©T&CO. 2013 0800 160 1837 TIFFANY.

COM
ATLAS ®
 contents — november 2013

on tHe cover
176 Exclusive: Jennifer Lawrence
157 Carine Roitfeld’s Romeo & Juliet

Features
176 playing tHe game
our cover star Jennifer lawrence
lives life by her own rules
214 costume drama on the heels
of the mcQueen and bowie shows,
blockbuster fashion exhibitions are
storming museums around the world
218 ralpH lauren Justine Picardie
travels to montauk to meet a true
believer in the american dream

Fashion
157 romeo and Juliet carine
roitfeld celebrates star-crossed love
186 tHe golden age a chic rock
chick dazzles in the glowing piazzas
of the eternal city
200 a russian romance drama
and passion run high in the grounds
of vladimir nabokov’s country dacha
208 tHe new poise monochrome
elegance puts a spring in the step of
autumn style

style
75 10 tHings we love our style

176
highlights this november
page
94 between tHe lines
thinking fashion
97 stitcH perfect How the
french luxury house Hermès sews
perfection into every piece
106 our moodboard the sacred shop 150 tHe space woman the
inspiration of valentino couture 132 dress code suit up in navy and architect who shapes the art world
108 bags of talent penélope cream tailoring 151 under tHe influence
cruz’s spanish objects of desire ancient themes meet modern
111 rise up the enduring legacy of the talking points creativity at frieze
man who invented the stiletto 144 buyers’ market 151 my cultural life
115 my life, my style inside artist browse basquiats and mirós in novelist elizabeth gilbert
photograph: ben hassett

polly morgan’s taxidermy-filled home
accessories
123 past masters dutch paintings
and baroque embellishment inspire
the season’s loveliest bags and shoes
london’s berkeley square
147 bibliotHerapy books for a
better life: boost your creative side
148 tHe contender daniel
radcliffe reveals why he’s fighting his
way to ever greater dramatic heights
152 romancing tHe stones
one man’s quest to bring together
india’s most spectacular jewellery
153 don’t miss… Jim broadbent, Judi
dench and benedict cumberbatch
star in november’s best new films

November 2013 | H a r p e r’ s ba z a a r | 29
▼

www.harpersbazaar.co.uk
CONTENTS

BEAUTY
225 MODERN MASTERPIECES
Cosmetic creations that please
the eye as much as the skin
231 SOMETHING IN THE AIR
When art and perfume mix, they
hit the perfect notes
234 DARK ARTS Inky nails for autumn
236 WATERS OF LIFE Tap into the
delights of blissful bathing

AT HOME
240 WONDER LAND A Scottish garden
where poetry lives in moss and stone

ESCAPE
244 ART IN RESIDENCE Ten hotels
for globetrotting aesthetes
251 TRAVEL NOTEBOOK Jeweller
Monica Vinader explores the
mulitifaceted gem of India: Jaipur

FLASH!
252 POWER DRESSING The Royal
couture collection draws glamorous
style-lovers to Kensington Palace
253 FRAMES OF ATTRACTION
Art, fashion and film collide at Tracey
Emin’s Royal Academy dinner

REGULARS
57 EDITOR’S LETTER
64 CONTRIBUTORS

157
PAGE 139 WHY DON’T YOU…? Ideas to add
a little joie de vivre to your day
140 THE AGENDA Retail inspiration
for the month ahead
154 HOROSCOPES November in the
stars. By Peter Watson
254 STOCKISTS
262 HOW BAZAAR A classic moment
*FREE GIFT ISSUE OF HARPER’S BAZAAR SUBJECT TO AVAILABILITY
PHOTOGRAPH: MAX VON GUMPPENBERG AND PATRICK BIENERT.

from our archives revisited

SUBSCRIBE to
HARPER’S BAZAAR
turn to page 155, or ring 0844 848 1601

COVER LOOKS Above, far left: Jennifer Lawrence wears tulle, lace and chiffon dress, to order, Zuhair Murad Haute Couture. Gold crown, about £465,
Jennifer Behr. Gold and diamond ring, about £5,570, Parulina. Above, centre left (subscribers’ cover): silk top; pleated silk skirts, all to order, Dior Haute Couture.
Right hand: gold, sapphire and coral ring, £11,000; left hand, from left: gold and tourmaline ring, from a selection; gold and diamond ring, about £3,390, all Dior
Joaillerie. See Stockists for details. Styled by Julia von Boehm. Hair by Adir Abergel at Starworksartists.com. Make-up by Monika Blunder at the Wall Group, using
Dior: Diorshow Fusion Mono eyeshadow in Hypnotique; Diorshow New Look Mascara; Diorblush in Mimi Bronze; and Rouge Dior lipstick in 5th Avenue.
Manicure by Marissa Carmichael at Streeters. Photographs by Ben Hassett. Above, centre right: limited-edition cover available exclusively at the V&A.
Photograph by Harry Cory Wright. Above, far right: limited-edition issue, complimentary with a make-up appointment at Dior counters at Selfridges in London,
Manchester and Birmingham in October*. Illustration: ‘Rouge Dior’ by Aurore de la Morinerie, using Rouge Dior lipstick in 999

38 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk

 CO.UK
HOME LATEST FASHION BEAUTY CELEBRITIES VIDEO LIFESTYLE BLOGS SUBSCRIBE COMPETITIONS HOROSCOPES

TRAVEL
10 OF THE BEST
ART TOURS
From Tokyo to New York

PHOTOGRAPHS: COURTESY OF PERRY RUBENSTEIN GALLERY, LOS ANGELES, JOSHUA WHITE/JWPICTURES.COM, GRAHAM WALSER
Mike Kelley’s ‘Deodorized Central
Mass with Satellites’ (1991/1999),
on show at the Museum of Modern Art
in New York until February 2014

AN INSIDER’S GUIDE TO FRIEZE

Including street style; what to see at the art fair; the best investments; and how to get a set of all six of our exclusive Bazaar Art covers,
featuring artworks by Tracey Emin, Gary Hume, Sam Taylor-Johnson, Yayoi Kusama, Martin Creed and Jeff Koons

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 Published on 3 October

justine picardie
Editor-in-chief

Creative director marissa bourke

Deputy editor sasha slater Digital and development editor sacha bonsor

Assistant to the editor/events manager lucy halfhead

Managing editor connie osborne Chief sub-editor dom Price

Picture director chloe limPkin
Associate editors sara Parker bowles, ajesh Patalay

FASHION
Fashion director avril mair
Global fashion director carine roitfeld
Executive fashion director eugenie hanmer
Executive style and jewellery editor julie-anne dorff
Fashion director-at-large cathy kasterine Style director-at-large leith clark
Fashion production and bookings editor daniel j robson
Senior fashion assistant linh ly
Fashion assistants emma shaw, florrie thomas
Fashion features assistant anna rosa vitiello
Contributing fashion editors miranda almond, carmen borgonovo,
melanie huynh, tony irvine, mattias karlsson,
hannah teare, sissy vian

FEATURES
Senior editor hannah rothschild
Assistant features editor helena lee
Contributing features assistant delilah khomo

Contributing editor (entertainment) hannah marriott

Flash! and Guest List editor frances wasem

BEAUTY AND HEALTH

Beauty director soPhie forte
Beauty director-at-large newby hands
Assistant beauty editor victoria hall

ART
Art director jay hess
Contributing art director christoPher whale
Picture editor liz Pearn
Designer/repro co-ordinator nina hundt
Designer amy galvin
Picture assistant rebecca harrison
Art co-ordinator kimberley dyer

COPY
Deputy chief sub-editor melanie law
Sub-editor caroline lewis
Contributing sub-editor robin wilks
WEBSITE
Online deputy editor sarah karmali
Online assistant editor rebecca coPe
Assistant content producer rosie reeves

CONTRIBUTING EDITORS
sam baker, lydia bell, hannah betts, clare coulson,
soPhie dahl, soPhie dening, mariella frostruP,
amanda harlech, natalie livingstone,
gianluca longo, caroline roux, l’wren scott,
laura tennant, stePhanie theobald, celia walden

CONTRIBUTING PHOTOGRAPHERS
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victor demarchelier, michelangelo di battista,
horst diekgerdes, tierney gearon, kacPer kasPrzyk,
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trent m c ginn, tom munro, cathleen naundorf,
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david slijPer, solve sundsbo, ellen von unwerth,
ben weller, yelena yemchuk

Gold and silver Talk to us on Twitter @BazaarUK

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 EDITOR’S LETTER

A look from the

fashion story ‘Romeo
PURE
and Juliet’, styled by
Carine Roitfeld
(page 157)
IMAGINATION
I’ve always thought that a good magazine – and hopefully you
will count Harper’s Bazaar as one – should feel like a friend; and like
all the best friends, share ideas and pleasures together. The catalyst
for the November issue – which takes art as its theme – arose from
an enjoyably talkative day I spent earlier
this year with the editors of Bazaar’s
international editions. Three of them had
already launched Bazaar Art magazines
(in Russia, China and Arabia), and by
the end of our time together, I had been
inspired to do the same.
PHOTOGRAPHS: MAX VON GUMPPENBERG AND PATRICK BIENERT, OLIVER HOLMS, GRAHAM WALSER. SEE STOCKISTS FOR DETAILS

So our first edition of Bazaar Art

accompanies this issue, but some of the
ideas contained within it are also reflected
here, and vice versa. This is partly because
we are asking wide-ranging questions –
EDITOR’S to what extent does art overlap with
PICKS fashion, and is fashion itself an art form?
Stephen Jones is the artist of – and these need time and space to
millinery, and a feathered hat from his develop, as in any thoughtful conversation. I also
£2,125 new collection is a delightful embodiment hope you will find the pictures on the following
Valentino of creative flight. I am also constantly pages as inspiring as we do: with fashion shoots
inspired by Phoebe Philo at Céline, and Maria inRomeandStPetersburg,andmodelsincluding
Grazia Chiuri and Pierpaolo Piccioli at the Russian ballet dancer Oksana Skorik. As
Valentino; all designers who have made me always, Carine Roitfeld’s contribution to Bazaar
see the Flemish Masters in a diferent way extends the wonderfully varied range of
this season. Finally, to Andy Warhol, models even further; this month, with her series
£540 whose drawings for Harper’s of couples in a radically contemporary take on
Stephen Bazaar are a constant Romeo and Juliet.
Jones
Millinery source of joy… On a different note, we are thrilled to have Jennifer
Lawrence as our latest cover star, with an interview that
is as punchy as her portraits are beautiful. What becomes
About £1,175 refreshingly clear in her encounter with our writer, Tom
Céline
Shone, is the strength of her independent spirit – and her
refusal to conform to Hollywood clichés. Hence no star-
vation diets, plenty of crisps, and a subversive streak that
Andy Warhol allows her to laugh at herself, as well as the absurdities
Drawings (£10.99, of celebrity; all of which suggests that being Jennifer
Chronicle Books),
published on Lawrence is not entirely dissimilar to Oscar Wilde’s
1 November

November 2013 | H A R P E R’ S BA Z A A R | 57
▼
 EDITOR’S LETTER
Please
join us at 10am
on 9 October for the
launch of the Harper’s
Bazaar pop-up boutique at
Bicester Village. I’ll be there
with the Bazaar team to definition of art as ‘the most intense mode
show you around. (www. of individualism that the world has known.’
bicestervillage.com) Elsewhere in the issue, the art of fashion –
and fashion’s influence on art – is clearly
apparent. Consider Hannah Rothschild’s
perceptive article on the fashion blockbuster
exhibitions that have proved to be such hits in
museums around the world (I’m still hoping
that ‘Savage Beauty’, the immensely successful
AlexanderMcQueenshowattheMetropolitan
Museum of Art in New York, will at some point
be staged in this country, the designer’s home-
land). Meanwhile, my own journey to America,
to interview Ralph Lauren, has prompted
further discussion with my colleagues at
Bazaar about the designer’s significant effect
on the wider culture. Meeting Lauren at his
A look from the home in Montauk was one of the most
fashion shoot intriguing encounters I have ever had in my
‘The golden age’ professional life. His fame
(page 186). Below, over four decades and his
clockwise from left: ability to transcend fashion
a collage by Roger with evocative story-telling
Vivier; a Vivier heel; remind me of that great
and a sketch for the visionary Coco Chanel; and
label (page 111). A also of the Hollywood pio-
Warhol-influenced neers who gave America a
Dior clutch (page 88) sense of itself, as well as an
escapist dream.
If, like many people, you
read magazines backwards,
then by this point you may
have already formed a view on the contents of the
November issue. What I hope is that some of it
will stay with you; and though I do not claim that
Harper’s Bazaar is an art form (good journalism is perhaps more
of a craft), it might take you on a journey too. For my personal
PHOTOGRAPHS: REGAN CAMERON, VALERY KATSUBA, PAUL ZAK, COURTESY
interpretation of the role of art in this context – which is doubtless OF ROGER VIVIER, THE BATA SHOE MUSEUM/© STÉPHANE GARRIGUES

as idiosyncratic as anyone else’s – is that at its best, it allows us to

lose ourselves, and then find ourselves, as well. With this in mind,
take courage, my friends, and let your imagination flow…

Justine Picardie
PS: to download your digital edition, visit the
iTunes App Store, Google Play Magazines or
the Newsstand store on your Kindle Fire.

58 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk

contributors
against the backdrop
of Classical rome,
photographer regan
Cameron captures the
allure of autumn’s jewel
tones in ‘The golden
age’ (page 186). His
wide-ranging repertoire
includes fashion and
beauty campaigns for
burberry, estée Lauder
and MaxMara, and
among his previous
subjects are Gwyneth
paltrow, Nicole Kidman
and Kate Winslet.
The art of style is…
‘simplicity.’
Who’s the greatest
artist of our time? ‘steve
Jobs, because he brought
architecture, beauty and
simplicity to an everyday
item: the phone.’
Artwork you’d most like
in your living-room
‘anything from picasso’s
blue period.’
Painting you wish you’d
created ‘Irving penn’s
portrait of picasso.’
64 | H a r p e r’ s b a z a a r
The vibrancy of Jaipur
entrances Vinader in
‘Travel notebook’ (page
251). The jeweller’s
distinctive style
originated from a
passion for travel, and her
globetrotting took her to
Chile, Morocco, India
and the Far east before
she settled in Norfolk.
Fans of her work include
Cara Delevingne. Her
second London store
opens in November.
The art of style is…
‘confidence.’
Artwork you’d most like
in your living-room ‘a
relief by basque sculptor
eduardo Chillida. I have
always admired him,
and we were born in
the same town.’
Sculpture you wish
you’d created
‘Constantin brancusi’s
sculpture Bird in Space.
I love its simple lines.’
| November 2013
In ‘The new poise’ (page
208), the dancer skorik
models the new season’s
lace and chiffon in
balletic fashion within
st petersburg’s russian
academy of arts. at 15,
she was the subject of a
film, A Beautiful Tragedy,
Originally a graduate which charted the In such breathtaking
of the admiral Makarov struggles of the young locations as the banks
Naval academy in st ballerina. The of the Neva and st
petersburg, Katsuba Ukrainian-born petersburg palace,
turned his talents to skorik then joined the sarajane Hoare styled
photography in 2000 Mariinsky ballet in 2007 two stories to showcase
after working as a and has toured with it the best of the new
journalist. Carine to Japan and the Us. season (pages 200 and
roitfeld published one The art of style is… ‘to 208). Her career began
of his early photo stories be different, but yourself.’ with Mario Testino in
in Vogue Paris in 2006. Artwork you’d most like the 1980s, before she
This month, he shoots in your living-room ‘a became fashion director
two stories with the painting by my favourite for The Observer and then
stylist sarajane Hoare artist, arkhip Kuindzhi. of british Vogue. Now,
in russia (pages 200 and He depicts the power after long stints with Us
208). His latest works of nature in russia. Bazaar and Vanity Fair,
are exhibited at artMost Or The Ninth Wave she consults for ralph
gallery until March 2014. by Ivan aivazovsky.’ Lauren and Vera Wang.
The art of style is… ‘to The art of style is…
combine landscapes, ‘what is true to you.’
interiors, people, clothes Who’s the greatest
and create harmony.’ artist? ‘picasso.
Painting you wish you’d He challenged
created ‘Michelangelo’s people’s conceptions.’
sistine Chapel frescoes. Artwork you’d most like
They make me wish to in your living-room
photograph man flying, ‘anything by my father,
being free and creative.’ the artist Jeff Hoare.’
www.harpersbazaar.co.uk
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Edited by avrIl maIr

F E N D I B AG

‘Hello, I’m a FendI Peekaboo bag.

I’m part of a new bug-eyed family of accessories
– also starring clutches, purses, pouches, heels and furry key-chains –
and I’m friendly, if a bit funny-looking.
Would you like to take me home?’

JECT
OB

O
TH

F DESIR
E
PHOTOGRAPH: PAul zAk. see sTOckisTs fOR deTAils

£3,720
Fendi

10 THINGS WE LOVE
Bazaar rounds up November’s fashion hits
style
p i ec
ey

e
th e k
£1,535
Balenciaga at
matches
fashion.com £1,495
Burberry Brit

£2,390 £6,540
Fendi Hermès

from about
£2,820
£2,375 Givenchy by
Saint Laurent Riccardo Tisci
by Hedi
Slimane

£2,995
Bally
£6,295
PHOTOGRAPHs: GRAHAm wAlseR. see sTOckisTs fOR deTAils

Loewe

b i k e r jac k e t s
It’s sartorial shorthand for rebellion.
No wonder the biker jacket remains a style staple,
almost a century since it was first created by Irving Schott.
For A/W 13 – a season in which the spirit of ‘grunge luxe’
again stalked the catwalk –
this iconic leather piece was reinvented by…
well, just about everyone.

76 | H A r p e r’ S b A z A A r | November 2013 www.harpersbazaar.co.uk

▼
STYLE

£430
Isa Arfen
About £1,640
Rosie
Assoulin

About £1,895
Rosie
Assoulin

£815
Isa Arfen £640
Isa Arfen

T H E F E M I N I N E LO O K

ISA AR FE N
Growing up in Ravenna, Italy, ISA THE NAM
ARFEN’s 31-year-old founder SERAFINA ES
SAMA was captivated by the quirky, TO About £1,010
Rosie
inimitable elegance of the women that Assoulin
surrounded her. Now based in London, the

W
designer tries to convey this mixture of

AT
irreverence and polish through her label.

C
‘My aesthetic is feminine, sophisticated

H
and relaxed, with a touch of Italian
T H E D R A P E D LO O K
eccentricity,’ she says, ‘and the woman I
design for is definitely not a fantasy woman.’
ROS I E A S SO U LI N
She’s the under-the-radar designer with
a knack for exquisite tailoring and
dramatic silhouettes. So it’s no surprise that
29-year-old ROSIE ASSOULIN learned to
drape with OSCAR DE LA RENTA and
cultivated her tailoring skills at LANVIN
with ALBER ELBAZ, experiences that
have left the New York-based designer
‘eternally grateful and humbled’. Her
Resort 2014 collection – a mixture of
dramatic dresses and elegant separates –
is, in her words, ‘romantically fantastical
and reliably practical’. Simply divine.
PHOTOGRAPHS: COURTESY OF ISA ARFEN AND ROSIE ASSOULIN,

THE NEW SOLE QUEEN

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I SA TAPIA
£365
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under MARC JACOBS, is it any wonder

£423 that the outcome is this chic? Probably not,
Isa Tapia at
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if Puerto Rico-born, Manhattan-based
£329
ISA TAPIA’s A/W 13 collection is anything Isa Tapia at
to go by. It’s elegant, yet effortlessly cool – Shopbop.com
£395
Isa Tapia at
we want it all. But beware: these single-sole
Shopbop.com heels will induce a decision-making vertigo.

78 | | November 2013
▼

H A R P E R’ S B A Z A A R www.harpersbazaar.co.uk
 Boule Collection

LONDON BOUTIQUE, 14A NEW BOND STREET - TEL. (+44) 207 499 22 25
HARRODS, 87-135 BROMPTON ROAD - TEL. (+44) 207 730 1234 EXT. 3163

ABU DHABI • DUBAI • G E N E VA • G S TA A D • K U WA I T • LONDON • MIAMI • MOSCOW • NEW YORK

PA R I S • PORTO CERVO • ROME • ST BARTHELEMY • ST MORITZ

www• degrisogono• com

style

h e rO
NG
U
s
th e U N

t h e s w e at e r
It’s the ribbed collar;
the exaggerated shoulder; the extra-long sleeves.
It’s the champion of the new serenity
– that perfectly poised modernity –
beautifully exemplified here by The Row.
PHOTOGRAPH: cOuRTesy Of THe ROw

To what do we refer?
The sweater, of course – A/w 13’s unsung hero.
Unassuming simplicity and uncompromising luxury
summed up in one exquisite wool and
cashmere piece. Perfection.
STYLE

Rings,
£2,900 each
Solange
Azagury-
£450 Partridge
Jimmy Choo

TH E TR
EN
D

£396
Valentino
Garavani

£495
Charlotte
Olympia
Rings, from a
selection
Solange
Azagury-
Partridge

Single earring,
£326 Delfina

PHOTOGRAPHS: GRAHAM WALSER. SEE STOCKISTS FOR DETAILS. COMPILED BY ANNA ROSA VITIELLO
Delettrez at
Matches
fashion.com

£150
£149 Kenzo
Pretty
Loafers

POP ART
Inject colour and wit
into your new-season wardrobe
with these playful accessories.

Clutch, £795
Stella
McCartney

Ring, £510,
Lanvin at
Browns

Clutch, from
CuR, £6,200 a selection
Eternamé Fendi

82 | H A R P E R’ S B A Z A A R | November 2013
▼
 www.eliesaab.com

N E W E A U D E PA R F U M I N T E N S E
STYLE

£3,795
Christopher
Kane

THE P
RI
N
T

PHOTOGRAPH: GRAHAM WALSER. SEE STOCKISTS FOR DETAILS

C A M O U F L AG E
This most utilitarian of prints
gets a luxe makeover for winter,
turned into silk dresses at WHISTLES,
leather trainers at VALENTINO and
– spectacularly – this jacket by CHRISTOPHER KANE,
who revisited the theme of his S/S 08 collection
for a very glossy take on camo.
STYLE

SHIO
E FA

N
TH

READ
A R T/ FA S H I O N
IN THE 21ST S
C E N T U RY
PRADA and JAMES
JEAN; STELLA
MCCARTNEY and
JEFF KOONS;
LOUIS VUITTON
and STEPHEN
SPROUSE: art and C H LO É
fashion have long AT T I T U D E S
gone hand in hand, A celebration of the
and from these great Parisian label’s
collaborations to history, Chloé Attitudes
the synchronicity (£50, Rizzoli)
between fashion chronicles six decades
and architecture, of influential fashion,
Art/Fashion in the 21st from the story of the
Century (£32, Thames label’s founder, GABY
& Hudson) is a AGHION, to the
fascinating look at the T H E A N ATO M Y evolution of the house
relationship between O F FA S H I O N under KARL
interlocking worlds. Why, historically, LAGERFELD and
Published on have women’s legs PHOEBE PHILO.
11 November. caused so much Iconic campaigns and
controversy? And salvaged sketches
what was JEAN from the 1950s render
PAUL GAULTIER this book a visual

PHOTOGRAPHS: GRAHAM WALSER

thinking when he feast, as well as
created the now-iconic a fascinating story.
cone corset for Published on
Madonna in 1990? In 15 October.
his new book The
Anatomy of Fashion
(£59.95, Phaidon),
Colin McDowell
addresses these and
many other fascinating
questions surrounding
the relationship
between fashion and
the human body.
VA L E N T I N O : Captivating, to say
OBJECTS OF the least. Out now.
COUTU RE
Before the Rockstud
bags and the
camouflage sneakers
came a legion of
VALENTINO
accessories, each one
as definitive as the
next. A stunning
compilation
of specially
commissioned
photographs by
David Bailey, among
others, Valentino:
Objects of Couture
(£50, Rizzoli) is a
tribute to a legacy of
accessories design.
Published on
29 October.
style

TH E ACCE S SO RY
D I O R C LU TC H E S
First commissioned for this
magazine in the 1950s,
anDy WaRhol created whimsical shoe illustrations
that offered RaF SimonS
inspiration for his DioR a/W 13 show.
Stamped on clutches,
they are every bit as fabulous
as their original incarnations.

