In looking for images of Peggy Guggenheim, I came across this entertaining article about the “Mistress of Modernism.” Click HERE to read Part 1 of my homage to my favorite art addict and to see her amazing art collection.
Ever since I read Confessions of an Art Addict on my honeymoon nearly 20 years ago, I have been fascinated with the American heiress Peggy Guggenheim. Peggy was a former wife of artist Max Ernst and the niece of the mining magnate, Solomon R. Guggenheim. She collected artworks mostly between 1938 and 1946, buying works in Europe as World War II began, and later in America, where she discovered the talent of Jackson Pollock, among others. In addition to being one of modern art’s biggest patrons, she was also quite the character surrounding herself with the greatest minds and talents of the 20th century.
My favorite day of the year is always the Mint Museum Auxiliary’s Room to Bloom Symposium. The list of speakers that have graced Charlotte is quite impressive….Bunny Williams, Mario Buatta, Miles Redd, Celerie Kemble, Patrick Frey and Mary McDonald just to name a few. This year, Aerin Lauder was the guest of honor and the conversation was moderated by Pamela Fiori, who had been the keynote speaker at the Auxiliary’s Fall EnrichMINT Forum.
Pamela introduced Aerin as “a creative force of intellect and influence.” Symposium guests felt as if they were eavesdropping on a wonderful conversation between dear friends covering topics from growing up in the infamous Lauder family and beauty tips to daily inspiration, philanthropy, and being a working mother.
The overarching theme of the conversation was “To thine own self be true.” Every detail of Aerin’s company and her brand reflects her elegant, yet sleek taste. She explained that she inherited much of her taste from her grandmother Estee. Estee would always wear a sleek silhouette and one great accessory, advised to care for the only face you have, and taught the importance of editing, balance and authenticity.
As a child, a dollhouse was Aerin’s favorite toy. Home is where her passion lies and she strives to create rooms with a twist on tradition. She has worked with some of the world’s most talented designers such as Daniel Romualdez and Jacques Grange.
Aerin draws inspiration from her friends, family, nature, travel and the arts. A walk in her garden can evoke the idea for a new scent. A trip to the Met can inspire the color palette for a new collection. Among her favorite artists are Gustav Klimdt, Helen Frankenthaler, Mark Rothko, and Yves Klein.
Aerin’s brand is tightly edited and curated. Everything she creates is designed to make life easier and more beautiful. For example, there is a weekday and weekend palette for the face and only a few shades of lip color. This is intended to provide a sense of relief without having to worry about too many choices. Each item, however, is perfectly designed and packaged becoming jewelry for the home. Floral patterns are carefully selected to evoke the spirit of what lies within each box. The sleek modern gold packaging for all of the makeup is another glamorous touch.
Aerin has created a few havens where her brand lives together cohesively. Her website shows how all of the objects coexist. Once a month, she launches a new theme that becomes part of the experience. Her new shop in Southhampton also shows the simple elegance of her lifestyle.
Aerin’s office from which she oversees her empire possesses the same sophisticated air. In addition to her beauty, fragrance, accessory, furniture, and lighting lines, she is also passionate about the First Book project which provides books to children in need. To date, First Book has distributed more than 125 million books and educational resources to programs and schools serving children from low-income families throughout the United States and Canada. To commemorate her visit to Charlotte, Room to Bloom sponsor Wells Fargo made a donation to First Book in her honor.
The biggest beauty myth is that everyone looks better without makeup. That’s not true. Makeup is important.
My fashion philosophy is quite traditional and understated. I never wear too much jewelry. I never wear a ton of pattern. Sometimes I’ll go big but it never feels right. At one CFDA Awards, I wore a fantastic short, neon dress and unexpected shoes. It looked great, but I just didn’t feel like me.
My New Year’s resolution is to not drink as much Diet Coke. It’s so bad for you and I’ve been drinking it since college.
