Harpers Bazaar - April 2014 UK

Sarah
Jessica
Parker
FASHION
CELEBRATING
Beauty
secrets
FASHIONS
FAVOURITE
SHOWGIRL
SEX,
POWER&
GLAMOUR
ITALIAN
STYLE
CANYOU
LOOK
FABULOUS
FOREVER?
KARL
LAGERFELD
ONCATS
&QUEENS
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CONTENTS APRIL 2014
her childrens fashion choices
and her transition to shoe designer
188 CHOUPETTE ANDI
In search of the real Karl Lagerfeld,
Justine Picardie meets the king of
fashion and his doted-on cat
206 PALAZZOPUCCI Fromaristocrat
to war hero to designer of the perfect
printed silk scarf the Emilio Pucci
story is a fascinating one. Bazaar
visits the labels Florentine home to
discover its glamorous secrets
212 LIKE MOTHER, LIKE
DAUGHTER Three generations of
Fendi women give a rare interview
to Sasha Slater to discuss rebellion,
matriarchal bonds and the brands
feeling for Rome
218 HEART&SOUL The relationship
between Domenico Dolce and Stefano
Gabbana is a true Italian love story
that celebrates their passion for life,
their appreciation of the female form
and the culture of their homeland
ON THE COVER
162 Sarah Jessica Parker: fashions
favourite showgirl
188 Karl Lagerfeld on cats &queens
237 Beauty secrets: can you look
fabulous forever?
From108 Sex, power &glamour,
Italian style
FEATURES
162 SOUL MATE Cover star Sarah
Jessica Parker on staying married,
162 PAGE
Sarah Jessica Parker
wearing Jason Wu
April 2014 | HARPER S BAZAAR | 33 www.harpersbazaar.co.uk
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108 ROMANCE OF THE STONES
The tale of Romes famous Bulgari
jewellery is one of diamonds,
sapphires, stars and seduction
110 BE ATONE Thinking fashion: why
true and lasting style begins within
ACCESSORIES
117 THE JOYS OF SPRINGOur
favourite accessories in the sweetest
sorbet shades and sleek metallics
JEWELLERY
131 PERFECTSPECIMENS
Exquisitely unusual watches in
rose gold and pink sapphire are real
collectors pieces
SHOP BAZAAR
142 PLAY TIME An irreverent new
take on eveningwear
TALKING POINTS
150 PASSIONPLAYAhead of an epic
exhibition, we join the V&As
celebration of Italian fashion
152 MASTER OF DISGUISE Forty
years of Jean Paul Gaultier are
celebrated in a retrospective
153 OUTSIDE THE BOX Two shows
display the very different styles of
the artist Piet Mondrian
153 MY CULTURAL LIFE
Actress Thandie Newton
154 MADE WITHLOVE The story
behind Emma Bridgewaters
quintessentially English pottery
155 BEAUTY ANDTHE BEASTOur
longstanding obsession with youth is
at the heart of a thrilling newnovel
156 MOVINGANDTELLING
A Winters Tale dances onto the stage
of the Royal Opera House
212
Three generations
of Fendi women
PAGE
FASHION
174 POETRY INMOTIONThe seasons
most graceful, uid looks showcased
by Royal Ballet dancers
194 BEACHPARTY S/S 14s metallics
dazzle against a sultry backdrop
of sea and sand
222 SPIRITOF ADVENTURE
Be daring and embrace bold
summer black
STYLE
85 10 THINGS WE LOVE Bazaars
biggest fashion hits for April
100 MY MOODBOARDDonna Karan
on howthe perfect scarf inspired
her S/S 14 collection
103 MY LIFE, MY STYLE
Inside the chic Parisian home of
Josephs British creative director,
Louise Trotter
www.harpersbazaar.co.uk 40 | HARPER S BAZAAR | April 2014
CONTENTS
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THIS IS A TIIIANY RINC
COVER LOOKS Above left: Sarah Jessica Parker wears embroidered feather and sequin cape; embroidered skirt, both from a selection, Louis Vuitton. Rhodium-plated white gold and black diamond ring,
from a selection, De Grisogono. Above, second from left (subscribers cover): organza dress, about 3,525, Zac Posen. Pink gold and pav diamond ring, 14,000, Bulgari. See Stockists for details.
Styled by Miranda Almond. Hair by Serge Normant at Sergenormant.com. Make-up by Leslie Lopez at the Wall Group. Manicure by Gina Eppolito for Ginails.com. Photographs by Alexi Lubomirksi.
Centre three covers (limited-edition covers available exclusively at the V&A): design sketches by Emilio Pucci, from left: Tulipani pannello (1965); Sole 1970s; Anonimo 1960s. Far right
(limited-edition cover available exclusively at Selfridges): Portrait of Marquis Emilio Pucci of Barsento (1960s) by Brunetta. Photographs the Emilio Pucci Archive, Florence
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BEAUTY BAZAAR
237 BEAUTIFUL ATEVERY AGE The
essential hair, make-up and skincare
tips to keep you looking your best
246 PEARLY PERFECTIONLaura
Tennant on the quest for dreamteeth
250 SCARLETWOMANSupermodel
Carolyn Murphy reveals the power
of the perfect red lipstick
ESCAPE
254 AWAY WITHTHE FLOCKChic
getaways for you and your brood
256 TRAVEL NOTEBOOKModel and
designer Lauren Bush Lauren on the
natural splendour of Kenya
FLASH!
258 FREE SPIRITS Behind the scenes at
the British Independent FilmAwards
259 CHILDS PLAY Gwyneth Paltrow
and MatthewWilliamsons
fundraiser for Kids Company
REGULARS
69 EDITORS LETTER
78 CONTRIBUTORS
140 THE AGENDARetail inspiration
for the month ahead
158 HOROSCOPES April in the stars.
By Peter Watson
260 STOCKISTS
266 HOWBAZAAR Classic moments
fromour archives revisited
CONTENTS
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The best conditioning treatments
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Fromthe must-have products to BAZAARs little black book of experts,
our denitive guide to everything you need to knowthis season
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Published on 4 March
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 DOMPRICE
Picture director CHLOE LIMPKIN
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FASHION
Fashion director AVRIL MAIR
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Senior fashion editor MIRANDA ALMOND
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Contributing fashion editors CARMEN BORGONOVO, MELANIE HUYNH,
TONY IRVINE, MATTIAS KARLSSON, HANNAH TEARE, SISSY VIAN
FEATURES
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ART
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SOPHIE DAHL, SOPHIE DENING, SOPHIE ELMHIRST, AMANDA HARLECH,
NATALIE LIVINGSTONE, GIANLUCA LONGO, JULIE MYERSON,
CAROLINE ROUX, LWREN SCOTT, LAURA TENNANT
CONTRIBUTING PHOTOGRAPHERS
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VICTOR DEMARCHELIER, MICHELANGELO DI BATTISTA, HORST DIEKGERDES,
TIERNEY GEARON, KACPER KASPRZYK, SEBASTIAN KIM, PAOLA KUDACKI,
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DON MCCULLIN, TRENT MCGINN, TOM MUNRO, CATHLEEN NAUNDORF,
MIGUEL REVERIEGO, MARK SEGAL, MARK SELIGER, DAVID SLIJPER,
SOLVE SUNDSBO, ELLEN VON UNWERTH, BEN WELLER, YELENA YEMCHUK
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EDITORSLETTER
GRA
GOOD
There were two starting points for this issue
exhibition at the V&A The Glamour of I
prompted our wide-ranging interviews with
exponents, including three generations
Laudomia Pucci, Domenico Dolce and Stef G
Secondly and not disassociated from
enduring appeal of Italian style the Bazaa
the idea of ageless beauty.
way, how might we rejoice in
beautiful at every age? Thi
several animated conversatio
that beauty should not be eq
youth, nor kept in a state
animation (whether by inje
or the surgeons knife); others,
that older women are now able
to look younger than in pre-
vious generations, because of
advanced skincare products
and healthier lifestyles.
But whatever our differences of opinion
and I always want Bazaar to be a platform
for debate, rather than uniformity we
agreed that there is such a thing as timeless
style. This might seem at odds with e fashion
industry, whose prots depend on embracing the
new. (To quote Chanel, a dress is a charming an
ephemeral creation, not an everlasting work of art. Fa
should die and die quickly, in order that commerce may
survive The more transient fashion is, the mo
perfect it is. You cant protect what is already dead
And yet, when you consider the clothes that never
dateChanelslittleblackdressfromtheTwenties;
Diors New Look tailorin he late Forties;
1,430
Fendi
2,020
Bulgari
299
Salvatore
Ferragamo
at Harrods
5,85
Boodles
e Naghdi
yal Ballet
umpsuit,
Valentino.
: cover
ah Jessica
in Dior
e 162)
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EDITORS
PICKS
When it comes to timeless style,
youve got to start with a little black
dress, and this one by Karl Lagerfeld
is perfect. Add classic black slingbacks
or at pumps, diamond earrings, a
decoratively monochrome bag and
a Chanel jacket, and youre done.
These are pieces to treasure
for years to come.
165
Karl
Lagerfeld
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EDITORSLETTER
Justine Picardie
PS: Download your digital edition as well as previous articles from
Harpers Bazaar at http://itunes.com/apps/harpersbazaaruk
Right: dr
Moschin
185, LK
Below: a s
by Karl L
and pic
his cat C
taken on h
(page 188
Sophia
in 1957,
the V&A
exhibition
fashion
Laudom
Puccis vivid Fifties prints; Saint Laurents Sixties tuxedo suits it
becomes apparent that fashion can be more enduring than its prac-
titioners might have us believe.
This has prompted some designers to differentiate between
fashion and style (Fashions fade, style is eternal, according to Yves
Saint Laurent); but whatever ones chosen denition of timeless
beauty, I hope that this edition of Bazaar will inspire you as much
as it has inspired us. Whether you start with our cover story on
SarahJessicaParker or thefashionshoot featuring
the dancers of the Royal Ballet, there is a glorious
variety of writing, art and photography in the
following pages.
Harpers Bazaar has always been a champion
of eclecticism as keen in previous decades to
publish the poems of John Betjeman as the draw-
ingsof Salvador Dal andI amthereforedelighted
to continue in that tradition. This months issue
includes Tom Allens fashion shoot with the
wonderfully graceful Royal Ballet dancers, both
onstageandbehindthescenes at theRoyal Opera
House. As it happens, one of
Bazaars greatest ever art
directors, Alexey Brodovitch,
started his career working for
Diaghilevs Ballets Russes as a
young migr in Twenties
Paris; so there is a pleasing
resonance in this contempo-
rary collaboration.
Finally, I was fortunate
enough to interview Karl
Lagerfeld, as he prepares to open a new London
store (stocking his own eponymous label); and
was reminded, as I am whenever we meet, of his remarkable talent
to accommodate constant change, as well as ensuring a lasting
legacy. That balancing act is an indication, perhaps, of the subtle
relationship between the passage of time and the ebbs and ows of
fashion. And therein lies a possible clue to the secret of agelessness;
live in the moment, but then let it go
Sllk twlll scarves
Meamorphosis, an Hermes sory
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78 | HARPER S BAZAAR | April 2014
CONTRIBUTORS
A regular Bazaar
contributor, the
photographer offers an
elegant take on modern
feminine glamour in
Play time (page 142).
Born in New York, he
studied economics and
ne art at Vassar College
before serving an
apprenticeship in the
studio of his father,
the legendary
photographer Patrick
Demarchelier. He now
shoots for fashion houses
and magazines all over
the world.
Whichbeautyicondo
youadmire? Daria
Werbowy. She has such
an intriguing beauty and
such a lovely personality.
Howwouldyouliketo
spendyour oldage?
Exactly as I spend my
time now: travelling
and working.
The philanthropist
shares her tips for
travelling in Kenya
on page 256. Lauren
founded Feed in 2006 by
designing a bag which,
when purchased,
provided the funds to
feed one schoolchild for
one year. Since then, the
charity has provided
over 75 million meals
globally. She lives in
New York but makes
regular trips to Africa.
Whats themost
adventurous thing
youveever done?
Ten years ago, I went
skydiving with my
grandfather who was
turning 80.
What makes someone
beautiful? It may be a
clich, but kindness and
being open to life make
someone beautiful.
Bazaars executive
fashion and jewellery
editor curates our
selection of irresistible
watches (page 131).
Born in Nantes, France,
Dorff studied marketing
and communication in
Brussels and Boston.
She worked at Chanel
before joining Harpers
Bazaar in 2013.
Whats themost
adventurous thing
youveever done?
I am very lucky that my
parents encouraged me
to travel and study
abroad, and always to be
curious about the world
around me.
Whichbeautyicons do
youadmire? Lauren
Hutton and Katharine
Hepburn for their
timeless elegance.
Beyonc for her
amazing energy.
Bazaars beauty
director-at-large
has two decades of
experience writing
about beauty and has
interviewed Dolly
Parton, Mrs Thatcher
and every supermodel
you can think of. She is
also editorial director
at Feelunique.com.
Whats themost
adventurous thing
youveever done?
Every summer was a
trek with my parents
to somewhere far-ung,
from Easter Island to
North Korea to Siberia.
Whois your hero?
Camila Batmanghelidjh.
Whichbeautyicondo
youadmire? Este
Lauder. I did her last
interviewbefore she died
she didnt disappoint.
The creative director
of Joseph since 2009,
Trotter shows us how
she manages in a
frenetic world in My
life, my style on page
103. Having worked at
Calvin Klein and Gap
in New York, she now
shuttles weekly between
London and Paris. This
year, Joseph celebrated
its 25th anniversary by
showing at London
Fashion Week.
Whats themost
adventurous thing
youveever done?
Having three children
in four years.
Whois your hero?
My husband, because
hes the one.
Whats onyour bedside
table? A bottle of water,
an iPad to ease my
insomnia, a notebook
and pencil, and an alarm
clock that I never set.
HARPERSBAZAAR.CO.UK/ VIPEVENTS
FOR MORE INFORMATION AND TO BOOK, VISIT
VIP
Privateviews, openingnights, exclusivevisits, hiddengemsbepart of theBazaar world
From the Queens Fifties ballgowns
to Princess Dianas Eighties power
dressing, the wardrobes of the
House of Windsor are a history
of fashion in themselves. On 14 April,
Bazaar readers will be served drinks in
the Orangery for a discussion between the
Historic Royal Palaces chief curator, Lucy
Worsley, and Bazaars editor-in-chief,
Justine Picardie, followed by a private view
with Worsley. Tickets cost 30, including
a goodie bag. Current Bazaar subscribers
can receive a 10 discount on Historic
Royal Palaces membership on the night.
Bazaar readers areinvited
toaFashionRules talkand
privateviewat Londons
KENSINGTONPALACE
Royal style
Talk &
private
view
ACTI NG FOR OTHERS
Attend a talk at Fenwick Bond Street with
Downton Abbey writer Julian Fellowes
on 10 April. Tickets cost 110 (including
drinks, a goodie bag and a years Bazaar
subscription); 100 from each ticket goes
towards combined theatrical charities.
BALLET ON SCREEN
On 28 April, join us in the cinema of the
May Fair hotel for the world-premiere live
screening of The Winters Tale direct from
the Royal Ballet, including a conversation
between the ballets stars. Tickets cost
45, including drinks and a goodie bag.
World
premiere
Exclusive
talk
I TALI AN FASHI ON
Join Bazaars Justine Picardie and curator
Sonnet Stanll at the V&A on 24 April for
a discussion of the show The Glamour of
Italian Fashion 19452014, followed by a
private viewing. Tickets cost 35, including
drinks, canaps and a goodie bag.
Talk &
private
view
Stella Tennant
photographed at
Kensington Palace
for Bazaar
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www.eliesaab.com
T H E N E W F R A O R A N C E
STYLE
G
N
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S
T
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V
EST
I
N
N
O
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CHARLOTTE
SIMPSON
has an eye for cut,
fabrics and detail.
The precision of the
handmade embroidery
and the sharpness of
the construction are a
fundamental part of my
looks, she says. Meet
Londons next big
evening d i
With a debut
ready-to-wear
collection under
her belt, stylist
turned designer
CHARLIE
BREAR is
Londons most
iting new
F cusing on
ouettes and
rics, theres
about her
at is modern
ne in equal
Whats more,
i e range is
i nd produced
i t Were sold.
Is it the
sculptural
silhouettes,
the exquisite
fabrics or the
technical skills
that we love
most about
PAPER
DON? Who knows?
d
t
ly
R LONDON
CHARLI E BREAR
www.harpersbazaar.co.uk 86 | HARPER S BAZAAR

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THE
ETERNAL
TREND
LACE
Styles may come and go but the
allure of lace is everlasting: a
glimpse at the S/S 14 collections
is all it takes to understand why.
Trust DOLCE &GABBANAto
make the ultimate investment dress
exquisite white lace with delicate
ower embellishment. Sublime.
E
SI C
OAT
for JACKIE
UDREY
s certainly good
enough for us. The trench an
unexpected star on the S/S 14
catwalks is the only outerwear
youll ever need. This version,
reimagined with oral panels by
GIVENCHY, is a modern classic.
THE
EVENI NGWEA
STAPLE
THE LBD
Immortalised by COCOCHAN
in the 1920s, the LBDis arguably th
recognisable acronym and dres
in fashion history, and a surprising
piece for S/S 14.
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r.co.uk 90 | HARPER S BAZAAR | April 2014

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Givenchy by
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teanyjewellerywardrobe.
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Stacking rings,
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Ring, 4,299
Ring, 2,210
Ring, 1,500
Single-pearl earrings,
earrings, 625, both
Earrings, 1,499
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THE ACCESSORY
FOREVER SLI PPERS
Come day or ight, rain or shi these are th ats well never stop wearing.
y
corset-maker Ada Masotti, the label
has been a symbol of exceptional and
beautifully crafted lingerie for 60 years.
Nowunder the creative directorship of
Masottis son ALBERTO, the brand is
celebrating the recent reopening of its
Sloane Street boutique. The rst thing
onour wishlist? This all-concealingslip.
Backstage at
Emilia Wickstead
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THE STAPLE
THE WHI TE SHI RT
Yes, this is the season of the white shirt:
a non-trend, if you will. Fromsleeveless silk
at SAINTLAURENTto pleated lace at
ERDEM, its the wardrobe essential that
keeps on giving.
