ART | DESIGN | EXPERIENCE | FASHION | ARCHITECTURE | INTERIORS | TRAVEL | MUSIC | FOOD | DRINK

LOVE | FALL of 2017 | ISSUE No16

YSL THE
LEGACY
CONTINUES

FAKE
NEWS
byDESIGN
SOVIET-ERA
PROPAGANDA
UNDER
THE
DRESS URBAN NATION
Kunst zu lieben
in
BERLIN
LOVE NEST
inBUDAPEST
URBAN NOMADS’ FOUNTAIN OF YOUTH

The Interview

THE LOVE ISSUE

DISPLAY UNTIL DECEMBER 4, 2017

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INDY EYEWEAR LIKE NOWHERE ELSE.

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0. The Man Who Would Be King!
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Calvin Klein opens the door to the empire he’s built.

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Turning Balenciaga inside out.

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Twenty-first-century design is popping up in ancient Budapest.

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N/ " Love Letter to Brussels!!
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An ode to the Belgian capital.

N" The Legacy of Yves Saint Laurent!!

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The continued life of a fashion icon.

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THE LOVE ISSUE

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? > ! I J B G Q C ! IA ' ? K R J L B H K R ! DAVID LESLIE ANTHONY!

This cover image perfectly embodies our fall 2017

theme: Love. In the early '90s, I noticed these two young
brothers in the pool of a motel I was staying at while on
assignment in New Orleans. They were just kids being kids, but
I was struck by the love they shared. When I commented on their
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goggles, they proudly explained to me that they had bought them

1- 3 All in Good Taste using cash collected from turning in bottles and cans which they
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had gathered in their wagon. The motel manager said, “They think
5! # - % : ; * ! $ 8 7 5 D ! < 6 $ 4 8 they're sneaking in,” and with a wink added, “They’re good kids.”
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 CONTENTS

106 ~ Love Letter to Brussels

“YOU HAD ME AT ‘BONJOUR, ENCHANTÉ.’”

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24 From the Publisher 66 The Alchemist of West 24th Street | Away from Prying Eyes
A peek into the studio of a notoriously private jeweler and artist.
26 From the Editor

30 1 Art Exposé | Urban Nation

Berlin’s street art retains a rebel heart in a new and lawful way.
0 / . &' #
72 Back to the Present | Returning to a Runway Near You
34 2 Design Exposé | Fake News by Design Listening to the voices of fashion’s recent past.
Constructivist art inside the former Soviet political propaganda
paradigm. 80 Primary Color | Seeing Red Everywhere
The scorching hot color on the runway this fall is RED!
38 3 Experience Exposé | How Sweet It Is
Caring and sharing, one doughnut at a time. 90 It’s My Party | The Entertainer
New Orleans decadent Tony Bordlee’s hearth and home.
42 Collector | History in Hand
A gentleman collector has a good grip on history.

44 Artful Reading | Books to Love

Getting lost in the world of books.
46 Artful Author | Laugh to Keep from Crying
Author Samantha Irby opens up and airs it out.
48 Auction | Hammer Time
What’s new, what’s not, what’s hot at the New Orleans Auction
Galleries.
2& 0 . - 1 %
116 Memory of a Killer | Brandon Flowers
Manhood in a post-Mike Tyson world, according to Brandon Flowers
118 Pour It | A Toast to the Timeless
Mad Men vibes, smooth booze, and hip tunes.
120 Fork It | Cappelletti, Orecchiette, Rigatoni, Oh My!
Whispers of ancestry-infused culture inform every bite.

50 Portfolio | Gotta Love It, Gotta Have It 128 Au Revoir | Sir Roger Moore
It’s not just stuff—it’s treasure. A moment of time captured in print and film.
A+D | Fall 17-2

12
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 Director European Features Correspondent
STEVE MARTIN ANGELA DANSBY
steve@artdesignmag.com angela@artdesignmag.com

Creative Director Editor-at-Large

DAVID LESLIE ANTHONY LAURIE G. FISHER
creative@artdesignmag.com laurie@artdesignmag.com

Design Director Social Media

CHAD SPICER SOCIAL MEDIA DEPARTMENT
design@artdesignmag.com social@artdesignmag.com

Senior Editor Digital Media

MICKEY STANLEY KAT ALYST
mickey@artdesignmag.com kat@artdesignmag.com

Managing Editor Advertising Sales

TONYA EXCHO AD SALES DEPARTMENT
tonya@artdesignmag.com info@artdesignmag.com

Art & Culture Product Placement

REESE JOHANSON GENERAL SERVICES DEPARTMENT
culture@artdesignmag.com info@artdesignmag.com

Editor-at-Large European Special Correspondent

KERRIE KENNEDY SYBIL-ILLIA SDRAILI

Copy Editor Consulting Art Editor

MATT SCHLECHT BUSRA ERKARA

Contributing Writers Contributing Photographers

LARA ATALLAH KAT ALYST
ANGELA DANSBY DAVID LESLIE ANTHONY
BUSRA ERKARA BETH GARRABRANT
KERRIE KENNEDY SAM HANNA
LAURIE FISHER STAN MALINOWSKI
JACQUELINE MARQUE JACQUELINE MARQUE
JANE MOLINARY
SYBIL-ILLIA SDRALLI
MICKEY STANLEY
COOP STRAAL

GOLDEN GRIFFIN PUBLISHING, LLC.

ART+DESIGN magazine is published quarterly by

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FINANCE & BUSINESS OPERATIONS

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Fall 17-2

© 2017 GOLDEN GRIFFIN PUBLISHING, LLC., No portion may be reproduced in part or in full by any means, without the express written
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22 PRINTED IN NEW ORLEANS!

 Starshine by Jason Horton , Oil on panel, 60x48 in. The Nesters by Carlos Lopez , Oil on Canvas, 24x24 in.

819 Royal Street • New Orleans, LA • 504 875 4006 • www.gallery-orange.com

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Teal Diamond by Kurt Pio , Acrylic on canvas, 40 in. diameter Like I’ve Been Here Before by Anna Kincaide, Oil on canvas, 40x40 in.

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 PUBLISHER’S LETTER

R K B H L 'J ? >? KAT ALYST

Love is more than just the expression of adoration. Put simply,

it is our most powerful emotion—that driving force that has
given humankind the courage to create and to wonder, to be
good and to do good. But love isn’t simple, is it? It hides. Hate
is what all too often lives out in the open. Just turn on the news
any day this week. But to fight for love is to know it. Martin
Luther King Jr. knew it, and in the face of great hate, he said,
“Darkness cannot drive out darkness; only light can do that. Hate
cannot drive out hate; only love can do that. I have decided to
stick with love. Hate is too great a burden to bear.” I’m also a
stickler for love. In the photograph above I wanted to include
my son as a testament to a different type of love: unconditional.
The foundational type of love found in Christianity (John 3:16).
No matter how it is defined, love deeply felt isn’t something to
be casually thrown around. Consider what you love—what is
it worth? We are grateful for the thousands of readers
worldwide who love ART+DESIGN. The articles that we write
and the photographs we present are done by people who clearly
love what they do. So please join us on another armchair
adventure through our Fall 2017 “Love” issue.

Steve Martin, Founder + Publisher

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 EDITOR’S LETTER

R K B H L 'J ? >? BETH GARRABRANT

I am writing from a small town nestled at the bottom of the Adirondack Mountains in
northern New York State. It’s a place where you go to kayak or fly-fish or laze around
reading a book. Yesterday, during a four-mile hike up one of those mountains, a friend
brought along her 70-pound bulldog named Martha Pickles Washington. Martha is a
majestic animal, to be sure, but her legs are such that she’s never more than a few inches
off the ground. Not long into the trek, we came to the first of many steep inclines blocked
by big rocks or covered in mossy fallen trees. Each time, my friend would pick Martha up,
or shove her rear end over a stone. On slower, more gradual inclines, it appeared that
Martha was using her leash to pull her owner. My friend and Martha wanted to summit
that mountain together. It made them both immeasurably happy to do so. This fall issue
of A+D is about that exact feeling. So many of the people covered in this issue speak at
length about those in their lives who have supported their art, inspired them, and loved
them—and how that’s made their lives better. Daniel Brush, the artist and jewelry
designer, discusses moving to New York without a job or money or even a solid lead—but
he did have his wife, Olivia, who to this day is the backbone of his business. Ahead of a
new album from The Killers, lead singer Brandon Flowers talks about the songs on the
record dedicated to his wife and to his three boys. He’s also back with the band, and
they’ll be touring the new LP in November. There’s the design duo Margit and Geza Hamori
(Margeza) who, now well into their second acts, are modernizing homes in Budapest
together. And finally, Calvin Klein, our cover star, who through friendships with people
such as photographer Bruce Weber and his career-long business partner, Barry Schwartz,
and even pole vaulters on Sunset Boulevard, was able to create a fashion empire. To get
to the top of anything it takes love and help—sometimes it’s a partner, personal or
professional, and other times it’s a heavyset, short-legged bulldog.

Mickey Stanley, Senior Editor

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REPRESENTED BY THE FOLLOWING GALLERIES

Dimmitt Contemporary Art • Houston, TX | Ann Connelly Fine Art • Baton Rouge, LA | Anne Neilson Fine Art Charlotte, NC
Exhibit by Aberson • Tulsa, OK | Reagan Hayes • Los Angeles, CA | Reagan Hayes • New York, NY

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 CONTRIBUTORS
SYBIL-ILIA SDRALLI% | WRITING
What Lies Beneath
Sybil-Ilia Sdralli holds a master’s degree in fashion and theatre costume from
Aristotle University of Thessaloniki, Greece, and a diploma in scenography from
the University of Kent at Canterbury, United Kingdom. Since winning the 2001
Vogue.gr Best Emerging Journalist Award, Sybil-Ilia has worked with many
publications including Chic Today, Vogue Hellas, Vogue.com, KLASSIK magazine,
and others. She is currently the Social Media Creative Director for International
Artfools Film Festival.

ANGELA DANSBY% | WRITING

Urban Nation, Fake News by Design, Love Letter to Brussels,
The Legacy of Yves Saint Laurent
Angela Dansby is a Brussels-based, American-made freelance writer
passionate about travel, art, food, and wine. She has worked in publishing
and communications for 20-plus years, globe-trotting along the way. Angela
joins the A+D team as our European Features Correspondent.

MICKEY STANLEY% | WRITING

The Man Who Would Be King, Memory of a Killer
Mickey Stanley is the former Articles Editor for Man of the World
LARA ATALLAH% | WRITING magazine. He now joins the A+D team as our new Senior Editor. Mickey
All in Good Taste has previously worked for Vanity Fair and Nylon magazines.