Aging is beautiful. I love laugh lines. It means you’ve had a good life. The most beautiful women—Audrey Hepburn, Lauren Hutton, Ali MacGraw—all embraced the aging process. Do I believe in plastic surgery? Yes, if something is wrong and you can modify it. For certain people, it’s right.
My favorite scent is anything floral. Tuberose and gardenia are my favorite flowers.
I’m really bad about breakfast. I have a coffee in the morning and the remnants of my children’s breakfast. At lunch, I love salad or sushi but I’m not a fish person. I’ve never craved grilled salmon. I like hamburgers, I like chicken. I’ve never liked pasta.
My holiday party style is simple and feminine—a great pair of pants and a silk top with a piece of statement jewelry or a fun evening bag by Fendi.
I never take off my Cartier Tank watch. I got it about 17 years ago for Christmas and I’ve always loved it. It’s as beautiful as it was when I first got it. It’s timeless, and looks good with everything from a dress to a bathing suit.
The five favorite pieces in my closet are black Repetto ballet slippers, DL 1961 jeans, a Stella McCartney blazer in navy or black, Hermès cashmere scarves and probably a Stella McCartney white silk shirt.
The biggest beauty lesson my grandmother taught me is that you only have one face, so take care of it. She taught me that everything starts with a good skin care routine. She also taught me that while something might be fun to look at in a magazine, it doesn’t mean you have to wear it.
My beauty routine is very effortless. Sometimes I get up and don’t brush my hair. I put on foundation, a little bit of bronzer and a bit of eyeliner. I have a very light hand. I think my grandmother wore more makeup and more color. She also had blonde hair and green eyes, so turquoise eye shadow looked amazing on her.
My definition of paradise is to take a bath at the end of a long day with Jo Malone’s Red Roses Bath Oil. I love the way it looks, I love the way it smells.
I don’t do facials that often, but I do get a mani/pedi once a week. I stay neutral with colors—Essie shades with names you’re embarrassed to say like Starter Wife and Fed Up. I always try a color on my toes but the next day I don’t like it.
I could wear Stella McCartney from head to toe. From the underwear to the clothes, everything she does is perfect. I also love the Row. They define my sensibility: beautiful and luxurious, but simple.
The woman who embodies the Aerin lifestyle is [Vogue contributing editor] Lauren Santo Domingo. She has this modern femininity and many different aspects to her life. She’s a mother but still loves beauty, fashion and trends.
Women should never skimp on skin care and makeup. You really do see a difference with good quality products. Hair care is also really important. The new Ojon Rare Blend hair oil is amazing. I think you can skimp on body lotion with a drugstore brand like Lubriderm.
My favorite gifts to give are books, for children and adults. I recently bought Kelly Klein’s new book “Pools: Reflections.” It will make a great Christmas gift this year. To receive, I love getting jewelry.
There is something great about women embracing their sensibility, and being who they are. I love Jane Birkin with her effortless style and perfectly messy hair. It’s so iconic.
New York hasn’t changed as much as people think. It’s still the city that doesn’t sleep. There is still the energy, passion and diversity. I love Central Park all year round—the lower loop for a fast walk or run, the duck pond for the kids, the Boathouse for lunch. And the Children’s Zoo is magical.
Kindness is impossible to fake. You can tell when someone is being authentic or not.
To read more about Aerin’s beautiful world, buy her book by clicking here.
What do you get when you combine insane talent, effusive charm and ridiculous good looks? NATE BERKUS. I had the pleasure to hear him speak last week at the Design Bloggers Conference in Atlanta. As the opening keynote speaker, he set a perfect tone for the day inspiring guests with the ultimate pep talk.
Nate encouraged all of us to make ourselves vulnerable to realize our full potential as creative talents. He discovered his passion for design at a young age which was not the most popular pastime with his peers. With self-deprecating humor, he regaled many tales of forcing friends to help him rearrange furniture and accessorize their interiors.
In her celebrated TED Talk (link below), Brené Brown says that “Vulnerability is the birthplace of innovation, creativity and change. Vulnerability is the core of shame and fear and our struggle for worthiness, but it appears that it’s also the birthplace of joy, of creativity, of belonging, of love.”