Pringle of
www.harpersbazaar.co.uk 96 | HARPE
STYLE
P
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Karans
odboard.
from the
ollection
n
That Donna Karans S/S 14 collection was founded on the e
of wearing a scarf should come as no surprise: after all, she
the designer who, in 1985, built her brand on Seven Easy Pieces
But it was a journey around India and a search for one par-
ticular scarf that inspired the designer to create her latest
vision. I never found it, but the search led to a world of inspira-
tion: how to combine masculine and feminine; structure with
freedom; day and night. A deconstructed wrap dress in
a hand-blocked print evoked the uncomplicated nature of an
oversize silk shawl, and hand-woven leather and beaded
embellishment adorned the belts and shoes. I wanted artisan
culture to be expressed in a modern, urban lifestyle, says
Karan. It became a never-ending journey of creating option
for a woman to make her own. ANNA ROSA VITIELLO
TheParis homeof
Josephs creativedirector
LouiseTrotter reects
her loveof monochrome
andantiques markets
By SARA PARKER BOWLES
Photographs by CAMILLA ARMBRUST
MY
LIFE,
MY
STYLE
Clockwise from top: Louise
Trotter wearing her own
Joseph designs, in the
black room where she
entertains. The replace in
the sitting-room with letter
lights from the March Paul
Bert. Maripol by Andy
Warhol. The white room
This year, the beloved British brand Joseph
celebrates the25thanniversaryof its Fulham
Road agship. For those of us who were
teenagers inthe1990s, apair of blacktailored
crepe trousers from the label was as much a
riteof passageas wearingMichel Perryshoes,
listening to Soul II Soul, driving a soft-top
Golf and watching The Word. Louise Trotter
was one of those girls, except she took it one
step further than the rest of us and went on
to become Josephs creative director, suc-
cedingthebrands inuential founder Joseph
Ettedgui, who died in 2010.
Josephwas a part of myDNAwhenI was
growing up, says Trotter, who is now39. So
April 2014 | HARPER S BAZAAR | 103
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Clockwise from left:
Trotter wearing her own
Joseph designs in the
white room. Shelves in
the sitting-room. Her
daughter Coco playing
drums in her bedroom
Above: a stuffed
deer head in the
hallway. Right: a
Tracey Emin
monograph. Below
right: Cocos
rst picture
when I got the job of creative
director here ve years ago, it
felt like coming home. Joseph
was hugely inspiring, he was
reallya fashioncurator. His eye
for up-and-coming designers,
such as Kenzo, and the way in
whichhe made his brand a life-
style choice had a big impact
on me. Joseph was as much
about the food you ate and the
photography and architecture
youlikedas theclothes. Hewas
a pioneer who paved the way
for boutiques such as Colette
in Paris and 10 Corso Como in
Milan. I remember going to
JoesCafe[therestaurant Joseph
founded in the basement of the Fulham
Road shop] and thinking to myself, I
want my house to look exactly like this.
Nobody haddone that before; he was very
ahead of his time. The Joseph philosophy
was my starting point in design.
Trotter also knewEttedgui personally,
from the early part of her fashion appren-
ticeship with Lucille Lewin the founder
of Whistles and another inuential gure
whoalsocontributedtothe transformation
of the British high street throughout the
late Eighties and early Nineties.
In her twenties, Trotter worked in
Italy and Paris. She then moved to New
York, and worked for Calvin Klein, Gap
and then Tommy Hilger.
Although Trotter and her husband
Yuske Tanaka, who is from Tokyo, have
a home in west London, they have been
living and working in Paris for the past
three years. She was just six months into
her new role at Joseph when she rst fell
pregnant, and the couple currently share
their airy Parisian apartment with their
two children, Coco(who is three and a half )
and Milo (18 months) but number three
is due along any day now.
Trotter says she is a magpie
by nature and loves to scour
markets when she travels. Her
London home is dark and
lled with Victoriana, so she
wanted to create something
much lighter for her Parisian
apartment. Monochrome is the
guiding principle. I tend to see
things inonlyblackandwhite, she says. The
sitting-room is divided into two parts:
the black room and the white room. The
LOUISESWORLD
Clockwise from
below left: Trotter
wearing her own
Joseph designs.
Herms cuffs and an
Elsa Peretti vintage
cuff in the bedroom.
Coco and Milo
925
Joseph
200 for
100ml
Editions
de Parfums
Frdric
Malle
33 for 60ml
Aesop
white room is calm, comfortable
andwhere they sit andreadandrest.
The black room is warmer and this
is where they eat and entertain. I
love mid-century furniture, but Im
not apurist, says Trotter, whoseidea
of heaven is spending a weekend
at Clignancourt Market chatting to
the antique dealers. I love March
Paul Bert and Porte de Vanves
because the dealers really specialise
and its so well curated, she says.
When Im in London, I go to
Golborne Road and Sunbury
Market at Kempton Park.
On the walls of the sitting-room
is a Mario Testino print of
Kate Moss, a portrait
of Lily Cole by Gillian
Wearing, her daughter
Cocos rst painting and
a Warhol print of Maripol.
The master bedroom is
home to a number of
Tracey Emin lithographs,
which Trotter collects.
Lots of pieces of Margiela
homeware are dotted
about with taxidermy
from Claude Nature on Boulevard Saint-
Germain: black crows on the dark
mantelpiece and tiny white nches on the
light mantelpiece. There are books on
Rothko and Helmut Newton, and collec-
tions of photography by Sam Haskins and
Linda McCartney.
She has a huge collection of silver chains
and adores chunky cuffs particularly if
they are by Herms. As a recent birthday
present, Tanaka bought her a vintage 1970s
Elsa Peretti silver cuff. Her favourite labels
other than Joseph include Margiela, Junya
Watanabe and Comme des Garons, and
she will not be parted from her Cline
mink-lined sports slippers.
Im obsessed with coats and knits, says
Trotter. Which is fortunate, as they have
long been classic Joseph staples and con-
tinue todowell for the brand. Trotters Betty
coat, a black and white striped shearling
design for last winter, ew off the shelves.
Trotter has alsoput Josephonthe mapwhen
it comes topractical, beautiful accessories. I
hate heavy bags so I have really tried t
design something that is stylishbut that wi
also provide a true service to the Josep
woman. She says that for her, comfort is key
I covet easypieces designedinanintelligent
way. Ive always disliked clothes that don
function or arent comfortable because t
the end of the day, you should never forget
who you are designing for. Clothes ar
meant to be worn as well as admired.
M
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L
ook out there, says Giampaolo
Della Croce. Look at the rounded
bridges of the Tiber, the dome of
St Peters. Look at all the curved
cheeks of the putti in the churches.
Its sensual, its three-dimensional,
its feminine. These elements, for Bulgaris director of
highjewellery, dene the uniquelyRomanqualityof the
brands colourful stones and diamond serpent bracelets.
Della Croce (whose favourite gem is the spinel, for
its warm, clear red) is under the spell of the jewels. The
fascinationfor stones lies inour souls, hesays. Whocan
fail to be beguiled by the sparkle, the rarity, the hard-
ness? He spends his life tempting patrician Romans,
sheikhas behind high palace walls and Silicon Valley
hotshots with his glittering hoards of vivid jewels.
Because Bulgari has made its mark withcolour, using
yellow and pink gold, rather than platinum, combining
thehot orangeof acitrineandthepurpleof anamethyst,
sea-green tourmalines and poppy-red garnets. It has created neck-
laces that, in the words of Amanda Triossi, the jewellery historian
andcurator of theBulgari HeritageCollection, areelegant andstrong
with a certain solemnity. Theres a papal grandeur to some pieces,
and Bulgari makes rich use of the past, copying the base of an Ionic
column for a silver clock, or setting ancient coins into necklaces.
It is Della Croces jobtoscatter Bulgaris stones across the necks of
the worlds most enviedwomen; andit is Triossis togather the collec-
tion back together for the archive. Another Roman (she hankers
after brilliant blue benitoite), she is a hunter whose territory is the
great private jewel boxes of the world. When Elizabeth
Taylor died, Triossi bought back the emerald and
diamond necklace, ring and brooch that Richard
Burton had given the star. These will nd their way
intothe V&As The Glamour of ItalianFashion1945
2014 exhibition. For, as Triossi says, it was American
lm stars of the 1950s and 1960s who created Italian
style and allowed Bulgari to boom, along with Pucci,
Valentino and the Sorelle Fontana. Hollywood came to lm at
Cinecitt, and went shopping on the Spanish Steps. I introduced Liz
to beer; she introduced me to Bulgari, said Burton, and I think we
can all agree which was the more worthwhile acquaintance.
Triossi andI sit at atablescatteredwithmillions of pounds worth
of sapphire earrings, lapis brooches, diamond watches and silver-
ware dating from the rms beginnings. The change in design from
theformalityof theFifties tothefreedomof theSeventies is startling.
Fashion is a backdrop for jewellery, explains Triossi. When the
line of a dress changes, that dictates a change in jewellery. So in
the 1970s, with a loose neckline, our necklaces became
Famouswomen, preciousgems
andtheEternal City
theBulgari storyisfull of colour
By SASHA SLATER
Main photograph by DAVID SLIJPER
ROMANCE
OF THE
STONES
From far left: a gold,
sapphire, turquoise
and diamond Bulgari
brooch from about 1975.
The rms storefront
on the Via Condotti,
Rome, in the 1920s
Gold and gemstone
necklace, from a
selection, Bulgari.
Silk top, 1,355,
Saint Laurent by Hedi
Slimane. Suede shorts,
960, Valentino
STYLE
long pendants. With the 1980s and the power
suit, the look changes and you get tight collars of
diamonds and enamels. Stars who famously wore
Bulgari jewels ranged from Sophia Loren to
Marilyn Monroe, Princess Soraya to Nicole Kid-
man. Diana Vreeland, Bazaar s legendary fashion
editor, had an enamelled gold serpent with sap-
phire eyes that she wore coiled around her waist
or her throat, depending on her mood. Dont
forget the serpent, she said. The serpent
should be on every nger and on all
wrists and everywhere. We cannot
see enough of them.
Triossi may be an expert on the
history of the rm, but Nicola Bulgari,
descendant of the Greek silversmith
Sotirios Voulgaris who started the family
business in 1884, has lived it. His father
Giorgio went to Paris in 1908 and came back with the ambi-
tion to turn the silver boutique into a great jewellery
house. Nicola, now Bulgaris vice-chairman,
worked behind the shop counter in the 1960s
and remembers Taylors visits. She was quite
a character. I was too young to be involved but
I saw the excitement Rome was much more
glamorous then. But the world changes, and
money changes, and different people wear our jew-
ellery in different ways. Nicola was part of the reinvention
of Bulgari in the 1970s, when it started making jewels that, as he
says, couldbeworneveryhour of theday. Youcouldwear themwith
jeans. It was jewellery for an afuent audience, but one that wanted
less formality. On the back of this, Bulgari expanded fast; the
family sold to LVMH in 2011, in a 4.3 billion deal that gives
thema 3.5 per cent stake inthe conglomerate. But Nicola (who
favours the sapphire, for its innite variety of colours) and his
brother Paolo still embody the rm.
When I meet him, Nicola is sitting at a table gleaming with
gold carafes and silver trays. Like Sotirios, he is passionate about
silver. It was he who had the idea of using ancient money in modern
jewels. We lean over the table, playing with his collection of coins.
Look at this one, he cries. Its like a painting. So beautiful! Theres
a decadrachmfromAgrigento, one of onlynine inthe world. Another
coin features a pouchy, debauched Nero: A corrupt face, to say the
least, says Nicola, but an interesting one. His passion is palpable.
While Nicola adores the silver, Paolo, the companys chairman,
is the expert onstones. Inthe ne-jewelleryworkshopoutside Rome,
one artisanspeaks inawedtones of presentingeachheartbreakingly
beautiful piece to his boss. He shuts his eyes, he whispers. He
doesnt look at the jewel; he feels it, he listens toit. Its years of experi-
ence, but really its in his DNA. So perfect is each piece that the
underside of a necklace is as painstakingly crafted as the front, and
every ring is testedtomake sure it wont ladder a nylonstocking. For,
as Nicola says: We sell happiness here. This business connects with
success and happiness. It gives a lot of pleasure and a lot of smiles.
The Glamour of Italian Fashion 19452014 is at the V&A (www.vam.
ac.uk) from 5 April to 27 July.
kwise from above:
e Kidman wearing
ari necklace in 2003.
ld and diamond brooch
phia Loren in Bulgari
merald and diamond
necklace given by Richard Burton
as a wedding gift to Taylor in 1964
Clockwise from left: Elizabeth
Taylor in Bulgari jewels in
1967. A gold and enamel ring
from 1965. Diana Vreeland in
her Bulgari Serpenti necklace
in 1979. A 1970s citrine, yellow
sapphire and diamond sautoir
o one is young after 40, but one can be irresist-
ible at any age, observed Coco Chanel, as she
herself proved time and time again. Consider
Chanel in her forties, during her love affair
Westminster, when she was still as alluringly
as she had been a decade previously and
ntinue to be well into her eighties.
g thing about Chanel along withall the other
ll prove that style is not simply for the young
ays looked entirely herself, rather than trying
one else. The French have an apt description
ns sa peau (literally, to be well in ones skin; or
neself ). And the older I get, the more I realise
nwhosefashionsenseIadmireCateBlanchett,
Laudomia Pucci dont ever pretend to be
ith insouciant, untroubled elegance.
sange, the embodiment of poised sophistica-
ns, worn with a navy ne-knit sweater, a little
re Roger Vivier ats. You should dress to feel
It takes life to learn that.
d is crucial; without it, even the most beauti-
be lacking. And yes, there are external factors:
fortably tight, or your heels impossibly high,
ressing gracefully. But what goes on inside is
i uote Diana Vreeland, The only real elegance
ot that, the rest really comes from it.
was nely attuned to the shifts and swerves
at Bazaar for 26 years, and became editor of
t that did not skew her remarkably consistent
style and look. Generally clad in black or
d (crimson lips and scarlet slippers) and won-
wellery (like Chanel, she wore cuffs on each
xture of real and fake stones), Vreeland was as
c diosyncratic.
d provide encouragement to those of us who
l (as opposedtoa futile clinging toyouth); and
d l you otherwise.
I NKI NG FASHI ON
Feelinggoodabout yourself
ytotimeless style
By JUSTINE PICARDIE
AT ONE
ILLUSTRATION BY
RORE DE LA MORINERIE
STYLE
ACCESSORIES
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Celebratean
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PASTEL
PER
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Earrings, 1,965
ACCESSORIES
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Besweptawaybythenew
couturefromBazaarsfront-rowseat
THE MAY ISSUE
ONSALE 2 APRIL
Giambattista
Valli Couture
and Louis
Vuitton Fine
Jewellery
NEXTMONTHIN
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POWDER
POWER
Of all the pastel colours
making a play for our
attention this summer,
powder blue is our favourite. This
cool colour works well with black or
white, and brilliantly with tans or khakis;
it feels fresh and a little less girlie than the
peach and pink alternatives.
Dior (www.dior.com).
Juicy Couture (www.juicycouture.com).
La Perla (www.laperla.com).
Les Petites (www.lespetites.fr).
Longchamp (020 3141 8141).
Next (www.next.co.uk).
Radley (www.radley.co.uk).
THE
AGENDA
Everythingyouneedfor hApril
By JO GLYNN-SMITH
Backstage at the Ports
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ENLY TIME Omega has added to the Constellation
with the Pluma collection. This versions mother-of-pearl
ce, diamond indexes and bezel and stainless-steel case
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THEAGENDA
JOINBAZAAR
ATWORK
Women can achieve extraordinary
things when they work together.
To help play our part in this,
Bazaar has launched a series of
exclusive Bazaar At Work events,
in association with Omega
Ladymatic, where our readers can
hear the stories of inspiring and
inuential women. To nd out more
about these events, email your
name, job title and place of work
to: BazaarAtWork@hearst.co.uk.
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Tech a new version of the popular luxury tote featuring
a juice pack battery, so you can charge your phone
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Aspinal of London (www.aspinaloondon.com).
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InsideanewV&AexhibitioncelebratingItalianstyle. Plus: JeanPaul Gaultiers greatest hits;
Shakespearegoes totheballet; andThandieNewtons favouritethings
BELLA VITA
TALKING POINTS
Edited by AJESH PATALAY
A Dolce &
Gabbana look
modelled for
the August 2012
issue of Bazaar
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talian fashion in which sim-
plicity rubs shoulders with
ostentation; glitz with wit; and
pleasure is the only rule appears to
have been with us for ever. In fact, as
the V&As exhibition The Glamour
of Italian Fashion 19452014 reveals,
while Latin style may be eternal, its
fashion industry is a relatively recent
phenomenon. This was a post-war
ourishing in which Italys regional-
ism, craftsmanship, family values, powerful women and love of the
female form all played their part together with a cornucopia of
conker-sized baubles.
And what an exuberant joy this show is. From early Pucci to
newly anointed stars such as Fausto Puglisi, the exhibition revels in
Gucci, Armani, Missoni, Prada, Fendi, Valentino,
Versace, Moschino and Dolce & Gabbana. Here is
the Mila Schn silver sequined evening gown and
matelass coat sportedbyPrincess Lee Radziwill to
frolic with Truman Capote at his legendary Black
& White Ball of 1966; there is a solemn Audrey
Hepburn picking shoes from Salvatore Ferragamo.
Sonnet Stanll, the V&As curator of 20th-
centuryandcontemporaryfashion, has devotedve
years to this epic. Asked to dene the nations sarto-
rial sensibility, she says: It starts with materials, the
quality of its textiles. Italys regional productive
districts and family traditions play an essential role.
But Italian style also embraces polarities: the excess
of Versace with Armanis minimalism, the outra-
geousness of Dolce with no-logo Bottega Veneta.
STYLE
PASSION
PLAY
Abrilliant newshowat the
V&Acelebrates thejoyful
glamour of Italianfashion
By HANNAH BETTS
A Gucci look shot for Bazaars
August 2011 issue. Right:
Sophia Loren in Emilio Federico
Schuberts atelier in 1957
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Clockwise from
above: Audrey
Hepburn with
Salvatore Ferragamo
in Florence in 1954.
Giambattista Valli
A/W 13. Jackie
Kennedys sister Lee
Radziwill in Mila
Schn with Truman
Capote at his 1966
Black & White Ball
There is a playfulness not subversion, but a certain
wit or quirkiness, andalways a joie de vivre. The wordwe
bothsettle upon is sprezzatura, an elegant nonchalance in
which nothing is too try-hard. Yet, every time you leave
the house, you are dressedas for a performance; a perfor-
mance designed to be enjoyed. The image Stanll feels
exemplies this spirit is the Gian Paolo Barbieri photo-
graph of a model in a sculpted Gianfranco Ferr white
shirt, throwing her head back in ecstatic abandon.
This dolce vita euphoria had never felt more necessary
than in the depths of post-war gloom. The impresario
behindthe worlds love affair withItalianfashionwas one
Giovanni Battista Giorgini, a Florentine who hosted
international press and buyers for shows rst at his home,
thereafter at the celebrated Sala Bianca in Florences
PalazzoPitti. After the catwalk came champagne-fuelled
balls, guests lavishly bedecked in Italian furs and nery.
America, in particular, fell in love. Italian prices were
30 per cent cheaper, thanks to its natural riches in the
formof wool, leather and fur. The architects of Americas
Marshall Plan backed the nascent fashion industry, real-
ising that a robust Italy would be a strategic ally.
Andsoit proved: not merelyanally, but themost glam-
orous of friends. During the Fifties and Sixties, Rome established
itself as a Hollywood on the Tiber, its Cinecitt studios host to
ElizabethTaylor as pharaoh, Audrey Hepburnas runaway princess
and Ava Gardner as barefoot contessa. These icons became fashion
ambassadors, championing an easy glamour in which sandals, silk
scarves and sunglasses were worn as casually as jewels in the pool.