Lara Atallah is a Beirut-born, New York-based visual artist and writer. She holds BUSRA ERKARA | WRITING
an MFA in photography from Parsons School of Design. Her work has been
exhibited in the United States and internationally. She is a regular contributor to
The Alchemist of West 24th Street
Artforum.com. Her writing has also appeared in Ibraaz, Flash Art, ArtSlant, Busra Erkara is an arts and culture writer in New York. Previously, her work
and The Brooklyn Rail. has appeared in Maxim, Dazed Digital, Vice, and Nylon. We want to welcome
Busra to A+D as our new Consulting Art Editor.
BETH GARRABRANT | PHOTOGRAPHY
History in Hand ANTON CORBIJN | PHOTOGRAPHY
Beth Garrabrant is a freelance photographer based in New York City. She
Memory of a Killer
was previously the photo director at Nylon magazine and, before that, a Anton Corbijn is a Dutch photographer and director who has handled all of
photo editor at Travel & Leisure the principle photography for U2 and Depeche Mode for over three decades.
Anton has created music videos for Bryan Adams, U2, Nirvana, Depeche
STAN MALINOWSKI | PHOTOGRAPHY Mode, and Coldplay, to name only a few. He also directed the biographical
Sir Roger Moore film Control, based on the life of Ian Curtis, lead singer of Joy Division. Anton
is represented by CLM Agency in New York.
Stan Malinowski took up photography in his second year of college. Over
his 60-year career, Stan has photographed for Playboy, Vogue, the Valentino
Collections, Bazaar Italia, and French Vogue. He’s shot the covers of roughly
300 albums. American Photo magazine featured him as one of the most
underrated photographers of the past 30 years. Today, at 80, Stan is
caring for his five dogs, teaching himself to cook, and planning his next
photographic endeavors.

DAVID LESLIE ANTHONY | PHOTOGRAPHY

A+D | Fall 17-2

Cover, Back to the Present, Primary Color

A+D’s Creative Director continues to amaze us with outstanding fashion
imagery in each and every issue. In addition to A+D, David’s work appears
consistently in Harper's Bazaar, Cosmopolitan UK, Marie Claire, Elle
Netherlands, Vanity Fair Italia, and numerous other publications.

28
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 ART EXPOSÉ
by ANGELA DANSBY / photography by NIKA KRAMER

Urban
Nation
BERLIN’S NEW MUSEUM GIVES STREET ART A GOOD NAME.
Previously vilified by both police and polite society, street art has found a legal safe haven
in Berlin thanks to the newly unveiled Urban Nation Museum for Contemporary Art. The
museum officially opens this month in the Schöneberg district, but an open-air exhibition
throughout the city has been going on since 2013. Buildings around town have been provided
as canvases for famed local and international street artists such as 1UP (Germany), Shepard
Fairey (USA), Li-Hill (Canada), Phlegm (United Kingdom), Onur & Wes21 (Switzerland), Don
John (Denmark), and PixelPancho (Italy). In addition, Urban Nation is allowing around 100
artists to perform and create installations on its own block in an effort to defend street
art as a legitimate art form, while simultaneously adding color and intrigue to Berlin.
A+D | Fall 17-2

30
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 “Street art is ephemeral: it appears and then it disappears. Someone always
paints over it,” says Nika Kramer, Urban Nation photographer. To many street
artists, the disappearing act of their work is part and parcel of the medium,
but this presents a problem for museums such as Urban Nation in their quest
to preserve it. The solution? Urban Nation has built removable walls around
the museum so paintings on them can be saved for later generations. “They
are trying to keep some of the real street art alive, as maybe in 200 years the
artists will all be gone from the street,” Kramer adds.

“STREET ART IS
EPHEMERAL.”
~ NIKA KRAMER
Meanwhile, exhibits within the museum will change frequently to represent
the art form. In what used to be an apartment building, the museum now has
two levels of open art space and a third floor above with about a dozen resident
artist spaces and the Martha Cooper library of street art publications. The
interior features a large catwalk that crosses the entire two-story space,
allowing people to engage with the art as though they were seeing it in the
street. From top to toe, the building has become a work of art unto itself,
fostering an accepting attitude toward urban art on and off the streets. 1

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 DESIGN EXPOSÉ
by ANGELA DANSBY / photographs provided by ALEXANDRA NIKONOVICH

FAKE
NEWS
by
DESIGN A LESSON.
CHES US
A
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A+D | Fall 17-2

SOVI

34
After the fall of the Russian Empire and end of the subsequent movement is featured in a temporary exhibition called “The
civil war, the Soviet Union was established in 1922. It gave birth Paper Revolution: Soviet Graphic Design and Constructivism
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to an artistic movement called constructivism, which, through (1920-1930s)” at the ADAM Brussels Design Museum, which
propaganda and a reinterpretation of traditional art practices, runs through October 8. It is one of several temporary shows
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created a new identity for the revolutionary state. the Moscow Design Museum—which does not yet have its
own exhibition space—is staging at museums in several
To mark the 100th anniversary of the Russian Revolution, this international cities this year.

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 “The constructivists did not want to be artists, they wanted to change reality,”
says art historian Konstantin Akinsha, co-curator of “The Paper Revolution.”
“They did not believe in artwork, they believed in objects...but at the end of
the day, they weren’t very successful with the design of objects but [rather]
paper and graphic design. So this exhibition is a very short history of utopia
turned into dystopia. The movement started with an artistic and aesthetic
experiment that very soon became a servant of Soviet political propaganda.”

Displayed on posters, magazines, and in “vanity” books, constructivist graphic

design was marked by dynamic typography, “cut and paste” photo montages,
and the use of abstract forms such as black squares and red circles to create

“UTOPIA TURNED
INTO DYSTOPIA”
~ KONSTANTIN AKINSHA
a sense of supremacism. The photo montages were perhaps the constructivist’s
greatest conveyor, though, telling stories through imagery to a largely illiterate
public.

After Vladimir Lenin died in 1924, the “Paper Revolution” reached an all-time
high and the Soviet press took off. Hundreds of magazines and newspapers
were published in multiple languages and distributed around the world,
carrying out Lenin’s belief that the “press should be not only a collective
propagandist and a collective agitator, but also a collective organizer of the
masses.”

This publishing boom led to expensive “vanity” books featuring Communist

activists and the Red Army. The books served as gifts for party comrades
and foreign dignitaries. A great example in the Brussels exhibition is a steel-
covered book dedicated to Joseph Stalin, whose last name translates to
“man of steel.”

“Constructivism coincided with an explosion of publishing in Russia which

reflected the new economic policy and necessity to disseminate propaganda,”
says Akinsha. “Today we are talking about our post-truths and fake news.
You will find their roots in constructivist design.” 2

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 EXPERIENCE EXPOSÉ
by KERRIE KENNEDY / photography KAT ALYST
A+D | Fall 17-2

38
 How
Sweet
It Is
FOSTERING CHANGE, ONE
DELICIOUS DOUGHNUT
AT A TIME.
 Back when District Donuts Sliders Brew was just an idea
on a napkin, helping the community and serving the less
fortunate was part of the plan. Owners Aaron Vogel
and Chris Audler came to the project with missionary
and ministerial backgrounds. Even so, incorporating a
charitable element into a start-up business in New Orleans
was risky. The duo’s vision hinged on tapping into two
important trends—the foodie revolution and the
millennial march toward charitable, socially responsible
companies. In other words: gourmet doughnuts and giving
back. It is a recipe that has contributed to the restaurant’s
nearly overnight success, transforming risk into sweet
reward.

From Salted Caramel to Strawberry Basil, the Croque

Madame to the Maple Bacon Drizzled, each delectable
District doughnut is large enough to share, underscoring
the shop’s mission to foster and build community.

“WE DON’T
SERVE KIDS”
Recently, Vogel and Audler have started selling District
Donuts out of a streetcar turned food truck, cleverly named
“Streatcar.” They offer a variety of doughnuts, not to
mention other District favorites, including cheeseburgers,
cheese fries, fried chicken, and craft-brewed coffee. One
hundred percent of the profits from Streatcar go directly
to the nonprofit organization Crossroads NOLA to fund its
programs for local children and teens in foster care. In
addition, the Food Truck Project gives teens who are aging
out of the foster care system valuable work experience and
the opportunity to pick up some culinary skills.

So far, the Crossroads-District collaboration has generated

serious dough for the estimated 4,500 kids in foster care
in Louisiana, but perhaps even more significantly, it’s
raised awareness about their plight. Stamped on every
plate and napkin that goes out of the window of Streatcar
is the provocative catch phrase “We Don’t Serve Kids,” a
statement about the problem they hope to fix, one delicious,
guilt-free doughnut at a time. 3
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 COLLECTOR
by MICKEY STANLEY / photography by BETH GARRABRANT

inHistory
Hand GARY GARRABRANT
A GOOD BOOK AND SOMETHING TO
LEAN ON: ONE COLLECTOR’S DREAM.

describes his collection of hand-

carved, 19th-century walking
canes as “a handshake with
history.” The canes—whittled from
ivory for well-heeled gentlemen
by artisans across European
capitals—were the first objects
he c o l l e c t e d , b e g i n n i n g i n
h i s late thirties. Each cane tells
the story of a previous owner—
stories of travel and adventure,
of art and gentry. To Garrabrant,
who grew up with modest means
in Chicago, these canes were
evidence of an alien class of
sophisticated people.
“I’ll call it scrappy,” Garrabrant says of his upbringing. “My
father was an orphan in Newark, New Jersey. He was a
college-of-hard-knocks type.” What little Garrabrant knew
of art and artifacts as a child came from visiting his mother’s
brother, Joe West, who had started a successful financial
advisory company in the late 1950s. Garrabrant remembers
West’s house being “that mid-century cool,” with a bamboo,
tiki–style dry bar in the living room and big, block prints
hanging on the walls. “Joe West was just somebody that
had a style—the way he acted, the way he spoke, the way
he dressed, the things that he collected, the things he hung
in his home, they really struck me,” he says. “That probably
turned on my aesthetic side.”

Eventually, Garrabrant left Chicago to attend the nearby

A+D | Fall 17-2

University of Notre Dame. After graduating and trying out

various careers, he began slowly building an investment
and real-estate business that required him to travel abroad
for the first time. He started seeing walking canes in auction
houses in Milan and London and Paris. “I was particularly

42
 “THEY ARE A
HANDSHAKE
WITH HISTORY.”

drawn to the ones that were made of ivory, not because it was endangering
but rather because of the art form,” he says. “It’s so difficult to hand-carve
those. If somebody makes a mistake, it’s gone, you can’t correct it.” As his
fascination with these petite art objects grew, the advent of eBay made it
easier for Garrabrant to see what else was out there.

While scrolling through the online marketplace one day, Garrabrant

decided to diversify, and he purchased a first-edition, turn-of-the-century
travel and adventure novel. The seller, a 70-year-old man living in London
named Bill Foster, was closing his bookstore and retiring. Over the next
20 years, Garrabrant would buy—piecemeal—over 500 books from
Foster, amassing a one-of-a-kind collection of leather-bound, travel and
adventure novels. “He wouldn’t sell them to me all at once," Garrabrant
says. “I offered.” For Foster, retirement was best served in a transatlantic
correspondence with Garrabrant. “He would say, ‘I’ll send you three to five
and I’ll describe them for you. He was trading his days in a bookshop in
London, greeting customers coming into the shop, for me.”