Nate applied this concept not only to his own career but also to his clients. He found that one of the reasons for his success was that he gave his clients permission to be exactly who they wanted to be. He does not try to superimpose a “look” or “trend” into their interiors, but discovers the essence of their personalities. He asks his clients who they are, who they are going to evolve to be, and how he can create a canvas for that life.
Throughout his career, Nate has remained true to himself by choosing authenticity above all else. He has given himself the permission to take risks, fail, learn from his mistakes, and follow his gut. He encouraged us to not to try to be everything to everybody, but to be everything to ourselves.
He stresses that, “Imperfections are where the real story lies in design. Chasing perfection makes you unbalanced in all areas of your life…Replace the word “perfect” with “permission”…When we put ourselves out there every day, we make ourselves vulnerable and ultimately give our best selves.”
Nate also shared that the reach of the blog community is larger than any publication. As creatives, he feels that we have a responsibility to share our inspiration, but first we have to BELIEVE we are inspiring.
Nate concluded with a story of a client who lived on the Upper West Side of Manhattan. After her husband died, she started keeping feathers that she discovered along her neighborhood streets as a sort of remembrance from her departed spouse. Nate framed one of the feathers and placed it in a prominent spot in her home. Although the memento had no real value, it was full of symbolic power for the homeowner. Ever since, Nate encourages his employees and clients to ask themselves, “What is your feather?”
Insert standing ovation!
In her TED talk, Brene Brown concludes that when she lets her real self be seen, loves with her whole heart, practices gratitude, and leans into joy that her newfound vulnerability has allowed her live her life morefully and authentically. Be sure to watch the TED talk for the complete message!
Weeks after graduating from college, I moved to New York to work at Sotheby’s. For this Southern girl in the big city, it was intimidating to say the least. I was surrounded by incredible works of art, brilliant experts, and glamorous clientele. Many of the decorative objects I handled were worth more than I would make in a year, or even more. One of the perks if working at such an institution was the exposure exquisite culture experiences…we were after all in the center of the universe!
After a string of dating debacles, I met a dashing boy who also hailed from below the Mason-Dixon Line. I knew he was a keeper when he agreed to attend the New York City Ballet with me for a performance of George Balanchine’s Firebird. My boss at the time, the elegant Peter Rathbone of Sotheby’s American Paintings department, would often let us use his tickets. The first time I sat in the amazing seats, I was mesmerized. I had danced growing up, but to watch the perfect syncopation of the dancers with the music along with the elaborate costumes and stage sets by Marc Chagall took my breath away. From that moment on, I tried to attend as the ballet whenever I traveled. I had fallen in love with the sheer joy of dance again.
When I moved to Charlotte several years later, I was pleasantly surprised to learn the city had a wonderful dance company….North Carolina Dance Theater, now known as Charlotte Ballet. The incredible artistic directors (also husband and wife) Jean Pierre Bonnefoux and Patricia McBride had both danced for New York City Ballet under none other than George Balanchine. These were dancing living legends right here in my new hometown. They had danced for presidents and world leaders as well as all of the most famous dancers of all time.
This weekend, Patricia McBride is being honored at the Kennedy Center for her contribution to the arts along with Sting, Al Green, Lily Tomlin and and Tom Hanks. Tonight, over 300 of her fans, friends and family came together to celebrate her life and give her a proper send off to Washington.
Mary Curtis, a brilliant journalist and long time fan, interviewed Patricia about her extraordinary life with many of the greatest talents of the 20th century. George Balanchine and Jerome Robbins created and choreographed many pieces specifically for her. She partnered with everyone from Mikhail Barisyhnikov and Edward Villeal to Helgi Tomasson and Rudi Nureyev. In a brilliant grand gesture, event planner Todd Murphy recreated her last New York City Ballet standing ovation from decades ago by orchestrating the audience to shower her with roses once again.The Queen City could not be more proud of this legendary ballerina who calls our lucky city home.