But nothing said when in Rome more than sauntering into
Bulgaris Via Condotti emporium. Bulgari was the setting for and
currency of the Burton-Taylor romance during the making of
Cleopatra (1963). In February 1962, Eddie Fisher attempted to woo
back his wayward wife with 30.97 carats of jewels from the store.
Burton immediately trumped his rival by whisking his inamorata
straight to the Via Condotti, where Elizabeth acquired an awesome
emerald and diamond parure, and with it a new husband.
Italian male adornment may have been less ostentatious, but it
proved no less sophisticated. Sharp lines,
TALKING POINTS
slim lapels and feather-
light fabrics dened the
look. The effect was
sleeker and more supple
than Savile Rows corrective tailoring, which used sleight of hand
tocompensate for perceivedphysical inadequacies. Armani eviscer-
ated the jacket, creating something altogether more uid even if
it did rather demand the Adonis-like physique of a young Richard
Gere in Paul Schraders American Gigolo (1980).
Stanlls research took her to Milans fashion district, home also
to the citys bankers, whose 9am stroll to work had the look of the
most elegant fashionshow. Onmybrothers rst visit toItaly, he was
as awed by its suiting and booting as he was by its art and architec-
ture. We sat gazingat Venices nest silver foxes, strivingtopindown
their certain sartorial something. To a man, their garments were
exquisitely textured, leather goods gleaming, a relish of colour
palpable, tailoring razor-honed. Drunk on poise and prosecco,
we imbibed the Acqua di Parma-scented air in their wake.
Still, it is the women of the nation to whom we look as the ebul-
lient embodiments of La Grande Bellezza
chic. As theshowcaseestablishes, thefair sex
has dominatedItalianfashionnot onlyinthe
wearing of it, but in its creation and trade.
Italys seamstress tradition is distinguished,
entrepreneurial involvement never seen as
demeaning, regardless of ones rank. From
MilaSchntoMiucciaPrada, thedressmaker
Maria Grimaldi to the gilded glamourpuss
Donatella Versace, Italian women have pro-
duced as they have paraded.
Perhaps this is the reason why Italian fashion prove
sucha joy: it is understanding of the female form, ready to
celebrate the body rather than starve it, for which those
of us of an hourglass persuasion remain forever grateful.
After all, its most famous beauty, 79-year-old Sophia
Loren, maintains: Everything I am, I owe to spaghetti. And
the ravishing Monica Bellucci, 30 years her junior, brings up her
daughter on pasta and Parmigiano. Italian style queens eat, drink,
love and make merry and dress for it with braggadocio.
The Glamour of Italian Fashion 19452014 is at the V&A (www.vam.ac.uk)
from 5 April. The exhibition is sponsored by Bulgari.
A Dolce & Gabbana
look from Bazaars
August 2012 issue.
Below: lace details
Italianfashionis
readytocelebrate
thebodyrather
thanstarveit
playful twist on chic
French classics such as
his nautical stripes; and
the powder-pink cor-
seted female torso of his
signaturescent, Classique.
Despite his Parisian upbringing,
London has always been an inspiring
place for Gaultier. From the moment
I rst visited in the Seventies, I was
blownaway by the freedom, he says. It was so different fromFrance.
The lack of formality, the creativity and the celebration of cultures
blewmy mind. I tried to instil all of that into my work fromearly on.
The Barbican also provides a perfect backdrop for
his incredible work in lm. He dressed Helen Mirren in
The Cook, The Thief, His Wife, and Her Lover; and it was
his clothes that gave Luc Bessons 1997 blockbuster The
Fifth Element that chic sci- fantasy look. His closest
collaborator, however, has been his good friend the
Spanishlmdirector PedroAlmodvar, withwhomhe
worked on Kika (1993), Bad Education (2004) and The
Skin I Live In (2011) to brilliant effect.
However, Gaultiers unorthodox approach hasnt
always beencelebrated. In1993, hewas admonishedfor
his Chic Rabbis collection, inspired by Hasidic Jewish
apparel. The fact that the pieces make an unapologetic
appearance in the show is a testament to the curation. Fashions
original enfant terrible wouldnt have it any other way.
The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk is
at the Barbican (www.barbican.org.uk) from 9 April. Bazaars private viewing
takes place on the opening evening; for details, visit harpersbazaar.co.uk/vipevents.
Clockwise from above:
Jane Birkin wearing
Jean Paul Gaultier
for Bazaars June
2010 issue. Madonnas
iconic corset. At work
in 1995. Far right:
the designer in 2012
TALKINGPOINTS
MASTEROF
DISGUISE
Four decades of JeanPaul Gaultiers
brilliant, transformativedesigns are
celebratedinanewretrospective
By SARA PARKER BOWLES
EXHIBITION
Clockwise from below:
a Jean Paul Gaultier
look from Bazaars June
2010 issue. The designer
in his studio in 1995.
Dita Von Teese. With
models in his designs
J
eanPaul Gaultier is arguably one of the most versatile design-
ers the fashion world has ever given us. He is also one of the
most vibrant: larger than life and impressively energetic for
someone whowill soonbe celebratinghis 62ndbirthday. Onthe day
we meet, he is buzzing with the fact that a friend has just told him
that Queen Victoria had a tattoo. I dont know where it waz on er
body, he says. But for me, that is the most amaaaaazing fact. I ope,
withall my eart, it is true! His effervescence andnatural eloquence,
wrapped up in that fantastically thick French accent, are so disarm-
ingly familiar in the esh that you feel as if you have known him
personally for years, which in a funny sort of way we have.
Gaultiers impressive 40-year career he has dressed Madonna,
Beyonc, Dita Von Teese, Beth Ditto and Kylie can be attributed
to his light touch, masterful tailoring and celebration of the extraor-
dinary. As a self-confessed outsider from the suburbs of Paris who
always felt different from his peers, the young Gaultier showed a
precocious talent for drawing. While the other boys in my school
were playing football, I was sketching the girls of the Folies Bergre
and watching lms about couturiers, he says.
Through the sensuality of his clothes, his elegantly judged
gender bending and his championing
of the unconventional, particularly
when it comes to his choice of model,
Gaultier has made it clear that he
believes in a broad concept of beauty.
The impressive range of collaborators
he has worked with over the past four
decades and his ability to slip between
popular culture and high art make his
career a tting subject for the travel-
ling retrospective that opens at the
Barbican in London in April.
Gaultiers fame can be attributed to
his instinct for the iconic: the cone
corset he made for Madonna; the
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A
Piet Mondrian (18721944) is best known
for the stark lines and zingy colours of his
abstract grid paintings. But his early
work melancholy, impressionistic
landscapes is equally striking. See the
dual approaches of the pioneering Dutch
artist in two new shows: Mondrian and
Colour, at Turner Contemporary (www.
turnercontemporary.org), from 24 May;
and Mondrian and his Studios:
Abstraction into the World at Tate
Liverpool (www.tate.org.uk), from 6 June.
VIOLET HUDSON
OUTSIDE
THE BOX
ART
Raf Simons lends
a couturiers
touchto Kvadrat,
the Danish
textile company
whose intensely
coloured woollen
fabric rst caught
his eye at Jil
Sander. His d b
homew
collectio
includes alp
throws an
cashmere
cushions. Kvad
(www.kvadrat.dk).
HIS BRIGHT
MATERIALS
DESIG
Book that changed your life The Drama
of Being a Child by Alice Miller.
Tech must-have My beauty blog with my friend
and superstar make-up artist Kay Montano:
www.thandiekay.com.
Most loved fairy tale The Zimbabwean
folk tale Chivu.
Poemknown by heart The Sea
and the Skylark by Gerard
Manley Hopkins.
Would sing a duet with
Beninoise singer-songwriter
Anglique Kidjo.
Guilty pleasure My guilt is too
toxic to feel any pleasure!
Who would play you in a lm?
Whoever Jane Campion chooses.
What makes you laugh? My daughter Nico, daily.
Book you would ban The Contented
Little Baby Book by Gina Ford.
Irrational fear of... fear.
Dreamlunch date Public Enemys Chuck D.
Worth ghting for An end to violence
against women.
THANDIE NEWTON
MY CULTURAL LIFE
Favourite destination The north Pacic
coastline of Mexico.
Signature dance Anything with undulating hips.
Brains or beauty A beautiful brain.
Money or sex Sex.
Grace Kelly or Grace Jones Kelly Jones.
Optimist or pessimist Realist.
Style icon The sapeurs
of Congo.
Personal motto Be here now.
Most proud of... giving birth.
Most inspired by... mistakes.
Best piece of advice Get out of
your mind and into your life.
Would like to meet My mother
when she was a little girl.
Favourite villain Plankton
fromSpongeBob SquarePants.
People are surprised that I worked at the
Walmer Castle in Notting Hill at 19. I served
Hanif Kureishi and was starstruck as I loved
My Beautiful Laundrette. He had such sad eyes.
Thandie Newton stars in Half of a Yellow Sun, released
nationwide on 21 March.
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From top: spongeware
shards gathered by
Emma Bridgewater
in Oxfordshire.
A vintage rose
bowl. Her dresser
L
ike HP Sauce and Marmite, nothing speaks more vividly of
the English kitchen than Emma Bridgewaters tableware.
Made using traditional techniques and mixed motifs
from heritage fowl breeds to pretty polka dots her ceramics
have become popular in farmhouse and townhouse alike. In person,
Emma Bridgewater is unassuming, warm and reading a Penelope
Fitzgerald book when we met for lunch at the Delaunay brasserie in
London. (Her degree was in literature.) She describes the rise of her
eponymous business as no more than happenstance: A boat I built
in my sleep, then in a moment of delirium boarded and set out on a
round-the-world trip with no map, or oilskins, or even much of
a picnic. Infact, its genesis came in1985when, aged23, Bridgewater
had the idea to create a tea cup-and-saucer set for her mothers
birthday, which led her to install a makeshift kiln in her Brixton
bathroom. Twenty-eight years on, her thriving business is run with
her husband Matthew Rice and boasts an annual turnover of more
than13million. ManufacturingentirelyinBritainfromaVictorian
factory in Stoke-on-Trent, the company has helped breathe life back
into a once-famous trade (so muchso that last year she was honoured
with a CBE for services to industry).
Her new memoir, Toast & Mar-
malade and Other Stories, tells the
story of her business and is packed
with moving vignettes from
learningher craft andsett
up shop in her cousins
Chelsea basement, to
the art of cooking
perfect bacon. Its part
scrapbook, part recipe
book, with photos of
the cluttered ceramic
shelves of Bridgewater
world. The book is also a paean
to a childhood love of adventure a
Famous Five for grown-ups andshe
writes evocatively of her Oxford-
shire upbringing with all its rituals:
picnics in bluebell woods and
camping under the stars. Perhaps
most touchingis her account of her nervous excitement at seeingher
rst samples come back from the factory. Visiting a blanket factory
as a schoolgirl gave Bridgewater her love for the process of manu-
facturing. By chasing offshore production and cheap labour, she
says, weve lost sight of how exciting it is to see things being made.
Central to the Bridgewater ethos is family my best company,
she says. As a mother of four, she admits she is startingtothinkabout
MADE
WITHLOVE
EmmaBridgewaters rst pieceof
potterywas agift for her mother and,
as her memoir reveals, familyremains
at theheart of her business
By REBECCA BROADLEY
BOOKS
antique pottery.
A Blue Hen plate
from her range.
Bridgewater at a picnic
A mug given to her by
her sister. Far right
sponging equipmen
at the factory
www.harpersbazaar.co.uk April 2014 | HARPER S BAZAAR | 155
TALKINGPOINTS
BEAU
A
BEA
Botox, dermabrasion and ac
a modern solution to a 21st-c
the obsession with ageing. B 7 h
century had its own xations with
of youth and beauty, and it is the
at the heart of Viper Wine, Hermion
ctional reimagining of the life of Ve
Once so lauded that Van Dyck pai
Venetias looks have now withered. A
embarks on an obsessive quest to regai
beauty, dabbling with witchcraft, ungue
verdigris and boiled calfs foot. But when
obliged to return to the court of King Char e ,
she nds a suspicious smoothness on the faces
of the ladies. Even Olivia Porter, two years
Venetias senior, looks unnaturally radiant, like
a 15-year-old girl who knows too much of life.
Their secret? Daily consumption of viper wine,
a concoction said to bestow the same rich
liverishness which restores the vipers skin on the
complexion of its drinkers. What if the side efects
include ague, dropsy, concupiscence and delirium
tremens? It works. And Venetia is soon hooked.
Viper Wine will not be to everyones taste. If you
like your history pure, its wilful anachronisms will
undo you. JavaScript, Challenger and the Enigma
code all have bit parts; and Venetias husband Sir
Kenelm Digby is a time-travelling privateer who
quotes Bowie and procures a radio mast on one
of his travels that delivers messages from the
future, including one from Naomi Campbell about
the perils of acid peels. But almost 400 years
after Venetia Stanleys death, little has changed.
As an allegory of our ageing-obsessed
generation, it is hard to argue with.
Viper Wine by Hermione Eyre (12.99, Jonathan Cape)
is published on 13 March.
Clockwise from top: a
Sweet Pea plate from
the collection. Early
watercolour designs from
her archive. Casters at
the Stoke-on-Trent factory.
A Farmyard plate
an early design. Below:
a Starry Skies plate
Fermentedvipers b
ultimateanti-ageing
inanewtwist onhistoric
By SAM BAKER
the succession of the business. Bridgewater grew up with three
siblings, and her mother and academic stepfathers Oxford home
was always alive with activity: student lodgers and visiting family
friends including Alan Bates and Albert Finney gathered round
the open table. Its this nostalgia that cuts to the heart of the Emma
Bridgewater business, with its slogan Feels like home.
Nowthe brandis reachingbeyondthe kitchenwithanupcoming
wallpaper and fabric collaboration with Sanderson, and a bedlinen
line for autumn. But it is a testament toBridgewaters earthiness that
she has no qualms about admitting, even recommending, the odd
lapse in domestic perfection. Its horribly hard, she writes in the
book, tostopjudgingyourself bythe muddle inthe airingcupboard,
the unironednapkins andpillowcases, the uff under the bedsBut
for me it seems helpful to admit defeat sometimes. I do think we
drive ourselves mad with that, she tells me. Isnt it odd howwomen
pretendtoeachother that all that stuff is easy? It just seems socruel.
In2010, suffering burnout, Bridgewater gave the positionof CEO
to her husband and design partner, who had co-founded the David
Linley business with his Bedales schoolfriend
in the 1980s. The husband and wife are a formi-
dable team, sharing duties on the kitchen table
quite often, late at night frequently, arguing on
a train; but they seem to have a good time of it.
A new project has been keeping them even
busier the renovation of a mediaeval gate-
house in the Oxfordshire village of Bampton
that they purchased in 2011. The home recalls
the tumbledown grandeur depicted in Dodie
Smiths I Capture the Castle. They have nished
the barn conversion, which
Bridgewater tted out entirely
with British goods It nearly
made me mad. So goodbye,
trusty (Swedish) AGA.
Life inBampton(where TV
crews descendannuallytolm
village scenes for Downton
Abbey) seems as eccentrically
English as they are. Each May,
the village erupts with morris
dancing, attracting not only
the English but also French
morisques and Spanishmoriscas,
all to Bridgewaters delight.
A road sign stipulates no dancing in the street after midnight,
she says, laughing. Last year, one troupe technically
a side danced on her front lawn to the astonishment
of Bridgewaters guests, who had gathered for lunch.
A natural hostess who eschews old-fashioned formality,
she is rather like her tableware: bright (like her Jubilee
mugs that celebrated 60 Years a Queen) and witty.
Ever the entrepreneur, her eye is trained on the next
opportunity: lmproduct placement. I see all the places on
screen where an Emma Bridgewater product should have
been, she says. RichardCurtis toldme his all-time favour-
ites are the Bourne lms because he respects any lm that uses a
Delia Smith book as a lethal weapon. She pauses. Though I slightly
dread one of our mugs being used in a terrible crime scene.
Toast & Marmalade and Other Stories by Emma Bridgewater (25, Saltyard
Books) is published on 13 March.
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TALKINGPOINTS
I
had a lot of letters and emails
from people whod never been
to the ballet before and had no
idea it could be that fun, says the
choreographer Christopher Wheeldon
about Alices Adventures in Wonderland,
his rst full-length work for the Royal
Ballet in 2011, which enjoyed huge
popular success. In his search for a
follow-up, Wheeldon, a puckish 40-
year-old, wanted to be bold. His
upcoming version of Shakespeares
The Winters Tale promises to be just
that, aiming for mass appeal while
plumbing some altogether darker depths. If Alice was, he says,
a romp through a number of well-known episodes, Shakespeares
tale of jealousy and loss follows a more sustained narrative, full
of sweepingdramatic moments that workreallywell indance, even
if the plays plot is less familiar. This is a ballet where its a good idea
to brush up on the story rst, Wheeldon warns.
The show retells the story of Leontes, the King of Sicilia, who
falselysuspects his pregnant wife Hermione of havinganaffair with
his childhood friend Polixenes. Consumed with jealousy, Leontes
condemns themboth, prompting Hermiones supposed death from
a broken heart and the disappearance of their newborn daughter
Perdita, whois secretlywhiskedawaytotheneighbouringkingdom.
There, years later, tending her ock as a shepherdess, Perdita
ensnares the heart of the young prince, Florizel. It was the plays
blend of ingredients that appealed to Wheeldon: You get tragic
The Canadian choreographer Crystal Pite brings The Tempest
Replica (based onShakespeares play) to London. It opens witha
magical dumbshowby masked performers. The Tempest Replica
is at Sadlers Wells (www.sadlerswells.com) on 25 and 26 April.
sections, purely romantic sections,
folky-inspired movements and that
wonderfully redemptive ending, in
which Hermiones statue miracu-
lously comes to life, restoring the
queen to her repentant husband.
Wheeldon has teamed up again
with his Alice collaborators, the com-
poser Joby Talbot and the designer
Bob Crowley. The latters costumes,
says Wheeldon, feel Elizabethan but
also contemporary, in the way that
Alexander McQueen and Vivienne
Westwoodalways have a quirky take.
Andtohonour the plays most famous
stage direction (Exit, pursued by a
bear), the ballets silk-effects designer
Basil Twist has fashioned a grizzly
apparition that willwell, best not to
spoil that surprise. As for Talbots
score, it eshes out character through
a number of recurring motifs, such as
the folksy orchestrations that accom-
pany Perdita and Florizel and the use
of a rain stick, its shimmering rattling sound, almost like a snake,
played over deep chords to denote Leontes jealous rumblings.
