CadillacMagazine_lowres

MAGAZINE
T H E W E L L - D R I V E N L I F E
S U M M E R 2 0 1 4
SCENE
STEALERAMERICAN HUSTLE
COSTUME DESIGNER
MICHAEL
WILKINSONDOES IT BOLD AND
BEAUTIFUL
P LU S :
SHANGHAI
REACHES
FOR NEW
HEIGHTS
2 0 1 5 E S CA L A D E :
LIFE TASTES
BESTWHEN IT’S
WELL DONE

What Drives you? That’s the question. What drives you? What excites you? What
makes you passionate about the things you do every day?
For us, it’s turning bold thoughts into bold decisions. It’s taking those decisions
and crafting them into powerful, beautiful, sophisticated works of art. And it’s always
remembering whom we’re doing it for: the eternally optimistic who realize that good
will never be good enough.
Not coincidentally, our first issue of Cadillac Magazine is
filled with people who are driven by the same ideals.
Costume designer Michael Wilkinson (page 30) made
a major impression on audiences this year with his
’70s-inspired attire for American Hustle. His bold vision
earned him an Academy Award nomination and made him
Hollywood’s new go-to designer.
Dan Hellman and Eric Chang started making furniture in
a garage (page 54) and in a short time—a very short time—
began winning awards and receiving orders from many
top luxury brands. Today, they’re still hard at work in their
Brooklyn shop, creating impeccably designed pieces that
wow customers the world over.
Bold decisions drive the entrepreneurs in the Abbot
Kinney section of Venice (page 62) who are building their
own version of the tech corridor in what has become known as Silicon Beach.
What we took away from these nonconformists, these restless spirits, is that when
you’re on a never-ending quest for “what’s next,” what drives you isn’t nearly as important
as the fact that you’re driven. And when you’re driven, you’re guaranteed a life well lived.
Uwe Ellinghaus
Global Cadillac
Chief Marketing Officer
when you're
driven, you're
guaranteed a
life well lived.
PhotographybyJoeVaughn.Location:ElementbyWestinnewyork
W e l c o m e
1 Summer 2014

on the cover
L.A.-based photographer Joe
Schmelzer shot Oscar-nominated
costume designer Michael
Wilkinson (“From the Feet Up”)
at Hargate’s Costumes in West
Hollywood. “I didn’t know if I was
going to be met with a Hollywood-
attitude type or not,” Schmelzer
says. “But luckily, Michael turned
out to be fun, energetic, and with
a personality as charming as his
amazing costumes and designs.”
Schmelzer’s work has appeared in
Architectural Digest, Elle Decor
and Vogue UK.
This page
Photography by
Sean Hunter Brown.
visions: THE features
30 // FROM THE FEET UP
American Hustle and Man of Steel
costume whiz Michael Wilkinson
38 // LOW COUNTRY HIGH
The next-generation Escalade, ready
for its close-up in the New South
44 // Chairman of the Board
Big wave surf legend Laird Hamilton
on the ride of his life
48 // IN THE HEIGHTS
Starchitects reach toward the
heavens in Shanghai
54 // GOOD BUILDS
Furniture designers Hellman-Chang
on the world's Brooklynization
62 // SOFT WIRED
With the Valley so yesterday,
tomorrow's tech giants hit the beach
68 // LIKE GLISTENING SCULPTURE
A prodigy photographer shoots
inside the barrel in SoCal
73 // AUSTIN'S Top CHEFS
Four big-name chefs turn up the
heat in brand-new venues
78 // WHAT COMES AROUND
In Rome, a private/public partnership
restores the Colosseum's glory
T a b l e o f c o n t e n t s
3 Summer 2014

T a b l e o f C o n t e n t s
we would
love to hear
from you!
How are we doing?
Comments,questions,
suggestions?
Email us at:
CadillacMag@
lowe-ce.com.
Publisher
Uwe Ellinghaus
Global Cadillac
Chief Marketing Officer
Associate Publishers
Craig Bierley
Cadillac Director–Advertising
Melody Lee
Cadillac Director–Brand
Reputation and Strategy
Yanlin Sun
Cadillac Digital &
CRM Manager
Julie Flynn
Cadillac CRM Manager
content engagement
Director
Laura Rogers
Editorial Director
Dan Grantham
Editor
Drew Limsky
Managing Editor
Ron Bernas
Art Directors/
Designers
Cassidy Zobl
John Kalmar
Joseph Ferraro
Grayson Cardinell
Copy Editor
Sheila Walsh Dettloff
Account
Manager
Eliza Nascimento
Program
Manager
Mary Carlington
Production
Manager
Susan Osterrout
Cadillac Magazine is published
twice a year by Lowe Campbell
Ewald, 2000 Brush Street,
Suite 601, Detroit, MI 48226
586.574.3400
©2014 General Motors.
All rights reserved.
departments
spectrum: THE VEHICLE
08 // Discoveries
10 // Exclusives
12 // Ride Along
14 // Cadillac Voices
inspirations: THE LIFESTYLE
1 8 // Arts
20 // Objects Of Desire
22 // Cuisine
24 // Escapes
26 // Mind & Body
27 // Trendspotter
96 // Perspectives
pUrsuits: THE open ROAD
86 // Leaving Las Vegas
94 // State Of Mind
95 // Living Large
oppositepage:TomRocheandChrisOsburn;thispage:DrewLimsky:JohnRoe
“After spending
the better part of a
day with big wave
rider Laird Hamilton to
write ‘Chairman of the
Board,’” Berusch says,
“nothing could have
prepared me for this
question from Hamilton:
‘So, do you want to go
for a paddle?’ Then we
took on an eight-foot
swell in Hanalei Bay.”
The Oahu-based pub-
lisher of Hawaii Polo
Life, Berusch has writ-
ten for Departures and
Town & Country and has
appeared on Today.
Brian Berusch
//writer
“to capture the
stylish luxury of the
new Escalade for ‘Low
Country High,’ we
scouted Savannah’s
narrow cobblestone
streets and lush city
parks,” Roe says. “We
spoke to locals and
found some half-hidden
gems for backdrops. We
shot in the early morn-
ings and late afternoons,
letting the silver exterior
glow against the dark,
lush landscapes.” A pre-
mier vehicle shooter,
Roe has worked for GQ
and Car and Driver.
John Roe
// photographer
In the last 20 years,
Wright has worked
for nearly every major
magazine, from Vogue,
and Men’s Journal to
Esquire, Town & Coun-
try and Men’s Health.
For the Hellman-Chang
story (“Good Builds”),
Wright spent the day in
the studio of the noted
Brooklyn furniture
designers. “Shooting
them in their suits in
their workplace,” he
says, “added a sense of
reality and fantasy that
converged.”
Jim Wright
//Photographer
As a former corre-
spondent for CNN and
a writer for The New
York Times and Condé
Nast Traveler, con-
tributor Elina Fuhrman
has made a career of
interviewing decision
makers and trendset-
ters. For “Soft Wired,”
she walked the boho
boardwalk of Silicon
Beach to meet the new
generation of techies,
who are building a
community of startups.
“Everyone believes that
it’s the next big L.A.
thing,” Fuhrman says.
“And it is.”
Elina Fuhrman
// writer
“It’s an auspicious thing to launch
a luxury lifestyle magazine, especially for
Cadillac, an iconic American brand,” says
Editor Drew Limsky. “But as we thought
about the brand’s boldness, sophistica-
tion and optimism, and were able to enlist
leaders in their respective fields—Michael
Wilkinson, Laird Hamilton, Hellman Chang,
Brown Davis, Yves Béhar, Jean-George
Vongerichten and Tom Colicchio—to share
in our vision, the task became not only less
daunting by the day, but actually thrilling.”
For the first issue of Cadillac Magazine,
Limsky writes about the 2015 Escalade
against the backdrop of Savannah (“Low
Country High”) and chronicles the excite-
ment surrounding the Colosseum’s reno-
vation in Rome (“What Comes Around”).
For our cover story, he compares notes—on
film, fashion and Jennifer Lawrence’s off-
set clowning—with the industry’s top cos-
tume designer (“From the Feet Up”).
Drew Limsky// Editor
MORE CONTRIBUTORS // WRITING Riki
Altman-Yee, Rebecca Antioco, Becca Blond,
Brown Davis, Simon Brooke, Charles Desselle,
Ron Gluckman, Margie Goldsmith, Becca
Hensley, John Newton, Larry Olmsted, Edward
Readicker-Henderson, Amanda Ruggeri,
John L. Stein, Phoebe Tully PHOTOGRAPHY/
ILLUSTRATION Sean Hunter Brown, Jennifer
Cawley, Jody Horton, Chris Osburn, Jenny
Risher, Roy Ritchie, Tom Roche, Joe Schmelzer,
Neil Tasker, Giovanni Troilo, Joe Vaughn ART
DIRECTION Lewis Baker DESIGN Ed Andres,
Jason Krauss, Tamra Ann Rolf
T a b l e o f c o n t e n t s C o n t r i b u t o r s
5 Summer 2014

the stunning new elr
is a work of moving art, its pro-
vocative design making it stand
out in any crowd. To use that
appeal to inspire others, Cadillac
asked four well-known New York
City–based photographers to
drive the coupe in and around
their hometowns.
Derrick Jones (also known as
DJ D-Nice), Liz Eswein, Jona-
than Mannion and 13th Witness
took images of the automobile in
neighborhoods, on the streets,
under the Brooklyn Bridge, on
the waterfront—even in a car
wash in Flatbush.
The results, as compelling
as the vehicle, can be found
on Instagram and Facebook at
#ELRExposure.
Rose Murphy and her son Teddy Bridgewater have always had a
special bond. It got them through many hard times, including struggles
with jobs, money, homelessness and Rose’s breast cancer. She never let
herself or Teddy be defeated by circumstances, and focused on the
good things: their love and Teddy’s skill on the gridiron.
After a stellar high school career, Bridgewater moved on to the Univer-
sity of Louisville, where he was the starting quarterback. His mom was
always in the stands cheering on her son. As a child, Teddy promised his
mom that if he made it to the pros, he would give her a pink Cadillac. In
May, both those dreams came true. He was drafted in the first round by
Minnesota and he presented Rose with a pink Escalade complete with
pink rims. The color signifies Rose’s triumph over breast cancer.
Their story was told in a short film by director Spike Lee, revealed on Good
Morning America on May 6. Watch it on Cadillac's YouTube channel.
A big heart
Cadillac hands over
the elr to four top
photogrAPHERS
Inspiring
model
a Football star honors his mom’s courage
Above Par // Patrick Reed edged out
Jamie Donaldson and Bubba Watson by
one stroke to take home the Cadillac Cham-
pionship in March at the newly redesigned
Blue Monster course at the Trump National
Doral Miami. That made this 23-year-old
Texan the youngest player ever to win a
World Golf Championship event.
dine and dash // Cadillac invited more
than 1,000 lucky people to Chicago’s
Perennial Virant and Miami’s The Bazaar, as
well as three other buzzworthy restaurants
across the country. The invitees had a
chance to test-drive ATS or CTS models
around the cities before the private dinner
created just for them. The experience
included question-and-answer sessions
with the celebrity chefs and Cadillac repre-
sentatives. The guests left with a bag of
gifts designed to encourage them to
explore their own cooking skills, and a
hearty introduction to what Cadillac brings
to the table.
calling a stylish ride // At auto
shows in Detroit, Chicago and Geneva,
members of the automotive press and
industry arrived in style thanks to a collabo-
ration between Cadillac and Uber. Users of
the Uber smartphone app had the opportu-
nity to request a private driver to and from
the shows in a 2014 Cadillac SRX, Escalade,
CTS, ATS or XTS. The only cost for this taste
of Cadillac was to share the experience
using #UberCadillac.
Cadillac, The Official Automobile of the Oscars,®
is teaming
with the Producers Guild of America in a film competition designed
to enable achievement in producing.
Cadillac and the PGA are asking producers for a three- to five-
minute film inspired by the work of Academy Award®
–winning pro-
ducer Saul Zaentz. A three-time Best Picture winner (One Flew Over
the Cuckoo’s Nest, Amadeus and The English Patient), Zaentz was a
legendary Hollywood producer. His career started in the 1970s and
spanned more than four decades; he died this year.
The Make Your Mark contest (makeyourmarkcompetition.com),
in which hopefuls have 51 hours to complete and submit their films,
was announced at the Tribeca Film Festival in April (below). Judges
for the competition include actors Kathy Bates, Michael Douglas
and Danny DeVito.
In Cadillac’s other Hollywood collaborations, the automaker
partnered with W magazine to tell the stories of Hollywood’s top
talent on Cadillac’s social media pages and teamed with The Hol-
lywood Reporter to toast more than 400 stars and moguls at the
annual salute to Academy Award nominees at Spago Beverly Hills.
Cadillac and the producers guild of america join
forces to support aspiring producers
making a mark
oppositepage:TeddyBridgewater:©DerekGil,2014;Brooklynbridge:lizeswein;thispage:Phones:UberTechnologies,Inc.
S p e c t r u m / D i s c o v e r i e s
8 Summer 2014 9 Summer 2014