CHARLOTTE — The happiest ballet studio in the world may be the one just down the street from a Rock Bottom Restaurant and Brewery, inside a bright purple building bearing the words “Patricia McBride/Jean-Pierre Bonnefoux Center for Dance.”
Here, on a recent morning, rows of young women and a few young men are being coaxed and praised and sweet-talked into swirling across the floor with luxurious abandon.
“Good, good! Almost! Just breathe a little more with the arms,” urges Patricia McBride, the former ballerina. She stands at the front of the room, but she can’t resist the urge to move with the music. Her hands and arms weave through the air, her eyes widen on the downbeats.
Keeping still just isn’t her strong suit.
It never has been. In the 1970s, as a leggy, tireless powerhouse, McBride so dominated the repertoire of the New York City Ballet and epitomized its style that she was called “the flag-bearer” of the company.Twenty-five years after she retired from the stage, McBride is still an embodiment of the sheer fun of dancing.
“Soften your arms,” McBride calls out cheerily to these students of the Charlotte Ballet Academy, the training arm of the Charlotte Ballet. McBride is a master teacher at the academy and directs the company with her husband, Frenchman Jean-Pierre Bonnefoux, who like McBride is a former City Ballet principal dancer.
“Breathe through your movements.” McBride demonstrates, stretching her leg forward and tossing an arm high over her head. As she does this, with a broad smile and merry eyes, she makes a little “ah!” sound, a singing, high-pitched inhalation, as if that expansive move from fingers to toes gives her a tickle.
Dancing, even in the gentle way that McBride, 72, does it these days, still flushes her with joy. But then, what doesn’t? McBride’s emotional dial seems consistently set at cheerful. She is delighted, of course, to receive the 2014 Kennedy Center Honor, which will be bestowed in a gala event on Dec. 7. But long before this award, she was known for her dauntless high spirits.
It was her easy, ready-for-anything nature that inspired George Balanchine, founder of New York City Ballet, and Jerome Robbins, the late associate artistic director of the company, to create some of their most enduring works for McBride’s body. She was unusually versatile. Not only was she up for anything, she could do just about anything.This wasn’t so much a gift as an ethic — the payoff, as she’ll tell you, for hard work, though it simply looked like pleasure. Her roles swung from pert soubrettes to artless innocents, from sauce pots to glamour queens and a chilly dominatrix or two. The consistent thread was how she made dancing look like the most delicious experience on Earth.
“She brought something onstage that we can’t even see on videos; that’s what’s sad for me,” Bonnefoux says. “That joy and that need to dance. That pulse. A nonstop commitment to the choreography and the steps. She was in it.”
McBride was Balanchine’s first Hermia in “A Midsummer Night’s Dream”; she was the teasing Columbine in his “Harlequinade.” She created the authoritative, pure-hearted Swanilda in his full-length “Coppelia.” For her, Balanchine also choreographed showpieces in the drop-dead sexy “Rubies” section of “Jewels”; in his Gershwin romp “Who Cares?,” in the romantic “Brahms-Schoenberg Quartet” and “Vienna Waltzes,” and more.
She was the rare ballerina who handled Balanchine’s intricate musicality and Robbins’s character-driven mini-dramas with equal ease. She inspired Robbins’s most famous ballets, including his 1969 masterwork on love and youth, “Dances at a Gathering,” which started out as a pas de deux for McBride and Edward Villella, before Robbins expanded it into a larger piece.They rehearsed it five hours a day for 13 weeks, “and I loved every minute of it,” McBride says. Robbins also created parts for her in “The Goldberg Variations,” “The Four Seasons” and “Dybbuk.”
Happiness is powerful. McBride could jolly up the high-strung Robbins, defusing his famously explosive temper.
“She just disarmed him,” says Helgi Tomasson, artistic director of the San Francisco Ballet, who was McBride’s frequent partner at New York City Ballet. “If something went wrong in a rehearsal, she would laugh it off. She’d say, ‘Oh my gosh, I did that? How silly!’ And Jerry would just break into a smile.”
