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If you have ever wanted to look different than you currently appear, you’re not alone: more than 12 million cosmetic surgical and non-surgical procedures were performed in the US alone in 2008. That number includes everything from liposuction to Botox, but doesn’t include bariatric (weight loss) surgery or body art like tattoos and piercings. Most cosmetic procedures are not covered by health insurance, which means that regular people are willing to endure an awful lot of financial—not to mention physical—pain in order to look younger, slimmer and healthier; in other words, they wish to look more like the status quo, or, conversely, they wish to reject it. So what type of body modification is popular in the 21^st century, and is it a sign of shifts in our culture and our status quo?

At a time like this, there’s a divergence between conforming to the status quo and rejecting it, and that comes into play in body modification. There’s a difference between wanting to get breast implants to “feel better about yourself,” and wanting body art so you can shock people with it and show your support for the shift of culture.

Tattoos date back to ancient times and are one of the oldest forms of body modification. Today, in Western culture, they are probably the most famous example of our changing status quo: teardrops on cheekbones and faded, blurred anchors on forearms were, until twenty years ago, the badges of prison and military service. Then, in the nineties, rock groups who danced the line between mainstream culture and underground cool popularized tattoos and piercings; now, supermodels, CEOs, and actors get body art at boutique studios that purvey luxury and the gritty underside of street cool in one powerful status statement.

“When I started tattooing, it was illegal in New York City,” says Michelle Miles, owner of Daredevil Tattoo, now one of the most famous tattoo shops in the world. She worked in New Jersey independently until tattooing was legalized in New York City in 1997, when she opened her own shop in Manhattan’s Lower East Side. She says the biggest change she has witnessed in her work is the growing acceptance of tattoos in mainstream culture; she’s even tattooed a few Wall Street CEOs. Still, even in a clean, safe, world-famous tattoo shop, tattoos keep throwing social norms for a loop: devils and skulls abound, and if you don’t already have a certain level of street credibility before you get a tattoo, most people will agree that getting one elevates you a notch or two.

A white tattoo by Friday Jones for a feng shui practitioner.

You can even get techno-trendy cool with a black light tattoo, which adds a nice touch to a traditional tattoo.

There’s some disagreement between artists about how well the black light tattoos glow and how long the glow lasts, but most people agree that the baby-blue look of the ink is not very tough-looking on its own, so if you’re interested, do some thorough research first.

Newly introduced are white ink tattoos: petal-soft and nearly invisible, they are a statement that’s as equally in-your-face as it is stealthy, like the surreptitious rebellion of the teenage girls who might be inclined to get them. “It looks more like a birthmark than an actual tattoo; it’s just a lightening of the skin, kind of an embossed effect: very, very subtle. Perfect for, say, the white collar professional or fashionista,” says Friday Jones, a tattoo artist in New York City who has tattooed Angelina Jolie and Lydia Hearst. Jones says that white tattoos need to be planned with forethought and performed by an artist experienced in working with the thick white pigment, which requires some skill. “White tattoos can’t be exposed to much sun because your melanin will naturally discolor the white ink like an overlay,” and you’ll be left with a brown tattoo, she cautions. White tattoos turn out a lighter version of your own skin tone. Consequently, when the status quo has already been so trampled by others before you, all you need to do to join the rebellion is tiptoe.

A tattoo with black, red and white ink.

On the other hand, you could push the envelope with body piercing. Body piercing is also an old practice: for hundreds of years, pirates and sailors wore a single gold earring as currency so whomever found their body when it washed up on shore could pay for their burial. It’s interesting that the single earring became representative of pirates’ swashbuckling lawlessness, and that single ear piercing in modern times still carries that rebellious connotation. Yet, when body art exploded in the nineties, the connotation spread to all forms of piercing, except the traditional one-hole-in-each-earlobe style on girls. Beyond that, however, wearing body art says “insurrection.” One person’s piercing might communicate a small amount of insurrection, such as, “I can wear something shocking, and so what?” or, “I might be a little kinky,” while another’s piercing might communicate, “I hate this society and its rules, and I won’t obey them.” Yet, the next thing you know, everybody jumps on the bandwagon and a septum piercing is no longer a big deal, forcing you to do more to show you’re pushing for change.

Enter surface anchors, a new trend in piercing. “Basically, the technique is called single-point piercing,” explains Terry Leroy, President and CEO of LeRoi Inc, which was one of the first companies to make jewelry for body piercing and that now has an upscale room inside Daredevil’s shop. Most traditional piercings have been through places on the body where skin forms a flap or a body part protrudes—earlobes, tongues, genitals—but surface anchors are implanted on a smooth, flat surface, such as the chest, and are often used to augment tattoos. “You can put them anywhere, practically,” he says. The trend has been in full force for a couple of years now. The anchors have a hole in the “foot,” the part placed under the skin. Tissue then grows through the hole, truly “anchoring” it. So, while the anchor can be removed, it’s best to consider it a semi-permanent piece of jewelry, as removal results in more scarring than the removal of traditional and small-gauge jewelry.

Terry Leroy, President and CEO of LeRoi Inc, shows off his wares.

Anchoring jewelry attempts to defeat the body’s natural reaction to reject it as a foreign object, so a low-level inflammatory response can be ongoing as long as the jewelry is in place. That’s just one reason that Colonel Norvell Coots, CEO of the Army’s Walter Reed Health Care System and a dermatologist, says that there’s no good place on your skin to put a dermal anchor. “Your glands and all of the bases of the hair follicles are there; the blood vessels are all located in the dermis, as well as some of the small muscles that are in the skin. You can disrupt blood vessels and disrupt glandular structures; there are a number of potential medical problems just from the destruction of the normal architecture of the skin,” he cautions. In addition, there is always a low-level inflammatory response as the body tries to rid itself of the foreign object.

Next is a more extreme form of body modification: labiaplasty. It’s a cosmetic surgery for the female genitals, and we have the porn industry to thank for its increasing popularity. An estimated twelve percent of all websites are porn sites, and with millions of people viewing porn where waxing is the norm, there has been a rising trend in Brazilian waxing since the internet boom. Like suburban white kids spouting Jay-Z lyrics as the offbeat becomes mainstream, waxing has become increasingly popular in women of all ages and all levels of sexual promiscuity.

Now that people have had a close, unobstructed view of female genitals, the question of how a woman’s genitals stack up to those of porn stars’ is increasingly popular. Like it or not, there is a standard of genital beauty in porn: the labia minora cannot protrude past the labia majora, and there must not be “excess flesh” in the genitals. This standard, which has permeated the rest of our culture, leads women with large labia minora to desire labiaplasty: the removal and/or contouring of the excess tissue. Andrea Stapleton, a certified plastic surgery nurse and aesthetic nurse specialist at Pearl Women’s Center in Portland, Oregon, says that most of the patients they see for labiaplasty are middle aged (the few young women who have the procedure are those with excessively long labia minora that make wearing tight clothing or riding a bike uncomfortable). “I think that women are divorcing more, so they’re back out in the dating scene,” and want to impress new partners, she says. She believes that enhanced sexuality results from less inhibition when women feel better about the way they look after a skillfully executed procedure that contours the flesh and removes as little as possible to preserve sensation, and from hairlessness, which enhances sensitivity. In addition, some women opt for a procedure called clitoral unhooding, which is performed when excess flesh over the clitoris prohibits or impedes orgasm.

“I’ve had a lot of patients lately get the labia reconstructed,” says Mary Jo Rapini, a psychotherapist in Houston who has worked with TLC’s Big Medicine and sees many patients who have had bariatric surgery. She says women who are, or who have been heavy have more flesh in their genital areas, which is not representative of today’s standard of beauty; nevertheless, the irony is that there are now more than four-hundred million obese adults worldwide. With easy access to a high-calorie, low-nutrient diet, and exercise becoming something of a luxury, the status quo of fit and slim is difficult for most people to reach, and it’s especially hard for those who are already overweight. No wonder, then, that bariatric surgery is becoming increasingly common: despite its risks and demand for radical lifestyle changes, it works.

Bariatric surgery isn’t for the faint of heart: the most effective procedures permanently alter the anatomy of the stomach and other organs. For example, Roux-en-Y gastric bypass surgery, which is the most common procedure, involves cutting most of the stomach away to leave only a small pouch, then rerouting the small intestine so food from the pouch can flow out. Recovery takes several weeks, and the individual must eat very small meals that conform to a strict dietary regimen—protein powder becomes a staple—in order to avoid nutritional deficiency or painful cramping while losing and keeping off hundreds of pounds of excess weight. However, biomedical engineers are working on several devices and systems to make bariatric surgery less “medieval,” and, hopefully, unnecessary.

All body modification procedures carry inherent risks, and these risks, along with the pain of the procedure, are part of its shock value. One person may respond to body modification with enthusiasm, while another with horror; response depends largely on what kind of procedure it is, how much it alters the body, and where the person stands philosophically on what the status quo should or shouldn’t be. Things are different today than they were years ago; anyone can tell you that. It is obvious that the status quo for beauty and aesthetic is different than it was at the height of cultural conformity fifty years ago. A quick glance at bestselling non-fiction, and you’ll see titles that scream, “The world is changing! Everything is, or will soon be different!” Bodies are the living billboards for the same message that tells us, “This is what conformity looks like, this is what insurrection looks like; here’s where we’re headed, and here’s where I stand.”

Before any body modification procedure, you should think carefully about your motives and your health, both physical and emotional/mental. The riskier, more painful, more permanent the procedure, and the more it rejects the status quo than conforming to it, the greater the possibility that you may need a professional to evaluate your mental and emotional state before proceeding. People undergoing radical body modification may take offense at the suggestion that their mental or emotional health might be unstable, but it’s not a stretch: some procedures, like sex change operations, legally require counseling before a surgeon is allowed to proceed.

There’s seemingly no end to the body mutilation procedures that are touted as stylish or sexually enhancing. Surgical and quasi-surgical procedures must be performed by an accredited surgeon. Reputable plastic surgeons turn patients away all the time, so it may not be easy to find a surgeon who will implant eyeball jewelry, undertake scarification, or flay open a penis for enhanced sensitivity. This refusal should be a red flag that the health risks probably outweigh any potential benefit.

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CREDITS

photographed by BERRY BEHRENDT
fashion editor SONJA
stylist YUJI TAKENAKA Michele Filomeno
photography assistant ALEX WALTL
assistant stylists TOMOYA YAGI, YUKI NAKAJIMA, SACHI MASUDA
makeup SONJA
makeup assistant TONY
hair KENSHIN ASANO L’Atelier
model HANNA PAAT next
all makeup products by MAC COSMETICS

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CREDITS

photographed by BRUNO GAGET
beauty editor SONJA
makeup SONJA
hair ANDREAS SCHOENAGEL
models ZENIA (black images) Major Model Management NYC CAROLINE (white images) Major Model Management NYC
all makeup products by MAC COSMETICS
retouched by SHANE CONNORS Beth Schiffer Digital NYC
shot at THE SPACE STUDIO NYC
bags by LEA MUSES (images 1, 5, 6) & MEHERA BLUM (images 2,3,4)

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The “Devil’s Wine,” as the monks who created it dubbed the volatile spirit, has become the staple of our celebrations, an object of affection and obsession for rappers, crucial for the christening of ships, a bartender’s secret weapon in scores of dazzling cocktails, and has secured its place in our culture as the highlight of high society. In the world of spirits, champagne is a relative newcomer with a short history, but this effervescent elixir has had little trouble garnering popularity and status amongst vinophiles and cocktail connoisseurs worldwide.

The Champagne region of France has been producing grapes and exquisite wines since the Romans first planted vineyards there in the fifth century, but it wasn’t until Benedictine monks living there accidentally created le vin du diable by introducing a small amount of sugar to the wine before corking. When bottles began exploding in their wine cellars, the monks began wearing heavy iron masks before checking on their fermentations to avoid injuries from exploding bottles.

The legendary monk Dom Perignon is often credited with the discovery of champagne, but documentation of champagne and the fermenting practices it requires predate Monsieur Perignon by several decades. He did, however, pioneer a practice still in use today: a wire net used to secure the cork to the bottle to prevent the pressure from prematurely popping the top. His dedication to this spirit and pioneering methods helped foster its popularity and paved the way for sparkling winemakers around the world. In his honor, French winemaker Moët et Chandon created a champagne as legendary as the monk, and it has become one of the most prestigious and sought after champagnes in the world.

“Dom is popular mostly because of its rarity – the fact that it’s hard to get,” explains Beau Vondra of Look’s Meat Market in Sioux Falls SD. “They limit the amount that they make, and as a result, a lot of high-end champagnes will only produce 500 to 900 cases per year. Supply and demand drives the price up.”

The demand for luxury champagnes has grown exponentially in recent years. Look’s is one of Sioux Falls’ leading sellers of Dom Perignon and Cristal, the vin de choix of rappers and celebrities. While some may balk at the price tag, Vonda would remind them that with it comes a rarity, an age, and a mastering of the art of champagne-making that is rivaled by none. Still, he notes that high end champagnes owe much to pop-culture for their popularity.

“It’s over-sexualized by movies and rap music,” he explains. “Nobody outside of the wine world knew about Cristal until people started rapping about it.”

For consumers who might be in the market for something a bit more modestly priced, the champagne industry offers a wide variety of options from various vineyards, and a seemingly endless range of options based on taste and price. The Sotheby’s Wine Encyclopedia explains the range of sweet to dry champagnes: Doux is the sweetest of all champagnes with over 50 grams of sugar per liter, and scaling towards the dryer, less-sweetened end are demi-sec, sec, extra dry, brut (the most popular type of champagne with less than 15 grams of sugar per liter), extra brut, and brut natural (with less than 3 grams of sugar per liter). Tom Slattery, the general manager of JJ’s Wine and Spirits, says that he gets asked questions about champagnes and sparkling wines more often than most products.

“It’s one of the most misconceived products on the market, when really it’s just wine with a bubble,” Slattery explains. “The regionality of champagne is more important than the various styles. It is one of the most misunderstood products on the market, probably because of the generic use of the term.”

Most American consumers refer to all sparkling wines as champagne, when in fact it is not true. Champagne, by law, is a term that can only be applied to wines produced in the Champagne region of France. Apart from serious vinophiles, though, the term is commonly accepted and understood. America, however, is certainly becoming a more prominent player in the sparkling wine industry, as John Thuringer, a fine wine specialist for Republic National Distributing Company explains.

“What really put American sparkling wine on the map was Schramsberg,” he notes. “Nixon brought it on his trip to China in 1976. This marked the first time that an American President had used a non-French sparkling wine at an official White House function. The wine was such a hit that it has been used by every President since.”

Nestled in the heart of Napa Valley, Schramsberg is a pioneer in the American sparkling wine industry and is a leading producer of fine sparkling wines worldwide.

Those less discerning about dryness, sweetness, or regionality may enjoy one of the many popular champagne-based cocktails that have been increasing in demand at bars and restaurants in recent years. Taking things a step further than your average mimosa, a Flirtini is a martini made with vodka, Cointreau, champagne, and pineapple juice.

“People like the taste of champagne, but they view champagne only as a celebratory drink,” says Steve Spaniol, the insightful bartender well versed in the use of champagne. “It adds more of a texture. Champagne enhances fruit flavors and balances a light-bodied drink a lot better than adding rum or tequila.”

Another popular use for champagne is in a bellini, or, “The Italian Margarita.” A delightful blend of frozen peach nectar, white wine, champagne, and rum, finished with a hearty swirl of sangria, a bellini is the perfect after-dinner cocktail. The sangria and the champagne balance well against the density of the peach nectar to create a light-bodied texture that is unusual in a blended cocktail.

“It satisfies both men’s and women’s taste buds,” explains Nicole Webster, a banquet manager with much experience in mixology. “Champagne used to be such an exclusive drink, reserved for celebrations, but adding it as a mixer allows it to be casually enjoyed in an every-day fashion.”

While cocktails like these strive to incorporate champagne into an average night out, many still consider champagne something to be consumed in celebration. You might not find the average American family sitting down with a bottle of brut over dinner, but weddings, birthdays, holidays and promotions offer the most popular opportunities to lift spirits with bubbling elixir. For these occasions, people will always turn to champagne to commemorate and celebrate; however, as Thuringer notes, bars and restaurants are onto something by adding champagne to featured cocktails.

“The direction is there where there are so many affordable whites that it doesn’t have to be reserved for holidays and special events,” Thuringer says.

“Champagne is fine anytime.”

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Accused of being a large contributor to many artistic creations over the past centuries, it would seem absinthe is a revolutionary tool; individuals such as Vincent Van Gogh, Oscar Wilde, and Picasso have all been storied to drink from this fabled bottle, yet its reputation for bold artistic direction has been outshined by its darker, more belligerent transgressions. Sure, Van Gogh may have partook in a number of absinthe drinks to rev his creative engine, but it is also said that he cut off his own ear while under the spell of the same elixir. Now, in a country where absinthe has only recently been taken off the blacklist, Americans can enjoy the beverage many have labeled the “Green Devil.”

Called many other names, including la fée verte (green fairy), absinthe has had a tumultuous history. While some researchers believe wormwood has been used for centuries, it was not until the 1800s that absinthe (and its key ingredient: wormwood) started becoming more prevalent.

In the 1880s, phyloxera was destroying many vineyards in Europe, causing the price of wine to skyrocket while its availability dropped substantially. With this shift, the mass populous had to whet their thirst for alcohol by new means, and just as easily as wine fell out of availability, absinthe took its place.

With the onslaught of new alcohol came new reasons to fiend it. According to some, absinthe’s use was a ticket to the insane asylum. For others, the myths surrounding its use were regarded as tried and true fact. No matter, though, for starting in 1905, European countries began banning the substance based on unsubstantiated beliefs.

“[P]eople want absinthe to be fearful stuff, with the distinctive form of pleasure that fearful things bring,” wrote Phil Baker in The Book of Absinthe: A Cultural History.

One fabled story occurred in August of 1905 in Switzerland. Jean Lanfray, known to regularly enjoy a glass of absinthe, came home one afternoon and shot his entire family.

His intoxication and subsequent actions were blamed solely on absinthe, when, in reality, he had consumed countless bottles of wine that day. However, since absinthe had such a bad reputation, Lanfray’s story pushed the abolition of absinthe even deeper into Prohibitionists agendas. (Of course, when the public found out about his wife’s pregnancy, the drive to abolish absinthe was even stronger).

In 1912, the United States outlawed absinthe: this would be the only alcoholic beverage to be singled out and banned alone. Not until 2007, almost 100 years later, would Americans be granted the chance to legally produce and partake in a glass of the substance again.

The ingredients in absinthe are unique, giving an unfair just-cause to its strong opponents. The key ingredient, wormwood (or, technically, Artemisia absinthium), is known to produce hallucinogenic effects in some individuals; however, with no scientific data to back the claims up, it has yet to be determined fact or fiction. Other ingredients are common herbs, flowers and leaves, such as anise and fennel.

Absinthe, though typically purchased, can be made from scratch. One individual, Joshua Rowland, has produced his share of absinthe over the years, and has found that trial and error is necessary. While not required in most recipes, his includes coriander, a component that gives the drink a unique bite.

“I don’t think many absinthe makers use coriander; they mainly use the anise and fennel and their own combination of herbs. I think it’s nice to try different herbs and spices, such as marjoram, or hyssop, as they can give the absinthe a tea-like taste,” said Rowland.

When serving absinthe, there are a few traditional methods of preparing the drink. While any glass can be used, there do exist glasses specifically made for absinthe use: they feature a bubble in the bottom that is meant as a measure for the absinthe (the bubble size will vary, however, as different areas prepare their drinks with different amounts). Also, special spoons were made for easy and efficient preparation of certain drinks.

“People react very differently to absinthe,” said Rowland, “but one thing you need to make sure of is serving it properly. If you don’t use a sugar cube and light it on fire, it’s just not worth drinking.”

One thing to be aware of when preparing an absinthe drink is the milky color it turns during the process. Anise, fennel and star anise have components that are not water-soluble, resulting in the murky appearance it presents. With this in mind, the following recipes will be all the more enjoyable. Cheers!

The standard absinthe drink

1 oz absinthe sugar cube ice water

Pour absinthe into glass and place sugar cube on spoon held over glass. Pour ice water slowly over sugar until dissolved. Should have 2 parts absinthe to five parts water when finished. (Absinthe glass and spoon recommended).

The more exciting standard absinthe drink

1 oz absinthe sugar cube 1 oz water ice cubes match or lighter

Pour absinthe into glass, and soak sugar cube in absinthe. Remove sugar cube to a spoon, and light cube on fire; let it burn over absinthe for one minute or until sugar is caramelized. Stir into glass; add water and ice. (Absinthe glass and spoon recommended).

Ernest Hemingway’s “Death in the Afternoon”

“Pour one jigger absinthe into a champagne glass. Add iced champagne until it attains proper opalescent milkiness. Drink three to five of these slowly.”

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Though only 20 years old in this photograph, Ettore Bugatti has already begun to display the sartorial grandeur that would come to characterize his larger-than-life persona.

From John D. Rockefeller to Howard Hughes, eccentricity has long permeated the great minds of modern industry. This axiom is equally true of the pioneers of the automotive world, as demanding personalities and unbridled vision were hallmarks of quite a few automotive visionaries, ranging from Henry Ford and Gottlieb Daimler to Enzo Ferrari and Dr. Ferdinand Porsche. Few among them, however, compared with Ettore Bugatti, an icon of another era whose name has largely been relegated to the shelves of wild-eyed automotive historians and the opulent garages of equally admiring car collectors.

Mr. Bugatti was that rare combination of engineer and craftsman, a self-taught groundbreaker who often discarded the rules and held fast to cherished principles. Cognoscenti will surely recognize Bugatti’s name from his eponymous car company, one that dominated European motor racing of the 1920s and produced some of the most sensational and timelessly beautiful cars during the 1930s. Teenage boys and supercar enthusiasts will also recognize the name from the celebrated Bugatti Veyron, a 2006 exotic sports car that has become a modern benchmark for performance with its 16-cylinder, W-shaped engine fed by four turbochargers and capable of producing an unprecedented 1,000 units of horsepower.

Between the Grand Prix victories of the 1920s and the debut of the Veyron earlier this decade, much has changed with the Bugatti Company; yet despite the shifts, a constant appreciation for the values and guiding genius of Ettore Bugatti, who died in 1947, has faithfully steered the company through multiple owners and two world wars. Part of Bugatti’s unique success is surely attributable to Ettore’s multinational identity; an Italian by birth and rearing, but essentially French by preference, Bugatti relocated his automobile company in 1909 to a small town called Molsheim (pronounced Molts-hime), located in Alsace, France, the long disputed border region shared by Germany which was then under the Kaiser’s control. All three European nations continue to function as Bugatti DNA to this day, as the company was resuscitated for a short time by an Italian company during the 1990s, and then again by the VW Group in 1999. Essentially, this was, and still is, a company of Italian verve, French refinement and German engineering.

If the legends are true, then this 1938 Type 57C was liberated from the Nazis by the driving, and daring, of Bugatti team racer Robert Benoist. Though historians debate the legitimacy of this cloak and dagger claim, they generally concur that the car’s one-off coachwork was designed and built by Molsheim’s workers as a gift to Ettore Bugatti. Photo by Pawel Litwinski © 2009. Courtesy of Gooding & Company.

