENTOSA
COVE SINGAPORE
Botanique Brazil
This luxurious lodge, set high in green, forested hills
three hours’ drive from são paulo, is owned by
ricardo semler, a brazilian tycoon and business
guru, and his wife Fernanda. They are on a mission
to showcase the best that brazil has to offer in design
and hospitality. The building, an enormous, partially
transparent structure, was designed by the brazilian
architect Candida Tabet. Inside, the art on the walls
was curated by a leading são paulo gallery owner,
but it’s the furniture that will have you spluttering
into your caipirinha. The semlers scoured the
country to source every item from the best design
studios, so there are chairs by the internationally
renowned designer sérgio rodrigues, as well as
sofas, chaise longues, tables and cabinets from young
up-and-coming designers. The look is mid-century
Modernist – the sitting-room and library have a cool,
languid, Fifties, palm springs feel. botanique is
all-inclusive, and has a spa, fine restaurant, tennis
courts and a stable of gleaming horses. kate quill
Botanique (+55 12 3797 6877; www.botanique.com.br),
from about £790 a room a night all-inclusive.
ESCAPEPHOTOGRAPHs:mARciO
scAvOne
The andaz, which opened last year,
is within walking distance of the city’s
main art galleries, but if you prefer
modern art to Dutch 17th-century
masters, stay put. This 122-room
property has the largest collection
of video art of any hotel in the world –
there are 40 installations by local
and international artists, including
ryan Gander, erwin Olaf and Mark
Titchner. The display screen in the
lounge is extraordinary, comprised
of nine 60-inch TVs. Marcel Wanders’
ambitious interiors blend the techie
and contemporary (lots of fibre-optics)
with nods to the past: 19th-century
typography and illustrations;
furniture that resembles giant
chess pieces; and shimmering,
patterned wall surfaces. It’s bold and
cutting-edge with a touch of Alice in
Wonderland surrealism. kate quill
Andaz Amsterdam Prinsengracht (+31 20
523 1234; www.amsterdam.prinsengracht.
andaz.com), from about £277 a room a night.
AndAz AmsterdAm
PrinsengrAcht
AmsterdAm
www.harpersbazaar.co.uk
BRODY HOUSE BUDAPEST
This B&B, which is part of a members’ club established by
two British entrepreneurs, has 11 individually decorated
rooms set in a magnificent 19th-century palace, and each
is like an art gallery. Budapest’s wealth of artistic talent is
beautifully reflected in this highly original hotel. In some
ways, Brody House is quite traditional; its interiors have
elegant, classical proportions, grand pianos, glossy parquet
floors, piles of books and claw-foot baths. But that old-world
romance is shaken up with distressed, industrial-chic wall
effects, contemporary painting and photography, and many
disarming, rather surreal touches – one room is lined with
antique wooden doors. There’s also a diary of artistic events
taking place in the hotel to ensure you’re never at a loss for
something to see. KATE QUILL
Brody House (+36 1 266 1211; www.brodyhouse.com),
from about £60 a room a night.
Everything about the
Cavalieri is over the top,
from the Tiepolo canvas
in the lobby to the marble
escutcheon adorning the
concierge’s desk. Despite
this being a sleek 1960s
hotel about 20 minutes from
the Piazza Barberini, all that
gilt and scarlet seems quite
at home. Which is lucky,
since the lavish decoration
doesn’t stop with the lobby.
There are Warhols in the
bedrooms and sculptures
adorning every passage. To
turn yourself into an equally
sculptural form, hone your
body in the giant pool or
on the outdoor fitness
circuit, and then retreat to
the spa for a final polish. The
greatest work of art
the hotel can offer, though,
is Rome itself, which spreads
before the Cavalieri’s
balconies in all its Baroque
magnificence. SASHA SLATER
Rome Cavalieri, Waldorf Astoria
Hotels & Resorts (+39 06 35091;
www.romecavalieri.com),
from about £300 a night B&B
in a Deluxe Room.
THE SURREY NEW YORK
The Surrey is a stone’s throw from no fewer than nine world-class
museums, but you don’t need to leave the hotel to get your art fix.
This Beaux-Arts gem is home to a contemporary art collection that
includes a tapestry of Kate Moss by the photographer Chuck Close
in the lobby, a Claes Oldenburg in the Chanel-inspired Bar Pleiades
and a Richard Serra in the Penthouse Suite. This year, the hotel
launched tailormade art tours with Context Travel for amateurs
and art aficionados alike. Starting with its own collection, you can
focus on a particular artist or period and even get after-hours
access to the Metropolitan Museum of Art. SARAH GILBERT
The Surrey (+1 212 905 1477; www.thesurrey.com), a Deluxe Salon costs from
about £315 a night and a Grand Suite Deluxe from about £600 a night.