“Ya dum dee da, yup dee da,” McBride sings out in her studio, buoyed by the piano playing and her students. They skitter and bounce across the floor like drops of oil in a hot skillet. She skims along with them, urging them to travel faster, fly higher, jump bigger. Three hours whiz by. McBride teaches her students a bright, springy excerpt from Balanchine’s “Raymonda Variations,” which she first learned from the ballerina Patricia Wilde, for whom Balanchine created the leading role.
So the torch passes; from one body to another. In the ballet world, where the low-tech means of transmitting steps from teacher to student is revered, old dancers never die. They echo in the muscles of the young.
“Glissades can be really exciting!” McBride calls out in her high, soft voice, showing the dancers the beauty of a basic gliding step. It’s a bit like saying the word “and” is really exciting, but McBride makes you believe it. She is zealous about the details: wrists, rib cage, angle of the head. Those little under-appreciated glissades — work them! They are the link to everything you do.”
In the afternoon, McBride turns to her company duties, overseeing “Nutcracker” rehearsals until evening. So it goes, day after day, whether she’s readying the chamber-size, 18-dancer company for the holiday production or for one of its other programs throughout the year, perhaps featuring one of the Balanchine ballets so dear to her.
She and Bonnefoux work year-round. During the summer, they take their dancers up to the Chautauqua Institution in southwestern New York, where the couple run a dance school they founded 25 years ago.
“Are we crazy?” McBride says, leaning on the table over lunch, with her face in her hand. Her deep-set green eyes and broad cheekbones were perfect for the stage, visible from the upper balconies, expressive. With her dark brown hair in a smooth, chic bob, she still has dramatic looks. But her gaze turns dreamy when she’s asked why she keeps working.
“I don’t know. It’s a love, I guess. To show what you’ve got to pass on. . . . I don’t think I’d like to lie around. What would I do?”
McBride takes her pleasure seriously. She’s been drawing a paycheck from dance since 1959, when she joined the New York City Ballet. She was 16. At 18, she became the youngest principal dancer in company history. In her 30-year career, she danced more than 100 different roles. Among her favorites: the zesty “Tarantella” duet; Robbins’s “The Cage” — she was still a teenager when she took on the part of a murderous sexual predator, which embarrassed her, until she grew to love the powerful rush of it. And especially “Brahms-Schoenberg Quartet,” romantic and lush, full of overhead lifts: “The movement was so incredible,” she says. “It evolved from one flowing moment to another.”
After her lavish sendoff from City Ballet in 1989 at age 46 — she was showered with roses, meticulously de-thorned — she jumped into teaching, joining Bonnefoux at Indiana University. In 1996, the couple were offered the job in Charlotte, running what was then called North Carolina Dance Theatre. The name changed to Charlotte Ballet earlier this year, responding to the city’s rapid growth. The ballet has seen a corresponding spike in interest; since 2010, its ticket sales are up 75 percent and donor gifts have tripled.
The couple’s son and daughter both live in Charlotte; McBride and Bonnefoux have three young grandchildren who join them at the ballet school on weekends.
Work is McBride’s life. It is what shaped her, what makes her happy. And it has deep roots.
She never knew her father. She was born in 1942 during the war; he was mostly stationed overseas. Her brother, a composer, was born a year later. McBride has only a dim memory of seeing her dad when she was 3; her parents divorced soon after. Her mother never remarried. McBride grew up with her mother and her mother’s parents in Teaneck, N.J.
McBride’s mother enrolled her daughter in ballet lessons at age 7 “just because it was a nice thing to do,” McBride says.“I always had an inferiority complex, like I wasn’t good enough,” she says. “I was shy. But dancing gave me so much joy, and I was good at it. I felt like a whole person because I could dance.”