PhotographybyJoeVaughn
You might say Andrew Smith
was destined for a career as an auto
motive designer. He grew up in a small
town in Australia, son of the owner of a
Holden dealership. “It served as an early
introduction to car design, because I was
always interested in the different charac-
ters or personas of the vehicle,” says
Smith, named executive director of global
designs for Cadillac and Buick in 2013.
“The whole concept of having a vehicle
that’s the embodiment of who you are or
a reflection of who you are has always
been fascinating to me.” Today he heads
a talented global team of designers,
sculptors and artisans who conjure up
vehicles that grace showroom floors
around the world.
Looking into the Future
CAdillac’s director of
design Discusses building
a modern luxury brand
// by Dan Grantham
Q: With so many new Cadillacs in the showroom, is
there one model that stands out for you?
A: We have launched two all-new coupes that are
unmistakably Cadillac but very unique in positioning.
The ATS Coupe is a gorgeous car with its wonderful
proportion, fantastic driving dynamics and beautiful
materials. At the same time, we have the ELR, a car
I find fascinating because proportionally it is so
different from any other Cadillac and, from any
angle, looks like a luxury car from the future. The ELR
is all about the artistic integration of technology,
inside and out.
Q: Cadillacs are known for
expressive interior design.
Where does the design team
find inspiration?
A: Authentic materials and exqui-
site craftsmanship are the hall-
marks of every Cadillac interior.
As designers, we find inspira-
tion in the industries of fashion,
fine furniture and interior home
design. We also look within Cadil-
lac to the colors, materials and
graphic elements that are impor-
tant to the brand. For details
like stitching and piping detail,
we find inspiration in luxury
handbags and shoes, as well as furniture and other
high-end leather products that use a lot of detail to
highlight their craftsmanship. Providing our custom-
ers with an intuitive and effortless experience when
it comes to in‑vehicle technology and connectivity is
essential. We find inspiration in personal electron-
ics, particularly mobile devices and tablets, and the
ways we interface with them in our daily lives. We are
always finding ways to elevate the user experience
with commands and information within our cars so
that the interaction fits within a luxury experience.
Q: Do Cadillac buyers have an affinity for design?
A: Cadillac buyers are confident. They are not look-
ing for the car that everyone else has. They want a car
that is as individual as they are. Cadillacs invite discov-
ery—the closer you look, the more there is to see and
appreciate. I always think about when you are leaving
a restaurant and the valet says, “Whose Cadillac is
this?” and the person says, “That’s mine, that’s me.”
Q: What makes the Cadillac brand unique in the
luxury space?
A: The cool thing about Cadillac is that it has a rich
heritage of distinctly American luxury and forward-
reaching style with decades of inspirational and
groundbreaking designs. Our Art and Science
design philosophy centers on contrasting modern
handcraftsmanship with an artistic integration of
technology. This philosophy has been a part of creat-
ing Cadillacs since the very beginning. True luxury
purchases represent an invitation to participate in the
culture, history and legend of a brand. As a brand and
design team, we have the unique opportunity—and
responsibility—to define and deliver modern Ameri-
can luxury that is bold, sophisticated and optimistic.
Q: You have said that being at Cadillac feels a
little like being at a startup. What do you mean
by that?
A: The culture of Cadillac has always been “Don’t
look back, do what you do best and keep looking into
the future.” From a leadership point of view, we have
built a vibrant global team, united in their passion for
design and stewardship of the brand.
Q: You and your team work so far upstream from
the production of a vehicle. What kind of chal-
lenges does that present?
A: We have the opportunity to do a lot of explora-
tion and “what if” scenarios. I always say the differ-
ence between a designer and an artist is that an artist
pursues self-expression and a designer is a creative
problem solver. We are identifying our customers’
needs and answering them in ways that exceed their
expectations. At times those needs are literal, other
times they are more rooted in emotion.
Q: Do you get a lot customer feedback?
A: The momentum generated by our many new
products and market expansion has been phenome-
nal. It results in lots of customer interaction and feed-
back, ranging from the spontaneous conversations
at the gas station to the formal customer clinics with
scientific methodologies. There are also clinics where
designers sit and sketch in real time with luxury con-
sumers, modifying ideas based on their feedback.
Our lifestyle-focused clinics are more immersive in
nature; we spend a full day with consumers and con-
duct in-home interviews.
cadillac
buyers want
a car that is
as individual
as they are.
— andrew Smith
S p e c t r u m / e x c l u s i v e s

The snow has melted, leaving behind pristine biking trails,
stunning hiking, incredible chairlift views and the perfect setting
for outdoor concerts. Join us on the slopes and experience
the service, accommodations and premier restaurants that define
the Deer Valley difference.
Cadillac owners can enjoy 25% off their entire stay of two nights
or more and also receive a Deer Valley®
Mountain Activities Card
worth $50 towards lift-served biking, hiking and scenic rides as
well as bike lessons, bike rentals and biking and hiking tours with
our Mountain Activities Package*. Please call 800-558-3337 and
mention CADI14 to receive this offer. We also offer a variety of
concert and other summer packages.
DEERVALLEY.COM | #DeerValleySummer
*Valid June 13 through September 1, 2014
summer is
the perfect time to
hit the slopes
Yes, the Cadillac CTS sedan has an awe-
some body design. Edgy. Aggressive. Inspiring.
So the real question is, does it have performance
and luxury credentials to back that up? There’s no
better way to begin than to look at what’s under the
bodywork, and here’s what I found out about the
2014 CTS 2.0L Turbo RWD Luxury Collection: It’s
definitely all about performance, technology, lux-
ury—and fuel economy too. All those aspects come
together so well, small wonder it was named the 2014
Motor Trend Car of the Year.®
A quick limbo under the vehicle reveals forged-
aluminum front-suspension control arms that help
deliver great ride and handling. The CTS also benefits
from aerodynamic tailoring that substantially reduces
air turbulence and drag for improved fuel efficiency1
and interior quiet.
Moving inside, the artistic sweep of hand-cut and
hand-sewn leather interior accents and wood trim
instantly brands the CTS as luxurious.
Everywhere are thoughtfully executed
details, from the comfortably bolstered
power seats to the steering wheel–
mounted paddle shifters. The gauge clus-
ter dramatically illuminates when the
Keyless Start button is pressed. Together
with the elegant Cadillac User Experience
(CUE)2
eight-inch touchscreen, the CTS’s
entire information and media control sys-
tem is simple and easy to operate.
With the discovery process done, it
was time to take the CTS to the streets.
And what better place to test-drive a car
than Southern California’s Mulholland
Highway, invitingly highlighted in 3D on
the optional navigation system? Connect-
ing the Santa Monica Mountains with
the Pacific Coast Highway in Malibu, this
famous little byway is 30 miles of twisting,
turning back road.
Restlessly cresting and falling, Mulhol-
land positively refuses to straighten out
for more than a few hundred yards at a
time. With the optional Magnetic Ride
Control set on Sport, the independent
suspension reacts instantly to every single
bump, ripple and tilt of the road. Just as the
engine and six-speed transmission pro-
vide enthusiastic go-power, the antilock
Brembo®
front brakes provide impressive
braking. And, just occasionally, the Cadil-
lac’s standard StabiliTrak Electronic Stabil-
ity Control System momentarily intervenes
to help deal with a challenging turn.
Driving Mulholland, it’s clear the CTS
is the perfect intersection of sport and ele-
gance.Infact,itraisesbothtoahigherlevel.
The all-new Cadillac
CTS Sedan proves
performance and
luxury can live
together just fine
// by john L. Stein
the intersection of
elegance & sport
2014 CTS 2.0L turbo rwd
> 2014 Motor Trend Car of the Year®
> 2.0L engine delivers 295 lb.-ft. of torque
> 0–60 MPH in 6.1 seconds
> EPA estimated 20 MPG city,
30 MPG highway
Heated steering wheel (opt.)
Magnetic Ride Control (opt.)
Cadillac User Experience (CUE)
LED taillamps (standard)
1. 2.0L Turbo EPA-estimated MPG 20 city/30 highway RWD,
19 city/28 highway AWD. 2. Full functionality requires
compatible Bluetooth®
and smartphone. Some devices
require USB connectivity.
S p e c t r u m / r i d e a l o n g
12 Summer 2014