These days, Garrabrant’s canes and books are housed beautifully in his
South Hampton, New York, vacation home, which he shares with his wife,
Sue, and their two daughters. On the walls of the house hang exquisite
mid-century abstract paintings. In the bedroom is his collection of vintage
#$%

1960s Georg Jensen silver cuff links. There is a touch of that Joe West
aesthetic around every corner. In so many ways, Gary Garrabrant is now a
!"
)*+ (!" &'

man for whom, 150 years ago, a hand-carved ivory walking cane might be
commissioned. But in the end, Garrabrant proves that owning a piece of
history is never a substitute for creating your own.
DAVID PIERSON DESIGNS
(985) 871-0457 • DAVIDPIERSONJEWELRY.COM
COVINGTON, LA ! ,-
 78-#9%!:*$54
by COOP STRAAL

6 to
C< D
Have you ever wanted to run away and join the
circu s, or ph ot og ra ph su perm o d el s ri ding on

% ove
elephants? Perhaps settling into a small space while
listening to classic rock and reading a comic book
is more your speed? Whatever your pleasure, A+D’s
showcase of new book releases has your dreams in
mind, even if your body never leaves the couch.

The Circus: 1870s–1950s

Linda Granfield, Dominique Jando, Fred Dahlinger, Noel Daniel
Hardcover in slipcase
9.9 in. x 15 in., $69.99, Taschen

With the discontinuation of Ringling Bros. and Barnum & Bailey Circus—
once billed as the greatest show on earth—the ability to view death-
defying stunts, clowns, elephant riding, and lion taming in one place
has become near impossible. But for those of you interested in looking in on
the heyday of what was once the largest showbiz industry in the world, this
book delivers. Photographic gems that capture the grit and glamour of the
circus come to life in these pages, making clear the dreams of adventure that
these shows once inspired.

With shrinking budgets and fewer available building spaces, more and
more people are downsizing their homes these days. Not surprisingly,
the tiny-house movement is flourishing. Challenged to do more with
less, architects and designers of these practical marvels have been
sharpening their skills and exploring the advantages of working small.
This new release in the Bibliotheca Universalis series provides big
inspiration for compact, imaginative spaces.

Small Architecture: Saving Space

Philip Jodidio
Hardcover
5.5 in. x 7.7 in., $19.99, Taschen

The Golden Age of DC Comics

Paul Levitz
Hardcover
9.4 in. x 12.8 in., $59.99, Taschen

By the 1930s, a new genre of entertainment had surfaced, mesmerizing

young and old alike. Enter comic books. Today, stories of superheroes
and supervillains engaged in epic battles of good versus evil have made
Fall 17-2

their way to Hollywood, played out in an endless stream of summer

blockbusters. Bursting with colorful art and legendary characters like
Batman, Superman, and Wonder Woman, The Golden Age of DC Comics
is a comprehensive book tracing the beginnings of DC Comics and the
A+D!!"

mythology it has created through its pantheon of heroes, misunderstood

monsters, and delightfully complicated villains.

44
 1000 Tattoos
Burkhard Riemschneider, Henk Schiffmacher
Hardcover
5.5 in. x 7.7 in., $19.99, Taschen

The Rolling Stones: Ladies and Gentlemen… The Rolling Stones. The definitive, authorized
illustrated history of the world’s greatest rock ‘n’ roll band.
Reuel Golden
Hardcover with 3 foldouts
13 in. x 13 in., $150, Taschen

“The World’s Greatest Rock ‘n’ Roll Band.” For over 50 years and counting, The Rolling Stones have defined
and redefined rock music with their bluesy style, provocative lyrics, and scurrilous performances. This book
provides an up-close and previously private look at the history and uber-cool lifestyle of this remarkable—
perhaps even the greatest—band.

Though often maligned, or considered taboo, tattooing has been part of global
culture since ancient times. 1000 Tattoos uses brilliant photography to detail the
tribal, circus, and biker designs (among others) that have all played a huge role in
cementing the art form’s legacy. This informative book is a must-see for anyone
who has a tat, is thinking about getting one, or is just a voyeur and into the vibrant
world of tattoo art.

Peter Beard
Hardcover
9.2 in. x 13.4 in., new edition $69.99, original edition $1,900, Taschen
13 in. x 13 in., $150, Taschen
#$%

Photographer Peter Beard has been influencing the worlds of art and international fashion
!"
)*+ (!" &'

for the better part of a century. No stranger to celebrities, his enviable circle of friends
has included Francis Bacon, Salvador Dali, Truman Capote, Andy Warhol, and The Rolling
Stones. What’s more, Beard has also dedicated decades of his life to documenting the
disappearance of Kenya’s wildlife. In a new, self-titled book, Beard has compiled his
illustrated diaries—which he’s kept since he was a young man—to give readers a first-
hand account of one fascinating life.
! .-
 ARTFUL AUTHOR
by LAURIE FISHER / portrait by KRISTEN JENNINGS

LAUGH
TO KEEP
FROM CRYING
SAMANTHA IRBY’S CATHARSIS

SA M A N T H A I R BY ’ S n e we s t
collection of essays, WE AR E NEV ER
MEETING IN REAL LIFE (Knopf Doubleday),
is absolutely hilarious and an inspired
surrogate for any future face-to-face meeting
with the author. She connects with readers
like a BFF, sharing candid accounts of her
life’s lamentable, and relatable, realities. On
her habit of loving “shitty” guys, she writes:
“I knew I was in love, because even though
I spent my weekends locked in my crib
organizing my ketchups and moping around
to heartbreak music, it was worth it because
I could finally relate to what the hell those
bitches were singing about.” Irby’s 2013
collection of essays, Meaty, is currently being I’m not even sure it’s necessarily working for me. I’M STILL
developed into a television series. Speaking DEPRESSED.
with Irby about the new book, it’s obvious that
LF: A reporter for the Chicago Tribune once described you as “the
her writing style is no put-on—she’s as funny most talented inappropriate woman in Chicago.” How do you feel
and honest in real life as she is on the page. about the word “inappropriate” being used to talk about your form
of humor? What better alternatives can reporters find in the
LAURIE FISHER: In We Are Never Meeting in Real Life you write, thesaurus?
“My mind is a never-ending series of shame spirals... In what capacity
do these people know me? As an internet joke person, or as a sad SI: The connotation of the word “inappropriate” as a descriptor, at
real-life person who sometimes makes jokes?” Did you consciously least to me, would describe the kind of person you’d be afraid to
develop humor to be your personal tool for “dealing”? Why aren’t invite to a dinner party. Like, the kind of person you wouldn’t take
more therapists recommending we embrace our ridiculousness and to you parents’ house for fear that they’d swear at your kid brother
the absurdity of life as treatment for depression? and make a shit joke in front of your mom. And that’s not me! I am
absolutely delightful! The, like, actual synonyms for inappropriate
SAMANTHA IRBY: I’m not sure my sense of humor was a are words like “tasteless,” “unseemly,” “irrelevant,” and “garbage.”
conscious development. I’m naturally a super-sensitive person, and Hmm, I don’t know, maybe they have a point?
I feel lucky that rather than walking around every day like a weeping
sore, my process evolved into laughing at things that cause me LF: You offer some solid advice on your blog Bitches Gotta Eat. In
pain. I mean, I’m a person, so in the moment things aren’t always this era of social media obtrusiveness, “block people and pretend
immediately hilarious. But, for me, with enough space and time, I they died” rings especially true. Do you have any analog, pre-digital-
A+D | Fall 17-2

can mine even the most hurtful events for one grain of absurdity
to make it funny. I was in therapy once, easily 20 years ago, so I
have no idea whether or not therapists recommend embracing how
ridiculous things are. But I have enough friends dealing with
depression to know that this method doesn’t work for everyone.
age “blocking” methods you can recommend?
SI: In real life it’s sometimes easier to just ghost. I mean, this might
not work for your roommate or your mom or your boss, but sometimes
the best thing to do for your sanity is to just let people go. Don’t

46
pick up the phone, don’t go where you might see them, don’t hang with
anyone who might invite them along. I’m not one for confrontation; I like
to agree to disagree and then scrub the memory of a person from my
brain. If you’re braver than I am you can flame out melodramatically and
burn the bridge to their face, but I don’t like causing a scene because I’ll
never get over how stupid I probably looked while yelling at my ex-friend
in a restaurant or wherever. So I just block people from my phone and
pick a new brunch place so my scrambled eggs don’t accidentally come
with a side of awkward.

LF: In your new book you often refer to yourself as “old.” We are both in
our mid-thirties. Are we really old? Also, you have a lot of awesome
projects on the horizon (like FX developing your memoir Meaty into a
series). As an elderly person (just kidding!), how are you approaching the
future?

SI: I feel 137 years old. I spent 20 years essentially working in customer
service in the suburbs, and every single day was like a tiny little knife
wound to my youth. Plus, I can no longer handle loud music at the club,
so yeah, I’m officially old. Everything is still in the development stages
HOME DECOR • FURNITURE
with the television show, which means I still work in a corner of my
Michigan living room, fetching my own coffees and opening my own mail.
ACCESSORIES • GIFTS
So not much has changed on my end of things. I approach everything with
hesitation and a nearly overwhelming skepticism—that way if it doesn’t
ANNIE SLOAN PAINT
work I can be like, “See, everything is trash,” and if it does I can enjoy a
fleeting moment of pleasant surprise.

LF: If you may please indulge me, will we ever meet in real life?

SI: Don’t rule it out, because I’m way into hurricanes and seafood, but
girl, New Orleans is HOT.

“SOMETIMES
IT’S EASIER TO
JUST GHOST.”
A+D!!"
Fall 17-2

985-807-7652
5200 HIGHWAY 22, SUITE 2 • MANDEVILLE
WWW.MELANGEKP.COM 47
 AU C T IO N
photographs provided by NEW ORLEANS AUCTION GALLERIES

HAMMER Mississippi was the focus

SOLD!
&4.(
of New Orleans Auction
Galleries two-day Estates
Auction held May 20-
21, 2017. A fine array
of art and antiques were sourced from some of the
Delta’s more notable private collections including
estates from Greenville to Natchez. Items such as
the monumental pair of Meissen potpourri urns
which sold at hammer for $50,000, and Bouget de
Roses d’ Inde by Bernard Cathelin are two of the
featured highlights.

Fanciful Pair of Table Lamps Modeled as Flamingos

Final hammer price of $6,250
A+D | Fall 17-2

Monumental Pair of Meissen Potpourri Urns, ca. 1850-1924

Final hammer price of $50,000

155-Piece Set of Gorham “Versailles” Sterling Silver Flatware

Final hammer price of $14,375

48
Bernard Cathelin, Bouqet de Roses d’Inde
Final hammer price of $20,000

Stunning Wide Diamond Bangle Bracelet

Final hammer price of $21,960

A+D!!"
Fall 17-2

49
 @ <:* # <% -<

de
Désir “I’m not one of
those complicated,
mixed-up cats. I’m not
looking for the secret to
life... I just go on from day
to day, taking what comes.”
~ Frank Sinatra

-A 97 GUCCI presents LE MARCHÉ DES MERVEILLES

jewelry installations with special contribution from
artist PHANNAPAST
Gucci has teamed up with Thai illustrator Phannapast
Taychamaythakool to promote—through a book of imaginative fairy
tales its newest design collection. Centered on the image of a feline
head, these enchanting pieces of art will be staged as romantic
miniature theater displays inside select Gucci stores.

G! :5=
78-*@B5* Angels & Saints
With archangel Gabriel on the front and
Gotta
LOVE
Saint Ursula on the back, designer Starr
Hagenbring’s new line walks gilded
iconography out of the museum and onto
the street.
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it!
Gotta
HAVE
it!
Fall 17-2
A+D!!"