Ettore Bugatti himself was a man of stubborn independence, engineering genius and egalitarian values. Immensely capable of creating and understanding drawn designs, Bugatti was adept at quickly detecting flaws or approving innovations with a mere glance at a drawing. When locating his fabled factory in Molsheim, he chose an old farm-like dye-works estate that gave his institution an atmosphere of aesthetic craftsmanship: a contrast to the cold, mechanical efficiency of the mass-producing industrial factories that were sprouting up elsewhere. He patrolled his production floors and shared personal relationships with many, if not all, of his employees. This was a man who lived and breathed his creations while instilling his company with the very values that marked his eccentric genius.

During the 1920s and 30s, Bugatti regularly fielded racecars that routinely beat the day’s best Bentleys and Delages. His Type 35 is regarded as one of the finest racecars ever built, and to this day catches the eyes of classic car collectors when they occasionally change hands at the auction block for millions of dollars.

Bugatti’s fine cars and his commitment to racing also earned the devotion of a select group of racecar drivers who represented the finest in competition and sportsmanship; names like Louis Chiron, Achille Varzi, and Pierre Veyron floated in and out of this circle; Robert Benoist and Willie Grover-Williams would later lead double lives as trained French Resistance operatives who would eventually meet with tragic executions at Buchenwald; Rene Dreyfus would race in the Indy 500, become an American citizen, sign up to fight under Patton in North Africa and open his own restaurant in New York (which enjoyed great success for several decades). Different than today’s comparable talented motor sports competitors, this group of racecar drivers was more like an elite club of brothers: men of sophisticated character and daring exploit.

Between its heroic drivers, beautiful and powerful cars, and a fairy tale-like factory, Bugatti (the company) possesses a rich tapestry of heritage that will be celebrated this year as the marque commemorates its 100^th anniversary. The celebration has included a feature spotlight at this year’s Pebble Beach Concours d’Elegance, where Bugatti was the subject of two dedicated classes of judging. Among the group of Bugattis displayed by doting collectors is one gargantuan model that stood out above the others: a 1932 Type 41 Royale owned by the Bugatti company. One of only six produced, the Royale was Ettore Bugatti’s attempt to create the finest, largest and most powerful motorcar that Europe had ever seen. Its 12-liter engines were so powerful that Bugatti eventually implemented them in a train he created. As its name suggests, the Royale was designed and built with the intention of being marketed to the day’s monarchs; however, the unfortunate coincidence of the Great Depression destroyed that dream, and only three of the six cars were sold, none of which were to royalty.

The official auction of Pebble Beach, held in concert with the Concours d’Elegance by renowned auctioneer Gooding & Company, helped further celebrate the anniversary of Bugatti. Among the many fine lots offered at the two-day sale, one Bugatti received a wealth of attention from collectors, historians and enthusiasts: a 1938 Type 57C with one-of-a-kind coachwork that was said to have been owned and driven by Ettore Bugatti himself. Such provenance is difficult to match, so no one was surprised when the car sold for a high bid of $1.25 million dollars (which, when coupled with the auctioneer’s premium, made for a sale price of $1.375 million).

Few people are as qualified to discuss Bugatti’s glorious past as Julius Kruta, a lifelong enthusiast who now serves as the company’s official head of tradition. Kruta’s encyclopedic knowledge of Bugatti, the man and the marque, illuminates just how Ettore Bugatti’s eccentric genius served to propel the company in its success and legend. Most importantly, it would seem, Ettore Bugatti played the part: from his sometimes-colorful personal behavior, to his eye-catching everyday dress. “He was flamboyant; he was outgoing; he was extravagant. He was an entertainer,” explains Kruta, who works from the revived factory in Molsheim. He explains that while contemporary competitors like W.O. Bentley or Louis Delage were dressed like businessmen or engineers, Bugatti was “like somebody dressed for theater.” This practice apparently stretched all the way to his shoes and socks, which were specially designed with individual toes sleeves, like gloves.

Powerful, massive and imposing, the Type 41 Royale was Ettore Bugatti’s attempt to supplant Rolls-Royce as the most opulent luxury car of the day. This 1932 Binder-bodied example, one of six Royales ever built, was presented by Bugatti at this year’s Pebble Beach Concours d’Elegance to commemorate the marque’s 100th anniversary.

Ettore Bugatti surveys the grounds on horseback. His love of equestrian was surely a factor in the nickname his cars would come to earn from enthusiasts: the “thoroughbreds of Molsheim.”

Kruta easily recalls anecdotes that depict Ettore Bugatti’s individualistic nature. For instance, as he was a dedicated equestrian who kept several stables at the Molsheim grounds, Ettore often surveyed his estate on horseback. Occasionally, when potential customers would visit to inspect a car for purchase, Bugatti would greet them from the vantage of his mount, a practice that intoned a psychological superiority or condescension as he looked down upon his visitor: not necessarily the best approach to ensure a sale. On one occasion, a visiting customer arrived in a taxicab that happened to be made by Opel, a mass-produced German brand that dealt in far more mundane and pedestrian cars than Bugatti. Ettore refused to sell the man one of his cars, suggesting that no man who dared arrive in an Opel was worthy of a Bugatti.

The elephant ornament, representing the Royale’s massive size and prodigious power, was designed by Ettore Bugatti’s brother Rembrandt, a respected sculptor.

Another anecdote involves the potential sale of the massive Royale. According to the story, after King Carol of Romania visited Molsheim to inspect a Royale for possible purchase, he dined with Bugatti that evening. Apparently Bugatti was so offended by the king’s lack of table etiquette that he refused to sell him the car, reasoning that the car was too sophisticated for its suitor. Kruta concedes this story is probably untrue, for given the harsh economic climate of the Depression era, and a lack of buyers for the outrageously expensive Royale, it seems likely that Bugatti would not have passed on a potential sale, no matter how objectionable the buyer’s manners may have been. Still, Kruta stresses, with Ettore Bugatti, “anything was possible.”

It is amply clear from Kruta, and a host of other documented sources, that Ettore Bugatti did not lack personal ostentation, and his persona may well have stopped just short of grandiose. Take, for example, the naming of his eldest daughter, L’Ebe, who wrote a biography of her father in 1967, at age 64. Possessing quite an unusual name, it seems that L’Ebe was actually named for her father’s initials. Bugatti’s genius merited his confidence, however, and those that worked with him and knew him were far more enamored of his warmth of character and engaging human spirit than alienated by what some might construe as vanity.

Bearing the trademark monogram that represents Bugatti to this day, the steering column of Ettore’s personal Type 57C illustrates how completely the man and the company are genetically entwined. Photo by Pawel Litwinski © 2009. Courtesy of Gooding & Company.

Endlessly prolific, Bugatti held well over 900 patents, most of which were for mechanical designs and the tools to create them. Not merely confined to automotive interests, Bugatti tinkered in aero engines and actually won an aero engine contract with the U.S. government just prior to the cessation of World War I hostilities (the war’s end resulted in the contract’s cancellation). He also designed a yacht and a train; the train was actually powered by the engines from his Royale. Remarkably well engineered, these trains remained in service in France into the late 1950s. Ettore also invented a number a medical instruments, including a retractor of sorts that he created for a friend who served as a surgeon at the Strasbourg hospital. According to Kruta, this instrument remains in wide use to this day. Testifying to his appreciation of fine leisure when not working, Bugatti also distilled his own plum brandy.

The last 50 years have seen dramatic ups and downs for the Bugatti Company. An old man by the time World War II unfolded, Ettore Bugatti evacuated from Molsheim at the onset of the blitzkrieg and was forced to sell his factory to the Nazis at a fraction of its true value; the factory was then used to produce torpedoes, military watercraft and the feared V-1 flying bomb. Following the war’s conclusion, Bugatti faced politically charged accusations of war profiteering and struggled to regain ownership of his estate. After exonerating himself and re-acquiring the Molsheim factory in 1947, he caught pneumonia and died soon thereafter. His company could not stand without him, and like other great French pre-war marques, such as Delahaye and Voisin, Bugatti (the company) withered and died, seemingly poised to forever pass on to the realm of history.

Looking more like the summer chateau of a local marquis or baron, the fabled Molsheim estate that has long served as Bugatti’s headquarters has clearly contributed to the company’s legendary image of boutique and old world craftsmanship.

Such a rich history and strong brand name could not be ignored forever though, and accordingly, in 1991, an Italian named Romano Artioli bought the rights to the Bugatti name and began producing a new supercar which he dubbed the EB110 (a monogram of Ettore Bugatti coupled with what would have been his age at the time). Fast, powerful, and undeniably attractive, the EB110 had the misfortune of arriving just as the bubble burst on the bloated supercar market of the time. As recession deepened, the market for such cars disappeared, and with a lack of customers, the new Bugatti Company’s days were numbered.

A few short years later, another prospective buyer surfaced: one far better equipped to invest in the production of a new supercar and weather any temporary financial loss that might accompany it. The VW Group had already acquired Bentley and Lamborghini, and now resuscitating Bugatti would prove to be their coup de grace. Julius Kruta proudly suggests that Bugatti’s fine heritage and renown has played no small part in the company’s cyclical resurgence. “There is no other marque on the planet that had been dead for such a long time and was still remembered,” he said.

The Bugatti GrandSport is an open top version of the celebrated 1,000 horsepower Veyron coupe. Only 150 examples of the Bugatti GrandSport will be produced.

Accolades for the Veyron have abounded since its 2006 debut; indeed, to drive it, sit in it, or to merely look at it, elicits awe and envy. VW took their time in manufacturing the Veyron, and their efforts have paid off, resulting in a car that is flawlessly engineered and tailored with the most subtly stylish of interiors. Though dimensions, power plants and the overall appearance of supercars have changed drastically since Ettore Bugatti’s heyday, Kruta believes that the Veyron is an appropriate continuation of the Bugatti legacy.

“When you look at the shape of a Veyron, it doesn’t resemble any other car that already existed. It is not another retro design, and it’s not another Italian wedge. It looks different and it incorporates in its design the famous dual tone color scheme of the Bugattis of the late 20s and 30s. And [there is] also the perfection and the attention to detail, which [is what] made Bugatti special.”

While admirers patiently await Bugatti’s next model, the marque has created an open top version of the Veyron called the Grand Sport, a name that recalls the Type 43 Grand Sport of the 1930s. Unveiled at the 2008 Pebble Beach Concours d’Elegance, only 150 models of the Grand Sport will be produced, a limited production that further guarantees the model’s long-term value; the company just started sending deliveries of the beautiful car to its select clientele last June.

Like its brother, the Veyron, the Grand Sport is truly a perfectly designed car, if such a thing is possible. Rarely has a car so impeccably met its design brief, flawlessly executing its mission. No, this is not a car with which to shop for groceries or pick up the kids from school. In fact, with its minimal front luggage compartment, one probably couldn’t even fit a set of golf clubs for a garish arrival to the country club. But what the Grand Sport does, it accomplishes without peer. Acceleration is astounding, as the car rockets from 0 – 60 mph in a breathtaking 2.5 seconds. The car is also remarkably tractable; very little driver skill is required to man the helm of this $1.9 million machine. Unlike some other supercars, the Grand Sport never veers while launching forward, confidently stable under its alarming acceleration. The Grand Sport actually offers an improved driver experience over the Veyron in that, with its open top, the driver can better hear the prodigious engine and turbo just behind him. Two large intakes dominate the roofs of both cars, and with the Grand Sport’s hardtop removed, the intakes suck in air just over the heads of the driver and passenger. The effect is like hearing a jet turbine willfully whistling with every touch of the accelerator: automotive music to the ears.

Bugatti supercars from two different eras: the Veyron gets the staredown from a Type 57 SC Atlantic. The most esteemed of all Bugattis, only four of the low-slung, sport-tuned SC chassis were fitted with Atlantic coachwork. Today, one is part of Ralph Lauren’s prestigious collection.

The Grand Sport’s cabin is beautifully upholstered in stitched leather and features minimal instrumentation; rather than a cluttered myriad of gauges that one might expect of such a car, the cabin is exquisitely produced with a “less is more” approach. Appropriately, the tachometer stands out while smaller gauges indicate exactly how much horsepower is being expended at any given moment, and a gas gauge that reads in actual units (so one knows precisely when only five gallons remain). Of course, with such a high price tag, few people will ever get to experience the Grand Sport or the Veyron firsthand, but Bugatti’s creation is more than a mere exercise in grandstanding: with its investment in Bugatti, VW has asserted that dreams live on and automotive excellence in luxury and performance should capture the imagination while it inspires. Such is the tribute that VW has paid to the fine tradition started by one man: the most wonderful of eccentric automotive geniuses, Ettore Bugatti.

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Our love affair with food begins when we graduate to solid foods and we learn to appreciate the incredible taste, smell and appearance of food. Certainly, we need food for nutrition, but it’s placement during holidays and entertaining demonstrates how food is used for celebration, consolation and congratulation.

I watched seeds sown and plants harvested on the Iowa farm where I grew up, so from an early age I had the sense of where food comes from and the labor involved. Growing up I had always enjoyed cooking, but I decided I wanted to delve deeper and attended a culinary school in Minneapolis for two years. Minneapolis is a real haven for foodies: new, different, traditional and comfort foods abound.

The overall lifestyle today is so harried and schedules are so full that there’s little time to kick back, relax or enjoy some “me” time, much less prepare a meal; which is why I chose to become a personal chef: to provide affordable fine dining and healthy eating without my clients having to leave home. It sounds like a new concept, but the USPCA (United States Personal Chef Association) has been around for fifteen years, and I have been a member for the past ten. It’s a fresh service: you can go the refridgerator and select from five days’ worth of entrees and sides to heat up in just 20 minutes. Because I do the shopping and make up the menus, I can adjust when my clients have special dietary needs.

I love using fresh herbs when I cook. My cooking is simple: I utilize fresh ingredients, create flavorful combinations and keep it all from being terribly time consuming. Having lived on the East Coast and South Florida, I picked up ideas from the area and the people for whom I worked, capitalizing on the availability of fresh fish or wild game.

Before long, the holidays will be here and entertaining will bring us together and food will be the glue. Our fondest memories tend to center around food, and we all certainly have our favorites. I hope the creative process of producing a wonderful meal and the delight of spending time with family and friends makes the holidays all the more enjoyable for you. Let the entertaining begin!

Here are a few of my favorite holiday pleasers:

Prime Rib Roast with Mustard & Black Pepper

serves 6

4-5 lb Prime Rib of Beef

4 cloves of garlic, cut into slivers

1/4 C soy cause and 4 T coarsely ground pepper

Sauce:

1/4 C Dijon mustard

1 T soy sauce

1 C beef stock

1 T cracked pepper

To prepare the roast, cut incisions at even intervals in the surface of the meat and insert the slivers of garlic. Place the meat in the roasting pan. Combine the mustard and the soy sauce and spread mixture over the roast. Top with the pepper. Let the roast sit at room temperature for up to 3 hours.

Preheat oven to 350 degrees F. Roast the meat until a meat thermometer inserted in the center of the roast reads 120 degrees F for rare, about 1 1/2 hours. Remove from the oven and let the roast rest on the carving board, covered with aluminum foil, for about 15 minutes.

To make the sauce, combine the mustard, soy sauce, beef stock and pepper in a small pan with a whisk and heat through. Or, pour the stock into the degreased drippings in the roasting pan and stir to free any browned bits. Whisk in the mustard, soy sauce and pepper.

Sweet & White Potato Gratin

serves 12

6 C heavy cream

6 cloves garlic, smashed with flat of a knife

sa lt, freshly ground pepper and ground nutmeg to taste

6 large russet potatoes

6 large yams

Preheat oven to 375 degrees F. In a saucepan, bring the cream and garlic to a boil, then lower the heat and simmer for 10 minutes. Remove the garlic and season the cream with salt, pepper and nutmeg to taste. The mixture should be a little salty, as the potatoes are very bland and will absorb the cream and salt.

While the cream is simmering, peel and slice the potatoes and yams 1/4 inch thick. Layer the potatoes and the yams in overlapping rows in a deep baking dish or lasagna pan. Pour the warm cream over the potatoes and yams. The cream should just cover the potatoes; if not, add a little bit more. Bake until the potatoes and yams are tender, about 45 minutes.

Peach & Blackberry Galette

Serves 8

2 1/2 C all purpose flour

1 tsp salt

8 oz chilled butter

1/2 C ice water

1 1/2 lbs fresh or frozen peaches

1/2 lb fresh or frozen blackberries

1/2 tsp ground cinnamon

1 tsp fresh lemon juice

1/4 C sugar, plus 2 tsp sugar

3 T flour

1 T heavy cream

1/2 C apricot jam, warmed

In the bowl of the food processor fitted with a metal blade, pulse the flour and salt. Add the butter and pulse until the mixture resembles course meal, about 15 seconds. With the machine running, add the water in a slow, steady stream: process until the dough just holds together. Turn out onto a piece of plastic wrap, and flatten into a disk; wrap well. Chill at least 1 hour in the refridgerator.

Place a baking sheet upside down on the center shelf in oven; preheat to 400 degrees F. On a lightly floured surface, roll out dough to 1/4 inch thickness. Transfer to a 9” rectangular or square tart pan with removable bottom; press in bottom and up sides with a 2” overhang on the sides. In a large bowl, stir together the peaches, blackberries, lemon juice, 1/4 C sugar, flour and cinnamon. Transfer to tart shell and arrange fruit in an even layer. Fold the overhanging dough on top of the fruit. Brush dough with cream and sprinkle with the remaining 2T of sugar. Place pan on top of baking sheet in oven. Bake until crust is golden brown and filling is bubbling, about 45 minutes. Cool on a wire rack for 1 hour. Brush filling with apricot jam.

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Speed Technologies has just made off-road racing a lot easier. The company, a leading team in the SuperLite Championship series, has launched a rental program that puts drivers behind the wheel of one of its fleet of SuperLite trucks, while removing the logistical nightmare of race support, heavy start-up costs and post-race shop time.

Arrive and Drive offers racers and aspiring racers a ready SuperLite truck delivered for race weekend with on-site crew and support. Drivers need only jump behind the wheel and hit the gas.

“Basically, this is designed for someone who doesn’t want to mess with the truck,” said Kevin Singleton, chief operating officer of Speed Technologies. “We take the hassle out of it—we’ve got it down where drivers can show up, drive and leave when the racing is finished.”

Nearing the end of its first season of rental program, Speed Technologies said its fleet of five trucks has been in high demand in 2008. “We started this in April,” Singleton said, “but even starting late for the season we’ve been selling out races, and we’re booked through the end of the year.”

Singleton expects the bulk of the fleet in 2009 to go to racers who will reserve them for all seven series races.

“If you’re on the outside of this style of racing looking in, this is just about the only way to walk on and get a full racing experience without too much preparation or cost,” Singleton said. “Plus you get all of the benefits of racing in the SuperLite Championship —visibility for sponsors, TV time, etc.”

For single-race SuperLite rentals, racers pay a fixed $7,500. For the season (seven races), the cost is $52,500.

Drivers must provide their own Lucas Oil-approved race suit and helmet, and are responsible for damage beyond normal wear and tear.

The SuperLite Championship series is held at venues in California, Arizona and Nevada. Drivers compete for a portion of $80,000 in prize money over the course of the series. For more information visit: www.superlitechampionship.com/Arrive___Drive.html

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Ain’t nothin’ like the smell of money, honey: freshly minted, its ink seared into the embossed filigree of that stiff, crisp scrip that is the focus of so many dreams. It’s so dizzyingly arresting it warrants pressing a new bill to your lips with tender care to breathe it in; but money, that fickle, fleeting lover, is false—his eyes rove over your shoulder, he winks at someone else, and he’s gone before you know it, slipped from your fingers into another’s, and only his shapeless, nameless, perfumed memory is left.

That smell, that essence, is here in artisan and jewelry iconoclast David Yurman’s first fragrance, David Yurman. With notes like rose otto, peony, and waterlily underscored by patchouli and musk, you’d never guess that its feminine scent really smells like money. In this bottle you can smell it freely, openly, and kiss the lover without clutching: your arms held back with confidence in his faithfulness.

If that’s not a lover you can curl up with on a cold, dark winter evening, the modern essence of a man—a study in bold contrasts —is. If men are pen and ink drawings to women’s blended pastels—sharp lines and stark contrasts to their melted-butter curves—then Porsche Design: The Essence is a men’s fragrance to match (the design studio was founded by the synonymous car maker). Here is the tough contraposition of black leather boots on a summer day in Phoenix—beating rays be damned—to loose white linen sleeves that ripple over toned copper forearms in a Caribbean breeze. This woodsy fragrance is all polarity: arctic juniper with spicy black pepper, domestic coriander with adventurous pine, and the icy blue bottle encased in a midnight black frame. It’s all this with that, here with there, up with down, bold yet stoically reticent, all in a way that makes you want to get close and whisper, “Tell me what you’re thinking.”

Yet there is no better place to get close than in Tuscany, the old-world paradise where pleasures of the flesh are more dignified than they are anywhere else. This season, Salvatore Ferragamo’s Tuscan Soul Lifestyle Home Collection comes home to wrap your hearth in the essence of the most celebrated state in Italy. The Lifestyle Home Collection takes last year’s personal fragrance through your doorstep and into dresser drawers, onto bathroom tiles, and drifting among coats in closets. Take winter on vacation to the tune of Florentine fruit (bergamot, petit grain, and fig tree) and floral notes (magnolia and orange blossom) to a destination where the days are longer and the nights are warmer: a Mediterranean garden in spring. Light yet luxurious, like plump tomatoes drenched in first press olive oil, it’s everything you’d expect from a fragrance named after one of the most pleasant places on the planet.

David Yurman fragrance available from DavidYurman.com

Porsche Design: The Essence available at Porsche Design retail stores, Bloomingdale’s, Neiman Marcus, and Nordstrom

Tuscan Soul Lifestyle Home Collection available in select Salvatore Ferragamo boutiques

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The island of Malta has the world’s oldest freestanding buildings: 6,000-year-old Stonehenge-like temples; invaders from Romans to Normans fought over control of its strategic location in the narrow sea between Sicily and Tunisia; St. Paul was shipwrecked there on the way to his trial in Rome and converted the entire island to Christianity; the Knights of Malta, driven out of the Holy Land at the end of the crusades, inflicted a major defeat on the Ottoman Turks, inspiring Europe to resist; Napoleon occupied the island and his troops were defeated three years later by the British, who used it as their regional naval headquarters; during World War II, the Maltese suffered through 154 days and nights of continuous bombing by the Nazis: three times as long as the London Blitz.

Malta has been a Mediterranean Forrest Gump, finding itself always in the middle of important events. Yet, with such an extraordinary history, how could it have just 1.5 million visitors a year? With a main island just fifteen miles long and seven miles wide, it has more World Heritage sites per square mile than anywhere else in the world, and, after a recent visit, we’ve concluded that Malta is the biggest little country in the world.

For our expedition to Malta we were recommended to guide Trudy Grech; she is an expert on history and culture, which was perfect as we had a lot to cover in a few days (plus, we’d heard she was an interesting conversationalist: important when you’re spending a lot of time together). We also discovered that a personal guide is the best way to have maximum flexibility for the schedule; we were able to adjust our schedule on a whim as things turned out to be more or less interesting than expected.