G
rowing up, Eric Rotbard
knew exactly what car he
wanted: His father’s 1971
Chevrolet Camaro. “It was
a classic,” Rotbard says. “I
learned to drive on it. I’ve always loved
the sexiness of the two-plus-two coupes.”
And he did own a Camaro until recently,
when he replaced it with a Cadillac ELR
(the two-plus-two coupe with electric drive
systemandon-boardgasgenerator). “I said
to my wife the ELR is the only car I’d trade
in my Camaro for,” he says.
That may seem like a big switch, but
Rotbard says driving the ELR in Sport
mode gives him just as much of a thrill as
his Camaro did.
Rotbard, an attorney, is a mar-
ried father of two boys, 10 and 15.
His commute from his home in
West Nyack, N.Y., to White Plains
takes about 25 minutes, and this
hands-on dad is home in time to
pick up his boys from their after-
school activities and cook dinner.
He concedes, however, that he’s no
chef and says the food he puts on
the table “is technically edible.”
It was his longtime hobby of scuba div-
ing that eventually led Rotbard to rethink
his choice in automobiles. “You see climate
change firsthand in the Caribbean,” he
says. “When I first started scuba diving, the
coral had brilliant colors. You go there now
and 98 percent of it is bleached. It’s not
dead, but when the water gets warm, the
coral ejects its pigment and gets bland.”
That led him down the path of explor-
ing alternative energy sources. He was
one of the first to test hydrogen vehicles,
and was an early Volt owner and an online
evangelist for electric vehicles.
Then, at the 2009 North American
International Auto Show in Detroit, Cadil-
lac unveiled the Converj, a luxury con-
cept electric vehicle. “It was like Cadillac
reached into my brain to design my
dream car. I had to get that car,” he says.
The Converj became the ELR, so he sold
the Camaro and bought one.
“I think the ELR is one of the most
beautiful expressions of automotive
design ever,” he says.
The interior, Rotbard gushes, is “amaz-
ing, by far the nicest interior I’ve seen in
any car.” Leather and sueded microfiber
everywhere, real wood trim and the digi-
tal dashboard leave him thinking he owes
the ELR something: “I feel I have to dress
up to get into my car.”
Rotbard lets his friends and colleagues
test-drive the ELR, and he says they’re
suitably impressed. But when asked if
his older son, who will take driver’s edu-
cation next year, will learn to drive in the
ELR, Rotbard laughs, “not a chance.”
Instead, he’ll be using the family’s other
car, a CTS.
“The ELR is my dream car and I love it,”
Rotbard says, then relents a bit. “Maybe I’ll
let him drive it for his prom ... or on second
thought, maybe I can be his chauffeur.”
Dream Machinedesign and technology converge in the ELR, the vehicle
attorney eric rotbard has been waiting for // by Ron Bernas
Attorney eric Rotbard:
I think The ELR is one of
the most beautiful
expressions of
automotive design ever.
It was like Cadillac
reached into my
brain to design my
dream car.
— Eric Rotbard
we would love
to hear from you!
Share your story at
CadillacMag@
lowe-ce.com and
you may be featured
in our next issue.
S p e c t r u m / C a d i l l a c V o i c e s

Japanese artist Fujiko Nakaya makes things clear by
making them disappear. She exhibited her first fog sculpture
for the 1970 World’s Fair in Osaka. Since then, Nakaya has
created enveloping fog installations around the globe, includ-
ing at the Grand Palais in Paris and the Guggenheim Museum
Bilbao in Spain. Now, for Veil, her first large-scale international
installation at a historic site, Nakaya has covered the Philip
Johnson Glass House—that touchstone of mid-century mod-
ernism located in New Canaan, Conn.—in fog, rendering it
invisible. Given the transparent, weightless-seeming character
of the structure, the choice was inspired.
A fascination with fabricating nature runs in the family.
Nakaya’s physicist father Ukichiro was credited with making the
first artificial snowflakes. For her part, Nakaya, born in 1933,
became intrigued by her father’s frosty creations, cultivating an
interest in diaphanous shapes, the organic world and nature’s
unveiled
spontaneous artwork. She shares with
Johnson a willingness to explore the slip-
pery boundary between real and ersatz
nature; upon the completion of the Glass
House, the architect famously quipped
about the home’s “expensive wallpaper.”
Veil has been ... well ... unveiled, as part
of the Glass House’s 65th anniversary and
runs through Nov. 30. Johnson, who died in
2005, bequeathed the 49-acre property,
which contains 13 additional structures and
apermanentcollectionofmodernart(Frank
Stella, Brice Marden, Robert Rauschenberg
and Meis van der Rohe all represented), to
the National Trust for Historic Preservation.
theglasshouse.org — Becca Hensley
thispage:RichardBarnes;oppositepage:CoitTower:SanFranciscoTravelAssociation/Scott
Chemis;California:SanFranciscoArtsCommission;TimeTransfixed:ArtInstituteofChicago
UPLIFTING
To make the familiar unfamiliar is the purpose of many art-
ists, but René Magritte managed that message with flair. The Bel-
gian artist, a father of surrealism, created some of the 20th century’s
most unforgettable images, conveying his own cerebral brand of
whimsy (he made “Ceci n’est pas une pipe”—“This is not a pipe”—
aninternationalcatchphrase).TheArtInstituteofChicagowillhonor
the artist and his breakthrough years (1926–1938) with “The Mys-
tery of the Ordinary,” June 24–Oct. 13. artic.edu — Becca Hensley
Spring brought the reopening of the Coit Tower, one of San
Francisco’sbest-knownlandmarks.Afixtureonthecity’sskylinefor
80years,the210-footartdecobuildinghadbeenonthedecline.But
a $1.1-million facelift has restored it to its rightful self. In the ’30s, 27
artistsundertheauspicesofthePublicWorksofArtProjectworked
to decorate the tower, and now the murals once again pop with
passionate, politically motivated color. The view from the observa-
tion deck is just as vivid. — Becca Hensley
PIPE DREAMS
I n s p i r a t i o n s / a r t s

Detroit’s industrial
design–driven
Shinola has quickly
become the hot-
test new American
watch manufac-
turer.The Runwell
Chrono combines
the retro look of
the watches U.S.
servicemen wore
in World War II with
stopwatch func-
tions,glowing Super
Lumi-Nova hands
and indices,10 ATM
water resistance,
American-made
leather bands and
a quartz movement
hand built from
Swiss components.
$750
Italy’s CT Scude-
ria is known for
watches paying
homage to motor-
cycle racing.The
new Dirt Track
collection features
contrasting sub-
dial faces evoking
the oval of a race-
track and crown
and chronograph
buttons inspired
by stopwatches.
Swiss-made quartz
movement water
resistant to 100
meters.$1,095
Longines intro-
duced its Hydro-
Conquest dive
line last year.The
models feature
screw-down
crowns and
stainless-steel
screwed cases
water resistant to
300 meters.This
chronograph and
date version has
a 54-hour power
reserve.$2,325
The venerable
Swiss brand is
the exclusive
timepiece of
all U.S. manned
spaceflight.The
new Dark Side of
the Moon Speed-
master chrono-
graph is Omega’s
first all-black
ceramic watch,
with 18k white
gold indexes,
black nylon strap
and ceramic
buckle, water
resistant to 50
meters.$12,000
Originally commis-
sioned to create
a watch for Italian
navy frogmen,
Officine Panerai
is famous for its
oversized,rug-
ged dive watches
that are designed
in Italy and built
in Switzerland.
The Radiomir
Black Seal has a
diamond-shaped
crown and trans-
parent back to
view the automatic
movement.This
388 is the newest
version of a classic
dating to the 1930s,
with 3-day power
reserve.$7,700
Shinola
Runwell Chrono
Scuderia
DirtTrack
CS10114
Longines
HydroCONquest
Chronograph
Panerai
Radiomir
Black Seal
Omega
Speedmaster
Dark Side
ofthe Moon
Summer Time
Whether your summer plans
take you to the ocean, desert or racetrack,
there is a watch that will serve you well in
all your travels—while remaining stylish
enough for backyard barbecues or the
office. — Larry Olmsted
IWC just
relaunched its
Aquatimer dive
lineup with
improved features.
The most rugged
example is the
titanium-case
Deep Three, which
offers a complete
safety backup to
electronic dive
computers, includ-
ing a mechanical
depth gauge (cap-
turing both current
and maximum
depth). $19,100
IWC
AquaTimer
Deep Three
I n s p i r a t i o n s / o b j e c t s o f d e s i r e

Though Pound Ridge, N.Y., is just a short
50-minute train ride from Grand Central Station, the
woodsy setting seems to inspire visitors to power
down their cell phones and sit on a park bench admir-
ing mallards. There are no traffic lights in the burg’s 23
square miles, and many of the 5,000 residents still
draw water from private wells. Yet an impressive cadre
of A-listers have made Pound Ridge their home,
including Richard Gere, who is part-owner of the
nearby Bedford Post Inn.
But until this past January, when world-renowned
chef and cookbook author Jean-Georges Vongerichten
Re-Inn-Vigorated
With Jean-Georges Vongerichten’s Inn at Pound Ridge,
Westchester is setting the table for foodie commuterS
// By Riki Altman-Yee
literally hung out his shingle above a white
picket fence, Pound Ridge hadn’t left its
imprint on the culinary map. Thanks to its
big-name chef, the Inn at Pound Ridge has
had no problem filling tables.
The two-story Colonial Revival house—
withitsoh-so-charmingturretintheback—
dates from 1833, two centuries after
Mohicans named the area “pound,” or
enclosure for game, and “ridge,” since it’s
surrounded by rugged cliffs. The building
sat vacant for years, virtually daring some-
one to give it life until Vongerichten, who
had purchased a vacation home only five
miles away in Waccabuc, took it on. “In the
end, we added modern touches but kept its
soul and its DNA from the time,” Vonge
richten says. “Something about that space
speaks to me.”
Much of the produce, honeys and
cheeses Vongerichten uses at his New York
mainstays, ABC Kitchen and ABC Cocina,
was already being sourced from farms in
or near Pound Ridge, so it was natural for
the inn’s chef de cuisine, Blake Farrar, to
call on the same purveyors when the two
crafted the initial menu. “I’ve been focusing
on artisanal products, like local honeys and
cheeses that represent the terroir of the
area,” Farrar says. “In spring we rolled in
peas and morels. But I can’t wait for tomato
season. And berries.”
As to whether the Alsatian-born Von
gerichten’s dreams involve more inn-type
eateries here or abroad, he says the road
ahead is still wide open. “The Inn at Pound
Ridge was a labor of love. I go one project
at a time. Life is exciting enough.”
pound ridge
by the
numbers:
1833Year the
structure
that houses the
Inn at Pound
Ridge was
constructed
04Number of
working
fireplaces
20Number of
seats in the
candlelit
wine cellar
thispage:FrancescoTonelli;oppositepage:BillBettencourt
it's been 20 years since Chef Tom
Colicchio opened New York’s Gramercy
Tavern with Danny Meyer. He’s been on the
fast track ever since, winning the 2000
James Beard Award for Best Chef: New
York City. He has since moved on from the
Gramercy Tavern and today owns or oper-
ates two dozen restaurants and a hotel, with
more on the way, and when he’s not cook-
ing he’s producing documentaries, writing
cookbooks,scaringthewitsoutofpeopleas
the head judge on TV’s Top Chef and fight-
ing for charitable and social causes. Cadillac
Magazine caught up with Colicchio to hear
his thoughts on becoming a first-time
hotelier, combating childhood hunger, and
cooking with fire.
Unvarnished as ever,
Chef Tom Colicchio
holds forth on food
in all its forms
// By Larry Olmsted
fully baked
Q: You recently started managing a hotel, a first
for you. How did that happen?
A: It’s Topping Rose House in Bridgehampton, N.Y.,
and the owners wanted me to do the restaurant. It’s
small, just 75 seats. The place has 22 guest rooms and it
didn’t make sense to have two operators. For years I’ve
done the food and beverage in hotels and, to be honest,
the FB is the hard part, so I run the hotel too. It’s been
fun and I’d like to do more.
Q: Your most recent restaurant is Heritage Steak in
Las Vegas, where you already have Craftsteak.
What’s different about it?
A: I wanted to do something different from Craftsteak,
so I found this manufacturer who does grills for burn-
ing wood or hardwood charcoal in the Spanish style,
and we cook everything over an open fire. I was always
against grilling because of backyard gas grills—pro-
panedoesnothingforme—butnowIlovecookingwith
real fire. And the meat is antibiotic-free.
Q: That’s something you’ve expanded to your
other restaurants, right?
A: Yes, all our chicken, pork, beef, everything, is
antibiotic-free at all our New York and L.A. restaurants.
Nearly three years ago I had neck surgery and got an
infection in the hospital, so I did all this research and
found that overuse of antibiotics in this country is creat-
ing these superbugs immune to drugs. I was shocked
to learn that 85 percent of all antibiotics used in this
country go into chicken and livestock. We have got to
get away from that.
Q: Did a similar revelation lead you to A Place at
the Table, the film you executive produced about
hunger in America?
A: I’ve been involved in hunger issues for 20 years, but
usually in terms of raising funds for groups like Share
Our Strength. My wife partnered with a documentary
filmmaker to do the movie, and we found out that hun-
ger is something we can solve. We produce enough
food in this country, and when people are hungry, it’s
a result of politics. We made the film, and it put us
smack in the middle of the issue. I’m regularly in
Washington meeting with members of Congress and
I’m involved in FoodPolicyAction.org. If I can use my
celebrity to help, I will.
I n s p i r a t i o n s / c u i s i n e