ESCAPE
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CAVALIERI
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manv
week
30-day
free
trial
GIve HIm a week He’LL RememBeR.
new
for HiS free trial PoiNt HiM to tHe aPPle aPP Store to SearcH ‘eSquire uK’.
Behind every great man, lies the woman who showed him how to take on the week and win.
New Esquire Weekly is the interactive, indispensable edit of the next 7 days.
HIm a week He’LL Remem
TravelNOTEBOOK
ESCAPE
Favourite view
‘The spectacular sight
from the Nahargarh
Fort as the evening
light turns the pink
buildings a deep gold.’
PH
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Top tip…
for relaxation
‘Sitting by the pool
with an Aquarius
cocktail (lemon
soda with fresh
ginger and mint)
– utter bliss.’
DON’T LEAVE HOME WITHOUT…
£385Talitha
£261Diane von
Furstenberg
Your inspiration
‘I love watching
craftsmen
block-print
textiles and carve
the stamps
by hand.’
(£8.99, Faber and
Faber)
£33Laura
Mercier
£775JimmyChoo
£74Annick Goutal
£90Crèmede laMer
What do you pack?
‘Diane von Furstenberg
trousers; Jimmy Choos
for the evenings;
a Siren Bib necklace
in green, from my
new collection; and a
book – A Fine Balance
by Rohinton Mistry is a
fabulous novel of
Indian society in the
past 100 years.’
Beauty essentials
‘Crème de la Mer sunscreen;
Chanel Rouge Coco lipstick;
Laura Mercier foundation;
and my favourite scent, Eau
d’Hadrien by Annick Goutal.’
£850Monica Vinader
Vinader selectingrough emeralds forher new collection
The jeweller sings the praises of the precious stones and tranquillity of Jaipur in India
…the Ray-Ban Clubmaster Folding sunglasses. The classic Ray-Ban shape gets a clever redesign, allowing
the glasses to bend while maintaining their shape, making them the perfect accessory for even the tightest
hand-luggage restrictions. Ray-Ban Clubmaster Folding, £179, available at Sunglass Hut (0844 264 0860).
£24ChanelThree words that
describe Jaipur: ‘Magical, historic, incredible.’
Best place to stay
‘The Oberoi Rajvilas
(below) is an idyllic
retreat from a vibrant
and ever-growing
city. Enclosed in
gorgeous gardens,
it feels like an oasis
of peace.’
The pool at aprivate villa at
the OberoiRajvilas
flash!
at the end of thenight, everyone wasgiventhetable flowers
to take homeThe Harper’s Bazaar and estée Lauder
Companies dinner for the opening of
Kensington palace’s exhibition ‘Fashion
rules’ attracted film and fashion royalty.
as guests studied the collection of
regal dresses (from the Queen’s gowns
by Norman Hartnell to princess Diana’s
power suits), they contemplated what
they’d do if they were queen for a day.
Manolo blahnik whispered that he’d ‘ban
a few fashion trends that have bothered me
over the decades’. platforms, perhaps?
Regalglamourruledatanexhibitionof theRoyalFamily’s couturecreations
Power
dressing
hayleyatwellsaid her royaliconwasElizabeth I.‘she had
tremendouspower’
Minnie Driverin Missoni, and
Jeremy Piven
Poppy Delevingnein Chanel, andElizabeth Whitson
SophieEllis-Bextor
Hayley Atwell inRoksanda Ilincic,
and Naomie Harrisin Marios Schwab
Christopher Kane and Erdem Moralioglu
Naomie Harrisand Justine Picardie
Pixie Geldof andHenry Holland
60 secondswith…
manoloblahnIk
Who is your royal icon?
‘Her majesty elizabeth ii.
she has been with me
my whole life, so i have a
great amection for her.’
Which royal fashion
era do you like the
most? ‘i’m fascinated
by Rose Bertin’s original
designs – she was marie
Antoinette’s dressmaker.’
Gillian Anderson invintage Jean Dessès
Kristina andManolo Blahnik
Roksanda Ilincic in her ownlabel and a vintage YvesSaint Laurent jacket
PHOTOGRAPHs:Oliv
eRHOlms,Ric
HHARdcAsTle
Tyrone Wood andJasmine Guinness
Dan Stevens
Kristin Scott Thomas
Emilia Fox inEdeline Lee
Florence Welch inLouis Vuitton
Tracey Emin inTimothy Everest
LauraBaileydazzled inpinkDior
The Royal Academy of Arts Summer
Exhibition preview dinner, hosted by Tracey
Emin, is always an art-calendar highlight,
but this year’s was particularly star-studded.
The Les Misérables actress Samantha Barks
joked with Emilia Fox, and Dougray Scott
said his favourite artwork would be ‘a photo
of the moment I met my wife, Claire Forlani’.