A Brief History of Malta

The Knights of St. John (as they were originally called) moved to Malta in 1530 after being driven from the island of Rhodes near Turkey—where they had relocated after the crusades—by Suleiman the Magnificent, the Ottoman sultan. They immediately walled in the area by the harbor, and in May 1565, the still-reigning Suleiman began a siege of 40,000 troops against Malta’s 700 Knights, 3,000 soldiers, and 5,000 militiamen. At the time, the Ottoman Empire encompassed 15 million people and controlled the eastern Mediterranean, spreading into southern and central Europe. The Knights sent out pleas to European rulers to help them draw a line in the sand against the Turkish war machine, but no aid was received. After battering the Maltese forts for four months with 88,000 cannon balls and engaging in fierce hand-to-hand combat, the Ottomans mistook a charge by 200 cavalry from some where else on the island for the arrival of a relief army and retreated. Shortly thereafter, 8,000 soldiers from Sicily arrived and the Ottomans sailed home with just 28,000 survivors. The Knights lost 313 men, another 80 were wounded, and 9,000 Maltese citizens died. Europeans celebrated this miraculous outcome, and the following year, Suleiman died.

This dramatic story is just one of many in the island’s history, which is told beautifully in The Malta Experience, an essential way to start any visit.

St. John’s Co-Cathedral in Valletta.

Valletta

After the Great Siege, the Knights built a new capital, Valletta, into the greatest fortified city in Europe (which is featured in Gladiator, Troy, and The Count of Monte Cristo). The architectural and artistic masterpiece of Valletta is the Co-Cathedral of St. John, which was built between 1573 and 1577. It has what the New York Times has called “the most beautiful floor in the world,” and showcases inlaid marble tombs of the Knights. Since flash photography is not allowed and a picture cannot capture what the eyes can behold, one has to be standing in the middle of the cathedral to appreciate the magnificent ceiling; it has biblical and historic scenes, gold-plated arches, paintings in the side chapels by Renaissance masters Caravaggio and Preti, and sculptures of the Grand Masters (past leaders of the Knights of Saint John).

Nearby is the Palace of the Grand Masters; it has rows of empty armor standing guard along its hallways and grand collections of arms. The most fascinating room in the Palace has the famous Gobelin tapestries on the walls: they depict the impressions of early explorers of Africa and the Americas, sometimes with fanciful animals.

Casa Rocca Piccola, a mansion built in 1850 that is still inhabited, offers a peek at the history of the island’s nobility; it also includes private bomb shelters – the British used Malta as the staging ground to invade Sicily and fight Rommel in North Africa. (There are many war-related exhibits around the island). The National Museum of Archaeology brilliantly showcases sculptures left by early inhabitants, including the world’s oldest freestanding statue of a deity.

View of Valletta from the Grand Harbour.

The Hypogeum

The next day, we walked through the quaint towns across the harbor from Valletta. Some of the world’s largest dockyards are there, which is why Malta was the Mediterranean headquarters for the British navy, whose history is on display at the Maritime Museum.

We then went to the Taxien temples on the outskirts of town—one of 50 prehistoric sites around the Maltese islands—which has some interesting carvings. Nearby is The Hypogeum, a rather unique structure: it is an underground temple that also served as a burial place for 7,000 people. To prevent further deterioration caused by the breath of visitors, only 10 people are allowed inside per hour (reservations need to be booked at least a few weeks in advance). We listened to an excellent audio presentation that explains everything from the great difficulty of carving sophisticated architectural features with stone tools, to theories about the meaning of the paintings on the ceilings. Having been to Stonehenge and inside the Giza pyramids, we can say that the experience of The Hypogeum is more impressive than both of those combined.

Gozo

The second-biggest island in the Maltese chain has a separate history, which is recounted at Gozo 360, a multimedia center in its main city, Rabat. After a walk through Rabat’s ancient alleys and churches, we went through the archaeology museum, which features art from the Stone Age to medieval times. We also stopped to see the Old Prisons to see the graffiti carved into the walls.

The next stop was unexpectedly inspiring. The church at Ta Pinu has been a pilgrimage shrine since 1883. When two peasants heard the voice of what they believed was the Virgin Mary, they prayed for a cure for one woman’s critically ill mother; shortly thereafter, the mother was healed. The walls of the church are decorated with written messages of prayer and thanksgiving, and with various other items, such as crutches.

After lunch we went to the world’s oldest freestanding stone buildings: two temples at Ggantija, whose construction began in 3,600 B.C.—a daunting task, since some of the stones are 20 feet high and weigh 50 tons. There is a lot more to see on Gozo, but we needed to catch the ferry back.

This prehistoric temple at Ggantija, on Gozo, is the world’s oldest freestanding stone building.

On our last day, we toured the central island, starting with the church at Mosta. It has one of the largest unsupported domes in Europe, decorated in a rather hypnotic style. We then walked through the atmospheric town of Mdina, the Arab capital when they occupied Malta for 200 years.

After lunch, we went through an historic Roman house with beautiful mosaics. Next, we went into the St. Agatha catacombs, where Christians—from Roman to medieval times—met and buried their dead. Nearby the catacombs is the grotto where St. Paul lived during his three-month stay.

From April to September, there are impressive pyrotechnic displays in local villages that are worth scheduling into any visit. Given that we barely got to half of the things that were on our original agenda, we have great reason to return. We just hope we can get back before everyone else realizes that it has the world’s best weather and then decides to move there.

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Pronunciation: \kən-ˈtrer-ē-ən, kän-\

Function: noun

Definition: a person who takes a contrary position or attitude; specifically: an investor who buys shares of stock when most others are selling and sells when others are buying.¹

Are you a trendsetter, always on the cutting edge of fashion, fads or cultural developments? Are you the type of person who abandons a style as soon as others begin adopting it en masse? Do you shudder when people begin copying your look, your purchases or your ideas?

If these descriptions sound familiar, you might be considered a contrarian.

Contrarians Think for Themselves

The term contrarian can apply to anyone who takes a point of view that is the opposite of popular opinion. When it comes to investing or dealing with your finances, contrarians are the types of folks who buy when others are selling and who sell when others are buying. They tend to believe that the masses have no idea what they are doing, or at least believe that when the public at large adopts a trend in full force, it is a signal to flee. Contrarians think for themselves and are not easily swayed when it comes to what others think.

Does this sound like you?

Being a contrarian can be the key to sudden and unparalleled success in some circumstances, especially when it comes to the markets. However, there is a great deal of risk in taking a viewpoint that is contrary to conventional wisdom. A good contrarian investor not only thinks for him or herself, but thinks through all of the potential consequences of the actions in mind. After all, there can be a lot at stake if your instincts are wrong.

Two Successful Contrarians

I had the opportunity to work for several amazing contrarians during my career on Wall Street. One man was the founder of a successful firm that bore his name. The legend surrounding this mogul was that he had made his fortune in 1929 by shorting RCA stock—betting that it would go down—right before the crash.

As the story goes, his colleagues thought he was crazy, but his analysis and his intuition lead him to the conclusion that a stock market correction was inevitable. He held to his hunch and made a bundle. What foresight! What courage! The most inspiring part of the story was that he continued to fearlessly buck the crowd for the rest of his brilliant seven-decade career. The mogul amassed vast wealth using this approach to investing and also built an impressive, and equally independent-minded, collection of contemporary art.

When There’s Blood in the Streets, It’s Time to Buy

The mogul knew when the markets were overpriced and how to find bargains using a value approach to investing. Another exceedingly successful and wise boss for whom I had the privilege to work did, too. Stephen was a tall and distinguished man with a charismatic smile. I remember him counseling me earnestly, “Suzanna, when there is blood in the street, it’s time to buy!”

Stephen and his partners had started their firm as young men in the early 1970s, just as that decade’s devastating recession took hold. Having nothing much to lose at that point in their careers, they used the downturn to find bargains in a variety of investments, from the stock market to venture capital to private equity. Stephen recalled that he and his partners often seized opportunities that no one else would touch. They bought real estate when conventional wisdom said real estate was dead. They invested in technology before technology was cool and opened an office in San Francisco to make bets on Silicon Valley companies when few had the stomach for risk in new and untested endeavors.

The key to success was that they paid next to nothing for these investments, mostly because no one else was interested in them. Stephen used to joke that when he heard people say, “I wouldn’t touch that investment with a ten foot pole!” it tempted him to go poking around to see if the deal was really a stinker or if it was just out of favor.

Buy Low, Not High

Despite Stephen and his partners’ experience with technology, he was extremely cautious when that sector was booming in the late 1990s. He had little interest in buying those high fliers for his investment clients, many of who begged him to buy the stocks du jour. Many of us at the firm thought he was too risk averse, not taking advantage of soaring markets and unprecedented opportunities.

“How could he pass on that brilliant dot com company?” we would ask each other in the hallways. But Stephen had been around the block and knew that the “irrational exuberance” that Alan Greenspan described was all too real. He stuck with more conservative stocks that had some tech exposure, and, for the most part, was exceedingly careful about placing IPOs or startups in client portfolios. Stephen refused to buy when the prices were too high, cautioning his clients against undue risk and ignoring the conventional wisdom of Wall Street, which was to buy, buy, buy.

I clearly recall a cab ride with Stephen in early 2000. We were on our way to visit a client in uptown Manhattan and Stephen chatted genially with the taxi driver about tech stocks.

As we left the cab and walked into the building, Stephen commented gravely, “When taxi drivers start touting stocks, I know the market is too high!”

While Stephen had nothing against cab drivers, his point was that in the tech hey-day, many individuals who had not previously participated in the stock market were now boldly day-trading with their retirement accounts. It was a sign of the times, and it was quite clear to a dedicated contrarian like Stephen that a bubble had formed and was about to burst. And burst it did.

Contrarian or Common Sense?

Were these bosses of mine true contrarians, or did they just have common sense about the reality of market cycles? As I reflect on their successes, I believe that the answer is a bit of both.

Both individuals had an uncanny ability to follow their intuition and to ignore the crowd, but each backed up their contrarian views with thorough analysis and research. When they bought low, they still purchased sound investments. When they sold high, they were aware that they might have left some potential gains on the table, but were content to take their profits and go home.

Being a contrarian can be difficult. If the mogul had been wrong about RCA, his friends and colleagues would have had the last laugh. If Stephen and his friends had been incorrect about technology in the 1970s, their firm may not ever have survived; the losses from a poor call can be devastating. A good contrarian must have the courage of his or her convictions, but that audacity must be backed up by scrupulous homework and a point of view that is all business.

As successful contrarians, these men had the uncanny ability to remain detached from the emotional aspect of investing. This is a rare skill, for most of us get caught up in what is popular and accepted when it comes to investments. Perhaps we can see peaks and valleys, but it can be difficult to keep our emotions at bay when evaluating investment opportunities that involve our own money. For example, in retrospect, many Americans claim to have seen the housing bubble taking shape, yet few individuals consciously sold off assets at the peak. We tend to hope the growth will continue and often hold on too long, selling real estate and stocks after the markets have crashed. Now, many Americans are hoarding cash, paralyzed by the prolonged crisis.

I have a hunch that if the mogul and Stephen were still around, they would have been happily taking advantage of the “blood in the streets.” They’d be buying up beaten down but valuable stocks and gleefully shopping for real estate. They were contrarians to the end.

1 (Source: Merriam Webster’s Dictionary Online)

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DEX New York, a New York City-based company, has a unique concept: their flagship studio is home to a photography studio, make-up studio, progressive hair studio, learning center and relaxing beauty oasis. So what exactly is DEX New York? Well, to sum it up in one word from founder and CEO Dex Phillips, “It’s fun.”

“I love to have fun, and in my mind, I’m the life of the party. From the leader of the company to every employee, and even our clients, we have fun in a comfortable atmosphere. Everyone here is happy, and they leave happy, and when they come back they’re happy. Our focus is to never take the fun out of business.”

And that’s exactly what they’ve done.

Three years ago, Phillips was exiting the fashion styling industry with the goal of starting a green spa. He had his budget set and was working on the planning when he happened upon a start-up business that was flying well below the radar. “They were failing when I found it, and I thought that this company fit me much more comfortably than the spa idea, so I went with it,” said Phillips. “I had always wanted to have my own crew—make-up, photography, hair—all under one roof. When I came in, they had the foundation laid, and it was a great concept, but the execution wasn’t great.”

So revamp, rebrand, and restructure he did.

DEX New York has now been fully functioning for two years, and a major focus of the company has always been mineral make-up. “Mineral make-up was really what drew me in,” said Phillips. DEX’s goal was to create camera-ready, healthy make-up that didn’t compromise glamour, and the first step in doing so was to reevaluate the complex that comprised each product.

“In the entire line,” said Phillips, “the bismuth oxychloride was removed. It makes skin dehydrated and can appear ashy on women of color, and it is allergenic to some consumers.” Bismuth oxychloride is used to help with coverage and adhesion, and without it, makeup can be chalky and show maturing flaws, such as wrinkles.

Since makeup would not work without this agent, researchers discovered another way to replicate its use with a combination of ingredients: DEX increased the pigment of the product, and added silica. Although both bismuth oxychloride and silica are natural, silica, while more expensive, is better for the skin and, in Phillip’s opinion, well worth the investment.

In addition to the replacement of bismuth oxychloride, researchers discovered another way to enhance DEX New York’s products: palmitoyl hexapeptide-14 (the peptide), an anti-aging compound never before used in powders. This addition produced a higher quality product that is camera-ready and incredibly healthy.

“We are the first line of make-up to use the peptide in all of our products,” said Phillips. “We use it in everything from foundation, to bronzer, to eye shadow.”

It’s especially rare in mineral make-ups, too, since they are mostly powders. While the peptide has been used before, it’s been found primarily in various creams. Studies have proven that the peptide is effective, too. It stimulates collagen, enhancing the natural brightness and youthfulness of the skin. “With the application of our products, the skin maintains its elasticity and glow,” said Phillips. “Most people want an I-don’t-feel-like-I’m-wearing-anything-on-my-face look, and that is really key for our brand. In fact, that’s been our most heard testimonial from clients who’ve used our products.”

Along with providing healthy products, DEX New York’s brand is also known for its strong pigmentation. “Most healthy make-up is boring,” said Phillips, “but we’re not. We’re all about hot colors. We want our consumers to feel young, glamorous and fresh, all while wearing make-up that is really beneficial for their skin.”

The range of shades DEX produces is much broader than traditional lines: from alabaster white to the darkest of dark, every shade can be found in their eye shadows, blushes, bronzes and foundations.

DEX New York takes pride in their colors; they’re highly pigmented, and the color you see in the pallet is the color you get. “There is no need to use our make-up the way you would use traditional make-up,” said Phillips. “This make-up does not require numerous applications to achieve the color in the pallet. You get it the first time.”

The “hero product”—as Phillips calls it—of the company, however, is the package some products come in: the beauty portfolio. It’s a magnetic compact designed to look like a book. It fits in any bag and contains customizable space for foundation, blush and eye shadow—really whatever the consumer comes up with. “We really feel the consumer should be able to pick his/her own pallet,” said Phillips. “There is an artist in everyone.”

For a business plan to meld so well with a product is difficult to find, especially in these economic times, but the rewards reaped have proven to be worth the extra effort. Celebrities such as Tyra Banks, Victoria Beckham and Stephen Burrows have held events at the DEX New York studio (the photo studio doubles as a presentation space), and the product line has attracted countless followers, including Vivica Fox, Rihanna, Jennifer Hudson, Kelly Ripa and Alicia Keys.

Overall, the company concept and product development is unique to the market. To have such a dynamic product line coupled with an innovative business plan is unheard of in the make-up and beauty industry; also, having professional photographers, make-up artists, hair designers and production experts on staff has allowed the product to stand out from its competition. The insight each person brings to the table is valuable in its unique perspective: the final product not only performs well in the studio, but also performs well in the real world.

“If our products photograph well, just imagine how they look in real life,” said Phillips.

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CREDITS

photographed by GERD BAYER
fashion editor SONJA
stylist RODNEY HALL
makeup SONJA
makeup assistant TONY
hair ANDREAS SCHONAGEL
models ALEXEY Q Model Management, JACOB Q Model Management, STEPHEN THOMPSON Ugly Models
story concept SONJA
all makeup products by MAC COSMETICS

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by Tove Aldrich

Meant as a tribute to one chef’s troubled and tormented son, A Boy After the Sea: An Untold Story is not an ordinary cookbook. When chef Kevin Snook learned of his youngest son’s drug overdose, he vowed he would not let him die in vain. After being sexually abused while working onboard a commercial fishing boat, Daniel (Snook’s son) turned to drugs to cope with the reality of what happened to him. At the young age of 19, and after three years of drug use and depression, Daniel ended his life by overdosing.

Now, Daniel’s father has put together a foundation, The Dan Snook Trust Foundation, to help young people from all backgrounds cope with drug use, alcoholism and abuse. To support the Foundation, Snook reached out to friends, both new and old, to contribute to the book, A Boy After the Sea. Snook’s decades as a chef have led him around the world cooking for and with an impressive collection of individuals. These people have now donated their time and knowledge to support Snook’s cause: sharing the knowledge and art of cooking while informing about the dangers of the seas to both humans and creatures alike.

The book is filled with recipes from world-renowned chefs, beautiful photography of aquatic locations, and information regarding sustainable practices for every chef and connoisseur of cuisine.

“Taking the theme of water and food,” said Snook, “the book is a visual experience bringing together the two elements. Brimming with delectable seafood recipes, A Boy After the Sea is a gastronomic delight sure to satisfy not only the appetite, but also the soul.”

Chefs such as Heston Blumenthal, David Hawksworth and Charlie Trotter contributed to this cookbook that is meant to inspire every chef from beginners to the advanced. The only downside of the book is that the recipe measurements are all written in metric terms, making it difficult for the average American chef to follow along. However, with endless opportunities to translate the measurements into US Customary System terms, the recipes will undoubtedly whet the appetite of any foodie even remotely interested in seafood.

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In an age of environmental awareness, individuals and companies alike are looking for ways to make their eco footprint less conspicuous and less harmful. Words such as “green,” “environmentally friendly,” and “carbon neutral” have become common references to the way we all strive to exist. With the global attitude shifting toward an efficient means of sustainability, it seems that no one can stand out in the crowd. However, John Hardy does, and for that, it is set apart from its competition in the jewelry arena.

“We have vowed to make our company ‘greener every day,’” said Chief Executive Officer Damien Dernoncourt. “The Bamboo collection is a way for collectors of John Hardy jewelry to participate in one of our efforts to contribute to the environment. A portion of the proceeds of the sale of each piece is set aside for planting bamboos. We call this program ‘Wear Bamboo, Plant Bamboo.’”

Here is a shot of the kitchen area on the John Hardy compound. The structure is made of bamboo; one of many others on the compound.

Inspired by nature and the global movement to become more earth-friendly, John Hardy created a line that not only depicts nature, but also promotes its development through monetary contributions to local projects involving bamboo.

“At John Hardy, preserving our environment has always been our priority for more than 10 years,” said Guy Bedarida, creative director and head designer of John Hardy jewelry. “The Bamboo Collection is a tribute to the beauty, strength and versatility of bamboo.”

These pieces are from the Bamboo Collection. The top image is the front view of the Kick Cuff; the next image shows the inside of the Kick Cuff—the stamp showing the number of bamboo seedlings is visible; the bottom image features Dome Rings of various hues.

Based in Bali, John Hardy is immersed in a culture that is very in touch with its environment. To support the local culture, the company decided to promote bamboo in a unique way: for each piece of jewelry in the Bamboo line sold, a specific number of bamboo seedlings are planted on Nusa Penida, a small impoverished island off the coast of Bali. On each piece of jewelry is a stamp that indicates how many bamboo seedlings were planted with the piece’s purchase, which gives consumers a way to quantify their purchases in terms of economic growth and sustainment.

“Through this collection, we offer an unprecedented opportunity to our customers to take part in John Hardy’s important environmental program while purchasing jewelry,” said Bedarida.

Bamboo, a native plant to the Balinese islands, is used for a variety of purposes, one being an alternative to timber. Bamboo is a very fast producer and can be harvested in only five years, while timber is a slow producer that takes twenty or more years before it can be harvested.

Along with replacing timber needs, bamboo also assists in the overall betterment of the ecosystem: with a high capacity for carbon dioxide, it helps purify the air; its dense foliage encourages rainfall and gives wildlife a prosperous habitat; also, its roots help prevent erosion of the soil.

With so much ecological benefit, it seemed natural for John Hardy to embrace bamboo’s beauty as well as its usefulness. In the Bamboo Collection, each piece depicts bamboo in an elegant way; whether the stalks or leaves are more prevalent, the representation is unmistakable. Beautiful sterling silver bracelets accent eco-conscious consumers’ wrists, while subtle earrings drop from lobes to display an individual’s support for green practices. No matter the piece, the statement it makes is unmatched in environmental awareness and ecological revival.

To keep the Collection current, John Hardy strives to find unique perspectives of bamboo for the new pieces each season.

“ Bamboo is a never-ending inspiration, and because of the symbolism, it will never go out of style,” said Bedarida.

“To make a collection new and fresh, we introduce new interpretations of the bamboo concept each season.”

Aside from the “Wear Bamboo, Plant Bamboo” program, John Hardy promotes the use of bamboo in its own structures. “It begins with our factory and design center in Bali where most of the buildings are made using Bamboo, mud walls and straw roofs,” said Bedarida. “On our compound, we have a beautiful organic farm whose products are cooked daily in the traditional way of Balinese cooking; the kitchen even features an open fire and serves a daily lunch for the 550 people working there, as well as for our visiting guests,” added Bedarida.

Overlap Ring from the Palu Macan Collection

Along with John Hardy’s Bamboo Collection, there is a new collection—Palu Macan—inspired by an antique painting of a tiger. Macan (mah·chahn), which means “tiger” in Balinese, is a symbol of courage, passion and triumph over the impossible. This new collection is inspired by the “guardian of the west,” which is the tiger in Japanese mythology.

“While traveling in Japan, I came across an antique painting of a mythical white tiger with Kabuki style eyes,” said Bedarida. “Macan symbolizes triumph over the impossible, something everyone needs to believe in today. Our tiger is particularly interesting: it is a Kabuki tiger with a very special expression and unique eyes.”

Overlap Kick Cuff from the Palu Macan Collection

The collection portrays a cohesive inspiration and represents a tiger in each piece. Whether it’s just the stripes or the eyes, the energy each piece emits is the same: strong, courageous and passionate. It takes a confident individual to wear tiger-inspired jewelry, but John Hardy’s new collection allows everyone to feel the empowerment of this courageous animal.

Kick Cuff from the Palu Macan Collection.

“This season’s collections are exceptional for the structural quality of the new shapes—voluptuous forms, fine detail, delicious highly polished surfaces—which bring out the special character of silver,” said Bedarida. “All of the pieces in the Macan line are unique and carry a different interpretation of the main inspiration; however, the Macan Kick Cuff with its figurative head takes our technique to a higher level of craftsmanship with the hammering of the tiger stripes,” he added.

No matter personal tastes, both collections—Bamboo and Macan—are undeniably beautiful. Between the unique inspiration and the skilled craftsmanship, the collections will continue to be important components of John Hardy’s jewelry line and customers’ personal collections.

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Architectural history is full of colorful characters. Spend a day touring historical sites in Chicago and you’ll find yourself reading about the influences of Burnham and Root. Spend an afternoon viewing monuments in Rome and you will hear how Michelangelo and Bernini shaped the city. Walk the streets of Barcelona for five minutes and you’ll find yourself inundated with the influences of Antoni Gaudí.