As well as its transformative ending and pastoral interlude, the
plays early scenes lend themselves particularly well to choreog-
raphy. The big operatic moments are clearly physical, Wheeldon
says, andI canimagine creating a pas de deux betweenLeontes and
Hermione in which he threatens her and mistreats her and shes
pregnant, and it being disturbing and upsetting. Dance will only
accentuateherpregnant form, heighteningthejeopardyandmaking
some interesting shapes. Thats something so interesting about bal-
lerinas, Wheeldon adds. They dance right up to [a few] weeks
before giving birth. Actually, pregnant women get quite a burst of
energy. Some people have said, Arent you worried about how
its going to look, [Hermione] en pointe and with the movement? I
think, not really, since [as a dancer] Ive been around it all my life.
The Winters Tale runs for 11 performances from 10 April to 8 May at the
Royal Opera House (020 7304 4000; www.roh.org.uk). The production will be
broadcast live into cinemas worldwide on 28 April (www.roh.org.uk/cinemas).
Choreographer
Christopher Wheeldon
captures theromance
andloss of Shakespeares
The Winters Tale
By AJESH PATALAY
MOVING AND
TELLING
BALLET
PERFECT STORM
DANCE
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CLLLHHATNGIATTLHN

HOROSCOPES
CAPRICORN
22 December 20 January
Try to keep a partnership or marital problem away from friends or
family. Youre about to have discussions that will contain intimate
details. You dont want to say anything that cant be unsaid later.
Be careful about choosing the right time to be unusually candid.
MOTTO OF THE MONTH Cheap things are not good;
good things are not cheap.
SAGITTARIUS
23 November 21 December
One or two people might be right when they point out that your
more creative ideas are likely to come at quite a high cost. But
provided youre willing to pick up the bills yourself, theyve really
nothing to worry about. So refuse to be dissuaded from spoiling
yourself and someone close.
MOTTO OF THE MONTH Blood can boil without re.
SCORPIO
24 October 22 November
Though you wont want to boast about the work youve done, it
will do no harm to remind people that youve achieved more than
they have. Youre in danger of being taken for granted by those
who have no right to share the spoils of everything youve achieved.
MOTTO OF THE MONTH Its the person with burned ngers
who invests in tongs.
LIBRA
24 September 23 October
You may assume you can juggle professional and personal issues, but
by the time Jupiter opposes Pluto on 20 April, youll realise you must
focus on one area. Will people think less of you for not multi-tasking?
No. Theyll be relieved that youre doing the sensible thing.
MOTTO OF THE MONTH If you govern yourself well,
you can govern the world.
VIRGO
24 August 23 September
If moneys been burning a hole in your pocket, you need to practise
greater self-discipline. But thats not to say you have to be mean.
Someone close needs to be pampered. Your generosity of spirit may
have to make up for a shortage of funds. Dont let it cramp your style.
MOTTO OF THE MONTH Why shake the tree if the fruit
is falling off by itself?
LEO
24 July 23 August
Youll feel obliged to take on challenging responsibilities that ought to
bring huge rewards. But whos to say what you should or shouldnt
do? Those insisting that you must become an overnight success
dont know you well. Try telling them what youre really all about.
MOTTO OF THE MONTH If you do what youve always done,
youll get what youve always been given.
CANCER
22 June 23 July
Loved ones may be surprised at the extent to which you suddenly
want to rethink your home or family life. Youll be responding to
a Lunar Eclipse occurring in mid-April, forcing you to face up to a
number of truths youve previously avoided. Rather than be fearful
of a fresh start, youll positively embrace it.
MOTTO OF THE MONTH Custom often makes the best law.
GEMINI
22 May 21 June
Romance and escapism might have been in short supply recently,
but youre about to be compensated for all those occasions when
youve had to focus on the more serious side of life while others
have had all the fun. Will the long wait prove to be worthwhile?
Without a doubt. Make no secret of it.
MOTTO OF THE MONTH Cheat the Earth and the Earth will cheat you.
TAURUS
21 April 21 May
Everyday chores might not appeal but youll realise theres much to
be gained by doing what needs to be done. And youll crave a sense
of achievement. If by mid-April youve caught up with a backlog of
work, you can start anticipating daring new ventures. But not before.
MOTTO OF THE MONTH Deviate an inch and you
could lose a thousand miles.
ARIES
21 March 20 April
Developments within every aspect of your life will be accelerated by
Uranus confronting Jupiter and Pluto. So dont assume you can rest
easy. Perhaps not everyone will respond well to enforced changes
but you will, even if you have to burn the midnight oil for a while.
MOTTO OF THE MONTH Dont speak unless you can
improve on the silence.
AQUARIUS
21 January 19 February
When your sixth sense tells you to remind others to take greater
care of themselves, youve no option but to do it. Yes, youll be
afraid of sounding bossy and interfering, but it would be even
worse if you were to remain silent and allow those involved to
run some kind of risk. Speak up.
MOTTO OF THE MONTH Those who always give will always have.
For weekly updates, visit www.harpersbazaar.co.uk/horoscopes
Thefuturerevealed: youressential guidetoAPRILBy PETER WATSON
PISCES
20 February 20 March
Frustrating though it may be, youll have to accept that some small
journeys or signicant meetings must be postponed. However,
someone close will realise how much it would mean for you to be
able to make one especially exciting move. Around the time of
the Solar Eclipse in late April, therell be no holding you back.
MOTTO OF THE MONTH Count not what is lost but what is left.
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APRIL2014
FENDI, PUCCI, DOLCE
to the Manhattan cool of SARAHJESSICAPARKER,
to the grace of the ROYALBALLETdancers photographed in Covent Garden,
we celebrate the many faces of fashion this month
Fromthe all-out Italian glamour of
fromKARLLAGERFELDs Parisian purrfection
Sarah Jessica Parker
wears organza dress,
about 3,525, Zac
Posen. Pink gold and
pav diamond ring,
14,000, Bulgari
Shesaninternational starwhogoesincognitoinherhometown.
Shesafashionmavenwhosecloset isamess.
Shesachampionof sexual liberationwhosbeenhappilymarriedfor16years.
Theresonlyonewaytodiscoverthereal SarahJessicaParker
Start fromtheshoesup
PHOTOGRAPHS BY ALEXI LUBOMIRSKI
BY AVRIL MAIR
STYLED BY MIRANDA ALMOND
SOUL
MATE
hes the most emblematic NewYorker of
her era, but on a dank afternoon in late winter, Sarah Jessica Parker
enters a busy diner off Broadway and slides unnoticed into a booth
at the back. A waitress hurries across with a glass of hot water and a
saucer of lemon slices, which she places silently in front of the
48-year-old, who smiles her thanks and says thats so lovely as she
removes the bulky puffa jacket, woollen hat and oversize sunglasses
that serve as botha shieldagainst the weather anda disguise toavoid
theholidaycrowds that throngher city. Shes aregular here, andsothe
staff recognisetheir customer, thoughtheother diners dont evenlook
up fromtheir pastrami. This is howParker prefers it. She has walked
to our meeting alone, and leaves 90 minutes
later without fuss, out into a day turned
gloomy with rain, a small woman bundled
into an unremarkable outt who carries the
remains of her lunch in a brown paper bag.
I never wanted to be famous, she says.
And I wont trade on it in any way. Its not
like its hard to be respectful and well
behaved. Once, asked for a Diana Vreeland-
style pronouncement about modern
celebrity, Parker replied: Why dont you
be decent? Shed probably choose to ignore
the whole idea of celebrity, if she could
describing herself as an actress, stage
performer, producer, campaigner, fund-
raiser, Unicef ambassador, wife and mother
of three. To that we could add style icon: she
has ve fragrances, a beauty contract with
Garnier and a couple of stints as a designer under her belt. With her
charm and graciousness, what shes emphatically not is the sex col-
umnist Carrie Bradshaw dont confuse the woman with the
wardrobe though the long-running Sex and the City (six years on
TV, plus two follow-up movies) earned Parker $30 million in 2010,
making her Americas highest-paid actress and a fashion star, and
turning her into a cultural force for a generation of young women.
There canreallybe norepositioningafter this, thoughParker has
tried other movies, a well-received stint in a play loosely based on
the Madoff scandal, another HBO series about older women in
development, a focus on bringing up her young family away from
the spotlight. The truth is, she doesnt dene herself by that success
in Sex and the City, though she is gracious enough to indulge the
continued obsession of everyone else who does: Im very attered
by the connection with women, of course I am. But still, she loves
fashion though I dont have the Carrie Bradshaw devotion to it
and fashion loves her, so why waste an opportunity? And so Parkers
latest role is shoe designer, collaborating with George Malkemus,
CEO of Manolo Blahnik, a label she put rmly on the fashion map.
Having played this character for so long who had such a love
of shoes and, you know, some might say a reckless desire to
have them I just thought, This is what Id really like to do now.
I called him and said, I have this crazy idea
Incelebrationof the line, calledSJP, whichwas recentlylaunched
at Nordstrom andbecause Parker is as closely linkedtoher fashion
choices as Carrie Bradshaw theres only one thing todo. Andthats
ask her about shoes
THE SHOES IM WEARING NOW
Theyre just foul-weather boots. Imsorry! There is anexpectation,
of course, that Sarah Jessica Parker will be Carrie Bradshaw when
you meet her or that she will at least look the part. But although
she throws herself into dressing up with enthusiasmwhen the occa-
sion or red carpet demands, her priority on a daily basis is to pass
through the city unnoticed. Im not sure how else I would live, she
says. I get the subway to work. I take my kids to school. Not every-
bodys interested, and when they are, generally its not intrusive.
People are kind, mostly. But if Im with my kids, I always say I cant
take a picture because I dont want to muddy those waters. Its easy
toforget that this is one of the most famous womeninAmerica. Shes
chatty, unstarry, easy to like. Shes also clever and we discuss the
Leveson Inquiry at length (a rst for an A-list interview, in my expe-
rience being a celebrity in this mad, mad world usually means
abandoning reality insteadof engagingwith
it). Despite this, Parker doesnt care what
you think of her. I dont read anything, she
says. I dont Google myself. Good God, no!
I have absolutelynoconstitutionfor that. Im
curious about everything, except what
people have to say about me. Its the random
cruelty I really dont understand. Its not
good for us. I dont know, you know, howwe
go back in time to a better place.
THE FIRST SHOES I WORE
We went totheshoe store twice a year when
I was young. In those days, even a family like
ours that didnt have money still had quality
shoes. We were told what to buy they
always had a thick leather sole and a T-strap
with holes poked out on the front. I didnt
have a pair of proper heels until I left home. Its common knowledge
thatParkerdidntgrowupwithprivilege. ShewasborninNelsonville,
an Ohio mining town, one of eight siblings and half-siblings, and
her childhood was dened by divorce and struggle. My mother
was chic but we were broke, she says. Inside the house was chaos
and madness. Its this upbringing, however, thats responsible for
her impressive work ethic she appeared in a TV production
of The Little Match Girl aged eight and has been acting ever since
as well as anuncommonsense of decency andhumility. I appreciate
everything, she says. I think that there are probably a lot of people
that dont care as much, and it all still works for them. But I cant
have my name onsomething andnot be totally involved. It canoften
make things really hard but thats simply the way I have to be.
THE SHOES I WORE TO GET MARRIED
They were a pair of Robert Clergerie teal-coloured velvet shoes
with not a very high heel at all. They werent fancy. I mean,
S
Mymother
was chicbut
wewere
broke. Inside
thehouse
was chaos
andmadness

Lace dress,
10,440, Valentino.
Metal earrings, about
60, Alexis Bittar
ALEXI LUBOMIRSKI
Satin-backed crepe dress
with chiffon detail, 10,405,
Jason Wu. Headpiece (worn
throughout), stylists own
ALEXI LUBOMIRSKI
THIS PAGE: sequin
dress, 6,525, Saint
Laurent by Hedi
Slimane. Metal bracelet,
about 185, Alexis Bittar.
OPPOSITE: jacquard
dress, from a selection,
Dior. Patent shoes,
about 220, SJP
ALEXI LUBOMIRSKI
Embroidered silk blend
dress with feather detail,
from a selection, Louis
Vuitton. Patent shoes,
about 220, SJP
ALEXI LUBOMIRSKI
somebody would probably wear themin the day now. But I thought
they were lovely. Parker has been married to the actor Matthew
Broderick, a born-and-bred New Yorker, for 16 years. She was just
26 when they got together, so Carrie Bradshaws rollercoaster of
sexual experimentation was never part of her experience. I wore a
black dress, she says. Im mixed about it now. But we were both
consumed with the idea of nobody paying any attention to us. We
were embarrassed. It doesnt make any sense but we didnt want
anyone tolookat us. At our ownwedding! Its funny. FortunatelyIve
had a lot of opportunities to wear other wedding dresses in my life
andkindof itchedthe unscratcheditch. Withthree childrenJames
Wilkie, aged11, andtwindaughters, MarionandTabitha, whowere
born via surrogate in 2009 all of whom attend the same school as
their father once did in the West Village their relationship is very
much grounded in reality. Bruce Paltrow (Gwyneths father) had a
great quote. Imalmost scared to tell youbut someone asked how
he stayed married all these years and he said, We never wanted to
get divorced at the same time. Now everyone will think there was
a period at which we did want to get divorced. But you stay married
because you want to be there, despite everything. I dont know, it
seems like its just as deserving of effort as anything else is, certainly
a career. I guess we bothwant tobe init. Andwe have these children:
they really like both of us, and they like us
both together. Sometimes, when you have
children, you see your husband through
their eyes. I think its very fortifying in some
ways for a partnership, for a marriage.
THESHOES MYDAUGHTERS WEAR
I have nothing to do with their choices.
Nobody does! It is their job every day. They
get to wear whatever they want, so long
as its safe and keeps them warm enough.
At the age of four, her twin daughters are
already favourites of the tabloids, which
document their unorthodox outts with
delight, seeing style icons in the making.
There are certain occasions where they
know that Mama intervenes and I can
choose. If were going to a play or a family
event, I have a say. But the rest is up to them. Imso curious, because
James Wilkie never cared. This is nothing we have put on them or
projected; this is their ownthing, andImverysurprisedbyit because
theyre much more interested in fashion than I was as a child.
THE SHOES THAT DEFINED ME
Alot of the shoes I wore for Sex and the City all the Manolos they
let us design ourselves. George Malkemus allowed us to gure out
what that shoe should be, and then Patricia Field and I made it with
them. It was just another amazing part of that whole experience.
THE SHOES I LOVE MOST
Probably the Manolo black suede BBpump with a pretty high heel.
At the end of the day, its probably the greatest shoe of all time. Its
pretty comfortable too. I used to wear them 18 hours a day for the
showand loved it. But nowI see women going to work in their heels
and Imlike, Oh gosh! I still have all those shoes anything Ive ever
worn in any movie or television show in my life is archived but I
really dont shop that much. Also, I have a small closet. Its a mess! It
looks ne to the naked eye, but things are shoved in every corner.
Friends come round and say, But I have more clothes than you.
THE SHOES I DESIGNED
I didnt want to produce cheap shoes for women and ask for their
hard-earned dollars and not be proud of the product. I had so many
offers over the past 10 years, for obvious reasons not ones that had
to do withmy great history as a cobbler or anything but I never felt
it was right until now. As Carrie Bradshaw, Parker wore some unfor-
gettable, extravagant shoes so many shoes, in fact, its estimated
in one episode that she has spent over $40,000 on them. I might
literally be the woman who lived in her shoe, Carrie cries, calling it
a substance-abuse problem. Parkers new line is modestly priced in
the $250 to $450 range and an altogether more elegant proposition.
I really love a single sole instead of a platform, she says, so we
started with that and then added the idea of colour. A beautiful
purpleshoedoesnt makeawomananyless capableintheofce. The
next thing was the period in New York that was, to my mind, an
amazingtimefor shoes. That was thelateSeventies andEighties, the
Maud Frizon and Charles Jourdan era. There was a simplicity to
shoes thenthat was completely enchanting but really sexy andfemi-
nine. Those were the things we concentrated on. The collections
signature its redsole, if you like - is grosgrainribbon, whichalways
works its way into the design or label. I had to wear hair ribbon
to school every day as a little girl, she explains, and so at home
we had a bureau that was devoted to our
hair ribbons. We had grosgrain, double-
faced satin and velvet for special occasions.
Wehadthegrosgrainineverycolour andwe
had to iron it ourselves every morning.
THE SHOE CALLED CARRIE
I wantedmyfavourite shoe tobe the Carrie,
Parker says, smiling. I mean, how could
I not? First of all, I just loved playing her. I
loved that part and maybe, most impor-
tantly, I just loved that experience. It was
life-altering. You know, I made some friend-
ships that Ill have for ever. But also to
be creatively satised for so long, to never be
bored or resentful of the connection or the
identication. Ive always felt very fortunate
and very privileged, and its behind me
enough too, that I think I can look back at that period with a lot
of gratitude, rather than ugh, this kind of weary response
when people bring it up. That women continue to bring it up that
Parker is still Carrie Bradshaw to most of the Western world;
that this character, problematic though she was, resonated so much
is something that the actress understands. I think she was
a really good friend; thats why they can forgive those very apparent
aws and selshnesses. She was a deeply devoted friend, and
I think women really respond to that kind of connection. I think
we all want it, we all work towards having it, and were not always
the very best friends we can be. Its kind of surprising to say, but
in a way it was a more innocent time. I think so much reality
television and the women that dominate culture today are
pretty unfriendly towards one another. They use language thats
reallyobjectionable andcruel andnot supportive. I like toremember
that Carrie and the other women in Sex and the City were really
nice to each other. That was the bigger picture.
This is the full stop to our conversation. Parker walks off unno-
ticed into the wet afternoon, thanking the diner staff as she goes.
She may be wearing ugly boots, but her soul is beautiful.
SJP is available at Nordstrom (www.nordstrom.com).
Carriewas a
deeplydevoted
frend, andI
thinkwomen
really respond
tothat knd
of connection
Silk and organza dress, 5,740,
Dolce & Gabbana. Diamond and
white gold bracelet, 13,000,
Cartier. See Stockists for details.
Hair by Serge Normant at
Sergenormant.com. Make-up by
Leslie Lopez at the Wall Group.
Manicure by Gina Eppolito for
Ginails.com. Set designer: Todd
Wiggins at Mary Howard Studio.
On-set production by Nathalie
Akiya. Stylists assistants: Linh
Ly and Yety Akinola
ALEXI LUBOMIRSKI
IN MOTION
POETRY
TOM ALLEN
THIS PAGE: Christina
wears silk georgette cape,
1,500, Giorgio Armani.
Cotton and elastane leggings,
24, American Apparel.
OPPOSITE: Christina wears
silk dress, 2,605, Chlo.
Cotton, elastane and jersey
bra, 10, American Apparel
PHOTOGRAPHS BY KARL LAGERFELD
hastwomaidsandisverypickyabout hotels. Karl Lagerfeldspet isunquestionablyasuperstar.
But what of hercompanion, theuncrownedkingof fashion?