Lettres Collection
Spell out your style in silver, brass, and gold.
marioncage.com
50
“No matter
how much cats
fight, there always
seem to be plenty of

Here
kittens.”~ Abraham Lincoln

Kitty,
Nice
Kitty

XOXO! A+D!!"
Fall 17-2

51
 Objets
d’art
Circle 1
Venetian plaster on wood by Scott Kerr
villavici.com

YOU CAN’T BUY

LOVE... ART,
THAT’S ANOTHER STORY “Love is the greatest
refreshment in life.” ~ Pablo Picasso

a line going for a walk.” ~ Paul Klee

Baigneuses Au Ballon, III, original 1933
drypoint printed in black ink on laid
paper
Beginning in 1927 and until the affair ended in
1936, Picasso’s infatuation with his muse Marie-
Therese Walter—29 years his junior—inspired
works like this.
windsorfineart.com
A+D | Fall 17-2

Kef!
Acrylic on canvas by Simon Kef
annconnelly.com

52 “A drawing is simply
#$% !" )*+ (!" &'

,.
!
 “That’s a nice little nothing you’re almost wearing!”
Rebirth of Cool ~James Bond
Mixed media on panel with resin by Robert Mars
gallery-orange.com

Objets

des
The Sazerac
s
Melt her heart with a love letter penned in ink inspired by New Orleans’
most famous cocktail. Remember to drink and ink responsibly.
papierplume.com

“With the man, the world is his

heart, with the woman the heart
is her world.”
~ Betty Grable

“I put my heart and my

soul into my work, and have lost
my mind in the process.”~ Vincent Van Gogh
llun Paper Clip
Llun’s new Paper Clip Collection, designed by Efil
Türk, bends traditional Turkish motifs by adding a
little heart to an everyday object.
llun.co
Fall 17-2

Tree Bark Heart

No matter how hard and crusty your heart might be, the right
person can hold it in the palm of their hand.
A+D!!"

melangekp.com

54 “Man’s heart away from nature becomes hard.”

~ Standing Bear
 Joseph Soltis

THE FINE ART SELECT GRAINS MASHED with ARTESIAN LIMESTONE WATER,
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 THE
MAN
WHO WOULD BE

KING WHEN CALVIN KLEIN DECIDES WHAT HE

LIKES, THEN WE KNOW WHAT WE WANT.
by MICKEY STANLEY
A+D | Fall 17-2

58 Bruce Weber, Calvin Klein, Abiquiu, 1984

 A+D!!"
Fall 17-2

David Sims, Kate Moss, 1993

1

59
Fall 17-2
A+D!!"

Bruce Weber, Tom Hintnaus, Santorini, 1982

60
In 2003, one year after Calvin Klein sold his company to
Phillips-Van Heusen for what the New York Times reported
as $400 million in cash, he bought himself a castle. But Klein
didn’t want to be king. “There were eight turrets...I knew I
would tear it down,” he says, speaking from the $75 million
Southampton, New York, home he built in its place. Unlike its
predecessor, Klein’s dream home—a contemporary, dark
wood and glass marvel right on the Atlantic Ocean—now
fits the tastes of anyone with good sense. This house, as
with everything he leaves behind, will stand for generations,
partially because it’s beautiful, but mainly because it’s a
Calvin Klein.
“I worked on every detail, every little thing,” he says. “There
wasn’t anything that got built that I didn’t design or approve
of. I asked people to do things that they hadn’t done before.
In a sense, I was pushing the envelope building the house
the way I had with clothes.” It’s taken Klein more than a
decade to design his house in Southampton. He built a
fashion empire over half a century. Klein is patient and
deliberate and a bit of a perfectionist. In a new, eponymously
titled book of photographs and personal essays spanning his
life and career—due out in November from Rizzoli—, the
designer’s astonishing body of work is on full, vivid display.
Through photos of the brand’s ad campaigns and runway
shows, a portrait of the man behind the briefs emerges.
Calvin Klein was born in New York City, the son of a first-
generation Austrian mother and an immigrant Hungarian
father. To put it plainly, Klein grew up a working-class Jew
in the Bronx, who as a teenager wore strange clothes that,
as he recalls, “looked edgy on me.” Edgy in the Bronx in the
late 1950s didn’t earn you many friends, but Klein had the
support of his parents, who emboldened him to pursue the
arts. “I was gifted and always in special art classes in public
school,” he says. “And then I went to a high school called
Art and Design. Familiar, yes? Whether it was painting or
sculpting or drawing, it was half the day devoted to the arts.
I was an artist before I was a designer,” Klein continues.
“But I didn’t think I wanted to be in a studio by myself
forever.” After high school, he attended New York’s Fashion
Institute of Technology in pursuit of a career in clothing
design. “I always had a curiosity about clothes—men’s
clothes, women’s clothes, women who wore men’s clothes
like Catherine Hepburn...,” he says.
After school, Klein stayed in New York and worked as a
stretcher for the coat manufacturer Dan Millstein before
striking out on his own in 1967. He formed Calvin Klein Ltd.
at just 25 years old, partnering with his longtime friend and
business associate, Barry Schwartz. In the early days, the
company produced mainly two-piece suits and women’s
coats. Thanks to some large orders and ads in The New
York Times, Calvin Klein Ltd. took off, doing $1 million in
sales their first year. His clothes were available at Saks Fifth
Avenue and Bergdorf Goodman. Not long after that, the
artist in Klein wanted more. He began showing high-end
collections of skirts, sweaters, pants, and dresses—all in
signature muted colors with hard, modern lines—at New
York’s Fashion Week. He was subject to equal measures
of admiration and envy by his peers (many older) in the
industry. A chance encounter soon thereafter turned Klein
from an upstart darling into a national news talking point.
“It happened at four in the morning at Studio 54,” he says.
“Someone came up and asked me if I’d be interested in
doing jeans. I called my business partner and said, ‘You
know I met someone last night. I think this could be really
interesting.’ So he negotiated a wonderful arrangement for
us. Everyone was successful with that collection.”
In 1980 a campaign featuring a 15-year-old Brooke Shields
was cooked up to launch Klein’s jeans, grounded in his belief
that “with stretch, you can do practically anything you
want.” The resulting controversial ad, shot by Richard
Avedon, was banned by television networks CBS and
ABC. “She was very young at the time, and the words “You
want to know what comes between me and my Calvins?
Nothing.” became an iconic line. And with that, he became
an iconic designer line,” Klein says. “I never set out to be
controversial,” he assures me, though that’s what happened.
“Early on I saw a photo of Mark Wahlberg,” Klein says. “I
asked him about his jeans and he had a story about every
pair: ‘This is first date, this is more than the first date, jeans
to just knock around in.’ And I thought, perfect. Because I
saw them that way, too. Jeans can be very sexy.” So in 1992,
Klein doubled down, casting Wahlberg in an ad where he
embraced a topless 17-year-old Kate Moss. For some,
Klein’s erotic depictions of young women and men were
alarming, but to the designer it was a matter of surrounding
himself with the right people for the right job. Few can argue
that Brooke Shields, Mark Wahlberg, and Kate Moss were
poorly cast. “If you go out looking for controversy, it doesn’t
work,” Klein says. “I just hired the best photographers and
art directors, models, makeup artists, and hairstylists.”
Many of the photographs in his forthcoming book were
shot by Bruce Weber, whom Klein brought on after
seeing his images in GQ. “I thought it was perfect,” Klein
remembers. The two would work together for decades,
and as the company grew, Klein was less able to attend
every shoot—something he suggests Weber may have
appreciated. During one particularly fruitful shoot on
the Greek island of Santorini, Klein and Weber had it
out. “I would say, ‘Maybe you should go a little to the left,
“ONE OF US
IS GOING
BACK TO
NEW YORK,
EITHER YOU
OR ME.”
~ CALVIN KLEIN, QUOTING
BRUCE WEBER
#$%
maybe a little to the right,’ and I was doing that all day,”
Klein remembers. “Bruce came to me and said, ‘One of
!"
)*+ (!" &'
us is going back to New York, either you or me.’ And I
! "/
 Inez & Vinoodh, (from top) Jessica Miller & Lawrence Chapman, 2002
Fall 17-2
A+D!!"

62
“IF YOU GO OUT
LOOKING FOR
CONTROVERSY, IT
DOESN’T WORK.”

Bruce Weber, Carré Otis, San Francisco, 1991

A+D!!"
Fall 17-2

63
 “HAVE
YOU EVER
BEEN TO
GREECE?”

wrapped my arms around him and hugged him. I

just become so passionate when I see something I
love.” Klein’s career is marked by an intense work
ethic, and that trip produced one of the company’s
most memorable images: a muscled pole vaulter
wearing only underwear, leaning against a big, white
chimney. “It looked like a phallic symbol,” Klein says.
The resulting ads were placed around town in bus-
stop shelters, to the pleasure and awe of passersby.
“The city called me because people were breaking the
glass to steal the posters,” he says. “And I said, ‘How
much did this glass cost?’ They said, ‘I don’t know,
$100-$500.’ I said, ‘I’ll pay for it, let them do whatever
they want.’”

Klein discovered the pole vaulter while driving down

Sunset Boulevard in Hollywood. “All of a sudden,
I see this guy running, and I stopped the car,” he
recalls. “I introduced myself and said, ‘Have you ever
been to Greece?’” Klein told him he was shooting a
campaign, to which the man replied, “Sure, I’d go on
a trip.” Klein has always had a knack for discovering
talent, often using unorthodox methods. “I used to
go to schools,” he says. “We used to go to Pepperdine
[University] and peek into rooms. I’ve never gotten
thrown out of a place, but I easily could have.”
Magazines all over the world would wait for Calvin
Klein’s fashion shows, knowing they’d see models
whom they had never seen before. “I didn’t want to
use somebody who was very well known,” he says,
“because then I would think they just belonged to
everyone.”

All throughout his career, Klein was designing to his

own tastes, but for the benefit of many. Eventually
his ideas “belonged to everyone,” but first they were
his. Everything from the fragrances to the campaigns
Fall 17-2

to the runway shows to the jeans to the house in

Southampton was made with one client in mind:
Calvin Klein. “We were lucky enough that people
liked what I liked,” he says, “I know what I want and
A+D!!"

oftentimes I know best.”