Few architects have achieved the international status of Antoni Gaudí. He produced some of the most unique and controversial buildings in the Art Nouveau movement. A genius before his time, Gaudí’s work was often the target of ridicule by even the progressive artists of his era. His flamboyant designs drew praise and his deep religious conservatism created rifts between him and his critics. Reviled by some but respected by all, he was an architect, artist, catholic, patriot, and ecologist all rolled into one.

Antoni Gaudí’s birth on June 25, 1852, carried tragic undertones that would permeate his life. Born a weak baby, Gaudí fought lung infections and eventually developed rheumatoid arthritis, a condition that would dramatically influence his designs later in life. Stricken with painful arthritis, Gaudí would often have to miss school. Unable to partake in many of the activities enjoyed by young boys, Gaudí spent much of his time observing nature. He became transfixed with the forms that nature created, the ways in which animals moved, and how the sun reflected off of the local stones. Gaudí was once quoted as saying “Those who look for the laws of nature as a support for their new works collaborate with the Creator.” Gaudí would call upon these early observations throughout his career.

Gaudí was also exposed to the principles of creating three-dimensional forms at an early age. Descended from a long line for copper smiths, he would spend hours watching his father work and rework copper to create beautiful vessels. This had a profound impact on Gaudí’s design process. Due to his arthritis, Gaudí spent immense amounts of time exploring his designs through three-dimensional models rather than through two-dimensional drawings. In his biography, titled Gaudí, Gijs Van Hensbergen stated that a deeply religious Gaudí marveled, “The intelligence of man can only function on one plane, that is in two dimensions … but the intelligence of angels is in three dimensions; they can work directly with space.”

La Sagrada Familia in Barcelona, Spain.

Details on exterior of La Sagrada Familia in Barcelona, Spain.

With a strong religious background, an understanding of spatial composition, and panache for creating organic forms, Gaudí broke onto the architectural scene in 1884 when he was named the official architect of the Sagrada Família Cathedral (he had unofficially taken the position and started work a year before in 1883).

Though he had completed a number of projects since he passed his qualifying exam, it wasn’t until he took over the work on the Sagrada Família that Gaudí was considered one of Barcelona’s top architects. Initially designed in a conventional Neo-Gothic style by Francesc de Paula Villar I Lozano, construction of the crypt was under way when a rift formed between Villar and the Junta temple, causing Villar to resign from the project. Antoni Gaudí, only 31 years old, was selected to take over the immense project. Initially, Gaudí continued with Villar’s original design. He lamented the orientation of the cathedral, but with the construction of the crypt at an advanced stage, he was unable to change it. However, in March of 1884, Gaudí won arbitration and was allowed to redesign the rest of the cathedral. In place of the Neo-Classical design, Gaudí called for an organic cathedral of grand scale with three facades. Gaudí decorated the facades with sculptures and stained glass depicting select stories from the bible that symbolized the foundation of the church. The east facade - the direction that the sun rises - was adorned with scenes of Jesus’ birth. The west facade - the side on which the sun sets - had scenes depicting the passion, death, and resurrection of Jesus Christ. The main sea-facing facade was to be decorated with scenes of humans partaking in the fruits of salvation.

“The intelligence of man can only function on one plane, that is in two dimensions … but the intelligence of angels is in three dimensions; they can work directly with space.” -Antoni Gaudí

The design and construction of Sagrada Família proved to be a task that would continue throughout his life. Funding for the cathedral was limited to private donations and Gaudí’s dedication to accurately recreating nature didn’t help matters. Gaudí once wrote, “It is a mad man to try to represent a fictional object.” Determined to produce an exact replica of nature in his facade, Gaudí went to great lengths to find the perfect models for his creations.

Ceiling inside La Sagrada Familia.

Locals who bore a resemblance to biblical characters became immortalized in the facade. A goat herder was used to create Pontius Pilate, a six-toed bar patron became Goliath, and a sculptor became Simon; it was not uncommon for an animal to be chloroformed, greased, and cast in plaster. Gaudí gathered skeletons from the local hospital, observed autopsies, and cast many still born babies to be used as the hundreds of children slaughtered by Herod. Throughout the construction, Gaudí’s studio amassed an extensive collection of models and sketches. Unfortunately little of this remains today as the Sagrada Família was burned and Gaudí’s grave desecrated by a mob in 1936.

While working on Sagrada Família, Gaudí was commissioned by Eusebi Güell to design a residence indicative of his social status. The Palau Güell - Gaudí’s first building to be built in the heart of Barcelona - drew immediate praise and was championed throughout Europe as one of the foremost examples of the Canal Renaxian movement. The building was connected to another adjacent property of the Güells by a courtyard.

It was not uncommon for an animal to be chloroformed, greased, and cast in plaster. Gaudí gathered skeletons from the local hospital, observed autopsies, and cast many still born babies to be used as the hundreds of children slaughtered by Herod.

The street facade features two massive parabolic arches splitting the facade in half with gigantic gates of woven iron. Between the arches a two-meter tall iron sculpture of an eagle taking flight from a Catalan shield celebrates the residents’ Catalonian heritage. The interior of the building is intricately detailed and well insulated from the sounds of the exterior. A large parabolic dome sits atop the atrium and creates a constant starry sky effect through the use of sunlight and well-positioned lamps. The rooftop features 20 of Gaudí’s iconic sculptural chimneys to ventilate the eight-story building.

Set in an exceedingly poor area of the city, Palau Güell was built using Gaudí’s trademark labor-intensive methods made possible by an unlimited budget; critics thought the construction of such an opulent building in a poverty stricken area to be offensive. The criticism was amplified when the Güells only occupied their expensive palace for a short time because Eusebi’s wife and mother of 10 felt that it was too big. Though controversial, Palau Güell proved to be one of the most important commissions of Gaudí’s career as it began a long working relationship with Eusebi Güell that would afford Gaudí the creative

Herod's Slaughter of the Innocents on the exterior of La Sagrada Familia.

freedom and financial security that few architects enjoy. Throughout his career, Gaudí would collaborate with Güell on numerous projects that would help shape the city.

Gaudí’s signature chimneys atop Casa Milá.

With a polarizing personality and progressive work, Gaudí was a lightening rod for criticism. In addition to the Sagrada Família and Palau Güell many of his projects, such as the Casa Batlló and the Casa Milà, were completed with outlandish budgets. Gaudí was also growing more and more outspoken in his support for the Catholic Church. In 1894, Gaudí began a rigorous Lenten fast that put his health at such serious risk that it was detailed in the daily newspaper. He was prone to explosive rants criticizing people’s lack of devotion and support of the church. This proved an unpopular stance at a time when many of the local citizens were struggling to get by and drew the ire of many of his peers. Pablo Picasso was an outspoken critic, as was George Orwell, who once called the Sagrada Família “one of the most hideous buildings in the world.” A 1950s critic reportedly said that Gaudí’s facades were “tortures of the imagination, fetuses in stone, bulbous obscenities.” It’s hard to imagine how his designs must have appeared in his era. Even today it is easy to be overwhelmed by the intense detail in his work.

In 1900, Eusebi Güell returned from visiting English garden cities. Excited at the prospect of creating one of his own, he commissioned Gaudí to design a prototype garden city for the Catalan bourgeoisie. Set on a parched hill on the outskirts of the city, Gaudí intended for the urban development to be a lavish marriage of architecture and nature. Park Güell was to be surrounded by a wall with access tightly controlled by only a few gates. He segmented the land into 60 triangular lots of which only one third of each could be developed; future structures were to adhere to a strict set of regulations to ensure continuity throughout the development, and the remainder of the land would be dedicated to a large park equipped with public amenities such as a church, a square for athletic competitions and performances, and a market.

Taking cues from nature, Gaudí kept much of the natural landscape and designed a series of twisting roads made of local rock to follow the natural contours of the land. One of the most famous features of the park is a sea serpent-shaped bench that runs along the perimeter of the main terrace. The ergonomic shape of

Serpentine bench in Park Güell in Barcelona, Spain.

the bench was created from the form of a nude woman sitting in clay, proving that once again Gaudí was ahead of his time.

However, Park Güell was an abject failure as only two of the parcels of land were sold - one to Gaudí himself and the other to a lawyer and his family. It wasn’t until 1923 when it was donated to the city of Barcelona and made into a public park that it reached its full potential. Today Park Güell is one of the most celebrated parks in the world: it was declared a United Nations Educational, Scientific and Cultural Organization world heritage site and is visited by thousands of people every year. Small shops and vendors sell mosaic lizards like the one found at the park’s entrance all over the city. Like Sagrada Família, it has become an international symbol of Barcelona.

By 1918, Eusebi Güell had passed away and Gaudí had abandoned all other projects to focus exclusively on the Sagrada Família. Outliving many of his friends and family, Gaudí became increasingly withdrawn from the public and concentrated on his daily routine of praying and working on the Cathedral. He eventually moved to a studio in the shadow of the cathedral for the last 6 months of his life. On June 7, 1926, an unkempt Antoni Guadí was struck and fatally injured by a tram. Having let his appearance slip immensely in the previous months, he was mistaken for a vagrant and denied transport to a hospital by four taxis that feared he wouldn’t be able to pay his fare. After finally arriving at the dispensary, Gaudí was to be sent to the Hospital Clinico for treatment. However, the ambulance drivers were near the end of their shift so they dropped him off at the Hospital de Santa Cruz instead. Still unrecognized, Gaudí was placed in a room with numerous other male patients. Their mistake wasn’t discovered until the next morning when he was found in grave condition. When his friends arranged to have him moved to a nice hospital, Gaudí objected and replied, “I belong here among the poor.” He died three days after being hit by the tram and was buried at the site of the unfinished Sagrada Família.

Exiting the world as tumultuously as he entered it, Gaudí left behind an impressive body of work that would influence the world for years to come. Not only has he influenced designers such as Le Corbusier, Santiago Calatrava and Salvador Dali, his work became the voice of a city.

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For many celebrities, fame offers a chance to lose staggering amounts of money in a winery. For others, the wine business is paying off. Celebrity wine makers have about one per cent of the American wine market, adding about $42 million per year to their wealth, up almost 20 per cent from last year.

Here are the best and many of the rest of the celebrity winery owners:

More Acceptable than a Severed Horse’s Head

Francis Ford Coppola, famed movie direc- tor with five Oscars, entered the wine business in 1975 with money he earned from the first “Godfather” film. His Rubicon winery makes a collectible $125 red blend.

His daughter, Sofia, who directed “Lost in Translation” and also won an Oscar, has her name on Sofia Blanc de Blancs, a sparkling white wine in 187-milliliter shocking-pink cans, each complete with its own straw.

Coppola’s wines vary from the delicious to the “why did I buy that?”

The Wine Harper Wouldn’t Like (But I Did)

In the months before he died in 2008, Paul Newman released 80,000 cases of Newman’s Own Wines, adding to his extensive line of foods. Newman’s Own has donated over $200 million to charities, because Newman said, “You can only put away so much stuff in your closet.” His main regret: his salad dressing was out-grossing his films.

Remick = Smothers

Tom Smothers, the brother who pretended to be constantly confused, is a dedi- cated wine maker whose business card today simply says “Farmer.”

Tom told me that the original Smothers Brothers Winery became Remick Ridge because, “We were getting ripped because of the name. People were saying it was ‘a fine wine with funny finish.’ The named sounded like Milton Berle Fine Wine or the Three Stooges Cabernet.”

The almost-secret Smothers association means that the quality of Remick Ridge wines is what counts, and they are stunningly good, especially the Remick Ridge Merlot from Marcy’s Vineyard, named after Tom’s third wife and produced in a vineyard that was Marcy’s wedding present.

King of the Not-So-Wild vine

Fess Parker, the television star who played Davy Crockett and Daniel Boone, produces admired Syrahs, Chardonnays, and Pinot Noirs near Santa Barbara, where he also owns two hotels. His wines are not filtered through a coonskin cap.

Doobie Wines

Bruce Cohn, manager of the Doobie Brothers, produces prize-winning, deli- cious wines including marvelous Cabernet Sauvignons at his B. R. Cohn vine- yards. Proceeds from his Doobie Red (three pack for $96) go to the National Veterans Foundation. Fortunately no critic has associated his wines with the Doobie Brothers hit “Black Water.”

Still Presumed Grateful

Jerry Garcia of the Grateful Dead continues to make wine long after pass- ing into the eternal rock concert in the sky in 1995. J. Garcia wines, with labels featuring his paintings, are produced by Clos du Bois, a winery known for good- tasting wines at acceptable prices.

Stars and the fruits of their grapes:

David Beckham bought a vineyard in Napa for his wife Victoria on her 34th birthday. The vineyard is, of course, Posh.

Brad Pitt and Angelina Jolie have signed a three-year rental agreement for a secluded wine estate in Provence, although for now they are apparently planning to produce children rather than wine.

TV’s Perry Mason, Raymond Burr, didn’t want his lifetime partner to name the vineyard after him. Ignoring the actor’s final wishes, Burr winery produces prize-winning wines 15 years after his death.

Motley Crue’s Vince Neil creates 10,000+ cases of wine a year. While Neil was on tour with Aerosmith in 2003, a vineyard bus followed the tour bus, allowing Neil to visit distributors between performances.

Right: Savanna Samson released Sogno Uno, an Italian blend and won surprisingly high marks from wine critics. Stars and the fruits of their grapes:

The modest Russian River Valley ranch belonging to actor Fred Mac- Murray, star of Disney’s “The Shaggy Dog” and “The Absent-Minded Profes- sor,” became a winery after his death. It is controlled by the Gallo family.

Indianapolis 500 champion race driver Mario Andretti, who teamed with a former CEO of K-Mart to create premium wines, has a 4,000+ member wine club. In 2007, Andretti’s 2004 Napa Valley Merlot took the gold- medal at the San Francisco Chronicle Wine Competition, beating 3,300 wines.

Graceland Cellars produces an Elvis Presley wine, with a label picturing the younger, thinner Elvis.

When Paris Hilton posed nude for the label of a canned Prosecco, a spar- kling Italian wine, Italians were upset that the wine was in a can.

Lorraine Bracco, who played Tony Soprano’s psychiatrist on HBO’s “The Sopranos,” has a beautiful Brunello and a so-so Pinot Grigio that recalled childhood nightmares for me.

French actor Gérard Dépardieu, with vineyards in France, Spain, Argentina and Morocco, offers a wine named Cyrano. It is said to have a good nose.

Mike Ditka, former coach of the Chicago Bears, offers a Zinfandel- Syrah-Petite Sirah blend called Kick Ass Red.

Golfer Greg Norman, who also markets a line of eponymous sod, has a Shiraz that has been praised, although drinking it before a game may do nothing for your golf score.

Other celebrity wine creators include Martha Stewart; Pixar guru John Lasseter; golfers Luke Donald, Nick Faldo, Mike Weir, Ernie Els and Arnold Palmer; David Frost; Dan Ackroyd; singers/rockers Bob Dylan (who produces a $70 wine), Madonna, Sting, Olivia Newton-John, Cliff Richard, Carlos Santana, Mick Fleet- wood, Simply Red’s Mick Hucknail and Boz Scaggs; figure skater Peggy Flem- ing; quarterbacks Joe Montana and Brett Favre; Robert Redford; Speaker of the House Nancy Pelosi; NASCAR mogul Richard Childress and race car drivers Jeff Gordon and Randy Lewis.

At this time, there are no wines produced by Miley Cyrus or Abigail Breslin (“Little Miss Sunshine”), but wine making might be in their future. They just need a little aging.

Post from: LxMagazines.com

Almost any vacation can be improved with a visit to a winery, for they not only offer superior samples and fine restaurants, but they may also be surrounded by scenery one wouldn’t see anywhere else.

This is particularly true in Spain, where the wines are pleasant surprises and the relaxed atmosphere of the tasting rooms are especially enjoyable. Three wineries we enjoyed visiting are all in Rioja, one of Spain’s finest wine-making areas that resembles a laid-back Napa with far fewer visitors. Rioja is about an hour south of Bilbao, a tourist mecca and home to the famed Guggenheim Museum.

Bodegas Ramón Bilbao

Ramón Bilbao, which makes over 200,000 cases per year, creates silky, easy-to-drink wines. The tasting room at this winery is in a white, tile-roofed building near the small, sleepy town of Haro.

The wines produced include a popular dry white called Mar de Frades Albariño Rías Baixas. Drinking this wine at the proper temperature is so important that the blue bottle has a thermally sensitive label; when the bottle is properly chilled, a sailing ship appears. (I admit that I did spend several fascinating moments watching that boat disappear as the bottle got warmer.)

Wherever you taste Ramón Bilbao – either at the winery or at home – be sure to try the Vina Turzaballa Gran Reserva. This remarkable wine is 100% Tempranillo, a Spanish grape that can produce wines of memorable smoothness. Despite being a single varietal, Ramón Bilbao’s Reserva resembles an elegant, full-flavored blend.

Our visit to Ramón Bilbao was enhanced by our host, Rodolfo Bastida, the winery’s well-dressed technical vineyard manager. At his suggestion, we lunched at the finest restaurant in the region (and possibly in all of Spain): LaVieja Bodega Restaurante in the small town of Casalarreina.

We sat in a large, well-lit, warehouse-size room and enjoyed the taste of the restaurant’s perfectly prepared white asparagus. Other memorable courses included large prawns in mussel noodles with aioli oil, hearts of artichokes with fresh foie and mushrooms, wild sea bass with artichoke couscous, grilled monk fish with foie on grape sauce, and stewed pears. Our lunch also gave me more time to watch that sailing ship on the label fade as the Mar de Frades became warmer.

To visit Ramón Bilbao, call Penélope López Merino at (+34) 941.310.316, or email penelope.lopez@bodegasramonbilbao.es

Photos courtesy of Bodegas Ramón Bilbao

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Bodegas Marqués de Arviza

Located in the small town of Fuenmayor, this winery is not easy to find. Fuenmayor, which is about 12 kilometers from Logroño, is on a Google Map, but our laptop was in America. We had to ask several people for directions, but it was well worth the effort, for this tiny winery makes only about 12,000 cases per year and has a unique tasting room. As you stand on the driveway that leads to the 12th Century stone winery building, it is impossible to guess that the tasting room is five stories beneath you.

This cave was dug over the centuries during the winters when there wasn’t much to do in the vineyards. At one point, our hosts proudly showed us inscribed Roman paving stones that lined the ceiling, which indicate how old the cave truly is. After the Roman legions abandoned the area about 15 centuries ago, the cave-digging winemakers appropriated the carved street stones and used them underground.

We walked down into the always-cool cave, moving through several turns that slanted downwards as the ceiling became lower, until, about 50 feet below the driveway, we found a table with a small lamp (yes, the cave has electricity) and several bottles of wine.

Arviza makes only two wines, and both are excellent. The Crianza has a forest aroma and a beautiful balance of Tempranillo and Garnazo grapes. The Reserva is soft, jammy and immediately accessible.

Lorena Corbacho, the friendly public relations person, stressed that the winery, which is determinedly hands-on and retro, still does not use mechanical presses to get the grape juice, preferring to hand press their grapes instead.

To arrange a visit call Corbacho at (+34) 941.451.245 or email her at marquesdearviza@gmail. com before your trip as she needs a couple of weeks notice to set up a tour in English. Arviza, can be purchased through Hidalgo Imports at (305) 733.1623.

Photos courtesy of Bodegas Marques de Arviza.

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Marqués de Cáceres

Marqués de Cáceres, which claims to be the best-selling Spanish wine in America, produces nearly a million cases of quality wines per year that are available at reasonable prices.

Located in Cenicero, about 20 kilometers from Logroño in Rioja, the winery has several inviting tasting rooms, including a charming, shelf-lined study where we tasted. Anne Vallejo, who is in charge of public relations, is a knowledgeable person who makes sure that all visitors have enough information to be impressed by the wines, and we were.

After we tasted two white wines and a rosé, we were joined by Cristina Forner, daughter of the founder, Enrique Forner. This elegant woman, who bears a striking resemblance to Sophia Loren, was very gracious.

Their most popular wine, Crianza, is an easy-to-drink and very accessible wine. We also tasted the Marqués de Cáceres Gran Reserva which was as elegant as our host. However, the absolute best wine was the Marqués de Cáceres Gaudium Gran Vino, which is made from 100+ year-old vineyards of Tempranillo grapes.

To visit the winery, contact Luis Burgueno at lb@marquesdecaceres.com, two to three weeks in advance of your arrival. Marqués de Cáceres wines are available in all 50 states at Publix, Winn Dixie, World Market, Costco and even Wal-Mart.

Photos courtesy of Bodegas Marques de Cáceres

Post from: LxMagazines.com

by Veronica Shine

One of the great wonders of travel is that a journey far from your everyday surroundings can help eliminate the cobweb maze that daily stress creates. What better way to travel than to create a vacation that becomes much more than just “time off” by including some spa treatments?

The Romans believed that their practice of “Salus Per Aquae” (health by waters) provided a therapeutic treatment that helped them reach the pinnacle of success as a civilization.

The variety and types of spas are immense, but one thing is assured: the sense of seclusion and privacy they provide will revive you. Never have there been more tempting options avail- able throughout the world—a feast for all the senses with a personal connection to the secrets of beauty, health and wellness.

“Begin the Beguine”

You can renew your spirit with a full range of spa and salon treatments while waiting to catch your international flight. Treatments ranging from massage, skincare and hydrotherapy are avail- able in a peaceful environment in several major United States airports. Airports such as Boston, Chicago O’Hare, Dallas/Ft. Worth, Detroit, JFK, Newark, Orlando and San Francisco cater to the spa desires of travelers on the go. Some international carriers are even offering spa services before departure for their first and business class passengers.

What better way to begin your trip than with a massage or a facial that fully hydrates your skin, leaving you refreshed for your overnight flight overseas?

Mediterranean

In Southern Europe the smell of jasmine is in the air. The Capri Palace adds to your well being with the magic of seawater known for its purifying properties, with a pinch of Shiatsu thrown in. The area is filled with thousands of years of history beginning with the Phoenicians, Greeks, and Romans—experts in the benefits of spas.

Located on a flowering island overlooking the Blue Grotto, the Capri Palace spa epitomizes the Mediterranean approach to beauty and health in an atmosphere that reflects the beauty of the area.

The theme at this whitewashed villa high above the sea is “Equilibrium, Energy and Wellbeing.” Renowned Professor Francesco Canonaco, Medical Director of the Capri Beauty Farm, has created a program for all-around well being.

Escaping to the Capri Place may be just what the doctor ordered. The health benefits of sea air will last a lifetime and redefine you with good health, anti-aging and personal bliss. A detailed medical history analysis, blood work and caloric evaluation lead to a personalized program that can include a fitness regimen, medicated mud baths enriched with seaweed and Thalasso therapy to invigorate and soothe. The cuisine in the program is delightfully Mediterranean: totally fresh and free from artificial substances.

The resort can be reached by plane or train from Milan, Rome and Florence with a short ferry ride to the island from Port of Naples, Italy.

The Mysteries of India

Set among the foothills in the shadow of the Hi- malayan Mountains is a stylish resort with a twist. Besides being treated with a host of thousand-year-old remedies to treat health problems, prevent disease and rebalance the body, you can trek into the Himalayas and perhaps find Shangri-La. If not, you are as close as you can get at Ananda.

Ananda is frequently included as “The Best Spa” or “World’s Number One” on awards and honors lists.

