Women's Fashion

September - October 2019

THE
NEW YORK
TIMES
STYLE
MAGAZINE

CONCEPT OF The allure found in

the context of
diversity

REFINEMENT
 T: THE STYLE MAGAZINE OF THE NEW YORK TIMES

Editor in Chief Creative Director Executive Managing Editor Photography and Video Director
Hanya Yanagihara Patrick Li Minju Pak Nadia Vellam

THE NEW YORK TIMES LICENSING GROUP

General Manager: Michael Greenspon
Vice President: Alice Ting
Vice President, Executive Editor: Nancy Lee

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Deputy Editorial Director: Armando Arrieta
Art Director: Simonetta Nieto
Editorial Coordinator: Ian Carlino
Coordinator: Ilaria Parogni

Page 18

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Ezdihar Ibrahim Ali Mansour ElSheikh
Managing Director & CEO Accountant
Jassem bin Yousuf Al Darwish Fashion Editor MARKETING & SALES Sarfudeen Shamsudeen
Debrina Aliyah Marketing Manager
General Manager Sony Vellat Distribution
10 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE

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 WANDERLUST

Puglia's Rustic Distinctive landscapes, traditions steeped in

history, and the magnetic charm of its people
define this well-heeled boot of Italy.

Appeal Text and photographs by Debrina Aliyah

PLACES QATAR

One of the
viewing points
at Matera.

CRUISING DOWN THE very simply named Strada

Provinciale 1, a long narrow highway that runs
through the heart of Puglia, you lose yourself
in a spectacular panorama of rolling hay bales,
ancient olive trees and looming historic villas. The
landscape with the intermittent appearances of
trulli, the region’s signature conical stone-roofed
homes, is at its most glorious as the provincial
freeway snakes past the tiny town of Cocolicho
where even the locals often make pit stops to
marvel at the sight.
Fertile soils with all-year-long dry weather has
blessed Puglia with exceptional produce and a rich
history of agriculture marked by the popularity of
its “masserias”, once noble homes turned farming
estates. Home to luscious ruby primitivo grapes,
delightfully juicy cherry tomatoes, gigantic sweet
red onions and plump cherries that are totally
worth staining your dress for, almost all of the
terrain in the region is cultivated.
While its coastal towns ooze the vibrancy of
seaside glamor, the hilly inlands that border
Basilicata and Campania offer an introspective
glimpse into the identity of its people and its
unique architecture. Whitewashed buildings and
homes constructed to complement the geography
of the lands and castles carved into rocks and cliffs
are reminders of early human civilizations while
modern additions are often built to accommodate
the behemoth roots of centuries-old olive trees. On
the trail of the Puglia aqueduct, the region’s charm
36 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE

unfolds beyond a typical postcard snapshot.

STAY

Rocco Forte Masseria Torre Maizza A former

farmhouse converted into a posh resort that has
just reopened its doors this spring with a revived
Pugliese spirit. Suites and rooms are designed by
Olga Polizzi, incorporating a curated collection of
local elements and objects, while the sprawling
property is a tranquil oasis to lose yourself among
the shady olive groves. Also home to a picturesque
and technically challenging nine-hole golf course
that highlights the estate’s natural landscape. www.
roccofortehotels.com/masseria-torre-maizza
 From top:
A 16th-century
picturesque estate
setting lends
Masseria Torre
Maizza its Pugliese
charm; mornings
right out at sea on
the terraces of
Dimora Talenti.

Agriturismo Piccapane The farmhouse includes
an excellent vegan restaurant with new
interpretations of traditional local dishes. The
eco-friendly property offers a range of activities that
highlights the origins of the lands as well as a
community base to promote “green conversations.”
www.agricolapiccapane.com
EAT
Cibus Ceglie Messapica, home to a renowned
cooking school and nicknamed the land of
gastronomy, is the must-go for your Pugliese
culinary experience. Lillino Silibello takes you
through a cuisine that tells the story of the region
within the stone walls of Cibus. Via Chianche di
Scarano 7, Ceglie Messapica. +39 0831388980.
LaBo’ Puglia is just as much about the people as
the land, and here in this cozy little enoteca, the
charm and conviviality of the locals set the tone for
a great evening of small typical Pugliese dishes and
excellent tipples. Via S. Giorgio 44, Trani. +39
0883954221
EXPLORE