It’s been a year in the making, but the newly
renovated Echo Canyon Summit Trail is again lur-
ing hikers up Phoenix’s Camelback Mountain.
Last year the artificial steps of the lower section
eroded, making the trail so unsafe the lower section
was closed and rerouted. The new smooth dirt trail
(with no more artificial steps) follows Camelback’s
natural contours to a new turnaround in the saddle.
The Echo Canyon renovation doubled the
parking spaces and added other amenities.
Visitors are advised to take care on the strenuous
1.3-mile trail that ascends rapidly. “It’s not a walk in
the park; it’s the most extreme hike we offer,” says
Phoenix Parks Supervisor Cynthia Brown. “If you
plan to hike it, please gauge your fitness level and
don’t be too proud to take in the beautiful views and
then turn and go back.” — Margie Goldsmith
guests of four seasons Resorts in Lanai traveling
through Honolulu International Airport’s commuter terminal
can now enjoy their layover in high style. The brand has unveiled
a full-service luxury airport lounge reserved for exclusive use of
guests en route to their Manele Bay and Koele properties.
“Access to Lanai has traditionally been seen as challenging by
some travelers,” says Tom Roelens, general manager of the Four
Seasons Resorts Lanai. “With our own lounge, guests can relax,
recharge and start their private island getaway.”
The new state-of-the-art lounge allows guests to check out of
everyday life while checking in to the resort experience. The
lounge offers complimentary amenities including meal service,
beverages (the papaya lime smoothie is said to be a knock-out),
tablets, Wi-Fi access, charging stations, HDTVs, and a lounge
concierge to assist with resort registration and reservations for
activities and restaurants. Four Seasons Resorts Lanai guests
connecting via Honolulu to Lanai also receive concierge transfer
service to the commuter terminal provided by Island Air.
fourseasons.com — Margie Goldsmith
Taking Flight
Happy
Trails
Airportlounge:FourseasonsHotelsandresorts;
EchoCanyon:GettyImages/davidtomlinson
All over the world the rebounding high-end travel
market is racing to meet demand. Esteemed hotel chains are
planting their flags in cities rich in history—and within a stone’s
throw of the world’s best-known sites.
The Ritz-Carlton brand has always been revered for its stellar
service, but in the new Ritz-Carlton, Kyoto, look for a heavy dose
of traditional Japanese hospitality. The 86th property in the Ritz-
Carlton portfolio impresses as a Zen hideaway and the only bona
fide luxury hotel in a city filled with UNESCO World Heritage
Sites. The 134-room hotel has partnered with ESPA to create a
spa providing treatments that include traditional acupressure
massage as well as the Ryokucha Serenity Ritual. ritzcarlton.com
The Ferragamo family debuts the ninth hotel in its Lungarno
Collection with Portrait Firenze, the spectacularly situated bou-
tique property overlooking the Arno River and Ponte Vecchio. Flo-
rentine architect Michele Bönan has put his inimitable stamp on
the 34 guest rooms and suites. The hotel will arrange customized
experiences, such as a gourmet tour of the
markets of Florence and exclusive wine
tastings in Tuscany. portraitfirenze.com
Jerusalem’s Mamilla district is hotter
than ever, serving visitors with upscale
retail and luxury hospitality options. Now,
with the grand opening of the Waldorf
Astoria Jerusalem, well-heeled travelers
can recharge within walking distance of the
OldCity’sJaffaGateinthe226-roomformer
Palace Hotel, which dates from 1929. The
rapidly expanding Waldorf Astoria brand
hasmeticulouslyrestoredtheproperty,with
its Greco-Roman, Gothic and Ottoman
architectural influences, while adding mod-
erntoucheslikearetractableroof above the
lobby. Let the sun shine in! waldorfastoria3.
hilton.com — Drew Limsky
Treasures of History
Above: the
Portrait
Firenze in
Florence
overlooks the
arno River.
opposite page,
top: A luxuri-
ous place for
Four Seasons
Guests to Rest.
opposite page,
bottom: The
Echo canyon
summit trail
has had a
multimillion-
dollar
makeover.
I n s p i r a t i o n s / E s c a p e s

A new device holds a lot of promise
for helping people beat one of the most
common and treatable forms of cancer.
The Verisante Aura laser is a noninva-
sive spectroscopy system that shines a
light to identify spectral changes associ-
ated with skin cancer cells and provides
immediate results.
Developed jointly by researchers at the
British Columbia Cancer Agency and the
University of British Columbia Faculty of
Medicine, the device facilitates detection of
skin cancer in its earliest stages. According
to the American Cancer Society, patients
diagnosed withearly-stagemelanomahave
a 98-percent five-year survival rate.
The problem has been that it isn’t easy
to tell which skin lesions are benign and
which could be the early stages of cancer.
Dermatologists have traditionally deter-
mined which moles require biopsies by
eyeballing them, but the new handheld
If you thought deep
tissue massage was deep, meet
BioMeditation. The goal of the
therapy is to release energy
blockages to free the body of
stress and anxiety. Jeannette
von Johnsbach, who introduced
the therapy at the Four Seasons
Hotel Los Angeles at Beverly
Hills, says the list of BioMedita-
tion’s benefits can be long: van-
ished stress, joy and clarity of
mind, improved relationships,
even enhanced creativity, pro-
ductivity and athletic perform
ance. What happens is this: You
relax on a massage table, and a
therapist uses his or her hands
to activate the flow of bio
energy, kicking your body’s
self-healing power into gear.
“People who’ve had energetic
work before sometimes think
they know what to expect,
and then they are surprised
when they feel the depth of
the session,” von Johnsbach
says. “Other clients are definite
skeptics and do not believe in
energetic work—and it is
amazing to see how they will
change their point of view
once they feel it work in their
body and life. They say, ‘How
can this be when I don’t even
believe in it?’ I tell them that it
does not matter if we think
gravity is true or not. You still
have to walk on the ground.”
— Drew Limsky
Hands
On
laser—approved for use in Canada, Europe
and Australia, and expected to gain FDA
approval—identifies problem spots that
require closer examination and makes
immediate identification much easier.
“The assessment takes less than one sec-
ond,” says Dr. David McLean, co-inventor
of the device and a professor of dermatol-
ogy at the University of British Columbia.
“This is the only device that examines the
molecular nature of the lesion and detects
the three most common skin cancers: mela-
noma, basal cell carcinoma, and squamous
cell carcinoma.”
Tested on 1,000 skin lesions at Vancou-
ver’s Skin Care Centre, the device detected
every case of melanoma in 274 lesions rec-
ommended for biopsy. Although moles
flagged by the device still require exci-
sion, the device is expected to reduce the
number of biopsies performed on skin
lesions that turn out to be benign.
new tool offers hope for early diagnosis and treatment
of common cancer // By Margie Goldsmith
skin deep
BioMeditation helps
body heal itself
thispage:DavidBoyd;oppositepage:BlueParallel
E
mmanuel Burgio started out as an invest-
ment banker. But after traveling the world
on a yearlong sabbatical, he realized he
wanted to bring the experiences he had
to others. The result? Blue Parallel, now
the leader in providing customized travel itineraries
to time-pressed executives. The latest news: After 11
years of focusing on Latin America, Burgio, who was
raised in southern France, is expanding his offerings
into southern Europe.
The values that inform his company remain the
same as when he organized his first trips from New
York to Machu Picchu—and they’re values every trav-
eler should take to heart.
make your journey unique
“When I created Blue Parallel, I made sure our jour-
neys included insider-access experiences, not avail-
able to the public, that I had personally tried,” Burgio
says. “Whether it’s meeting a renowned artist in his
private atelier or kayaking the Beagle Channel with an
Olympic athlete, each of our journeys is tailor-made.”
add special experiences
“From my personal travel experience I know discern-
ing travelers not only seek luxury accommodations;
they also look for unique ingredients that make travel
special to them. For some this will be meeting with a
private art collector or a notable artist. For another it
could be visiting a tortoise reproduction center on the
Brazilian island of Fernando de Noronha.”
go local
“More and more, travelers are asking to stay in bou-
tique hotels or private estates over big resorts. They
are looking for a more intimate, private experience
when traveling. We are also finding people want to
eat local, with fresh gourmet cuisine high on their
priority lists.”
leverage your connections
“There are places that I personally know well, where I
have the connections that allow us to provide the
insider access for which Blue Parallel is known. I felt
the Mediterranean region was a logical new destina-
tion choice because I grew up in the south of France
and I have deep family roots as well as strong personal
contacts throughout the region. So whether it’s having
exclusive private access to the Alhambra near
Granada, Spain, or having Moroccan mint tea with a
Berber family in the High Atlas Mountains, our clients
get to experience things you can’t just book online or
even buy your way into. You have to know someone.”
see a new part of the world
“We’ve seen a surge in U.S. travelers deciding on Latin
America due to its lack of a significant time change,
direct flight options and, of course, the distinct cultural
and natural wonders this region has to offer. We have
seen a particular increase in requests for Brazil lately.
People are coming for the World Cup and then want-
ing to travel around the country—it’s a halo effect.”
Pathfinder
Blue parallel offers travelers Boutique hotels, exclusive
access and one-of-a-kind experiences // By becca blond
Emmanuel
Burgio:
“Our clients
get to experi-
ence things
you can't just
book online.”
I n s p i r a t i o n s / M i n d B o dy i n s p i r a t i o n s / T r e n d s p ot t e r

