It’s been such a long time since I’ve posted anything. This is because I’m working on a new website/exciting project that will launch in the coming months. Stay tuned and, in the meantime, if you want to read updated articles you can click through to my LinkedIn.
Following his win, way back when, Sundsbø went on to became a big name in the industry, working regularly with the likes of i-D, Italian Vogue, McQueen, Nike and Chanel. Along the way, he drew upon a number of influences, like Irving Penn: “It’s hard to pick just one image of his, but I really like ‘Two Glasses of Water,’” Sundsbø says. “I have it hanging in my hallway at home and I see it every morning. It’s so simple but I love it.” Click through to The New York Times to see slideshow recounting Solve’s inspirational people, places and images.
In Paris, like so many other major cities, finding a last-minute table at a top restaurant is pas possible. To avoid losing any hopeful walk-ins, however, savvy proprietors have found the perfect solution: Open up another venue, just a few doors down. TheFrenchie star Grégory Marchand has his empire on the charming rue de Nil with his original neo-bistro; its sidekick, Frenchie wine bar; and the low-key, daytime hangout Frenchie to Go. Likewise in the 11th Arrondissement, the award-winning chef Bertrand Grébaut put the gritty rue de Charonne on the map, first with his famed restaurant Septime and wine bar Septime Cave. More recently he opened one of Paris’s best seafood restaurants, Clamato, next door.
Now, the American expats Bradan Perkins and Laura Adrian of Verjus have followed suit with a new offering, Ellsworth, located just a stone’s throw away from their original site on the upmarket Rue de Richelieu. (Conveniently, the couple also live just across the street from the two restaurants. “It definitely makes the commute home at 3 a.m. much easier to manage,” Perkins says with a laugh.) Ellsworth is named after Perkins’s 83-year-old grandfather, who flew in from Boston to mix cocktails at the opening, and is a more casual (though no less exceptional) proposal open longer hours. Unlike Verjus, which is open for dinner only, Monday to Friday, Ellsworth is open for lunch and dinner six days a week, and offers an all-day brunch menu on Sundays.
Additionally, while Verjus offers a no-choice, seven-course tasting menu — “a two-and-a-half-hour experience,” says Adrian — Ellsworth proposes a simple fixed menu for lunch (two courses for just 18 euros) and a selection of small plates for dinner. “We found that people don’t want to sit down to a tasting menu every single week and we wanted to attract more regulars, so we tried for something more approachable,” Perkins says.
Though Ellsworth has only been open for two weeks, many of its patrons have already come back for more, multiple times. An emphasis on the use of fresh seasonal produce allows for a diverse and ephemeral menu, and current crowd favorites include a crunchy brussels sprout salad with hazelnuts and pecorino; rabbit “corn dogs” with homemade mustard; and a refreshing sea bream ceviche spiced up with chili and coriander.
On weeknights, Perkins continues to preside over the hotplates at Verjus, while Adrian still fronts the wine bar downstairs, though they race back and forth between the two if need be. “We’re able to not only exchange ideas between the two kitchens but also our ingredients, which minimizes waste — something that is really important to us,” says Perkins of the proximity between the two. Perkins places Verjus’s former sous chef, Canadian Hannah Kowalenko, in charge of the kitchen at Ellsworth. Below is Ellsworth’s popular summer ceviche recipe, along with a list of suggested wine pairings, like champagne, which Adrian says, “goes well with spice and salt — look for something creamy with low residual sugar.”
See article in full here.
I interviewed Julie de Libran, the new artistic director of Sonia Rykiel, at home for the latest issue of Porter magazine (and had major apartment envy). You can read the full feature in my published section.
PARIS— After the Lanvin show here on Thursday night, Alber Elbaz carried on celebrating at the opening of the Jeanne Lanvin exhibition at Paris’s Palais Galliera. The retrospective, which features more than 100 archive pieces, examines Lanvin and the glory days of haute couture — namely, the ’20s and the ’30s. “If I had to explain what haute couture is, or what French elegance was during the ’20s and ’30s, I would present some dresses from Lanvin,” said the exhibition’s curator, Olivier Saillard, who welcomed the fashion crowd alongside Elbaz at the opening. “It is so unique and chic, and there is something very discrete about it; something timeless.”