This novel wellness spa specializes in authentic Ayurveda therapy, an ancient and scientific Indian system based on holistic medicine. According to the philosophy of Ayurveda, fulfillment requires a delicate balance of the three doshas: vata, pitta and kapha— good health, serene spirits and preservation of life. As part of an extensive consultation, you will learn which of these elements needs attention in your life. Following the prescribed regime of dietary and lifestyle changes, nutrition, exercise, stress management, detoxification, deep relaxation and anti-aging will improve your total being, both inside and out. An aftercare program is developed solely for you designed to maintain the full benefits of the Ayurveda treatments.

Ananda is a 45-minute flight from New Delhi.

Exotic Thailand

Thailand´s diverse history and its vast abundance of natural resources have culminated in some of the oldest and most unique healing rituals in the world. Fully explore the healing cultures of Thailand in a breathtaking private, personal and peaceful location filled with herbs and flowers.

Some of the treatments you will experience at Six Senses Hideaway Hua Hin will change your outlook forever. Located in an isolated spot at Pranburi, Six Senses is dedicated to the nourishment of total tranquility, deriving its magic from the natural environment that surrounds it. The spa offers a wide array of special services, including massages, treatments, bath menus, seminars and physical and beauty treatments, but the real highlight is the Earth Spa.

The Earth Spa is a one-of-a-kind spa in Thailand constructed to have a minimal environmental impact. It received the 2008 Green Globe Bronze Award for using a mixture of clay, rice husks and straw, a technique that has been used in villages in Northern Thailand for thousands of years.

Six Senses Hideaway Hua Hin provides a uniquely secluded environment. Treatments incorporate the highest quality botanical extracts and essential oils, which are grown organically within the region.

Six Senses Hideaway Hua Hin can be reached within three hours by auto from Bangkok. A 45-minute shuttle flight from Bangkok International Airport can also take you there.

The Wonders of the East

Spa Village Pangkor Laut in Malaysia is located on a private island surrounded by warm azure waters. The natural beauty of the surrounding area only adds to the tranquility of the Pangkor Laut experience. Lush flora balances against the backdrop of white sand beaches, allowing you to experience the healing cultures and rituals known to this region.

Following a private conference to customize a program entirely for you, your treatment will consist of Malay, Chinese, Indian, Thai, Japanese and Balinese therapies.

Relaxation and anti-aging is taken seriously in the spa’s unique wellness and healing huts, an experience enhanced by the sound of the surf.

The traditional Chinese healing regime of Gu Fang Xun Shen is an extraordinary treatment involving ancient body smoking, using herbs to cleanse all negative energies from your body.

Practiced from generation to generation, Sesegar Bayu is a Malay body massage that reaches the deep inner nerve endings, promising well being and absolute progressive relaxation. You will fall into a dream-like state and be released from tension.

Many of these treatments are available exclusively at Pangkor Laut. Be prepared to dedicate many hours to benefit from all of them.

The resort can make arrangements by air or road via Kuala Lumpur or Suban to the nearest village, then ferry you to the private island.

Welcome Buenos Aires

Head to South America’s cosmopolitan city and discover a retreat among the bustling activity of Buenos Aires’s elegant boulevards, cobblestone streets, antique markets and museums. Argentina’s capital is known as one of the world’s great cultural playgrounds where you can experience the tango and one of the best spas in South America.

Be pampered with star-quality spa treatments at the celebrated Argentinean 2008 5-Diamond Hotel Faena + Universe La Prairie Spa. Built into El Porteño, an old grain silo, the once-dilapidated historic building now sits at the heart of a charming bohemian art district. It offers plenty to entice you in its opulent Philippe Starck-designed surroundings, and you will depart Buenos Aires with renewed vitality, improved elasticity and an overall sense of well being.

This spa is designed to promote vitality, relaxation, harmony and spiritual serenity. The spa is spacious and unusual in design, using the round shapes of the silos to great effect. There are Turkish-style baths and a special Incan-style stone sauna.

If you are looking for utopia within a large urban environment along with help to hold back the sands of time, world-renowned La Prairie products can help. La Prairie is known to deliver nutrients essential to managing the problems of stress that contemporary life can cause. The treatment will enhance the health, vitality, and overall appearance of your skin.

Premature aging can be fought with a premier Caviar Deluxe treatment. A four-hand massage will free you from the outside world and offer complete relaxation.

With its astonishing design and impeccable spa service, the Faena Hotel + Universe may be the best reason to visit Buenos Aires.

Faena Hotel + Universe is located approximately 15 miles from the Ezeiza International Airport in Buenos Aires.

Post from: LxMagazines.com

You’re stylish. You’re affluent. You’ve got a fabulous house, fashionable clothes, and lots of fun toys. Life is luxurious.

You’re in an enviable position. While many people struggle to make ends meet, you’ve succeeded in monetary terms. Sure, you still complain about the price of gas and the dismal stock market—who doesn’t? But in reality, your biggest financial challenges are how to grow, protect, and enjoy your assets. Enjoying your assets may seem like a simple task, but is your use of wealth accurately reflecting who you really are?

Over the years, I’ve had the privilege of work- ing with individuals who ranged from well off to high-net-worth to just plain old filthy rich. As much fun as money can be, it is a complex subject. For most people, somewhere along the way it makes sense to think about what all this money means.

What is your Wealth Style?

If you’re living a life of luxury, you’re at a point where you can begin to define your true Wealth Style. Your Wealth Style doesn’t neces- sarily reflect what you buy or wear; it describes what money really means to you and how you want to use it in order to best express yourself and your values to the world.

As in fashion, you may have one Wealth Style at one point in your life, but may reevaluate your relationship to money as your life and your inner financial voice evolves. Taking a look at your distinct Wealth Style can reveal if your use of money is consistent with the way you want the world to see you, your future security and even the philanthropic legacy you want to leave.

The Risk Taker

No holds barred! Is your Wealth Style over the top? Do you always have the latest fash- ions, the newest technology, and cutting edge brands? Are you willing to try anything to make a bold statement? If this describes you, you’re daring, edgy and original—living for the now! For you, money is a means to express your fearless personal style, but it is also a way to get attention.

What does it mean if you’re a wealth Risk Taker? As we say in the investment world, those who take big risks can make a killing— or they can get killed. Is your spending ap- propriate in terms of your income, or are you also pushing the envelope with your shopping sprees? You might want to examine whether you’re managing your money in a risk oriented way as well. Are you gambling with your future security in order to make a statement today? Ask yourself if you’re taking the steps you need to remain financially healthy for years to come. If you know deep down that you’re going a little too far, or feeling fatigued keeping up with the latest thing, you can always take it down a notch. Your style can still be chic and new while you take care of your financial present and future. Go buy the insurance you need and hire a great money manager if the mundane financial details bore you. If you want to do good in the world, you might choose to convey your dynamic spirit by championing innovative philanthropic causes.

The Traditionalist

Do you stick strictly with the classics in terms of clothes and home furnishings? Do you go back to the same tried-and-true vacation spots year after year, have one “signature” drink and love the established styles? Are you a Blue Chip stock, investment-grade bonds type of person? Most Traditionalists are understated, eschew risk, embrace old school brands, and are slightly embarrassed by drawing attention to themselves. If you identify with this Wealth Style, you probably give money to established national or international charities and avoid flashiness.

What does it say about you if you’re a Tradi- tionalist in your Wealth Style? While timeless can always be elegant, the risk you take is being left behind. Investors talk about the concept of “lost opportunity cost,” which means that excess conservativeness may actually cost you money. If you sock your cash under the mat- tress where it can’t earn interest, for example, you won’t beat the historical inflation rate. Ask yourself if you’re too focused on stability. While Traditionalist money habits are admirable, including sufficient insurance and a conser- vative investment strategy, I’ve seen wealthy individuals with this profile forget how much fun money can be. Sometimes you need to break out, take an example from the Risk Tak- ers, and try something new. Surprise everyone by taking an adventure vacation, buying some leopard print, and volunteering for a totally unpredictable charity that touches your heart.

The Gold Standard

Somewhere in between The Risk Taker and the Traditionalist is a nice blend that includes both moderation and boldness. The Gold Stan- dard doesn’t mean average or boring—it means being responsible and fun, each at the appro- priate time. If your Wealth Style is The Gold Standard, you have a clearly defined approach to fashion—you like certain classic designer— but are willing to break out with a crazy acces- sory or a statement piece from time to time. Your home is chic but comfortable, practical but cozy. You like quality, function and conven- tion, but you understand that a well-placed pink flamingo or outrageous picture frame can bring lightness and laughter in the midst of convention.

If your Wealth Style is The Gold Standard, you probably have a well-diversified long-term portfolio. You save regularly and have sufficient insurance. Philanthropy is an important and established part of your life, and you’ve focused your giving so that your dollars can really make a difference. You like order and discipline but you don’t cling too tightly to either.

Your Wealth, Your Style. Now that you have achieved affluence, take some time to think about what money means in your life. You have the opportunity to use your prosperity to express yourself and also to make a difference in the world. As you progress on your journey of material comfort and luxury, take time to consider whether you’re making the best of your good fortune.

Credits

by Suzanna de Baca

Post from: LxMagazines.com

“Darn this recession!” exclaimed my stepson Jacob, as he grudgingly returned a butter-soft grey leather jacket with white piping to its rack in a nearly empty boutique in Manhattan’s Union Square. We laughed, especially when I reminded him that even in boom times a luscious lambskin jacket was not in his college budget. ‘

Later that afternoon, I watched a fashionable woman hold up a chic jeweled necklace in a swanky New York 5th Avenue department store. She tried it on and fingered

it admiringly, sighing to her shopping companion, “I love it, but do I really need it?” Despite her designer handbag and other exclusive accoutrements, she handed the piece back to the woman behind the counter, saying, “It’s just a bit much for the times.”

It seems that everywhere one turns, even in affluent circles, budgets are the new black. Cheap is the rage. Understated is in style. Whether they can afford more or not, wealthy women and men are boasting about scoring bargains at 70 percent-off sales. I have even heard ultra high net worth individuals brag openly about frequenting stores in which they would not have been caught dead eighteen months ago. It seems that frugal can even be fun.

Splurging is Out; Responsibility is In

Individuals at all levels of wealth are rethinking their spending in today’s challenging economic environment. Some are changing their habits for budgetary reasons, and some are trying to maintain restraint for the sake of social propriety. It just does not look right to flaunt expensive purchases or rattle on about international luxury vacations when friends and acquaintances all around are enduring layoffs, facing decimated stock holdings, and confronting vanishing home equity. Even in swanky social circles, one does not know how the neighbors’ net worth has been impacted, and it seems uncouth to splurge at levels previously considered acceptable – at least not in public.

And, perhaps some Americans are reevaluating whether the ostentation that defined much of the last decade really bought them lasting happiness. A sense of responsibility seems to be in style these days.

Shying Away from Ostentation

While fake baubles, accessories with rococo touches, and gaudy buckles adorn much of this year’s clothing styles, many other consumer items are scaled back and more ecologically friendly. Many new cars are simpler and more fuel-efficient and across the country, fancy restaurant prix fixes have declined.

Even shopping bags are experiencing a makeover. Numerous news stories report that upscale designer establishments are ordering less flamboyant versions of their shopping bags so that wealthy consumers do not draw excessive attention to designer purchases. Subdued colors, smaller logos, and even brown paper bags are now de rigueur among posh boutiques nationwide.

Even on Valentine’s Day, purchases were down in 2009 among the affluent as compared to prior years. A February 2009 MSNBC.com article cited a National Retail Federation study which found that Valentine’s Day spending had dropped by 25% even among households with incomes over $150,000 a year. The same article quoted Jewelers of America president John Green, who stated that ultra wealthy buyers who routinely purchased pricey yellow diamonds in the past were now opting for less expensive and less showy white diamonds.

The National Retail Federation study provided anecdotal evidence that Americans with investment portfolios worth more than $10 million are shying away from pretentious purchases and presents. While flashy gifts have been status quo for most of the 2000s, they are now considered vulgar and out of tune with today’s economic climate by people at all income levels.

Americans are simply paring back across the board regardless of net worth. A February 2009 Philadelphia Magazine article asked citizens of that city how they were changing their habits. While former mayor John Street said, “I live a relatively spartan lifestyle already,” most of the other respondents said that they were cutting back on luxury purchases, taking less extravagant vacations, and adjusting appointments for spa or beauty services such as manicures and pedicures from weekly to monthly or eliminating them altogether.

Saving is Trendy

As far back as April of 2008, even before Wall Street melted down and we were officially in a recession, CBS Evening News anchor Katie Couric reported that it was becoming trendier to save than to spend. American’s newfound sense of pride in discount shopping and socking cash away in savings accounts has replaced record levels of excessive credit card debt and an apparent inability to stay within a budget.

In February 2009, The Commerce Department released the U.S. Personal Income and Outlays report for the prior December. According to the report, the personal savings rate in America hit 3.6% in December 2008, a seven-year high. In the 1970s and 1980s, the savings rate was in excess of 10 percent of disposable income, but personal savings has been steadily declining for the last thirty to forty years.

Even the 10 percent savings rate of the last century falls short of the number many financial advisors recommend to clients of all income and net worth levels. Numerous financial advisors suggest that saving a minimum of 10% of household income is necessary in order for individuals to maintain their lifestyle in retirement. While for the ultrawealthy, income in retirement may not be as pressing an issue, liquidity is. Many affluent Americans are reconsidering the amount of cash they need on hand for short-term needs. Few individuals foresaw the possibility of a stock market decline of the magnitude we have witnessed, and are now realizing that a larger allocation to cash or to investments that are more conservative is prudent. If budgeting is the new black, cash is also in fashion.

The “New Frugality”

While we are bombarded with media messages that spending is the only way to stimulate the economy, most Americans are showing restraint. In addition to taking a “wait and see” attitude about the economy in general, many individuals are rethinking the amount of savings they should maintain at all times. A healthy trend towards saving coupled with responsible consumption is a more realistic and sustainable track for economic health than we have been on.

In keeping with this new focus on responsibility and savings, the April 15, 2009 cover story of Time Magazine was entitled “The New Frugality.” In the article, author Nancy Gibbs asserts that the recession has changed much more than the way Americans spend – it has changed our values, or at least provoked us to reevaluate them.

“No one wishes for hardship,” writes Gibbs, adding, “But as we pick through the economic rubble, we may find that our riches have buried our treasures.”

Green Goes Hand in Hand with the New Mood

Not surprisingly, as Americans take a tough look what they need and want, a do-it-yourself frame of mind has crept back into our collective consciousness. Gibbs notes in the April Time article, “Common sense is back in style, meaning we’re less willing to buy what we can have for free.” She reports that during the first three months of 2009, “Sales of canning and freezing supplies rose 15%” and bottled water sales have dropped 10%” compared with the same period last year.

Americans – including our new president and his family – are planting gardens, visiting the library, and spending time cooking at home. This new back-to-basics mentality has motivated many to rethink their true goals and priorities.

So next time you’re eyeing that fabulous leather jacket or tempting trinket, you may find yourself taking a step back. Regardless of your ability to purchase that item, you may join many Americans in deciding to say no to spending and yes to saving and sustainability. While a life fueled by indulgence can be enjoyable and amusing, many are finding that living a life of responsibility and sustainability is equally, if not more fulfilling. Being in style has never been so rewarding.

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Through songs such as Don Henley’s “Boys of Summer” and movies like Thelma and Louise, American pop culture has steadily reinforced a modern mythology that ascribes a certain joie de vivre to the automobile body style called the convertible. The enduring appeal of the convertible is certainly one of emotional reaction more than sensible transportation; there is, after all, very little practicality inherent in the convertible. For a majority of climates, the soft tops are barely sufficient in protecting passengers from the elements, resulting in a (sometimes) uncomfortable ride: cold, if not wet. And the tops themselves, with the exception of the modern automatic retractable hardtop, can be notoriously difficult to operate, often requiring a routine of tugging, pulling, cajoling and even begging. But when summertime arrives, the rewards are more than worth the effort as convertible owners put the top down and experience the howl of the wind and the rush that accompanies speed. It is this same basic thrill that helped catapult the convertible to success over one hundred years ago.

If we peel away the pop culture appeal, though, what exactly is a convertible? Most people would answer that a convertible is any car with an open top that allows roofless motoring. While that is mostly true from a modern point of view, if we look back historically, it becomes apparent that there were a myriad of open top cars, only a fraction of which were classified as convertibles. The rarely considered reality of convertibles is that in the beginning they were not the exception, but rather, the rule. That is, at the dawn of the motorcar, most vehicles were open-air; convertibles did not evolve as a way to open cars up, but instead were a function of the act of putting roofs on cars that did not previously have them. Because of this, the term convertible did not even arise until some thirty years into the evolution of automobile mass production.

In 1976, Cadillac issued a press release claiming that its 1916 Type 53 five-passenger touring car was the world’s first convertible. With the recognition, however, many experts took issue with this retroactive assertion since the motorcar began in general as an open vehicle. Even as late as 1926, roughly 75% of American cars had closed bodies; the remaining 25% consisted of a variety of open top models, a few of which could technically be considered convertibles.

In 1927, the term convertible surfaced for the first time as a description of a car that had a retractable top and roll up windows. This was in contrast to several other open body styles of the 20s that either had a soft ragtop and no true windows (instead featuring detachable “skirts” that could be completely removed from the car), or no roof at all.

By 1928, the Society of Automotive Engineers had standardized the term convertible and five prominent manufacturers – Cadillac, Chrysler, Franklin, LaSalle and Packard – produced models carrying the classification.

Though today’s average motorist might fail to see the necessity of such a precise distinction, this definition contrasts similar pre-war designs such as:

Touring Cars and Phaetons

Large 4-door cars with retractable tops but no roll-up windows; window substitutes came in the form of skirts: flimsy, clear plastic flaps that could be inserted or completely detached.

Hardtops

Cars whose solid, un-foldable roofs could be completely lifted off and removed but not stored in the car itself; such cars usually featured roll-up windows.

Runabouts and Roadsters

Cars that were permanently open air, offering no roof or windows of any kind.

The 0032, designed and built by Chip Foose, is an all original tribute to the ‘32 Ford hot rod. It is a permanent part of the collection at the Petersen Automotive Museum, where it is affectionately known as the “Foose Deuce.” Image courtesy of the Petersen Automotive Museum.

As most of these designs have faded into history, with the exception perhaps of the roadster, the following survey will consider convertibles that represent what many consider to be the purest iteration of the style: small, two-seat open top sports cars. This concept particularly flourished in post-war convertibles, though it can be traced to a handful of pre-war models. Most pre-war convertibles, after all, are simply large open-air sedans; the cars offer anenjoyable ride but fall far short of the exhilarating experience provided by convertible sports cars.

This Deuce hot rod, known as the McGee/Scritchfield Roadster, exhibits many common modifications of '32 Fords, including the lowering of the body and the removal of the fenders and external door handles. Photo by Robert Genat, courtesy of the Ford Motor Company.

With the exception of racecars, most convertibles of the 1920s and 1930s were no smaller nor faster than their sedan relatives. In the 30s, however, the concept of big power in a little package began to surface and the open-top iterations of these cars really began to seal the identity of the convertible as a separate component of automotive lore.

This period photo of a 1932 Ford Deluxe Roadster conveys how mild-mannered an unmodified version of the new V8 car really was. Image courtesy of Ford Motor Company.

The Magnificent Eight: 1932 Ford

In 1932, the Ford Motor Company, having been displaced by Chevrolet as the nation’s leading car manufacturer, sought to create a new model that would return the company to its prior greatness while providing an inexpensive car for the cash-strapped consumers of the Depression era. Its new car was called the Model B, a progression of the Model A that had replaced the Model T four years earlier. The Model B’s new styling and attractive upright front grille provided good looks that quickly caught on with the public. The car’s underwhelming 4-cylinder engine, a holdover from prior models, did need to be addressed, however. Utilizing the Model B body, Ford created the Model 18, the 8 indicative of the new flathead V8 engine in the car. This engine, the first mass produced V8, would continue to capture the interest of speed demons for decades to come. Both the Model B and the Model 18 (today collectively referred to as the ’32 Fords or Deuces) were available in a variety of open top models, including roadsters, cabriolets and convertible sedans, yet the true evolution of the Deuces did not occur until the end of World War II. When America’s servicemen returned home, they largely found themselves with a chunk of change in theirpockets and bored with the slow pace of life. The excitement of manning a tank or piloting a fighter plane could hardly be replaced by driving most cars, but street racing did provide a hint of such excitement.

New American cars of the era were typically long, heavy, ungainly creatures, more suited for leisurely cruising than the high speed thrills that many ex-soldiers craved. Out of this combination of factors, hotrod culture was born when former G.I.s began to inexpensively acquire the still ubiquitous, but largely dilapidated 1932 Fords and modify them into cars worthy of a fighter pilot. By “chopping” the top off the car and creating ”channels” in the body so that it would ride lower on its frame, these men were able to significantly lower the visual profile of the ’32 Ford, creating a sleek, fast and mean looking car. Modification of the Deuces became such a pillar of hotrodding culture that modern designers, such as Boyd Coddington and Chip Foose, went on to enjoy incredible success in designing brand new one-off cars made to resemble the most fantastic of the modified ’32 Fords.

The Good German: 1936 - 40 BMW 328

Though English manufacturers like MG and Riley created some sporty 2-seater convertibles in the 1930s, their cars were not as significant as BMW’s 328. Unlike the company we know today, the BMW of the 1930s was a small project – built on aero engines and motorcycle manufacturing – that merely dabbled in automobile production. The 328 represented a quantum leap forward for the company as the car featured a sleek, curvy design and contained a powerful 2-liter, 6-cylinder engine.

This 1939 BMW 328 Roadster, displayed at the 2008 Pebble Beach Concours d'Elegance, is a stellar example of the ground-breaking sports car that took first, third, fifth and sixth place at the 1940 Mille Miglia road race.

Though the British roadsters of the era may have appeared first, BMW’s car refined their exterior look while including a far superior power plant. So superior, in fact, that English company Bristol appropriated and utilized the engine’s design during the late 40s and 50s under the auspices of war reparations. Though facing a diminished field of opponents due to the onslaught of World War II, the BMW 328 dominated the famed Mille Miglia (Thousand Mile) road races of the early 40s and proved that a superlative racecar could be engineered in an attractive little package. This concept significantly contrasted the presiding preference for behemoth single-seat Grand Prix cars that was espoused by rival manufacturers Daimler-Benz and the Auto Union (the forebear of today’s Audi).

The beltline of this 1955 Jaguar XK 140 Drophead Coupe (a British term for convertible) illustrates the company's penchant for classy design in a sporty package. This particular car features an uncommon engine component derived from Jaguar's C-Type racecar that won the Le Mans 24-hour endurance race in 1951. It sold for $82,500 at the Gooding & Company auction in Scottsdale, AZ last January. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

British Cats and Dogs

No country can be more closely identified with the immediate postwar open air motoring experience than Great Britain. Jaguar, Austin-Healy, MG and Triumph all produced beautiful two-seat cars that redefined the identity of the convertible. Jaguar’s XK series, which stretched from 1948 to 1961, transferred the elegance of the company’s saloon cars into a sporty convertible design. Considered by many enthusiasts to be the best of the series, the XK 140 improved on the mechanical deficiencies of its predecessor, the XK 120, while retaining the elegant and swoopy fender lines and the sparing, sporty cabin of its antecedent. By the time the XK 140 was succeeded by the XK 150 in 1957, a greater premium was placed on luxury, resulting in a more pedestrian and less dynamic car.