When she was 10, McBride’s grandfather died, and her mother, an executive secretary at a bank, became the sole supporter of the family.“I adored her,” says McBride, a bit wistfully. Born of Swiss immigrants, her mother was disciplined and organized, and she never rested. She came home from the bank and took McBride to daily ballet classes.“She instilled in me the work ethic.”
Meanwhile, McBride was getting old-school, apple-pie dance training from a former vaudevillian, who taught her ballet, tap and acrobatics. The teacher would fit a roll of music into her player piano and the kids would jump until the roll was finished. That’s where McBride got her stamina.
She started dancing on pointe at age 8, which was all wrong, she says. Much too young. To extend the life of her pricey satin toe shoes, McBride would darn the tips with needle and thread, then slather them with glue and harden them in the oven.“I had never even seen a ballet performed,” she says. “I just knew ballet made me happy.”She studied briefly with a Russian teacher in New York, who told McBride she was cut out to be a Balanchine dancer.
Oh, a Balanchine dancer! McBride remembers marveling. What is that?
She found out when she saw her first ballet: Balanchine’s “Serenade,” a mysterious work tinged with romance and sadness. When the curtain rose on its motionless dancers in long tulle skirts, right arms raised in a mute gesture of yearning, or wonder, “I was fixated,” McBride recalls. “I’d never seen anything so beautiful. The girls, the music, that Tchaikovsky.”
A year later, at 14, she entered Balanchine’s feeder school, the School of American Ballet, on full scholarship.“I worked very hard,” she says. “I loved working hard.”“I never knew I was talented — I just knew that I loved it. Working hard was never exhausting. If anything, I just tried to work harder.”
Growing up without a father had been difficult, she confesses, gazing toward the autumn sun streaming through the restaurant. In McBride’s childhood, few families ever divorced, and all of her friends and neighbors had fathers. But as she dove deeper into ballet, she found a meaningful replacement, a man who she says “is still with me every day of my life.”
“I felt that Balanchine was my father towards me,” she says of the choreographer, who died in 1983. “He was the person I most admired and looked up to.”
Quiet, patient and endlessly inventive, Balanchine was the idol of so many dancers who knew him. “I just wanted to please him and copy him,” says McBride. “He was so beautiful to watch in motion.”
She sweeps an arm to the side and rolls her shoulder, sketching his elegance with a gesture. “He didn’t want to change you into something you were not. He would let you be yourself.”
He was an Old World gentleman: When he saw her running for a bus in the snow, without boots, he carried her in his arms over the slush. He brought a box of her favorite toe shoes to Russia when the company was on tour there and she danced so much, she wore out the ones she’d packed. She once performed Balanchine’s “Apollo” with Igor Stravinsky conducting his own music; the two men toasted each other with vodka during orchestra breaks.
McBride progressed steadily, rising to the top in an era of iconic ballerinas: Diana Adams, Violette Verdy, Melissa Hayden, Allegra Kent, Suzanne Farrell.
She never had a serious injury. Was that luck, smarts or willpower? “I was determined to dance,” is how she explains it. “That’s why I lasted so long.”
At just over five feet tall, she was the perfect size to dance with the leading men of the day, who were also compact: Mikhail Baryshnikov, Edward Villella, Helgi Tomasson.
“There were times when we were dancing together, she was so enjoying the movement that she would make little sounds, almost like a purr,” recalls Tomasson. “You would hear ‘hmm, hmm,’ during the adagio or whatever it was. All of a sudden you would hear that underneath the music, and it would always make me smile.”
In 15 or so years of dancing together, says Villella, “I never had a cross word with her. She is the most even person imaginable.” The ease of partnering her, he says, “was another amazement.” Villella didn’t know much about partnering when he started dancing with McBride; he was still figuring out how to keep a ballerina from toppling over. McBride was so strong and secure, she made his job easier.
“There are ladies who start to lose their balance and they flail. Or ladies who, when you give them a hand, they clutch.” But with McBride, he says, “it was like a conversation between your fingers. The ease of effort — that’s what Patti was the whole time, because she was a wonderfully trusting partner. She was a dream to work with.”