64 Mario Sorrenti, Kate Moss, Jost Van Dyke, 1993

#$% !" )*+ (!" &'

./
!
 THE
Alchemist
ofWEST24TH STREET
NOTORIOUSLY PRIVATE JEWELER AND ARTIST DANIEL BRUSH SHARES HIS GIFT.
by BUSRA ERKARA / portrait by NATHAN CROOKER
Daniel Brush doesn’t believe in rushing things. “I
was a professor at Georgetown University for 10
years. After I took my sabbatical, I just needed
more time to think, so I gave my 10 years back,”
he calmly explains from his studio on 24th Street
near Broadway in New York City. “My wife, Olivia
and I moved to New York cold, without a job.”
It’s now been 40 years since they took that
uncalculated risk, which has blossomed into a
fruitful career for Daniel as a successful artist
and jewelry maker and for Olivia as the manager
and engine behind his work. Their 5,000-square-
foot steampunk-like studio, filled with Industrial
Revolution-era machines, remains one o f t he
few unchanged spaces in the Flatiron district.
“We were fortunate in 1977 to find this place,
and we did it just like everyone else did it in
those years: You’d watch a Woody Allen movie,
you’d get the Village Voice, and you’d race
out at six o’clock on a Wednesday morning to
see what’s available in New York City,” Brush
remembers, somewhat nostalgically. “I found
somebody tacking a sign on this building, saying
LOF T FOR SALE OR LEASE. I went inside and
put $100 on this place, and a year later, I was
allowed to buy it.”
A+D | Fall 17-2
66
B r u s h gr e w up in Cle v elan d, r e c ei v in g an
Abrams art book as a present each year from
his parents. The tomes, alongside the European
trip his mother took him on when he was 13,
drew him closer to his present career more than
anything else—although he says he doesn’t like
to define his career chronology in “file cabinet
terms.” By the time he had lef t Georgetown
University in 1977, Br ush had alread y been
workeing with metals for 10 years.
S h o r t l y a f t e r s e t t li n g i n N e w Yo r k C i t y
with his wife, Brush found a patron who would
support the couple for the next decade. “For 10
years, I didn’t have to think about galleries,
shows, or making money,” Brush e x plains.
“Af ter that, Olivia made a phone call to the
Smithsonian Institution, and a curator came
over. The day he came, he said, ‘I will give you
a retrospective at the Smithsonian National
Museum of American Art.’ And I said, ‘OK!’” That was
only Brush’s second solo jewelry exhibition.
Brush is the first to admit that he spends a
lot o f t im e in his s t u dio. T h er e w er e y e ar s
w hen he b asic ally never lef t, devoting
h i m s e l f t o m o n k- li k e s t u d y. W h e n a s k e d
what that time was like, he says, “Mornings
 “PHILIPPE
ARPELS WAS
ONE OF THE
ONLY FRIENDS
I HAD IN NEW
YORK.”
#$%
!"
)*+ (!" &'

! )/
were organized into readings of the Noh theater,
American jazz musicians and deep blues beginnings,
prewar and postwar art and culture, mysticism and
w or ld r eligio n, an d p hilo s op h y ’s big m o men t s,”
h e r ememb er s. “Af ter noons wer e engaged w it h
automotive engineering, science of metals, horology,
and an ob s e s si v e inv e s tiga tion in t o or namen t al
turning. Hundreds of hours were spent talking with
toolmakers, aerospace engineers, Nobel laureates,
doctors, poets, musicians, and political scientists—all
over the telephone—to get specific information about
problems that were encountered, as well as to discuss
ways to set up systems to solve problems. Evenings
were spent dreaming.”

Brush’s second big breakthrough came by way of the

Abrams books he had loved all his life. Shortly after
t he Smit hs onian ex hibition, A br ams’s le gendar y
president and editor in chief Paul Got tlieb visited
Brush at his studio and showed interest in publishing
a survey of his work. “It [the book] almost allowed us
to stay inside more, as more people started knowing
about the work,” Brush says. “And ever y once in a
while, someone would come by. It was word of mouth.
It was never a dealer or broker.”

In 2012 New York City’s Museum of Arts and Design

hosted a solo exhibition of Brush’s work, titled “Blue
Steel Gold Light,” which introduced the ar tist to a
younger audience, as well as to Nicolas Bos, executive
of the French jewelry company Van Cleef & Arpels.
Beginning in the 1980s, the Arpels family had admired
and suppor ted Brush’s work, carr ying the ar tist’s
creations in their New York City flagship. “Philippe
Arpels had seen some of my drawings in a jewelr y
dealer’s office on 47th Street, and he’d wondered who
it was. So, as things went on, he would come here and
look at my paintings, sometimes with his girlfriend. I
needed to survive as an artist, and he knew that, so
he asked if the house could sell some of the jewels,”
Brush explains. “I’d go to their store all the time,
and Philippe and I would have a Coca-Cola. He was one
of the only friends I had in New York.” As years went by
their friendship waned, but the amiable institutional tie
between Brush and the brand remained. After seeing
Br ush’s ex hibition a t M AD, Nic olas B o s s t ar t e d
visiting Brush’s studio on his trips to New York. Out
of these visits came the idea to feature Brush’s work
at L’Ecole Van Cleef & Arpels, the brand’s School of
Jewelry Arts in Paris’s Place Vendôme, set to open to
the public in September.

Brush doesn’t use a computer for any of his designs.

“Ever y thing happens af ter I study, and af ter I get
irritated, and after I get obsessed. I have piles and
piles of materials that tell me they want to be made
into something. So I work directly,” he explains. “I like
the idea that I mix up gold alloys on a charcoal block the
way they did it two thousand years ago. I like the idea
that I file things and a little dust comes off. I like the idea
that you can make mistakes, and I like the idea that
if you don’t really know how to set an emerald, you
crack the emerald. All those things are very important
to me, and you have to study a lifetime to know how to
do it.” The upcoming exhibition at L’Ecole Van Cleef &
Arpels is in part a documentation of how the ar tist
has spent his life perfecting his art. “Bos is doing it
because he thinks it’s participatory with the history of
jewelry,” he says. “It’s incredible, really.” 1

Necks, 2016
Daniel Brush’s poetry book documenting 116 colliers de chien
Photography ~ Wesley Stringer
“I MIX
UP GOLD
ALLOYS THE
WAY THEY
DID TWO
THOUSAND
YEARS
AGO.”
A+D | Fall 17-2

Second Dome, 1983-1989

Pure gold, 22 karat gold, steel
3 x 3 x 3 inches
Photography ~ Wesley Stringer 1

69
 “EVERYTHING
HAPPENS
AFTER I GET
OBSESSED.”
A+D | Fall 17-2

Ten Butterfly Box, 1991-1993

Pure gold, steel, rare earth magnets
1 3 x 3 3/4 x 3 3/4 inches
Photography ~ John Bigelow Taylor
70
 Back
to the
Present
WHAT GOES AROUND COMES AROUND.
EARLY 2000S STYLE TRENDS ARE HERE
AGAIN!

The reinterpreted halter top—with its roots in disco—returns.

So does metallic fabric, which hit the runways on coats, jackets,
and oversize sweaters, creating a palette of rich, warm colors
infused throughout patchwork, plaids, checks, and velvet.

photography DAVID LESLIE ANTHONY

Fall 17-2
A+D!!"

72
 wool sweater
~ Moschino Cheap and Chic
 wool coat with faux fur cuffs ~ Olivier Theyskens
oliviertheyskens.com

snakeskin coat
Fall 17-2

~ Calvin Klein
print halter top
~ Céline
leather belt
~ Dolce & Gabbana
A+D!!"

74
cashmere sweater
with faux fur trim
~ Céline
silk blouse
~ Max Mara
faux fur bag
~ Just Cavalli
tuxedo pants
~ Club Monaco

The new fall fur bags

are all about
texture appeal.
 brown leather pants
~ Gap
print top
~ Yigal Azrouël
suede jacket
~ Ralph Lauren
Fall 17-2
A+D!!"

76
 silk blouse
~ Dolce & Gabbana
shearling jacket with
faux fur trim
~ Emanuel Ungaro
 turtleneck
~ Victoria Beckham
Fall 17-2

leather blazer
~ Nicholas K
tweed skirt
~ Michael Kors
sweater coat
A+D!!"

~ Ulla Johnson

78
LEFT
wool skirt
~ Chloé
denim jacket
~ Gap
print sweater
~ Christian Lacroix
faux fur stole
~ Marcelle Danan
RIGHT
metallic chain-link halter top
~ Contessa
beige calf skirt
~ Ralph Lauren

stylist STACEY JONES, BA-REPS.COM, NY

makeup/hair AUDREY BETHARDS
models KATIE ZIRNFUS, ELITE NY
TARA LEDBETTER, FORD AGENCY
A+D!!"
Fall 17-2

79
 Primary
-*)*2 RED IS NEVER DEAD,
ESPECIALLY ON THE
RUNWAY. photography DAVID LESLIE ANTHONY

Bold looks in red hit fashion runways for fall 2017.

Stripes, patterns, and patchwork pieces all looked
sensational in the season’s color of choice. Leathers
and textured skirts coupled with both clutches
and large handbags in innovative shapes, proving
everything looks hot in red.
A+D | Fall 17-2

80
cashmere coat with faux fur trim
~ Michael Kors
wool tweed skirt
~ Chanel
halter top
~ Angelica Val
leather bag
~ Chanel
PREVIOUS PAGE
A+D!!"

leather jacket
~ Giorgio Armani
pants
Fall 17-2

~ Prada
lipstick crystal handbag
~ Katherine Baumann
2

81
 red leather gloves
~ Hermès
riding crop with sterling tip
~ Hermès
pants
~ Tufi Duek
sleeveless wool sweater
~ Max Mara
plaid wool and leather shoes
~ Gunmetal
patchwork shearling scarf
~ Salvatore Ferragamo
Fall 17-2
A+D!!"

82
 The clutch
handbag is
back!

BEAUTY ~ For fall, the key texture

is metallic. The makeup is all about
the eye shadow, with silver pigment
dashed along the lash line.

wool print coat

~ Louis Feraud
gold knit halter top
~ Yigal Azrouël
wool skirt
~ René Lezard
logo clutch handbag
~ Salvatore Ferragamo

stylist STACEY JONES, BA-REPS.COM, NY

makeup/hair ALFRED, UTOPIANYC.COM
model JOY NAKAYAMA
all beauty products by MAC COSMETICS
WHAT LIES BENEATH
IN A NEW, EXPANSIVE EXHIBITION, THE VICTORIA AND ALBERT MUSEUM IN LOND ON USES
X-RAY TECHNOLOGY FOR AN INSIDE LOOK AT ICONIC DESIGNER CRISTÓBAL BALENCIAGA.
by SYBIL-ILIA SDRALLI / photographs provided by VICTORIA AND ALBERT MUSEUM, LONDON

Spiral hat, silk, Balenciaga for Eisa, Spain, 1962 Alberta Tiburzi in “envelope” dress by Cristóbal Balenciaga
© Victoria and Albert Museum, London Harper’s Bazaar, June 1967
© Hiro 1967
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.0
!
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2
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 Cristóbal Balenciaga at work, Paris, 1968. Photograph ~ Henri Cartier-Bresson
© Henri Cartier-Bresson, Magnum Photos

“THE
X-RAYS
REVEAL
THE
PASSION
IN HIS
WORK.”
~ NICK VEASEY
CLOCKWISE from UPPER LEFT

Evening dress, silk taffeta, Cristóbal Balenciaga, Paris, 1955

A+D!!"

© Victoria and Albert Museum, London

Evening gown and cape, ziberline, Cristóbal Balenciaga, Paris, 1967

Fall 17-2

© Victoria and Albert Museum, London

Bolero jacket, EISA, Spain, 1947

© Museo Cristóbal Balenciaga

87
0
2
#$% !" )*+ (!" &'

!
 “WHAT
BALENCIAGA DOES
TODAY, OTHER
DESIGNERS WILL
DO TOMORROW.”
~ VOGUE, 1962
The story goes that in 1960, Jackie Kennedy’s big-ticket wardrobe bills
were paid for in secret by Joseph Kennedy for fear her taste in high fashion
might be used against the family politically. Topping her short list of
favorite designers was Cristóbal Balenciaga. What could be so dangerously
lavish about this Spanish couturier? London’s Victoria and Albert Museum
has a new exhibition, titled “Balenciaga: Shaping Fashion,” that answers
this question in a show-and-tell of the designer’s iconic formalwear,
archival sketches, and even x-ray examinations of his most popular dresses.