Visions

t’s particularly revealing
that the scene in American
Hustle when Irving Rosen-
feld (Christian Bale) and
Sydney Prosser (Amy
Adams) fall in love is set in a
dry cleaning store, with
clothes on conveyors swirl-
ing all around them. Director David
O. Russell conjures a vortex of fash-
ion and infatuation and the possi-
bility of endless reinvention. The
scene, with its stars tucked inside an
orbitofplastic-wrapped’70s-eragar-
ments, follows an impromptu fash-
ion show in which Prosser, a former
stripperlookingforawaytoleverage
her natural boldness, vamps it up in
a string of abandoned, improbably
gorgeous outfits.
“That’s sort of my favorite scene
in the film,” says Michael Wilkinson,
the film’s Oscar-nominated costume
designer, “because it shows the
transformational effect of clothes,
how her character was using
clothes in an empowering way.”
Transformation achieved, Prosser
encourages Rosenfeld, a Bronx-
born con man who aspires to be an
aesthete, to be more daring in his
own sartorial choices—so on comes
a velvet blazer with peaked lapels
and an expressive paisley design.
“I had the good fortune to be
working with the bravest actors on
the planet,” Wilkinson says. (For
those uninitiated into the world
of Hustle, rounding out the film’s
leading quartet—all four Oscar-
nominated—are Bradley Cooper as
quixotic FBI agent Richie DiMaso
and Jennifer Lawrence as Irving’s
ripe and erratic wife Rosalyn.)
Wilkinson, the Aussie who
started his career as a costume
research assistant on the set of Baz
Luhrmann’s Romeo + Juliet and
Moulin Rouge!, is now the most
sought-after costume designer in
the industry, with credits ranging
from Tron: Legacy and Noah to Zack
Snyder’s hotly anticipated, hush-
hush Batman/Superman project.
But with American Hustle, Wilkin-
son achieved a special kind of
alchemy in which the clothes
revealed as much as the faces—and
with those four faces, that’s a
remarkable thing.
In the midst of pre-production
for the sequel to Man of Steel,
Wilkinson sat down with Cadillac
Magazine to talk about the day Jen-
nifer Lawrence ended up on his lap,
discovering John Travolta’s ruined
Saturday Night Fever suit, and why
Halston matters.
Q: You did these beautiful little art
films like Friends with Money and
Garden State, and also spectacles
like 300, Watchmen and Man of
Steel. So American Hustle repre-
sents your first huge commercial
success of what is really an art film.
A: What I really love about my
job is that I’m able to jump from
one genre into another. In a way,
Whether dressing Batman or the cast
of American Hustle, acclaimed costume designer
Michael Wilkinson does it bold and beautiful
By Drew Limsky Photography by Joe Schmelzer
You’re helping tell the story with
the costumes, helping the audience
get a glimpse of the characters from
their clothes.” — Michael wilkinson
Wilkinson's
filmography:
- - - - -
2016 (projected)
Batman v
Superman
- - - - -
2014
Noah
- - - - -
2013
American
Hustle
Man of Steel
- - - - -
2012
The Twilight
Saga:
Breaking
Dawn – Part 2
Loom (Short)
- - - - -
2011
Luck
The Twilight
Saga:
Breaking
Dawn – part 1
Sucker Punch
- - - - -
2010
TRON: Legacy
Jonah Hex
- - - - -
2009
Terminator
Salvation
Watchmen
- - - - -
2007
Rendition
The Nanny
Diaries
- - - - -
2006
300
Babel
Friends with
Money
- - - - -
2005
Sky High
Dark Water
- - - - -
2004
Imaginary
Heroes
Garden State
Additional reporting by Phoebe Tully
30 Summer 2014

it’s the same task whether you’re
doing a tiny independent movie or a
summer blockbuster. As a costume
designer, you’re helping tell the
story with the costumes, helping
the audience get a glimpse of the
characters from their clothes. Going
from an epic, operatic film like Man
of Steel to something much more
intimate and character driven—and
then back again—is a real switch
in gears. And I don’t know anyone
who writes characters like David
O. Russell does. They’re so wildly
imaginative. They’re spectacularly
passionate, but also spectacularly
flawed. As a costume designer,
that’s just the sort of thing you want
to sink your teeth into.
Q: In many of your films, regardless
of genre, there’s a self-reflexivity—
the clothes are commented on by
the characters, or the director. Are
there moments in American Hustle
where you feel that Russell is giv-
ing the audience a pause to regis-
ter and appreciate your work?
A: Yes, it’s definitely flattering, and
I remember the first time I saw
the film and there was that shot
of Amy’s beautiful high-heeled
shoe in the car—it’s this loving
close-up and pan up the side of
her leg. It’s moments like that that
really are so gratifying to the cos-
tume designer. There’s this feeling
that good costume design should
sort of disappear and never draw
attention to itself—and I think
that’s very important—but I also
think there’s an expectation from
the audience that they want to
enjoy the costumes, that it’s an
element of why people go to the
movies. You have to tread that line
between being believable and not
so attention-grabbing that it pulls
you out of the film, but also being
very compelling and imaginative.
Q: Irving Rosenfeld has this phi-
losophy about committing to life
“from the feet up,” or as we might
say today, “all in.” Did that apply
on set, as well?
A: I’m thinking of the final fitting we
had for Jennifer Lawrence, with the
white jersey dress that I designed
for her, and we wanted to see how
the dress would move on her. So
right there in the fitting room, she
did a mini-rehearsal of the casino
bar scene, and she sat down on my
knee and pretended to spill Cham-
pagne all over me. That was a real
moment—the number one actor in
the world sitting on your lap.
Q: That was quite a dress, so many
kinds of wrong and so many kinds
of right.
2003
Just Another
Story
Life on the
Line
Milwaukee,
Minnesota
American
Splendor
Party
Monster
- - - - -
2001
When
Strangers
Appear
- - - - -
2000
Looking for
Alibrandi
- - - - -
1997
True Love
and Chaos
A: David liked the idea that there
was always something off about her
costumes, that she’s dressed inap-
propriately for some situations—for
example, the white dress is a little
tight on her—and that she’s over-
dressed for her final scene in Long
Island. That was the first time we see
Jennifer with her hair totally piled
on top her head, all messy, the huge
sunglasses, the white neck brace—
it was an iconic moment.
Q: And of course there’s the famous
confrontation scene in the ladies’
room between the two women.
How did the costumes help empha-
size their mutual animosity?
A: You had that eye-catching, ultra-
sophisticated gunmetal sequined
dress that I designed for Amy, con-
trasting with Jennifer’s Long Island
suburban choice. The lines of Jenni-
fer’s dress were a little less original,
more generic eveningwear, and the
cut of the dress is something you’d
find at a high-end department store
rather than at a Manhattan bou-
tique. It was Manhattan meeting
Long Island head-on.
Q: There’s a high degree of display
in fashion from the ’70s. Today,
fashion has a lot of display too, yet
it seems more commodified.
A: I totally agree—I think today it’s
more conformist, with strict styles
that you adhere to. What made the
’70s so distinctive was the sense
of liberation, and a sense of using
clothes to explore who you are
and express yourself to the world.
People did that with a lot more con-
fidence and a lot more panache—to
use that wonderful ’70s word—than
they do today. Now the climate’s a
little more fearful—people don’t
want to end up on the worst-
dressed list. But I say have fun with
clothes. Show your quirks and pas-
sions and interests, and use clothes
as a tool of self-expression.
Q: One costume that was full of
panache was Bradley Cooper’s cos-
tume in the Studio 54 scene.
A: At the beginning of the film,
Richie wears polyester suits and
rather garish ties, but then he gets
hypnotized by Amy Adams and
the possibilities of clothes, of silk
shirts and leather jackets. When
I was sourcing for the film, I was
rummaging through the rental
houses of Los Angeles and I came
across this really cool white three-
piece suit. I looked closer: It said
‘J. Travolta.’ I had stumbled across
multiples of the famous Saturday
Night Fever costume before, but
seeing the original was so exciting.
Unfortunately it has a massive red
wine stain down the front of it, but
I brought it to the fitting so Brad-
ley and I could have a moment of
reverence, respect and awe. With
Bradley’s clothes, it was a case of
exploring the fit and seeing how it
made him feel. When you put on
suits like that, with the way those
fibers make you feel, the suits do
a lot of the dancing for you—you
can’t help it. And I remember look-
ing at the monitors and seeing this
graphic footage of bumping and
grinding and a lot of sweaty bod-
ies—it was very decadent. I think
then I realized that we had a very
special movie on our hands.
Q: A lot of people commented on
how exposed Amy Adams is in her
costumes, but do you agree that
her wardrobe feels more social and
political than sexual?
A: Absolutely. She was tapping into
the spirit of the cutting-edge design
of the late ’70s, with its amazing
sense of liberation and freedom
and self-expression, epitomized
by designers like Halston. There
were very extreme lines and dra-
matic, rather provocative shapes
that showed off a woman’s body,
but allowed them to be sexy and
powerful at the same time, without
necessarily being objectified by
men—they were doing things for
themselves. Fashion designers
were being more exploratory
and creative with their silhou-
ettes, and women gravitated
toward them. In our film, Amy’s
character uses her physicality as
part of her hustle and power. She’s
aware that she’s stunning, and has
the brains, sensitivity and sophis
tication to know she can rely on it.
Of course, there’s a double edge to
it, because supreme confidence is
needed for these costumes, and
both Amy and I really enjoyed the
vulnerability of these very dra-
matic lines, too. You’re sort of going
out on a limb with these costume
choices. There’s not a lot between
you and the world.
Q: Yes, despite the questionable
morality of the characters, they—
and their clothes—communicate
something potent about American
determination and resourcefulness.
Can you see fashion designers
wanting to riff on the looks you’ve
given these characters?
A: There’s always been an interest-
ing cyclical relationship between
fashion and cinema, a chicken-
and-egg situation, a debate about
who is inspiring whom. There’s an
inevitable crossover and an inter-
esting dialogue between the two.
Q: Are there ways in which your
designs for the film can inform
today’s sartorial choices, or would
these lines feel dated?
A: I don’t think they would. One of
the first things David said to me
was that he didn’t want the film to
be a historical reenactment. It was
a character-driven drama, which
gave me the impetus to use 1978 as
our reference point, but not be tied
down by that. l
JENNIFER
LAWRENCE
DID A LITTLE
MINI-
REHEARSAL
OF THE
casino bar
SCENE, AND
SHE SAT
DOWN ON
MY KNEE
AND
PRETENDED
TO SPILL
CHAMPAGNE
ALL OVER
ME.
— Michael
wilkinson

photography by
jenny Risher
real-world looks
in the style of american hustle
confidence Game
There’s always been a CYCLICAL
relationship between fashion
and cinema, a chicken-and-egg
situation, a debate about who is
inspiring whom.
— MICHAEL WILKINSON, OSCAR-
NOMINATED COSTUME DESIGNER OF
AMERICAN HUSTLE
stylist
billie Causieestko
- - - - -
hair
George Ortiz
- - - - -
makeup
Christyna Kay
- - - - -
Fashion
Saks fifth avenue
On her:
Diane von
furstenberg
brown/white
checkered
strapless
jumpsuit
On him:
Sand bLACK-AND-
WHITE mohair
tux jacket;
Theory bLACk
vest; Hugo Boss
bLACK suede
loafers
34 Summer 2014

PEOPLE
DON'T WANT
TO END UP
ON THE
WORST-
DRESSED
LIST. BUT I
SAY HAVE
FUN WITH
CLOTHES.
SHOW YOUR
QUIRKS AND
PASSIONS
AND
INTERESTS.
— MICHAEL
WILKINSON
On her:
Roberto
Cavalli Leopard
print maxi
dress; Gucci
gold platform
sandals
On him:
Paul Smith
gray striped
suit and tie;
Theory white
shirt and
gray vest; Hugo
Boss brown
loafers

B y drew limsk y / / P H O T O G R A P H y B Y john roe
low country
The Savannah of
low-country boil is now
the New South,
with a thriving artisanal and
creative class. It's the
ideal place to experience
the next-generation 2015 Escalade,
a reimagining of
an American icon.
38 Summer 2014