Dimora Talenti Perched on the cliffs of Polignano
a Mare, this boutique bed and breakfast has
arguably the best terrace in the small seaside town,
where breakfast and sunset drinks take place.
Rooms are designed to respect the original
elements of the cliffside home with windows
overlooking rocky beaches. www.dimoratalenti.it
PHOTOGRAPHS BY DEBRINA ALIYAH
Panificio di Gesu Altamura is home to the origin-
certified bread where flour percentages, water
sources and crust size are essential for the European
seal of recognition of authenticity. Get in early at
Panificio di Gesu for a few banters with the head of the
family, Domenico di Gesu, while waiting for the wood
fire to simmer down for your fresh loaf of Pane
Altamura. Via Pimentel Eleonora Fonseca 19,
Altamura. +39 0803141213
Puglia Aqueduct Completed just about a century
ago, the aqueduct was conceived as a water source
for the vast agricultural activities in a region that is
notoriously dry. The longest of its kind in Europe, it
runs all the way to Santa di Leuca, and alongside it
winds a well-marked 250-kilometer bike trail. Pick
your spot for a day out on the bike and discover
nature reserves, sandy beaches and ancient ruins.
www.pedalandseaadventures.com

37
 Matera Matera has been going through a rejuvenation since it was
WANDERLUST
named the 2019 European Capital of Culture after years of near
languish — its famous cave dwelling homes abandoned by its
residents in favor of modern apartments. From two vantage points,
take in the spectacular vision of a once-buzzing city of cave homes
and relive a slice of history with Giuseppe Leone, a local expert
guide who will very gladly show you where to find grano arso, a
typical Pugliese flour. www.southernvisionstravel.com
PLACES QATAR
38 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE
Itria Valley Home to Puglia’s iconic white villages, Itria Valley
is splendid in white during the day and lights up with the
moon at night. Martina Franca, Locorotondo and Alberobello
are three stops to marvel at signature white facades.
Alberobello, a UNESCO Heritage Site, has the highest
concentration of trullis in the region, while the annual Valle
D’itria Martina Franca Festival brings performing arts and
major stars to the city. www.festivaldellavalleditria.it
PHOTOGRAPHS BY DEBRINA ALIYAH
Bruschetta from
local tomatoes at
Cantina Polvanera.

IN BEAUTY
THINGS QATATR
Beauty,
in So Many Words
An honest look into what beauty really means, inside and out.
By Debrina Aliyah
THE SAYING “BEAUTY is in the eye of the beholder” has never
been more relevant than now. Diversity and empowerment have
paved the way to new perspectives on beauty, where subjective
interpretations are just as celebrated as classic ideals. In a
dialogue to explore the different facets of beauty from a creative
viewpoint, Santoni worked with photographer and filmmaker
Koto Bolofo to capture the beauty zeitgeist of our time.
Simply entitled “On Beauty,” the project is a portfolio of
images and short films that documents and collects distinctive
thoughts from unexpected personalities across creative fields.
50 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE
Bolofo’s three-plus decades of experience in photographing
people in their most honest selves set the tone for the project.
Known for spending time in getting to know and connecting with
his subjects, the photographer pursued discussions on notions
of beauty before deciding on the best way to photograph the
personalities. Bolofo himself has long been an artist enamored
with finding different ways to define beauty, evident in his
acclaimed works including “Black Beauty,” “Heat” and “Skin
Deep,” all series of images juxtaposing skin colors and sculptural
forms.
In this project, art directed and edited by Tony Chambers,
Bolofo focuses on the little details and the unexpected with a
dash of the Santoni philosophy in simplicity. For artist Patricia
Urquiola and her husband Alberto Zontone, photographed
together in black and white, beauty is a mix of tangible and
intangible values. “I find beauty evolves like waves. I grew up in
Charles Compagnon,
French restaurateur,
with a Santoni shoe.
the north of Spain where the horizon has nothing to do with the
sunrise or sunset. When I smile, I find a sense of beauty inside,”
explains Urquiola.
Creative director Sofia Sanchez de Betak lets her feet do the
talking in a shot capturing the strength and grace of her muscular
legs. “Beauty is innocence, truthfulness, the simple things in
life, love, a sense of humor, nature. I think if you feel happy, at
ease, comfortable and confident with yourself you will find
beauty more easily. The most beautiful thing I’ve ever seen is
my daughter; she is delicious, beautifully delicious. Just as I find
beauty in a pristine place untouched by humans, I find the same
beauty in my daughter’s innocence,” she says. Fashion director
of Highsnobiety, Atip Wananuruks, echoes this sentiment: “I
find beauty in the things I see in my everyday life, from a baby’s
smile or laugh to the mischievous glint in my grandparents’ eyes,
to sunsets, to sunrises. What we appreciate in this age is we’ve
come to see inner beauty.” He is photographed with his signature
double man bun and his tattoos peeking out just under the
sleeves.
PHOTOGRAPHS BY KOTO BOLOFO
Jewelry designer Hannah Martin brings a spunky edge to her
portrait, where she defines beauty as something that stirs from
within. “I often find beauty in things on the edge, things on the
boundaries, things that are not beautiful in a classical sense but
move something inside me. I strive for my kind of beauty. I’ve
always wanted to make jewelry that is sensual, sexy, rich – for me
that is truly beautiful,” she says. Paris-based restaurateur Charles
Compagnon’s pursuit of beauty is represented by
an image of just his footprint in Santoni’s signature
burnt orange color. “Beauty has no limit. It is
mostly about your own taste; the way you see
life personally, the way you consider things; the
traits you find in people, landscapes, food. You
can acquire beauty if you know how to look for
it. I don’t think anything can be too beautiful. It is
something that is changing all the time and very
personal,” says the pioneer behind Le Richer and
Le 52 Fauborg Saint-Denis.
The ever-gentlemanly Guglielmo Miani had no
qualms in taking off his shoes for a candid shot
while dressed in his usual repertoire of a made-to-
measure suit for Bolofo’s lens. For Miani, beauty
is a state of mind. “I think we are born with a
predisposition to see beauty in everything, but it is
important to exercise your sensitivity. If something
is natural and created spontaneously, I don’t think
it can ever be too beautiful but that is not the
case if you are trying to fabricate beauty,” says the
president of the Montenapoleone District.
The series’ most colorful photographs are of
James M. Bradburne, the museum director of the
prestigious Milanese art gallery, Pinacoteca Brera.
As an ode to his personality and his dynamic work,
Bolofo draws out Bradburne’s analytical thoughts
on beauty. “Beauty can be problematic because it
is extremely context-specific. Things are beautiful
when they appear in a certain way at a certain
time. Something will appear beautiful when we
are receptive to it. Beautiful moments emerge
when there is a constellation of personal emotion
and environmental suggestion. I often look for
beauty in the structure of things and the structure
of thoughts. Not only is beauty not absolute, we
are not absolute. We are in a moving continuum in
which we develop together,” he explains.
Counterclockwise from
top: Santoni's shoes on
two stools shot by Koto
Bolofo; Urquiola and her
husband Zontone find
beauty in everyday life;
Guglielmo Miani on a stool
wearing Santoni's shoes.
51
 BY DESIGN