Featuring a collection of over 100 garments and hats, “Balenciaga: Shaping

Fashion” is the first V&A Museum exhibition devoted entirely to the work
and legacy of Balenciaga. “Revered by his contemporaries, including Coco
Chanel and Hubert de Givenchy, [Balenciaga’s] exquisite craftsmanship,
pioneering use of fabric, and innovative cutting set the tone for the
modernity of late 20th-century fashion,” says Cassie Davies-Strodder, the
show’s curator. The exhibition, which runs through February 2018, focuses
on Balenciaga’s work from the 1950s and ’60s, when the designer was at
the height of his powers, attracting a who’s who of collectors and clients.

Initially trained as a tailor, Balenciaga was adept at every stage of the

making process, from pattern drafting to cutting, assembling, and even
applying finishing details to a garment. Unlike many of his peers, the
designer liked to build his ideas off-paper. “It is the fabric that decides,”
he once said. By incorporating photographs, fabric samples, and catwalk
footage, “Balenciaga: Shaping Fashion” provides visitors a rounded
depiction of the designer’s robust creative output. What’s more, artist
Nick Veasey, in collaboration with the London College of Fashion, has
created x-ray renderings of some of the designer’s pieces, showing
audiences a labyrinth of stitching hidden on the inside.

“X-ray is an honest process with integrity. It shows how an object is made

from the inside out. It really is an internal forensic investigation,” Veasey
says. “The x-rays reveal the quality and passion that went into his work.”
They also reveal a previously unexplored network of supports and corsetry
in Balenciaga’s clothing. The best x-ray in the exhibition is of an evening
dress worn by Ava Gardner. “You can clearly see the supports,” Veasey
says.

The final room of the exhibition is aptly dedicated to the “Balenciaga

effect,” examining the designer’s influence on modern fashion creators
such as Molly Goddard, Rei Kawakubo, and even Demna Gvasalia, the
Balenciaga house’s current creative director. Work by more than 30
contemporary designers, all greatly influenced by the Balenciaga way of
pattern cutting, confirms the couturier’s sartorial impact. “Almost since
the first day he launched his salon in 1937, he has been acclaimed as the
great leader in fashion,” Vogue noted in 1962. “What Balenciaga does
today, other designers will do tomorrow, or next year, by which time he
will have moved on again.” 2
Evening dress, Cristóbal Balenciaga, Paris, 1962.
Photograph ~ Cecil Beaton, 1971
© Cecil Beaton Studio Archive at Sotheby’s
 It’sMy
Party
Tony Bordlee and his
Louisiana Avenue home embody the spirit of entertainment and excess.

photography and words by JACQUELINE MARQUE

Fall 17-2
A+D!!"

90
“IT’S GAY,
GIRL. EITHER
YOU HAVE
IT OR YOU
#$%
!"

DON’T”
)*+ (!" &'

! "1
 “THE
ENVIRONMENT
HERE IS
JUST REALLY
CREATIVE.”
)*+ (!" &'
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#$%

+1 !
 “You can learn a lot of shit from an old queen,” Tony
Bordlee says, casually sipping a cup of coffee at 8 p.m.
His penchant for one-liners and frequent use of the word
“flawless” (said with a strong emphasis on the “aw”)
make him an entertaining conversationalist and an
indelible New Orleans character. A heart attack 10 years
ago led Bordlee to quit a 30-year cigarette habit, so
nowadays, the 61-year-old retiree can be found vaping
on the front porch of his stately, double-gallery Victorian,
which he shares with his longtime partner, Rusty Cooke.
Bordlee fell into the event industry at age 19 when he
was a delivery boy for a flower shop on the Westbank. It
didn’t take long for shop owners Charlotte and Michael
Hunt, who provided both flowers and decor for events,
to see that young Tony had an innate talent for design.
“YOU CAN LEARN A LOT OF
SHIT FROM AN OLD QUEEN”
“It’s gay, girl. Either you have it or you don’t,” he explains.
Before he knew it, he was transforming hotel ballrooms
for Cajun- and Mardi Gras-themed parties and decorating
the Royal Sonesta for Christmas. He spent 15 years
working for the Hunts before branching off on his own,
working as a prop and food stylist for print and television
advertising for the next 10 years.
His favorite job was for Nicolas Cage. Knowing that Cage
was into the occult, he arranged for a voodoo ceremony
with priestess Ava Kay Jones—complete with drumming
and snake dancing—in Odd Fellow’s Rest cemetery. He
set an enchanting scene for Cage and Lisa Marie Presley
with gothic candelabras, tiki torches, hundreds of votive
candles, and funeral sprays.
“People talk about entertaining in the South. Well, if the
whole idea is to entertain people,” Bordlee says, “you
have to entertain them. Who the hell wants to show up
at a party where you hold a plate and a cocktail in your
hands and talk to people?”
As you would expect, Bordlee’s home is as over the top
as his personality. The house is ornate from its bones to
its decor. Gilded plaster crown molding and medallions
embellish the ceiling, along with a theatrical blue sky
painted above a formal dining room table that seats 10.
Color-washed walls and faux marbled baseboards
complement the couple’s collection of French antique and
reproduction furnishings. Elaborate candelabras befitting
a baroque palace grace handsome marble mantels.
Although his style is undeniably bold, Bordlee points to
Cooke as the one who can’t help but surround himself
with gold. “He’s like Liberace, you know. If one is good,
50 is better,” he says.
The couple has been together for over 20 years. They’re
an unlikely match. Cooke is a quiet emergency room
physician who likes to keep to himself. In Bordlee, he’s
found someone who has brought his ideal home to life
and infused it with a touch of levity. Bordlee’s sense of
humor shines through in whimsical artwork and objects,
such as an antique life-size clown from a circus in Madrid
and numerous paintings of monkeys and cats dressed in
finery. “You’re definitely not going to go into your average
house and see a clown with a whip in its hand,” Bordlee
says. Urns containing the ashes of deceased pets are
displayed on a marble-and-gold console beside the clown.
“This house currently holds the remains of seven cats,
two dogs, and four people,” he explains. “My first husband
is upstairs,” he adds.
Reflecting on 25 years of parties hosted in his home,
Bordlee muses: “Lord knows what went on before I got
here, but since then there have been weddings, rehearsal
dinners, my grandmother’s 90th surprise birthday, drag
queens, live music, and strippers. If I died in this house,
I’d be all good.” 2
#$%
!"
)*+ (!" &'
! ,1
ALLIN
MARGEZA
DESIGN
STUDIO IS

GOOD
BRINGING
BUDAPEST
INTO THE
21ST CENTURY

TASTE
WITH CLEAN
LINES, BRIGHT
COLORS, AND
WHITE WALLS.
by LARA ATALLAH / photography ARON ERDOHATI

A+D | Fall 17-2

95
1/
2
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10
2
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!
 Designers Margit and Géza Hamori of Margeza
Design Studio are sitting in their sun-drenched
Budapest apartment, cooled by an open window
that looks out on the Hungarian Parliament and
the Danube River. As a couple, they’ve been
renovating apartments around the country for

AND SO BEGAN
the past seven years, and their distinct style is
easy to spot. Everything from the walls, the floor
to the ceiling, the walls, stairs, and cupboards,

THEIR LIFE AS
is white. They choose bright, bold furniture
painted, cast, and stained in primary colors. Vases
are either blue, red, or yellow, for example. The

URBAN NOMADS.
same is true of bed sheets and kitchen chairs.
Margit and Géza are the closest of collaborators,
and the success of their company is hitched to
the strength of their relationship.

The Hamoris’ love story puts most rom-coms to

shame. The first sparks flew between them in a
Luxembourg courthouse cafeteria over a decade
ago. “I was standing in line in front of Margit,
and we struck up a conversation,” Géza says. “At
the time, I was a widower, and Margit had just
gotten divorced. It led to a romance that’s kept
us together for the last 12 years. Nowadays,
Margit’s friends will sometimes jokingly ask her
if they should go to the cafeteria to meet
significant others.” They speak with mirth, often
finishing each other’s sentences. Back then, Géza
was working as a librarian at the courthouse and
curating art shows in the city, putting together
a new exhibition every two weeks. Margit started
out as a biologist, before deciding to go back to
school and study art after working as a teacher
for several years.

Once Géza retired, the couple moved back to

their native Hungary, set on using their pensions
to purchase an apartment. They bought a
property that was in shambles, renovated it, and
brought it back to life in their signature style.
Upon seeing the outcome, friends suggested
they should try selling it. Eight days later, the
apartment changed hands, and so began their
life as urban nomads, moving from one apartment
to another, sprinkling their designer fairy dust on
dilapidated properties before putting them back
on the market.

Each apartment is a labor of love. First comes

the research: “We look for apartments with
exceptional qualities. Light is very important to
us, and so is location,” Géza says. Once they’ve
located the next project, they begin assembling
a team of contractors whom they’ll need to get
the renovations done. After that, they start to
furnish the home, often bringing in custom-made
pieces. Phase four is taking the apartment for a
spin. In order to make sure everything’s working
like it needs to be, Margit and Géza commit to
living there for a few weeks. The last task is to
find a buyer.

Asked how they ended up in their current

apartment, Margit and Géza chuckle. “When the
agent brought us to see this apartment, at first
we were outraged. It had none of the qualities
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 we were looking for. There was no elevator. It was on the
top floor of the building. The roof was in a deplorable state.
We felt that our time was being wasted. But then we went
out to the terrace and noticed that the entire city lay at our
feet. Now that it’s done, we’re happy we decided to buy it
that day,” Géza says.

Margeza Design Studio represents a grand second act for

Margit and Géza, though it’s an extraordinary undertaking,
especially for a couple whose combined age is 125. But the
notion of settling down makes Géza smile. “The other day a
journalist told us that we have found the fountain of youth,”
he says. “I think we’re lucky to have found each other. We
share a common vision and all we want to do is keep working
on our projects for as long as we can.” 2

“THE ENTIRE CITY LAY

AT OUR FEET.”
~ GÉZA HAMORI
 “WE HAVE
FOUND THE
FOUNTAIN
OF YOUTH.”
)*+ (!" &'
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#$%

N- " !
 I OVERLOOK
YOUR BIZARRE
OBSESSION
WITH PEEING.
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 5= < %
:5* 5%
to
photography and words by ANGELA DANSBY

QUIRKY,
BE MINE6%5 6 9 : D
CULTURED CITY:

Dear Brussels,
You had me at “Bonjour, enchanté” when we first met three years
ago. I fell then for your charming personality, international flair,
and striking appearance. Often overshadowed by your bigger
siblings Paris and London, you have so much to offer yet remain an
underexplored gem. That’s because you’re modest and understated,
only capturing the hearts of those who take the time to know you.
Here’s why I love you:

Heart of Gold ~ Your Grand Place is a UNESCO World Heritage site that was once the hub of
trade, where rich merchants lived. Today visitors gawk at the former guild houses—some of
which are even gilded.