AsheopenshisnewLondonstore,
JUSTINEPICARDIE seekstodiscoverthetruthabout themaster
andhiscat
Shetravelsbyprivatejet, getsheraccessoriesdesignedbyBernardArnault,
CHOUPETTE
AND I
THIS PAGE:
a Karl Lagerfeld
self-portrait taken for
Bazaar. OPPOSITE:
Choupette the cat,
travelling by private jet,
photographed by the
designer on his iPhone
Choupette, photographed
on Lagerfelds iPhone
he rst time I interviewed Karl Lagerfeld
was in 1998, several years before he lost a great deal of weight, but
the oddthingis that he still looks almost exactlythe same tome now
as he did then. Indeed, it seems impossible to imagine himas having
ever been anything other than that iconic silhouette, recognisable
the world over; a slim, monochrome, white-haired gure in a high-
collared shirt, precisely tailored black jacket and narrow trousers;
pale hands in ngerless leather gloves; black boots; dark glasses that
cover his eyes (like a mask, as he has often reminded me).
And his voice his voice is unchanged; the questioning note (a
hmm, or non? or huh punctuating his sentences); as uent in
English and French as he is in German; and softly spoken, despite
the sharpness of his wit and an occasional penchant for very rude
jokes. Whenever I see him, I am always reminded of his apparent
agelessness; and of the paradox that he
represents. For here is the most successful
and powerful man in fashion the indomi-
tablecreativegeniusthat hasshapedChanel,
Fendi and the ourishing label that carries
his own name who thrives on constant
change, while also maintaining a remark-
able consistency. Or as he himself has
observed, with his customary acuity:
Fashion is made up of two things: conti-
nuity and the opposite. Thats why you have
to keep moving.
This may provide a clue as to why time
itself appears to move in mysterious ways
withLagerfeld; he is oftenspectacularly late
for interviews, yet never misses a deadline
for any of the numerous collections he pre-
sents each year (eight for Chanel alone).
Today, as it happens, he is only a little delayed for our appointment
at his bookshop 7L on Rue de Lille in Paris. Books are very impor-
tant in Lagerfelds life he is faithful to those he loves, despite his
ceaseless acquisitionof newones. They are a hard-bounddrug with
nodanger of anoverdose, he has previously observed(andthis from
a self-confessed puritan who does not smoke, drink or take drugs).
As bets a voracious reader I want to read everything, he says
thousands of volumes line the walls of his high-ceilinged photo-
graphic studio behind the bookshop, just as they do in his various
homes. (He has several, including a Modernist apartment on Quai
Voltaire, and a graceful townhouse just around the corner from 7L,
which we walk to after our initial conversation.) If one were to
attempt to judge Lagerfeld by his library, the only consistent feature
is its eclecticism. A brief scan of his collection in the studio and the
book-linedroomwhere we talk inhis house reveals everything from
politics to landscape design, John F Kennedy to Capability Brown;
art books that range across centuries and genres (from Botticelli to
Bonnard; Tibetan mediaeval paintings to Toulouse-Lautrec; Andy
Warhol to Antony Gormley); unexpected histories (The Hungarian
Crown and Other Regalia; The Radical Camera: New Yorks Photo
League, 1936 to 1951).
Lagerfeld also loves the very fabric of paper, as an integral part of
the beautifully printed books that he produces as a publisher at 7L
(includinga12-volumeeditionof Nietzsche, completewiththephil-
osophers original notes). Im a paper addict, he says; for it is a vital
element in the creation of his designs, in the form of sketchbooks
that he lls with rapidly executed drawings and notes. The idea for
his most recent Chanel couture collection, he says, came to him all
at once: I had it in a half-dreambefore I woke up, at about ve in the
morning. It was the total look. So he sketched it out immediately in
one of the notebooks that he always keeps beside his bed. I sleep
with Choupette on one side, and a sketching pad on the other.
Choupette, as regular readers of Bazaar will know, is Lagerfelds
beloved white cat (the two appeared together on a limited-edition
Bazaar cover last year, which sold out in less than a day, and is now
a sought-after collectors item). In his ofce at 7L, there are half a
dozenphotographs of Choupette, including
one of her looking regal on Lagerfelds lap.
I had hoped that I might meet Choupette
today, but much to my disappointment she
has remained at Quai Voltaire, although is
not home alone. Her two maids are mad for
her, says Lagerfeld, as he shows me some
more pictures of Choupette on an iPhone.
When one is off duty, I have to send images
to tell her that Choupette is well. Its funny,
no? When Karl travels, Choupette accom-
panies him by private jet, naturally. She
comes everywhere with a maid she loves
to travel in the plane and she has a special
travelling bag made by Bernard Arnault,
because he is her biggest admirer, but
his wife doesnt want a cat in the house.
(Monsieur Arnault is by no means her only
fan; Choupette now has more than 35,000 followers on Twitter.)
Thus Choupette made the journey with Lagerfeld to Dallas at
the end of last year, for Chanels Mtiers dArt show; but she didnt
like the hotel at all, he remarks, in fact, she hated it. I suggest that
she might prefer a London hotel her owner is planning a visit for
the opening of his brand-newKarl Lagerfeld store on Regent Street
although as yet, nothing is conrmed. Karl has enjoyed previous
stays at Browns, and also likes the idea of the Ritz, or possibly
Claridges, but Choupette may be less amenable. She is sweet, but
T
TheQueen
Mother visited
his chteau.
Everyyear
after that I got
aChristmas
cardfromher
over-decorated it a little with the owers we put roses in the trees,
to make the garden look perfect and she came out of the car and
said, Oh, its like walking into a painting. And then every year after
that, I got a Christmas card from her, which was very sweet, no?
His mother, on the other hand, sounds like a bit of a monster to
me. Whenever he describes his German childhood, she appears in
startlingvignettes todeliver a series of jibes toher onlyson: his hands
were ugly; his bottom was too big; his hair stuck up at the sides; his
nostrils were unacceptably large; and if he wore a hat, she told him
he looked like an old dyke. Lagerfeld, nevertheless, maintains that
she was a perfect mother, because her insults stopped him from
becomingegotistical or takinghimself tooseriously: She was mean,
but very funny. When his father died, she did not tell Karl for three
weeks, so that he missed the funeral; afterwards, she sold the house,
andsent her sonthe furniture fromhis childhoodroom(whichhe has
kept, despite his sporadic ruthlessness at clearing out other furnish-
ings). But when Karl asked his mother about the whereabouts of his
journal, which had been inside his desk, she replied, I threw it out.
Is it really so essential for the world to know you were an idiot?
Little wonder, perhaps, that he has preserved no archives of his
past, preferring only tolook forwards. This is a source of deepregret
to any fashion historian or putative biogra-
pher; for here is a man, after all, who has
witnessed a great sweep of history, from
pre-war Europe, to Paris in the Fifties, and
the impact of 21st-century globalisation; an
astute observer of society, style and much
else besides; a titan of fashion who learnt
the intricacies of his craft at Balmain, Patou
and Chlo; then breathed new life into the
sleeping beauty that was Chanel (a house
that had been in decline since the death of
La Mademoiselle in 1971).
EverytimeI meet Karl Lagerfeld, I wonder
what is really going on behind those dark
glasses, and whether I will ever discover
some hiddentruthabout him. Yet by the end
of eachencounter, I realise that he is still way
ahead of me, and the rest of us; for however
elusive his past might remain, it continues
to inform the present tense of fashion, and
almost certainly the future, too. And yes,
I have seen his eyes, occasionally, when
he takes off his darkglasses, andtheyare blue
and watchful, not entirely unlike Choup-
ettes; but unexpectedly gentle, as well
The new Karl Lagerfeld store will open on 14
March at 145147 Regent Street, London W1.
she canbe ina badmood, he says. She eats ona table, andshe sleeps
at night on the bed, next to me, with her head on the pillow like a
person, and she poses like a movie star.
Unlike Choupette, Lagerfeld never rests during the day, and
scoffs at the increasingly prevalent notion that being the creative
director of a global luxury brand is stressful or exhausting (his brisk
response to less disciplined designers is to recommend that they
approach their work with the same rigour as Olympic athletes). Im
even more interested [in work] than when I was younger, he says.
When youre younger, you have many other priorities, but now, its
really a full-time job and I enjoy it. One of the reasons he takes such
pleasure in designing his own label, he says, is the opportunity it
offers him to do the opposite to Chanel; to be less expensive, very
of-the-moment. But he clearly still relishes his role at Chanel, after
more than three decades there. The secret of Chanel is that the
owners never interfere. Nor is he subjected
to corporate meetings or time-consuming
negotiations about contracts or budgets.
Imvery happyits very simple everyone
[else] has to shut up My contract is less
than a page; there are no conditions to have
to do this, this and this.
When hes not designing, Lagerfeld
works on his photography and publishing
projects, and reads; at the moment, hes
absorbed in the poetry of Emily Dickinson,
Rudyard Kipling and Siegfried Sassoon. If
he travels, it is for work. Imnot a tourist, he
says; though he does admit to having
enjoyed his visits to London in the Sixties.
I was friendly with Zandra Rhodes and I
met Celia Birtwell. In general, he says,
I prefer English women to English men
Only England can produce girls like Stella
Tennant, Amanda Harlech they dont
make them like that anywhere else. And
the English girls are good designers the
one whos at McQueen, Sarah Burton, she is
great, and Phoebe Philo is great. And Jean
Muir, she was a lovely person, very funny
and full of life, and I loved her work. He also
speaks warmly of Bronwen Pugh (later
Viscountess Astor), a former model and
muse for Pierre Balmain whom Karl met
while working for the couturier in the
1950s. And his admiration for English-
women extends tothe Queenandthe Queen
Mother. The latter came to visit him at the
chteau he used to own in Brittany: We had
Choupettes
maids aremad
for her. When
oneis off duty,
I havetosend
images to tell
her sheis well
PARTY
BEACH
THIS PAGE:
pliss dress, 1,725,
Lanvin. Gold-plated
sterling silver bangle,
275, Thomas Sabo.
OPPOSITE: python-skin
jacket, 9,325; matching
trousers, 4,875;
silk shirt, 850, all
Roberto Cavalli
REGAN CAMERON
REGAN CAMERON
THIS PAGE: multicoloured
print silk dress, 1,795,
Etro. Gold-plated sterling
silver bangle, 275, Thomas
Sabo. OPPOSITE: silk mix
bodysuit, from a selection,
MaxMara. Gold vermeil bangle,
135, Dinny Hall. See Stockists
for details. Hair by Halley Brisker
at Jed Root, using Bumble and
Bumble. Make-up by Yumi Lee
at LAtelier NYC, using MAC.
Model: Marikka Juhler
at Union Models. With thanks
to Rosewood Jumby Bay
(www.jumbybayresort.com)
REGAN CAMERON
PALAZZO
PUCCI
InagrandFlorentinepalace,
theever-chicLaudomiaPucci presides
overajewel amongfashionbrands,
renownedforitsrainbowof printsand
extraordinarilyrichhistory
BY JUSTINE PICARDIE
PORTRAITS BY CHRISTOPHER STURMAN
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Laudomia Pucci in Palazzo
Pucci, her family home and
place of work in Florence.
Opposite: a crayon sketch
for a scarf from the 1970s
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lose to the Duomo, in the beautiful heart of
Florence, stands the 16th-century Palazzo
Pucci, dominating the street that also bears
the name of one of the citys most ancient
dynasties. Successive generations of the Pucci
nobility have occupied their palace on Via
dei Pucci, through centuries of tragedy and
triumph. Three members of the family were
executed by the Medicis; three became cardinals; but in their
1,000-year history, none of themhadbeenforcedtoworkfor a living,
until the Marchese Emilio Pucci di Barsento, who was born in 1914.
The fashion brand that he established in 1947 a brand that
became synonymous with colour, modernity and the glamour of
the international jet set might seem at odds with the pure, almost
severe classicism of the Palazzo Pucci. But a meeting with Emilios
daughter Laudomia, who now runs the brand from the house
that is also her home just as her father did before her suggests
the subtle links between this ancestral palace and the ebb and ow
of contemporary fashion.
Laudomia Pucci was born here, married here, and still lives in an
apartment on the third oor with her own family (she has three
children with her husband, the nan-
cier Alessandro Castellano). When
she comes towork inthe morning, she
simply descends the staircase to the
rst oor, to her ofce just along
the corridor from the Pucci design
team, where the latest collections
are prepared on the traditional piano
nobile. Its pure history, she says of
the surroundings, as we pass a glorious
array of Old Masters, antique Murano
chandeliers, 17th-century Florentine
frescoes and historic marble statues.
But look closer and you begin to see
a more recent past, including carpets
woven into the distinctive Pucci
prints, complete with her fathers
handwritten signature, Emilio. (This
was introduced across the brand as a
measure to deter the legions of copy-
ists who had started faking Puccis
designs as his fame grew.)
My father preferred not to look
back at the past, remarks Laudomia,
and yet she also acknowledges the
time, energy and money that he
devoted to the restoration of the decaying Palazzo Pucci, and to
buy back one of the four Botticellis that had been sold by previous
generations of his family, as their wealth had dwindled. He said
he had lived so many lives his family life, his career, the war and
I just knew the last part.
That said, ever since her fathers death in 1992, Laudomia who
started working for his business after graduating from university in
Romewithadegreeineconomics andpolitics, risingtobecomeCEO
in 1989 has painstakingly assembled a meticulous archive on the
groundoor of the palazzo. Indoing so, she has come tounderstand
the full story of her father, as well as the brand that he established.
And it is the most extraordinary legacy; a tale that swoops from
Mussolini to Marilyn Monroe, spanning the traumas of World
War II and the wonders of the Space Age. There is no one better
placed to understand it than Laudomia, although her father never
talked to her about the horrors he had endured when tortured by
the Gestapo during the war. Instead, he spoke of la dolce vita
thecolours, theexplosionof joy that wereembodiedinPucci, both
the man and the brand.
For him, she observes, prints were rhythmand movement, and
in prints he expressed a message of contagious happiness. That
senseof enjoyment is still evident inthepalazzoyouneedonlylook
at the severe marble busts that Emilio painted in rainbow colours;
and the unmistakeable Pucci palette in the rugs, framed print
scarves and rails of new-season pieces in the design studio. Each of
thecolours is clear anddistinctive, withnames that evokethenatural
landscape that inspired Emilio: Capri pink, geranium, coral, rose,
peony, mint. As Laudomia says, these colours are a language of
our sun and our light when you buy a piece of Pucci, you are also
buying the pleasure of an Italian holiday. But eachcolour is also part
of the Pucci alphabet. She herself is wearing a beautiful vintage
Pucci print shirt, in turquoise-blue, redolent of the sky and the sea,
and the island of Capri, where her fathers designs rst became
sought after, in a jewel-box of a boutique, in the 1950s.
But how did Emilio turn into a
fashion designer, despite a family
background that should have seen
him follow in the footsteps of his aris-
tocratic ancestors and avoid anything
to do with trade? According to
Laudomia who is herself possessed
of immense elegance and an impres-
sive intelligence, lightened with
engaging charm and humour her
fathers singular sensibility derivedin
part fromNeapolitangrandeur, cour-
tesy of his mother, and a streak of
Russian extravagance, from a family
line that could be traced, through
marriage, to Catherine the Great.
As a youngman, Emilioexcelledat
sport swimming, sailing and skiing
in particular (such was his skill on the
ski slopes that he joined the Italian
national team in 1934) but studied
agriculture at the University of Milan,
even though the family fortunes were
alreadyindecline, andits estates being
sold off. He enrolled in an animal-
husbandry course at the University of
Georgia in the United States in 1935, then transferred on a ski schol-
arshiptoReedCollege inOregon, where he designeda chic uniform
for the ski team the rst indication of his eye for sportswear.
With the outbreak of war in 1939, Emilio served as a pilot in the
Italian air force, undertaking a gruelling series of missions. My
father survived on amphetamines he was ying 20 hours a day,
says Laudomia. It was during this period that Emilio began a
romance with Mussolinis daughter Edda, whose husband the
dashing Italian Count Ciano had started plotting against his
father-in-law, after the dictators pact with Nazi Germany. In 1943,
Eddas husband helped to overthrow and imprison Mussolini, who
was then rescued by the Germans. Ciano was promptly arrested,
and Edda disowned by her father turned to Emilio for help in
Clockwise from left:

the Emilio Pucci creative
director Peter Dundas
photographed for Bazaar
in 2010. Models wearing Pucci
looks in 1964, shot by Horst P
Horst on the roof of the palazzo.
Emilio Pucci autographing rugs
in Buenos Aires in 1970. A Pucci
scarf. The labels archive on the
ground oor of the palazzo.
The design studio on the rst
oor. Opposite: a sketch of
Emilio from the 1960s
Laudomia on the roof
terrace overlooking the
Duomo in Florence
wearing a Pucci dress
saving her husband and herself. Despite courageous efforts, Pucci
was unable to protect Ciano, who was executed on Mussolinis
orders in 1944, but he did manage to smuggle Edda to the safety
of the Swiss borders; only to be captured himself, and imprisoned
bythe GestapoinMilan. After three months of torture, he was more
deadthanalive, says Laudomia; but eventually he was released, and
somehow made his way by bicycle to Switzerland.
During his convalescence in Switzerland, Pucci met Coco
Chanel, who encouraged the handsome young man to consider an
alternative direction from that of his forebears. He returned to the
air force, but also started creating streamlined ski outts for himself
and his new girlfriend, along the lines of those he had designed in
Oregon. Soonafterwards, ona skiingholidayinSt Moritz, a Harpers
Bazaar photographer named Toni Frissell met Emilio; impressed
by the sleek modernity of his designs, she photographed them and
sent the pictures to Diana Vreeland, Bazaars fashion editor at the
time. Vreeland was equally taken with the sophisticated skiwear,
and recommended that the New York department store Lord &
Taylor should place an order with Pucci.
In December 1948, Bazaar ran the rst ever pictures of Puccis
skiwear; and the Marchese seized the opportunity to establish a
business. He had already started designing swimsuits, as he
described in a letter written to Vreeland in October 1948 (Mlle
Chanel was very attering about them), and swiftly broadened into
summer fashion, including what became known as Capri pants,
inspiredbyhis visits tothat most beautiful of
Italian islands. The narrow, cropped trou-
sers were teamedwithtailoredsilkshirts and
print scarves, therebyestablishingalookthat
would be adopted by Audrey Hepburn and
MarilynMonroe(whoadoredthedesigns so
much that she was buried in her favourite
Pucci dress). The speed of Emilios success
was fortunate, given that he was totally
impoverished when he launched his brand.
He had so little money after the war, says
Laudomia, that he could afford to eat only
once a day.
In 1959, with his fortunes restored, the
44-year-old Marchese nally married Cris-
tina, a well-born young Italian girl who he
declared to be as beautiful as a Botticelli.
The couple had two children Laudomia and a
son, Alessandro(tragically killedinanaccident
in 1998) while Emilios empire continued to
expand. Jackie Kennedy, Babe Paley, Lauren
Bacall and Brigitte Bardot all sported Pucci, as
didhis longstandingchampion, Diana Vreeland.
These were not only clothes for the ski
slopes and the seaside; Pucci developed chic
evening gowns and appealing day dresses, then
invented an incredibly light stretch jersey that
could be folded up into a tiny bag for travelling,
and emerge unwrinkled and ready to wear. In
the Sixties, he also designed futuristic uniforms
for airline ight attendants and the logo for the
Apollo 15 space mission; thus Puccis reach
encircled the globe and beyond. Its interesting
how his fashion evolved, says Laudomia, with
that sense of happiness and lightness and
freedomof colour. Others admired the artistry
of his prints, but as his daughter observes: He refused to be seen as
an artist. For him, great art stopped with the Renaissance, even
though he was friends with Warhol and Dal.