In 1952, British automotive kingpin Donald Healey planned to develop a less expensive alternative to Jaguar’s XK. With a design created by Healey’s eponymous company in conjunction with the manufacturing care of a lastminute deal with Austin, the cherished Austin-Healey convertibles from 1953 to 1968 featured definitive bulldog snouts. The cars’ strong engines (most notably the V6s of the “Big Healeys” that started to appear in 1959) and spry handling deservedly earned the Austin-Healey reputation as Britain’s most esteemed postwar convertible.

This 1960 Austin-Healey 3000 MK I BN7 is a roadster variant that came with a removable soft top. It sold for $99,000 at the Gooding & Company auction in Scottsdale, AZ last January. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

European Style Meets American Muscle: The Corvette

American convertibles produced during the late 40s and 50s were almost uniformly open top touring cars: long, luxurious vehicles with gaudy tailfins and poor handling. This changed in 1954 when Chevrolet, lifting a page from contemporaneous European design, created the Corvette. Like its faux French name, the Corvette exhibited European sensibilities: a two seat, small-bodied car that was heavy on curves and artistic scallops. From a visual design standpoint, the Corvette had far more in common with an Austin-Healey or even a Ferrari than with a Chevy Bel Air. The Corvette would go on to hold tenure as America’s longest running production sports car with a continuous evolution that has spanned more than fifty years.

Featuring a power top, this Chevrolet Corvette Convertible was produced in 1961, one of the last years of the now-classic first generation body style. It sold for $57,200 at the Gooding & Company auction in Scottsdale, AZ last January. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

To this day, the Corvette and its faithful occupy a unique position in automotive culture, straddling a gap between European sports cars and American muscle cars, but truly belonging to neither niche.

California Dreamin’ in Maranello

This short wheelbase 1961 Ferrari 250 GT California Spyder was once owned by actor James Coburn. Its sale in May 2008 at the Ferrari Leggenda e Passione event in Maranello, Italy held by RM Auctions set a record price for a collector car: $10,894,400. Photo used courtesy of RM Auctions.

In 1957, West Coast Ferrari importer John von Neumann recognized an unrealized gap in the marketplace for a sporty open-top Ferrari. After communicating this potential windfall to Enzo Ferrari, the surly maestro commiserated with design partner Pininfarina and coachbuilder Scaglietti to produce a convertible companion to the race-ready 250 GT Tour de France. The resulting 250 GT Spyder California has gone on to become one of the most esteemed sports cars of all time. A model once owned by actor James Coburn sold in May 2008 for a then collector car record $10,894,900. In the latest bid of automotive retro-futurism, Ferrari has revived the California moniker for its hotly anticipated Ferrari California, which should be hitting showrooms this summer. With a wait list a mile long, the new California is the first Ferrari to ever feature an automatic retractable hardtop, giving it a luxurious character which is more common for a Mercedes-Benz.

One of the most esteemed Ferraris ever, this long wheelbase 1959 Ferrari 250 GT California Spyder boasts the added provenance of originally being owned by Prince Vittorio Emanuele de Savoie, son of the last Italian king, Umberto II. It sold for $3.63 million at the Gooding & Company auction at Pebble Beach in August 2008. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

The highly anticipated Ferrari California is the first offering from the Prancing Horse to feature an automatic retractable hardtop. It is also the first Ferrari to contain a frontally located V-8 engine. Photo courtesy of Ferrari, S.p.A.

Mean vs. Green

2009 Lucra Cars LC470

The LC470 is the first model built by Oceanside, CA-based Lucra Cars. A true roadster, the car offers brutally fast acceleration and classic British-style good looks. Photo by Danielle Berden.

One of several independent companies vying for a slice of the supercar market, California-based Lucra Cars sought to take classic design cues into the future with a competition-worthy car that could perform equally well on straightaways and corners. With an exterior that is loosely based on a little known Jaguar-powered racecar from the 50s called the Lister Knobbly, the LC470 offers a variety of Chevy V8 engines under the hood. The relatively cheap ($85,000), hand-assembled car features custom fitted seats, pedals and paint jobs, and a spartan build philosophy, resulting in a lightweight, no frills car that delivers a stiff but extremely fast ride (3.4 seconds 0 – 60 mph), and a crowd of turning heads.

2009 Tesla Roadster

2009 Tesla Roadster

On the other end of the environmental spectrum lies the Tesla Roadster. California-based Tesla Motors’ effort to be the first modern company to successfully mass-produce an electric car has received significant media coverage. Three years into the journey, though, it appears that there may be more to the company than just hype. The attractive Roadster (which actually features a removable soft top) wears a unique French-built carbon fiber body on top of its Lotus Elise–based frame. The real magic happens in San Carlos, California, though, when Tesla installs their electric powerplant into the snappy Roadster. Though only a small percentage of orders have been delivered, reviews are nearly unanimous that this is an incredibly unique and promising car. Featuring all of the visceral joy of high horsepower, open-top motoring, but none of the environmental negatives (obnoxiously loud engine and large amounts of exhaust fumes), the Roadster can be recharged in one’s own home for about $4, and it goes from 0 – 60 mph in 3.9 seconds to boot.

Despite already delivering over 400 of its Roadsters, Tesla still faces a backlogged waiting list. The attractive one-gear, Lotus Elise-based electric car can travel 240 miles per charge and offers thrilling speed with no noise or exhaust. 2009 Tesla Roadster. Photos courtesy of Tesla Motors.

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Golf is not a game that is usually associated with high adventure—it is supposed to be a sedate and relaxing pastime. Things are changing in the world of golf, however, and there is an incredible quest out there for anyone prepared to take it on. It is a journey that takes the intrepid golfer to eight of the most extreme golf courses in the world: the highest, the lowest, the hottest, the coldest, the most southerly, the most northerly, the hardest and the greatest.

This crazy task is the brainchild of two golf-obsessed British friends, Robin Sieger and Neil Laughton, who decided over seven years ago that it was time to make their golf a bit more exciting. They hit upon the idea of a competition that involved completing eight of the most diverse and extreme golf courses in the world within a year. All of the courses were recognized golf clubs with an established membership list, and with sponsorship from Callaway, Robin and Neil set out to play all eight of them within 12 months. They started in January 2001 and had completed the challenge by Christmas of that year. The Awesome 8 Golf Challenge was born.

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Post from: LxMagazines.com

When critics speak about Pedro Almodóvar’s latest film, Broken Embraces (Los Abrazos Rotos), set for US release in November, they focus on the departure the Spanish writer/director takes from his previous works as the amour fou (passionate love) ventures into ‘50s style American film noir. The film, born from an original script and the fourth collaboration between Almodóvar and actress Penelope Cruz, involves four characters (Cruz, Blanca Portillo, Lluis Homar and José Luis Gómez) who are in one way or another involved in an ill-fated love triangle. According to Almodóvar, his arrival at this style has been part of a slow progression:

“Throughout my career I’ve moved naturally from the screwball-pop-comedy-with-feelings through melodrama and drama to finally land in ‘noir.’”

As one considers the scope of Almodóvar’s seventeen films, an oeuvre spanning over a quarter-century, the divide of this three-part progression is clear. The early work, rebelliously campy and dayglo decked, brims with neurotic trangressive types (Women on the Verge of a Nervous Breakdown, Tie Me Up! Tie Me Down!, High Heels), then the so-called ‘mature’ phase comprised of dark and brooding psychological drama (The Flower of My Secret, All About My Mother, Talk to Her, Bad Education, Volver), and finally the stylish sophistication of mid twentieth-century noir as presented in Broken Embraces. Despite the diversity of range, many thematic elements reemerge, such as the examination of Spanish heritage and identity, the relationship between reality and art, and the deconstruction of sexual identity. Almodóvar’s more recent works blend nicely the traditional with the transgressive.

Almodóvar, born in 1951 to a poor family in the municipality of Calzada de Calatrava, in La Mancha (interestingly, Don Quixote’s homeland), before moving to Madrid at the age of sixteen, often depicts urban dwellers who at transitional points in their lives return to their roots—humble villages, or the ruins of such, or childhood haunts—while seeking resolution. Tie Me Up! Tie Me Down! (1990), The Flower of My Secret (1995), Talk to Her (2002), and Bad Education (2004) are some of Almodóvar’s films that feature major characters returning to their native villages.

The most obvious example is Volver (2006), as the title of the film is a Spanish word literally meaning ‘to return.’ In Volver, Raimunda (Cruz) goes to her home village of Alcanfor de las Infantas to wash the tombstones of her deceased parents who died four years earlier in a fire. Her Aunt, Tía Paula (Chus Lampreave), who suffers from dementia and, as a result, is mentally situated in the past, tells Raimunda, “The important thing is that you come back.” This statement not only refers to Tía Paula’s niece’s return, but also forecasts the resurrection of Raimunda’s mother, whose spectral presence cooks and cleans for Tía Paula when no one else is around. Within the thresholds of childhood spaces, the task presented to Almodóvar’s characters is not merely one of return but also of revolution. Unless they confront their past they are destined to repeat the same mistakes, as well as inherit the mistakes made by those who came before them. While his films are mainly noted for their critique of contemporary Spanish ideology and culture as a whole, they undeniably contain elements of hope and redemption within the individual lives of his characters.

An international audience perceives Almodóvar as quintessentially Spanish in taste and sensibility—emerging in the mid ‘70s from 40 years of repressive Francisco Franco style dictatorship, diving into the cultural movido of newly radicalized Spain only to become a symbol of liberated creative expression—though others from his homeland have accused the filmmaker of succumbing to the influences of Hollywood cinema. It is no secret that the director has been the target of certain Spanish critics who claim Almodóvar has at times lost his sense of direction. The reality may be that he has been influenced by such sources; however, he is not inspired by so called “dominant” productions, but eccentric film such as those by John Waters and Andy Warhol, as well as Hollywood Golden Age productions. Although Almodóvar claims he does not pay homage (He once said, “All of the influences on me and all of the film references in my films are very spontaneous and visual. I don’t make any tributes. I’m a very naïve spectator.”), his transnational eclecticism is clear, for many of his works contain allusions to American film. High Heels (1991), for instance, directly references the 1945 melodrama Mildred Pierce, and another film, All About My Mother (1999), refers to Tennessee William’s Streetcar Named Desire. Although Almodóvar has used elements of this film noir before, in particular borrowing from Double Indemnity while filming Bad Education, Broken Embraces is his first all-out noir endeavor.

Broken Embraces incorporates the defining narrational elements of noir, such as betrayal, jealousy, adulterous affairs, revenge, and fatality. Having already experimented with the darker side of drama in Live Flesh (1997) and Bad Education, Almodóvar alludes to two works in particular that exemplify how drama and the thriller are twin genres. His latest work, he explains, has been influenced by John M. Stahl’s Leave Her to Heaven, with Gene Tierney, and Fritz Lang’s Clash by Night, starring Barbara Stanwyck as an anti-heroine. The central conflict in Broken Embraces surrounds the film director, Mateo Blanco (played by Homar), who after a fatal accident has lost his sight as well as the love of his life. The mysterious tragedy has led the protagonist to change his life, but the narrative flashes back to the time of his affair with actress Lena Rivero (Cruz). Lena is married to the tycoon Ernesto Martel (Gómez) who, in order to keep his wife, agrees to produce Mateo’s film in which the actress stars. At this time, very little of the film’s storyline has been released, but Almodóvar has emphasized the importance of a staircase scene in Broken Embraces. The staircase, according to Almodóvar, has always been an architectural structure indicative of power: “Murderous jealousy and staircases have featured in golden moments ever since cinema was invented.” A particular staircase scene resonates in his mind—Stahl’s Leave Her to Heaven in which Ellen Berent Harland, played by Tierney, throws herself down the staircase in order to kill the child she was carrying “for the simple reason that her husband adored it before it was even born. And the sole idea of competing with that baby drove her crazy.”

The trope of blind director that Almodóvar uses is reminiscent of Woody Allen’s Hollywood Ending from 2002, which features a filmmaker who develops a case of psychosomatic blindness when asked to direct a film in which his ex-wife stars. The similarities stop there as the films are of different genres—one a romantic comedy and the other a tragedy—but other commonalities between the directors exist. Both Allen and Almodóvar have used the same actors; in Allen’s Vicky Christina Barcelona, Javier Bardem, who stars in Live Flesh, plays a lead role, as does Penelope Cruz who, in addition to staring in Broken Embraces, was also in Live Flesh, Volver, and All About My Mother. Though a New Yorker through and through (every bit as much as Almodóvar is a Spaniard through and through), the most recent of Allen’s expatriate films is exclusively filmed in Barcelona. There is also evidence that Almodóvar may feel Allen is encroaching upon his territory. Although he has not viewed Allen’s film, he has seen photos of Cruz in the title of Vicky Christina Barcelona “with her hair dishevelled (sic) as in Volver.” He states:

“I’ve got no right to stick my nose into other people’s business, but someone should tell my adored Woody Allen that the title of his ‘Spanish’ film doesn’t mean anything in Spanish. In my humble opinion, it isn’t a good or bad title, it’s a non-title.”

In addition to the examination of Spanish heritage and identity in Almodóvar’s works is the investigation of the relationship between reality and art. According to the director, “Cinema has become my life. I don’t mean a parallel world, I mean life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.” This investigation presents itself in the professions of his characters, many of whom are directors, writers, actors, publishers, and producers; these occupations draw attention to the artifice of the film in which they are cast. Additionally, the characters are often depicted as spectators of various dramas—plays, dances, television, film, bullfights, and concerts. Indeed reality and fiction operate in Almodóvar movies much in the way Oscar Wilde argued, which is that life imitates art. However, Almodóvar takes this notion further, for his works do not only explore how life imitates art, or even how art imitates life, but some bizarre amalgamation of life imitating art while imitating art that’s imitating art.

The Flower of My Secret exemplifies this intermingling of art and reality. It casts Marisa Paredes as Leocadia Macias, an author of serial romance novels who strays from the publishing contract stipulating all of her works have happy endings. Despite the contract, her new novel portrays a mother whose teenage daughter has killed her own father after he has attempted to rape her. In the novel, the mother stuffs the body of her dead husband in the cold storage of her neighbor’s restaurant in order to protect her daughter. When called to explain the new direction her work of fiction takes, Leocadia states simply, “Reality is like that.” Eleven years later we see the narrative of the fictional novel manifest in Volver. Like Leocadias fictional heroine before her, Raimunda also disposes of the dead body of her husband in the freezer of the neighbor’s restaurant after her 14 year old daughter stabbed him as he tried to rape her. Through the intertextuality of these plot lines, Almodóvar renders the sensation of twin mirrors being held between reality and fiction in order to produce an infinity of duplicates.

Pedro Almodovar and Penelope Cruz at the European Film Awards. Photo courtesy of WG Foto/PR Photos.

There are several other instances of metafilm present in Almodóvar’s work. In Broken Embraces there is a film within a film—Girls and Suitcases is shot within. In All About My Mother, one of the opening scenes shows Manuela (Cecilia Roth), now a transplant coordinator but once an actress, performing in a video promoting organ transplants. In the film, actors playing grieving relatives are asked to donate the organs of their loved ones to recipients in need; later, Manuela herself is asked to donate her own son’s heart for real. Tie Me Up! Tie Me Down! is a case of a porn within a porn (metaporn if you will); the movie portrays a director watching an old video of an ex-adult film star turned B-movie actress, Marina (Victoria Abril), masturbate while she watches pornography on her own television. Though critics do not place Tie Me Up! Tie Me Down! on the list of Almodóvar’s finest works, it is worth viewing if only to see this scene. Never before has there been a more brilliant subversion of the male gaze as the director, Máximo Espejo (Francisco Rabal), cannot see Marina’s body in the adult film in which she acts, despite her various movements and contortions as she touches herself, because the television on which she is watching another porn obscures his view.

In many ways Pedro Almodóvar’s movies document the evolution of sexuality in Spain, especially the expression of feminized desire in a post-Franco society. However, in a country where same-sex marriage is now legal, the filmmaker tends to stay out of the political spotlight when it comes to statements about sexuality, much to the consternation of certain advocacy groups. His films do, despite this abstention, deliberately cast the categorization of gender identity as artificial and arbitrary. His characters, who play gays, lesbians, drag queens, transsexuals, and transvestites, blur the boundaries of what it means to be male or female. In these films sex, gender, and sexuality are fluid concepts.

The 1987 film, The Law of Desire, casts Bibí Andersen, a well-known transsexual in Spain, as Tina, the lesbian mother of a child who is ‘adopted’ by a transsexual played by Carmen Maura. Almodóvar says when talking about Bibí’s character: “The only truth in Tina is artifice. Artifice, not deceit… Artifice is her only truth, and if the individual is not insane, she knows she’s artificial and enjoys the imitation of what is essential to a woman, the most intimate part of being female.” There are other examples of transsexual performances that reinforce Almodóvar’s point regarding the imitation of gender. In High Heels a drag queen performs imitations of Becky, a famous singer whose daughter he wants to seduce. Antonia San Juan, in All About My Mother, plays the transsexual character of Agrado who delivers a monologue concerning the surgical alterations she has undergone that “make her who she really is.” Agrado says “it costs a lot to be authentic, ma’am. And one can’t be stingy with these things… because you are more authentic the more you resemble what you’ve dreamed of being.” Though a real transsexual playing 

Jose Luis Gomez, Blanca Protillo, Pedro Almodovar, Penelope Cruz, Lluis Homar and Tamar Novas at the Madrid premiere of "Los Abrazos Rotos." Photos courtesy of Solarpix/PR Photos.

a post-operative transsexual appears in Bad Education, the focus of the movie is on Ángel (Gael García Bernal), a heterosexual whose ambitions lead him to have sex with his gay director in order to play the part of a transsexual.

All of these performances indicate that gender, unlike sex, is performative in nature and socially constructed through sustained corporeal signs, such as speech, dress, body language, and other fabricated means. Moreover, gender identity no longer hinges on one’s biologically determined sex as operative procedures allow people to reconstruct their bodies. The inclusion of transgender or transsexual characters in Almodóvar’s films underscores the director’s cognizance that perception is reality; whether we are male or female, we play roles in our own lives. As spectators of his work, through irony and self-reflection, we—much like his characters—come to find the perception of others is central to the ever evolving process of defining who we are.

“Movies changed my life,” Almodóvar said. “Why wouldn’t they have a similar impact on others?”

Pedro Almodovar won an Academy Award in 2002 for the movie Talk to Her, and throughout his career has won over 85 international awards and received 50 other nominations, no doubt making him one of the premier directors on the planet.

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CREDITS

photographed by BRUNO GAGET
styled by BEAGY ZIELINSKI
fashion editor SONJA
makeup SONJA
hair ANDREAS SCHOENAGEL Bigoudi
models ELENA MC2 KIMBER Elite NY
all makeup products by MAC COSMETICS
manicurist MYRDITH LEON MCCORMACK

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CREDITS

photographed by BERRY BEHRENDT
beauty editor SONJA
makeup SONJA
hair ANDREAS SCHOENAGEL Bigoudi
model ELENA EGOROVA Muse NYC
all makeup products by MAC COSMETICS

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Post from: LxMagazines.com

Architectural history is full of colorful characters. Spend a day touring historical sites in Chicago and you’ll find yourself reading about the influences of Burnham and Root. Spend an afternoon viewing monuments in Rome and you will hear how Michelangelo and Bernini shaped the city. Walk the streets of Barcelona for five minutes and you’ll find yourself inundated with the influences of Antoni Gaudí.

Few architects have achieved the international status of Antoni Gaudí. He produced some of the most unique and controversial buildings in the Art Nouveau movement. A genius before his time, Gaudí’s work was often the target of ridicule by even the progressive artists of his era. His flamboyant designs drew praise and his deep religious conservatism created rifts between him and his critics. Reviled by some but respected by all, he was an architect, artist, catholic, patriot, and ecologist all rolled into one.

Antoni Gaudí’s birth on June 25, 1852, carried tragic undertones that would permeate his life. Born a weak baby, Gaudí fought lung infections and eventually developed rheumatoid arthritis, a condition that would dramatically influence his designs later in life. Stricken with painful arthritis, Gaudí would often have to miss school. Unable to partake in many of the activities enjoyed by young boys, Gaudí spent much of his time observing nature. He became transfixed with the forms that nature created, the ways in which animals moved, and how the sun reflected off of the local stones. Gaudí was once quoted as saying “Those who look for the laws of nature as a support for their new works collaborate with the Creator.” Gaudí would call upon these early observations throughout his career.

Gaudí was also exposed to the principles of creating three-dimensional forms at an early age. Descended from a long line for copper smiths, he would spend hours watching his father work and rework copper to create beautiful vessels. This had a profound impact on Gaudí’s design process. Due to his arthritis, Gaudí spent immense amounts of time exploring his designs through three-dimensional models rather than through two-dimensional drawings. In his biography, titled Gaudí, Gijs Van Hensbergen stated that a deeply religious Gaudí marveled, “The intelligence of man can only function on one plane, that is in two dimensions … but the intelligence of angels is in three dimensions; they can work directly with space.”

La Sagrada Familia in Barcelona, Spain.

Details on exterior of La Sagrada Familia in Barcelona, Spain.

With a strong religious background, an understanding of spatial composition, and panache for creating organic forms, Gaudí broke onto the architectural scene in 1884 when he was named the official architect of the Sagrada Família Cathedral (he had unofficially taken the position and started work a year before in 1883).

Though he had completed a number of projects since he passed his qualifying exam, it wasn’t until he took over the work on the Sagrada Família that Gaudí was considered one of Barcelona’s top architects. Initially designed in a conventional Neo-Gothic style by Francesc de Paula Villar I Lozano, construction of the crypt was under way when a rift formed between Villar and the Junta temple, causing Villar to resign from the project. Antoni Gaudí, only 31 years old, was selected to take over the immense project. Initially, Gaudí continued with Villar’s original design. He lamented the orientation of the cathedral, but with the construction of the crypt at an advanced stage, he was unable to change it. However, in March of 1884, Gaudí won arbitration and was allowed to redesign the rest of the cathedral. In place of the Neo-Classical design, Gaudí called for an organic cathedral of grand scale with three facades. Gaudí decorated the facades with sculptures and stained glass depicting select stories from the bible that symbolized the foundation of the church. The east facade - the direction that the sun rises - was adorned with scenes of Jesus’ birth. The west facade - the side on which the sun sets - had scenes depicting the passion, death, and resurrection of Jesus Christ. The main sea-facing facade was to be decorated with scenes of humans partaking in the fruits of salvation.

“The intelligence of man can only function on one plane, that is in two dimensions … but the intelligence of angels is in three dimensions; they can work directly with space.” -Antoni Gaudí

The design and construction of Sagrada Família proved to be a task that would continue throughout his life. Funding for the cathedral was limited to private donations and Gaudí’s dedication to accurately recreating nature didn’t help matters. Gaudí once wrote, “It is a mad man to try to represent a fictional object.” Determined to produce an exact replica of nature in his facade, Gaudí went to great lengths to find the perfect models for his creations.

Ceiling inside La Sagrada Familia.

Locals who bore a resemblance to biblical characters became immortalized in the facade. A goat herder was used to create Pontius Pilate, a six-toed bar patron became Goliath, and a sculptor became Simon; it was not uncommon for an animal to be chloroformed, greased, and cast in plaster. Gaudí gathered skeletons from the local hospital, observed autopsies, and cast many still born babies to be used as the hundreds of children slaughtered by Herod. Throughout the construction, Gaudí’s studio amassed an extensive collection of models and sketches. Unfortunately little of this remains today as the Sagrada Família was burned and Gaudí’s grave desecrated by a mob in 1936.