Your City Hall, with its tall spire in the Grand Place, represents your eccentric self with two
different wings, each designed by different architects working some 50 years apart. While visually
compatible, the two sides are not at all symmetrical, just like you, Brussels.

Your Royal Palace is divine and unique, complete with a room marked by iridescent green ceilings
and chandeliers covered with Thai jewel beetles from the Congo. Since the Belgian king and
queen don’t live there, you’ve opened the street in front of the palace for hosting public parties.
The remains of the old Coudenberg palace from three centuries ago lie quietly underneath your
modern bones.

Your Cinquantenaire Park Arch, recognizing Belgium’s 1830 independence from the Netherlands,
makes Berlin’s Brandenburg Gate seem small by comparison. And what a romantic view you offer
on top.

Worldliness ~ You are the second-most cosmopolitan city in the world after Dubai, representing
180 nationalities. European institutions alone account for one-tenth of your population; no wonder
around 60 percent of your inhabitants were born outside of Belgium.

Your competing French and Dutch influences (Wallonia and Flanders) make you more cultured
and compelling. Nice that your street signs and other public materials are in both languages, even
though you’re dominated by the French language of love.

You handle your six governments (federal, Flanders, Wallonia, Brussels Capital Region, and
French- and German-speaking communities) earnestly, but I know you’re actually laid-back, never
letting rules interfere with the joy of living.

Great Sense of Humor ~ Your rarified sense of humor is inspired by a legendary comic culture.
Kudos that you have the Belgian Comic Strip Center (housed in a former warehouse designed by
famed Belgian architect Victor Horta), as well as 37 commissioned murals along your city’s Comic
Book Route. I appreciate that you’ve played home to famous artists like Hergé and Peyo, who
created Tintin and the Smurfs, respectively.

Quirky ~ You’re quirky as all get out with giant puppets wandering around public events, a
Street Light Museum, and a fantastical winter merry-go-round. Your hidden sculpture Human
Passions shocked the public when it was unveiled in 1896. Depicting humanity’s pleasures and
sins, including seduction, murder, suicide, rape, and death, the sculpture was locked up for over
a century. But as you’ve observed, times and tastes change, so now Human Passions is available
a few hours a week for viewing.
 I overlook your bizarre obsession with peeing, demonstrated by the
statues of the sculptures Manneken Pis, Jeanneke Pis, and Het Zinneke
(little boy, little girl, and big dog peeing). Why the two-foot-high Manneken
Pis is your symbol is beyond words. But your people love it, so much so
that it has been stolen seven times and cycles through almost a thousand
costumes.
Physically Attractive ~ You have fantastic physical attributes as a
Dutch-French mix. Victor Horta’s Hotel Solvay, his eponymous museum
(the architect’s former home and studio), as well as Paul Hankar’s Maison
Ciamberlani are all shining examples of Art Nouveau, the style born in
Belgium. I just love your Old England building (now the Musical Instruments
Museum) with its glass, wrought iron, and great view from its rooftop
restaurant.
Your physical beauty runs deep, going back to the 12th and 14th centuries
with the Crosly Bowling tower and Halle Gate, leftovers from the first
and second defensive walls that once enclosed you. Your Cathedral of
St. Michael and St. Gudula, which took a mere 300 years to complete,
is Gothic gorgeous.
But you’ve kept up with the times as well, showing off modern architecture
in the European Parliament and Commission as well as the brand-new
European Council building with its Frank Lloyd Wright-esque exterior
and giant, bulbous structure inside. Your Basilica of the Sacred Heart is
the epitome of Art Deco. The Atomium, designed for Expo 58 to represent
an atom magnified billions of times, is a unique city symbol. The night
lights of its giant orbs are serenely romantic.
You also have many fine interiors, including boutique hotels such as
Made in Louise, Manos Premier, Odette en Ville, and The Dominican.
Outdoorsy ~ You have lots of lovely green space, including many secret
parks that stay lush thanks to your plentiful rain. Bois de la Cambre forest
is an urban oasis with its running and biking trails, small lake for canoeing,
and island restaurant, Chalet Robinson. It’s charming to take a mechanical
ferry across the lake to reach the restaurant. The green space surrounding
the lake is perfect for a picnic, as is Tenbosch Park, L’Abbaye de la Cambre,
and Ixelles Ponds.
Egmont Park, and the mysterious Egmont Palace and Leopold Park behind
the European Parliament, are wonderful places to linger. And Mont des
Arts has one of the most beautiful gardens in the city. Your nearby Royal
Library of Belgium offers great views of the garden and City Hall from
its rooftop cafeteria.
Around eight thousand green parakeets live in many of your trees, thanks
to a local zoo owner who released 50 in 1974 to give your neighborhoods
more color.
Social Butterfly ~ You have a lot going on, hosting 20,000 events a
Knowledgeable ~ With over one hundred museums, you are chock-full year. Every night of the week you offer fun dates, such as year-round
of information. No wonder you’re Europe’s capital and home to the
Parliamentarium—covering all political aspects of the European Union—
and new House of European History.
Artistic ~ You must have more art installations than gas stations. My
favorites are the René Magritte Museum (he pioneered surrealism in
your care after all), La Bourse (a stock exchange turned art gallery), La
Photographie Galerie, and Xavier Hufkens. You attract several international
art shows each year, such as BRAFA, Art Brussels, and the Affordable
Art Fair.
Sensibly Fashionable ~ You prove that fashion forwardness is not
Fall 17-2
limited to big cities. In spite of housing only 1.2 million people, fashion
statements are made all the time on Rue Dansaert, Rue des Chartreux,
and Avenue Louise. Stores like Caroline Biss, Natan, Essential, and Y
Dress demonstrate that Belgians know how to design clothing—cases
A+D!!"
in point: designers Dries Van Noten, Diane Von Furstenberg, and Liz
Claiborne.
3
108
I love shopping for Italian leather gloves in your Galeries Royales Saint-
Hubert—the oldest mall in the world that once housed one of the first
cinemas and the first chocolatier (Neuhaus) in Belgium.
I appreciate that you treasure old things, too, like antiques and second-
hand items sold in and around your daily Jeu de Balle flea market and
on Rue Haute.
Foodie ~ When it comes to cooking, you are second to no city. You
have top chefs, restaurants, and produce (there’s a reason Brussels
sprouts were named after you), as well as the world’s best beer, waffles,
mussels, fries, gingerbread (speculoos), and chocolate.
The Tram Experience—a multi-course, gourmet meal prepared on a
tram that moves throughout the city by a cadre of famed Belgian chefs—
is one of a kind. And your seasonal food festivals like Taste of Brussels
in September and Food Truck Festival (the largest in Europe) in May are
too tasty and fun.
You feature diverse cuisines. Some of my favorite dishes and moments
can be found in La Canne en Ville, Fin de Siecle, La Meilleure Jeunesse,
Le Wine Bar Sablon des Marolles, Osteria Romana, Cowfish, La Paix,
MiTo, Dolce Amaro, Le Berger, La Fabrique en Ville.
I salivate over your 500 chocolate brands, though my favorites are Pierre
Marcolini (his displays alone are works of art), Frederic Blondeel, Wittamer,
Mary, and Zaabar. I love that I can find freshly made waffles everywhere,
or that they find me via a musical truck roaming your streets. Galler’s
molten-chocolate-filled waffles are always worth an indulgence. And
the speculoos at Maison Dandoy never disappoints.
Quality Drinker ~ You are a beer connoisseur, offering the world
the best. This includes six of the 11 Trappist monastery breweries in
the world, such as the cult Westvleteren and about two hundred others.
You even have your own Cantillon Brewery and Brussels Museum of the
Gueuze to showcase this carbonated, acidic beer made only in Belgium.
Your so-called “Brussels champagne” does not need French validation.
My favorite places to learn about Belgian beers are Poechenellekelder,
with 150 options (and puppets for decoration), underground Delirium,
with more than two thousand beers, and your annual beer fest in the
Grand Place.
I’m happy to see that you’ve jumped onto the craft cocktail bandwagon
with venues such as the secret bar Jalousy (weekly password available
from smokers outside), Vertigo, Alice, and La Pharmacie Anglaise. Your
new Residence Palace rooftop (the best terrace in Brussels) serves
cocktails with a view, if only on select summer nights through September
15.
outdoor markets in front of the architecturally stunning Commune de
Saint-Gilles (Mondays) and in the fashionable Place du Chatelain
(Wednesdays). I love our Sundays with oysters and champagne at Place
Flagey or authentic Moroccan wraps and mint tea at Gare du Midi market.
And Thursdays are intriguing, rubbing shoulders with European
bureaucrats at Place Luxembourg, followed by dancing at your elegant
nightclub in the forest, Jeux d’Hiver.
Finally, I love our special days together at the Ommegang folk festival,
and our afternoons sunning on the “beach” along your canal. You spoil
me during the Belgian Independence Day parade, the Grand Place Flower
Carpet, the Christmas market with sound and light shows, and numerous
music festivals and gala balls.
Brussels, what else can I say? My heart will stay with you forever.
XOXO, Angela 3
 YOU HAVE
MORE ART
INSTALLATIONS
THAN GAS
STATIONS.
 The
Legacy
THE FRENCH
Yves
Laurent
FASHION DESIGNER’S
STYLE LIVES ON IN
NEW MARRAKECH
AND PARIS MUSEUMS.
by ANGELA DANSBY / photographs provided by MUSÉE YVES SAINT LAURENT PARIS AND MUSÉE YVES SAINT LAURENT MARRAKECH
A+D | Fall 17-2

110
+ ""
3
#$% !" )*+ (!" &'

!
“FASHIONS FADE, STYLE
#$%
!"
)*+ (!" &'