Inevitably, as is always the case withfashion, a periodcame when
his designs fell out of favour, most noticeably in the mid-1970s
(around the time that Laudomia was having her own moment of
rebellion, insisting onwearing grey or black rather thanPucci). He
was veryhurt whenfashionmovedaway, says Laudomia, yet hekept
his dignity. By then, her father already had a parallel career in poli-
tics; he had represented the Liberal Party in the Italian parliament
from1963until 1972, andwas one of Florences citycouncillors from
1964 until 1990. But he never stopped dreaming up prints, inventing
new patterns and perfecting the silhouette of his designs; and not
long before his death at the age of 78, he was pleased to see a Pucci
revival, bothinhis ownbusiness andits inuenceonother designers.
In 2000, Laudomia negotiated an agreement with LVMH, in
whichthe luxury conglomerate took a 67 per cent stake in Pucci (the
family retains the rest). Since then, the business has grown, led by
Laudomia and several different designers, including Christian
Lacroix, MatthewWilliamsonandits current creative director, Peter
Dundas, who has introduced Pucci to a new generation (everyone
fromthe Duchess of Cambridge toRita Ora andGwynethPaltrow).
Likethemost enduringfashionbrands, however, thepast remains
part of the present (and will continue to shape the future); for,
in Laudomias words: Emotion has always been woven through
the prints. Everywhere she travels from
Shanghai to Dubai, London to Los Angeles
women tell her which piece of Pucci they
were wearingwhentheyfell inlove; andalso
when they were heartbroken. Others show
her cherished Pucci heirlooms that have
been handed down through several genera-
tions, yet are still as bright and sunlit as a
Capri morning. Pucci has remained pure,
she says. So we have to keep its soul, not try
tobe somebody else. But what of her fathers
signature, the visible proof of authenticity?
I can do it, she says, with a smile; and its
truehis handwritingseems tohaveevolved
into hers
Myfathers
fashionevolved
withhappiness,
lightness
andfreedom
of colour
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Looks from the Emilio
Pucci S/S 14 catwalk show
LIKE
LIKE
DAUGHTER
MOTHER,
Threegenerations of Fendi women
andreveal thechildhoodinspirations
tell SASHASLATERwhytheir rebellions haveshapedthelabel;
behindthis most imaginativeof brands
PORTRAITS BY HENRY BOURNE
THIS PAGE: Silvia
Venturini Fendi, Anna
Fendi and Delna
Delettrez in the
garden of their Roman
home. OPPOSITE: a
Fendi Baguette bag
Clockwise from top left:
Franca, Carla, Alda,
Paola and Anna Fendi.
A Bag Bug on the S/S 14
catwalk. Silvia Venturini
Fendi in 1982. Fendi S/S
14. The Trevi Fountain
in Rome. Heels from the
S/S 14 collection. S/S 14
models. Delna Delettrez.
Opposite: a Furrytales
bracelet from S/S 14
As Karl Lagerfeld and Silvia Venturini
Fendi took their bow together at the end of Fendis S/S 14 show,
a waterfall cascaded down the wall behind them. The clothes
and accessories they had shown to rapturous applause had been
modern and colourful, precision-engineered, witty, playful and
futuristic. But the backdrop was elemental, eternal.
Perhaps they chose a watery theme because Rome, where the
label was born and where it still ourishes, is so famed for its foun-
tains. Or perhaps because the material that Fendi is based on is the
most primordial of all fur. As Karl Lagerfeld himself has said:
Fendi has a tradition in fur that others dont have. Fur on this level
only exists in Italy and Fendi is the top of the top of that tradition.
The tradition began in 1925 when Adele
Casagrande and Edoardo Fendi opened a
leather and fur shop in Via del Plebiscito, near
Piazza Venezia. Over the decades Adele built
the rms reputation for superlative furs and
leathers, so that by the 1940s it was synony-
mous with quality. By all accounts she was a
formidable woman. She only ever wore navy-
blue couture and ruled her business and her
family like a benign despot. As her grand-
daughter, Silvia, the labels powerhouse
creative director of accessories, menswear,
childrenswear and perfume, remembers: My
grandmother was a very strong woman and
eccentric for her time because, insteadof being
at home with her ve daughters, she worked.
So successful was she that the family
moved to a huge walled estate on the edge
of Rome, where we meet today. There is
a large and sombre 19th-century home of
great grandeur in which Adeles second daughter, Anna Fendi,
now lives, and a more modern one that houses Annas daughter
Silvia, her granddaughter Delna and her seven-year-old great-
granddaughter Emma. Other family members also live here.
The Fendi women are private and reserved, and hardly ever give
interviews. To speak to three of themat once is a rare privilege and,
at times, almost overwhelming. Like any matriarchal family, they
contradict each other, interpolate comments, mutter under their
breath and talk over each other. Delna, when I speak to her alone,
interrupts our conversation to send her eavesdropping mother
off. Its a funny, warm occasion, lit with shafts of wintry Roman
sunshine. We are a big, big Italian clan, explains Silvia in
a moment of calm. And when we have reunions we are a lot of
people andeveryones welcome. Youcouldhave anex-husbandand
a new boyfriend and an ex-girlfriend at Christmas we cant
understand whos who exactly because our family is so big and
open. Its a mess, but a good mess.
In the late 1940s, when her daughters left school, Adele com-
pelled them to join her in the family rm. As we sit outside on the
terrace, Anna explains: I had to obey my mothers wishes. She was
very loving with us, her daughters, but categorical, and she imposed
her will. SowhenI left school I left myworld. Annashows noself-pity
and, in retrospect, Adele may have been right. That Anna and
her four sisters, Paola, Franca, Carla and Alda, had no choice but
to join the established family business meant that they fought to
create something revolutionary, glamorous and new from within.
When it came to appointing a designer to develop ready-
to-wear in 1965, the sisters made one of the best hirings in fashion
history. They chose a young German called Karl Lagerfeld. Almost
50 years later, he still designs for the label. It was he who created the
FF logo, standing for fun fur, and it was he who pushed the labels
atelier to greater and greater leaps of skill and imagination.
When Anna Fendi talks about him, she is fervent, reverential
in her admiration. He has been called the sixth Fendi child,
but he was, she says, the enfant prodige. We always considered
him a genius. He unites creativity and rationality and so you have
to follow every one of Karls sketches to the last dot and comma.
We did everything he asked of us. He was the evangelist and we
accommodated him.
We managed to surprise him too, interjects Silvia. Even
when he suggested something absurd, agrees her mother. Like
whenhe turnedupwitha photoof a ploughed
eld hed taken from a plane and asked for
a design of fur that would look just like it.
It was hard to do, but we did it and it came out
a masterpiece.
And that was when we invented shaved
mink! exclaims Silvia triumphantly.
These days, Anna has stepped down and
it is Silvia who works with the Paris-based
designer. She is more matter-of-fact and talks
of a close working relationship between two
creativepeople. Wedont seeeachother every
day, she explains in her throaty voice. But we
are always talking. He used to send us packs
with sketches and ideas, but these days he
loves technology so we use the iPhone and
its much faster.
Like her mother, Silvia struggled against
her heritage as a young woman, and never
wantedtojointhe rmof whichshe is nowthe
lynchpin. As a child, though, she loved it. The fact that I was born
into this family was like going to fashion college without even real-
ising it. I never wanted to be at home playing with my Barbies,
I always wanted to be with my mother at the atelier.
I have asked myself many times what I would have done if I
hadnt been a Fendi, she continues. At last I can answer that I would
for sure have done something creativeandprobably infashion. But
rst came rebellion. The work was demanding so I tried not to do
it. I was raisedwitha lot of freedom, inthat nobodycontrolledme and
they gave me a lot of trust, but at the same time they said, You can
never becomeapartygirl. Either youstudy, or youwork, andbecause
I knew university was not for me, I decided to travel, doing trunk
shows part-time for Fendi, and that allowed me to live my life. So
Silvia did get her party years after all, and they certainly were good
for her creatively, since her triumph at Fendi has been to understand
exactly what kind of handbag or shoe a glamorous girl wants.
In 1997, 10 years after joining the rm, she used this experience
togoodeffect when, as creativedirector of accessories, shelaunched
one of the most successful handbags of all time: the Baguette.
Our family
is sobigand
open. Its
amess, but a
goodmess
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The genius of the Baguette is that its simple shape (small enough
to tuck under the arm so your hands are free) leaves artists
and designers at liberty to decorate it in the most wild, baroque
ways. The shape is eternal but the variations are innite. It comes
in fur, leather, denim, cashmere, beading, metal, petals The
artist Michelangelo Pistoletto has decorated one, as has Sylvie
Fleury. Damien Hirst has done them in spots and spins.
Silvia dresses conservatively innavy blue andblack, but she gives
her inner exuberance free rein when it comes to designing. Who
couldhave predictedthat we wouldall fall inlove withher BagBugs,
the little furry-monster mascots that dangle from so many fashion-
forward handbags, like uffy dice off a wide boys rear-viewmirror?
These are a product of genius: utterly unnecessary and totally desir-
able the denition of luxury. And the Peekaboo bag became an
instant hit when it was unveiled in 2009. From the outside it is a
demure classic, but the exterior pocket folds down to reveal a multi-
coloured lining. Ostensibly, youre carrying a
sensible fawn bag only you know the inside
is pink-and-black-striped lizard skin. A new
development has been the addition of cute
mini monster bug-eyes that peer out at the
world as though you were carrying a gremlin
in your handbag, albeit one made fromcroco-
dile intarsia.
There is perhaps something of Silvias past
in the Peekaboos hidden naughtiness. As a
child, she felt set apart from her peers. We
were dressed in a different way, she says. In
black and brown and navy blue, maybe grey.
Everyone else was in pink, but I would never
ask for it as I knew I couldnt have it. My
mother always used to send me fromRome to
Milan to get my hair cut, because thats where
the best hairdresser was. When youre seven,
thats strange, no? We decide to move inside
her mothers house to escape the chill of dusk,
but twilight has also crept into the grand old sitting-room. Silvias
childhood bedroomhere was lled withantique furniture and hung
with Old Master paintings. They looked at you like monsters,
she remembers. Her friends were shocked that I slept in such
a strange room. The only place she could express her teenage tastes
was the inside of her wardrobe. It was here that she pinned her
posters of Rod Stewart: You open a cupboard and your life is there,
she says. No wonder she plays hide and seek with accessories now.
To counter the restraints of her own childhood, Silvia tried
not to put limits on her daughter Delna Delettrezs creativity.
So when Delna, now a slim, green-eyed 26-year-old, wanted
to dye her hair blue-black aged 10 to look like Wednesday Addams,
Silvia let her. I raised my children in freedom, says Silvia. My
family is traditional but my children have travelled a lot and I tried
to give them other points of view. And thats why my daughter
decided to have her baby when she was 18. For her, it was normal.
Silvia is now, predictably, the kind of spoiling grandmother who
buys her granddaughter pink sparkly silly things. And Delna,
equally predictably, doesnt approve. She too loves the dark, mono-
chrome Fendi family uniformand goes with her mother to religious
outtters near the Vatican to buy the overalls more often worn by
nuns to do the gardening. But I wear themin my own way, she says.
Colour comes into her life through the jewellery she designs.
When she was a baby, Karl Lagerfeld drew her an eye as her own
personal logo. Shehas sinceusedthat inher ownwildandfantastical
creations. When the family rm (owned by LVMH since 2001 but
withSilvia at its heart) came calling for her tocontribute a collection
of jewellery for S/S 14, she didnt hesitate. Her collection is playfully
calledFurrytales, andits creativejourneybegins withandis inspired
by her mothers Bag Bugs. There are two kinds of eyes, she says of
her bracelets and earrings and rings, which are decorated with tufts
of fur and crystals. One is an Egyptian eye and ones round, with
a pearl, and Ive added make-up to make them more night-
time. In some cases the eyes begin to mutate and look like tropical
birds. The collection is as witty, playful and luxurious as anything
that Silvia could come up with.
Delna is adamant that working withher mother hasnt changed
their relationship: Weve always been united and complicit in life
and work, more like two friends than a mother and daughter,
she says. Ever since I was a child, talking about fashion and crea-
tivity and art has been like talking about the weather for other
people. Imsuper-proudof havingthesegenes.
I used to say that we have the FF chromo-
some, not an XX.
For her, this fashionfamilyandits expecta-
tions are not oppressive. I was surrounded by
amazing women, and each had her individual
aesthetic. They helped me appreciate rarity
andquality, andthe humantouchof products.
My mother calls that handmade quality the
beauty of the mistake; I call it the gift of
the mistake. You have to know theres a
person behind it who made it. The elevation
of the artisan approach is most evident in
the Selleria collection of handbags, which
are made by hand. Each has a number
corresponding to the exact total of stitches
it took to make. Their manufacture harks
back to centuries-old Roman traditions, and
they are all exquisite.
Lagerfeld once drew a picture for the
sisters of the Capitoline Wolf suckling not Romulus and Remus but
the ve girls, and it is true that Rome plays almost as big a part in the
storyof the Fendis as Adele did. The climate here inuences us, says
Anna from within the snug cocoon of her navy-blue fur collar. We
haveaholidayclimateandit changes your moodandyour life. Rome
is lighter than other cities. Not supercial but positive. We could
never move to Milan, even though its the centre of Italian fashion.
So wedded is Fendi to its home city that the brand has recently been
renamed Fendi Roma. No wonder that when the labels chairman
and CEO, Pietro Beccari, heard that bits were falling off the Trevi
Fountain, he pledged 2.2 million to have it restored. For since the
label ourished in the glamour of 1950s and 1960s Cinecitt, when
thefamilyworkedwithFellini andtheother greats of Italiancinema,
howcouldtheyfail torestorethefountainthat MarcelloMastroianni
and Anita Ekberg made synonymous with Rome and with glamour
and decadence? Rome has given us a lot, says Silvia. We wanted
to give something back.
Fendi opens a new boutique on New Bond Street on 1 May.
Theresperhaps
somethingof
Silvias past in
thePeekaboos
naughtiness
Clockwise from top right: models
backstage at Fendi S/S 14. Anna
Fendi, Delna Delettrez and
Silvia Venturini Fendi at home
in Rome. A backstage shot
from S/S 14. Fendis A/W 67
collection by Karl Lagerfeld,
modelled by a young Silvia.
A sketch by Lagerfeld of the
famous sisters as the Five Fingers
of a Hand. Silvia, Federica and
Maria-Teresa Fendi with a model.
Opposite: a Bag Bug bag, 755,
from the S/S 14 collection
HEART
&SOUL
DomenicoDolceandStefanoGabbana
havebuilt theirempireonshared
passions fashion, family, friendship.
SASHASLATERtalkstotheduoabout
their32yearstogether, andhowanItalian
loveaffairturnedintoaglobal brand
PORTRAIT BY DOMENICO DOLCE
T
he history of the Dolce & Gabbana fashion
label is a love story in three parts. First there
is the designers ownlove affair, that preceded
andinspiredtheir business. Then, at theheart
of everything they do, there is their shared
feelingforSicilyandsouthernItaly. Norshould
we forget their sentiments about their fami-
lies and about the traditions that give soul to
the glamour they sell. But as I sit talking to Stefano Gabbana in his
ofce, a colourful library decked with majolicas from Caltagirone,
the love thats most immediately obvious is a passion for dogs.
Many designers like to go everywhere with an entourage, but,
unusually, Gabbanas consists not of attentive personal assistants
but of three large Labradors, one chocolate, one black, one golden,
that bustle into the room with him and op on the oor. The
youngest, asix-month-oldbundleof canineadorationcalledMimmo,
lolls at our feet as we talk, alternately nibbling the grosgrain bowof
my Manolo Blahnik and tugging the white laces of Gabbanas
trainer. Thumping tails, doggy yawns and loving remonstrances in
Italian punctuate our conversation. And when Dolce tears himself
away from creating the menswear collection for A/W 14 and nips
upstairs to say hello, the dogs greet himecstatically.
Dolce (short, bald and bespectacled, 55 years old, with a beard
and an intense, friendly expression) only makes a brief appearance,
for it is Gabbana (taller, tanned, 51 years old, with a slimmer face,
blue eyes and similar spectacles) who does most of the talking. Over
the course of 30 years together the designers have carved up their
work so that they play to their strengths. They were, as Gabbana
says, the rst to come out with a fashion brand with two designers.
We were viewed as odd but we were ahead of everyone. Recalling
Domenico Dolce and
Stefano Gabbana in
their ofce library
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Dolce and Gabbanas
home on Stromboli.
Bianca Balti and Monica
Bellucci in the S/S 13
campaign. The S/S 14
moodboard. Naomi
Campbell on the A/W 91
catwalk. Domenico Dolce
as a child. A look from
S/S 14. The designers at
a tting. Sicilian citrus.
Below right: their dog
Mimmo, posted on
Instagram by Gabbana
Clockwise from
below: a Dolce
& Gabbana look
from the May
2013 issue of
Bazaar. The A/W
13 campaign.
Stefano Gabbana
as a child. A dress
and crown from
the September
2013 edition
of Bazaar
www.harpersbazaar.co.uk April 2014 | HARPER S BAZAAR | 221
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their earliest beginnings, he remembers that in 1984, when they
started: We just sketched a dress. If you look at it now, you realise
we had something but didnt know exactly what. In our third
season we nally understood that we were talking about Italian tra-
dition, neorealist lms, Anna Magnani Domenico was obsessed
with [the lm director Luchino] Visconti.
Dolce, the son of a Palermo tailor, is the master of cutting and,
indeed, no dress comes close to a Dolce & Gabbana for supportive
yet sexy curves. Gabbana, whose background is in graphic design,
has an eye for detail and pattern, lace and embellishment. Dolce is a
Leo, Gabbana a Scorpio(He is the king, but I have the sting). Dolce
is more serious, Gabbana more of a joker. Dolce is from Sicily but
hankers after the modernity of Milan; Gabbana is from Milan
but longs for the colours, scents and heat of Sicily. I wanted to talk
about Sicily and its traditions, recalls Gabbana, and he said, No!
No! Ive just escaped from there to come north. Basta! But I
convinced him. And thats the secret of the balance. Perhaps this
central conict is what has driven their creativity since. Certainly,
they couldnt have founded their fashion
label without their relationship: We were in
love with each other and it was a great love
story, says Gabbana. Business always came
second. Love was rst and love is the most
important thing still.
They separated in 2005 and many antici-
pated that their joint company would suffer
as aresult, but thetwodesigners confounded
expectations: When we stopped our classic
love affair, we didnt break anything. We
kept the emotion and the sentiment and
we stayed together. Weve been through
spring, summer, icy winters; 32 years
together is a life. We could have destroyed
everything but we didnt, because we have
huge respect for each other and our work is our child. Its because
the basis for everything is love and we were very lucky. Weve
managed to create a love and a trust while working together, and
that is absolutely priceless. Gradually, Gabbana half-jokes, they are
evolving into the same person.