Savannah has always abided outliers and
eccentrics. It’s been 20 years since John Berendt
published Midnight in the Garden of Good and Evil
(here they just call it “The Book”), a true crime story
that still holds the record for the most weeks (216)
on the New York Times bestseller list. The book’s
unprecedented success reinforced the prevailing
view of Savannah—a Southern Gothic, almost chi-
merical setting of live oaks and ghost tours, where
people eat fried green tomatoes and shrimp ’n’ grits
down by the river, and the locals know the difference
between voodoo and hoodoo.
Nearby Tybee Island is an acorn-shaped dot of
land where you can walk across
wooden footbridges to the river in
one direction and to sandy dunes
and the ocean in another. It’s the
type of place a laid-back restau-
rant owner in a Hawaiian shirt
will serve you a shrimp po’ boy
waterside. It’s an island peopled by
eccentrics and unique personali-
ties, and I feel right at home inside
the one-of-a-kind 2015 Escalade.
“Each interior has its own
unique premium wood type,” says
Todd Brown, the Cadillac Escalade
marketing manager, who is beside
me in the driver’s seat. He points
out the vehicle’s rich cockpit, not-
ing that this model features jet-
black, perforated leather seating
surfaces with elegant top-stitching,
suede accents, and santos palisander wood (a type
of rosewood). Brown says that “the materials are
authentic—if it looks like wood, it’s wood; if it looks
like metal, it’s metal.”
The center console boasts an eight-inch,
reconfigurable screen—an element of the Cadillac
User Experience (CUE)1
digital infotainment system
that controls key functions. “That includes naviga-
tion, climate and audio controls,” Brown says. “And
it has haptic feedback, so when you touch the screen
you get a little vibration back. The screen also has
proximity sensing. Once some of the screen’s menu
items have gone blank after not being touched for
about 30 seconds, your menu options will reappear
as your hand gets closer to the screen.”
We cruise down Butler Avenue, and I look
up to see that at every numbered cross street, the
Georgia beach reappears. We make a turn on 11th
Street and pull in under a sturdy palmetto tree. The
sand is white and finely grained; I walk along the
undulating dunes, which are topped with waves of
wild grass. When I return to the Escalade, it’s to the
strains of mid-career Sinatra on the Bose®
surround
sound audio system crooning a seductive standard.
Sinatra’s timbre is sweetly languorous, the experi-
ence aurally immersive. Sixteen
strategically placed speakers will
tend to do that. We’ll emerge
renewed from this cocoon into
a vibrant nightlife of Savannah’s
historic center that has become its
own type of butterfly.
To get there we cross the ele-
gant 1.9-mile Talmadge Memo-
rial Bridge. Its white suspension
cables look like they’ve been spun
by a spider who graduated archi-
tecture school. Despite the wind
and the traffic, the Escalade’s
aerodynamic design allows it to
smoothly glide along, with an
assist from the StabiliTrak Elec-
tronic Stability Control, which
automatically and seamlessly
adjusts the braking and torque.
Once in the dense city center, we seek the pedes-
trian strip known as City Market. I note the indie
Brooklyn-esque feel of the pizzaioli throwing pies in
Vinnie Van Go-Go’s and take in the growing music
culture of the city. But City Market is primarily
anchored by its art galleries, where 50 local artists
exhibit their work.
Most everyone agrees that design—
specifically the Savannah College of Art and
Design (SCAD)—has increased the city’s art and
design quotient in a remarkable way. Founded in
1978 with one flagship building and 71 students,
opposite page: the next-generation 2015 escalade with its bold, refined lines finds its place
in the new south, where there's a growing creative and artisan Culture.
the book
Reinforced the
prevailing view
of Savannah: a
southern gothic
setting where
locals know the
difference
between voodoo
and hoodoo.
1. Full functionality requires compatible Bluetooth®
and smartphone. Some devices require USB connectivity. 41 Summer 2014

Three types
of wood are
offered as
interior
accents:
From top,
Santos
Palisander,
Natural Elm
and Walnut
Advanced Technology
The technological innovation
in the Escalade has advanced
by leaps and bounds for
2015. Start with the available
Head-Up Display inspired
by jet fighters, front seats
that heat and cool, and the
heated steering wheel. Now,
add to that the tablet-like
Cadillac User Experience
(CUE)1
infotainment system,
which lets you operate key
functions such as audio and
climate control, and a stan-
dard navigation system with
an eight-inch diagonal screen
with intuitive touch features
and voice recognition. Out-
side the vehicle, the full LED
headlamps give the Escalade
its signature look. “It’s an
elegant execution,” says Eric
Clough, director of design,
Cadillac Interiors.
Luxury Utility
Elevating expectations for
what a utility vehicle can be,
the next-generation 2015
Escalade features third-row
seats that fold flat in mere
seconds to make way for
cargo—up to 120.5 cubic feet
of space.2
In fact, this Esca-
lade has more storage com-
partments than ever before.
Add in the hands-free power
liftgate, and you have the new
definition of what makes a
luxury utility vehicle.
iconic Design
The Escalade’s bold but
refined lines and signature
grille give it a distinctive
appearance, but the real story
is on the inside. The cut-and-
sewn interior features premium
materials, plus a choice of
three different types of wood.
“We designed Escalade with
what we call the beauty of
contrast—a combination of
bold SUV character, but also
the refinement of the Cadillac
form,” says Clough.
Once you’ve reached
the top, there’s only
one way to go—over.
The 2015 Escalade
elevates the standards
for luxury utility
vehicles, combining
advanced technology,
distinctive design
and high-quality
craftsmanship into a
spectacular package.
The Next
Generation of
Indulgence:
1. Full functionality requires compatible
Bluetooth®
and smartphone. Some devices
require USB connectivity. 2. Cargo and load
capacity limited by weight and distribution.
the school now has locations in Atlanta, Hong Kong
and Lacoste, France, in addition to its Savannah
flagship. Thanks in part to SCAD, this once quintes-
sentially Southern city is now a village-y place with
art house cinemas that play revivals of recent and
mid-century vintage classics.
“Through SCAD, Savannah has rediscovered
itself and then some,” says Jonathan Sturgis, a City
of Savannah firefighter and occa-
sional model with an antic sense of
humor (“I studied abroad, worked
abroad and married a broad”).
“SCAD has reinvigorated all the
Southerncharmthatonewouldhope
for, and has thrown in a healthy dose
of extremely creative and industrial
hipsters,” he says. “With that has
come a craving for more music and
art festivals that make Savannah not
only a Southern belle of a city, but
also a creative haven.”
To run shopping errands in
and around Broughton Street in the Escalade is to
really appreciate the homegrown proprietor—and
the vehicle’s cargo space. After indulging in Chive
Sea Bar and Lounge’s lobster and edamame risotto
and lemongrass lychee martinis, my crew of five
and I load up with purchases at the independent
artisanal shops. The Savannah Bee Company has
naturally luxurious body care as well as honey and
mead tastings,and Lowcountry Gourmet Foods fea-
tures shelves lined with an impressive range of olive
oils and aged balsamic vinegars. (“Think outside the
salad,” reads a sign.) Such shops share blocks with
upscale national brands, too.
Having happily supported the local economy,
we’re pleased to make use of the Escalade’s enhanced
cargo space—courtesy of the rede-
signed power-folding third row
that folds flat in mere seconds. The
hands-free lift gate, an especially lux-
urious touch, is a welcome feature as
well. And everyone notes the ease of
entering and exiting the vehicle (“The
rear-seat doors are two inches longer
than before,” Brown says), while the
guys in the second row appreciate
the reclining seats.
As night falls and locals and visi-
tors move down toward the water,
gamely negotiating the cobblestones
and steep steps to River Street, the
Escalade moves easily along the narrow streets,
lighting up the stones with its sharply designed full
LED headlamps. It’s time for dinner, and whether
we go for she-crab soup and crab cakes or for more
cutting-edge gastronomy, one thing is certain: The
next-generation Escalade has given us a tasty ride
into Savannah’s future. l
above: The escalade's aerodynamic design and stabilitrak electronic stability
control make it a breeze to drive, even in the breeze.
the 2015 Escalade
combines advanced
technology,
distinctive design
and craftsmanship
in a new definition
of utility.
42 Summer 2014

B y Brian Berusch
PHOTOGRAPHY BY
JENNIFER CAWLEY
His life at the half-century mark,
big wave pioneer Laird Hamilton
talks about the road less paddled

You can see it in the magazine articles, fea-
ture film roles, TV segments and astound-
ing video clips that feature the big wave
surfer. You can feel it when he talks. This
man is driven.
“As a kid I wanted to be the best. Not
better than any one person. Just the
best,” he says.
He’s pretty convincing: This is the man
who crossed a 90-mile channel on a wind-
surf board, towed into a previously
“unsurfable” wave in Tahiti, and biked
and paddled across the entire Hawaiian
Island chain with his pal, legendary
surfer Dave Kalama, to raise awareness
of autism. Now at the time of life when
many men are settling into their corner
offices, Hamilton, who just turned 50, is
still fearlessly tackling unknown waters—
literally and figuratively.
In print, Hamilton is often portrayed
as all brawn, the sun-bleached-but-
grumpy old guard of the sea. But at this
moment—on a gusty day at an organic
farm and café on Kauai—he’s showing all
sides of himself. He’s the devoted family
man as eager to talk about home school-
ing his two youngest daughters as he is
about the foil technology he hopes to use
to successfully careen down the face of a
100-foot-plus wave, or the interest Larry
Ellison has taken in Hamilton’s research
for use in his Team Oracle racing yachts.
“I’ve been getting better at channel-
ing my comfort zone, shifting gears into
being a good father,” he says.
Here on the island, he’s a man at
ease. For our meeting he’s chosen a table
directly in front of the café entrance,
allowing every fan and admirer to regis-
ter his hulking, 6-foot-3-inch frame and
interrupt our interview to thank him for
all he does. It happens a lot.
Hamilton was brought up to be
gracious. As a boy, “all the guys I respected
were really good men,” he remembers.
“Great watermen, but good fathers first,
eager to help people, and generous. This
was what my mom taught me means
‘being a man.’ All my values came from
her. She would say, ‘I don’t care if you
become a street sweeper—do it with the
most honor and integrity that you can. And
if you do it to the best of your true ability,
the rest will take care of itself.’”
Hamilton’s father had left the family
before Laird’s first birthday, and his
mother, Joann, traded California for the
surfing life of Oahu, plunking a 3-year-old
Laird down in a predominantly Polynesian
scene that didn’t take kindly to a towhead
in its playground.
“I think this is why Gabby and I con-
tinue to have so much in common, starting
off as outcasts,” he says. Hamilton’s wife is
the former professional volleyball player
Gabrielle Reece. As children, it was their
looks that set them apart: she in the U.S.
Virgin Islands—6 feet tall at 12 years old—
and he a “blonde haole in 1960s Hawaii.”
ABOVE: Hamilton with a custom hydrofoil board he developed to ride
waves of over 100 feet. opposite page: enjoying more conventional water
travel with wife, Gabrielle Reece, and daughters, Reece (left) and Brody.
surfboard-filled barn and spills out into
the surf, just as he’s done thousands of
times before.
It’s a decent day for surfers, with six-
to eight-foot wave faces transporting a
small local scene down the breaking
walls of water. Hamilton skims across
every wave that presents itself. His
graceful dance across the gurgling sur-
face includes walking back and forth on
the board from end to end, mid-ride.
Child’s play for him.
Yet he’s beaming as he paddles back
into the lineup, chatting with everyone
nearby. More than a few will inevitably
go home and boast that they were in the
water with the greatest rider of massive
waves of all time. For Hamilton, he was
just doing what he was meant to do. l
For Hamilton, being THE best meant
fitting in. “I thought, if I could be respected
as the best, it would be a way to create
equality,” he recalls. “You may not like me,
but out there, you’ll need to respect me. I
pursue my goals to ride the biggest waves,
the fastest waves, the farthest distances.
They are not going to stop being my goals.”
Much of that was shaped by his step
father, a graceful surfer and board shaper,
Billy Hamilton. It was young Laird who
introduced his mother to her future hus-
band. Billy had taken the boy under his
wing and become his mentor. But early
on, Hamilton saw the toll surf competition
took on his new father, which is why Laird
resisted the world of competitive surfing.
“The first step was not caring what people
think. I’m not surprised when people don’t
like me—that’s where I started. I chose my
own path at first because I saw how my
father was subjected to the system. One
day he was number one, and the next,
judges decide, ‘You’re now number ten.’ I
didn’t want to subject my art to that group.
If it was up to them, I’d be miserable.”
He continues: “There are settlers and
discoverers. And I really like the proc
ess of discovery.” Next for Hamilton is the
rollout of a new line of clothing to be sold
under the Laird Hamilton–Force of Nature
label, his own line of standup paddle
boards, a product called the GolfBoard
that is like a motorized skateboard for use
on the golf course, expanding his line of
nutritional supplements, and a workout
he’s been testing with Olympic athletes.
Hamilton pauses, stares, and then his
energy and thoughts come flooding back.
“You never know if you’re going to walk
off the edge of the world. And sometimes
you do, and when you make it back it gives
you this confidence that you can survive a
fall off the edge of the world, and you’re
willing to go again. You think, ‘I survived
the last one.’ And you discover stuff along
the way, especially when you fall, which
makes it worth it.”
surviving was key as Hamilton
began exploring some notable surfing
innovations. That included tow surfing
with a personal watercraft into 50-, 60- or
70-foot waves. Hamilton is forthright: “I
wanted to be the test pilot.”
He shares a story about the first time
he took out a hydrofoil—a surfboard
with a metal “wing” mounted below that
lifts the surfer out of the water for long
periods of time at high velocity. He was
strapped to the board with heavy snow-
board bindings when he suddenly found
himself pinned to the ocean floor 35 feet
below the surface. “I thought, ‘This is not
a good place to be.’ But while I was down
there I realized I needed more flotation.
And bindings that release.”
With that, Hamilton hoists one of his
paddleboard prototypes under his arm
and heads to the water. He paddles a few
hundred yards down the river from his
“The first step was not caring what people
think. I’m not surprised when people don’t like me—
that’s where I started.” — Laird Hamilton