Sara Mearns, a current New York City Ballet principal, trained with McBride as a young teenager, making the hour-and-a-half commute to Charlotte from Columbia, S.C., every day, six days a week. Without McBride’s teaching, “I wouldn’t be the ballerina I am today,” Mearns says, describing “the joy she had every day. It was such a joyous experience.”
Mearns especially recalls McBride’s focus on presenting oneself to the audience, with a relaxed upper body. And always, a smile.
What McBride emphasizes “is really showing your spirit onstage,” says Alessandra Ball-James, a leading dancer of the Charlotte Ballet. “She wants to see you living onstage.”
Back at the studio, McBride is rehearsing four Sugar Plum Fairies in Bonnefoux’s swift, sweeping “Nutcracker” choreography.
“Soft arms,” she says to Ball-James. “I just felt they were a little stiff.” She flutters her wrists, and it’s like a breeze lifting leaves. “Just so they move a little.”
Ball-James dances again, rippling her arms lightly. It makes all the difference.
“Beautiful!” McBride exclaims. “Good!”
And because it’s true, and also because it’s her nature, she showers pleasure on everyone in the room: “You’re all so good.”
*All images from The George Balanchine Trust unless otherwise noted.
The Mint Museum Auxiliary is hosting its 4th annual Fall EnrichMINT Forum next week featuring Inspirational Icon India Hicks. She will share stories from her fascinating life as a designer, model, photographer, entrepreneur, author, marathon runner, thrill seeker, world traveler, wife, mother to 5 beautiful children, daughter of legendary designer David Hicks, and god-daughter of the Prince of Wales. Just a few seats remain…for more information, please click here.
In her own words, here are are a few facts about India from her gorgeous new website and blog…
India is in the process of building a new business which will be revealed in the near future. In the interim, she has started a blog which is the foundation for where her new business venture will be headed. She hosts a mini series of interviews called “Extraordinary Lives” with people who made life work for them in unexpected ways. See below for a glimpse into her magical interiors and island lifestyle on Harbor Island…
Enchanted by this idyllic island lifestyle? See the selection of available villas for rent designed by India and David Flint Wood, by clicking here.
You will not want to miss out on this opportunity to buy a piece from a living legend…Iris Apfel!!! In this wonderful Elle Decor interview, she shares her thoughts about her upcoming sale on One Kings Lane.
|ABOVE Recently, Dan, joined by his wife, Nancy, was saluted by 20 of his former assistants who worked for him over the years. Many have gone on to establish their own successful design businesses. FRONT ROW, left to rightAngela Bromenschenkel, Heather Dewberry, Lee Kleinhelter, Margaret Kirkland, Susan Joy McElheney, Susan Dowhower, Karen Raymer MIDDLE ROW Nancy Carithers, Dan Carithers, Judy Bentley, Nora Miller, Kelley RiddleBACK ROW, left to right Annabeth Tidwell, Will Huff, Amy Spivey, Elizabeth Bennett, Elizabeth Smith, Austin Mann, Lori Tippins, Caroline Willis, Maryanna Marks, Susan Brad|
Please join The Mint Museum Auxiliary on Thursday, November 7th for the 3rd annual Fall EnrichMINT Forum featuring Inspirational Icon Pamela Fiori.
Ms. Fiori will share her fascinating experiences as first woman editor-in-chief of Town and Country Magazine. Her lifelong love of Philanthropy, working on the Board of UNICEF and having been honored with the Audrey Hepburn Humanitarian Award will provide and interesting and entertaining view into the art of giving and living well. There will be fabulous fashions and food inspired by her 3 best selling books In the Spirit of Palm Beach, In the Spirit of Capri and In the Spirit of St. Barths. These beautiful books will be available for purchase and personalization by Ms. Fiori.
|via Tory Burch|
Ms. Fiori will speak about “Living Well”, transporting the audience to the fabulous locales about which she has penned three books! There will be many special touches with a unique fashion exhibition that will represent looks from Capri, St. Barths and Palm Beach, all from Pamela’s books. We will also have three culinary tastings and drinks that will transport us to the beaches of St. Barths, cliffs of Capri and behind the hedges of Palm Beach. Ms. Fiori will then discuss “Giving Well” and highlight the famous philanthropists she encountered over her 17 years as Editor- In Chief of Town & Country Magazine and her role in bringing Philanthropy to the forefront of the magazine.