£2,700
Dior

PHOTOGRAPH: PAul zAk. see sTOckisTs fOR deTAils

£2,700
Dior

88 | h a R p e R’ S b a z a a R | November 2013 www.harpersbazaar.co.uk

▼
STYLE

Stella
McCartney

£400
Marni

£425
Rochas

£420
Miu Miu

£700
Bottega
£645 Veneta
Nicholas
Kirkwood

£368
Robert Clergerie
at Matches
fashion.com

U G LY S H O E S
OSCAR WILDE once remarked that ‘fashion is a form of ugliness
so intolerable that we have to alter it every six months’,
and that’s worth remembering this season;
specifically, when looking at shoes.
That’s exactly the point, though: these tractor-soled wedges,
£421 clunky lace-ups and chunky brogues are designed
Jil Sander at
Stylebop.com to balance out A/W 13’s ladylike shapes,
and are so intentionally bad they’re actually

PHOTOGRAPHS: CATWALKING.COM, GRAHAM WALSER. SEE STOCKISTS FOR DETAILS

really,
really good. Tommy
TH Hilfiger

E SP
OTLI G HT
John Rocha

£480
Stella
McCartney

Stella
McCartney

90 | H A R P E R’ S B A Z A A R | November 2013
▼
style

iv e rsar
n
n
the a

MOsChinO tUrns 30
Happy 30th birthday, MoscHino! or, better yet, auguri! Founded in 1983,
this italian fashion house is marking a milestone and celebrating its unique
DnA with a special-edition collection of trinkets and accessories,
from classic logo belts to zip-up pouches – each one as collectable
as the last. it’s the perfect way to mark the occasion.

PHOTOGRAPH: GRAHAm wAlseR. see sTOckisTs fOR deTAils

Bag, £641
Moschino

www.harpersbazaar.co.uk
style T h i n k i n g fa s h i o n

bet w een
t he l in es
This season, the worlds of fashion
and art collide and unite

By JusTINe pICarDIe

‘A
n artist is somebody who produces things that people don’t need to have,’
said andy Warhol; a maxim – if true – that might suggest fashion has a
place in the pantheon of art. (Or, to quote Warhol again: ‘Making money
is art and working is art and good business is the best art.’) That said, the
protracted argument about whether fashion is art shows no sign of resolution; and
several of its key contemporary practitioners dismiss the notion that their primary
task is artistic. Karl Lagerfeld, for example, has said that designers who call them-
selves artists are ‘second-rate’, while Miuccia prada – as influential a figure in the art
world as she is in fashion – has expressed similar reservations. Not that this stops
the continuing conversation; indeed, as Thomas Campbell, the director of the
Metropolitan Museum of art, observed at the launch of last year’s schiaparelli
and prada exhibition at New York’s Costume Institute: ‘schiaparelli’s collabora-
tions with Dalí and Cocteau, as well as prada’s Fondazione prada, push art and
fashion ever closer, in a direct, synergistic and culturally redefining relationship.’
Or to put it more simply: art and fashion inhabit the same landscape, and
sometimes overlap. Consider raf simons’ current Dior collection, which includes
several of andy Warhol’s original 1950s illustrations for Harper’s Bazaar (more
evidence, perhaps, of the artist’s ability to remain fashionable in a myriad of genres
and eras). and there is an equally pleasing resonance to be had in the knowledge
that Christian Dior himself had an art gallery before he became a fashion designer,
showing works by Dalí and Giacometti, among others.
elsewhere – and hopefully throughout Bazaar – there are inspiring examples of
how fashion can make one see art in a different way, and vice versa. It was impossible
not to feel the artistry that suffused alexander McQueen’s autumn/winter 2013 pres-
entation, both in the intriguing beauty of sarah burton’s collection (created in the
final weeks of her pregnancy with twins), and the staging itself at the baroque Opéra
Comique in paris. The iconography of doubling (twinning?) was dramatic: dark angels
and white, and grave pairs of nun-like figures in pearl-embellished pieces that might
have stepped out of a portrait masterpiece of elizabeth I, Gloriana, or the Virgin Queen.
all of which makes me wonder whether one should reframe the question about
fashion as art, and ask instead if art is also a form of fashion. Certainly, artists go in
and out of fashion; and one could imagine Damien Hirst as the successful creative
director of a global fashion brand – ‘Think dots!’ Conversely, it is not inconceivable
that alexander McQueen himself would have been happier as a fine artist than the
lynchpin of a commercially driven corporation.
One final thought: as I write this, I am waiting for the new round of shows to begin,
and hoping for that surge of creativity on the catwalk that makes me go on believing in
the art of fashion. If fashion, like the Warholian take on art, is only concerned with the
reaction of the marketplace, then it risks losing its unquantifiable alchemy of inspiration
and imagination. Yes, I understand that money talks: but I still believe in magic…

ILLusTraTION bY
aurOre De La MOrINerIe

94 | H a r p e r’ s b a z a a r | November 2013 www.harpersbazaar.co.uk

 www.comptoirdescotonniers.co.uk .

PA R I S
 STYLE
Right: the Hermès
creative director
Christophe Lemaire.
Below: backstage
at Hermès’
A/W 13 show

£550

STITCH
PERFECT
A new creative director is taking
the house of Hermès in intriguing
directions while keeping a
tight hold on the brand’s
extraordinary heritage

By SARA PARKER BOWLES

Portrait by CAMILLA ARMBRUST

I
f Microsoft was built on a chip, the
freedom of black Americans was
PHOTOGRAPHS: STÉPHANE LAVOUÉ/COURTESY OF HERMÈS, GRAHAM WALSER. SEE STOCKISTS FOR DETAILS

built on a dream, and Disney was built

on a mouse, then Hermès was almost
certainly built on the strength of a single £810
stitch. The saddle stitch, which was first
employed by the famed French fashion
house in 1837 at the opening of its modest,
Paris-based harness shop, founded by an £280
innkeeper’s son called Thierry Hermès, is
created using two needles working in tensile £390
resistance. The process can only be under-
taken by hand and, if done properly, it will
never come apart.
Although Hermès’ first customer was
a horse, as Xavier Guerrand-Hermès, the
great-great-grandson of founder Thierry,
joked in an interview for People magazine in
1980, the ensuing client list was altogether
loftier: Tsar Nicholas II of Russia commissioned saddles and har-
£550
nesses, as did Napoleon III. Jackie O was a big fan of the Constance
bag, and shared a passion for Hermès’ print silk scarves with the
Queen, who favours the Galop Chromatique. Grace Kelly used her
eponymous bag to screen her pregnant stomach from prying
paparazzi. And then, of course, there is Jane Birkin’s chance £280
encounter with the chairman Jean-Louis Dumas, which resulted in

November 2013 | H A R P E R’ S BA Z A A R | 97
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www.harpersbazaar.co.uk
STYLE
the creation of the now almost-mythical Birkin, a narra-
tive that has passed into fashion folklore for ever.
Hermès’ legendary status has seen it name-checked
and featured in everything from F Scott Fitzgerald’s Tender
Is the Night and Wes Anderson’s The Royal Tenenbaums to Sex
and the City and songs by Jay-Z and Kanye West. Jane Birkin has said
that when she travels to America to perform, they say: ‘Birkin? As in
the bag?’ And she replies: ‘Yes, Birkin as in the bag, and the bag will
now sing.’ Christophe Lemaire, the house’s current creative director
of womenswear, says that when he asked Robert Dumas, Jean-
Louis’ father, to explain what set Hermès apart, he replied: ‘Hermès
is different because we are making a product
that we can repair.’ ‘It’s so simple,’ says
Lemaire. ‘And it’s not so simple.’
Hermès is nothing if not singular. Its Workers spent
famous orange boxes, legendary accessories
and profound understanding of the concept three seasons
of good taste inspire a lust that is not often
experienced in the over-saturated, jaded finding the
environs of contemporary fashion. Equally
legendary is its unrivalled attention to detail: perfect sound
a single small bag can be 48 hours in the
making, and a larger piece of luggage could a bag should
take up to a week. The label’s perfectionism
also scales unprecedented heights – workers make when
in the atelier (the apprenticeship lasts a
minimum of five years) have been known to it shuts
£3,920
£280
£495
spend three seasons searching for the perfect
sound that a piece of hardware should make
when a buckle shuts on a bag. As a result, its
waiting lists are the stuff of legend: time and tide may wait
for no man, but boy, will we wait five years for an Hermès Birkin…
All of this makes the prospect of designing clothes at Hermès a
coveted but daunting one, and no one is more aware of this than
Lemaire, whose predecessors include Martin Margiela and Jean Paul
Gaultier. ‘I like the idea here at Hermès that one approaches every-
thing as a beautiful object, whether it’s a bag or a scarf or a dress,’
says Lemaire. ‘Hermès is the antithesis of disposable, short-term
fashion. It’s about classic pieces that embody
timeless style, with the intention of being
around for ever. This is possible because
they are made by incredibly talented artisans
with real passion, and also because Hermès
occupies a very privileged and unique posi-
tion in fashion: I always think of it as slightly
off fashion – not outside it; perhaps just a
little to the left of it.’
PHOTOGRAPHS: VINCENT LAPPARTIENT/COURTESY OF HERMÈS, MAUD REMY-LONVIS POUR LE MONDE D’HERMÈS, CATWALKING.COM, GRAHAM WALSER. SEE STOCKISTS FOR DETAILS
While it eschews the mainstream, pro-
cessed concept of luxury, Hermès still needs
to meet quotas. It may be one of the oldest
family-owned and family-controlled compa-
nies in France, but this is a surprisingly
progressive organisation that understands
that both total ownership and change are
good for business. Through a series of smart,
directional decisions, from acquiring a patent
on the zipper in the early 20th century to the
1979 advertising campaign spearheaded by
Jean-Louis Dumas that featured chic young
Parisians teaming their Hermès scarves with
jeans (a bold high/low take on fashion for
the time), it has ensured its own survival.
For Lemaire, it’s all about longevity
– building a modern wardrobe for life –
and that means clothes you can move in,
clothes that are tactile and ‘as perfect inside
as they are outside’ and, crucially, clothes
that are functional. ‘Clothes are not about
social disguise for me,’ says Lemaire. ‘They
are about freedom.’
RIDING HIGH
Left: an Hermès
show-jumping saddle.
Above, from far left:
a model backstage at
the A/W 13 catwalk
show. A look from
that collection
STYLE

Maria Grazia Chiuri and

Pierpaolo Piccioli’s moodboard
for Valentino Haute
Couture A/W 13. Below:
looks from the catwalk show

OUR
MOODBOARD
Corals, skulls and winged deer inspired
Maria Grazia Chiuri and Pierpaolo Piccioli’s
Valentino Haute Couture collection
Art in all its forms was the starting point for Maria Grazia Chiuri
and Pierpaolo Piccioli’s Valentino Haute Couture collection for
A/W 13. Enchanted by the ‘cabinet of curiosities’ – Renaissance
PHOTOGRAPHS: THOMAS LOHR, CATWALKING.COM,

Europe’s term for rooms filled with unidentified objects, often pieces
of natural history – the designers looked across centuries of iconic
figures and mythic creatures to build their vision. Regal capes and
strong shoulders were inspired by portraits of Queen Elizabeth I,
and Jacopo Zucchi’s 1585 The Coral Fishers was the painting behind
a coral print. ‘Couture is celebrated in its essence,’ they say. ‘It is
JASON LLOYD-EVANS

the maker of dreams, because imagination creates reality.’ Hans

Friedrich Schorer’s 1651 painting Skull in a Cartouche informed the
intricate gold embroidery on dresses, and inspiration from a piece
from Thomas Grünfeld’s Misfits sculpture series – a bat-winged
deer – lent an ethereal feel to the collection. ANNA ROSA VITIELLO

106 | H A R P E R’ S B A Z A A R | November 2013

STYLE

BAGS
OF
TALENT
Penélope Cruz and her sister
Mónica have designed an
exclusive handbag for Loewe
that is as glamorous as they are
By SACHA BONSOR

F
or me,’ says Penélope Cruz, ‘fashion

PHOTOGRAPHS: NICO, COURTESY OF LOEWE, EYEVINE

is for every day. A woman needs to
look good, of course, but comfort
comes first.’ Spain’s most famous female
faces, Penélope and her sister Mónica, are
sitting at the Loewe HQ in Madrid, where
they are unveiling their new project: a polka-
dot‘Cruz’bag, which launches
in November. They are used
to working together, but
thrilled to have a project that
is truly Spanish, they say. ‘The Above and bottom:
most important thing was Amazona as their inspiration. ‘I need to be Mónica and Penélope
that it was all made here,’ able to fit a lot in my bag, especially since Cruz with their Loewe
bag. Right: the bag in
explains Mónica. becoming a mother,’ says the heavily
colours available
Loewe is to the Spanish pregnant Penélope, who has since given exclusively from the
what Hermès is to the French birth to Javier Bardem’s second child, a Bazaar website.
and Rolls-Royce is to the daughter, Luna. ‘But we also wanted some- Left: Ava Gardner
British. Every aristocratic thing really Spanish and the polka-dots and Frank Sinatra
in Rome in 1953
Spanish grandmother owns a reminded us of flamenco dancers.’ It’s
piece, and it is the first luxury a teenager impossible to bid goodbye to a man often
might crave. ‘We’ve known the brand ever called the King of Leather without asking
since we were kids,’ says Mónica. Indeed, him the secret to the bag’s design. ‘It’s not
legend has it that Loewe was where Ernest about being sexy,’ says Vevers. ‘It’s about
Hemingway took Ava Gardner to lift her being sensual, being pulled together, but not
spirits after her split with Frank Sinatra. uptight – and a certain boldness and flam-
Today, the jewel in the brand’s crown is the boyance.’ A good description of Loewe’s
Amazona – introduced at the end of 1975, new ambassadors, perhaps? ‘Precisely.’
just as Spain emerged from decades of dic- To order the Cruz bag in an exclusive stone and
tatorship under Franco. ‘It was designed,’ burgundy, £1,850, visit Harpersbazaar.co.uk.
says Stuart Vevers, the brand’s out-
going creative director, ‘to celebrate
the new freedom that women had –
working and travelling by themselves
for the first time.’ So it was big enough
to hold all their belongings; and it was
timeless – a quintessential classic.
The Cruz sisters took the

108 | H A R P E R’ S B A Z A A R | November 2013

 STYLE
Right: Roger Vivier
Envelope Soft Wallpaper
Peluche and the Open Toe
Bottie Prismick Peluche.
Below, from top: Bruno
Frisoni’s sketch of
the Diligence bag for
A/W 09. A Roger Vivier
sketch from 1987

RISE UP
A combination of wit and glamour seduces
queens and stars, models and princesses,
PHOTOGRAPHS: COURTESY OF ROGER VIVIER, © STÉPHANE GARRIGUES, ©FRANÇOIS HALARD, COURTESY OF THE BATA SHOE MUSEUM

into wearing Roger Vivier’s legendary stilettos

By SASHA SLATER

I
Above: a 1991 paper collage
f Cinderella had really existed, the Fairy Godmother by Vivier. Above left: the
would undoubtedly have conjured up a Roger Vivier Blue Angel heel from
slipper for her to lose. For no other label’s shoes A/W 12. Left: Blue
Feathers Choc from A/W
have ever been so rich in luxury, history and fantasy.
13. Below: a sketch from
‘Lines have always enthralled me,’ said the famous shoe- Frisoni’s Prismick collection
maker. And, in 1954, he created the first stiletto. For better
and for worse, he realigned our hips, elongated our calves,
accentuated our curves, raised us up – and cast us down,
causing untold twisted ankles, blisters and taxi fares.
Women were wooed by the wit and beauty of Vivier’s lines.
The Virgule, a sleek, quick comma of a heel, is magical in the impos-
sible engineering of its curve. The thigh-high scarlet fun-fur boot is
a creation that only a marmalade cat could really carry off. The Pied
de Chèvre, or goat-hoofed heel, may sound eccentric, but once it
has been embroidered with silver thread and decked with
topazes, it is suddenly fit for Princess Soraya of Iran – who had
Vivier heels made to match her every gown.
In 1936, Elizabeth Bowes-Lyon, the Queen Consort, wore
gold-embroidered, white satin Viviers for the coronation of her
husband, George VI. Not surprisingly, 17 years later,
From above: Vivier in 1987. her daughter Queen Elizabeth II also chose Vivier to
Pop-Poppy Doo from S/S
13. Right: the Rendez-Vous
design the gold kid-skin and seed-pearl sandals she
Limited Edition Collection wore for her own Coronation. Christian Dior allowed
Pilgrim Carre Buckle Bijoux Vivier’s name to appear on shoes designed for his label

November 2013 | | 111

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www.harpersbazaar.co.uk H A R P E R’ S BA Z A A R
STYLE with sculptural thorn. This was inspired, Frisoni tells me, by a Vivier
rocket heel and the work of the jeweller and furniture-maker
Hervé Van der Straeten. ‘I was looking for a new stiletto,’ he says.
‘And I was looking for a very organic shape. You look for
– a unique privilege at the time. And Elsa Schiaparelli, Yves lines and I knew what I wanted in my head, but spent two
Saint Laurent, Marc Bohan, Pierre Balmain and Madame Grès days sketching and throwing paper away and not succeeding.
all clamoured to pair his shoes with their catwalk creations. Then I woke up, and went to my desk and…’ he mimes a
In Belle de Jour, Luis Buñuel’s 1967 exploration of the dark lightning-quick sketch, ‘it’s done.’ This season, instead of
sexuality of the bourgeoisie, Catherine Deneuve wore Vivier finding inspiration in nature, the Prismick range is all about archi-
pilgrim-buckled black patent shoes. The effect was equivocal, tecture and angles, jigsaw puzzles and geometry. From a distance a
prim yet provocative. ‘A simple, well-made shoe with the perfect arch Prismick heel can look like the sweetest curve, while close up it
is such a pleasure,’ Deneuve said of those solid-heeled classics, adding: resolves itself into a succession of precise angles.
‘My only sin has always been shoes.’ Grace Kelly, Elizabeth Taylor, And though Vivier may have invented the stiletto, it’s Frisoni
Sophia Loren, Marlene Dietrich, Jackie O and Audrey Hepburn all who has taken it to vertiginous new heights, up to 110mm from
posed in Viviers. Brigitte Bardot raised temperatures when she Vivier’s now modest-seeming 75mm. But, as Frisoni says: ‘It’s not
modelled thigh-high Vivier boots astride a Harley-Davidson. about the height; it’s never just about the height. Never.’
This glorious past is being celebrated at the Palais de Tokyo in ‘Virgule, etc: In the Footsteps of Roger Vivier’ is at the Palais de Tokyo, Paris
Paris with an exhibition devoted to 140 of (+33 1 81 97 35 88; www.palaisdetokyo.com),
the label’s most spectacular shoes. Vivier from 2 October. ‘Roger Vivier’ (£47, Rizzoli) by
himself, a Parisian who spent some time in Virginie Mouzat and Colombe Pringle is out now.
New York during the war, died in 1998. But ‘A simple, well-made
in 2000 his brand was spectacularly revived
by Diego Della Valle, the CEO of Tod’s
shoe with the
Group. In 2003, Della Valle coaxed the perfect arch is such
Paris-born designer Bruno Frisoni to
become creative director of the label. Since a pleasure. My
then, Frisoni has taken Vivier’s potent
alchemy of stardom, fantasy and wit to new
only sin is shoes’
heights. ‘Mr Vivier had a playful side, of –CatherineDeneuve
course. And I have always been very playful
with what I’ve done. That was one of the
elements that decided me as the right person
for the brand,’ says Frisoni over coffee at
Claridge’s. ‘My work is about a chic attitude,
a sexiness, a playfulness.’
Above: Catherine
And so Frisoni dreams up new forms and Deneuve and Inès de
shapes in keeping with the heritage of the la Fressange wearing
maison yet unique to him. ‘Archives are good modern versions of

PHOTOGRAPHS: COURTESY OF ROGER VIVIER, ANTONIN BORGEAUD, COURTESY OF BATA SHOE MUSEUM
if you make them relevant to today, Vivier’s buckle shoes in
tomorrow,’ he says. ‘You don’t go for precise 2012. Left, from top:
Catherine Deneuve on a 1991 collage by
revivals – you take elements, or silhouettes, the set of ‘Belle de Roger Vivier. A/W 13’s
and recreate them so they are perfect for Jour’ in 1966 wearing Pink Mink Prismick
now. I try to understand the philosophy Roger Vivier. Below: clutch. Below, from
A/W 13’s Blue Lesage
behind Vivier’s passion, and write a new left: Frisoni. The
Embroidered Virgule. designer’s sketch of the
page in the label’s history.’ That page Top: the Bottie Open Gant de Satin for S/S 14
includes not just exquisite shoes, but jewel- Toe Camouflage heel
lery and bags. And the stars who wear and
carry them, from Rachel Weisz to Cate
Blanchett, Marion Cotillard to Anne
Hathaway, Nicole Kidman to Carla
Bruni-Sarkozy, are every bit as high-
wattage as any of the famous women
Vivier himself attracted in his heyday. The model and former Chanel
muse Inès de la Fressange, with her aristocratic, witty and elegant
Frenchness, is a spokesperson for the brand.
The label is just as inventive today. Frisoni’s Licorne Sans Lecture
court shoe from 2010 twists goose feathers into a proud unicorn’s
horn. Tricky to wear, perhaps, but also impossible to forget. His Belle
en Vivier boot from 2004 is a classic shape rendered in shocking-pink
foal-skin leopard-print. A favourite of mine is the Rose n’ Roll, with
its needle-thin high heel designed to look like a rose twig, complete

112 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk


MY
life,
MY
styled by emma shaw. hair and make-up by rozelle parry
stYle
at dw management. see stockists for details
The quirky touches in the artist
Polly Morgan’s east-London
home contrast with her
chic, understated look
By sara parker boWles
Photographs by
CHrisTopHer sTurMan
www.harpersbazaar.co.uk
N
ot many people would ask
for a scalpel and a pair of
pliers as their desert-island
essentials, but it only takes
10 minutes in the company
of the artist polly Morgan to realise that she
is not most people. Charming, funny and no
sufferer of fools, 33-year-old Morgan is a
cool, blue-eyed blonde with a ready smile.
What’s extraordinary about her, though, is
that her work, which uses taxidermy almost
exclusively, has placed her at the centre of
britain’s new generation of contemporary
artists. Her singular, subversive, often sur-
real sculptures, which include quail chicks
emerging from a telephone receiver and
hummingbirds pulling on octopus tentacles
that have impaled a dead fox, have been
championed by Damien Hirst and collected
by Charles saatchi. These days, her work can
command hundreds of thousands of pounds.
style
Polly Morgan with her dog, Tony,
in her sitting-room, wearing cotton
shirt, about £490; wool trousers, about
£475, both Céline. Suede heels, £440,
Manolo Blahnik. A work by Tim Noble
and Sue Webster hangs above the couch
and a buffalo skull above the stairs
Morgan grew up in the Cotswolds in
little Compton, a village near Chipping
norton, surrounded by the animals her
father traded as a livestock breeder. The
youngest of three sisters, her upbringing was
comfortable but chaotic, due to her father’s
eccentricity and affection for animals. at
one point, they had 200 angora goats, llamas
and ostriches, as well as a menagerie of cats,
dogs and budgies that ran riot through the
house. baby goats often slept in the dog bas-
ket. ‘i’m an animal lover; i’ve grown up with
them all my life,’ says Morgan. ‘i had to
accept from an early age that animals die.
as a consequence, i’m not at all squeamish.’
after school, Morgan read english
literature at Queen Mary, university of
london but hated the student mentality.
Then one day, at 19 and in search of a job,
she walked into the shoreditch electricity
showrooms, a nineties-art-scene hangout.
November 2013 | H a r p e r’ s ba z a a r | 115
▼
style
she began working behind the bar and
immediately felt at home; she ended up stay-
ing for six years, eventually becoming the
manager. The friends she made among
the regular drinkers included Tim Noble and
sue Webster, Jake and Dinos Chapman and
the sculptor paul Fryer, who she was in a
relationship with for four years. These friend-
ships were integral to her decision to become
an artist: ‘all my friends and boyfriends had
always been artists, and I remember saying
that it was weird I wasn’t an artist too.’
The manager’s job came with a small flat
above the bar. Morgan wanted to decorate it
with stuffed birds and rodents, but failed to
find any taxidermy she liked: ‘I couldn’t
understand why all the
animals looked alive,
when I wanted them to
look as they were, dead.’
a friend suggested she
have a go at making her
own and so, one evening
in October 2004, she took
a train to edinburgh and
signed up for a course
with the scottish taxider-
mist George Jamieson.
Twenty-four hours later
and she was on her way
back home to London, a
crudely stuffed pigeon in her arms, a ream of
notes in her bag and a big smile on her face:
‘I fell in love from the first lesson,’ she says.
but Morgan was never going to be a con-
ventional taxidermist. ‘I had always loved
art, but I hadn’t found my “thing”,’ she says.
‘I had messed about with clay and even tried
116 | H a r p e r’ s b a z a a r | November 2013
The dining-room, with one of Mat
Collishaw’s ‘Insecticide’ series above the
cast-concrete table. Left: Morgan on
the sofa in the antechamber with Tony,
in mohair jumper, £180, Acne. Crepe
de chine skirt, £365, Mother of Pearl.
Flannel heels (beside sofa), £440,
Manolo Blahnik. Below: 19th-century
images of birds by Hullmandel
my hand at ink drawings for the opening of their restaurant,
and photography, but bistrotheque. Her chicks perched on coffins
nothing clicked, and I encased in bell jars caught the eye of two
was surrounded by artists: the first, Wolfe von Lenkiewicz, asked
very talented artists who her to make something for his stand
were already producing at the zoo art Fair; the second was banksy.
incredible work in all Morgan made a rat asleep in a cham-
the fields in which I was pagne glass for the art fair and it sold for
dabbling. I’m naturally £2,200 before the show opened. six months
competitive, and when I later, at banksy’s santa’s Ghetto pop-up gal-
realised that I wanted to lery, Kate Moss bought her blue tit lying
use taxidermy, I had a asleep on a prayer book, and media interest
sense that no one else was doing that, and flared. In 2009, the German collector
see stockists for details
perhaps this was an opportunity to try to do Thomas Olbricht bought Departures, a flying
something new.’ Morgan started out machine held aloft by three white-backed
mounting small birds in unconventional vultures and a huge flock of smaller birds, for
contexts. she was commissioned by two £85,000. This led to a solo show at the
former fashion designers, pablo Flack and Haunch of Venison gallery; the money made
David Waddington, to produce some work from that show enabled Morgan to buy her
▼
www.harpersbazaar.co.uk
BY EDC
77 MARGARET STREET

www.minotti.com
LONDON W1W 8SY
T. +44 020 73233233 - F. +44 020 75804020 WHITE SEATING SYSTEM
E-MAIL: SALES@MINOTTI.CO.UK DESIGN RODOLFO DORDONI
STYLE Clockwise from right:
‘Soul Matter’, one of POLLY’S WORLD
Morgan’s works. The
bathroom, with lights by £16.50 for 50ml
Lee Broom. The kitchen. Avène
Morgan on the roof
terrace wearing cashmere
jumper, £670, the Row
at Browns. Crepe de
chine skirt, £365,
Mother of Pearl.
Earrings, her own