StarsflockedtoTraceyEmin’sopeningdinner for theRoyalAcademySummerExhibition
FramesoF
attraction
Laura Bailey
Dougray Scott andClaire Forlani
David Gandy,and SamanthaBarks in Dolce& Gabbana
Jade Parfitt in Jonathan
Saunders and Louis Vuitton
JamieCampbell
Bower
www.harpersbazaar.co.uk254 | Har p e r’s ba za ar | November 2013
stockistsA–c
Acne (020 7629 9374) Alberta Ferretti (020 7235 2349) AlexanderMcQueen (020 7355 0088) Alexander Wang (www.alexanderwang.com)Alexis Mabille Haute Couture (+33 4 78 59 16 71) Amedeo at Harrods(020 7730 1234) Annick Goutal at House of Fraser (0845 602 1073)Anthropologie (00800 0026 8476) Anya Hindmarch (020 7493 1628)Araks (www.araks.com) Armani Privé (020 7235 6232) Aspinal ofLondon (0845 517 8967) Astley Clarke (020 7706 0060) Atea (020 72352668) Azzedine Alaïa at browns (020 7514 0000) Balenciaga (020 73174400) Bally (www.bally.com) Balmain at Harrods (020 7730 1234) Berluti(www.berluti.com) Bionda Castana (020 8870 5156) Bottega Veneta (0207838 9394) Browns (020 7514 0000) Brunello Cucinelli (+39 075 697071)Burberry (020 7806 8904) Burford (01993 823117) Calvin Klein Collection(www.calvinklein.com) Cathy Waterman (www.cathywaterman.com)Céline at Harrods (020 7730 1234) Chanel (020 7493 5040) Chanel (make-up)(020 7493 3836) Charlotte Olympia (020 7499 0145) Chloé (020 7811 3950)Christopher Kane at Matchesfashion.com The Conran Shop (0844 8484000) Cox & Cox (0844 858 0734) Crème de la Mer (0800 054 2661)
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Delvaux at Dover street Market (020 7518 0680) Diane von Furstenberg(020 7499 0886) Dina Kamal DK01 at Dover street Market (020 7518 0680)Dinny Hall (020 7792 3913) Dior (020 7172 0172) Dior Haute Couture(+33 1 40 73 54 44) Dolce & Gabbana (020 7659 9000) Dominic Jones atHarvey Nichols (020 7235 5000) Donna Karan (020 7479 7900) EmilioPucci (020 7201 8171) Emporio Armani (020 7823 8818) Eres (0808 2340332) Esprit (00800 0037 7748) Eternamé (+33 1 40 69 08 00) Falke(+49 2225 926176; www.falke.com) Fendi (020 7838 6288) Gareth Pugh atselfridges (0800 123400) Giambattista Valli (+33 1 40 17 05 88) GiorgioArmani (020 7235 6232) Giuseppe Zanotti Design (020 7838 9455)Givenchy by Riccardo Tisci at Harrods (020 7730 1234) Gucci (020 72356707) Hermès (020 7499 8856) Hobbs (0845 313 3130) Isa Arfen atOpening Ceremony (020 7836 4978) Isabel Marant at Harvey Nichols(020 7235 5000) J Brand at selfridges (0800 123400) Jason Wu (www.jasonwustudio.com) Jennifer Behr (+1 718 360 1875; www.jenniferbehr.com) Jennifer Fisher (+1 888 255 0640; www.jenniferfisherjewelry.com)Jimmy Choo (020 7823 1051) Jitrois (020 7245 6300) Jonny Beardsall(01677 460007) Joseph (020 7610 8438) JW Anderson at Moda Operandi(www.modaoperandi.com)
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was criticised for a lack of understanding of the period. punk was
about ugliness, discordancy and anarchy. Gwyneth paltrow, who
turned up in a pink ballgown, said the show ‘sucked’. but Koda is
sanguine: ‘everyone is entitled to their opinion. We thought it was
amazing how elements of a provocative, even nihilistic, street style
could in 30 years come to be reflected in the creative strategies of
prêt-à-porter and haute couture designers.’
Leaving the ‘punk’ show, visitors could buy a $565 silk-screened
T-shirt that would have set sid Vicious off on a spitting fit. The
show’s sponsor, Moda Operandi, an online retailer, had exclusive
merchandising rights. On its website you could buy a peacock-blue
mohawk for $1,500, or a Thom browne wool zipped kilt for $3,820.
The V&a says it would never accept such sponsorship. ‘Our brand,
reputation, scholarship and integrity have to remain unblemished,’
Whitmore says. ‘We keep a critical distance.’