The Dolce & Gabbana story is intimate and personal. Each col-
lection takes elements of Italian life that have a special meaning
for the designers and showcases them in exquisitely tailored and
embroidered splendour. But recently, the two have started moving
further south for inspiration. Four years ago we started to speak
againabout Sicily, says Gabbana. Andnowtheir Sicilianinspiration
is in full ood, from A/W 13s celebration of the Cathedral of
Monreale, with its Byzantine gold mosaics, to S/S 14s triumphant
use of gold coins and majolica porcelain on giant platform shoes,
and appliqu almond blossoms and sepia prints of archaeological
ruins on dresses.
Personal its origins may be, but the resultant business is huge.
Dolce & Gabbana has 267 stores, almost 4,000 employees and
annual revenues just shy of 1 billion. But such dazzling numbers
conceal the fact that this is still a family business. Both Dolces sister
Dora and his brother Alfonso work with the pair. And they have an
extended family of the most enviable kind the women and men
who wear and love their clothes. Every starlet who wants to look
sexy in a dress, every actor who seeks to add a dash of continental
style to his black tie, turns to the pair for red-carpet glamour.
As Naomi Campbell, who has been a loyal friend to the designers,
tells me: They have clothes for all occasions, from shorts and
jeans and cotton dresses to an amazing long art deco gold, black
and silver dress they made me last year that I wore to a private cel-
ebration to show off. She was 19 when she started working with
them: It was from 1989 onwards and I was walking in their shows.
They were fantastic. You had Isabella Rossellini, Monica Bellucci,
Christy, Linda, Stephanie it was our time, our era, and I loved
growing up with them. Theyre like my brothers. I love how they
dress womenveryelegant andchic. Theydesignwhat makes them
feel good and dont go for trends.
Shehas spent holidays withtheboys intheir houseonStromboli,
a little island north of Sicily, where she has her own fuchsia-pink
room. Weusedtoact likekids withwater ghts, andwehadsomuch
fun. And the food their dinners are incredible. Oh my God. Thats
where tomatoes taste like tomatoes. Food, and a love of food, are
integral to the Sicilian way of life and therefore to their label. Its no
coincidence that their ad campaign starring Madonna showed her
eating spaghetti with her ngers, washing up bolognese-splattered
saucepans and carousing, a glass of red wine in hand. Monica
Bellucci and Bianca Balti, meanwhile, pose
alongside handsome Dolce &Gabbana-clad
childrenandgrandmothers infront of tables
piled with birthday cakes and oranges.
Recent menswear campaigns have featured
tanned Mediterranean models draped in
garlic and onion strings and brandishing
loaves of (delicious-looking) Sicilian bread.
So beguiling are these family photos
from the Dolce & Gabbana clan that they
have been imitated by real families all
around the world and posted online, a phe-
nomenon that Stefano, a devoted Twitter
user with almost half a million followers,
spotted, enjoyed and encouraged. The DG
family gallery has touching and stylish
pictures of family groups from as far aeld as Nepal, Malaysia and
the UAE. The handsomest or most charming of these families may
star in a forthcoming ad campaign.
One things for sure: theyll look good in the label. From Al
Pacino to David Gandy to Hugh Jackman, Kristen Stewart to Lily
James toJulianneMoore, theyveall workedaDolce&Gabbanalook
to great effect. Scarlett Johansson and MatthewMcConaughey, the
faces of the Dolce &Gabbana fragrance The One, have evenstarred
in an enigmatic and stylish short lm directed by Martin Scorsese
for the brand. But when I wonder why the designers chose such a
blonde Nordic beauty for their brand, Stefano counters that shes
a foreign woman with an Italian look. It doesnt matter where
shes from its all about the spirit. CONTINUEDONPAGE 260
Our jobis to
showemotion
through
clothes. We
needtotell
stories
Embracechicsummer blackfor aseasonof boldglamour
PHOTOGRAPHS BY LIZ COLLINS
STYLED BY LEITH CLARK
ADVENTURE
OF
SPIRIT
Organza dress, 4,345,
Saint Laurent by Hedi
Slimane. Calf-skin and
strass sandals (worn
throughout), 635,
Louis Vuitton
LIZ COLLINS
THIS PAGE: tweed
dress, 4,100, Chanel.
OPPOSITE: cady
jumpsuit, about
1,940, Givenchy by
Riccardo Tisci. Pearl
belt, 1,070, Chanel.
Suede and metal
sandals, 795,
Charlotte Olympia.
Chiffon scarf,
from a selection,
Broadwick Silks
LIZ COLLINS
THIS PAGE: silk
dress; silk top (just
seen), both from
a selection, Dior.
OPPOSITE: chiffon
dress, 1,875, Alberta
Ferretti. Lace (worn
as headscarf ),
from a selection,
Broadwick Silks
LIZ COLLINS
THIS PAGE: cotton
embroidered dress,
from a selection,
Bottega Veneta.
OPPOSITE: silk tulle
dress, 5,320, Erdem
THIS PAGE:
velvet dress, 2,110,
Miu Miu. OPPOSITE:
brocade dress, 3,330,
Dolce & Gabbana
LIZ COLLINS
THIS PAGE: tulle and
embroidery dress, 3,520,
Tom Ford. OPPOSITE:
crepe dress, 4,025,
Michael Kors
LIZ COLLINS
THIS PAGE: organza jacket,
2,105; matching skirt, 815;
leather, pearl and diamante
belt, from a selection, all Fendi.
OPPOSITE: viscose and Lycra
top, 1,110; matching skirt,
1,250, both Ralph Lauren
Collection. Lace (worn as
headscarf ), from a selection,
Broadwick Silks. See Stockists
for details. Hair by Seb Bascle
at Artlist. Make-up by Polly
Osmond at D+V Management,
using Clinique. Model: Alana
Zimmer at Elite Models
London. Production by 10-4
Africa (www.10-4africa.com).
Shot on location at Sasaab
Lodge, the Safari Collection
(www.thesafaricollection.com)
LIZ COLLINS
BEAUTY
Edited by SOPHIE BLOOMFIELD
19 each
Rodial
Healthy
glow
The most
natural ush P
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base is as a brightening veil, rather tha
covering mask for the skin.
Where a little coverage is requi
(lets face it, blemishes, d
circles and broken veins
require some concealm
then Bobbi Browns new
Foundation Stick, 29, co
in an impressive 24 shades and
is hard to beat in terms of coverage without
caking. I have always felt that less is more
when it comes to make-up, explains Brown.
It should make you look like the best version
of yourself which means keeping it simple
and nding the product that enhances your
favourite features, rather than masking them.
F b f d k ptip i it h p
21
Este Lauder
59
By Terry
B
A
Minimal
foundations
The most
invisible and
radiant bases
THE SHIFT FROM coverage to correction may have
reached its zenith. For, just when we thought that BB and CC
creams were the ultimate in imperceptible complexion
improvers, along comes a raft of products more akin to science
ction than to skincare.
If you believe Arthur C Clarkes observation that any suf-
ciently advanced technology is indistinguishable from magic,
youll doubtless appreciate Diors new breakthrough, Capture
Totale Dreamskin, an untinted anti-ageing
serum containing second skin biomimetic
powders, which instantaneously (and, yes,
really quite magically) bestow a rened, pore-
less look. Even better, this is replicated in its
long-term skincare effects.
Similarly invisible products including
Lancme Visionnaire 1 Minute Blur, 40; Nars
Pro Prime Instant Line and Pore Perfector, 20;
and Garnier Miracle Skin Cream, 12.99 also
indicate that visible foundation is a thing of the
past. For there is nothing more ageing than
heavy base. Heavier make-up really highlights
ne lines, so can often make you look older,
rather than younger, cautions the make-up
artist Wendy Rowe.
Coverage on older skin looks leathery, says
her fellow make-up artist Terry Barber. The
more modern and effective way to think about
PRO TI PS
E Y E S : Avoidshimmery
eyeshadow it emphasises
crepeyness, says Rowe.
Use a creamy eyeshadow
andcurl the lashes for a
fresher look. Este Lauder
Sumptuous Innite Daring
Length + Volume Mascara
adds denition.
CH E E KS : We are told
touse blush on the apples
of thecheek, but they lose
volume with age, andit
emphasises this hollow
efect, says the make-up
artist Alex Babsky. Move it
tothe cheekbone; it looks
elegant on a more mature
face. Lancmes new
Blush Subtil, 27, and
GiorgioArmani Cheek
Fabric have sheer textures.
L I P S : Anatural liner
makes lips look fuller and
more symmetrical. It
works on everyone, says
the make-upartist Sam
Bryant of Serge Lutens
Natural LipLiner, 32.
Addsheer colour with
Rodial Glamsticks.
27.50
Tory Burch Lip
and Cheek Tint
in Cats Meow
79
2
BareMi
BAZAAR LOVES
SHALOM HARLOW
downintothree sections inner, archandouter tondthe position
where the arch should sit naturally. Straighter brows with a wide
arch (like Sharon Stones and Brook Shields), will extend the eye
area and distract attention from lines and wrinkles.
Seeing your browas three separate sections also helps when you
are drawing or lling them in. The Blink Brow
Bar founder Vanita Parti recommends using
very gentle strokes in the direction of growth,
and then blend, for a softer, natural nish. Both
Tom Fords Brow Sculptor, 34, and Dolce &
Gabbanas Shaping Eyebrow Pencil, 32.50,
have a slanted tip to allow you to mimic
the shape of natural hair.
ows should be the
ur as the darkest
hair your head, says
Potter-Dixon. Any lighter
or darker andthey canlook
slightly out of place.
As a nishing touch,
highlighting the brow bone
will give extr lift anddenition.
Este Laud newDouble Wear
Stay-in- Brow Lift is dual-
ended a brow pencil at
pearly highlighter
We love the subtle
highlighter, which
ns the area.
WHENTHEACTRESS Sharon Stone stepped onto the red carpet
at last years Cannes FilmFestival, she provedthe anti-ageingpower
of impeccably arched brows. As the saying goes, brows frame your
face anddene your features; well-groomedbrows are, inthe words
of the brow expert Shavata Singh, the equivalent of a mini facelift.
New products promise to make it easy to achieve natural-
looking, groomed arches at home. After years of development,
Guerlain has unveiled its debut brow kit, Ecrin Sourcils, with just
one shade to suit all hair and skin tones. But whether you are in
your thirties, forties or above, the secrets to beautiful brows lie
in perfecting the shape, shade and fullness.
The importance of shape has taken centre stage over the years
(with most of us struggling to create natural-looking, symmetrical
brows). But fullness is beginning to take prec-
edence for those wanting an anti-ageing effect.
With age, brows get thinner and patchier,
losing their dening capability. Both Sharon
Stone and Brooke Shields have shapely brows
that veer on the heavier side.
To ll in gaps, products such as Blinks
Brow Powder, 15, work best because they
colour the skin and the hair to give the illusion
of thicker brows. Benets new gel formula
Gimme Brow goes one step further by col-
ouring and lling out the brows using
micro-bres, which stick to existing hair.
The perfect brow shape should give you
an instant eye lift and make you look younger,
says Benets head make-up artist, Lisa Potter-
Dixon. The key to this is to break the brow
HAI R: GREY
GRACEFULLY
Less is denitely more
whendisguisinggrey locks.
Heavy, blanket coverage
has been replacedwith
lighter, subtle blending.
Strategically leavinga few
greys can actually be less
ageing, says the colourist
Josh Wood. This can be
achievedat home, using
products such as Color
WowRoot Touch Up,
which lasts until the next
wash, andWoods
BlendingWand, lastingfor
uptothree washes. Both
leave a natural nish. For
longer-lastingcover, try
LOral Paris Mousse
Absolue. The hair colourist
Christophe Robin advises
usinga comb, brushor old
mascara wandtoapply
the dye over greys. This
makes coveringgreys
relatively foolproof.
Y
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By VICTO
10.9
LOr
Paris
Mous
Absol
17 5
28.50
Color
Wow
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Impeccable
eyebrows
Atouch of
highlighter
alongthe
browbone
adds instant
denition
Great skin is the product of good
nutrition and a good workout, says
Czech. The nutrition comes from the
cream and the workout from my
massage; also, pushing a product
nto the skin makes it function on
a deeper level. Czechs routine is
fast (30 seconds at most): pinching
along the jawline, and more
pinching to plump the lips and
work the cheek muscles. To lift
the brows, she presses up and
holds with an index nger, working out along the brow.
Many problems along the jawline can be caused by
uidor tension, says thefacialist SarahChapman, whose
Facialift home massager uses rmrollers tohit this spot.
Alternatively, open the index and middle nger like
scissors and slide them rmly along the jawline and
around the ear to drain any uid. Pushing the h l
of thehandupbetweenthebrows opens theeye
and releases tension in the brows.
This mix of hi-tech products and low-tech,
hands-on activity is, to me, the best approach to
modern skincare. It should be quick and simple;
use your ngers or knuckles to press, lift or massage
in small circles. Use a good cream and you will see
a difference in less than a week. P
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BEAUTYBAZAAR
FACE CREAMS CAN PLUMP,
smooth, soften and brighten.
They can make lines disappear,
give dull skinradiance andensure
we age more slowly than we
would do without them. But even
as one of skincares biggest fans,
I admit it has limitations, because
no cream can lift the face.
The plastic surgeon Rajiv
Grover says it is the loss of volume
in the cheeks (starting in our late
thirties) and the receding of the
facial bones that lead to folds and
sags in the skin on top. No beauty
product I knowof can tackle that.
But now we have Crme de la
MerlaunchingitsLiftingContour
Serum; Chanel saying it all with
the new Le Lift; and further
lifting creams from Elemis and
Carita. Interestingly, while all
boast of ingredients that make
skin denser, rmer and thicker,
three of them are also launched
with a professional face massage.
When you look at a babys
face, those fat cheeks create
volume that keeps the face lifted, says Loretta Miraglia of
CrmedelaMer. Whilewecantincreasethefat, inincreasing
collagen bres we create volume, making skin thicker and
moredense. This, coupledwithamassageapplicationdevised
by the facialist Joanna Czech (learn her technique at
www.harpersbazaar.co.uk), redenes and lifts the fac
The facialists
Patel and Emma Hardie
performmiracles on
cheekbones and jawlines.
Vaishaly, from 250 (020
7224 6088). Emma Hardie,
from 130 at Michaeljohn
(020 7629 6969).
Elemis Pro-Intense Lift
Efect Facial combines
massage and mask for
incredible results. From
65 (nationwide).
Carita Cinetic Lift Expert
Facial has a lifting efect,
giving the skin a beautiful
glowand evenness. From
125 (nationwide).
Sarah Chapmans Facialift
massager, 25, is a simple
but efective tool.
Sublime radiofrequency
is a treatment that works
wonders on tightening up
the lower face. From 450
at Dr Sebaghs Clinic
(020 7637 0548).
By NEWBY HANDS
F
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BAZAAR LOVES
TATJANA PATI TZ
230
Crme de
la Mer
98
Carita
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READER EVENT
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BAZAAR ] PROMOTlON
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One of Londo
in this eld is Dr Asif
Orthodontic Clinic from Wi
call in the quest to straighten my s
of any sort are n
It would take a year to
told me, with monthly appoi
my brace, a stringent cleaning d
regular visits to the hygienist.
After careful measurement, my braces
were constructed and tted. Invisible they may
be, but they are not inaudible: the rst thing
I noticed was a new lisp, which forced me to
slow my speech down and work much harder
to enunciate. Then there was the discomfort,
not to mention pain, as the metal cut into my
tongue and cheeks. For the rst week I was
almost intears everytime I triedtoeat anything
other than soup or ice-cream.
Just when I could bear it no longer, things
began to improve. I can now eat almost any-
nt even if, mysteriously, it doesnt
d I talk a bit less while
ep dental brushes in my
lunch.
months into my year-long
s exciting to see my teeth
i i sition. It all feels a bit like
repaired expensive, initially
mately a wise investment.
I
deally, teeth should be one of those things
you dont notice about another person. But
bad teeth either because they are uncared
for or, perhaps worse, over-whitened and
fakely perfect can ruin the whole effect of a
lovely face. Like much else in cosmetic intervention, the trend
now is for teeth not to look decades younger, but instead, just like
themselves, only better.
Greying or crooked teeth are as unnecessarily ageing as an
unloved mane of hair. Unlike hair, however,
they cant be revamped over the course of one
luxurious afternoon at a salon. Orthodontic
treatment is lengthy, intrusive and expensive.
And the general consensus tends to be that
traintrack braces are only acceptable if youre
14 (except for Rihanna and Madonna).
Luckily, subtlety is possible. First, there
are clear plastic, so-called invisible braces,
which are almost invisible, but not quite.
Then there are the truly invisible lingual
braces that sit behind your teeth, so only
you need ever kno there. These
offer a massive
conventional labia
disadvantages sh
THE BEST
I N THE BUSI NESS
Invisible lingual braces
Dr Asif Chatoo specialises in
braces that sit behind your
teeth. At the London Lingual
Orthodontic Clinic (www.
londonlingualbraces.com).
The Whitening Wand
Developed by Dr Joe Oliver
of Londons Welbeck Clinic,
itener is applied after
ble at
teethat all costs, discovering
LAURATENNANTpursues beautiful
thelatest incosmeticdentistry
BEAUTYBAZ
Whitening
Wands, 45
for two
Dr O
W
PEARLY
PERFECTI O
D
oes anyone really need convincing of the
allure of red lipstick? Diana Vreelands diktat
that red is the great clarier aptly describes
the power of crimson lipstick: to clear and
brighten ones mood and (hopefully) complexion.
So, when I meet the supermodel Carolyn Murphy for
tea to discuss Este Lauders new Pure Color Envy
Sculpting Lipstick (for which she is the face), what I
really want to talk to her about are the ve reds
among the collection of 20 shades.
In her 23-year career as one of the original
supers, Murphy has not only learnt what works
(the singularity of a coral red lip against lightly
tanned skin and the hair pulled back so classic,
so Grace Kelly) and what doesnt (Reds against
very dark eyes are too much; a ne wing of liner
is the most denition I like), but looks as fresh-
faced at 40 as she did
at 20. She is clearly a
woman in possession of
beauty secrets that need
to be shared.
Casually scribbling a
patchwork of reds on the
back of her hand to better
illustrate the nuances in
, p y
offers advice on wearing red:
Dewier skin, created with
just BB cream and a little
powder, is more attering
than heavier foundation. She
adds: Very colourful eyes or
cheeks are also best avoided
with a strong mouth. Over
the years Ive learnt that
simplicity is best.
If Im tired, particularly
after ying, thena tomatored
instantly makes me look
t ther, saysMurphy, whoissportingImpassioned
his very reason (and it works). In the evening, a
but slightly deeper red always looks sophisti-
d, she says, pointing to Envious, while this
ker tone of Vengeful Red would look beautiful
a paler skin.