While working on Sagrada Família, Gaudí was commissioned by Eusebi Güell to design a residence indicative of his social status. The Palau Güell - Gaudí’s first building to be built in the heart of Barcelona - drew immediate praise and was championed throughout Europe as one of the foremost examples of the Canal Renaxian movement. The building was connected to another adjacent property of the Güells by a courtyard.

It was not uncommon for an animal to be chloroformed, greased, and cast in plaster. Gaudí gathered skeletons from the local hospital, observed autopsies, and cast many still born babies to be used as the hundreds of children slaughtered by Herod.

The street facade features two massive parabolic arches splitting the facade in half with gigantic gates of woven iron. Between the arches a two-meter tall iron sculpture of an eagle taking flight from a Catalan shield celebrates the residents’ Catalonian heritage. The interior of the building is intricately detailed and well insulated from the sounds of the exterior. A large parabolic dome sits atop the atrium and creates a constant starry sky effect through the use of sunlight and well-positioned lamps. The rooftop features 20 of Gaudí’s iconic sculptural chimneys to ventilate the eight-story building.

Set in an exceedingly poor area of the city, Palau Güell was built using Gaudí’s trademark labor-intensive methods made possible by an unlimited budget; critics thought the construction of such an opulent building in a poverty stricken area to be offensive. The criticism was amplified when the Güells only occupied their expensive palace for a short time because Eusebi’s wife and mother of 10 felt that it was too big. Though controversial, Palau Güell proved to be one of the most important commissions of Gaudí’s career as it began a long working relationship with Eusebi Güell that would afford Gaudí the creative 

Herod's Slaughter of the Innocents on the exterior of La Sagrada Familia.

freedom and financial security that few architects enjoy. Throughout his career, Gaudí would collaborate with Güell on numerous projects that would help shape the city.

Gaudí’s signature chimneys atop Casa Milá.

With a polarizing personality and progressive work, Gaudí was a lightening rod for criticism. In addition to the Sagrada Família and Palau Güell many of his projects, such as the Casa Batlló and the Casa Milà, were completed with outlandish budgets. Gaudí was also growing more and more outspoken in his support for the Catholic Church. In 1894, Gaudí began a rigorous Lenten fast that put his health at such serious risk that it was detailed in the daily newspaper. He was prone to explosive rants criticizing people’s lack of devotion and support of the church. This proved an unpopular stance at a time when many of the local citizens were struggling to get by and drew the ire of many of his peers. Pablo Picasso was an outspoken critic, as was George Orwell, who once called the Sagrada Família “one of the most hideous buildings in the world.” A 1950s critic reportedly said that Gaudí’s facades were “tortures of the imagination, fetuses in stone, bulbous obscenities.” It’s hard to imagine how his designs must have appeared in his era. Even today it is easy to be overwhelmed by the intense detail in his work.

In 1900, Eusebi Güell returned from visiting English garden cities. Excited at the prospect of creating one of his own, he commissioned Gaudí to design a prototype garden city for the Catalan bourgeoisie. Set on a parched hill on the outskirts of the city, Gaudí intended for the urban development to be a lavish marriage of architecture and nature. Park Güell was to be surrounded by a wall with access tightly controlled by only a few gates. He segmented the land into 60 triangular lots of which only one third of each could be developed; future structures were to adhere to a strict set of regulations to ensure continuity throughout the development, and the remainder of the land would be dedicated to a large park equipped with public amenities such as a church, a square for athletic competitions and performances, and a market.

Taking cues from nature, Gaudí kept much of the natural landscape and designed a series of twisting roads made of local rock to follow the natural contours of the land. One of the most famous features of the park is a sea serpent-shaped bench that runs along the perimeter of the main terrace. The ergonomic shape of 

Serpentine bench in Park Güell in Barcelona, Spain.

the bench was created from the form of a nude woman sitting in clay, proving that once again Gaudí was ahead of his time.

However, Park Güell was an abject failure as only two of the parcels of land were sold - one to Gaudí himself and the other to a lawyer and his family. It wasn’t until 1923 when it was donated to the city of Barcelona and made into a public park that it reached its full potential. Today Park Güell is one of the most celebrated parks in the world: it was declared a United Nations Educational, Scientific and Cultural Organization world heritage site and is visited by thousands of people every year. Small shops and vendors sell mosaic lizards like the one found at the park’s entrance all over the city. Like Sagrada Família, it has become an international symbol of Barcelona.

By 1918, Eusebi Güell had passed away and Gaudí had abandoned all other projects to focus exclusively on the Sagrada Família. Outliving many of his friends and family, Gaudí became increasingly withdrawn from the public and concentrated on his daily routine of praying and working on the Cathedral. He eventually moved to a studio in the shadow of the cathedral for the last 6 months of his life. On June 7, 1926, an unkempt Antoni Guadí was struck and fatally injured by a tram. Having let his appearance slip immensely in the previous months, he was mistaken for a vagrant and denied transport to a hospital by four taxis that feared he wouldn’t be able to pay his fare. After finally arriving at the dispensary, Gaudí was to be sent to the Hospital Clinico for treatment. However, the ambulance drivers were near the end of their shift so they dropped him off at the Hospital de Santa Cruz instead. Still unrecognized, Gaudí was placed in a room with numerous other male patients. Their mistake wasn’t discovered until the next morning when he was found in grave condition. When his friends arranged to have him moved to a nice hospital, Gaudí objected and replied, “I belong here among the poor.” He died three days after being hit by the tram and was buried at the site of the unfinished Sagrada Família.

Exiting the world as tumultuously as he entered it, Gaudí left behind an impressive body of work that would influence the world for years to come. Not only has he influenced designers such as Le Corbusier, Santiago Calatrava and Salvador Dali, his work became the voice of a city.

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CREDITS

photographed by BERRY BEHRENDT
styled by RODNEY HALL
fashion editor SONJA
makeup SONJA
hair MARCO TESTA Ba-reps.com
stylist RODNEY HALL Artist by Next NY
models MICK Wilhelmina NY RENNI Wilhelmina NY TONI Q NY ALEXEY Q NY
all makeup products by MAC COSMETICS 
digital assistant EDVINA PESTOVIC 
assistants CHRISTOPHER MOREL and MARCUS MAMOSER 

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CREDITS

photographed by GREGORY KRAMER
styled by TIMOTHY REUKAUF
makeup RENEE GARNES
hair TOMMY RUSCICA 
model TYLER RIGGS

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Through songs such as Don Henley’s “Boys of Summer” and movies like Thelma and Louise, American pop culture has steadily reinforced a modern mythology that ascribes a certain joie de vivre to the automobile body style called the convertible. The enduring appeal of the convertible is certainly one of emotional reaction more than sensible transportation; there is, after all, very little practicality inherent in the convertible. For a majority of climates, the soft tops are barely sufficient in protecting passengers from the elements, resulting in a (sometimes) uncomfortable ride: cold, if not wet. And the tops themselves, with the exception of the modern automatic retractable hardtop, can be notoriously difficult to operate, often requiring a routine of tugging, pulling, cajoling and even begging. But when summertime arrives, the rewards are more than worth the effort as convertible owners put the top down and experience the howl of the wind and the rush that accompanies speed. It is this same basic thrill that helped catapult the convertible to success over one hundred years ago.

If we peel away the pop culture appeal, though, what exactly is a convertible? Most people would answer that a convertible is any car with an open top that allows roofless motoring. While that is mostly true from a modern point of view, if we look back historically, it becomes apparent that there were a myriad of open top cars, only a fraction of which were classified as convertibles. The rarely considered reality of convertibles is that in the beginning they were not the exception, but rather, the rule. That is, at the dawn of the motorcar, most vehicles were open-air; convertibles did not evolve as a way to open cars up, but instead were a function of the act of putting roofs on cars that did not previously have them. Because of this, the term convertible did not even arise until some thirty years into the evolution of automobile mass production.

In 1976, Cadillac issued a press release claiming that its 1916 Type 53 five-passenger touring car was the world’s first convertible. With the recognition, however, many experts took issue with this retroactive assertion since the motorcar began in general as an open vehicle. Even as late as 1926, roughly 75% of American cars had closed bodies; the remaining 25% consisted of a variety of open top models, a few of which could technically be considered convertibles.

In 1927, the term convertible surfaced for the first time as a description of a car that had a retractable top and roll up windows. This was in contrast to several other open body styles of the 20s that either had a soft ragtop and no true windows (instead featuring detachable “skirts” that could be completely removed from the car), or no roof at all.

By 1928, the Society of Automotive Engineers had standardized the term convertible and five prominent manufacturers – Cadillac, Chrysler, Franklin, LaSalle and Packard – produced models carrying the classification.

Though today’s average motorist might fail to see the necessity of such a precise distinction, this definition contrasts similar pre-war designs such as:

Touring Cars and Phaetons

Large 4-door cars with retractable tops but no roll-up windows; window substitutes came in the form of skirts: flimsy, clear plastic flaps that could be inserted or completely detached.

Hardtops

Cars whose solid, un-foldable roofs could be completely lifted off and removed but not stored in the car itself; such cars usually featured roll-up windows.

Runabouts and Roadsters

Cars that were permanently open air, offering no roof or windows of any kind.

The 0032, designed and built by Chip Foose, is an all original tribute to the ‘32 Ford hot rod. It is a permanent part of the collection at the Petersen Automotive Museum, where it is affectionately known as the “Foose Deuce.” Image courtesy of the Petersen Automotive Museum.

As most of these designs have faded into history, with the exception perhaps of the roadster, the following survey will consider convertibles that represent what many consider to be the purest iteration of the style: small, two-seat open top sports cars. This concept particularly flourished in post-war convertibles, though it can be traced to a handful of pre-war models. Most pre-war convertibles, after all, are simply large open-air sedans; the cars offer anenjoyable ride but fall far short of the exhilarating experience provided by convertible sports cars.

This Deuce hot rod, known as the McGee/Scritchfield Roadster, exhibits many common modifications of '32 Fords, including the lowering of the body and the removal of the fenders and external door handles. Photo by Robert Genat, courtesy of the Ford Motor Company.

With the exception of racecars, most convertibles of the 1920s and 1930s were no smaller nor faster than their sedan relatives. In the 30s, however, the concept of big power in a little package began to surface and the open-top iterations of these cars really began to seal the identity of the convertible as a separate component of automotive lore.

This period photo of a 1932 Ford Deluxe Roadster conveys how mild-mannered an unmodified version of the new V8 car really was. Image courtesy of Ford Motor Company.

The Magnificent Eight: 1932 Ford

In 1932, the Ford Motor Company, having been displaced by Chevrolet as the nation’s leading car manufacturer, sought to create a new model that would return the company to its prior greatness while providing an inexpensive car for the cash-strapped consumers of the Depression era. Its new car was called the Model B, a progression of the Model A that had replaced the Model T four years earlier. The Model B’s new styling and attractive upright front grille provided good looks that quickly caught on with the public. The car’s underwhelming 4-cylinder engine, a holdover from prior models, did need to be addressed, however. Utilizing the Model B body, Ford created the Model 18, the 8 indicative of the new flathead V8 engine in the car. This engine, the first mass produced V8, would continue to capture the interest of speed demons for decades to come. Both the Model B and the Model 18 (today collectively referred to as the ’32 Fords or Deuces) were available in a variety of open top models, including roadsters, cabriolets and convertible sedans, yet the true evolution of the Deuces did not occur until the end of World War II. When America’s servicemen returned home, they largely found themselves with a chunk of change in theirpockets and bored with the slow pace of life. The excitement of manning a tank or piloting a fighter plane could hardly be replaced by driving most cars, but street racing did provide a hint of such excitement.

New American cars of the era were typically long, heavy, ungainly creatures, more suited for leisurely cruising than the high speed thrills that many ex-soldiers craved. Out of this combination of factors, hotrod culture was born when former G.I.s began to inexpensively acquire the still ubiquitous, but largely dilapidated 1932 Fords and modify them into cars worthy of a fighter pilot. By “chopping” the top off the car and creating ”channels” in the body so that it would ride lower on its frame, these men were able to significantly lower the visual profile of the ’32 Ford, creating a sleek, fast and mean looking car. Modification of the Deuces became such a pillar of hotrodding culture that modern designers, such as Boyd Coddington and Chip Foose, went on to enjoy incredible success in designing brand new one-off cars made to resemble the most fantastic of the modified ’32 Fords.

The Good German: 1936 - 40 BMW 328

Though English manufacturers like MG and Riley created some sporty 2-seater convertibles in the 1930s, their cars were not as significant as BMW’s 328. Unlike the company we know today, the BMW of the 1930s was a small project – built on aero engines and motorcycle manufacturing – that merely dabbled in automobile production. The 328 represented a quantum leap forward for the company as the car featured a sleek, curvy design and contained a powerful 2-liter, 6-cylinder engine.

This 1939 BMW 328 Roadster, displayed at the 2008 Pebble Beach Concours d'Elegance, is a stellar example of the ground-breaking sports car that took first, third, fifth and sixth place at the 1940 Mille Miglia road race.

Though the British roadsters of the era may have appeared first, BMW’s car refined their exterior look while including a far superior power plant. So superior, in fact, that English company Bristol appropriated and utilized the engine’s design during the late 40s and 50s under the auspices of war reparations. Though facing a diminished field of opponents due to the onslaught of World War II, the BMW 328 dominated the famed Mille Miglia (Thousand Mile) road races of the early 40s and proved that a superlative racecar could be engineered in an attractive little package. This concept significantly contrasted the presiding preference for behemoth single-seat Grand Prix cars that was espoused by rival manufacturers Daimler-Benz and the Auto Union (the forebear of today’s Audi).

The beltline of this 1955 Jaguar XK 140 Drophead Coupe (a British term for convertible) illustrates the company's penchant for classy design in a sporty package. This particular car features an uncommon engine component derived from Jaguar's C-Type racecar that won the Le Mans 24-hour endurance race in 1951. It sold for $82,500 at the Gooding & Company auction in Scottsdale, AZ last January. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

British Cats and Dogs

No country can be more closely identified with the immediate postwar open air motoring experience than Great Britain. Jaguar, Austin-Healy, MG and Triumph all produced beautiful two-seat cars that redefined the identity of the convertible. Jaguar’s XK series, which stretched from 1948 to 1961, transferred the elegance of the company’s saloon cars into a sporty convertible design. Considered by many enthusiasts to be the best of the series, the XK 140 improved on the mechanical deficiencies of its predecessor, the XK 120, while retaining the elegant and swoopy fender lines and the sparing, sporty cabin of its antecedent. By the time the XK 140 was succeeded by the XK 150 in 1957, a greater premium was placed on luxury, resulting in a more pedestrian and less dynamic car.

In 1952, British automotive kingpin Donald Healey planned to develop a less expensive alternative to Jaguar’s XK. With a design created by Healey’s eponymous company in conjunction with the manufacturing care of a lastminute deal with Austin, the cherished Austin-Healey convertibles from 1953 to 1968 featured definitive bulldog snouts. The cars’ strong engines (most notably the V6s of the “Big Healeys” that started to appear in 1959) and spry handling deservedly earned the Austin-Healey reputation as Britain’s most esteemed postwar convertible.

This 1960 Austin-Healey 3000 MK I BN7 is a roadster variant that came with a removable soft top. It sold for $99,000 at the Gooding & Company auction in Scottsdale, AZ last January. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

European Style Meets American Muscle: The Corvette

American convertibles produced during the late 40s and 50s were almost uniformly open top touring cars: long, luxurious vehicles with gaudy tailfins and poor handling. This changed in 1954 when Chevrolet, lifting a page from contemporaneous European design, created the Corvette. Like its faux French name, the Corvette exhibited European sensibilities: a two seat, small-bodied car that was heavy on curves and artistic scallops. From a visual design standpoint, the Corvette had far more in common with an Austin-Healey or even a Ferrari than with a Chevy Bel Air. The Corvette would go on to hold tenure as America’s longest running production sports car with a continuous evolution that has spanned more than fifty years.

Featuring a power top, this Chevrolet Corvette Convertible was produced in 1961, one of the last years of the now-classic first generation body style. It sold for $57,200 at the Gooding & Company auction in Scottsdale, AZ last January. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

To this day, the Corvette and its faithful occupy a unique position in automotive culture, straddling a gap between European sports cars and American muscle cars, but truly belonging to neither niche.

California Dreamin’ in Maranello

This short wheelbase 1961 Ferrari 250 GT California Spyder was once owned by actor James Coburn. Its sale in May 2008 at the Ferrari Leggenda e Passione event in Maranello, Italy held by RM Auctions set a record price for a collector car: $10,894,400. Photo used courtesy of RM Auctions.

In 1957, West Coast Ferrari importer John von Neumann recognized an unrealized gap in the marketplace for a sporty open-top Ferrari. After communicating this potential windfall to Enzo Ferrari, the surly maestro commiserated with design partner Pininfarina and coachbuilder Scaglietti to produce a convertible companion to the race-ready 250 GT Tour de France. The resulting 250 GT Spyder California has gone on to become one of the most esteemed sports cars of all time. A model once owned by actor James Coburn sold in May 2008 for a then collector car record $10,894,900. In the latest bid of automotive retro-futurism, Ferrari has revived the California moniker for its hotly anticipated Ferrari California, which should be hitting showrooms this summer. With a wait list a mile long, the new California is the first Ferrari to ever feature an automatic retractable hardtop, giving it a luxurious character which is more common for a Mercedes-Benz.

One of the most esteemed Ferraris ever, this long wheelbase 1959 Ferrari 250 GT California Spyder boasts the added provenance of originally being owned by Prince Vittorio Emanuele de Savoie, son of the last Italian king, Umberto II. It sold for $3.63 million at the Gooding & Company auction at Pebble Beach in August 2008. Photo by Pawel Litwinski, used courtesy of Gooding & Company.

The highly anticipated Ferrari California is the first offering from the Prancing Horse to feature an automatic retractable hardtop. It is also the first Ferrari to contain a frontally located V-8 engine. Photo courtesy of Ferrari, S.p.A.

Mean vs. Green

2009 Lucra Cars LC470

The LC470 is the first model built by Oceanside, CA-based Lucra Cars. A true roadster, the car offers brutally fast acceleration and classic British-style good looks. Photo by Danielle Berden.

One of several independent companies vying for a slice of the supercar market, California-based Lucra Cars sought to take classic design cues into the future with a competition-worthy car that could perform equally well on straightaways and corners. With an exterior that is loosely based on a little known Jaguar-powered racecar from the 50s called the Lister Knobbly, the LC470 offers a variety of Chevy V8 engines under the hood. The relatively cheap ($85,000), hand-assembled car features custom fitted seats, pedals and paint jobs, and a spartan build philosophy, resulting in a lightweight, no frills car that delivers a stiff but extremely fast ride (3.4 seconds 0 – 60 mph), and a crowd of turning heads.

2009 Tesla Roadster

2009 Tesla Roadster

On the other end of the environmental spectrum lies the Tesla Roadster. California-based Tesla Motors’ effort to be the first modern company to successfully mass-produce an electric car has received significant media coverage. Three years into the journey, though, it appears that there may be more to the company than just hype. The attractive Roadster (which actually features a removable soft top) wears a unique French-built carbon fiber body on top of its Lotus Elise–based frame. The real magic happens in San Carlos, California, though, when Tesla installs their electric powerplant into the snappy Roadster. Though only a small percentage of orders have been delivered, reviews are nearly unanimous that this is an incredibly unique and promising car. Featuring all of the visceral joy of high horsepower, open-top motoring, but none of the environmental negatives (obnoxiously loud engine and large amounts of exhaust fumes), the Roadster can be recharged in one’s own home for about $4, and it goes from 0 – 60 mph in 3.9 seconds to boot.

Despite already delivering over 400 of its Roadsters, Tesla still faces a backlogged waiting list. The attractive one-gear, Lotus Elise-based electric car can travel 240 miles per charge and offers thrilling speed with no noise or exhaust. 2009 Tesla Roadster. Photos courtesy of Tesla Motors.

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“Darn this recession!” exclaimed my stepson Jacob, as he grudgingly returned a butter-soft grey leather jacket with white piping to its rack in a nearly empty boutique in Manhattan’s Union Square. We laughed, especially when I reminded him that even in boom times a luscious lambskin jacket was not in his college budget. ‘

Later that afternoon, I watched a fashionable woman hold up a chic jeweled necklace in a swanky New York 5th Avenue department store. She tried it on and fingered

it admiringly, sighing to her shopping companion, “I love it, but do I really need it?” Despite her designer handbag and other exclusive accoutrements, she handed the piece back to the woman behind the counter, saying, “It’s just a bit much for the times.”

It seems that everywhere one turns, even in affluent circles, budgets are the new black. Cheap is the rage. Understated is in style. Whether they can afford more or not, wealthy women and men are boasting about scoring bargains at 70 percent-off sales. I have even heard ultra high net worth individuals brag openly about frequenting stores in which they would not have been caught dead eighteen months ago. It seems that frugal can even be fun.

Splurging is Out; Responsibility is In

Individuals at all levels of wealth are rethinking their spending in today’s challenging economic environment. Some are changing their habits for budgetary reasons, and some are trying to maintain restraint for the sake of social propriety. It just does not look right to flaunt expensive purchases or rattle on about international luxury vacations when friends and acquaintances all around are enduring layoffs, facing decimated stock holdings, and confronting vanishing home equity. Even in swanky social circles, one does not know how the neighbors’ net worth has been impacted, and it seems uncouth to splurge at levels previously considered acceptable – at least not in public.

And, perhaps some Americans are reevaluating whether the ostentation that defined much of the last decade really bought them lasting happiness. A sense of responsibility seems to be in style these days.

Shying Away from Ostentation

While fake baubles, accessories with rococo touches, and gaudy buckles adorn much of this year’s clothing styles, many other consumer items are scaled back and more ecologically friendly. Many new cars are simpler and more fuel-efficient and across the country, fancy restaurant prix fixes have declined.

Even shopping bags are experiencing a makeover. Numerous news stories report that upscale designer establishments are ordering less flamboyant versions of their shopping bags so that wealthy consumers do not draw excessive attention to designer purchases. Subdued colors, smaller logos, and even brown paper bags are now de rigueur among posh boutiques nationwide.

Even on Valentine’s Day, purchases were down in 2009 among the affluent as compared to prior years. A February 2009 MSNBC.com article cited a National Retail Federation study which found that Valentine’s Day spending had dropped by 25% even among households with incomes over $150,000 a year. The same article quoted Jewelers of America president John Green, who stated that ultra wealthy buyers who routinely purchased pricey yellow diamonds in the past were now opting for less expensive and less showy white diamonds.

The National Retail Federation study provided anecdotal evidence that Americans with investment portfolios worth more than $10 million are shying away from pretentious purchases and presents. While flashy gifts have been status quo for most of the 2000s, they are now considered vulgar and out of tune with today’s economic climate by people at all income levels.

Americans are simply paring back across the board regardless of net worth. A February 2009 Philadelphia Magazine article asked citizens of that city how they were changing their habits. While former mayor John Street said, “I live a relatively spartan lifestyle already,” most of the other respondents said that they were cutting back on luxury purchases, taking less extravagant vacations, and adjusting appointments for spa or beauty services such as manicures and pedicures from weekly to monthly or eliminating them altogether.