(£8.99, Penguin)

home, in Trafalgar Mews, Hackney Wick.
‘The biggest change I made to the flat was
bringing the downstairs up,’ says Morgan
over coffee in her dining-room, an open-
plan space with high ceilings and the large
industrial windows that were retained when
the building was converted from factory to
flats. ‘I restructured the layout so the living
area and sleeping area were up here and the
entire ground floor became my workspace.’
The mews is home to many other artists
and photographers, and the Chapman
brothers used to work from a studio opposite,
so the place has a warm, creative-commune
feel. Morgan’s studio is littered with all the
aforementioned desert-island essentials –
pliers, tweezers and scalpels. It also houses
£95
Nike
Norman – but there’s also a lot of art: Tracey
Emin sketches, works by Noble and Webster
and the Chapmans, and 19th-century prints
of parrots and parakeets by Hullmandel.
There are books about Gilbert & George, Jeff
Koons and The Secret Language of Birds, and
works by the artist Mat Collishaw, her boy-
friend of six years, including a painting in the
dining-room from his ‘Insecticide’ series.
Although the pair (both self-confessed work-
aholics) live separately, they spend most
evenings together – either out to eat at Hix
or Groucho (Morgan exchanges her work
for food tabs at her favourite restaurants), or
in, cooking and hanging out with her dogs.
Like her home, Morgan’s personal style
is chic and unfussy, with a touch of tomboy.
GRAHAM WALSER. SEE STOCKISTS FOR DETAILS
PHOTOGRAPHS: COURTESY OF POLLY MORGAN,

her grisly freezers, which are full of the
roadkill and donations from vets that even-
tually become her work: layers of deceased
rats, mice, stoats, foxes, rabbits, quail chicks,
magpies, canaries and crows (all of which
have died from natural causes).
She favours tailored, classic separates from
Acne, Céline, Maison Martin Margiela and
Les Chiffoniers. She recently collaborated
with Maia Norman’s label, Mother of Pearl,
on a capsule collection, which includes £230
prints on scarves and shirts. One, a scarf Acne

Upstairs is warmer: of course, there are with rows of eyeballs, was inspired by the Murano-glass
vase, £276
taxidermy twists at every turn – a stuffed glass-eye charts she uses for her art: a perfect from Rainbow
baby chimp and a buffalo skull, a present example of how this artist’s work blends London
from her friend, the fashion designer Maia into all areas of her life and home.

118 | H A R P E R’ S B A Z A A R | November 2013

Poppy Delevingne CONTACT: +44 (0) 20 77 20 97 25
UK@THOMASSABO.COM

WWW.THOMASSABO.COM
 accessories

Edited by AVRIL MAIR

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fashion’s highest flights this season
 PHOTOGRAPHS: GRAHAM WALSER. SEE STOCKISTS FOR DETAILS
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Jewelled, embellished, beaded –
and fit for a Byzantine princess
see stockists for details

Mosaic bag, £2,560,

Dolce & Gabbana

paul zak

www.harpersbazaar.co.uk November 2013 | H a r p e r’ s ba z a a r | 129

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PHOTOGRAPHS: GRAHAM WALSER.

SEE STOCKISTS FOR DETAILS
 BEAUTY TO GO
SHOP TH IS MONTH’ S BE AUTY PAGE S I NSTA NTLY

B LIPP
Download the free
Blippar app from the
Apple App Store or
Google Play and install
it on your iPhone, iPad
or Android device

Download the free

Blippar app

Buythismonth’s
beautyproductsstraight
offthepage,usingyour
iPhone,iPad,smartphone
ortablet.Justfollowthese
instructionsandturnto
page226tostart
Open the Blippar app
and hold your iPad, shopping
PHOTOGRAPHS: DAVID SLIJPER, JASON LLOYD-EVANS, PAUL ZAK, GRAHAM WALSER

iPhone or Android
device over any page
in this month’s Beauty
Bazaar section
BUY
Scan any page in the
Beauty section where
you see this sign

Buttons will appear over

the products on the page.

B ROWSE Simply tap to shop any

of the products
instantly online
 dress
code
Sleek, smart and strictly tailored:
navy and cream are the uniform of the season
Photographs by tom allen
Styled by Cathy Kasterine

Shop the look at Harpersbazaar.co.uk

 shop bazaar

THIS PAGE: cotton shirt, £42, Esprit. Neoprene

jumper, £295, Atea. Twill trousers, £375, Joseph.
Faux leather heels, £515, Stella McCartney.
Leather bag, £425, LK Bennett. Gold ring, £115,
Monica Vinader. OPPOSITE: wool mix coat,
£2,979, Brunello Cucinelli. Silk dress, £744,
J Brand. Leather boots, £390, Paul Smith.
Leather bag, £7,620, Delvaux. Ring, as before
Shop the look at Harpersbazaar.co.uk
tom allen
 shop bazaar

THIS PAGE: silk shirt, £150, Thomas Pink.

Jacquard jacket, £915; matching trousers, £570,
both Neil Barrett. Leather loafers, £65, Office.
Faux nappa bag, £715, Stella McCartney.
OPPOSITE: cotton shirt, £195, Atea.
Wool jumper, £350, Studio Nicholson. Wool
bouclé skirt, £100; suede clutch, £99, both
Hobbs. Gold bangle (sold as set of three),
£565; gold ring, £85, both Dinny Hall
Shop the look at Harpersbazaar.co.uk
shop bazaar

THIS PAGE: cotton shirt, £243, Studio

Nicholson. Wool blazer, £189, Hobbs. Wool
trousers, £370, Isabel Marant. Pony-skin boots,
£565, Tod’s. Faux nappa clutch, £450, Stella
McCartney. Right hand: gold ring, £115,
Monica Vinader. Left arm: gold bangle (sold as
set of three), £565; gold ring, £85, both Dinny
Hall. OPPOSITE: cotton shirt, £350, Victoria
Beckham. Leather and twill jacket, £495,
Burberry Brit. Leather trousers, £1,790, Jitrois.
Pony-skin clutch, £518, Sophie Hulme. Metal
belt, £435, Burberry Prorsum. Ring; bangle (just
seen), both as before. See Stockists for details.
Hair by Chi Wong at Julian Watson Agency,
using Unite. Make-up by Thomas De Kluyver at
D+V Management, using Dermalogica Skin
Care. Manicure by Adam Slee at Streeters
London, using Rimmel London. Stylist’s
assistants: Benjamin Canares and Vincent Pons.
Model: Melinda Szepesi at Union Model
Management. Shot at Spring Studios
Shop the look at Harpersbazaar.co.uk
tom allen
 IntrOducIng

shop
.co.uk

Launching October 2013

B
bag, £1,160, lara bohinc

One-off bags, exclusive jewellery & thousands of our best beauty buys
Only at shOpharpersbazaar.cO.uk

…visit the picture of one of your
heroes or heroines in the National
Portrait Gallery? We’re intrigued
by John Hoppner’s luminous
Mary Robinson as Perdita, which
immortalises an 18th-century
actress, poet, feminist and mistress
of the Prince Regent.
…enjoy the art of gardening, and
plant an acer palmatum for a splash
of red in winter; or bring the outside
in with a vase of chrysanthemums
or berry-red twigs?
…search for presents in gallery gift
shops? We love the V&A Shop,
which sells unique jewellery by
up-and-coming designers.
www.harpersbazaar.co.uk
…frame silk scarves that have
grown too delicate to wear,
and hang them as wall art?
…see how the warm glow of a pair
of Kiki McDonough earrings
in topaz, November’s birthstone,
reflects gentle, flattering light
onto your face?
…do as Julia Cameron suggests in
The Artist’s Way, and write ‘Morning
Pages’ – three sides of whatever
comes into your head as you wake
– to unlock your creativity?
…revisit the paintings you loved as a to Balenciaga’s Classical-inspired
child? Because some artistic treasures
will remain forever in our hearts.
inspiration
why
don’t
you...?
Illustration by kareem iliya
...follow the example of the model
of the moment Kendra Spears, and
accentuate a beauty mark to add
glamour and drama to your look?
…draw inspiration from the Royal
Academy’s recentportraitexhibition,
and seek out a new talent to
commission to paint your loved
one? Valeriy Gridnev is a name
to watch – a modern-day
John Singer Sargent.
…wear the art you love? Just choose
your period – from JW Anderson’s
mid-20th-century cartoon prints
marbled jackets and Alexander
McQueen’s Renaissance beading.
November 2013 | H a r p e r’ s ba z a a r | 139
 BLACK LACE
Backstage at Alberta
Indigo girls Ferretti A/W 13.
Below left: blue
Just a touch of blue make-up at Donna
make-up can look fabulous. Karan A/W 13
Try Clinique’s Quickliner
for Eyes Intense for a bold £30
Guerlain
look, or Guerlain’s L’Ecrin
2 Couleurs for a softer take.
For nails, we love Chanel
Le Vernis in Blue Satin.
Clinique (0870 034 2566).
Guerlain at House of Fraser
(www.houseoffraser.co.uk).
Chanel (www.chanel.com).

£18
Chanel

THE
£15
Clinique
AGENDA Everything you need for
£229
Pinko
a stylish November
By JO GLYNN-SMITH

£150
French Connection
LOVE LACE
When Louis Vuitton showed a collection of lacy
boudoir looks for autumn, we knew this was
a trend that would stick. If stepping out in a
nightie isn’t your thing, try this cute fitted lace
£905 dress with skinny straps from Pinko. For a
Gina daytime look, this shirt by the Kooples works
well with a neat leather skirt from French
£520 Connection, or Comptoir des Cotonniers’s
Comptoir des black leather stretch trousers. Finish with a
Cotonniers
cross-body bag from Massimo Dutti and
flat brogues or boots: these lace-inspired
ribbon-laced boots from Gina would
look great with a simple black dress.
Pinko (020 7499 0631). The Kooples
(020 7589 6865; www.thekooples.
£150 co.uk). French Connection
The Kooples (www.frenchconnection.com).
Comptoir des Cotonniers
(www.comptoirdescotonniers.
£89.95 com). Massimo Dutti
Massimo Dutti
(www.massimodutti.com).
Gina (www.gina.com).

140 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk

 DIRECTORY

£320
Lacoste

The lowdown:

UGG AUSTRALIA
What: Ugg Australia is a footwear company
famous for the classic sheepskin boot. It was £420
Coach
founded in 1978 by surfer Brian Smith and
From a
in 1995 purchased by Deckers Outdoor selection
Corporation, which repositioned it as a luxury Mappin & Webb
brand. The first UK shop opened in Westfield
in 2008 and there are over 40 stores globally. GREEN
Style: Casual, but with attention to design GODDESS
and quality. Coloured stones are
What’s new: It is celebrating 35 years, so look making a comeback
out for store activity and and there’s nothing
new products. more stunning than
£590
Where: 10 Glasshouse this platinum and
Zadig &
Street, London W1 Voltaire diamond necklace
(020 7112 7772; www. featuring 33.86-carat
uggaustralia.co.uk). Gemfields emeralds.
Available at Mappin &
Webb (020 7287 0033;
£275 www.mappinand
Kenzo webb.com).
SUPERIOR MOTIFS
Wear this tiger sweater from Zadig & Voltaire or this Lotus Eye
neoprene top from Kenzo with a pencil skirt for a feminine look.
Kenzo (www.kenzo.com). Zadig & Voltaire (www.zadig-et-voltaire.com).

£710
Shanghai Tang

Put the boot in

The perfect wellies THREE OF
are here: Hunter’s THE BEST
colour-block boots are BLUE COATS
MODERN CLASSIC 1 For work: Bright tailored
bold and beautiful, in a
TAG Heuer, the ultimate wool coat. Lacoste,
range of gloss finishes 52 Brompton Road, London
sports watchmaker, has
released its new Aquaracer
including Feather SW3 (020 7225 2851).
Lady, a more luxurious Blue, Crimson, 2 For the weekend: Neat
cotton trench with a contrast
PHOTOGRAPHS: JASON LLOYD-EVANS,

and refined version of Moss Green and

CATWALKING.COM, GRAHAM WALSER

£95 collar. Coach, 41Ð42 New

its classic model. We love Sovereign Purple. Hunter
this steel and rose-gold Bond Street, London W1
www.hunter-boot.com. (020 3141 8901).
34mm version with a £3,450
mother-of-pearl face. TAG Heuer
3 For evening: Wool blend
www.tagheuer.com. embroidered coat. Shanghai
Tang, 6a Sloane Street,
London SW1
As worn by… Bo Derek was given the original version of the (020 7235 8778).

Aquaracer by her father when she was filming 10 in 1979.

MARYLEBONE TOTE • ASPINALOFLONDON.COM • 0845 052 6900
 Edited by AJESH PATALAY
PHOTOGRAPHS: ALL IMAGES COURTESY OF THE EXHIBITORS OF PAD LONDON 2013

ART FOR
ART’S SAK E
Basquiats in Berkeley Square.
Plus: flawless emeralds,
cutting-edge buildings
and Daniel Radcliffe
 Right: ‘Mire G 107
(Kowloon)’ (1983)
by Jean Dubuffet

OUTSIDE THE LINES

The French gallerist Pascal Lansberg
will be showing works by Jean
DubuWet, a leading proponent
of outsider art, which is currently
enjoying renewed interest. ‘DubuWet is
a revolutionary artist,’ says Lansberg.
‘He reinvented art and the way we
think about it, with the concept of
“Art Brut”. His contribution still has
to be fully discovered, which is why
he is a great artist to collect and
a sound investment.’

ART & DESIGN

PHOTOGRAPHS: COURTESY OF GALERIE PASCAL LANSBERG, PARIS, LOUISA GUINNESS GALLERY, LONDON, MICHAEL HOPPEN GALLERY, GALERIE MERMOZ, GALERIE KREO, PARIS,
BUYERS’ MARKET
At the Pavilion of Art and Design fair in London, collectors are encouraged
to blend fine art with jewellery, or ceramics with tribal sculpture,
for a unique aesthetic By CAROLINE ROUX

R TA B L E P I E C
PO E

© FABRICE GOUSSET, VAN DE WEGHE FINE ART, NEW YORK, STELLAN HOLM GALLERY, NEW YORK, GETTY IMAGES, CORBIS
S
S
OU

Louisa Guinness isn’t one to rush things. After 10 years dealing in

artists’ jewellery, she has finally opened her own gallery. ‘It was the
PRECI

right time for me,’ she says of finding the space in Conduit Street,
‘but also the market has grown – I needed a proper base.’
She points out that a necklace by Alexander Calder, the
20th-century artist famed for his kinetic sculptures, sold
recently at auction for $600,000. Guinness reckons
that 95 per cent of her customers are art collectors.
‘Most buy a piece of jewellery as an extension of
their collection,’ she says. ‘But some are first-time
buyers. After all, you can own a pair of earrings by
Artists’ jewellery, from
Anish Kapoor for £5,000, and you can take them
left: ‘Ring’ (2013) by everywhere.’ Guinness herself often wears a 1961
Mariko Mori. ‘Bracelet’ Man Ray pendant called La Jolie. At PAD, she’ll be
(1968) by Pol Bury. showing work by the Japanese artist Mariko Mori,
Max Ernst’s ‘Groin who is famous for working with light; in jewellery,
Pendant’ (1937). Right:
‘Planets’ necklace (2013)
she seems to have found a dazzling new medium.
by Mariko Mori
‘Tulips, May
‘With the art market reaching ever higher levels and Flowered’
(1900) by
prices seeming to get further from reach, remember that Charles Jones

one can still acquire the very best photographs for a fraction
of the price of comparable paintings’ TIM JEFFERIES, GALLERIST
144 | H A R P E R’ S B A Z A A R | November 2013
 TALKING POINTS

BASQUIAT
‘Collect
widely: mix
FOR EVER
your art and
furniture
with wine
and tribal art.
The magic is
in the mix’
JULIAN A
The painter Jean-Michel Basquiat achieved
TREGER,
a lot in his 27 years – performing in bands,
COLLECTOR
graffiti-ing New York under the tag Samo,
Above: ‘Seated Figure’ dating Madonna, collaborating with Warhol
(400–100 BC), available
and reaching an insane level of fame as part
from the Galerie Mermoz
of New York’s 1980s art scene. Now, 25 years
after his death, his work is more sought-after
Jean-Michel than ever. In May, at Christie’s in New York, a
Basquiat in St seven-foot canvas called Dustheads, depicting
Moritz in 1983. two African-mask-type faces, fetched $48.8
Left: ‘Head’ million – a record for his work. Basquiat’s
(1985) by
appeal is based partly on the content of his
Basquiat. Above
right: the artist’s work, a still-contemporary mélange of tribal
‘MP’ (1984) African and urban references, as well as its
rarity, a result of his early
death from a heroin overdose.
Among his most dedicated
collectors is Jay-Z, who has
acquired major pieces, and
continually names him in
his lyrics. Works by Basquiat
will be shown at PAD by
From left: Wieki
Somers’ ‘Yuu Cord
Van de Weghe Fine Art
Lamp’. François and Stellan Holm Gallery.
Bauchet’s ‘Cellae
H6–1 Bookshelf ’.
Alessandro Mendini’s
‘LampadA’ (2002).
‘Rei Cord Lamp’, Above: Basquiat in
another light by Somers 1988. Right: his

A LIGHT TOUCH
‘Tuxedo’ (1983).
Far right: a poster
Kreo, the Parisian gallery run by the husband-and-wife team Didier for an Andy Warhol
and Clémence Krzentowski, has been encouraging designers to and Basquiat
exhibition in New
deliver their most experimental and exquisite work since 1999. Its
York in 1985
clientele includes art- and fashion-world heavyweights from Karl
Lagerfeld and Reed Krakof to Muriel Brandolini and Azzedine
Alaïa. (Clémence, incidentally, is never seen wearing anything other
than Alaïa.) This year, the pair has worked closely with the Dutch
designer Wieki Somers, whose new lights are shown above, with
François Bauchet’s resin and fibreglass bookshelf and Alessandro
Mendini’s lamp, which is covered in 24-carat-gold mosaic tiles.

November 2013 | H A R P E R’ S BA Z A A R | 145

▼

www.harpersbazaar.co.uk
 CURIOUS ‘Femme Oiseau’ (1976)
CREATIONS by Joan Miró

The Israeli designer Ayala Serfaty

and the Spaniard Nacho Carbonell
both create work that looks as
though it is alive – fascinating
forms in unusual materials that
might be lights or seats or desks,
but are best when seen quite
simply as beautiful, if strange,
objects. The Parisian outfit Galerie
BSL is bringing both to London for
PAD, including Serfaty’s glass and
polymer lamps and Carbonell’s
agate-lined timepieces.
Serfaty’s
‘Golden Clear’
(2013) and
‘The Rest’
(2013)

‘Clear’ (2013)
from Serfaty’s
‘Soma’ series

Far left: ‘Time is Treasure I’

(2013) by Nacho Carbonell

KIDASSIA CHAIR AND ARMCHAIR ‘DISTEX’ COURTESY OF GALLERIA’O, ITALY. EGG CHAIR AND OFFICE CHAIR COURTESY OF MODERNITY, SWEDEN. ROTATION
ARMCHAIR COURTESY OF GALLERY GARRIDO, SPAIN. PHOTOGRAPHS: JARON JAMES, COURTESY OF MAYORAL GALERIA D’ART, GALERIE BSL, PARIS
THE SURREAL DEAL
Joan Miró, the 20th-century Catalan
artist, was judged by André Breton, the
founder of Surrealism, to be the most
Surrealist painter of all. Now he is
considered to be one of the best invest-
ments, too: prices smashed through
the $20 million barrier at Sotheby’s in
2012. But the artist also applied his
skills, and intentionally childlike imagery (a reflection of his anti-
bourgeois position), to the more affordable media of ceramics
‘Buyanartistordesigneratthe
and lithography. A combination of Swiss, French and Spanish beginningoftheircareer,when
galleries is bringing a full complement of Miró to PAD London
in October, with works from lavish oil paintings to humbler
theymostneedthesupport’
pieces on corrugated board that still merit museum prices. JANICE BLACKBURN, DESIGN CURATOR

BEST SEAT IN THE HOUSE

Kidassia Chair (2013) Egg chair Rotation Armchair Armchair ‘Distex’ Office chair (1960s)
by Fernando and (1958) by (2012) by Juan and (1953) by Gio Ponti by Hans Wegner for
Humberto Campana Arne Jacobsen Paloma Garrido for Cassina Johannes Hansen

Allthegalleriesanddealersfeatured,plusmanymore,willbeatPADLondon(www.pad-fairs.com/london),
BerkeleySquare,LondonW1,from16to20October.
146 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk

E R A PY
H bOOks
I BL IO T
B
What to read when… you’re in need of a creative boost
By sam baker Artwork by su blackwell
C
reativity. It’s a difficult concept to pin down. Is it, as einstein
said, ‘intelligence having fun’? Or does intelligence play
no part in it? Is it all about waiting for the muse to strike?
Or is it, more probably, a less alchemical combination of discipline
and ‘ just do it’? For every writer, artist and designer I know, the
truth is, creativity is far more about the deadline or the mortgage
than a moment of 3am inspiration. and in my experience, if you wait
for the muse, you could be waiting a long time.
but literature shows us that the routes to inspiration are many and
various. Virginia woolf ’s 1929 feminist classic A Room of One’s Own
captures this dilemma perfectly. a treatise on the place – or absence
– of women in fiction, woolf ’s work has become a touch point for
generations of female writers. In it, woolf sets out to prove that this
has everything to do with means; for what is creativity without the
means to act on it?
‘a woman must have money and a room of her own if she is to
write fiction,’ she argued in a sentence now so oft quoted it is close
to cliché. add to these intellectual freedom and worldly experience,
and all the key enabling ingredients are in place. To prove her point,
woolf imagined for shakespeare a sister, his equal in every way but
for gender, who would have been, at best, anonymous. (‘anon, who
wrote so many poems without signing them, was often a woman.’)
as it happens, woolf had no shortage of either money or a room to
www.harpersbazaar.co.uk
talking points
add to her talent and inspiration. sadly, she had other demons to
thwart her.
Nowadays, the intellectual and social wherewithal for which ‘a
room of one’s own’ was a metaphor is easier to come by; though the
time and space may be more problematic. as ever, inspiration, if
and when it strikes, does so in the most varied ways. It can be found
in a family album, a snatched conversation, a moment of despair.
Natasha solomons found inspiration for her new novel, The
Gallery of Vanished Husbands, in misfortune: that of her grandmother-
in-law rosie, whose husband vanished in 1948 leaving her penniless
with two children. married but not, single but not, she became, as all
women in her position did in the post-war period, invisible. For
Juliet, the fictional alter ego, left with two young children and
excluded by the Jewish community in which she lives, this invisi-
bility brings a new lease of life. On a trip to buy a refrigerator, she
spontaneously spends every penny of her savings on a portrait
instead – which turns out to be the the first step in a creative quest.
One small side-swerve leads to a job in a gallery, the forging of her own
identity and the start of a journey to find her erstwhile husband and
gain her freedom. and true freedom, as Virginia woolf also reminds
us in A Room of One’s Own, leads to real creativity: ‘there is no gate,
no lock, no bolt that you can set upon the freedom of my mind.’
‘The Gallery of Vanished Husbands’ (14.99, Sceptre) is out now.
November 2013 | H a r p e r’ s ba z a a r | 147
 talking points

fIlM

the
contender
A leaner, fitter Daniel Radcliffe is fighting off
the ghost of Harry Potter by taking
a role as the Beat poet Allen Ginsberg