As she muses that a berry-toned swipe of Red
wouldlookgreat pattedonas a stain, especially
berryblushlightlyswept onthecheeks, andhow
is russet shade of Emotional would look against
mel cashmere sweater youre wearing, Murphy has
nking that I might never wear a beige lip again.
ould almost be the case; until, that is, I discover
t nude (Insatiable Ivory) among the line-up.
r Pure Color Envy Sculpting Lipsticks, 24 each.
S
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Who
better than
model Carolyn
Murphytodecode
thesecrets of
crimsonlipstick?
HIE BLO MFIELD
BEAUTYBAZAAR
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a canter on a racetrack, and polo lessons are also on offer. There
was just time for a quick burger lunch in the Barn before we
headed regretfully back to London. Sometimes a one-night
holiday can be worth a week. SASHA SLATER
Coworth Park (www.dorchestercollection.com/en/ascot/coworth-park),
from 330 a night B&B in a Stable Superior Room. A one-hour
horse-ride at Coworth Park costs 75 with the Riding Club
London (www.ridinglondon.com).
La Verdoyante in France.
Below: Coworth Park, Berkshire
COWORTH PARK
BERKSHI RE
Why thrash to the farthest reaches of the world in search
of a family holiday when the most dreamy destinations could
be right on your doorstep? Despite having grown up in London,
I had never been to Windsor Castle until last Christmas. What
an error. Its a wonderful day out for little girls who are beguiled
by the miniature perfections of the enchanting dollhouse. Its also
ideal for small boys in love with suits of armour and battlements.
I, meanwhile, was drawn to France and Marianne, the dolls given
to the young Princesses Elizabeth and Margaret by the children
of France, complete with a 360-piece trousseau of Vionnet dresses,
Paquin furs and Herms bags as well as to the Bruegels, of
course. Replete with culture, we swished down the road to the
Dorchester Collections country outpost, Coworth Park, with its
slightly more hedonistic pleasures. The hotel restaurant fed us to
the edge of heart attack on locally sourced British food, and we
collapsed into giant, unimaginably comfy beds. The large pool
here is disco-lit and changes colour from purple through to green,
much to the delight of the children. The perfectly manicured
lawns lead to a kids club of great luxury where the staff lay on
treasure hunts at the drop of a hat and will also do cookie baking,
dinosaur construction and jewellery making. I left them to it and
headed for the stables, where a magnicent steed arranged
by the Riding Club London was waiting for me, all tacked up.
The grounds here are big enough for an hours hack, including
P
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VI LLA NOCETTA
ROME, I TALY
They used to grow artichokes here, on the fringes of the
Villa Doria Pamphili park, with its statues, fountains and
box hedges. That was until the 1960s, when locals put
these hills just south of the Vatican to more lucrative use
by building splendid villas for Romes haute bourgeoisie.
Now one of these villas, tucked behind high walls,
provides a hideaway for families looking to enjoy the
Eternal City in luxury. Rome in summer is a place of dust
and intense heat, of large crowds and phalanxes of
scooters, melted ice-creams and tired feet. Villa Nocetta
provides a total escape, 20 minutes drive from the chaos.
The dark-red-painted villa has a spacious garden with a
pool, cypresses and orange-trees. Theres a large, stylish
sitting-room with marble oors and a grand piano near
which we lounged, consuming round after round of
superb antipasti. There are six bedrooms, a concierge to
arrange unheard-of treats for you, a games-room and a
cook and driver who come with the house though many
guests bring their own entourage, including a nanny to
sleep in each childs bedroom. We managed without and
set about exploring the alleyways of Trastevere, safe in
the knowledge that when it all got a bit much, we had
our own private estate to retreat to. SASHA SLATER
Villa Nocetta (+39 06 663 7119; www.villanocetta-rome.com),
from about 2,400 a night (minimum three nights; sleeps 12).
LA VERDOYANTE
FRANCE
The Aveyron, in south-west France, is noted for three things: foie
gras, Roquefort and spectacular family holidays. However, nding
luxury deep in the country is not always easy. La Verdoyante,
though, has all the glamour of a country club with the charm of
a family home. This is a hilly region, and the 150-year-old house
and barn dominate a huge view. As we sat on the verandah,
drinking chilled Gaillac Perl and recovering from an energetic
game of tennis, we could see uffy white clouds chasing each
other across the sky. In the foreground, horses cropped the grass,
and the children splashed in the innity pool.
Its tempting to spend the whole holiday lounging around
the 18-acre garden and tucking into the resident chef s version
of veau dAveyron and aligot (a local take on mashed potato
whipped up with cheese as decadent as it is delicious). But
this would be a tremendous shame, since the nearby mediaeval
village of Najac boasts an awe-inspiring Sleeping Beauty castle,
and the craggy grandeur of the Gorges de lAveyron is a short
drive away. There are rivers to swim in and forest trails to follow,
local markets to buy artisan sheeps cheese and canoes to hire,
rocks to climb, bicycles to ride, picturesque hilltop villages
to explore. Theres even high culture in the form of the nearby
town of Albi, with its magnicent cathedral and museum devoted
to its most famous son, Toulouse-Lautrec. SASHA SLATER
La Verdoyante (sleeps 10), from 13,000 a week full board, including
wine, with Quality Villas (01442 870055; www.qualityvillas.com).
METROPOLI TAN BY COMO
MI AMI BEACH, FLORI DA
One naturally expects a certain amount of air from any
hotel on Miami Beach, and this latest opening denitely
delivers. With its own strip of sand, open only to
the hotels guests, and a large outdoor pool, there
is room for families to revel in the Florida sunshine.
The rooftop spa, with sweeping views across the
city and the ocean, is easily accessible for parents,
thanks to the hotels babysitting services. CASS CHAPMAN
Metropolitan by COMO, Miami Beach (www.comohotels.
com/metropolitanmiamibeach), from 339 a room a night.
Clockwise from
left: La Verdoyante,
France. The garden
of Villa Nocetta in
Rome. Miami Beach
ESCAPE
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lookout across Lake
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and Rwanda in
August. Everyone
really bonded.
BEST PLACE
TO STAY
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of the most magical
places Ive been.
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formfor theMot British
Independent FilmAwards
at OldBillingsgate
Edited by FRANCES WASEM
FREE
SPIRITS
Hayley Atwell was in
a party moodbefore
jetting off to LAto
shoot a Captain
America TVseries
Hayley Atwell in
Jasper Conran
Tom Hardy
Freddie Fox and
Douglas Booth
Lindsay Duncan
and Jim Broadbent
James McAvoy
in Burberry
Charles Dance
Jason Isaacs
MyAnna Buring
and Dominic Cooper
Sienna Guillory
Aneurin Barnard
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GwynethPaltrowand
MatthewWilliamsonhosted
aglamorous gathering
for Kids Company
CHILDS
PLAY
60seconds with
MATHEW
WILLIAMSON
Who would you most like
to dress? Talitha Getty. Ive
always been drawn to that
idea of jet-set hippie
bohemian luxury and for
me she encapsulates the
spirit of the time.
Who would be your
perfect dinner-party
companion and why?
Salvador Dal. Ive read that
he held the most interesting
parties in the 1960s at
Le Meurice hotel in Paris
he was a true eccentric.
FLASH!
Camila
Batmanghelidjh
Joseph Velosa
Matthew Williamson
co-hosted the event
at Aqua Shard
Joan Burstein Caroline Issa
Kelly Hoppen
Gwyneth Paltrow in
Matthew Williamson
Arizona Muse in
Matthew Williamson
Polly Morgan and
Mat Collishaw
You have to love life and live it in an Italian way you taste it,
and enjoy it, and dont just go around thinking about money or
fame or power.
Its no surprise that actors nd the brand resonates with them,
for the shows have a strong, lmic element. In our heads,
explains Gabbana, were like lm directors. When we do a
collection, we have an idea, and after that we look to interpret
a movie and we need a cast, an imaginary cast. We need to explain
this story. We need a woman like this and she wears this
and then we gradually create a story. Maybe we sketch a beautiful
dress, but if it doesnt work in the movie, out it goes. A dress is
a dress, fashion is fashion, but people need emotion. In the Western
world, we dont buy because we need something. We buy because
we see something we like and we dont have it and weve never seen
it anywhere else and we feel an emotion. So its our job to provide
emotion through clothes and not just to make pretty things. There
are pretty clothes all over the place. We need to tell stories, to be
unique, to make an impression.
Understanding that the future was about the exclusive, the
couture and the custom-made, the pair closed their D&G diffusion
line three years ago and turned to alta moda and ne jewellery.
Theres no room for the middle market any more, says Stefano.
That wasnt the future. The future is quality and being special. So
for all their love of technologyandtweeting, of live screenings of the
creative chaos backstage at ready-to-wear shows, of selling collec-
tions online, Gabbana and Dolce have turned to traditional values,
personal relationships with their clients and slow fashion. We
startedtothinkabout it because a lot of customers askfor something
special. They dont want to go to a fashion showwith a big audience
and a spotlight and they dont want to see pop stars wearing their
dress. They want something unique. And this is exactly what they
get. When they buy an alta moda dress, there is just one sketch and
its never repeated. The same goes for the jewellery and the shoes.
Weregivingfashionbackits mystery, says Gabbana. Thealtamoda
collections are displayedat tiny bespoke shows inVenice, Taormina
or Milan, and the two men speak to the women who are buying
their clothes: Weve learned a lot of new things this way. The
designers have also given a future to tiny rms of artisans. They
collaborate with workshops in Liguria that are the only places to
produce a certain kind of ligree; and they use crochet and lace
made by hand in Puglia and Calabria in their couture dresses.
Once you start down the bespoke road, its hard to go back to
mass production, and the two designers are nding ways of person-
alising every element of their label. They even tailormake some of
their shops to suit their locations. The Madison Avenue boutique in
New York is unique, and so is the new menswear shop in London.
And heres where Gabbana displays one of his most unexpected
enthusiasms: I love London, he says. Its the capital of Europe.
Italians are creative, but were very traditional, we love English
extravagance and eccentricity. And when the English are beautiful,
theyre really beautiful. I would love Kate Middleton to be Italian.
Shes more than a pop star shes a princess. I love the monarchy.
And the style of the Queen is unique in the world. All of which may
help to explain the designers passion for that most traditional of
English sporting dogs. So while its unlikely that Corgis will make
an appearance on the Milanese catwalk any time soon, Gabbana
will continue to add touches of English eccentricity, from tweed to
pinstripe, to this most Latin of labels in years to come so long
as Dolce agrees.
HEART & SOUL, CONTINUEDFROMPAGE 221
AC Akong (020 8251 0113) Alberta Ferretti (020 7235 2349)
Alexander McQueen (020 7355 0088) Alexis Bittar (www.alexisbittar.com)
American Apparel (0800 630 0074) Armenta at Talisman Gallery (020
7201 8582) Atea Oceanie (020 8969 0425) Atlantique Ascoli at Dover
Street Market (020 7518 0680) Avenue 32 (www.avenue32.com) Balmain
(+33 1 47 20 35 34) Bloch (020 7269 0514) Boodles (020 7493 3240)
Bottega Veneta (020 7629 5598) Boucheron (020 7514 9170) Breguet
(020 7758 8883) Broadwick Silks (020 7734 3320) Bulgari (020 7872
9969) Capezio (020 7379 6042) Cartier (020 3147 4850) Casadei (+39
02 8716 7139) Cassandra Goad (020 7730 2202) Cline at Harrods (020
7730 1234) CH Carolina Herrera (020 7581 3031) Chanel (020 7493 5040)
Charlie Brear (020 7637 4898) Charlotte Olympia (020 7499 0145)
Charlotte Simpson (www.charlottesimpson.co.uk) Chlo (020 7823 5348)
Christian Louboutin (0843 227 4322) Cutler and Gross (020 7581 2250)
DJ De Grisogono (020 7499 2225) Delvaux (www.delvaux.com)
Diane Kordas (www.dianekordasjewellery.com) Dina Kamal DK01 at
Matchesfashion.com Dinny Hall (020 7792 3913) Dior (020 7172 0172)
DKNY (020 7499 6238) Dolce & Gabbana (020 7659 9000) Donna Karan
(020 7201 8545) Eddie Borgo (www.eddieborgo.com) Emilio Pucci (020
7201 8171) Erdem at Matchesfashion.com Ernest Jones (0845 602 1112)
Etro (020 7493 9004) Feed (www.feedprojects.com) Fendi (020 7838
6288) Fernando Jorge (020 7729 0126) Georg Jensen (020 7499 6541)
Grard Darel (020 7225 7010) Giorgio Armani (020 7235 6232)
Givenchy by Riccardo Tisci at Harrods (020 7730 1234) Glashtte
(www.glashuette-original.com) Graff (020 7584 8571) Gucci (020
7235 6707) Harrods (020 7730 1234) Harry Winston (020 7907 8800)
Herms (020 7499 8856) Ileana Makri (www.ileanamakri.com) Isabel
Marant (020 7499 7887) Jason Wu (www.jasonwustudio.com) Jimmy
Choo (020 7823 1051) JW Anderson (www.j-w-anderson.com)
K-P Karl Lagerfeld (www.karl.com) Kate Spade New York
(020 7836 3988) Kiki McDonough (020 7730 3323) La Perla (020 7245
0527) Lanvin (020 7491 1839) Leica (020 7629 1351) Leon Max (020
7221 1204) Levis (www.levis.com) Liberty (020 7734 1234) Links
of London (0844 477 0909) LK Bennett (0844 581 5881) Longines
(0845 272 6500) Louis Vuitton (020 7399 4050) Max Studio (020 7221
1204) MaxMara (020 7499 7902) Maya Magal (www.mayamagal.co.uk)
Michael Kors (020 7409 0844) Miu Miu (020 7409 0900) Moschino
(020 7318 0555) Mulberry (020 7491 3900) Nina Ricci at Harrods (020
7730 1234) Omega Ladymatic (0845 272 3100) Pandora (0844 873 1442)
Paper London (020 3551 3225) Patek Philippe (020 7493 2299) Paul
by Paul Smith (0800 023 4006) Paule Ka (www.pauleka.com) Piaget
(020 3364 0800) Prada (020 7647 5000) Pringle of Scotland (01450
360260) Proenza Schouler at Harrods (020 7730 1234)
R-Z Rado (0845 272 3200) Rag & Bone (020 7730 6881) Ralph
Lauren (020 7535 4600) Ralph Lauren (sunglasses) at Sunglass Hut (020
7290 1700) Richard Mille at Harrods (020 7730 1234) Roberto Cavalli
(020 7823 1879) Rochas at Matchesfashion.com Roger Vivier (020 7245
8270) Russell & Bromley (020 7629 6903) Saint Laurent by Hedi Slimane
(020 7493 1800) Salvatore Ferragamo (020 7629 5007) SJP at Nordstrom
(www.nordstrom.com) Smythson (0845 873 2435) Sonia Rykiel (020
7493 5455) Sophie Bille Brahe at Dover Street Market (020 7518 0680)
Stuart Weitzman (www.stuartweitzman.com) TAG Heuer (0800 037
9658) Thomas Sabo (www.thomassabo.com) Tom Ford (020 3141 7800)
Toms (www.toms.co.uk) Valentino (020 7235 5855) Versace (020 7259
5700) Victoria Beckham at Mytheresa (www.mytheresa.com) Zac Posen
at Shopbop (www.shopbop.com) Zadig & Voltaire (020 7792 8788)
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ATELIER HG
Canadian jewellery artist Ezra Satok-Wolman
continues to amaze us with meticulously
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Satok-Wolmans jewellery is hand made,
one piece at a time, and currently available
exclusively from the artists studio, Atelier Hg.
Pictured: I Am Hydrogen, Necklace.
www.atelierHg.com
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VALERIE OSTENAK FINE
SCULPTURAL JEWELLERY
Exquisite Exclusive Extraordinary
For the woman who desires truly bespoke
jewellery, who desires to wear a work of art.
The Old World Vines Collection: an
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gold on deep rich black hand forged steel.
Add it to your legacy. Available at the Lanning
Gallery: mail@lanninggallery.com,
attn: Isabelle, or call 00-1-928-282-6865.
Visit: www.lanninggallery.com and
www.valerieostenak.com
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Bazaar bijoux
Blue Velvet, the home of contemporary and classic
footwear direct from the heart of Europe, Always
one step ahead, they have established themselves
on their quality and rst-rate service.
Visit them at:
174 Kings Road, SW3 4UP or call 020 7376 7442
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bespoke service. It is one of the best kept secrets for luxury leather bags
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The Price of Bertie bags start from 99
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REMOVE LIQUID & ALL OTHER STAINS
web: www.handbagclinic.co.uk
4 (0)1207 279963 / email: enquiries@handbagclinic
HANDBAG CARE & REPAIR
SPECIALISTS
Nationwide handbag renovation service for leather & fabric bags
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Bazaar Classified
To donate by phone please Call: 01725 514 130 or by
Mobile: Text Hero to 70900 to donate 5*
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*You will be charged 5 plus your standard network rate. 5 goes directly to helping our heroes Telephone Helpline: 01494 750 500
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Hav y!
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INSPIRATION
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Classic Bazaar covers,
clockwise from above:
March 1959 by Ben
Rose. November 1956 by
Leslie Gill. March 1958
by Richard Dormer.
September 1951 by
Richard Avedon
ALEXEY BRODOVITCH, the art director of Bazaar from 1934 to
1958, had a unique approach to designing a layout. He would crop
animage unexpectedly andshift the focus off-centre tobring a fresh
perspective. His dynamism as a designer came from looking at the
world askew. You can see his inuence in these covers, where acces-
sories take pride of place. In fashion terms, accessories are usually
supportingplayers, usedtocomplement adress or roundoff anoutt.
Inthehierarchyof arrangingacover, themodel comes rst, followed
by the dress, then everything else. Here the reverse is true. The
accessories dominate entirely. The effect is noless striking. After all,
jewellery or a pair of shoes can often solicit more attention than the
rest of an outt; accessories are inherently dramatic, offering a ash
of personality, if not also of eccentricity. Accessories also create
Iconicmoments fromour archives revisited.
By AJESH PATALAY
This month: accessories takecentrestage
HOW
BAZAAR
beautiful shapes on the page. Take the surrealist March 1959 cover
by Ben Rose, in which an eye peeks out from behind a sardine-like
row of gloves. Or the September 1951 cover by Richard Avedon in
which a red shoe emerges heel-rst from its box. The gleaming red
pumps in motion on Richard Dormers March 1958 cover are just as
arresting, drawingattentiontothemselves like anexclamationmark
at the end of a sentence. Equally expressive is the coiled bracelet on
Leslie Gills November 1956 cover, an image that begs the question:
whose handis this? Awomanwitha dashof daring, thats for sure.
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www.harpersbazaar.co.uk 86 | HARPER S BAZAAR

r.co.uk 90 | HARPER S BAZAAR | April 2014

Bc |nsp|rcJ by pr|nI, poIIcrn onJ colour |n Ihc ncucJ|I|on of

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44 1344 87o o00

www.harpersbazaar.co.uk 164 | HARPER S BAZAAR | April 2014

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