IS ETERNAL.”
~ YVES SAINT LAURENT
3

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- ""
3
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!
“I have always said that memories should be transformed into projects,” says Pierre
Bergé, the business and life partner of Yves Saint Laurent, the late French fashion
designer. “[This year] marks a new chapter with the opening of two Yves Saint Laurent
museums in Paris and Marrakech.”
The Musée Yves Saint Laurent Paris will open on October 3 in the designer’s former
haute couture house and studio, which have been dormant for the last 15 years. The
museum, at 5 Avenue Marceau, is where the designer created his collections from
1974 to 2002. The same building currently houses the Fondation Pierre Bergé – Yves
Saint Laurent, which has preserved 5,000 articles of clothing, 15,000 accessories,
and tens of thousands of drawings from Saint Laurent’s collections presented between
1962 and 2002.
“MEMORIES SHOULD BE
TRANSFORMED INTO PROJECTS.”
“It’s important for the public to see Saint Laurent’s creations inside the place where
they were made,” says Aurelie Samuel, heritage curator and director of collections.
“Since the 1950s, Saint Laurent made the fashion. He didn’t need inspiration; he was
his own inspiration and [an inspiration] for others.”
Opening to the public for the first time, Saint Laurent’s former salons and studio will
show his creative process from sketch to production. The inaugural display will include
50 haute couture designs—including his iconic tuxedo, safari jacket, pantsuit, and
trench coat for women—with accessories, sketches, photographs, and videos. A
different retrospective or thematic collection will be featured each year, starting
with Saint Laurent’s first spring-summer 1962 line.
“He was not a designer, he was an artist,” Samuel asserts. “He really transformed
the relationship between art and fashion. What is the definition of art? It’s timeless
and universal. A Saint Laurent dress is impossible to date.”
One continent away, the Musée Yves Saint Laurent Marrakech will open its doors
on October 19. The building, designed by the French modernist architecture firm
Studio Ko, is massive, with more than 13,000 square feet of space. Marrakech was
Saint Laurent’s second home, where he sketched new designs. Having grown up in
Algeria, his affinity for North Africa was innate. He attributed the boldness of his
work to Morocco, “to its forceful harmonies, to its audacious combinations, to the
fervor of its creativity.”
The Marrakech museum will reflect this in its architecture, interior design, and exhibits.
Aptly located on Rue Yves Saint Laurent, next to the Jardin (Garden) Majorelle, which
belonged to Saint Laurent and Bergé, the museum will include permanent and
temporary exhibition spaces with rotating fashion collections along with a research
library, auditorium, bookstore, and terrace café.
~ PIERRE BERGÉ
“Saint Laurent discovered color in Morocco, as well as shapes like traditional Moroccan
capes and the fez hat,” says Björn Dahlström, director of the new museum. Fifty
pieces of clothing will be displayed at a time, arranged by themes that inspired the
designer, such as masculine-feminine, the color black, Africa and Morocco, imaginary
voyages, gardens, and art. This work has rarely, if ever, been seen by the public. Saint
Laurent’s costumes for theater, ballet, cabaret, and cinema will also be featured.
“This is the first fashion museum in Africa,” notes Dahlström. “It will show the
importance of this continent to fashion.”
Together, these museums will show that Saint Laurent was so much more than a
fashion designer. In his words, “Fashions fade, style is eternal.” Now his style will
live on in Paris and Marrakech. 3
“BEING A MAN
IS NOT ABOUT
MONEY AND
MUSCLES.”
 MEMORY
of a KILLER
by MICKEY STANLEY / photography ANTON CORBIJN

FRONTMAN BRANDON FLOWERS

CONTEMPLATES MANHOOD IN A
POST-MIKE TYSON WORLD.
In the song “Tyson vs. Douglas” off of The Killers’ new
record, Wonderful Wonderful, Brandon Flowers sings,
“Had to close my eyes just to stop the tears.” He’s talking
about the moment he watched his idol, then-undefeated
boxing champ Mike Tyson, get knocked out by an
overweight journeyman named Buster Douglas. “My
manager expressed apprehension about that line,”
Flowers says. But it’s not hyperbole. Any fan of boxing
remembers the fall of Iron Mike, and for the singer—who
grew up going to Tuesday Night Fights as a kid with his
dad in his hometown of Las Vegas—it was devastating.
“Mike Tyson was such a Las Vegas figure and an electric
figure,” he says. “Tyson just kind of owned this space
for a while, and he was perfect, and he looked perfect.
And so, when it happened it changed my perspective
on the world.”

On this, the band’s fifth studio album, Flowers is trying

something new—telling his personal story under the
Killers moniker. “I realized that I can do my thing and it
can still be The Killers,” he says. The first single off the
record, “The Man,” is an ironic ode to an overly confident
protagonist whose comeuppance is all but assured.
Flowers sings: “I got gas in the tank/ I’ve got money in
the bank/ I’ve got news for you baby, you’re looking at
the man.” This man’s braggadocio acts as a surrogate
for Flowers’s own worry—that he, like Mike Tyson, will
eventually fall, or worse, disappoint.

For Flowers, who is married with three boys, much of

Wonderful Wonderful is about family, and “not wanting
to let them down.” Slower songs “Rut,” “Life to Come,”
and “Some Kind of Love” are all geared around his wife,
Tana Mundkowsky, and the struggles she faced as a
young woman. “I was so lucky. I lived this ‘Norman
Rockwell in the Desert’ version of life,” he says. “I had
two loving parents that stayed together and gave me
all of the nutrients I needed, and she did not get that.”
Flowers uses the metaphor of a drought in the desert
on the record to describe his wife’s upbringing. “As she
has had to finally face things head-on in her life, I’ve had
to grow with her. And I’ve had to adapt and learn what
it really is to be a man in the process,” he explains.

The Killers have spent more than 15 years racing toward

their distinct place in rock ‘n’ roll history, one platinum-
A+D | Fall 17-2

selling album at a time. Wonderful Wonderful tells the

story of Flowers’s growth as a father, a husband, a band
leader, and as a man over that period. “Being a man is
not about money and muscles,” he says. “It’s about
compassion and empathy.” 3

117
 A
Toast
to
the
Timeless
BOULIGNY
TAVERN
IS A MID-
CENTURY
MODERN
MECCA.
Fall 17-2
A+D!!"

118
 @<9:! -*
>? ! JANE MOLINARY / ?'KRLHJB!
Uptown’s Bouligny Tavern looks like a miniature
version of the Oak Room in Alfred Hitchcock’s
North by Northwest, where brushing shoulders
with a Gibson-gripping Cary Grant would be
nothing out of the ordinary.
Located at 3641 Magazine Street, the bar’s
interior includes hardwood paneling, a stacked
stone veneer, and brass-stemmed mobile
chandeliers. This admen-era speakeasy
atmosphere is continued in the cocktail menu,
which features drinks such as the Kingston
Club—made from white rum, Fernet-Branca,
pineapple, lime, and Angostura bitters. “It’s a
very drinkable tiki-style cooler,” bartender CJ
Russell says, describing the tall, tropical-colored
beverage. After flipping over the vinyl on the
bar’s signature turntable, which can be heard
playing anything from Nat King Cole to The
Animals, Russell whips up another drink, the
Cat’s Cradle. It’s a restorative combination of
Amaro, lemon, basil, and Cathead Honeysuckle
vodka that manages to avoid being overly
sweet. For those with an affinity for the
saccharine, the Under Wraps, primed with gin,
lime, and cumin liqueur, comes topped with an
A GIBSON-GRIPPING
CARY GRANT
! SAM HANNA
egg white that looks like toasted meringue.
Beyond the furniture and cocktails, Bouligny
offers a diverse and expertly curated wine list,
thanks in part to general manager Cary Palmer’s
experience as a winemaker and scholar.
Additionally, the small plates that make up
Bouligny’s menu are crafted by chef Michael
Isolani and cover a range of upscale bar food
including caviar and chips, beef-marrow crostini,
and gouda beignets. So much of the tavern’s
overall eloquence can be attributed to its owner,
award-winning chef John Harris, whose sister
restaurant, Lilette, is next door.
Bartender Russell brings out one final rust-
colored concoction covered with the foam of
an egg white that stops just short of the coupe’s
rim. “It’s a Trinidad Sour,” he says. In it is rye
whiskey, an obscene amount of Angostura
bitters, lemon, basil, and orgeat, a milky syrup
made from sugar, almonds, and rose water.
Though it’s not on the menu, if you ask for it,
they’ll make it. As Russell points out, “It shows
the capability to go outside your standard vodka
soda.” 3
#$%
!"
)*+ (!" &'
! 1 ""
 #<:C!-*
by JANE MOLINARY / photography SAM HANNA
Fall 17-2
A+D!!"

120
CAPPELLETTI,
The cuisine at Avo, located at 5908 Magazine Street,
does not trifle with Italian-American clichés. You will
not be handed an oily bag of breadsticks or a fried
chicken cutlet doused in Ragù. Chef Nick Lama simply

ORECCHIETTE,
doesn’t have the heart for it.

On a swampy afternoon in June, Lama is kneading

licorice-colored dough in Avo’s kitchen. After hitting

RIGATONI,
his desired consistency, Lama hand-cranks the matte-
A TASTE OF black mass through a pasta maker to form the
foundation of Avo’s best-selling dish, Ravioli Nero.
ITALIAN

OH MY!
“It’s dyed using cuttlefish ink,” he says. Once the
HERITAGE AT Ravioli Nero is ready, it is a struggle to fit a bit of
everything onto the fork. It seems as though the dish
CHEF NICK is meant to be tasted all at once—the cheese, the
butter, the crab, the Herbsaint Spuma.
LAMA’S AVO.
Unlike many other Italian restaurants in New Orleans,
every bowl of pasta that Avo serves is homemade.
Red pastas are created using Calabrian chili powder.
“The green is made using parsley and spinach,” the
chef says. Lama is a pasta historian, and his studies
pay off on the plate. “You can find out a lot about a
people and their culture just by paying attention to
the food they eat,” he says, before spitting out the
names of different pastas quicker than an antiques
auctioneer.

To illustrate his point, Lama flattens a chunk of egg-

colored dough a little thicker than card stock before
folding one end into its opposite, creating what looks
to be a miniature goat horn. The shape of sombreroni,
he explains, is inspired by a local law enforcement
hat in Italy; whereas the twisted cylinders of
strozzapreti, which translates to “priest stranglers,”
are meant to resemble clerical collars. “Each region
has a particular shape of pasta,” Lama says. Dishes
act as edible maps, detailing the habits and practices
of their inventors as points of interest along the way.

Though the restaurant is just over two years old, Avo

belies its youth. In Italian, Avo translates to
“grandfather” or, more loosely, “ancestor”, and
whispers from Lama’s Sicilian heritage can be heard
steaming up from every dish. Lama himself is a born-
and-bred New Orleanian. As such, Avo’s menu
incorporates many options that speak to his dual
culinary citizenship. The gnocchi, for one, which is
served with a shrimp-and-corn maque choux (a
traditional dish of southern Louisiana) and finished
with a seafood brodetto, is made using the practices
of Lama’s ancestors as well as the regional foods of
New Orleans. “That’s the philosophy behind Italian
food,” Lama says, “use what’s local and readily
available.”

Avo achieves a healthy balance between the old

country and the Crescent City. From the lobster and
pea sformato it serves as a starter plate to the Gulf
fish it offers as a main course, the menu acts as a
sort of edible biography for Chef Lama and his family,
who, hailing from Cefalù and Naples, continue to
influence the dishes he makes today. 3

THAT’S THE PHILOSOPHY

BEHIND ITALIAN FOOD.
 LA MONDE C’EST SI BEAU!

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122
 THE SHOPS AT 2011 MAGAZINE

Wellington 11/8/08 5:25 PM Page 2

ANTIQUES • VINTAGE ART • JEWELRY • GIFTS • HOME DECOR

2011 MAGAZINE ST. NEW ORLEANS, LA 70130 • (504) 407-0499 • WWW.THESHOPSAT2011.COM
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(985)778-5338 " IMPASTATOGALLERY.COM " CHENIER MARKET (985)951-2221

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Fall 17-2
A+D!!"

126
 EST. 2002

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 AU REVOIR
photography & words by STAN MALNOWSKI

ROGER
Sir

MOORE
REMEMBERING 007
I n No v e m b e r 1978 Ro g e r Mo o re
(1927-2017) was in Paris filming
Moonraker, the 12th James Bond
film. His co-star Lois Chiles was having
trouble with her lines, specifically
the words “space shuttle.” Take after
take, as she became more and more
nervous, Chiles would say “space
ship.” After a number of unsuccessful
takes, Moore reached into the inside
pocket of his suit coat and pulled out a
piece of paper on which he had already
written the word “shuttle” and held it
directly in front of Chiles’s face. That
broke the tension. On the next take she
said her line perfectly! 3
A+D | Fall 17-2

128