Saving is Trendy

As far back as April of 2008, even before Wall Street melted down and we were officially in a recession, CBS Evening News anchor Katie Couric reported that it was becoming trendier to save than to spend. American’s newfound sense of pride in discount shopping and socking cash away in savings accounts has replaced record levels of excessive credit card debt and an apparent inability to stay within a budget.

In February 2009, The Commerce Department released the U.S. Personal Income and Outlays report for the prior December. According to the report, the personal savings rate in America hit 3.6% in December 2008, a seven-year high. In the 1970s and 1980s, the savings rate was in excess of 10 percent of disposable income, but personal savings has been steadily declining for the last thirty to forty years.

Even the 10 percent savings rate of the last century falls short of the number many financial advisors recommend to clients of all income and net worth levels. Numerous financial advisors suggest that saving a minimum of 10% of household income is necessary in order for individuals to maintain their lifestyle in retirement. While for the ultrawealthy, income in retirement may not be as pressing an issue, liquidity is. Many affluent Americans are reconsidering the amount of cash they need on hand for short-term needs. Few individuals foresaw the possibility of a stock market decline of the magnitude we have witnessed, and are now realizing that a larger allocation to cash or to investments that are more conservative is prudent. If budgeting is the new black, cash is also in fashion.

The “New Frugality”

While we are bombarded with media messages that spending is the only way to stimulate the economy, most Americans are showing restraint. In addition to taking a “wait and see” attitude about the economy in general, many individuals are rethinking the amount of savings they should maintain at all times. A healthy trend towards saving coupled with responsible consumption is a more realistic and sustainable track for economic health than we have been on.

In keeping with this new focus on responsibility and savings, the April 15, 2009 cover story of Time Magazine was entitled “The New Frugality.” In the article, author Nancy Gibbs asserts that the recession has changed much more than the way Americans spend – it has changed our values, or at least provoked us to reevaluate them.

“No one wishes for hardship,” writes Gibbs, adding, “But as we pick through the economic rubble, we may find that our riches have buried our treasures.”

Green Goes Hand in Hand with the New Mood

Not surprisingly, as Americans take a tough look what they need and want, a do-it-yourself frame of mind has crept back into our collective consciousness. Gibbs notes in the April Time article, “Common sense is back in style, meaning we’re less willing to buy what we can have for free.” She reports that during the first three months of 2009, “Sales of canning and freezing supplies rose 15%” and bottled water sales have dropped 10%” compared with the same period last year.

Americans – including our new president and his family – are planting gardens, visiting the library, and spending time cooking at home. This new back-to-basics mentality has motivated many to rethink their true goals and priorities.

So next time you’re eyeing that fabulous leather jacket or tempting trinket, you may find yourself taking a step back. Regardless of your ability to purchase that item, you may join many Americans in deciding to say no to spending and yes to saving and sustainability. While a life fueled by indulgence can be enjoyable and amusing, many are finding that living a life of responsibility and sustainability is equally, if not more fulfilling. Being in style has never been so rewarding.

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As always, Bond no. 9’s fragrances are unique from their initial concept all the way down to the last wafting bass notes at night. This summer, New York is made bearable in all its sticky, sweltering lustiness because the Andy Warhol line is the perfumed steam rising from its asphalt and gutters. The line is a partnership between Bond no. 9 and the New York-based Warhol Foundation.

Warhol’s first “factory” was on Lexington Avenue. Unabashedly commercial in its shoecovered flacon, as was the artist whoonce said, “Making money is art,” this modern, impudent fragrance of the same name puts wood notes on top where they don’t belong, sandwiches its fruity sweetness in the middle, and bases it all on a canvas of wood and patchouli. In pop art, images, scents, and ideas are rearranged in new and surprising ways which, while they may offend some, end up changing our concept of the art form, which is just what a fragrance like Lexington Avenue does.

Fresh on top and sensual on the bottom, Andy Warhol’s Silver Factory is a work of art that starts with citrus—bergamot and grapefruit— rounded out with ’60s elixirs like incense, violet (Warhol’s favorite), and jasmine, and finally passes out on the red couch of its wooden bass notes: amber, resin, and cedar. The fragrance is a glint from Warhol’s foil-covered studio, the setting for countless orgies, works of art, and superstars… sometimes all at once. Art critics have called the Silver Factory a work of art in itself as it highlights modern narcissism for guests find themselves fascinated with their own images constantly reflected in the crinkled foil on the walls. Beauty, and fragrance by relation, may be narcissistic pursuits; so might love be if we are only looking for a partner who reflects back our best idea of self. Could it be that beauty, image, and love are all in our heads? After all, Warhol said, “Fantasy love is much better than reality love. Never doing it is very exciting.” Silver Factory is a fragrance for the artistically fearless: the man or woman not afraid to acknowledge his or her own human self-centeredness and vanity. This is not a bottle of perfume. Is it?

This is not a bottle of perfume for women. What do you think? Questions about reality abound in the art world, and artists like Warhol, 

Magritte, and Dalí (who frequented the Silver Factory) purposely provoke us to think about reality. The flower motif series, begun in 1964, was one of Warhol’s most famous works. The familiar paintings are based on a photograph of hibiscus blossoms that Warhol portrayed in unexpected colors, from green to blue to wine, sometimes offsetting the flower tint so that blossoms appeared in more than one color for a psychedelic effect. For Union Square, a fragrance named for another of Warhol’s factories, the flower-motif bottle is bursting with bouquets of lily of the valley, green stems, freesia, white birchwood, amber, and musk. Decidedly feminine and fresh, it’s the fragrance for a city girl… but wait; this is pop—a bottle with hibiscus blossoms tinted blue needn’t conform to gender rules. You are not a can of tomato soup.

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Almost any vacation can be improved with a visit to a winery, for they not only offer superior samples and fine restaurants, but they may also be surrounded by scenery one wouldn’t see anywhere else.

This is particularly true in Spain, where the wines are pleasant surprises and the relaxed atmosphere of the tasting rooms are especially enjoyable. Three wineries we enjoyed visiting are all in Rioja, one of Spain’s finest wine-making areas that resembles a laid-back Napa with far fewer visitors. Rioja is about an hour south of Bilbao, a tourist mecca and home to the famed Guggenheim Museum.

Bodegas Ramón Bilbao

Ramón Bilbao, which makes over 200,000 cases per year, creates silky, easy-to-drink wines. The tasting room at this winery is in a white, tile-roofed building near the small, sleepy town of Haro.

The wines produced include a popular dry white called Mar de Frades Albariño Rías Baixas. Drinking this wine at the proper temperature is so important that the blue bottle has a thermally sensitive label; when the bottle is properly chilled, a sailing ship appears. (I admit that I did spend several fascinating moments watching that boat disappear as the bottle got warmer.)

Wherever you taste Ramón Bilbao – either at the winery or at home – be sure to try the Vina Turzaballa Gran Reserva. This remarkable wine is 100% Tempranillo, a Spanish grape that can produce wines of memorable smoothness. Despite being a single varietal, Ramón Bilbao’s Reserva resembles an elegant, full-flavored blend.

Our visit to Ramón Bilbao was enhanced by our host, Rodolfo Bastida, the winery’s well-dressed technical vineyard manager. At his suggestion, we lunched at the finest restaurant in the region (and possibly in all of Spain): LaVieja Bodega Restaurante in the small town of Casalarreina.

We sat in a large, well-lit, warehouse-size room and enjoyed the taste of the restaurant’s perfectly prepared white asparagus. Other memorable courses included large prawns in mussel noodles with aioli oil, hearts of artichokes with fresh foie and mushrooms, wild sea bass with artichoke couscous, grilled monk fish with foie on grape sauce, and stewed pears. Our lunch also gave me more time to watch that sailing ship on the label fade as the Mar de Frades became warmer.

To visit Ramón Bilbao, call Penélope López Merino at (+34) 941.310.316, or email penelope.lopez@bodegasramonbilbao.es

Photos courtesy of Bodegas Ramón Bilbao

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Bodegas Marqués de Arviza

Located in the small town of Fuenmayor, this winery is not easy to find. Fuenmayor, which is about 12 kilometers from Logroño, is on a Google Map, but our laptop was in America. We had to ask several people for directions, but it was well worth the effort, for this tiny winery makes only about 12,000 cases per year and has a unique tasting room. As you stand on the driveway that leads to the 12th Century stone winery building, it is impossible to guess that the tasting room is five stories beneath you.

This cave was dug over the centuries during the winters when there wasn’t much to do in the vineyards. At one point, our hosts proudly showed us inscribed Roman paving stones that lined the ceiling, which indicate how old the cave truly is. After the Roman legions abandoned the area about 15 centuries ago, the cave-digging winemakers appropriated the carved street stones and used them underground.

We walked down into the always-cool cave, moving through several turns that slanted downwards as the ceiling became lower, until, about 50 feet below the driveway, we found a table with a small lamp (yes, the cave has electricity) and several bottles of wine.

Arviza makes only two wines, and both are excellent. The Crianza has a forest aroma and a beautiful balance of Tempranillo and Garnazo grapes. The Reserva is soft, jammy and immediately accessible.

Lorena Corbacho, the friendly public relations person, stressed that the winery, which is determinedly hands-on and retro, still does not use mechanical presses to get the grape juice, preferring to hand press their grapes instead.

To arrange a visit call Corbacho at (+34) 941.451.245 or email her at marquesdearviza@gmail. com before your trip as she needs a couple of weeks notice to set up a tour in English. Arviza, can be purchased through Hidalgo Imports at (305) 733.1623.

Photos courtesy of Bodegas Marques de Arviza.

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Marqués de Cáceres

Marqués de Cáceres, which claims to be the best-selling Spanish wine in America, produces nearly a million cases of quality wines per year that are available at reasonable prices.

Located in Cenicero, about 20 kilometers from Logroño in Rioja, the winery has several inviting tasting rooms, including a charming, shelf-lined study where we tasted. Anne Vallejo, who is in charge of public relations, is a knowledgeable person who makes sure that all visitors have enough information to be impressed by the wines, and we were.

After we tasted two white wines and a rosé, we were joined by Cristina Forner, daughter of the founder, Enrique Forner. This elegant woman, who bears a striking resemblance to Sophia Loren, was very gracious.

Their most popular wine, Crianza, is an easy-to-drink and very accessible wine. We also tasted the Marqués de Cáceres Gran Reserva which was as elegant as our host. However, the absolute best wine was the Marqués de Cáceres Gaudium Gran Vino, which is made from 100+ year-old vineyards of Tempranillo grapes.

To visit the winery, contact Luis Burgueno at lb@marquesdecaceres.com, two to three weeks in advance of your arrival. Marqués de Cáceres wines are available in all 50 states at Publix, Winn Dixie, World Market, Costco and even Wal-Mart.

Photos courtesy of Bodegas Marques de Cáceres

Post from: LxMagazines.com

Summer is here and the beaches will soon be swarming with people from all walks of life donning swimsuits and sunglasses and eager to be the first to step into the cool, blue ocean waters. Others will be visiting their local park and toting picnic baskets filled with homemade goodies. Whether your summertime activities include the beach, a park or simply your own back yard, you should take precautions to keep yourself safe and protected from the sun’s harmful rays.

There seems to be some debate as to who actually said that one can never be “too thin, too tan, or too rich,” but such advice may need a little reconsideration nowadays. As well as the potentially fatal dangers of anorexia and bulimia, we’re all fully aware of the increase in the diagnosis of skin cancer over the last twenty years. However, it’s difficult to stop from rushing for the parks and pools when the sun shines.

We all believe that a tan makes us look better, and in the majority of cases it does – it gives us a healthy glow and helps to rid of us of our office pallor that’s developed over the winter days at our desks. However, while you may think that your post-holiday glow gives you a super-healthy appearance, others may think you look more like an old leather handbag. It’s a wise woman who remembers that when it comes to tanning, “little and often” is always the best way to go.

If you’ve got a specific window of opportunity in which to achieve a tan, and a guaranteed supply of sun – such as a holiday in Hawaii - then you can schedule your tanning accordingly. Start off being in the sun for just a little while, and always wear sunscreen. Make sure you know what type of sunscreen you’re wearing and how effective it’s going to be. The SPF (sun protection factor) is a guide to how long you can stay in the sun before burning; the higher the SPF, the longer you can stay out. So, for example, if without any sunscreen you can stay 10 minutes in the sun before burning, using sunscreen with a SPF of 10 will give you protection for one hour and 40 minutes (SPF 10 x 10 minutes = 100 minutes).

When applying sunscreen, do so liberally, and re-apply after swimming and excessive sweating (after a game of volleyball, for instance, or a hike in the hills). As a precautionary measure, apply sunscreen at least every two hours and at least 20 minutes before going into the sun; this will give your skin time to absorb the sunscreen so it is effective as soon as you get outside. Most dermatologists advise wearing sunscreen with a SPF rating of 15 or higher; you will still tan wearing sunscreen with a SPF of 30, so don’t be tempted to cut corners.

As well as the SPF rating on a sunscreen, make sure any sunscreen you use contains protection against UV (ultraviolet) light rays. UVB rays are the tanning rays that are produced when the earth rotates closest to the sun. UVA rays are “invisible” rays that are the same strength all year round. These UVA rays can be just as damaging to the skin (if not more so) than UVB rays, which is why dermatologists recommend wearing a facial sunscreen every day of the year.

On the first few days of your holiday you may be tempted to stay out in the sun for longer than you planned, but try to avoid it. Too much sun too quickly could result in your skin blistering and peeling. As well as being unattractive, this could result in permanent damage to your skin. This doesn’t mean that you have to return to your hotel room once your time’s up; simply move out of the sun or cover up. Keep a loose tunic and a pair of light cotton pants or a sarong on hand so that once you’ve reached your maximum quota of sun for the day, you can slip these on. It’s also a good idea to have a wide-brimmed hat with you so you can protect your face and eyes from the sun. Also, avoid sunbathing between 11 a.m. and 3 p.m. when the sun is at its hottest, especially during the first few days of your holiday.

Some sun-lovers get caught between a rock and a hard place when tanning is concerned: they don’t want to bare their bodies to the sun until they’ve achieved a little color. Obviously, in order to achieve a suntan you need be in the sun – or rather you did before the advent of tinted sunscreens and tanning beds. A tinted sunscreen can add color to your face and body while at the same time offer protection against the sun, whereas a series of tanning sessions at your local solarium will help give your body enough of a tan so you don’t feel too conspicuous on the beach during the first few days of your holiday.

When in the sun, remember to drink plenty of water throughout the day to keep your body hydrated. Always apply moisturizing lotion after you’ve spent time in the sun; apply it all over your body just after you’ve showered in order to help your skin retain as much moisture as possible. (Store your lotion in the refrigerator and apply it chilled for a truly soothing after-sun treat).

It’s hard to resist the allure of the sun, and given all of its positive connotations it’s also hard to see it as something dangerous, but it can be; a suntan is, after all, a sign of sun-damaged skin. So be careful when out in the sun. Take the necessary precautions and enjoy the summer with the knowledge that a sun-kissed glow is a healthier and more attractive look than one that tells the world you’re a prematurely aged sun slave.

There are a number of medical conditions that can occur from too much sun exposure. These conditions can range from something as mild as a minor sunburn to a fatal case of skin cancer. Heat exhaustion, heat stroke and severe sunburns can be potentially deadly, as well. If you are preparing to spend a lot of time in the sun this summer, plan ahead and be confident that you have made all the necessary precautions to protect yourself and your family during the hottest, yet most active, months of the year. Here are a few tips to help you take all the important safety measures without sacrificing your summertime enjoyment.

• Know when to go inside – Avoid staying outdoors for long periods of time, especially between the hours of 11 a.m. and 3 p.m. This is when the sun’s rays are at their strongest.

• Be liberal with the sunscreen – Apply sunscreen liberally and often, even if it claims to last all day, especially when you have be swimming, sweating or using a towel to dry off. It should be reapplied every two to four hours.

• Shop around for the right sunscreen – Use a sunscreen of SPF 15 or greater. Don’t let those overcast days fool you. 80% of the sun’s UV rays can pass right through the clouds. Use sunscreen on these days as well.

• Be patient - Wait at least a half hour after applying sunscreen to go outside. It takes approximately that long to kick in and be effective.

• Cover your head – Wear a hat with a wide brim when going outside. Find one that covers or shades your ears, neck and face.

• Cover your eyes – Wear sunglasses with a strong UV protection. Those with a 99 – 100 percent absorption would be the best option.

• Be aware of what you wear – When you can, wear clothes to cover as much of your skin as possible. Dark colors and tightly woven fabric provide the best protection. Light colored clothing and loosely woven fabric allows more UV rays to reach your skin.

• Check your makeup – If you plan on wearing cosmetics in the sun, wear the kind with sunscreen and a SPF of at least 15, but be careful which cosmetics you choose as some cosmetics actually contain certain substances that absorbs more of the sun’s harmful radiation, making you more susceptible to sunburn. Read labels thoroughly and be sure you are choosing a makeup product with sunscreen. Also, always wear a lip protector when going outside.

• Check with your doctor or pharmacist – Certain medications can actually cause your skin to be more sensitive to the sun. Ask your physician or pharmacist if your medications have this affect.

• Watch your time spent in tanning beds – Always remember: everything in moderation is OK.

• Drink plenty of water – You can easily become dehydrated in the hot sun, even when you don’t realize it. Keeping lots of water on hand and drinking it often will keep you hydrated and, therefore, will help you avoid heat related illnesses.

• Slow down – Don’t try to do too much strenuous activity and don’t try to cram too much into a short period of time. Slow down and pace yourself. You don’t need to risk your health for a little summertime merriment.

• Monitor your children – Children are more susceptible to the damaging rays of the sun. Keep them well protected with plenty of sunscreen and limit their outdoor playtime.

• Keep the baby covered – Babies under one year of age should be kept out of the sun as much as possible. However, when a baby does need to be outdoors, keep his/her head covered with a hat. When applying sunscreen, use only a sunscreen with an SPF of 4 or less on babies younger than six months old.

• Don’t save sunscreen for the beach or pool – A good SPF 15 or higher sunscreen should be applied whenever you spend time outdoors. The sun isn’t only at the beach. Its harmful UV rays can find you anywhere. You should also keep a hat and sunglasses nearby.

• Visit your dermatologist – Annual visits to a dermatologist will greatly reduce your risk of developing a terminal form of skin cancer. Your doctor can locate cancerous and pre-cancerous moles or growths on your skin that are still small and isolated. Many times the affected area can be removed, if found early, in order to be kept from spreading. Your dermatologist can also give you more sun safety tips.

• Talk to your children – Warn your children about the dangers of excessive sun exposure. If a child has just one or two blistering sunburns before the age of 18, it can significantly increase the risk of developing skin cancer. When possible, encourage your children to play in the shade, to take frequent breaks from their outdoor active play and to drink plenty of water or other beverages full of electrolytes, such as Gatorade or Pedialyte. And again, don’t be shy with the sunscreen. Elderly individuals are equally vulnerable to the sun’s UV rays and should take the same precautions as children.

• Take care of your sunburn – If you do get a sunburn, a cool bath, aloe vera and a light moisturizer or powder can help ease the discomfort. If you begin to blister or you feel nauseous or faint, see your doctor immediately. Stay out of the sun until your sunburn is completely gone.

You don’t have to give up your summertime activities and hide from the sun to avoid the potential dangers. If you take the proper precautions and make the right decisions you will be able to take pleasure in the enjoyable events of the summer without the worries or concerns of the sun’s negative affects on you health.

Finally, it is recommended that you go outside for a little while each day. The fresh air is good for you and the occasional change in atmosphere will keep your daily tasks from becoming mundane. Go ahead and visit the beach or plan a day trip to the lake or a nearby park. Whatever outdoor activities you are planning for the summer months, whether it is a trip to the zoo or just spending time in your own backyard, you won’t have to worry about the sun if you follow these simple guidelines. Your time in the sun should be fun, relaxing and carefree. Take time to prepare your outing with the sun in mind. If you plan your course of action to protect yourself from the sun, you are sure to have a fun-filled and safe summer.

Post from: LxMagazines.com

Stuffed Jalapenos with Tuna*

Tuna Salad

10 oz of Cooked Tuna or 1 Can

¼ Cup finely chopped onion

¼ Organic red pepper, finely chopped

4 spoons of mayonnaise

2 spoons of finely chopped cilantro

¼ cup of corn

¼ cup of peas

¼ cup of tomatoes

Sea salt and black pepper to taste

Jalapenos

12 Medium Jalapenos

½ sliced onion

2 sliced carrots

2 Bay leaves

½ spoon of marjoram

½ spoon of oregano

½ spoon of thyme

1 garlic clove

5 pepper corns

1 garlic clove

3 cups of water

1 cup of white vinegar

2 spoons of olive oil

In a bowl mix the tuna with the mayonnaise; then add the onions, red pepper, cilantro and mix well. Finally, add the peas and the corn. Add salt and black pepper to taste.

Make an incision on the jalapenos lengthwise and across the top in order to remove all of the seeds and veins. (Make sure to wear gloves.)

Put the water in a pot, and add the white vinegar, bay leaves, marjoram, oregano, thyme, garlic, and pepper corns and bring to a boil. Add the de-veined Jalapenos and let them boil for 5 minutes. Remove them from the boiling water and rinse them in cold water to stop the cooking process - that way they don’t become mushy. Place the olive oil in a frying pan, and lightly fry the onions and the carrots until the onions turn transparent. Add the onions, carrots and olive oil to the boiling water previously used for the Jalapenos. Let them boil for 5 minutes.

Stuff the jalapenos with the tuna salad and leave them in the refrigerator for at least 2 hours or more. Serve the jalapenos with the pickled carrots and onions.

Sweet pasta salad**

3 cups of cooked elbow pasta, al dente

1/4 lb. of baked ham

¼ cup of raisins

¼ cup of pecans

1 cup of sweet cream

¼ cup of shredded baby carrots

1 cup of diced pineapple

1 cup of sliced peaches

¼ cup Cherries or blueberries

¼ cup pears or apples

¼ cup mangoes or kiwis

1 tsp of olive oil

2 bay leaves

Mint leaves

Water

Salt

Honey or sugar to taste

Place the water, olive oil, salt and bay leaves in a pot and bring it to a boil. Add the pasta and cook to al dente, rinsing the pasta in cold water so it will not over cook. Cut the ham into approximately 1/2” squares and add the cream, carrots, drained fruit, raisins, walnuts, and a pinch of salt and mix together. Let the salad set in the refrigerator for at least 4 hours or more, that way the pasta can absorb all of the flavors. Serve on a leaf of lettuce and garnish with mint leaves.

*I normally use only organic ingredients, fresh tuna and vegetable mayonnaise, but for this recipe you can use regular or canned products. You can substitute the tuna for pink salmon, and if you don’t like cilantro you can use parsley instead. This recipe looks quite complicated, but it is actually very simple to and easy to prepare.

**If you prepare this pasta salad for a party, make sure to substitute the regular pasta for a gluten-free rice-based pasta that you can get at the organic or health section of the supermarket. Also, make sure not to add nuts as many people are allergic. In addition, you can substitute the fresh fruit for canned fruit of your choice, and you can substitute raisins for grapes. If you are using natural fruit and it is not sweet enough, you can add honey or crystallized sugar cane (if you use canned fruit, the problem will be solved; just make sure to drain it so the salad doesn’t become too liquid). As in the previous recipe, I prefer to use all natural organic ingredients.

Post from: LxMagazines.com