FINDING
SHELTER
An exhibition in Milan explores the evolving
concept of where we choose to live.
By Debrina Aliyah

IN THE PAST FOUR decades, a dedicated group of researchers led by the author informality and spontaneity of Kahn’s
Lloyd Kahn has been obsessively documenting structures and buildings around concept of shelter sets the tone for
the world. Ranging from a simple temporary hut by the beach to a large Tod’s “No_Code Shelter: Stories of
donut-shaped communal building for 300 people in China, the comprehensive Contemporary Life” exhibition. The
study explored what the concepts of shelter and home mean to diverse Italian luxury house partnered with
communities. Photographing structures and interviewing builders, Kahn, along architectural firm Studio Andrea
with fellow author Stewart Brand, launched several books detailing back-to- Caputo to present a structure
basics construction of DIY homes, which greatly influenced the 1970s communal designed as a shelter without the
movement throughout the United States, Canada and Australia. confines of conventional rules, driven
In stark contrast to modern-day real estate and urban planning, the only by the theme of hybridization.

A stripped-down
version of the
traditional yurt
by Mai Ikuzawa.

39
BY DESIGN

“It is an ongoing merging of relationships between

two different worlds, the fascination with technology
and the charm of traditional craftsmanship,” says
Michele Lupi, Tod’s men’s collection visionary.
Housed in the Le Cavallerizze in Milan’s Leonardo Da
Vinci National Science and Technology Museum, the
studio’s “shelter space” played host to five
installations by five different designers from varied
fields. Each installation is a personal interpretation
of how these creatives view the concept of shelter
and how they are reacting to the evolving
contemporary life and the challenges of the future.
Italian astronaut and aviator Maurizio Cheli’s
shelter, “Musgum,” was produced by manually
PLACES QATAR