Tickets are $100 for Mint members and $110 for non-members. Books will be available for sale the day of the event and will make a great hostess, birthday and/or holiday gift. We will accept credit card, check or cash and a generous portion of the book sales are going to The Mint Museum.
THURSDAY, NOVEMBER 7
9AM – Check in and Amuse-Bouches and Spirits
10AM – Lecture by Pamela Fiori
11AM – Special Book Signing and Fashion Exhibition courtesy of Calypso
To purchase tickets, please click here.
|Jacques Grange in front of Damien Hirst
via The Selby
It is rare and glorious event to come face to face with an icon one has admired, studied, and been inspired by for years. My recent trip to Paris was truly the trip of a lifetime….and I actually experienced a few of these “pinch me” moments.
We visited the atelier of Jacques Grange and the legendary designer gave us a personal tour of where he creates his design magic. His client list includes some of the world’s most sophisticated tastemakers: Yves St. Laurent, Pierre Berge, Princess Caroline of Monaco, Valentino, Alain Ducasse, Karl Lagerfeld, Jacques Chirac, Francois Pinault, Ronald Lauder, Aerin Lauder, and Mathilde Agostinelli.
|via The Selby|
In contrast to many of today’s designers, Grange received a strict, classical education. After studying at the Lycee Janson de Sully and L’Ecole Gerson, he went on to L’Ecole Boulle, where he learned the crafts of cabinetmaking, plasterwork, and weaving. At L’Ecole Camondo, he studied the history of architecture, design, and decorative arts. Upon graduation, he worked for the renowned designer Henri Samuel and antiques dealer Didier Aaron. He was greatly influenced by Madeline Castaing from whom he says he learned the “poetry of decorating.” He opened his own design firm in 1970.
|Master of the Mix|
“Combining good taste and audacity is a subtle art that interior designer Jacques Grange has perfected for over four decades…From rococo elegance to modern chic, and with Oriental and North African influences blending with Western styles, Grange’s touch is unique.”- excerpt from Jacques Grange Interiors
|Living Room of Jacques Grange|
Art plays a major role in his interiors which is why he designs for some of the world’s most serious art collectors. He effortlessly combines antiques from various periods with modern and contemporary art. His living room shown in the 2 images above is a perfect example of his mastery. He combines a contemporary carpet from Iran with a 19th century chaise longue, a 1950s Jean Royere low table, boxy 1925 club chairs, an 18th century desk, and art by Damian Hirst. According to Grange, this work by Hirst “has the quality of all great art: First it shocks you, then you realize it’s great.”
It is no wonder that Grange received the designation of Chevalier of Arts and Letters from the Minister of French Culture. His passion and charm are contagious. In a recent interview with Architectural Digest, Grange is described as “a whirlwind of energy, hopping between continents and clients. ‘I’m lucky I’m not a dancer,’ he says with an engaging laugh, ‘I can work until the day I die.”
Images of his work and from our visit are below…
|Living Room of Mathilde Agostinelli
with distinctive Madeline Castaing carpet
|Dining Room of Mathilde Agostinelli|
|Yves Saint Laurent below Leger Painting|
|Library of Yves Saint Laurent
Art by Brancusi, Picasso, Cezanne, Leger and Vuillard
Art by Prince, Basquiat and DeKooning
|The Mark Hotel|
|Our Gracious Host|
|Behind the Scenes|
|Nerfiti & Library|
|Contemporary art ready for installation|
|With Steven Shadowitz
via Peyton Haslip
|Aimee: Precious Pug and Atelier Mascot|
To purchase Jacques Grange’s book, please click here.