Before Coco Chanel, Jeanne Lanvin was the female force in fashion, having launched her couture house in 1889. She started one of the very first luxury lifestyle brands — at the time, la maison Lanvin incorporated hats, children’s clothes, and even furnishings.
Of focus in this particular exhibition is a catalogue of exquisite dresses — mostly eveningwear — that, even today, look astoundingly modern. There are silk dresses from the mid-’20s embroidered with glass beads that could easily be mistaken for one of Elbaz’s contemporary pieces.
Not to miss in the exhibition is a small room that serves as a shrine to Lanvin’s famous robe de style, the dress with the bouffant skirt that became the famed silhouette of the maison.
THE JEWELRY COLLECTION of Wallis Simpson, the Duchess of Windsor, was a bit of a zoo. Almost literally. She owned little pearl brooches by Seaman Schepps that depicted pecking chicks. She also wore a Cartier diamond clip in the form of a preening flamingo and a great many of the house’s fiercely decadent signature panther pieces.
Animal motifs have long stalked the world of fine jewelry. Along with Cartier’s cats, which last year celebrated their 100th anniversary, there are Bulgari’s Serpenti watches and bracelets, launched in the 1940s. And over the course of its 157-year history, French jeweler Boucheron has assembled an ark-worthy menagerie, ranging from hedgehogs to peacocks.
Until recently, pieces like this were generally set aside in favor of more abstract stuff. These days, however, a group of designers including Daniela Villegas from Mexico and French jeweler Lydia Courteille are revisiting the expressive charm of fauna-based finery.
Perhaps the freshest take comes from New York-based designer Marc Alary. His flat, graphic animal silhouettes are crafted in white and yellow gold, left plain or studded with gems. “I’ve been drawn to animals as far back as I can remember,” said Mr. Alary. “At a young age, we’re given stuffed animals and animal trinkets as gifts, so there must be something soothing about them.”
Parisian designer Aurélie Bidermann also cited youthful memories as the spark for her animal and insect designs—as well as French artist Paul Jouve, known for his paintings of African mammals. Ms. Bidermann said she’s particularly pleased when she manages to merge whimsy and savoir faire: her ladybug pendant has well-engineered gold wings that lift up to reveal a bed of rubies. “It’s important that my jewelry has the highest quality while [staying] playful.” she said. That’s also the case with Mr. Alary’s monkey pendants and earrings with lanky, movable limbs. Made of 11 different parts, they’re as much toy as they are a feat of craftsmanship.
The newfound appreciation for these pieces is also reinvigorating older brands, like American label David Webb, which launched its brightly enameled animalia in 1962. Its frog bangle was recently reissued and is now available on Net-a-Porter. In the works, said co-owner Mark Emanuel, is “a magnificent monkey bracelet.”
PHOTO: F. MARTIN RAMIN/THE WALL STREET JOURNAL, PAPER SET STYLING BY DANIEL SEAN MURPHY
I received the latest issue of Porter magazine in the post yesterday. I’m a little biased (because I contributed to the issue) but I do think it’s one of the best reads out there today — insightful, intelligent, with a very distinct point of view. You can read my interview with Parisian designer Raphaella Riboud in my published section, but I would encourage you to go out and buy the whole issue. I read it from cover to cover last night (and I can’t say I read magazines from cover to cover very often). Also, the Ryan McGinley story is dazzling. I love his work and the way he approaches fashion photography in such a different way.
Thank god for the current retro redux, I’ve finally found the pants for me! Read me talking about flares over at The Wall Street Journal.
Gisele cover story for Australian Vogue, December issue. You can read the interview in full here.
Read me in talking boots in September British Vogue.