assembling layers of digitally produced units of

polystyrene to create a large-scale structure with a
large central opening for air circulation. Drawing
from his experience as part of a NASA space shuttle
mission, the installation defines how his passion for
flying pushed him to explore outer space. “Flying has
inspired me to see the world from another
perspective. I define passion as a combination of guts
and intelligence because our guts drive us toward the
things that naturally attract us, and our intelligence,
gives us the ability to make rational decisions. I’d say
that I’ve always been driven to find something new,”
explains Cheli, who also founded CFM Air, a start-up
specializing in the design of advanced light aircraft.
Andrea Trimarchi and Simone Farresin of Studio
Formafantasma’s fame interpret their shelter,
“Persian Camp,” with notions of sustainability.
Inspired by the form of Bedouin nomadic camps,
latex is mounted onto scaffolding with a cedar wood
base. The fabric covering the structure is a
contemporary take on Persian carpets.
“Environmental catastrophe will redefine the way
we live on this planet, or die on it,” Trimarchi says.
Clockwise from top:
“Persian Camp” by
Trimarchi and Farresin
made with fabric
inspired by Persian rugs;
the exhibition has no set
pathway and allows
visitors to explore at
their own pace.
40 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE

PHOTO COURTESY OF TOD'S

PHOTO COURTESY OF TOD'S

Cheli’s “Musgum”
was manually
41

assembled.
BY DESIGN
PLACES QATAR

“It’s important that we rethink our relationship with

production and the way we approach consumerism.” The design
duo is based in Amsterdam but is international in their reach,
having presented and published internationally with permanent
exhibits in the Museum of Modern Art and Metropolitan Museum
in New York, the Victoria and Albert Museum in London and the
Centre Georges Pompidou in Paris. “I believe that designers will
be less important in the future, in terms of the media. I hope that
in the future there will be more focus on other aspects such as the
production process. The creator is important but I think there is
too much sensationalism around the creator at the moment,” says
Trimarchi.
Car racer and graphic designer Mai Ikuzawa’s shelter, “Yurt”, is
a skeletal representation of the nomadic yurt embodying the
primitive nomadic need for shelter. A dense frame of crossed
metal tubes is held together by a compression ring while the
tempered glass floor adds a minimalist touch. “My passion for
racing comes from my very unconventional childhood. My father
was a very celebrated Japanese race driver and my grandfather
was an artist. He would always make an effort to look very chic
42 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE

and sharp and I think I have inherited that aesthetic,” she

explains.
Car designer Marcello Gandini’s “Pitched Hut” is a hybrid of
aluminum and birch logs while Olimpia Zagnoli’s “Casamance” is
a structure of rosewood, Zebrano wood and metal tubes
combined to recreate the basic function of collecting water.
Within these five shelters, video installations feature authoritative
visionaries including Petter Neby, Yong Bae Seok and Chris
Bangle, who discuss the challenges of the future in contemporary
life. Through these dialogues, the physical manifestations of the
shelters, as well as narratives on
PHOTO COURTESY OF TOD'S

homes across various geographical Clockwise from top: Zagnoli’s

regions, the exhibition sheds light on “Casamance” recreates the
how the definition of space will function of water collection;
“Pitched Hut” by Gandini who
continue to evolve. has designed revolutionary
cars for Lamborghini.

The Future
Is Green
Sustainability charges forward
in Italy’s fashion capital.
By Debrina Aliyah
THE EXHIBITION OPENS with a walkthrough a forest of greens,
where one’s senses are transported to the calm of nature
complete with dewy aromas. A stark contrast awaits in the next
room, where Matteo Ward begins a narration on the lives of the
hundreds of thousands of workers in the clothes manufacturing
industry. A screen separates the audience from projected human
figures who remain faceless, representing the anonymity of these
workers, many found in less than desirable work conditions
around the world. The narrative continues with a sensory
display, provoking the audience to dig deeper into the concept of
sustainability.
The opening gambit of GIVE A FOKus may have been a little
PHOTOGRAPHS BY WHITE MILANO
dramatic, but just like the name of the exhibition, it was targeted
at bringing attention to an issue within the fashion industry
that has for years been considered an afterthought. Tackling
the weighty issue of sustainability and introducing the notion of
traceability, which is still very much in its infancy, were not easy
tasks, but Italy’s vanguard fashion tradeshow WHITE Milano
IN FASHION
Australian brand
Strateas Carlucci was
this season’s special
guest at WHITE.
has succinctly given life to the idea in the immersive exhibition.
Under the creative direction of Ward, a sustainable fashion
activist whose brand WRAD won this year’s Italian National
Fashion Association (Camera Moda) Green Carpet Award, the
exhibition takes visitors through hard-hitting facts and shows
how affirmative actions, big or small, can make a difference in
the future of fashion manufacturing.
“The fashion system is undergoing a revolution and it has
become necessary to re-access our activities to cater to the real
needs of a worn-out planet and of an exploited society,” Ward
explains. “We are stuffed with things that do not mirror our real
identity.” The battle against mind-numbing consumption and a
return to sustainable production has been an essential priority
for the Italian industry in recent years. The previous fashion
seasons have seen green initiatives and agendas included as part
of Milan Fashion Week’s official calendar, where young designers
are encouraged to pursue a green approach in developing
their work. Last year, the Camera Moda officially launched the
23
 Clockwise from top:
IN FASHION