By ajesH patalay

F irst impressions clearly matter to Daniel radcliffe. He is

as solicitous about creating a good one as he is about everything else
in his career. We meet in a hotel suite, filled with representatives for
his latest film Kill Your Darlings, in which he plays the young allen
Ginsberg. In the far corner, radcliffe sits hunched over a table,
wolfing down his lunch, a jobbing actor on a tight schedule. He spots
me, jumps up and weaves across the room. ‘I’m so glad we could make
this happen,’ he says, shaking my hand firmly; 24 and professional
beyond his years. Interviewers often remark on his height (he is a
slight five-foot-five) but his stature, the assured presence of a veteran
movie star, is just as striking. I feel like a bit-part player in the
ensemble, catching the kindly attention of the lead for the first time.
‘Danielis anaturalcompanyleader,’confirmsMichaelGrandage,
who directed radcliffe on stage in The Cripple of Inishmaan earlier
this year. ‘In the rehearsal room he bows immediately to anyone
with experience, but he knows that it’s his face on the poster and he
doesn’t take that responsibility lightly.’ In the programme of that
play, radcliffe noted, perhaps surprisingly, how intimidating he
found walking into a rehearsal room, where most actors expect him

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 to be ‘unpleasant’, the brattish child actor. In truth, he is anything but
– bright, hardworking, genuinely humble. (‘I allow myself to set
lofty ambitions,’ he tells me. ‘but I shut them away and never tell
anyone.’) even so, the weight of expectation, the shadow cast by his
years playing Harry potter, continues to define his professional life.
‘He makes sure that the public and the industry don’t put him in
a box,’ Grandage says. ‘He cautions himself against complacency.’
If his role as a disabled Irishman in The Cripple of Inishmaan struck
a blow against typecasting, Kill Your Darlings delivers the death
punch, coaxing out the rawest performance of radcliffe’s career.
The film tells the story of Ginsberg at Columbia University in 1943,
where he met the budding beat writers Jack Kerouac and William
burroughs and fell in love with Lucien Carr, the group’s charismatic
leader, to whom Ginsberg later dedicated his collection, Howl and
Other Poems. although a real-life murder drives the plot, the film is
less a thriller than a coming-of-age drama about (gay) love in which
the ‘un-bloomed stalwart’ Ginsberg finds his voice.
radcliffe says he is ‘really proud’ of his performance and that it’s
the one film of his that he has most enjoyed watching. ‘I look so
unlike myself,’ he explains. by this, he means the curly black hair
and thick glasses he wore for the role, but also the transformation
he has undergone since playing Harry potter. ‘I used to be worried
that any facial expression I made, people would see Harry,’ he says.
‘I was proud of The Woman in Black, but there were points where I
still saw potter. In the last two years I’ve got
fitter, which has given me confidence.’
His features are noticeably sharper; his
jawline more chiselled. When he lifts an arm, ‘There was some
his bicep shows under his T-shirt, conspicu-
ously defined from all the rock-climbing
part of me as a
he’s been doing lately. ‘I had a moment,’ he kid that thought
says, ‘ just before Kill Your Darlings, when I
was like, “Your face is always going to be the I was not allowed to
same as the one that played Harry potter.
You’ve just got to forget about that.”’
express anything
still, his wizard alter-ego haunts this negative about
film, not only in the title (with its hint of
laying ghosts to rest), but also in the char- my life’
acter of Ginsberg, who at one point rails: ‘I
don’t want to be the person they think I am,’
giving voice to radcliffe’s own preoccupation as an actor. ‘Ginsberg
PHOTOGRAPHs: DAnielle leviTT/AuGusT, Rex FeATuRes, nick wAll
is somebody who knows what he wants to do,’ he says, ‘but is terri-
fied of failure, and his reaction to that is to find it within himself to
be a great artist. There are definitely parallels, in that I’m coming
out of Potter and it’s important I take steps away from it.’ Kill Your
Darlings’ writer/director John Krokidas heaps praise on radcliffe
for his ‘discipline, rigour and empathy’. but fearlessness also springs
to mind. ‘You learn so much more if you throw yourself in at the
deep end,’ radcliffe says about his motivation for choosing parts.
‘also, if I were to start making safe choices, it would be far too easy
for people to say, “Well, that’s not really a stretch.”’
playingallenGinsberg
meant tackling a number
of highly intense emo-
tional scenes (and a gay
sex scene). according to
Krokidas, radcliffe’s capacity to
nail those was proof of an emo-
tional range that the actor wasn’t
even sure he had. It also led to a kind
of catharsis: ‘One technique of mine,’ radcliffe says, ‘is to tell the
director everything about myself and let him use those things to
emotionally manipulate me. There was a line in the script saying,
“allen weeps openly.” I said to John, “I’ve never cried on screen
properly before.” He came over before the scene, we talked about
stuff and within moments it started coming. When you let the tears
go in front of a huge room of people, it’s very powerful. some of that
stuff I hadn’t accessed before. Weirdly,
when you’re on set every day as a kid, you
learn quickly that the way you are affects
the whole set. so there was some part of me
as a kid that thought I was not allowed to
express anything negative about my life.
The expectation of me is that I should just
be delighted all the time.’ He laughs. ‘I do
have a wonderful life and I’ve been very for-
tunate, but in the last few years I’ve been
going, “You do have a wonderful life, but
you also have a very weird life at times
and you are allowed to have feelings about
that.” I am generally upbeat though.’
He says he’s ‘obviously tired’, but it’s
radcliffe’s tirelessness as a performer, his
constant searching to be better, that impresses me. He’s about to
start filming the second series of the black comedy A Young Doctor’s
Notebook with Mad Men’s Jon Hamm, and after that, a string of roles
including Igor in a remake of Frankenstein. ‘I’m only tired when I get
home,’ he says. ‘at work, I’m a ball of energy.’ He admits he’s afraid
of stopping. ‘I’ve always been on set, with a sense of structure. If you
take that away, I don’t know what to do with myself.’ but the good
news, Grandage says, ‘is he wants to have as many challenges in his
career as possible. While all of that is going on, I’m not going to
worry about him stopping’. Thankfully, neither should we.
‘Kill Your Darlings’ is released nationwide on 8 November.
Left: Radcliffe in ‘The Woman
in Black’. Above, from top:
stills from ‘Kill Your Darlings’.
With Jon Hamm in
‘A Young Doctor’s Notebook’
November 2013 | H a r p e r’ s ba z a a r | 149
 From left: Annabelle Selldorf in New
York in 2012. Le Stanze del Vetro gallery
in Venice. A room in David Zwirner’s
gallery. Below, from left: a Chelsea loft
designed by Selldorf. Le Stanze del Vetro

ARCHITECTuRE

the space
woman
Interiors by the architect Annabelle Selldorf
are all clean lines and clear colours. No wonder
the art world clamours for her services
By CAROLINE ROux

S
hould you be lucky enough to be invited to Annabelle
Selldorf ’s Fifth Avenue apartment in New York, you will
quickly realise why she is the favourite architect of the
world’s gallerists. It’s not just the perfect grey and white striped mar-
ble floor, which, she says, puts her in mind of 1950s Rome, or the
collection of exquisite drawings on the walls, from Old Masters to
present day. (‘Look at this one by Enrico
David, it tells you so much about the artist,’
she declares.) It’s Selldorf ’s knack of drawing
everything together in a way that feels so
effortless, including the pasta with an elk
ragu that she served for a supper I once
attended with a gaggle of art-world friends,
and the generous amounts of excellent
German wine. ‘It is,’ says Selldorf, in an
American accent still lightly dusted with
her original German, ‘all about the things you don’t see.’
In her 20-year career, Selldorf, who moved to New York to study
and has never looked back, has reinvented the interiors of many
private galleries and art collectors’ houses. These include six
projects for the Swiss husband-and-wife team Iwan Wirth and
Manuela Hauser, among them their art-filled home in Notting Hill.
She was just 30 when she created a SoHo gallery interior for the
dealer David Zwirner and, earlier this year, she completed a whole
new 30,000-square-foot building for him in Chelsea that steps
upwards over five floors and offers beautiful day-lit spaces.
In London, apart from designing a house for the collectors Katrin
and Christoph Henkel, Selldorf last year waved her wand over Frieze

www.harpersbazaar.co.uk
 talking points
my cultural life

ElizabEth
gilbErt
First record bought ‘Barbra Streisand’s
Greatest Hits Volume 2. That nose!
That voice!’
Books that changed your life ‘The entire
Wizard of Oz series.’
Recurring dream ‘Tidal wave. (Horror.)
Also: high school. (Even more horror.)’
Tech must-haves ‘I can’t live without my
masters, a new addition to the frieze art fair podcasts (The Bugle, Bullseye, Judge
where connoisseurship is the order of the day John Hodgman, On Being…).’
and dealers show older and somewhat grander Favourite cliché ‘You’re responsible
work than at the more rackety parent show. for your own happiness.’
using spare framing devices rather than solid Most overrated ‘Rating systems.’
walls to create booths, and what she calls ‘50 shades of grey’, her airy Most underrated ‘Naps.’
design was an instant success. ‘i think the overall calmness did help Would sing a duet with… ‘Clive Owen.
sales,’ she says modestly. ‘though some of the dealers were furious (“Singing a duet” is a euphemism, right?)’
wHITE – STEPHEN fRIEDMAN GAllERY COURTESY PRIvATE COllECTION, © JOHN CURRIN COURTESY GAGOSIAN GAllERY, PHOTOGRAPH BY ROBERT McKEEvER
SUNDBERG/ESTO, ETTORE BEllINI, COURTESY Of lE STANZE DEl vETRO, MANOlO YllERA, MARTHA CAMARIllI, BEATRIZ MIlHAZES: PHOTOGRAPHY: STEPHEN

at first. they thought i’d imposed my restrained version of the world Guilty pleasure ‘Pancakes with peanut
upon them. theirs is full of dark greens and reds.’ butter and honey.’
PHOTOGRAPHS: KATE ORNE/CONTOUR BY GETTY IMAGES, JASON SCHMIDT, © 2013 STEPHEN flAvIN/ARTISTS RIGHTS SOCIETY (ARS), NEw YORK, DAvID

selldorf, who is as sharp and clever as the tailored garments she Worth fighting for ‘forgiveness.’
likes to wear (often by timothy everest – a good friend and former Above: the staircase
Would appoint as culture secretary
at Zwirner’s gallery.
client), says she has learned a lot from her art-collecting clients. Below: 200 11th ‘Does culture need a secretary? Is culture
‘these are people who are considerate about things, and who are Avenue New York, really that busy?’
willing to talk about pure space in order to work out how to house designed by Selldorf Brains or beauty ‘Brains are beauty.’
their objects,’ she says. but now her world has expanded somewhat. Money or sex ‘As long as it’s not sex for
‘We have 35 to 40 projects in the studio, including a number of new money, I’ll take both.’
high-end apartment blocks in manhattan.’ for one, completed last Grace Kelly or Grace Jones ‘Grace Kelly
year in chelsea, residents are able to drive into the block, with unprec- dressed as Grace Jones. (Somebody
edented access. ‘it’s my favourite innovation,’ says selldorf, smiling. please Photoshop this immediately!)’
‘people can ride in a taxi into the building and up ramps right to their ‘Success is…’ ‘contentment.’
own apartment door.’ ideas don’t get more artful than that. Which artwork would you appear
in? ‘That one with the naked people
having lunch in that park.’
art Favourite tipple ‘Big lusty Spanish reds.’
Style icon ‘My Grandma Nini, who looked
like Ingrid Bergman, even when she was
wearing her husband’s old work shirts.’
From left: Elizabeth Gilbert’s new novel, ‘The Signature of
‘Sonho de Valsa’
All Things’ (£18.99, Bloomsbury), is out now.
(2004–2005)by
Beatriz Milhazes.
John Currin’s
‘Rippowam’ (2006)

UNDER THE INflUENCE in a series of talks at Frieze

Masters, contemporary artists will be acknowledging
their debt to museum collections. the Brazilian artist
Beatriz Milhazes will honour the wealth of inspiration
in the V&a, and the new York-based painter John Currin
will pay homage to the national gallery’s Cranach the
Elder paintings. (www.frieze.com).
www.harpersbazaar.co.uk November 2013 | H a r p e r’ s ba z a a r | 151
 The Maharajah of Patiala
Sir Bhupindra Singh with
members of his family American socialite Marjorie
Merriweather Post,
wearing a pendant
made using
Indian emeralds,
with her daughter

I
n a photograph from the National Portrait Gallery
archive taken in 1931 (above), the Maharajah of Patiala,
Sir Bhupindra Singh, is surrounded by his entourage. He
looks proud, stately – wearing a turban and rich fabrics – Left: Cartier’s Broche de
Ceinture. Above: Maharajah
and his wives and consorts seem duly deferential: two sit
Pratapsinhrao of Baroda
at his feet, all are swathed in delicate with his wife and son
saris, their expressions unsmiling.
And then, when you look a little Excellency Sheikh Hamad
closer, you see it: the choker. It is BOOKS bin Abdullah Al Thani,
worn by one of his wives, perched cousin of the Emir of Qatar.
in front of the Maharajah. The But the necklace took a
band wraps tightly around her
neck and the necklace fans out
across her chest in an abundant
ROMANCING while to get there.
Originally made by
Cartier, under commission
wave of jewels: rubies, diamonds
and pearls. She seems blissfully THE from the Maharajah, the
choker was mysteriously

STONES
unaware of the riches she wears. turned into a bracelet and
Over 80 years later, the choker only reappeared at auction
nestles in a collection of Indian in 2000. No one realised
jewellery assembled by His that this was a segment of
One sheikh’s ceaseless hunt the famous choker until
Cartier researchers identi-
Raja Krishnaji
for the jewels that adorned fied it, bought it back, and
Rao II Puar the princes of India restored it to its original
of Dewas. form at their workshop in
Below: a By SOPHIE ELMHIRST Geneva. It only came on
ceremonial
the open market last year.
diamond
necklace Amin Jaffer, the international director of Asian art at Christie’s
and Sheikh Hamad’s collection adviser, recalls how a friend
Left: a Cartier rang him to say it was available. Jaffer was in New York, Sheikh
CARTIER ARCHIVES, © CARTIER, HILLWOOD MUSEUM, WASHINGTON, © FINE
FASAL COLLECTION, © PRUDENCE CUMING ASSOCIATES, © LAZIZ HAMANI,
PHOTOGRAPHS: © THE NATIONAL PORTRAIT GALLERY, LONDON, © JOHN

brooch. Below: Hamad was in Australia and Jaffer spent a hair-raising few hours
ART IMAGES, COURTESY PICTORIAL ARCHIVES OF THE MAHARANAS OF

Maharajah
trying to get hold of him, terrified that someone else would
Ranjitsinghji
of Nawanagar snap up the necklace. ‘A piece like that is so beautiful and has
such history, many people would want it,’ explains Jaffer. As
soon as word got to him, Sheikh Hamad leapt at the chance: ‘Yes,
yes, yes, tell them I want it!’ And he got it.
MEWAR, © MMCF, UDAIPUR, PLANET PHOTOS

Building a collection like Sheikh Hamad’s is an art in itself.

Although the Sheikh had a long-standing interest in jewellery
and gems, his previous acquisitions were usually historic
Western pieces. In 2009, after attending an exhibition of Indian
jewellery at the V&A Museum in London, he switched focus.
Jaffer explains that Sheikh Hamad began assembling his
collection with pieces from the Mughal era, buying mostly
for private pleasure, until the purchases started to gather
momentum. They both realised a major collection was in the
making, and the Sheikh broadened his interest to 20th-century

www.harpersbazaar.co.uk
 talking points
Clockwise from left: the
Maharajah Tukojirao Holkar III DON’T
MISS…
of Indore. Maharajah Jai Singh of
Alwar. Princess Durrushevar

work, much of which was made by Cartier using Indian gems, FILM
such as the choker. It made sense to bridge the gap between the
earlier pieces and the more recent, so the sheikh began to buy
19th-century works, ‘a very odd age’, says Jaffer, of the late
regency and belle epoque. Many people skip over the period
but, as Jaffer puts it: ‘This collector is unconstrained.’ The
sheikh’s interest runs to the contemporary – there are pieces
from craftsmen, such as Viren bhagat, working in India today.
The collection has now been gathered together and cele-
brated in a beautiful new book, Beyond Extravagance. I saw a
number of pieces on private display recently and the sheer force
of their quality is evident, even to someone rarely confronted T H E F I F T H E S TAT E
by huge emeralds, luminous pearls and glittering diamonds. Dubbed a ‘mass propaganda attack on
although in many cases these are items to be worn – as WikiLeaks’ by the film’s subject, Julian assange,
this is a tense look back at the website’s
brooches, belts, tassels, necklaces and more – they are works beginnings and assange’s friendship with his
of art as much as madly luxurious accessories. The older former colleague Daniel Domscheit-berg.
pieces, Jaffer tells me, had particular meaning depending on benedict Cumberbatch leads the cast, which
your gender: historically, men in India wore more jewellery also includes Dan stevens and stanley Tucci.
than women, and used gems to demonstrate status and wealth. ‘The Fifth Estate’ is released on 11 October.
Women simply wore pieces as adornment. The stones them-
selves had a hierarchy, too: diamonds were considered the
most important for men (their hardness was a sign of
virility), but not for women, who tended to wear col-
Although these oured gems: rubies and emeralds. and the emerald has
are items to be a story all of its own: it is the stone most central to Indian
jewellery, its vivid green an important colour in Islam
worn, they are and associated with the prophet Muhammad. The
works of art as stonewasn’tfoundinIndia,however,butinLatinamerica.
The spanish, on their conquering imperial quests, dis- P H I LO M E N A
much as madly covered mines rich in the gem and began exporting Judi Dench stars in the true story of an
luxurious them, some to europe but mostly to India, where the Irishwoman forced to give up her son for
demand from Mughal emperors was ceaseless. Jaffer adoption in america in the 1950s. steve
accesssories showed me perhaps the greatest emerald in sheikh Coogan plays the journalist Martin sixsmith,
who joins her on her search to find him. Their
Hamad’s collection: the Taj Mahal emerald. ‘It has
odd-couple friendship gives a lightness of touch
nothing to do with the Taj Mahal,’ he explains, but nonetheless to this otherwise heart-rending tale.
it is a rare and exceptional piece – when he holds it up, the light ‘Philomena’ is released on 1 November.
passes through the stone cleanly, clear and pure. ‘You don’t get
clear emeralds very easily,’ says Jaffer, with understatement.
asked to explain sheikh Hamad’s attitude towards col-
lecting, he says it comes down to his passion for individual
pieces, their provenance and history. For him, he says, ‘col-
lecting is instinctive’, and his ambition is for the collection to
From above left: two be a reference point for specialists, connoisseurs and scholars.
photographs of
The sheikh is still acquiring new works. They aren’t all to
Maharaja Yadavindra
Singh of Patiala. be kept under lock and key at his Doha residence, the rayyan
A turban ornament pavilion: members of his family have been known to wear some
of the pieces, which means that the collection lives and breathes L E W E E K- E N D
– and Jaffer approves. so instead of festering in glass cabinets, Hanif Kureishi’s homage to the New Wave film
the jewellery is used as its makers intended: worn against the director Jean-Luc Godard concerns itself with
skin, catching the light and attention of everyone in the room. love as it really is: joyful and messy. a couple (the
excellent Lindsay Duncan and Jim broadbent)
as for sheikh Hamad, he will carry on buying as long as his celebrate their anniversary in paris, and the
passion remains alive: ‘My eye,’ he says, ‘will always be drawn tenderness of a long-term marriage has never
to the rare and beautiful.’ been more beautifully or painfully dramatised.
‘Beyond Extravagance’ (£165, Assouline) is published in November. ‘Le Week-End’ is released on 11 October.