Yet, in an era when public funding is being cut and sponsors are
even harder to find, museums are under pressure to come up with
profitable exhibitions to entice new audiences. There are only so
many Da Vincis, Lowrys and Hockneys. big names and powerful
brands are important to help sell shows. The saatchi Gallery had a
runaway success with its exhibition of Chanel’s ‘Little black Jacket’,
photographed by Karl Lagerfeld. alexander McQueen’s clothes are
objects of extraordinary beauty and craftsmanship in their own
right; few could deny, though, that his suicide and tragic story
helped to create a frisson around the Met show.
another problem museums face is how to attract new and
younger audiences. The wide availability of cutting-edge design
means that everyone, whatever their shape, size and budget, can be
part of this once elevated and elusive world. No wonder that a newly
enfranchised fashion-buying population is interested in the stories
behind the brands. ‘Fashion in museums has an increasingly knowl-
edgeable and critical audience,’ Koda says. ‘Today, every blogger
has more information easily at hand than a costume curator did
20 or 30 years ago, when I was starting off. It is exciting to have a
more fashion-savvy audience to address ideas to.’
My problem with these shows is that garments need to be ani-
mated by a wearer; hanging on a rail or on a mannequin, outfits lose
their character and become pieces of material. Clothes are made to
be worn. The greatest outfits are realised by the body they encase;
by the shimmy of a seam across a hip or breast, the flick of a hemline,
the arrow of a dart, the slip of a stitch and the suggestion of form
lurking beneath fabric. Like a great play or piece of music, clothes
lose out without that element of interpretation or performance.
Fashionneeds the inputof an individual. ‘Howmanyhistorichouses
have we been to where the glass-eyed mannequin has her wig faintly
askew and her eyelashes de-laminating?’ asks Koda. ‘because of
conservation restrictions, we can never animate a skirt or a sleeve.’
a fashion exhibition is just part of the story. However, provided
that the exhibits are based in their social context, and staged with
wit and imagination, and so long as sponsors don’t compromise the
curators, their popularity will endure. There are many to look
forward to in the near future. Few doubt that ‘Cartier: style and
History’ at the Grand palais in paris (from 4 December) will be a
success. The brits are bound to like ‘Hello My Name Is paul smith’
at the Design Museum (from 15 November) and, for the more adven-
turous, there is ‘The Fashion World of Jean paul Gaultier: From the
sidewalk to the Catwalk’ at the barbican (from 9 april 2014) and
‘Club to Catwalk: London Fashion in the 1980s’ at the V&a (until 16
February 2014). The most important thing is not to throw your old
clothes away; today’s cast-offs might be tomorrow’s works of art.
‘costume drama’, coNtINued From PaGe 217
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www.harpersbazaar.co.uk262 | Har p e r’s ba za ar November 2013
inspiration
PHOTOGRAPHs:GRAHAm
wAlseR
Jean Cocteau’s work for Bazaar,clockwise from top left: thebackdrops for a hairstyle story from1940 photographed by GeorgeHoyningen-Huene. The November1946 cover. Drawings fromFebruary 1936. Cocteau’sillustrations to accompanya feature he also wrote in 1937
How
Iconicmoments fromourarchives revisited.Thismonth: theetherealgeniusof
JeanCocteau’s illustrationsBy ajesH patalay
Of all the artists who ever contributed to Bazaar, jean Cocteau was
probably the most obvious choice. No one else showed quite the
talent for collaboration that he did, whether as a writer, illustrator,
designer or film-maker, working with picasso, Diaghilev, Chanel and
schiaparelli, among others. He joined the ranks of Bazaar contribu-
tors thanks to alexey brodovitch, the russian art director who
started at the magazine in 1934 and enlisted artwork from a number
of other europeans including salvador Dalí, Marc Chagall and joan
Miró. Few were as prolific as Cocteau, though. among his many
covers, the drawing for November 1946, in which an Orpheus-like
figure sweeps across the page, is perhaps the most mythic. Inside the
magazine, his illustrations were often used as counterpoint, such as in
a story on hairstyles from january 1940, in which a pair of Cocteau
twinsfloatsurreally in thebackground.Otherpiecesrevolvedaround
the artist himself, such as two articles from the February 1936 and
april 1937 issues, which both touched on Cocteau’s concept of modes
violentes (literally, ‘violent fashions’). Cocteau once said that fashion
bored him, but it would be more accurate to say he was only inter-
ested in clothes with a theatrical impact. In a piece from april 1937,
Cocteau praised schiaparelli for precisely this reason. like Chanel
before her, schiaparelli created outfits that gave to women ‘that
violence which was once the privilege of the very few’, to wit, the
actress’ power to turn heads and the revolutionary’s ability to over-
throw convention. In Cocteau’s view, couture should do no less.
Bazaar
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