Green Carpet Awards Italia with celebrities
including Colin Firth and his wife Livia at
the forefront to promote the event.
GIVE A FOKus shines the spotlight on
traceability and blockchain technology,
points and we currently cater to a niche
market that truly understands what they
are buying and why it is so important that
we are transparent in our works,” explains
Peter Strateas, who founded the brand with
WHITE’s co-founders Bellei
and Bizzi have been flying
the sustainability flag for
over a decade; Ward taking
visitors through the
exhibition.

the new buzzword that is promising to Mario-Luca Carlucci.

guarantee worldwide relevance to both
the Italian fashion system and the world
of retail. “We are extremely glad that the
Italians themselves have asked for this sort
of development, as recent surveys have
revealed. While most of the population
expect the labels to be transparent in
terms of their production chain and
environmental or social footprint, only
PEOPLE QATAR
Finding the balance between
commerciality and sustainability is
something that many emerging brands
juggle, but Bellei believes that it is a small
struggle that will pay off. “For most of the
emerging brands, it is an obligatory choice
to face the demands of the market even if
it is not easy to generate fashion products
that are also sustainable and trendy. This

two Italians out of 10 think that the
fashion industry satisfactorily informs
the consumers on the impact of their
production on the environment and on the
world’s population,” Ward explains.
The exhibition is an extension of
innovative efforts by Brenda Bellei and
Massimiliano Bizzi, co-founders of WHITE,
that has roots going back to 2016. “The issue
of sustainability is part of our DNA and we
have always been promoting this as part of
our talent scouting vision to buyers from
across the globe,” Bellei says. “I believe
that organizing an eco-sustainable society
is becoming an essential requirement, at
all levels and particularly in the fashion
world.” The tradeshow’s visibility and size
have made it an influential scouting ground
for some of this decade’s most interesting
designers and a platform of support for
brands focused on sustainable production.
This year’s highlight in spring was Australian
brand Strateas Carlucci, an International
Woolmark Prize winner, that uses only
100% traceable materials for its collections.
“It’s not always easy to justify our price
24 T QATAR: THE NEW YORK TIMES STYLE MAGAZINE
is the challenge of the future.” And though
sustainability seems to be the word on
everyone’s lips, it is also evidently in
contrast with the rise of consumerism and
conscientious marketing of replaceable
trends towards consumers every season. Are
we looking at a rhetoric where major brands
are just riding on the wave to sell even more
products, cleverly conceived as “conscious”
collections? “I think that if the big names
in fashion could start the virtuous circle,
establishing a production of eco-friendly
garments and accessories, and pushing
through marketing the eco-sustainable
trend, consumers would also opt for a more
informed and less consumerist and targeted
purchase,” Bellei thinks.
For its September edition, Ward leads
the next chapter of the GIVE A FOKus with
a narrative that spans five thematic areas—
Water, Chemicals, Climate Change, Waste
and People. Delving deeper into the issues of
sustainable production, each thematic area
is presented together with Italian companies
that play integral roles in the fashion
production system including Analytical
 Group, Econyl and Albini Group. Sustainable denimwear
brand Boyish features as a highlight of this autumn edition
with its breakthrough development of denim fabrication
that is both eco-friendly and cruelty-free.
WHITE will be presenting some 200 new brands where
sustainability drove research and scouting initiatives.
“All our project and collaborations are curated with
clear intentions, business of course and the cultivating of
fashion creativity, but more importantly a reflection of
the times where we now more than ever must persevere
on sustainability,” Bizzi affirms. Names to look out for
include Munenori Uemuro, nana-nana, as well as Arabian
designers Arwa Al Banawi and Nora Aytch, while a special
section inside WHITE will serve to foster the dialogue
between the emerging talents and international buyers.
The upcoming edition will also see a special installation
designed by art director Lucia Emanuela Curzi that
embodies the different identities of the modern woman.
PHOTOGRAPHS BY WHITE MILANO

From top: Spotlight on

traceability and
blockchain technology
in raw materials; new
sustainable materials
include fabrics from
25

orange fibers.