November 2013 | H a r p e r’ s ba z a a r | 153

horoscopes
Thefuturerevealed:youressentialguidetonovember By peTer WaTsON
SCORPIO
24 October – 22 November
Having explored new and different aspects of your private life, you’ll
be ready to talk about them. but you must respect the opinions
and ideals of one or two people who aren’t as free-thinking as you.
as soon as you sense that you risk stamping all over some very
sensitive ground, you must stop. Never underestimate diplomacy.
MOTTO OF THE MONTH Is freedom ever really free?
SAGITTARIUS
23 November – 21 December
Has it been hard to see why some situations make you anxious?
With Mercury moving forward from 10 November, you’ll have
a clearer idea of what you should or should not worry about. You
might even be able to help others who are losing confidence.
MOTTO OF THE MONTH Everyone’s gifted, but some never open
the package.
CAPRICORN
22 December – 20 January
No matter how keen you are to make changes to the home or
family set-up, you must take on board the opinions of those less
adventurous than you. If you are forced to make adjustments that
leave everybody feeling more contented, that’s what you must do.
MOTTO OF THE MONTH Self-respect is the cornerstone of everything
you build.
AQUARIUS
21 January – 19 February
at last you’re seeing work, money or a promotion in a clearer light.
The solar eclipse in early November will remove any confusion
preventing you from taking an important decision. but keep one
particular person involved. You want to make progress without
offending someone who is a permanent source of support.
MOTTO OF THE MONTH Reality can be beaten with enough imagination.
PISCES
20 February – 20 March
It might suit you to be more self-indulgent than usual. but you’ll
arouse envy in people who suggest you’ve taken advantage of the
situation. It won’t be easy to decide how vigorously to fight back,
but you must find a powerful but polite way of defending yourself.
MOTTO OF THE MONTH Artificial intelligence is no match for
natural stupidity.
ARIES
21 March – 20 April
people will ask endless questions – especially about money – and
you’ll wonder whether they’ll ever stop. Try not to appear rude
when you’re providing answers. They no doubt have a genuine
interest in you and the way your world works. If you really can’t
face giving them confidential information, you must say as much.
MOTTO OF THE MONTH Indifference is the greatest threat to our future.
For weekly updates, visit www.harpersbazaar.co.uk/horoscopes
154 | H a r p e r’ s b a z a a r | November 2013
TAURUS
21 April – 21 May
You’ve been relaxed about relationships, but you’ll wonder
whether to take a more serious approach. The sun’s tie-up with
saturn emphasises the importance of observing boundaries.
Will you automatically become a killjoy? Not for a moment.
MOTTO OF THE MONTH If you find yourself saying it can’t be done,
don’t interrupt whoever is doing it.
GEMINI
22 May – 21 June
perhaps you’ve been distracted from someone close, but you’ll want
to make amends. That needn’t mean abandoning something you
wish to support wholeheartedly. but you must allocate your time
differently. Others grow tired of being made to feel second best.
MOTTO OF THE MONTH Why do so many people offer to carry the stool
when the piano needs moving?
CANCER
22 June – 23 July
Who better than you to take charge of an idea or project that
needs delicate handling? put yourself forward and convince those
concerned that you have whatever it takes. and if anyone suggests
you are over-confident, let their comments go right over your head.
MOTTO OF THE MONTH Everyone makes way for you when you know
where you are going.
LEO
24 July – 23 August
Try not to listen to those suggesting there are easier ways to earn
a living or do your job. It might be tempting to cut corners, but
you know that, in the long run, it will leave you dissatisfied. apart
from that, your reputation means a lot. Guard it with your life.
MOTTO OF THE MONTH Great love and great achievements involve
great risk.
VIRGO
24 August – 23 September
Those who feel it’s time to be more creative and, perhaps, daring
concerning a joint venture might not see the implications of what
they’re suggesting. a pluto-Uranus clash could introduce all sorts
of complications into procedures, and people might fall out with
one another. sometimes a tried and tested formula is hard to beat.
MOTTO OF THE MONTH Tears are words the heart can’t express.
LIBRA
24 September – 23 October
as you feel torn between work and personal commitments, you’ll
quickly decide on priorities. Don’t complicate matters by leaving
anyone feeling marginalised. Find a way to appear to be treating
everybody and everything equally – even when you’re not.
MOTTO OF THE MONTH A half-baked idea is OK as long as it’s still
in the oven.
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 W ITH THR EE M AJOR
PRODUCTIONS OF
ROMEO A ND JULIET
OPENING THIS AU T UMN, W E
CELEBR ATE THE POW ER
OF STA R-CROSSED LOV E
W I T H A C A S T OF FA SH ION ’ S
MOST BELOV ED MODELS –
A ND R ESORT 2014’S
ESSEN TI A L PIECES

R OM E O
A ND
JUL I E T
BY CARINE ROITFELD

PHOTOGRAPHS BY

MAX VON GUMPPENBERG

AND PATRICK BIENERT

Maria Borges
Gucci
Jacket, £4,940; top, £535;
trousers, £1,980; bracelets,
£2,069 each, all Gucci.
Sandals, £34.95,
Birkenstock. Stockings
(worn throughout), from
£11.95, Girardi

Clarke Wesley
Gucci
Jacket, £1,200; shirt, £455;
trousers, £570; scarf, £215;
shoes, £365, all Gucci
Magda Laguinge
Alexander Wang
Top, £796; skirt, £1,252,
both Alexander Wang

Corey Baptiste
Balenciaga
Jacket, £1,045;
shirt, £345; trousers,
£395; shoes, £525,
all Balenciaga
 Adriana Lima
Givenchy by Riccardo Tisci
Top, about £1,052; skirt,
about £1,136; boots, from a
selection, all Givenchy by
Riccardo Tisci. Bra, £140,
Eres. Jewellery, her own

Tyson Ritter
Lead singer of
the All-American Rejects.
Givenchy by Riccardo Tisci
Shirts, from about £310 each;
apron, about £270; shorts, from
a selection; leggings, about
£1,035; sandals, about £505, all
Givenchy by Riccardo Tisci
Tao Okamoto
Giorgio Armani
Jacket; trousers, both from a selection,
Giorgio Armani. Shoes, from about
£25, Kimono House

Brad Kroenig
Giorgio Armani
Suit, £1,965; shirt, £210; tie, £275;
pocket square, £90; shoes, £530, all
Giorgio Armani
 Martha Hunt
Burberry Prorsum
Jacket, £1,795; skirt,
£1,495, both Burberry
Prorsum. Bra, about £55,
Araks. Shoes, from a
selection, Gianvito Rossi

Tyson Ballou
Burberry Prorsum
Jumper, £495; shirt, £350;
trousers, £595; shoes,
£350, all Burberry Prorsum
Cora Emmanuel
Chanel
Navy jacket, £1,590; navy trousers,
£920; white hairpin, £497; black bag,
£5,490, black shoes, £480, all Chanel

Kelly Rippy
Lanvin
Navy shirt, £2,840; navy trousers,
£875; black shoes, £565, all Lanvin
 RJ Rogenski
Prada
Shirt, £535; shorts,
£535; trainers, £450,
all Prada

Jessica Hart
Prada
Dress, £3,935; bag,
£1,150; bracelets, £65
each; trainers, £470,
all Prada
Cameron Russell
JW Anderson
Top, £330; skirt, £400; shoes,
from a selection, all JW Anderson

Ian Mellencamp
JW Anderson
Top, £330; trousers, £550; shoes,
from a selection, all JW Anderson
 Philip Witts
Saint Laurent by Hedi Slimane
Black jacket, £1,645; white shirt,
£305; black trousers, £255; black
tie, £215; black belt, from a
selection; black shoes, £780, all
Saint Laurent by Hedi Slimane

Stef Van der Laan

Saint Laurent by Hedi Slimane
White top, £2,605; black
shorts, £1,300; black and
white shoes, £590, all Saint
Laurent by Hedi Slimane
Lindsey Wixson
Dior
Dress, £4,300; top, £610;
hotpants, £610; shoes,
£680, all Dior

Mathias Lauridsen
Dior Homme
Blazer, £1,300; T-shirt,
£330; trousers, £580; shoes,
£900, all Dior Homme
 Dae Na
Berluti
Jacket, £1,600; trousers, £680;
shoes, £1,290, all Berluti

Senait Gidey
Miu Miu
Jacket, £1,150; hotpants;
bracelet, both from a selection;
shoes, £795, all Miu Miu
Irina Shayk
MaxMara
Black suit, £750; black
shoes, from a selection, all
MaxMara. Bra, from £31,
What Katie Did

Simon Van Meervenne

Alexander Wang
Black shirt; black
trousers; black shoes,
all from a selection,
Alexander Wang
 Miranda Kerr
Calvin Klein Collection
Top, about £590; skirt, about
£730; shoes, about £570,
all Calvin Klein Collection.
Bracelet, her own

Garrett Neff
Calvin Klein Collection
Jacket; shirt; trousers; shoes,
all from a selection,
Calvin Klein Collection
Sean O’Pry
Versus Versace JW Anderson
Shirt, £380; trousers, £780;
shoes, £600, all Versus
Versace JW Anderson

Ashleigh Good
Versus Versace JW Anderson
Top, £244; skirt, £170; boots, £590,
all Versus Versace JW Anderson
 Barbara Fialho
Christopher Kane
Dress, £6,000; shoes, £495,
both Christopher Kane

David Agbodji
Christopher Kane
Jumper, £450; trousers,
£450; sandals, £210, all
Christopher Kane
Chiharu Okunugi
Céline
Dress, about £1,075; bag, about £1,515;
sandals, about £500, all Céline

Noah Mills
Tim Coppens
Jacket, about £845; trousers, about
£315, both Tim Coppens. Shoes, about
£365, Tim Coppens for Common Projects.
Vintage Rolex watch, his own
 Matt Terry
Ralph Lauren Purple Label
Suit, about £3,180; shirt, about
£250; tie, about £135; pocket square,
about £50; shoes, about £505, all Ralph
Lauren Purple Label

Bar Refaeli
Ralph Lauren Collection
Leotard, about £825; shoes, about
£380, both Ralph Lauren Collection.
Cartier bracelet, her own

See Stockists for details. Sittings editor:

Michaela Dosamantes. Hair by Shay Ashual.
Make-up by Carole Colombani. Manicures by
Mar y Soul for Marc Jacobs Beauty. Casting:
Piergiorgio Del Moro. Casting assistant: Samuel
Ellis Scheinman. Production: Evelien Joos

CREATIVE DIRECTION
STEPHEN GAN
London
30 Old Bond Street
020 77 58 80 60

Explore the
Akris Boutique at
www.akris.ch
 NOVEMBER 2013

ThE aRT Of fashiON

Jennifer Lawrence leads the hollywood life her own way

and Ralph Lauren embodies the american dream at home,

while in fashion, a rock chick shimmers in a blaze of Roman glory,

a Russian drama plays out at Nabokov’s dacha and a ballerina’s grace lights up a regal palace
 P L AY I N G T HE G A M E
PHOTOGRAPHS BY BEN HASSETT

STYLED BY JULIA VON BOEHM

Jennifer Lawrence’s raw talent bagged her an Oscar, and her gauche frankness
wins her friends, but it is her surprising star quality that makes her unforgettable

BY TOM SHONE
 This page: Jennifer Lawrence wears
black velvet, faille and satin cape, Christian
Lacroix for schiaparelli. previous
page: silk top; pleated silk skirts, all to
order, Dior haute Couture. right hand:
gold, sapphire and coral ring, £11,000; left
hand, from left: gold and tourmaline ring,
from a selection; gold and diamond
ring, about £3,390, all Dior Joaillerie

ben hasseTT
J
My one worry, in advance of meeting Jennifer Lawrence, is that
someone has told her to clean up her act. sure, it was OK for the
young ingénue to go on the Late Show with David Letterman and
compare herself to a cat peeing on the red carpet. It was endearing
when, upon ascending the podium to collect her Oscar for Silver
Linings Playbook, she tripped over her dress, recovering with point-
blank honesty – ‘You guys are only standing up because I fell and you
feel bad’ – and then gave everyone in the press room the finger.
but it felt too good to last. somehow, the forces of pr-regulated
piety would have descended on the poor girl and drummed all
that out of her.
Indeed, in preparation for The Hunger
Games, she was given media training — how
to make more eye contact, regulate the
volume of her voice and rein in the nervous
She drapes
laughter — and during the Oscars someone
(she won’t say who) told her to tone it down.
herself over
‘“Other people are getting up and owning the
stage and you sound like a stuttering idiot.
the arms of the
pull it together.” and I said, “I’m not doing it
on purpose, I’m uncomfortable and when
sofa, legs
people get uncomfortable they resort to
their shit. I make awkward jokes and stutter.”’
hoisted over
she winces a little. ‘That was actually a
moment when I really wanted it to be special.
the side. She’s
That was not the time I wanted to be the
Down-home Girl. I wanted to be graceful.’
one of the
actually, she’s very graceful, like a cat.
The girl who emerges from the lift in the
most naturally
lobby of the Hotel Casa del Mar in santa
Monica wearing robert Clergerie flats and
supine people
some seriously distressed ralph Lauren I’ve ever met
www.harpersbazaar.co.uk
jeans is much finer-featured in person than on screen, with long, long
limbs that she throws about the place with the carelessness of
a teenager. The first thing she does is lie down on the sofa, straight
out — ‘I’m finding it difficult waking up these days,’ she says — and in
the course of our interview, drapes herself over the arms of a sofa
and two chairs, her legs hoisted up over the side. she’s one of the
most naturally supine people I’ve ever met. ‘Your tape recorder
is pointed at my vagina,’ she announces. something tells me that
isn’t to be found in The Hunger Games media-training manual.
I needn’t have worried. at 23, Jennifer Lawrence is a testament to
the globe-conquering power that flows from her mixture of a) fame,
b) raw talent and c) not giving too much of a hoot about either a)
or b). she got $10 million to reprise the role of Katniss everdeen in
the second Hunger Games movie, Catching Fire: enough money that
her lawyers got her to write out a will — it all goes to her family and
favourite charities. she hasn’t had a chance to spend any of it. she
used to have an apartment in santa Monica, but that got infested
with paparazzi, so now it’s hotels and couch-surfing with friends.
she spent last night managing to convince her best friend Justine
that the lift of the Casa del Mar was haunted. That’s her biggest fear:
ghosts. Not acting opposite robert De Niro. Or tripping over her
dress in front of 40 million people. The undead.
‘I’ll lay in bed and hear a noise and imagine the scariest possible
scenario, and then my adrenalin starts going and then I tell myself
that because my adrenalin is going, the spirit is feeding off my adren-
alin! Or if there’s a spider. I try to kill it and I miss it. Great. Now it
knows what I look like. It can’t just be, “Oh no, the spider’s still on the
loose.” No, it’s, “That spider knows what you look like and knows
you tried to kill it.”’
psychopaths, on the other hand, don’t worry her so much. ‘at
least that makes sense. It’s here. I sleep with a bow and arrow under
my bed. I have pink mace in my bag. I’m like, “You just wait, you’re
walking into a world of pain.”’
Today her handbag has no mace — she
has a bodyguard these days — but it does
contain a bottle of perfume, an iphone, some
multi-vitamins (unopened), a silicone bra
insert from a recent photo-shoot and her
diary, the first entry of which reads: ‘Keeping
journals always makes me nervous people
are going to find it, so if you’re reading this,
just stop. Don’t be a journal reader. Those
people suck.’ The picture on her iphone is
of her nephew. ‘are you in for a world of
cute?’ she asks. ‘Isn’t he precious? Do you
want to see him count really fast?’ and
shows me a video of a curly-haired toddler
counting from one to 10.
Ten seconds also happens to be the
rough length of time it takes for an average
human being to fall in with Jennifer
Lawrence like she’s your sister. she’s very
funny, with something of the compulsive
honesty and ability to warm up a room of the
great comedians — seth rogen, only prettier.
November 2013 | H a r p e r’ s ba z a a r | 179
▼
 this page: black silk
gown, to order, alexis
Mabille haute Couture.
gold and diamond choker,
from a selection, Cathy
Waterman. Right hand, from
left: gold and diamond ring
( just seen), about £3,460,
Dior Joaillerie. gold,
spectrolite and diamond
ring, £13,830, Noor Fares.
opposite: satin dress,
to order, Valentino
haute Couture
ben hassett

When I ask her what she most likes about her new life, she doesn’t
miss a beat. ‘The money,’ she says, in her husky, bacall-esque voice.
pause.
‘I’m joking. The work, the work…’
she puts so little store by the usual pieties that prop up the celeb-
rity interview — the love of the work, the importance of craft, the
dedication to one’s art, the method behind
one’s madness — that at times the whole
structure threatens to come crashing down
with one push. she could be the most radical
talent currently working in Hollywood — a
Before each
pure natural, a slob genius in the tradition of
great slob geniuses that includes the young
take, she’s
elizabeth Taylor and elvis, with the same
hold on the audience’s emotions, the
eating crisps.
same ruby-like glint of trashiness in her soul.
she never even intended to be an actress, but
‘It’s not my
her first break in the business came when she
was spotted in New York’s Union square.
performance
‘I was offered a number of modelling con-
tracts soon after but turned them down. I
that is
was like, “actually, I think I’m going to be an
actor.” That was an incredibly dumb thing to
motivating me.
do at 14 but was probably the one time when
my self-assuredness paid off.’ she has never
I want to get
had an acting lesson. she doesn’t rehearse or
research her roles and only commits her
the on-set
lines to memory the night before. before
each take, she is normally to be found eating
catering’
crisps and joking around with the crew.
‘It’s normally chips. My bodyguard
Gilbert, right before they call “action”, I’m like, “If there aren’t
Cheez-Its here by the time they call “cut”, just go home.” and he’ll
start running. It cracks me up how seriously he takes it. I’m just lazy.
Whenever Dps [directors of photography] are like, “I’m so sorry to
do this, but would you mind not saying that one line?” I’m like,
“Dude, I don’t want to say any of it. Whatever is easiest. believe me.
It’s not my performance that is motivating me. I want to get the
on-set catering.”’
and then, just when her director is starting to sweat a little, she
knocks it out of the park. ‘she’s one of the least neurotic people I’ve
ever met,’ says David O russell, who directed her to her Oscar in
Silver Linings Playbook. ‘she came onto the set like some gee-whiz
182 | H a r p e r’ s b a z a a r | November 2013
kid, “What’s it like to have people ask for your autograph, Mr De
Niro?” and then she jumped in and took over the whole scene from
every actor in the room. De Niro turned to me and nodded, like:
“Wow, this kid is really bringing it.” He loved it. she’s like Michael
Jordan. Her jaw doesn’t get set. That’s how top sportsmen can go in
under pressure, because they’re so loose.’
If you want the moment when Lawrence won her Oscar, that
scene with De Niro – reversing the flow of his superstitious sports
ju-ju with one magnificently delivered speech — was it. she says she
didn’t understand a word of what she was saying. For her new film
with russell, American Hustle, about a famous FbI sting operation in
the 1970s, she plays the hard-drinking wife of a conman, played by
Christian bale. she got to dress up in boob tube, furs and acrylic nails
— playing it big and crazy, ‘but this hilarious kind of crazy that just
cracks me up’, she says. ‘I had the most fun I have ever had as an actor
doing it. ever. It would get so out of hand so fast that when David
called “cut” it was like waking up out of a dream. That was exactly how
it felt: like waking up. Now if there is a movie I’m looking at, I’m like,
“Can I do it with Christian bale? Christian
bale? Christian? Christian? Christian? ”’
suddenly she sounds all of seven years
old — the little sister nagging her big brothers
to let her play with them. One of the reasons
her work with russell rings so true is the
fidelity with which it recreates the bois-
terous, fond dynamic of her family back in
Kentucky. ‘We’re very loud, but as soon as
one of us calls you an asshole, we like you,’
she says of her family, who still run a chil-
dren’s camp with barns and horses. she was
always trying to hang out with her two older
brothers, spying on them, hiding under their
beds, ‘to jump out and mess with them’ or
pouring their cologne down the sink when
they refused to play. They would sometimes
fight over ‘who could bully me. so if blaine
beat me up, ben would beat blaine up and
then come and mess with me. It was fun. It
was a good deal that we had’.
The relations she had with her female
cousins were another matter — ‘because the
insults are so much deeper. ben and blaine
and I would do really fucked-up stuff but we
knew never to take it to the parents, but the first thing girls do,
because they want to make your life as miserable as possible, is
instantly bring the parents in — long emotional letters that the
parents read, painting this person as the victim, a really well-
thought-out war strategy. With the brothers it was like, “I hate you
and I hope that you rot but I don’t want you to get in trouble.” We
would punish each other.’
she’s very observant, particularly of her fellow females. at one
point, she stops me to gaze at a teenage girl on the other side
of the lobby: hair down to her waist, in full eighties gear, about
13. Lawrence is mesmerised. ‘To be that bold at that age,’ she
wonders. ‘You can’t just grow hair like that overnight. she’s been
www.harpersbazaar.co.uk
▼
 Black embroidered tulle
and rhinestone jacket, to
order, Armani Privé. Black
jersey knickers ( just seen),
£80, Eres. Gold, spectrolite
and diamond ring, £13,830,
Noor Fares

BEN hAssEtt
 Silk gown, to order, Alexis
Mabille Haute Couture.
Gold and diamond choker,
from a selection, Cathy
Waterman. See Stockists for
details. Hair by Adir Abergel
at Starworksartists.com.
Make-up by Monika Blunder
at the Wall Group. Manicure
by Marissa Carmichael
at Streeters

Ben HASSett
committed to that look for a really long time. That’s how adults
are dressing when they’re trying to dress, like, unique and different,
and she’s like 12.’
I ask if there’s an element of self-recognition there.
‘No,’ she says. ‘admiration.’
I am reminded of something Francis Lawrence, the director of
The Hunger Games: Catching Fire, told me. ‘she picks up on the
nuances of people’s body language instantly — in a blink or a wink.
While we were filming, she knew in a second when I was anxious
or upset. and I don’t show emotion that easily. There’s no fooling
her. The Jen that went into the machine is pretty much the Jen
who came out of it.’
The biggest sacrifice she has had to make in the last year, at least
for such a student of naturalism, is this: people acting naturally
around her. Or, as she puts it: ‘My bullshit
detector is going off all the time.’ Her agent
and publicist know not to try any of the
‘You’re wonderful’ stuff, and when I try to ‘Somebody told
compliment her acting she cuts me short.
she can hear dead air in an instant. The only me I was fat,
thing she can’t pick up on is passive hostility.
‘I’m totally blind to it,’ she says. ‘somebody that I was going
could be totally hostile and I’m like, “Great!
see you later!” It’s not until someone is really to get fired
blatant that I notice, “Wow, you hate me.”’
I ask her the last time someone made if I didn’t lose
her cry. she thinks for a bit, then tells me
about something that happened right at the weight… If
beginning of her career. ‘I was young. It was
just the kind of shit that actresses have to go anyone says the
through. somebody told me I was fat, that
I was going to get fired if I didn’t lose word “diet”, I’m
a certain amount of weight. They brought in
pictures of me where I was basically naked, like, “You can
and told me to use them as motivation for my
diet. It was just that.’ someone brought it up gof*** yourself”’
recently. ‘They thought that because of the
way my career had gone, it wouldn’t still
hurt me. That somehow, after I won an Oscar, I’m above it all. “You
really still care about that?” Yeah. I was a little girl. I was hurt. It
doesn’t matter what accolades you get.’
she pauses. ‘I know it’ll never happen to me again. If anybody even
tries to whisper the word “diet”, I’m like, “You can go fuck yourself.”’
‘Just whip out your Oscar,’ I tell her.
‘Yeah, right. Is he too fat, motherfuckers?’ she folds in laughter.
I’ve been interviewing Hollywood actresses for almost 20 years
and I’ve never met anyone who seems as resolutely normal as
Lawrence, and yet so obviously a star. You’d think the two would
cancel each other out, but such is the magic of her personality that
her ordinariness and her charisma seem to pass in and out of one
another, like twinned but opposing waves. as our allotted hour turns
into two, and our two comes up fast on three, we get hungry and
I remember something I had promised my wife, who is four months
pregnant: that I would eat a banana in honour of the size of our baby.
‘That’s some weird-ass shit,’ says Lawrence. ‘I support that.’ The
www.harpersbazaar.co.uk
only problem: there are no bananas on the menu at the Casa del Mar.
‘Just tell them I’m super-famous,’ she says.
I get the waiter’s attention.
‘Hi,’ says Jen, taking over, ‘Do you have
any bananas in the kitchen? His wife is preg-
nant and the baby is the size of a banana so
he wants to eat a banana in celebration.’
The waiter looks a little thrown. ‘Yeah…
I think we got ice-cream, we got bananas.
You want a banana split? I can have him
make you one.’
‘awesome,’ she says. ‘people do weird
stuff when they procreate. I’ll have the beet
salad and the lobster club. Jeez. I’m more
normal than him.’
The waiter departs. ‘I knew that I was
selling you down the river because I knew it
would get you what you want. What is weird
is if you go, “I wanna banana,” they’d be
like, “Well, I don’t make the rules around
here.” but if there’s a baby involved…’
‘You don’t think it was the Oscar?’
‘either way, you’re welcome.’
Five minutes later, the waiter arrives back
with a lobster club, a beet salad and a banana
split. ‘Was it the baby or the Oscar?’ I ask him.
‘My girlfriend’s five weeks,’ he says, and pulls out an ultrasound
scan of his baby. We coo over it, an impromptu little gang, and
then he leaves.
‘Phew,’ says Lawrence.
‘What is it?’
‘I just really saved myself from something pretty bad. There
was, like, a thing.’
‘What thing?’
‘On her uterus. There was a thing. I started looking around her
organs and was like, “What’s that white orb in there? Is that like
a cyst? Is that normal? should she go back to the doctor? Oh and
congratulations. Be paranoid.” but I didn’t say it.’
‘You’re getting better.’
‘I’m getting better,’ she says. ‘Can I eat your cherry?’
at which point, I realise something with a pang: I’m going to
miss this girl.
‘The Hunger Games: Catching Fire’ is released nationwide on 11 November.
November 2013 | H a r p e r’ s ba z a a r | 185
t h e golden age
Autumn’s jewel tones and sequins shimmer
against the landscape of Rome,
along with a flutter of feathers and lace
PhotograPhs by regan cameron
styled by miranda almond
 This page: lace top, £4,040;
sequined skirt, £5,000, both
Tom Ford. suede boots, £605,
stuart Weitzman. gold-plated
and rhodium necklace,
£160, Dominic Jones. horn
necklace, £165, pebble. gold
bangle, from a selection,
Jennifer Fisher. right hand, from
left: gold ring, £2,175, Lola rose.
gold ring, £59, Dina Kamal
DK01. Left hand, from left:
gold-plated ring, £162; silver
ring, £95, both Lucy Folk. gold
stacking rings (sold as set of 10),
£2,680, Dina Kamal DK01.
previous pages: tulle, feather
and sequin dress, £9,070, gucci.
gold-plated bracelet, £125,
susan caplan vintage collection

regan cameron
Angora and polyamide jumper,
£700; leather skirt, £4,750, both
Balmain. Suede boots, £1,095,
Gianvito Rossi at Joseph. Gold
chain ( just seen), about £635;
gold tusk charm (on chain),
about £445, both Jennifer Fisher.
Left arm, from left: gold stacking
rings (sold as set of 10), £2,680,
Dina Kamal DK01. Brass
bangles, both from a selection,
Jennifer Fisher. Gold-plated
bangle, £216, Lucy Folk. Right
arm: brass bangles, as before
regan cameron
Velvet dress, £338,
Diane von Furstenberg.
Suede boots, £1,828,
Emilio Pucci. Gold
chain, about £635;
gold tusk charm (on
chain), about £445,
both Jennifer Fisher.
Steel and semi-precious
stone necklace, £89,
Lola Rose. Gold tassel
necklace, £295, Astley
Clarke. Right hand:
brass ring, about
£65, Jennifer Fisher.
Left hand: silver ring,
£95, Lucy Folk
regan cameron
this page: silk dress, about
£2,530, Marc Jacobs. suede
boots, £750, Laurence Dacade
at Joseph. gold and enamel
necklaces, from £265, both astley
Clarke. Brass bangle, from a
selection, Jennifer Fisher. Right
hand, from left: gold ring,
£2,175, Lola Rose. gold ring,
£59, Dina Kamal DK01. Left
hand: gold-plated ring, £162,
Lucy Folk. OppOsite: silk
dress, £2,825, Chloé. suede
boots, £1,080, giuseppe Zanotti
Design. Brass and crystal
necklace, £140, pebble. Right
arm: gold-plated bangle, £216,
Lucy Folk. steel and turquoise
ring ( just seen), £65, Lola Rose.
Left arm: gold-plated bangle,
£405, Dominic Jones. Brass bangle,
as before. Rings, from left: metal
ring, £75, pebble. gold-plated ring,
£62, Maria Black. gold-plated
ring, £108, Lucy Folk
 Silk and feather dress,
from a selection; silk
knickers ( just seen),
£535, both Louis
Vuitton. Suede boots,
£1,828, emilio Pucci.
right hand, from top:
silver ring, £49, maria
Black. Brass ring, about
£63, Jennifer Fisher. Left
hand, from left: silver
ring, £95, Lucy Folk.
gold-plated ring, £73,
maria Black

regan cameron
regan cameron
this page: velvet dress,
£2,998, Ralph Lauren
Collection. gold stacking
rings (sold as set of 10),
£2,680, Dina Kamal DK01.
OppOsite: silk, sequin and
jersey dress, about £4,340,
Donna Karan. suede boots,
£1,828, emilio pucci. Brass
necklace, £180, pamela
Love for Zadig & Voltaire.
gold bangles, both from
a selection, Jennifer Fisher
 Suede and chainmail
dress, £8,010, roberto
cavalli. Suede boots ( just
seen), £750, Laurence
Dacade at Joseph.
gold and agate pendant,
£140, Kara by Kara ross
collection. From left:
gold-plated ring, £162;
silver ring, £95, both
Lucy Folk. gold stacking
rings (sold as set of 10),
£2,680, Dina Kamal
DK01. See Stockists
for details. Hair by
ali Pirzadeh at
cLm, using L’oréal
Professionnel. make-up
by Florrie White at D+V
management, using
L’oréal Paris True match
Foundation. Production
by mascioni associati
International. model:
ginta Lapina at Storm
model management

regan cameron
 A RUSSIAN
ROMANCE
The banks of the Neva,
the steps of a deserted St Petersburg palace
and the colonnades of Vladimir Nabokov’s
country dacha set the scene
for the new season’s fairy-tale grandeur
PHOTOGRAPHS BY VALERY KATSUBA
STYLED BY SARAJANE HOARE
 LEFT: Dasha wears wool and angora top,
£750; matching skirt, £3,088, both Rochas.
Calf-skin boots, £1,145, Ralph Lauren
Collection. Leather gloves, £175, Aspinal
of London. Scarf, stylist’s own. Daniil wears
cashmere jacket, £3,890, Hermès. All other
clothes, his own. BELOW: black wool coat,
£4,250; black wool trousers, £635; black
leather boots, £725, all Balenciaga. White
cotton shirt, about £850, Azzedine Alaïa.
PREVIOUS PAGES: wool turtleneck, £220,
Ralph Lauren Blue Label. Cotton skirt,
£2,990, Gareth Pugh. Calf-skin boots,
£1,590, Hermès. Rabbit-fur hat, £495, Jonny
Beardsall. Cashmere gloves, stylist’s own