B y Ron Gluckman / / I ll u stration B Y Neil Tasker

S
hanghai—where 1,000 buildings exceed 30 stories—is called by many the
World Capital of Skyscrapers.
And the super-skyscrapers keep soaring in Pudong, the dazzling, often surreal
neighborhood built in the last two decades atop farmland east of the Huangpu
River, across from Shanghai proper. Audiences around the world have seen
Pudong even if they don’t know its name: The sector has provided the futuristic backdrop
for Bruce Willis’ Looper and much of the daredevil action in Mission Impossible 3. James
Bond borrowed some of Pudong’s scintillating skyscrapers for Skyfall the year before they
represented a futuristic Los Angeles in Spike Jonze’s acclaimed sci-fi romance, Her.
Long one of the world’s most frenetic cities, Shanghai has done even more of late to
ratchet up its exhilarating and unparalleled pace of urbanization. In this hyper-kinetic city,
even an architect as seasoned as Robert Price lives in a perpetual state of awe. Price is a
senior associate at Gensler, which is, by many measures, the world’s biggest architectural
firm. In eight years of living in Shanghai, Price has seen neighborhoods crumble before his
eyes—and ears—while armies of cranes work to replace them with futuristic skyscrapers.
Still, Price recalls a day six years ago when the elegantly tapering Shanghai World
Financial Center opened, becoming the tallest building in a city jam-packed with skyscrap-
ers—more than two dozen are 50 or more stories in this metropolis of 24 million people. He
was especially drawn to WFC’s glass observation deck, the highest in the world at 1,555
feet, set atop the tower’s trapezoid-shaped aperture in the clouds. “I remember waiting for
the opening, then going up for a look,” he says. “What an incredible thrill.”
Nowadays Price finds a bigger buzz, atop his firm’s Shanghai Tower—China’s tallest
skyscraper and the world’s second highest. The 1,841-foot-high observation deck offers
breathtaking horizon-to-horizon vistas, overlooking both the Jin Mao, China’s tallest tower
in 1998, and the WFC, which claimed the crown in 2008. Now that honor goes to Shanghai
right: A look at the construction
from high above. Below: The Shanghai
tower is a marvel of design and
engineering.
PhotographyCourtesyGensler
2,073 The height in feet of
the Shanghai Tower, which
will make it the tallest build-
ing in China and the second
highest in the world.
128 The number of stories
in the Shanghai Tower, with
more than 4 million square
feet of total floor space.
24 Percentage of building
material saved by using
advanced algorithms,
monster computer power
and extensive test modeling.
60 MILLION The cost
savings in dollars achieved
from innovative test
modeling technologies.
20 The thickness in feet
of the tower’s concrete
mat above its supporting
tiles, used to shore up the
building’s foundation.
34,000 The reduction of
the tower’s carbon footprint
annually, in metric tons,
due to sustainable building
strategies.
63 The number of hours
that concrete was continu-
ously poured to create the
foundation (a world record).
The effort required a line of
trucks 1.2 miles long.
SHANghaI TOWER
BY THE NUMBERS
above: workers put the
finishing touches on the
Shanghai Tower, the new-
est—and tallest—structure
in pudong, and the second-
tallest building in the
world. From its observation
deck at 1,841 feet, you can
look down on the two
buildings that were once
the tallest in china.
Tower, by a wide margin. From his heavenly perch in the sky Price can actually look down
upon two buildings that each were once China’s tallest, and they seem to shrink to some-
thing close to irrelevance some 500 feet below.
This breathtakingly vertiginous tower was meant to be: When this part of the city was
planned, it was always with a trio, not a duo, of super-skyscrapers in mind. “In one way or
another the Shanghai Tower makes Lujiazui [Pudong’s financial district] more complete,”
observes Bert de Muynck, Shanghai architect, professor, and founder of MovingCities, an
urban think tank. “You didn’t realize something was missing until they built it.”
“When this project started, the environment was totally different,” Price says. “There
was really only the Jin Mao—the World Financial Center hadn’t been built. Shanghai is
growing by half a million people a year. The design really responded to this growth. We
wanted the height to be substantial enough to point to the future.”
BUILDING TALL HAS INFATUATED humankind since before the Tower of Babylon,
yet until relatively recently, the skyscraper race was a two-city competition. New York’s
Empire State Building (1,250 feet, 102 stories) defined skyscrapers for four decades; in
1971, the original World Trade Center 1 (1,368 feet, 110 stories) held the title for two years
until it was surpassed by Chicago’s Sears Tower (1,450 feet, 110 stories). Sears held the title
for another quarter century (the building was renamed the Willis Tower in 2009). Thus was
the state of the art in the very long modern age, led by the ingenuity of the United States.
It was a good run. Then Cesar Pelli’s iconic Petronas Towers (1,483 feet, 88 stories)
brought the crown to Kuala Lumpur, Malaysia, in 1998. In the ensuing 15 years, the world
has seen an unprecedented skyscraper boom played out across Asia and parts of the Mid-
dle East, but especially in China, where more than 200 are currently under construction.
Every couple years a new tower topped the last, often by just a few meters, until there

Above: the unique, twisting exterior of the
shanghai tower is more than a design element.
it also funnels wind to generators that create
power to help run some lights in the building.
came a quantum leap in this modern skyscraper race, comparable to when the United
States put a man on the moon. The Burj Khalifa (originally called Burj Dubai) didn’t just
supplant the previous record-holder, Taipei 101 (1,667 feet), as tallest tower in 2010. At
2,717 feet, this super-duper monolith silenced all discussion. For a time, at least.
In the interim, other values aside from absolute height emerged within the sky-
scraper construction community, such as quality, inventive design and overall urban
planning. Such values are reflected in the design of Shanghai Tower.
“TheanalogytotheSpaceRacemakessense,”saysDanielSafarik,aneditorattheCoun-
cilforTallBuildingsandUrbanHabitat(CTBUH),officialarbitratorofskyscraperheightand
the source of general information about records set. Just as Russia and the United States
pushed each other to explore space—and made major science discoveries as a result—the
skyscraper boom has spurred innovative construction techniques and energy efficiencies.
“Shanghai Tower is a really ambitious building,” Safarik says. “We see a lot of proj-
ects hyped as green projects, where some energy-saving features are tacked on, but
this is probably one of the best examples of integration of environmental features that
we have ever seen.”
For instance, wind is carefully funneled by the unique twisting exterior of the tower,
and generators will harvest power for some of the lighting. Massive atriums, up to 14
stories high, run all the way up the skyscraper and not only showcase virtual sky for-
ests, but also contribute natural heating and cooling. The foundation required world-
record volumes of concrete, but underground heat is also harnessed for additional
warmth and power. In all, these sustainable strategies are designed to reduce Shanghai
Tower’s carbon footprint by 34,000 metric tons annually.
“This has been a long journey, the eight or nine years from concept to completion,”
Price says. “Working in China is always a challenge, but so much more so with this
building.” Most distinctive is its shape and shimmer. The glass tower appears to twist
as it rises. Actually it does twist—at least its skin does. “A lot of these funky shapes we
see in buildings nowadays are driven by technology,” Price continues. “Now, we can
design in three dimensions, and you can take risks that you couldn’t before. Comput-
ers do the math. This building is really driven by the desire to explore,” he says. “This
building really pushed the limits.”
“There are just so many amazing things here,” marvels Safarik of CTBUH. “You
have the sky areas, the twisting, the greenery and public space. We’ve seen some of
these things in other buildings, but what is unusual is the scale and size.” Next year
the observation deck is expected to open, set to be the highest in the world. Visitors to
the observation deck at the SWFC tower found that when they stood on the glass floor
and looked down, it seemed as though they were hovering atop the Jin Mao Tower—a
deliberate statement of dominance. The Shanghai Tower will soon reveal how fleeting
the feeling of being the big guy really is. l
above: shanghai tower’s
outer skin twists around
the base, providing its
swirling effect. Massive
atriums, up to 14 stories high,
ring the building all the way
to the top floors.
“So many things are com-
pletely new, never tried before,
like the double skin of the
exterior,” says architect Rob-
ert Price. Super-tall structures
now use curtain-wall construc-
tion. Instead of heavy walls,
Shanghai Tower’s exterior
cladding is draped over a core
structure, like an umbrella.
MADE IN CHINA SHAPED BY TECHNOLOGY
The tower’s twisting
appearance comes from a
clever use of two curtain walls.
“Think of a circle, than draw
a triangle over. They meet at
three points,” explains Dennis
Poon, vice chairman of Thorn-
ton Tomasetti, which provided
structural engineering.
The area outside the circle
forms the expansive atriums,
big enough for forests of
trees, and space for restau-
rants and other community
activities. This triangle of glass
rotates as the Shanghai Tower
elegantly rises. “The twisting
is like a girl’s skirt,” Poon adds,
“as she is dancing.”