VALERY KATSUBA
 Right: wool coat, £2,535, Valentino.
Wool turtleneck, £220, Ralph Lauren
Blue Label. Wool leggings, about £540,
Azzedine Alaïa. Calf-skin boots, £1,145,
Ralph Lauren Collection. Rabbit-fur hat,
£495, Jonny Beardsall. Cashmere gloves,
stylist’s own. BeLoW: cream bouclé
dress, about £1,890; matching shrug,
about £475, both Céline. Calf-skin boots;
cashmere gloves, both as before
Valery Katsuba
 THIS PAGE: linen and cashmere jacket,
£4,300, Chanel. Silk taffeta skirt, £6,000,
Ralph Lauren Collection. Calf-skin boots,
£1,590, Hermès. Rabbit-fur hat, £495, Jonny
Beardsall. Cashmere gloves, stylist’s own.
OPPOSITE: goat-skin gilet, from a selection;
sleeveless cashmere jacket (worn underneath),
£3,890; linen shirt, £860; calf-skin boots, as
before, all Hermès. Wool leggings, about
£540, Azzedine Alaïa. See Stockists for
details. Hair and make-up by Yana Yakubenok.
Model: Dasha Maligyna at Nathalie Models,
Paris. With thanks to the Russian Academy
of Arts, St Petersburg, the estate of Vladimir
Nabokov, the Mariinsky Theatre and the
Four Seasons Hotel Lion Palace St Petersburg
(www.fourseasons.com/stpetersburg)

VALERY KATSUBA
 the new poise
Autumn fashion strikes a fine balance between the drama
of rustling, floor-length gowns and the lithe elegance of
the lightest wisps of chiffon and tulle
PhotograPhs by Valery Katsuba
styled by saraJane hoare
this page: chiffon dress,
about £3,300, Lanvin. Cotton
tights (worn throughout),
£24, Falke. tie (worn as
headband throughout), stylist’s
own. Ballet shoes (worn
throughout), ballerina’s own.
opposite: cotton and
lace shirt, £1,055, Dolce &
gabbana. Nylon and elastane
knickers, £42, Wolford
 this page: cream taffeta
dress, about £13,155, Lanvin.
Black velvet ribbon (around
waist), from £4.35, VV
Rouleaux. opposite: satin
and silk dress, £3,950, Jason Wu
Valery Katsuba
Valery Katsuba
this page: black tulle and velvet
dress, £6,800, giorgio armani.
OppOsite: silk, leather and crystal
dress, from a selection, Balmain.
see stockists for details. hair and
make-up by Yana Yakubenok.
Ballerina: Oksana skorik. With
thanks to the Russian academy
of arts, st petersburg, the estate of
Vladimir Nabokov, the Mariinsky
theatre and the Four seasons hotel
Lion palace st petersburg (www.
fourseasons.com/stpetersburg)
 costum e
dr a m a
As art grows ever more commercial and fashion
reaches new aesthetic heights, who’s to judge
which belongs in a museum and which in a shop,
asks HANNAH ROTHSCHILD

PHOTOGRAPH: Rex feATuRes

An exhibit from
the Metropolitan
Museum of
Art’s ‘Alexander
McQueen: Savage
Beauty’ show in
2011. Opposite: a suit
designed by Freddie
Burretti for David
Bowie’s 1972
Ziggy Stardust
tour, on display at
the V&A’s ‘David
Bowie Is’ exhibition
earlier this year
O
nce upon a time, few museums took fashion seriously. Costume departments were
relegated to a dusty backwater; their curators ranked low on the academic pecking
order. Clothes were seen as a subsection of social history, addenda to a bigger,
more interesting picture. Many argued, and still do, that art is about creativity,
while fashion is about business: so art belongs in a museum, fashion in a shop. The
creation of a work of art is an essentially purposeless act; the making of an item
of clothing is practical. Art is free to exist outside market forces; fashion is a prisoner of economics.
Audiences, however, have voted with their feet; frocks rock the box office. The Metropolitan Museum
of Art’s show ‘Alexander McQueen: Savage Beauty’ was the fourth most attended exhibition worldwide
in 2011, with more than 661,000 visitors. This year, the V&A sold a record 67,000 advance tickets to its
‘David Bowie Is’ show, a fusion of fashion and popular culture, and around 300,000 people poured through
its doors. In Colorado, the Denver Art Museum extended
the hours of its exhibition ‘Yves Saint Laurent: The
Retrospective’ to cope with demand. In 2012, there were
more than 44 costume shows in major museums worldwide.
This reclassification of fashion pieces as museum-worthy
works of art makes many nervous. The art business depends
on keeping art exclusive, rarefied and otherworldly. ‘Fashion
is fashion and art is art,’ says Damien Whitmore, director of
programming for the V&A. ‘Art is about meaning; fashion is
a craft.’ The V&A, with an established textile and fashion
department, puts on exhibitions that explore the stories and
skills behind costume. As Whitmore says: ‘We’re not just
about “wow”, we’re about “why” and “how”.’
Yet the hard lines that separate high and low culture have
blurred; and the roles of feminism and micro-history
have also elevated fashion’s status. The art historian Richard
Martin observed that fashionable attire was devalued in
Western culture because it was seen as the province of
women. ‘While the feminist movement of the 1960s might
be cited as a reason for the reassessment of fashion,’ says
Harold Koda, the curator in charge of the Costume Institute
of the Metropolitan Museum of Art, ‘I think it has
Clockwise more to do with a broadening of the definition of art
from left: the in the 20th century.’
A/W 11 Dior Traditional classifications of what constituted a work of
Paris catwalk art ended a century ago when Marcel Duchamp signed a
show at the
urinal with ‘R Mutt’. ‘Art is not about itself but the attention
Musée Rodin.
Bianca and we bring to it,’ he said, placing the lavatory on a pedestal for
Mick Jagger at inclusion in an art exhibition. Since then, an artist’s hand only
the Met. Stella has to hover near his or her work. When Charles Saatchi
McCartney commissioned a pickled shark from Damien Hirst for
and Gwyneth
£50,000, most thought the collector had gone mad. Yet,
Paltrow
at the 2011 armed with a lofty title and a lot of attention, The Physical
Costume Impossibility of Death in the Mind of Someone Living sold for a
PHOTOGRAPHs: GeTTy imAGes, © ken PRObsT/cORbis, Rex feATuRes

Institute Gala reputed $12 million. If a box, a shark or a lavatory qualifies as

art, many might argue that a shoe, hat or bra should too.
There is, after all, a rich interplay between fashion and art.
In portraiture, clothes are a reflection of character and status.
Velázquez was careful to put Philip IV in far more important,
bejewelled clothes than his subjects. Queen Elizabeth I’s
portraits were full of sartorial messages: dresses decorated
with vine leaves demonstrating England’s love of the natural
world; clothes decorated with pearls to depict virginity and
purity; complex ruffs of the finest lace, available only to a
ruling monarch. The early Impressionists shocked society
by painting the middle classes in their everyday
garb. Jean-Auguste-Dominique Ingres lavished so much
attention on the detail of his sitters’ clothes that their faces
became the supporting act. Despite being famed for his

www.harpersbazaar.co.uk
 Clockwise
from left: the
Met’s Fashion
Ball in 1960.
Diana
Vreeland in
1983. Bowie
fans staging
a flashmob
at the V&A.
Jackie Onassis
at a Met Gala.
Bottom left:
Vivienne
Westwood at
the V&A

nudes, Lucian Freud painted his models’ apparel

with astonishing attention to detail.
Mass production and delegation are nothing
new for artists. Canaletto had a studio to crank
out views of Venice to sell to tourists; Andy Warhol
his ‘factory’, whose amateur employees made screen
prints. Meanwhile, an haute couture dress is a one-off
creation needing many hours of skilled labour
to realise a particular fantasy. Many cost more
than works of art. Even high-end ready-to-wear
looks are manufactured in smaller editions than
Damien Hirst’s Spot prints. So which object
is more deserving of inclusion in a museum? since 1948, but these were dusty, matronly
How do we judge? affairs. Vreeland injected the proceedings
Some – though not all – designers aspire
to be promoted to the first division of fine
A couture dress withglamour andpizzazz;morethan150,000
people saw her first show, ‘The World of
arts; being exhibited in a museum elevates a
garment and adds to a brand’s allure. Labels
is a one-off Balenciaga’. Another Vreeland masterstroke
was to appoint that doyenne of style Jackie
gain kudos by association with museums
and, increasingly, the language of art suffuses
creation; many Onassis as co-chair; together they made the
Costume Institute Ball a must-attend event.
the lexicon of fashion. Prada, Trussardi,
Cartier, Salvatore Ferragamo, Balenciaga,
cost more than One critic accused her of creating a ‘thinly
disguised PR campaign for department-store
Prada, Montblanc, Louis Vuitton, Hermès
and Gucci have all created foundations that
works of art retailing’, and it’s true that Vreeland put
theatricality before accuracy. For her exhibi-
collect and show art, often alongside their tion of ‘The Eighteenth-Century Woman’,
products. LVMH sponsors exhibitions, as well as providing classes she ordered the wig-maker to use concrete blocks to exaggerate
for children and a young artists’ award; Marni collaborates with the size of the hairpieces, as it would be ‘more amusing’.
artists on its catwalk shows. And the overlap continues elsewhere With Anna Wintour joining as co-chair in 1994, the Costume
– in Paris, designers show their new-season collections in venues Institute scaled new heights. One show, ‘Dangerous Liaisons’ in
traditionally associated with high arts: Versailles, the Grand Palais, 2004, was the first to integrate the clothes of 18th-century France
the Jeu de Paume, the Musée Rodin and the Louvre. Conversely, the into rooms adorned with furniture and objects of the period. In her
Gucci Museo in Florence recently showed work by the American first year, Wintour raised $1.3 million for the ball; last year, she
artist Cindy Sherman, and Gucci’s owner François Pinault, who also corralled cheques for $11 million. Thanks to a massive gift from
counts Christie’s auction house and two museums in Venice among Lizzie and Jonathan Tisch, the Costume Institute is being revamped;
his assets, has one of the world’s most important art collections. from next year it will have a 4,200-square-foot exhibition space, an
It was a former fashion editor of this magazine, Diana Vreeland, updated conservation centre, a library and expanded storage
who invented the blockbuster fashion exhibition. When she left facilities. Koda explains one of the new gallery’s technological inno-
publishing, Vreeland joined the Metropolitan Museum of Art, where vations: ‘We will be able to introduce isolated zones of sound – say,
she curated 14 shows before her death in 1989 (‘I was only 70; what of the drag of a mourning ensemble’s heavy satin train and the glassy
was I supposed to do? Retire?’ she crackle of jet fringe in movement, or the dry abrasion of an 18th-
said about taking the position). There century court gown’s overdress against its petticoat.’
had been a Costume Institute at the Putting on a show devoted to fashion does not always guarantee
Met since 1946 and an annual gala success. This year’s ‘Punk: Chaos to Couture’ Continued on page 254

November 2013 | H A R P E R’ S BA z A A R | 217

earlier this year
An interior by Ralph

designer horse-riding
Lauren. Opposite: the
PHOTOGRAPHs: cOuRTesy Of RAlPH lAuRen/m le magazine du monde, cOuRTesy Of fRAnçOis HAlARd
 Inspired by everyone from
Rita Hayworth to John Travolta, Grace Kelly
to Wild West cowboys, Ralph Lauren
has created a brand that embodies
the American dream
BY JUSTINE PICARDIE
T he road to Montauk from Manhattan is slow
on a summer Saturday, winding through
the Hamptons where the rich escape from the
sweltering city; past the billionaires’ beachfront estates, in which
rap stars and new-money moguls relax alongside old-school
WASPs. Any visitor who happens to be an F Scott Fitzgerald fan
might begin to wonder about the possible location of Jay Gatsby’s
mansion, with its Normandy turrets and French Gothic library; and
it is tempting, for a romantic such as myself, to imagine the man I am
on my way to visit as a latter-day Gatsby. As it happens, it was Ralph
Lauren who designed Robert Redford’s clothes in the 1974 film
adaptation of The Great Gatsby; but beyond that, there are other
suggestive parallels. Just as Fitzgerald’s hero is the epitome of a self-
made American, the child of a poor immigrant family, who changes
his name from James Gatz to Jay Gatsby, so Ralph Lauren was born
Ralph Lifshitz in 1939, the youngest son of Jewish immigrants
to New York, who had left the oppression
of Eastern Europe in search of a better life.
If it takes one extraordinary star
truly to interpret another, then perhaps
Oprah Winfrey’s description of the
designer’s global success is the most ‘Ralph Lauren
astute. ‘Ralph Lauren sells much more
than fashion,’ she has observed. ‘He sells sells much more
the life you’d like to lead. To own a
creation of Ralph Lauren’s… is to savour than fashion…
a taste of the American dream…
More important, he has elevated what He sells the life
Americans see as possible for ourselves
by offering a snapshot of a storybook you’d like to lead’
lifestyle that somehow feels attainable.’
The snapshot that I am seeing today is –OprahWinfrey
at his Montauk beach house, with a view
across the pale sand towards the ocean,
stretching out to the limitless blue sky.
But it turns out not to be a Gatsby castle
(though he does have one of those, in New York state, along with
a sleek Manhattan duplex and an elegant Caribbean villa at Montego
Bay); rather, a low-lying Frank Lloyd Wright-inspired building that
is hidden from prying eyes. It is beautiful – with a cedar-shingled
roof, pristine white walls and the original wooden floors; fresh white
linen upholstery, and a coffee table arranged with illustrated books
(including his wife Ricky’s volumes of recipes and photographs
documenting their life in the Hamptons and at their Colorado ranch,
and another of his celebrated classic-car collection). The family are
in residence this weekend: Ralph and Ricky (who married in 1964),
their daughter Dylan (the owner of the Dylan’s Candy Bar stores
in New York, East Hampton, Miami and LA), their middle child,
220 | H A R P E R’ S B A z A A R | November 2013
David (executive vice-president of global advertising, marketing
and communications at Ralph Lauren), and his wife Lauren,
niece of the former president George W Bush. (Their eldest son,
Andrew, a film producer, will also be joining them.) The effect to a
jet-lagged incomer is of walking into a Ralph Lauren advertisement
featuring a golden-tanned clan, with warm smiles and clear eyes;
PHOTOGRAPHs: TOm Allen, cOuRTesy Of Ricky lAuRen, cOuRTesy Of cHRis AlleRTOn, cOuRTesy Of bRuce webeR, cOuRTesy Of les GOldbeRG, GeTTy imAGes, cORbis, Rex feATuRes
indeed, the family starred as themselves in early ad campaigns, as
the authentic embodiment of the world of Ralph Lauren.
Today, the founder of the brand is looking exactly as you would
expect: silver-haired, tanned, trim in a black poloneck and khaki
cotton shorts of his own design, with a Ralph Lauren Safari watch
that could be vintage but is in fact new.
His voice is soft, his manner gentle; he
seems entirely himself, while also respon-
sive to others, in a way that rich and
famous men rarely are (which makes me
think of Gatsby again: ‘If personality is
an unbroken series of successful gestures,
then there was something gorgeous about
him, some heightened sensitivity to the
promises of life, as if he were related to one
of those intricate machines that register
earthquakes ten thousand miles away’).
The catalyst for our meeting is his
latest philanthropic project, one more in
a long line of enormously generous and
wide-ranging donations: among others,
to establish a breast-cancer clinic in
Harlem, and the $10 million he gave
towards the restoration of the original
Star-Spangled Banner in Washington.
His new commitment is to refurbish and modernise the Ecole
Nationale Supérieure des Beaux-Arts in Paris, France’s national
school of fine arts (past students include Henri Matisse, Claude
Monet and Hubert de Givenchy). It is not Lauren’s style to boast –
so he makes no mention that he was awarded the Chevalier de
la Légion d’Honneur in 2010 – but he does talk fondly of Paris,
where he restored a 17th-century mansion on Boulevard Saint-
Germain that is now home to the brand’s European flagship.
‘I always loved the way Paris looked,’ he says, ‘and I think I was
the first American designer in Europe. But my real romance
happened when I opened the store on the Left Bank, and I loved
being there. It was a lot of work, the building was a mess, but we
returned it to its original beauty.’
The idea of original beauty – authentic, untainted, genuinely
desirable – crops up regularly in our conversation; and perhaps it
goes back all the way to Lauren’s childhood in the Bronx. His father,
Frank, was from Pinsk (in what is now Belarus), a housepainter who
www.harpersbazaar.co.uk
▼
 The Lauren family en
route to a Guggenheim
charity gala in 1977

Robert
Redford wearing
Lauren-designed
An advertising campaign Ralph and Ricky costumes in The
for the Polo Ralph Lauren on the beach Great Gatsby (1974)
Wimbledon 2010 collection

Lauren in Colorado Ralph and Ricky with their

in about 1985 sons outside their East
Hampton home in 1977

The Lauren family

on the beach Kate Moss and Christy
Turlington at the Ralph
Lauren A/W 93 show

Ralph and Ricky

on the road. Right:
the designer with
Princess Diana in The Laurens’ residence
Washington in 1996 in Montego Bay, Jamaica

Ralph Lauren The Ralph Lauren

Collection A/W 12 campaign,
S/S 13 designs photographed at
photographed Highclere Castle
for a Bazaar
shoot

Gwyneth Paltrow
with her Best Actress Naomi Campbell
Oscar in pink Ralph modelling the
Lauren in 1999 S/S 97 collection
 A portrait of the Lauren
family in the American
countryside. Right:
Ralph and Ricky with
one of their horses

The family driving in

East Hampton in 1977
Below: Princess Diana visiting
landmine victims in Bosnia
in 1997, wearing Ralph Lauren

A look from the

S/S 14 collection Below, from left: A/W 12 designs
modelled for a Bazaar shoot.
The Duchess of Cambridge wearing
a Ralph Lauren blazer in Wales
earlier this year. Lauren in East
Hampton in 1977
 was also an artist. ‘He was a very romantic man,’ says Lauren. ‘He
used to play the mandolin and the violin and the piano by ear. And
somewhere along the line he learnt how to do decoration – he’d do
murals on the wall, and he also did synagogues and churches, and
decorated the ceilings way up on high ladders.’ Ralph, the youngest
of four (he has two older brothers, Jerry, who still works with him,
and Lenny, who is seven years his senior; and a sister called Thelma),
remembers his father taking him to the Metropolitan Museum of
Art in New York to look at the paintings. Afterwards, inspired by
these masterpieces, Frank would copy them; and he also learnt to
do faux marble and wood effects with paint. But Ralph’s idea of
beauty was coming from other sources; not traditional art, whether
his father’s copies or museum originals, but Hollywood movies,
which he watched at the local cinema every weekend. ‘I was in love
with Rita Hayworth,’ he says, ‘she was like the girl next-door. And
when she dances with Fred Astaire, she’s so sweet and delicate,
and so beautiful it made my heart ache.’
As for the real girl next-door: ‘She was
called Harriet, and was a little older than
me. I don’t think she even paid attention
to me, but I used to make her bracelets out
‘I believe in
of the wire that came around the bottles of
milk…’ But, above all: ‘Movies had a very
timelessness.
strong effect; movies were very much a
part of your life when you were a kid.’
It’s notatrend,it’s
At 16, like his brother Jerry, he changed
his name from Lifshitz to Lauren, ‘after
nota moment;
Lauren Bacall’ (another New Yorker
of Jewish-immigrant stock, who also
it’s life. And it’s a
changed her name, from Betty Joan
dream life, it’s
photographs: ben toms, courtesy of les goldberg, courtesy of bruce weber, getty images
Perske). ‘I wasn’t doing it to be preten-
tious,’ says Lauren. ‘I was a kid in school,
my brothers had the same issue – you go
a wonderful life’
to a public school crowded with all kinds
of kids and they’d hear the name and say,
“Is that shit? What’s in that name?” And they would make fun of the
name, so every time I got up I cringed. Fortunately, I was a cool kid
so I got through it, but inside I didn’t like it, it was very upsetting.’
Yet, with the perspective of age, he now says he sometimes
regrets changing his name. ‘Because I believe in authenticity, it
seems inauthentic to have changed your name. And I don’t like it to
be an issue, so when people write about it, it tilts what I’m truly
about.’ By this, he is referring to the lazy line, often trotted out in
profiles of Lauren over the four decades of his fame, that he changed
his name in a bid to become a WASP. According to this somewhat
patronising analysis, the same impetus was behind his early job
at Brooks Brothers, and his choice of a name for his fledgling
company, Polo Ralph Lauren (after all, what business did a poor
Jewish boy have in dreaming of such a distinctively aristocratic
www.harpersbazaar.co.uk
sport?). But that reductive approach ignores the more intriguing
truth of how, and why, Ralph Lifshitz became one of the richest men
in America, with a brand that is sufficiently desirable to be worn
by British royalty (Princess Diana was a fan, and so are her sons)
and the East Coast upper classes that his son has married into.
You don’t get that far with fakery; on the contrary, Ralph Lauren’s
success – like that of Coco Chanel (with whom he has more
than a little in common) and the Hollywood pioneers (many of
them Jewish) – is in part attributable to his capacity to inspire
the dreams in others that he already believes in himself.
And again, like Chanel and her Hollywood contemporaries,
Lauren is a great storyteller, who under-
stands the transforming power of his
tales. Indeed, he tends to see his fashion
collections as filmic narratives. ‘When
someone comes up to me at the end of the
show and they say, “Oh, I love that dress,
that gown, that shirt,” I say, “Well, what
about the rest?” I never look at it simply
as clothes. I know editors are coming to
write about the new fashion, but I’m not
about the new fashion. I’m about the story,
and within that story I know that I have
to do something new, something that
makes you say, “Oh, wow, I love that.”’
And in doing so, his primary goal has
been to create stories that he loves, rather
than trying to second-guess the market.
His imagination has ranged from the
American prairies to African safaris; from
Grace Kelly evening gowns to Sante Fe suedes – and, remarkably, to
blend these not into pastiches or costume dramas, but something
recognisably his own. ‘I didn’t go into what I was doing to copy,
or to be anyone else but myself,’ he says, with quiet yet passionate
conviction. ‘I found something that touched the nerve for me all
the time… I’ve always believed in timelessness, I believe in longevity,
and that’s very important to me. It’s not a trend, it’s not a moment;
it’s life. And it’s a dream life, it’s a wonderful life, it’s not fake, it’s not
meant to be pretentious, it’s not meant to be, “Let me show you a way
to live,” and have you look like a cowboy. It’s, “Let me show you what
I see, let me make you love this, let me tell you the story.” And so far
I’ve been mesmerised by Indians and cowboys, by Scotland, and old
saddles, tweeds, and boots and gloves and leathers, and motorcycles,
John Travolta, whoever it is, I have responded.’
Little wonder, then, that the world still responds in turn to Ralph
Lauren: the mythmaker, yet also a true believer. For, in an era when
so much looks uncertain, how reassuring to find a man – and a brand
– with such heartfelt commitment and faith.
November 2013 | H A R P E R’ S BA z A A R | 223
 modern
masterpieces
Bazaar’s portraits of the season’s perfectly-formed make-up
and fragrances are a tribute to the art of looking fabulous
By victoria hall Photographs by paul zak
beauty bazaar
THE SCULPTURE
Inspired by a metal travel flask, Coco Chanel wanted the strong, square-shaped glass bottle to contrast
with the feminine, honey-coloured fragrance sealed inside.
Shop the page instantly with Blippar

Chanel No 5

eau de parfum, £67 for 50ml

paul zak
 O LS
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texture of his
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s,
Paint
Nars Eye

‘Make-up can become many things – bold, transparent or graphic – which to me as a make-up artist is very important,’
says the Nars founder François Nars. With a similar texture to that of an artist’s gouache, Nars’ Eye Paints lend themselves to strong
looks, as well as light washes of colour across the lids.
Shop the page instantly with Blippar
 beauty bazaar
A
P
I T
N
E
E R’
H S
T

R
B
U
S
H

Such is the delicate craftsmanship behind

Dior’s blusher brushes that each and every
natural goat- and pony-hair is specially
selected to fit without being cut, in order
to preserve its original softness, and then
the brushes are carefully assembled by hand.
Dior Backstage Blush Brush, £43

paul zak Shop the page instantly with Blippar

 BEAUTY BAZAAR

Honour,
£150

SOMETHING Amouage

IN THE
AIR
Bazaar looks at the rich
interplay between perfume
and art through the ages.
Shop the page instantly with Blippar

By HANNAH BETTS

Coco
Noir, £75
Chanel

Coco,
£67
Chanel

W
hile the alchemy of perfume is itself an art, overt Impressionist tribute, took its
throughout history scent has looked to the arts for name from twilight: the moment at
inspiration. There may be analogies of content or which the scent of flowers intensifies,
structure, and affiliations with artistic movements smell gains ascendency over dimin-
or particular artists’ oeuvres; both forms of creativity must engage ishing sight, and a visionary quality
in the process of restoration, of resurrecting classic works in a way takes hold. A lavish floral with a
that makes sense of their past and present. Accordingly, painting, powdery musk base, the scent has a richness that is undercut by
poetry, music, sculpture, photography and film all enter into imagi- a piquant, vaguely troubling heart of aniseed, clove and heliotrope.
native symbiosis with the scented sphere. The first lady of the avant-garde, Gabrielle ‘Coco’ Chanel,
As Jean-Claude Ellena, nose for Hermès, remarked: ‘I am sensi- famously enjoyed friendships with – and played patron to – many
tive to all different styles of art. Wherever I can, I make parallels, of the greatest artists of the age: Cocteau, Picasso, Apollinaire,
associations, analogies… There are similarities between Cézanne, Stravinsky, Picabia, Dalí and Diaghilev. As the 1920s dawned, the
PHOTOGRAPHS: DAVID SLIJPER, GRAHAM WALSER

Ravel and my fragrances. There’s a vision that veers towards
simplicity, the working drawing. I like Soulages because, like
him, I limit my palette enormously, yet manage to find new
shades within it.’ The relationship between scent and art
may be allusive and elusive, but that is where its beauty lies.
The Guerlain family has always maintained a close
affinity with the world of fine art. Jacques
Guerlain, the house’s first great nose, was an
enthusiast for and collector of Impressionism,
the movement that strove to understand the play
of light and shade. L’Heure Bleue (1912), his most
abstraction that had been gathering momentum since Picasso’s
Cubist revolution of 1907 flourished across art, literature and
music – and, no less, in Chanel’s No 5 (1921). Gone were
any mimetic or figurative aspirations; instead, what she and
Ernest Beaux created was the first abstract perfume.
For some, the affinity between the visual and the
olfactory is literal. Frédéric Malle, the editor of
his eponymous Editions de Parfums, is a synaes-
thete who sees smells. He elaborates: ‘I see
Shalimar, £52
colours, more or less transparent, and shapes that
Guerlain are soft or angular. These are always abstract, and

November 2013 | | 231

▼

www.harpersbazaar.co.uk H A R P E R’ S BA Z A A R
 BEAUTY BAZAAR
Shop the page instantly with Blippar

evolve, a bit like smoke or water.’ The advantages are manifold: to new heights of creativity.’ Restoration is no less an art.
‘It allows us to stay in a world similar to music and abstract painting I interviewed Guerlain’s Thierry Wasser after his creation of
– something quite immaterial.’ Not that everything Malle sees in a lighter, fresher version of Shalimar with Shalimar Parfum Initial
the world of perfume is beautiful. ‘The classics generate more precise (2011), and he told me that while it was intimidating to tackle
and simple shapes. Today’s junk fragrances look like wishy-washy Jacques Guerlain’s 1925 classic, he was obliged to create the future
kaleidoscopes, as impossible to memorise as the scents themselves.’ while honouring the past. Out went the leather and the jasmine –
Malle has produced images to accompany a number his edi- ‘too old-school animalic, too much’; in stayed the rose and orris
tions. For Portrait of a Lady (2010) – all amber and patchouli, of the house’s signature Guerlinade.
topped by a vast rose – we have a plush brown and gold, Chanel’s Jacques Polge, creating Coco Noir (2012)
contrasting with the red, pink and purple of rose and from Coco (1984), observed: ‘A fragrance’s birth is an act
berry; while Carnal Flower (2005) is ‘milky, soft, see- of pure creation and unique intuition that cannot be
through, with a hard darkness at the centre’. retraced, only felt. What remains is the lineage. This
Dalí dreamed up a jasmine and rose confection in passage of time that enters the most unexpected olfac-
1983, its flacon based on his Apparition of the Face of tory compositions into the history of perfume and renders
Aphrodite of Knidos. Andrea Maack, an Icelandic artist No 5, £67 them intelligible… Any fragrance, however individual,
Chanel
who recently exhibited at the Reykjavik Art Museum, can only exist because of those that came before it.’ And
produces scents that are olfactory interpretations it, in turn, will inspire the artistry of the future.
of her visual creations. And Pierre Guillaume’s
Huitième Art Parfums are about recognising Trésor,
perfume as the eighth art, after music, literature, £40
Lanc™me
philosophy and the like.
Jubilation On occasion, the synergy between
25, £165
Amouage scent and art will be as simple as one
image, one scent. Miller Harris’ Lyn Illustration, design
Harris is working on a fragrance and photography
‘deeply inspired’ by Picasso’s La Jacques Guerlain
Femme-Fleur, a portrait of his lover, started the vogue for
the artist Françoise Gilot. A work in commissioning artists –
progress, it will be a bouquet domi- Darcy, Charnotet, Sevreau
nated by iris, with a tang of leather. – to produce advertising.
She explains: ‘I was spurred by the photo of her Dior’s relationship with
holding the iris; a beautiful woman with the most the illustrator René Gruau
beautiful flower. And the fact that we extract became part of the
the smell from the iris’ root is the soul of it all. The house DNA. Otto, Olivier Narcisse
painting enabled me to fantasise about female Polge’s scent for a candle Noir, £136
Caron
beauty through the eyes of one of the greatest produced in tribute to Piero
painters. I love how Italian-looking she is, and the Fornasetti, is as sublime as
spacing of her eyes and chin: imperfections that the artist’s designs.
Sì, £63
lead to absolute beauty.’ Giorgio
The first new Estée Lauder perfume for a decade, Film Armani

Modern Muse, an elusive, woody floral, plays Caron’s Narcisse Noir

with a similar notion. It is described inspired Powell and
by the company’s fragrance guru Pressburger’s Black
Karyn Khoury as ‘inspired by the Narcissus; and Billy Wilder
complexity of a modern woman’. is said to have sprayed the Terre
She continues: ‘Its construction sets of Sunset Boulevard d’Hermès,
£77
reflects the same dynamic with it. Recent campaigns HermŽs
tension as her personality. Après
still ofer a veritable Modern
People think of tension as a L’Ondée, filmography: Baz Luhrmann Muse, £60
PHOTOGRAPHS: GRAHAM WALSER

negative word, yet in the
world of art, and not least in
the art of fragrance, creative
tension can be a great source
of inspiration, with the
influence of seemingly con-
tradictory qualities leading
£74 EstŽe
Guerlain and Joe Wright for Chanel; Lauder
Rob Marshall for Lancôme
Trésor; Anne Fontaine
directing Cate Blanchett
for Giorgio Armani Sì; and
Wes Anderson and Roman
Coppola for Prada Candy.

232 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk

 BEAUTY BAZAAR
KENZO

By SOPHIE FORTE

Photograph by LOL KEEGAN

Styled by FLORRIE THOMAS

DARK
ELIE SA AB
ARTS
Cast a spell with intensely
inky black lacquers.
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SEE STOCKISTS FOR DETAILS. MANICURE BY SABRINA GAYLE AT LMC WORLDWIDE, USING
LANCÔME VERNIS IN LOVE IN PURPLE FICTION. PHOTOGRAPHS: JASON LLOYD-EVANS
instantly with Blippar

The abstract expressionist Ad

Reinhardt described his black
paintings of the 1960s as the
EMPORIO ARMANI

‘ultimate paintings’. They

appear monochromatic, yet
the multiple nuances of black
emerge on close inspection. The
same can be said of Lancôme’s
new trio of off-black polishes:
the ultimate in executing From top: calf-skin and
this season’s black nails with metal bracelet, £810,
sophisticated subtlety. Hermès. Metal and fabric
Lancôme Vernis in Love in Purple bangle, from £550;
KENZO

Fiction, Black Sepia and Grey Plexiglas and chain bangle,

Lumière, £12.50 each £1,080, both Chanel

www.harpersbazaar.co.uk
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BEAUTY BAZAAR

WATERS
‘T OF LIFE
here must be quite a few things that a hot bath won’t cure,
but I don’t know many of them,’ said Sylvia Plath, and we
quite agree; the most pleasurable conclusion to a chilly day Combine a few luxurious products
is to sink into a deep tub, steamy and steeped in salts, oils or suds.
The perfect bath is an artfully alchemic affair; within a capful of this in your bath to create the most
and a dash of that lies the opportunity to transport body and mind. blissfully soothing experience.
With the air of a cosy country retreat, green and piney soaks are
wonderfully warming. The coniferous froth of Badedas Original Shop the page instantly with Blippar
Bath Gelee, £6.19, is nostalgically cheering; but Ila Bath Salts
for Cleansing, £49, Dr Hauschka

PHOTOGRAPHS: LOUISE DAHL-WOLFE/COURTESY THE MUSEUM AT FIT, GRAHAM WALSER. THE LOUISE DAHL-WOLFE PHOTOGRAPH ORIGINALLY APPEARED IN HARPER’S BAZAAR’S FEBRUARY 1953 ISSUE
Spruce Bath, £9, and Sisley Eau
de Campagne Bath and Body Oil, By SOPHIE FORTE
£56, are all more modern, more
elegant alternatives.
If bed is your imminent desti-
£100
nation, toss a handful of Ina Shifa
Crystals White Gold Detoxifying
Crystal Salt, £47, under the
BEST B
running tap; this is an excellent R

YO U

AT
antidote for tired limbs. Next, add

H
a liberal splash of soporific bath oil.
Aromatherapy Associates Deep A scented
Relax Bath and Shower Oil, £39, is candle provides
fantastically potent. Or, if a bath essential ambience.
laced with roses is your idea of I love Diptyque 34
pre-slumber heaven, then Ren Boulevard Saint
Moroccan Rose Otto Bath Oil and Germain Scented
Jo Malone London Red Roses Candle, £50, or Neom
Bath Oil are blissful with Shiffa Organics Relax Home
1001 Roses Milk Bath. Candle, £39.50.
A bathe in a hotel can be one Drummonds
of the most sybaritic experiences makes the best
there is (the deep tubs at Le cast-iron baths and
Meurice in Paris spring to mind) or accessories. I chose
the most disappointing (a magnifi- its bath lever taps,
cent Victorian bathtub… with nothing but a Espa Bath Oil Collection, £27, into your as they’re easily
decrepit bar of soap and an empty bottle of wash bag. switched on and of
something nondescript), so we suggest you A note on bubble bath: never underesti- with a foot.
tuck Aromatherapy Associates Miniature mate its capacity for inducing pure joy. Our Darker wall
Bath and Shower Oil Collection, £32, or favouritesareGuerlainShalimarVoluptuous colours create a
Foaming Bath, £31, and Dior J’Adore cavern-like feel
£30 Shower Gel, £33. But the definitive luxury for a bathroom.
Ren
bubble bath is Chanel’s. Available from Mine is Farrow & Ball
November, No 5 the Foaming Bath whips Plummett (a warm
up a cashmere-soft foam. grey) and Of-black
The essence of every bath is in the detail: for the woodwork.
never rush (along with tepid water, bathing Store bath towels in
in haste borders on depressing) and always cupboards lined with
£40
have the largest towel to wrap yourself up in Jo Malone London
Chanel afterwards. Giorgio Armani took a year to Scent Surround
£52 perfect the weight and pile for the towels at £33 Drawer Liners in
Jo Malone his Milan hotel: clearly a man who under- Dior English Pear &
London
stands the art of the bath. Freesia, £30 for five.

236 | H A R P E R’ S B A Z A A R | November 2013 www.harpersbazaar.co.uk

London, 1.23 Chelsea Harbour, The Design Centre. Tel. +44 207 079 1930
 at home

Edited by ajesh patalay

a place
to dream
PHOTOGRAPH: fiOnA wATsOn

This month, Bazaar explores the

A view of Little Sparta,
South Lanarkshire,
from a small art-studio
hut in the grounds
enchanting garden of Little Sparta,
designed by the poet Ian Hamilton Finlay
as a green space full of ideas and mysteries
 at home

Clockwise from left: a

goose-hut on Lochan Eck
at Little Sparta. A beehive.
The road to the garden. A

wo n de r
stone sculpture. Below left:
the gate to the sheepfold

l a nd
Asubmarineloomsfromapond,pathsleadnowhere,panpipeshangfromtrees…
LittleSpartainScotlandismorepoemthangarden
By alice oswald

A
t one end of my desk, i have a lake. an ‘english lane’,
pile of letters from ian Hamilton set between hedges, nei-
Finlay, the scottish poet and ther meanders nor leads
garden maker. i keep them there anywhere. what are peo- sentences on Gardening’:
so that i can dip into their clarity from time ple meant to make of all ‘a garden is not an object
to time. it’s good to be within reach of such this paradox? but a process’; ‘superior
exact and melancholy phrases as this one: Hamilton Finlay (born gardens are composed of
‘would that my words could be still. it is in the bahamas in 1926) Glooms and solitudes and
often my dearest wish (or second dearest)’; started out as a writer of not of plants and trees’;
or this one: ‘everything absolutely pure short stories and short ‘The lawn is the garden’s
is folded and scarcely larger than a dot (as poems. His style was downfall’. This list is not
it were)’. i corresponded with him for seven always spare, always aim- so much explanatory as
years, after applying for a job as his gardener ing to wear itself down to provocative. its discon-
in 1990. None of the letters mentioned something ‘scarcely larger nections lead you to infer
whether i had got the job, but the corre- than a dot’. in the 1960s, inspired by edwin a fuller, more coherent philosophy of which
spondence became an end in itself: a series Morgan, he began to write concrete poems these might be only excerpts, but actually,
of footnotes to his extraordinary garden. (poems whose typography contributes to there is no source text, no coherence. The
it’s an unsettling place, both protective their meaning) and this sculptural approach argument is deliberately fragmentary.
and disruptive. one moment you move to language led him eventually to make ‘a fragment,’ he said, ‘is a whole composed
among the birch-trees his poems three-dimen- of a part, completed by a mystery.’
where a set of pan pipes, sional, writing them into when i first saw little sparta, i was
half hidden in leaves, There is a pool blocks of stone or wood, working at wisley, which is a garden
tells you: ‘when the wind or sundials, stiles, foun- designed to eliminate mystery. its purpose
blows/ venerate the of reflected tains, stepping stones, is to teach, and its essence is therefore
sound’; the next moment watering cans, plant display. i was amazed, having caught a series
you meet a stone tortoise
clouds, a broken labels or boats. of trains and buses to the pentland Hills,
on whose shell is written column, a path out of this actualis- to find myself in a garden whose essence
‘panzer leader’. There’s a ing impulse came the was mystery and whose main features were
pool of reflected clouds, of boat names garden at little sparta. invisible. like a graveyard, everything was
a broken column, a path He moved to the inscribed with a reference to something
of boat names; then sud- pentland Hills near unseen. so a fallen pillar, with lettering
denly gateposts topped edinburgh with his wife on its side saying: ‘arcadia n. (noun)
with hand grenades in 1966 and began to a Kingdom in sparta’s neighbourhood’,
leading to a huge decapi- populate his five-acre suggested another landscape, of which this
tated head of apollo. garden with his poems. one was only the ruins; and the lake,
a submarine’s conning in 1980, he produced with boats drawn up along its edge and that
tower sticks up out of the a booklet including two submarine poking from its shallows, seemed
shallows of a very small pages of ‘Unconnected to be not itself, but an emblem of the sea.

240 | H a r p e r’ s b a z a a r | November 2013 www.harpersbazaar.co.uk

 SPARTA STYLE

£29
The Conran
Shop

Bird feeder,
£25
Cox & Cox
It was there, on that
souvenir Mediterranean,
that my interview took
place. I had to answer
questions while rowing
from side to side, trying to Engraved
STONE AND WATER seesaw, £850
look my interviewer in the eye while also Stevenson
Clockwise from top left: a
avoiding the reeds. I did run aground Brothers
PHOTOGRAPHS: FIONA WATSON, GRAHAM WALSER. SEE STOCKISTS FOR DETAILS

model boat in the window

a couple of times, but at least it gradually of the main house. An
became clear that he was not going to quiz inscribed dry-stone wall
me about plant names. He was much more inside the sheepfold. A
statue of Hypnos, Greek
interested in ideas than plants. ‘What is the
god of sleep. Rain on a
difference,’ he asked, ‘between an aphorism small pond. A boat
and a fragment?’ then answered the ques- moored on Lochan Eck,
tion in a letter the following week: ‘A the small loch
fragment is an aphorism in a wild or
super-social state. (Aphorisms are
tamed fragments.) Aphorisms belong
to the world, fragments to the uni-
verse.’ It was not a conventional
garden interview.
Hamilton Finlay died in 2006.
His garden, which is now beautifully £125
Cox
managed by the Little Sparta Trust, & Cox
£14
is still growing. Anthropologie

£3,950
Burford

Inner Compulsion
(sculpture), to order
Peter Randall-Page
Dream of a white Christmas in winter’s most desirable pieces
PHOTOGRAPH: THOmAs lOHR

Jacket by
The december issue – on sale 7 november Tommy Hilfiger
 ESCAPE

Edited by CATHERINE FAIRWEATHER

picture
this
From sculpture on the savannah to Rodins in Singapore,
take a modern grand tour of the world’s most artistic hotels.
Plus: Monica Vinader on hunting emeralds in Jaipur
PHOTOGRAPH: dAvid cROOkes

modErn
landscapE
The gardens
at the segera
retreat in Kenya
 ESCAPE

Art in
residence
Infinity pools and Frette bathrobes are no longer enough.
These days, hotels are investing in world-beating art
collections to tempt discriminating aesthetes to check in

Th E S Eg ER a R E TR E aT K e n ya
The last thing you expect to find in a block of restored stables
in the middle of the vast Laikipia Plateau in northern Kenya is one
of the largest private collections of contemporary African art.
On the walls are Zimbabwean Kudzanai Chiurai’s silent short film
Iyeza, a retelling of the Last Supper shown at this year’s Sundance
Film Festival, playing on a loop; drawings by the Ethiopia-born
Julie Mehretu (who recently had a White Cube solo exhibition);
video work by the British-Nigerian Yinka Shonibare; and
paintings by the Ghanaian Owusu-Ankomah.
Owned by Jochen Zeitz, a former Puma CEO who
recently launched Segera, a 50,000-acre reserve with six
villas, the collection is groundbreaking – not only for its
size, but also for the way it is set off by the landscape. Wire
sculptures and bronze figures are dotted around a neat,
emerald-green garden – a surreal sight amid the savannah
that stretches wild, untamed and tawny to the far horizon.
There are plans for events, such as a screening of the artist
Isaac Julien’s Ten Thousand Waves film on the plains.
The curator Mark Coetzee (previously the director of the
Rubell Family Collection in Miami), who has been working
on expanding the collection for the past four years, will rotate
the art every few months so there’s always something new
on show. All of which is part of Zeitz’s larger plan to offer guests far
more than the chance to spot elephants. His vision also includes the
philanthropic Zeitz Foundation, plus community and conservation
projects. More hedonistic guests can relax by the pool, have a spa
treatment and take sundowners on the star deck while the moon
illuminates a different kind of Migration – a series of boulders with
text inscriptions by the artist Strijdom van der Merwe. emma love
Five nights at the Segera Retreat, from £3,445 a person full board, including
transfers, with Mahlatini Luxury Travel (02890 736050; www.mahlatini.com).

Ed En Ro c k – St Barth S
DAviD cROOkes

One of the Caribbean’s most glamorous destinations is also a treasure trove of art. Rooms are
decorated with antiques and watercolours by co-owner Jane Spencer Matthews, who studied at the Slade
PHOTOGRAPH: xxxxxx

School of Fine Art. The new Villa Rockstar is lined with Matisse lithographs; in Villa Nina, Terry O’Neill prints
face an exhibition of contemporary art. And, if you can tear yourself away from the perfect crescent of white
PHOTOGRAPHs:

sand, you can pick up a brush and create a masterpiece, with help from the artists in residence. sarah gilbert
Seven nights, from £2,989 a person B&B, including British Airways flights and transfers, with ITC Classics (01244 355527;
www.itcclassics.co.uk).
 TH E DO LD ER G R AN D ZU R I CH
The fairy-tale steeples of this landmark have towered above Zurich since 1899, and after a four-year
restoration led by Norman Foster, it reopened in 2008 as a modern masterpiece. The owner Urs
Schwarzenbach’s diverse art collection – around 130 pieces – adorns the walls. An enormous
Warhol panel hangs above the onyx reception desk; the Finnish artist Jani Leinonen’s We Love
Vodka & Freedom hangs in the bar; and a Dalí oil of ballerinas with lobster heads greets you at the
entrance to the two-Michelin-star restaurant. A fabulously curvy Fernando Botero bronze
overlooks the hot-tub, making everyone within seem svelte; and, after tucking into Heiko Nieder’s
culinary creations, Scott Campbell’s I’ ll Start My Diet Tomorrow seems very apt. An innovative iPad
app means you can tour the collection by artist or location at your leisure. SARAH GILBERT
The Dolder Grand (+ 41 44 456 60 00; www.thedoldergrand.com), from £413 a night in a Double Room Superior.

S EM I R AM IS
ATH E N S
No, someone hasn’t spiked your
drink. This 51-room hotel really
is a riot of shocking pink, acid
yellow and lime green. The
colour scheme might not sound
very appealing, but somehow
Karim Rashid’s kooky interior
design – best described as magic
mushrooms meet sweetie shop –
really works. There’s a nod to
Pop Art in the cube-shaped chairs
and wavy sofas, the use of rubber,
plastic and perspex, and
the psychedelic pink light in the
reception area. Best of all is
the pool, which looks like a giant
green-and-blue swirly lollipop.
The hotel is owned by Dakis
Joannou, one of Greece’s biggest
collectors of modern art, and
works from his collection are
exhibited throughout. But while
the childlike joy in colour
W S I N GAP O R E – S ENTOSA continues in the bedrooms,
COVE S I N GAP O R E it is subtly toned down, so
Not many hotels can claim to have an art collection your dreams won’t be too
worth $3.5 million, but that’s what happens if you buy Sgt Pepper. KATE QUILL
works by Damien Hirst, Andy Warhol, David Hockney Semiramis (+30 210 327 3200, www.yes
and Auguste Rodin. True to the W brand, this 240-room hotels.gr), from about £149 a room a night.
hotel overlooking the harbour seems to be aimed at
hipsters fending off middle age. There are big, luxurious
yet kitsch rooms with names such as Extreme Wow,
bathtubs that look like petri dishes, crooked lampshades embedded
halfway up walls and sculpted hands holding flowers emerging from
others; the poolside chairs even glow in the dark. You can admire
Wang Ziwei’s great Pop Art-inspired work, and a melancholy
portrait by the French artist Etienne Assénat; while a gorgeous
Rodin bronze cast dominates the lounge. KATE QUILL
W Singapore – Sentosa Cove (+ 65 6808 7288;
www.wsingaporesentosacove.com), from about £222 a room a night.
 ESCAPE

Botan i q u e B r a zi l
This luxurious lodge, set high in green, forested hills
three hours’ drive from são paulo, is owned by
ricardo semler, a brazilian tycoon and business
guru, and his wife Fernanda. They are on a mission
to showcase the best that brazil has to offer in design
and hospitality. The building, an enormous, partially
transparent structure, was designed by the brazilian
architect Candida Tabet. Inside, the art on the walls
was curated by a leading são paulo gallery owner,
but it’s the furniture that will have you spluttering
into your caipirinha. The semlers scoured the
country to source every item from the best design
studios, so there are chairs by the internationally
renowned designer sérgio rodrigues, as well as
sofas, chaise longues, tables and cabinets from young
PHOTOGRAPHs: mARciO scAvOne

up-and-coming designers. The look is mid-century

Modernist – the sitting-room and library have a cool,
languid, Fifties, palm springs feel. botanique is
all-inclusive, and has a spa, fine restaurant, tennis
courts and a stable of gleaming horses. kate quill
Botanique (+55 12 3797 6877; www.botanique.com.br),
from about £790 a room a night all-inclusive.
An dA z Am ster dAm
Pr i n s en g r Ac ht
Am ste r dAm
The andaz, which opened last year,
is within walking distance of the city’s
main art galleries, but if you prefer
modern art to Dutch 17th-century
masters, stay put. This 122-room
property has the largest collection
of video art of any hotel in the world –
there are 40 installations by local
and international artists, including
ryan Gander, erwin Olaf and Mark
Titchner. The display screen in the
lounge is extraordinary, comprised
of nine 60-inch TVs. Marcel Wanders’
ambitious interiors blend the techie
and contemporary (lots of fibre-optics)
with nods to the past: 19th-century
typography and illustrations;
furniture that resembles giant
chess pieces; and shimmering,
patterned wall surfaces. It’s bold and
cutting-edge with a touch of Alice in
Wonderland surrealism. kate quill
Andaz Amsterdam Prinsengracht (+31 20
523 1234; www.amsterdam.prinsengracht.
andaz.com), from about £277 a room a night.
 ESCAPE

TH E SU R R E Y N E W YO R K
The Surrey is a stone’s throw from no fewer than nine world-class
museums, but you don’t need to leave the hotel to get your art fix.
This Beaux-Arts gem is home to a contemporary art collection that
includes a tapestry of Kate Moss by the photographer Chuck Close RO M E
in the lobby, a Claes Oldenburg in the Chanel-inspired Bar Pleiades C AVALI ERI
and a Richard Serra in the Penthouse Suite. This year, the hotel RO M E
launched tailormade art tours with Context Travel for amateurs Everything about the
and art aficionados alike. Starting with its own collection, you can Cavalieri is over the top,
focus on a particular artist or period and even get after-hours from the Tiepolo canvas
access to the Metropolitan Museum of Art. SARAH GILBERT in the lobby to the marble
The Surrey (+1 212 905 1477; www.thesurrey.com), a Deluxe Salon costs from escutcheon adorning the
about £315 a night and a Grand Suite Deluxe from about £600 a night. concierge’s desk. Despite
this being a sleek 1960s
hotel about 20 minutes from
the Piazza Barberini, all that
gilt and scarlet seems quite
at home. Which is lucky,
since the lavish decoration
doesn’t stop with the lobby.
There are Warhols in the
bedrooms and sculptures
adorning every passage. To
turn yourself into an equally
sculptural form, hone your
body in the giant pool or
on the outdoor fitness
circuit, and then retreat to
the spa for a final polish. The
greatest work of art
the hotel can offer, though,
LUXE FOR
is Rome itself, which spreads
LESS before the Cavalieri’s
balconies in all its Baroque
magnificence. SASHA SLATER
Rome Cavalieri, Waldorf Astoria
B RO DY H O US E B U DAP E ST Hotels & Resorts (+39 06 35091;
This B&B, which is part of a members’ club established by www.romecavalieri.com),
two British entrepreneurs, has 11 individually decorated from about £300 a night B&B
rooms set in a magnificent 19th-century palace, and each in a Deluxe Room.
is like an art gallery. Budapest’s wealth of artistic talent is
beautifully reflected in this highly original hotel. In some
ways, Brody House is quite traditional; its interiors have
elegant, classical proportions, grand pianos, glossy parquet
floors, piles of books and claw-foot baths. But that old-world
romance is shaken up with distressed, industrial-chic wall
effects, contemporary painting and photography, and many
disarming, rather surreal touches – one room is lined with
antique wooden doors. There’s also a diary of artistic events
taking place in the hotel to ensure you’re never at a loss for
something to see. KATE QUILL
Brody House (+36 1 266 1211; www.brodyhouse.com),
from about £60 a room a night.

www.harpersbazaar.co.uk
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 ESCAPE

Travel Top tip…

for relaxation

NOTEBOOK
‘Sitting by the pool
with an Aquarius
cocktail (lemon
soda with fresh
ginger and mint)
– utter bliss.’

The jeweller sings the praises of the precious stones

and tranquillity of Jaipur in India

Favourite view
‘The spectacular sight
from the Nahargarh
Fort as the evening
light turns the pink
buildings a deep gold.’

£385
Talitha

Best place to stay

£24 ‘The Oberoi Rajvilas
Three words that Chanel (below) is an idyllic
retreat from a vibrant
describe Jaipur: ‘Magical, and ever-growing
historic, incredible.’ city. Enclosed in
PHOTOGRAPHS: MARK LUSCOMBE-WHYTE/COURTESY OF MONICA VINADER, GRAHAM WALSER, ALAMY. SEE STOCKISTS FOR DETAILS

gorgeous gardens,
it feels like an oasis
Vinader selecting of peace.’
Your inspiration rough emeralds for
£261 ‘I love watching her new collection
Diane von craftsmen
Furstenberg
The pool at a
block-print private villa at
textiles and carve the Oberoi
the stamps Rajvilas
by hand.’

What do you pack?

‘Diane von Furstenberg
£850
Monica
trousers; Jimmy Choos
Vinader for the evenings;
(£8.99,
£775 Faber a Siren Bib necklace
Jimmy and in green, from my £90
Choo Faber) new collection; and a Crème
de la
book – A Fine Balance Mer
by Rohinton Mistry is a Beauty essentials
fabulous novel of ‘Crème de la Mer sunscreen;
Indian society in the £33 Chanel Rouge Coco lipstick; £74
past 100 years.’ Laura Laura Mercier foundation; Annick
Mercier Goutal
and my favourite scent, Eau
d’Hadrien by Annick Goutal.’

DON’T LEAVE HOME WITHOUT…

…the Ray-Ban Clubmaster Folding sunglasses. The classic Ray-Ban shape gets a clever redesign, allowing
the glasses to bend while maintaining their shape, making them the perfect accessory for even the tightest
hand-luggage restrictions. Ray-Ban Clubmaster Folding, £179, available at Sunglass Hut (0844 264 0860).
flash!
Sophie
Ellis-Bextor

Minnie Driver
in Missoni, and
Jeremy Piven

Poppy Delevingne
in Chanel, and
Elizabeth Whitson
Pixie Geldof and

Power
Henry Holland

dressing
Regal glamour ruled at the end of the
at an exhibition of the Royal night, everyone was
Family’s couture creations given thetable flowers
The Harper’s Bazaar and estée Lauder
to take home
Companies dinner for the opening of
Kensington palace’s exhibition ‘Fashion
rules’ attracted film and fashion royalty.
hayley atwell as guests studied the collection of
regal dresses (from the Queen’s gowns
said her royal by Norman Hartnell to princess Diana’s
icon was power suits), they contemplated what
they’d do if they were queen for a day.
Elizabeth I. Manolo blahnik whispered that he’d ‘ban
‘she had a few fashion trends that have bothered me
Naomie Harris
over the decades’. platforms, perhaps?
tremendous and Justine Picardie
Kristina and
power’ Manolo Blahnik
Roksanda Ilincic in her own
60 seconds with… label and a vintage Yves
Hayley Atwell in Saint Laurent jacket
Roksanda Ilincic, manolo
and Naomie Harris
in Marios Schwab
blahnIk
Who is your royal icon?
‘Her majesty elizabeth ii.
Christopher Kane and she has been with me
Erdem Moralioglu my whole life, so i have a
great amection for her.’
Which royal fashion
era do you like the
most? ‘i’m fascinated
by Rose Bertin’s original
designs – she was marie
Antoinette’s dressmaker.’
Gillian Anderson in
vintage Jean Dessès
 Tyrone Wood and
Jasmine Guinness Tracey Emin in
Timothy Everest

Laura Bailey
David Gandy,
and Samantha
Barks in Dolce
& Gabbana

Dougray Scott and

Claire Forlani

Jade Parfitt
in Jonathan
Saunders and
Louis Vuitton

Dan Stevens

Laura Bailey
dazzled in
pink Dior

Frames oF
attraction
Stars flocked to Tracey Emin’s
opening dinner for the Royal
PHOTOGRAPHs: OliveR HOlms, RicH HARdcAsTle

Kristin Scott Thomas

Academy Summer Exhibition
The Royal Academy of Arts Summer Jamie
Campbell
Exhibition preview dinner, hosted by Tracey Bower
Emin, is always an art-calendar highlight,
but this year’s was particularly star-studded.
The Les Misérables actress Samantha Barks
joked with Emilia Fox, and Dougray Scott
said his favourite artwork would be ‘a photo Florence Welch in Emilia Fox in
of the moment I met my wife, Claire Forlani’. Louis Vuitton Edeline Lee
‘costume drama’, coNtINued From PaGe 217
was criticised for a lack of understanding of the period. punk was
about ugliness, discordancy and anarchy. Gwyneth paltrow, who
turned up in a pink ballgown, said the show ‘sucked’. but Koda is
sanguine: ‘everyone is entitled to their opinion. We thought it was
amazing how elements of a provocative, even nihilistic, street style
could in 30 years come to be reflected in the creative strategies of
prêt-à-porter and haute couture designers.’
Leaving the ‘punk’ show, visitors could buy a $565 silk-screened
T-shirt that would have set sid Vicious off on a spitting fit. The
show’s sponsor, Moda Operandi, an online retailer, had exclusive
merchandising rights. On its website you could buy a peacock-blue
mohawk for $1,500, or a Thom browne wool zipped kilt for $3,820.
The V&a says it would never accept such sponsorship. ‘Our brand,
reputation, scholarship and integrity have to remain unblemished,’
Whitmore says. ‘We keep a critical distance.’
Yet, in an era when public funding is being cut and sponsors are
even harder to find, museums are under pressure to come up with
profitable exhibitions to entice new audiences. There are only so
many Da Vincis, Lowrys and Hockneys. big names and powerful
brands are important to help sell shows. The saatchi Gallery had a
runaway success with its exhibition of Chanel’s ‘Little black Jacket’,
photographed by Karl Lagerfeld. alexander McQueen’s clothes are
objects of extraordinary beauty and craftsmanship in their own
right; few could deny, though, that his suicide and tragic story
helped to create a frisson around the Met show.
another problem museums face is how to attract new and
younger audiences. The wide availability of cutting-edge design
means that everyone, whatever their shape, size and budget, can be
part of this once elevated and elusive world. No wonder that a newly
enfranchised fashion-buying population is interested in the stories
behind the brands. ‘Fashion in museums has an increasingly knowl-
edgeable and critical audience,’ Koda says. ‘Today, every blogger
has more information easily at hand than a costume curator did
20 or 30 years ago, when I was starting off. It is exciting to have a
more fashion-savvy audience to address ideas to.’
My problem with these shows is that garments need to be ani-
mated by a wearer; hanging on a rail or on a mannequin, outfits lose
their character and become pieces of material. Clothes are made to
be worn. The greatest outfits are realised by the body they encase;
by the shimmy of a seam across a hip or breast, the flick of a hemline,
the arrow of a dart, the slip of a stitch and the suggestion of form
lurking beneath fabric. Like a great play or piece of music, clothes
lose out without that element of interpretation or performance.
Fashion needs the input of an individual. ‘How many historic houses
have we been to where the glass-eyed mannequin has her wig faintly
askew and her eyelashes de-laminating?’ asks Koda. ‘because of
conservation restrictions, we can never animate a skirt or a sleeve.’
a fashion exhibition is just part of the story. However, provided
that the exhibits are based in their social context, and staged with
wit and imagination, and so long as sponsors don’t compromise the
curators, their popularity will endure. There are many to look
forward to in the near future. Few doubt that ‘Cartier: style and
History’ at the Grand palais in paris (from 4 December) will be a
success. The brits are bound to like ‘Hello My Name Is paul smith’
at the Design Museum (from 15 November) and, for the more adven-
turous, there is ‘The Fashion World of Jean paul Gaultier: From the
sidewalk to the Catwalk’ at the barbican (from 9 april 2014) and
‘Club to Catwalk: London Fashion in the 1980s’ at the V&a (until 16
February 2014). The most important thing is not to throw your old
clothes away; today’s cast-offs might be tomorrow’s works of art.
254 | H a r p e r’ s b a z a a r | November 2013
stockists
A–c
Acne (020 7629 9374) Alberta Ferretti (020 7235 2349) Alexander
McQueen (020 7355 0088) Alexander Wang (www.alexanderwang.com)
Alexis Mabille Haute Couture (+33 4 78 59 16 71) Amedeo at Harrods
(020 7730 1234) Annick Goutal at House of Fraser (0845 602 1073)
Anthropologie (00800 0026 8476) Anya Hindmarch (020 7493 1628)
Araks (www.araks.com) Armani Privé (020 7235 6232) Aspinal of
London (0845 517 8967) Astley Clarke (020 7706 0060) Atea (020 7235
2668) Azzedine Alaïa at browns (020 7514 0000) Balenciaga (020 7317
4400) Bally (www.bally.com) Balmain at Harrods (020 7730 1234) Berluti
(www.berluti.com) Bionda Castana (020 8870 5156) Bottega Veneta (020
7838 9394) Browns (020 7514 0000) Brunello Cucinelli (+39 075 697071)
Burberry (020 7806 8904) Burford (01993 823117) Calvin Klein Collection
(www.calvinklein.com) Cathy Waterman (www.cathywaterman.com)
Céline at Harrods (020 7730 1234) Chanel (020 7493 5040) Chanel (make-up)
(020 7493 3836) Charlotte Olympia (020 7499 0145) Chloé (020 7811 3950)
Christopher Kane at Matchesfashion.com The Conran Shop (0844 848
4000) Cox & Cox (0844 858 0734) Crème de la Mer (0800 054 2661)
d–J
Delvaux at Dover street Market (020 7518 0680) Diane von Furstenberg
(020 7499 0886) Dina Kamal DK01 at Dover street Market (020 7518 0680)
Dinny Hall (020 7792 3913) Dior (020 7172 0172) Dior Haute Couture
(+33 1 40 73 54 44) Dolce & Gabbana (020 7659 9000) Dominic Jones at
Harvey Nichols (020 7235 5000) Donna Karan (020 7479 7900) Emilio
Pucci (020 7201 8171) Emporio Armani (020 7823 8818) Eres (0808 234
0332) Esprit (00800 0037 7748) Eternamé (+33 1 40 69 08 00) Falke
(+49 2225 926176; www.falke.com) Fendi (020 7838 6288) Gareth Pugh at
selfridges (0800 123400) Giambattista Valli (+33 1 40 17 05 88) Giorgio
Armani (020 7235 6232) Giuseppe Zanotti Design (020 7838 9455)
Givenchy by Riccardo Tisci at Harrods (020 7730 1234) Gucci (020 7235
6707) Hermès (020 7499 8856) Hobbs (0845 313 3130) Isa Arfen at
Opening Ceremony (020 7836 4978) Isabel Marant at Harvey Nichols
(020 7235 5000) J Brand at selfridges (0800 123400) Jason Wu (www.
jasonwustudio.com) Jennifer Behr (+1 718 360 1875; www.jenniferbehr.
com) Jennifer Fisher (+1 888 255 0640; www.jenniferfisherjewelry.com)
Jimmy Choo (020 7823 1051) Jitrois (020 7245 6300) Jonny Beardsall
(01677 460007) Joseph (020 7610 8438) JW Anderson at Moda Operandi
(www.modaoperandi.com)
K–P
Kara by Kara Ross Collection (+1 888 686 5272) Kenzo (020 7491 8469)
Lanvin (020 7491 1839) Laura Mercier at selfridges (0800 123400)
Laurence Dacade at Joseph (020 7610 8438) LK Bennett (0844 581 5881)
Loewe (020 7499 0266) Lola Rose (020 7372 0777) Louis Vuitton
(020 7399 4050) Lucy Folk (+61 3 9663 6829; www.lucyfolk.com)
Lulu Frost (+1 212 965 0075; www.lulufrost.com) Manolo Blahnik
(020 7352 3863) Marc Jacobs (020 7399 1690) Maria Black (+45 3841 4535;
www.maria-black.com) Marni at shoescribe.com MaxMara (020 7518
8010) Miu Miu (020 7409 0900) Monica Vinader (01485 517194)
Moschino (020 7318 0555) Mother of Pearl at Opening Ceremony (020
7836 4978) Neil Barrett at My-wardrobe.com Nicholas Kirkwood
(020 7290 1404) Nike (www.nike.com) Noor Fares (020 7370 2527) Office
(0845 058 0777) Pamela Love for Zadig & Voltaire (020 7792 8878)
Parulina at Ikram (+1 312 587 1000; www.ikram.com) Paul Smith
(0800 023 4006) Pebble (020 7262 1775) Peter Randall-Page (01647
281270) Pomellato (020 7355 0300) Prada (020 7647 5000) Pretty Loafers
(+34 971 374 539; www.prettyloafers.com)
R–Z
Rainbow London (020 7385 1323) Ralph Lauren (020 7535 4600)
Roberto Cavalli (020 7823 1879) Rochas at Matchesfashion.com Rosie
Assoulin (www.rosieassoulin.com) Saint Laurent by Hedi Slimane
(020 7493 1800) Solange Azagury-Partridge (020 7792 0197) Sophie
Hulme at Harrods (020 7730 1234) Stella McCartney (020 7518 3100)
Stephen Jones Millinery (020 7242 0770) Stevenson Brothers (01233
820363) Stuart Weitzman (0151 213 5764) Studio Nicholson (www.
studionicholson.com) Susan Caplan Vintage Collection (020 7424 7809)
Talitha at Matchesfashion.com Thomas Pink (020 7498 3882) Tim
Coppens at Matchesfashion.com Tod’s (020 7493 2237) Tom Ford
(020 3141 7800) Tory Burch (020 7493 5888) Valentino (020 7235 5855)
Valentino Garavani (sunglasses) (0800 722020) Valentino Haute
Couture (+33 1 55 35 16 23) Versus Versace JW Anderson (020 7259
5700) Victoria Beckham (020 7501 1122) VV Rouleaux (020 7224 5179)
What Katie Did (www.whatkatiedid.com) Wolford (020 7494 4343)
Zuhair Murad Haute Couture (+961 1 575 222; www.zuhairmurad.com)
www.harpersbazaar.co.uk

November gallery
Our selection this autumn
JENNy BENNETT
I paint to make something from nothing:
to communicate my visions to others;
to put people where I have been, on
journeys to remote and beautiful parts of
New Zealand.
like Anais Nin, I believe that art [writing,
painting, music] provides us with the
‘anti toxins’ we need to live’.
Jenny Bennett has worked as an artist
for over 30 years and has exhibited
nationally and internationally.
www.jennybennett.com
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JANE CoUlSoN
Jane is a fine artist based near london. She has a wide variety of work but is best known for her
exquisite portraits, drawn from life. She has been commissioned throughout the UK, and from as
far afield as the USA, Australia, and hong Kong. She has featured as a children’s portrait artist
in the national press.
If you would like to see more of Jane’s work, including other paintings and prints, or you would
like to commission a portrait, please go to www.janecoulson.co.uk
janecoulson.art@gmail.com
gINA BRoWN
Recent graduate gina Brown’s paintings
translate an archive of old photographic
material. her phantom images are devoid
of facial detail, giving her work a haunting
poignancy. portraits of covetable beauties, or
faded images from a family album are created
with a deft use of oil paint showing a deep
understanding of the gothic and Sublime.
She is represented by online gallery New
Blood Art and lane house Arts, Bath.’
www.ginabrown-artist.co.uk
EMIly JARVIS
Emily is one of East Anglia’s most exciting
young artists. She already has a large
following for her vibrant canvases and
stunning portraits with her work now
reaching galleries and exhibitions on an
international scale.
This abstract series is inspired by moving
water whilst articulating a fresh approach
to technique and composition. The works
are finished with a thick gloss layer,
which creates a glasslike effect; hinting at
the reflective surface of water.
www.emilyjarvis.co.uk
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inspiration

How
Bazaar
Iconic moments from our archives revisited.
This month: the ethereal genius of
Jean Cocteau’s illustrations By ajesH patalay
Of all the artists who ever contributed to Bazaar, jean Cocteau was
probably the most obvious choice. No one else showed quite the
talent for collaboration that he did, whether as a writer, illustrator,
designer or film-maker, working with picasso, Diaghilev, Chanel and
schiaparelli, among others. He joined the ranks of Bazaar contribu-
tors thanks to alexey brodovitch, the russian art director who
started at the magazine in 1934 and enlisted artwork from a number
of other europeans including salvador Dalí, Marc Chagall and joan
Miró. Few were as prolific as Cocteau, though. among his many
covers, the drawing for November 1946, in which an Orpheus-like
figure sweeps across the page, is perhaps the most mythic. Inside the
magazine, his illustrations were often used as counterpoint, such as in
a story on hairstyles from january 1940, in which a pair of Cocteau
twins float surreally in the background. Other pieces revolved around
the artist himself, such as two articles from the February 1936 and Jean Cocteau’s work for Bazaar,
april 1937 issues, which both touched on Cocteau’s concept of modes clockwise from top left: the
violentes (literally, ‘violent fashions’). Cocteau once said that fashion
PHOTOGRAPHs: GRAHAm wAlseR

backdrops for a hairstyle story from

bored him, but it would be more accurate to say he was only inter- 1940 photographed by George
Hoyningen-Huene. The November
ested in clothes with a theatrical impact. In a piece from april 1937,
1946 cover. Drawings from
Cocteau praised schiaparelli for precisely this reason. like Chanel February 1936. Cocteau’s
before her, schiaparelli created outfits that gave to women ‘that illustrations to accompany
violence which was once the privilege of the very few’, to wit, the a feature he also wrote in 1937
actress’ power to turn heads and the revolutionary’s ability to over-
throw convention. In Cocteau’s view, couture should do no less.

262 | H a r p e r’ s b a z a a r November 2013 www.harpersbazaar.co.uk

www.chanel.com

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