.002
900
Eric Chang, left, and
dan hellman in their
brooklyn workshop.
“we’ve been best friends since
we were 10 years old,” says Eric Chang of his
business partner Dan Hellman. While plenty
of childhood friends join forces later in life,
few of them start out in a suburban garage and
end up with their work on television shows
like Gossip Girl and Today and movies like Sex
and the City 2—not to mention in luxe hotel
properties flying the Four Seasons and Man-
darin Oriental flags. This is Hellman-Chang, a
furniture design shop on a hot streak.
interview by robert brown and todd davis // photography by jim wright
T h e s e w e r e t h e g u ys w h o l i k e d
wo o ds h o p — n ow H e l l m a n - C h a n g
i s a l e a d e r i n t h e
“imported from Brooklyn”
d e s i g n m ov e m e n t
the
interviewers
todd davis
robert brown
STYLIST: LINDSAY NORDBERG // GROOMER: KIM WHITE // PROP STYLIST: SHARI ANLAUF

garage
we taught ourselves.
W e sta rt e d u s i n g wo o dwo r k i n g
W e g ot s o m e o l d wo o dwo r k i n g b o o ks.
eq u i p m e n t i n m y fat h e r ’ s 900
900
To tell the story of Hellman-Chang,
Cadillac Magazine recruited Robert
Brown and Todd Davis, principals of
Brown Davis Interiors: The establishment
design firm meets Brooklyn’s upstart fur-
niture craftsmen. It was Brown Davis,
after all, that brought the original Miami
Vice house back to life and went on to
create homes for former President Bill
Clinton and former Secretary of State
Hillary Clinton in Washington, D.C., and
Chappaqua, N.Y. When Brown Davis
began, they were renovating mid-century
homes, using them as design labs, and
then flipping them, reaping considerable
rewards for their 18-hour days. Today,
they’re wondering how a new design duo
makes its mark. These are excepts from
Dan Hellman and Eric Chang’s remarks,
as told to Robert Brown and Todd Davis.
Eric: Dan and I went to middle school and
high school in the suburbs of Maryland.
In high school we shared a lot of the same
interests—architecture and design—and
one day we said, ‘Let’s just jump into this,
let’s design some furniture.’
Dan: We started using woodworking
equipment in my father’s garage. My
father had some power tools, and we
bought some crappy wood, crappy pine.
We got some old woodworking books.
We taught ourselves.
Eric: We were both working other jobs.
Dan studied classical guitar at North-
western, and I got my degree in finance
and marketing from NYU. We went ahead
and rented a five-by-ten co-op workshop
in Brooklyn, sharing space with these
rough-and-tumble craft guys, back before
Brooklyn was cool. We were working
nights and weekends.
///// The Z pedestal table
was their first product.
Eric: A tremendous amount of research
went into placement of the product in the
industry. We saw a lot of opportunities,
coming in from the outside. Everything has
been really well calculated, from the design
of the product to the design of the brand.
Brooklyn became a huge selling point. It
was becoming an epicenter of design and
everyone was flocking to it. But we’d been
entrenched there for eight years.
Dan: We submitted Z Pedestal for Interior
Design’s Best of Year awards—and won.
Eric: We were in business approximately
from 2005, and we won the award in 2006.
The heads of the industry were there and
we didn’t know anybody. We certainly
looked out of place at the time. When we
accepted the award from {Interior Design
editor] Cindy Allen, everyone was snap-
ping our picture, and she leaned in and
kind of whispered, “Who are you?”
///// But she said it more
colorfully. HELLMAN AND
CHANG were 24 at the time.
Eric: We’re actually very different, which
is why we work well together as business
partners. Dan is far more technical—he’s
ABOVE: it takes more than 100 hours to
create the z quad dining table, the
biggest extension of the firm's iconic z
pedestal table. opposite page: even as
demand grows, all the furniture
remains meticulously handcrafted in
their brooklyn studio.

space
.02
900
T h e r e ’ s a fo c u s
o n n eg at i v e
and the weight and the
grounding
o f s o l i d wo o d. . .
the master craftsman, very hands-on.
I’m more marketing, PR and branding,
and I can flesh out the overall designs,
themes and look of the products. Dan fig-
ures out how the furniture will be made.
I push in one direction, he pushes in
another, and we come together at a good
middle ground. We make the prototypes
together. After it is put on paper and it
comes to life as a prototype it becomes a
sculpting process.
Dan: We’re always trying to create
dynamic, sculptural products. There’s a
focus on negative space and the weight
and the grounding of solid wood and how
these two values work together. We want
to preserve an elegant silhouette. And we
want to create an emotional connection—
we want people to want to touch our fur-
niture when they see it.
Eric: I’m a big car guy and I love the emo-
tional connection that people feel toward
their cars. When you see a beautiful car,
doesn’t matter whether you’re a man,
woman, young, old—the first thing you
want to do is run up and touch it. That’s
what I want people to feel about our fur-
niture. We keep our finishes close to the
grain so you can still feel it.
///// High-end hospitality
opened its doors.
Eric: In January 2007 we got the call
from [San Francisco design firm]

h u g e s e l l i n g p o i n t. I t was b eco m i n g a n
Brooklyn
epicenter of design
a n d e v e ryo n e was f lo c k i n g to i t.
b ec a m e a900 900
Former world #1 tennis player and recent golf addict
Andy Roddick has some tough decisions to make.
travismathew.com
©2014 TravisMathew, LLC. All Rights Reserved
BraytonHughes, which requested furnishings
for the Four Seasons in Seattle. They said
they loved our piece and they wanted us
to redesign it as a bar table. They wanted
15 of them. And they wanted our coffee
tables for the presidential suite. So the
Four Seasons was our very first client.
Dan: We flourished during the slowdown
because consumers increasingly cared
about supporting local economies. When
people spent, they considered furnishings
as an investment that was handcrafted
and unique.
///// Youth was on their side;
they could afford to take
their time to get it right.
It took them four years
to design and manufacture
the Avery Chair.
Dan: Unique and handcrafted are still the
core traits of our products. Our business
was growing as others were shrinking.
Eric: We’re 32 now. We retain our competi
tive edge, in part, because our product is
extremely difficult to copy well.
///// And because they dress well.
Eric: Men’s fashion has always been one
of my passions. It took me a little while to
convince Dan to dress in these bespoke
suits and be photographed making furni-
ture. This concept went into a look book
and our advertising campaign grew out of
that. One image needed to carry the entire
message of what the brand represented—
the luxury of the suits juxtaposed with the
nearly archaic way of making furniture.
We were young, self-taught designers,
and I think our personal style caught the
attention of the industry early on.
Dan: At one point we were known as the
two best-dressed guys in furniture. Dress-
ing sharply became part of the brand.
Eric: I always felt that there was an obvious
link between furniture and fashion. And
the ad campaign isn’t far from the truth.
In fact, right now I’m standing here in my
workshop in a suit.
///// This year, Hellman-Chang’s
furniture was installed in
the lobby of the Mandarin
Oriental Miami as part of a
two-year refurbishment of
the resort. The Hellman-
Chang studio is still in Brook-
lyn’s Bushwick neighborhood.
Eventually Brooklyn caught
up to them. l
ABOVE: the xie sideboard blends subtle
asian styling with intrinsic hellman-
chang cues. previous page: after a
humble start using their fathers’ tools
in a garage to craft pieces from
crappy pine, hellman and chang have
built a studio renowned for its
commitment to quality and design.
60 Summer 2014

With more than 3,000 startups
in Los Angeles, will tech steal the
spotlight from Hollywood?
For a century, the“industry”inLosAngeleshas
meant entertainment. But L.A. is going geeky, SoCal-
style. Everyone seems to be buzzing over Silicon
Beach, the three-mile coastal hot spot stretching from
Santa Monica to Venice that has emerged as the new
epicenteroftechnologyentrepreneurship.It’shometo
the likes of Snapchat and Google, and scores of start-
ups have set up shop as well.
“It’s palpable—you can feel it,” says Ryan Wilson, advisor and co-founder
of the startup WayFounder and director of EarPeace. “I’ve been here long
enough to know that it wasn’t here four years ago, and every month you

right: silicon beach offices are
techy but with a different vibe.
know that something special is
happening, and you are right in
the middle of it—it’s exciting.”
Wilson, a serial entrepreneur,
has been a part of the L.A. tech
scene since 2008. He says its sun-
kissed brand of creativity makes
Silicon Beach unlike any other
tech community. “No other place
has such low barriers to creativ-
ity as L.A. If you can dream it, you
can do it,” he says, noting that the
area enjoys the singular combi-
nation of entertainment, beach
life and technology.
Tapping into the scene’s
creative heritage is Keri Kukral,
founder of RawScience.tv, a
new online science network.
She works out of a hangar in
the Santa Monica airport amid
piles of DVDs. “It looks like the
merging of old Hollywood and
new tech,” she says, adding that
her co-founder is a 29-year-old
hacker. There is also a program-
ming director and Oscar®
- and
Emmy®
-winning producer.
And Bitium, the startup that
provides app management for
companies to securely man-
age their software catalog, just
moved its offices to an old Santa
Monica art studio. Working in a
space once occupied by the well-
known abstract expression-
ist Richard Diebenkorn allows
everyone more room for creativ-
ity, not to mention open space
for networking and collaborat-
ing. “It’s an open environment,”
says Scott Kriz, Bitium’s founder
and CEO. “We are kind of trans-
parent throughout the company
with what we do—it has the feel-
ing of a creative art studio.”
According to Angel List, an
online platform for startups,
softsoftsoft
story by elina fuhrman
photography by roy ritchiE
wired
62 Summer 2014

more than 3,000 companies
have already set up shop in the
city, among them Viddy, Vow to
be Chic, Whisper, BeachMint
and CrowdFunder. “If the Bay
area is the infrastructure, then
L.A. and Silicon Beach are the
user experience,” Wilson says.
Los Angeles is now a legiti-
mate hub for accelerators,
incubators and venture capital-
ists—and there is no lack of out-
spoken advocates, like one well-
known venture capitalist who
is proudly proclaiming what
he calls the L.A. “tech renais-
sance.” And no one denies that
the moniker—Silicon Beach—is
potent branding.
“Who needs Silicon Valley?”
trumpeted Google after setting
up shop in Venice Beach and
settling in the Frank Gehry–
designed Binoculars Building
just a few blocks from the ocean.
“Prefer the sand and surf over a
mountain view?” teases its web-
site. “Forget the Valley—pack
your bags for Google L.A.”
Wherethe
creativityis
Wherethe
creativityis
Wherethe
creativityis“Big companies want
to be where great ideas are
and be where the most creative
energy is,” says Mike Colo-
simo, co-founder and CEO
of ThrdPlace. “That’s why the
Googles and the Facebooks,
the Intels and the Microsofts
and the Adobes have all come
down here, and they’ve all set
up big shops here because they
want to collaborate with people
with new ideas. They want to be
close to this creative energy and
talent here.” Colosimo started
ThrdPlace.com with DeKoven
Ashley, and the two are known
as resident social entrepre-
neurs on L.A.’s West Side. Their

Right: The
blue
skies and
beautiful
views
serve as
inspira-
tion for
many
startups.
below:
bitium
founder
scott
kriz at
work.
opposite
page:
Ian mur-
phy, of
murphy
public
relations,
chats
over his
morning
coffee
on abbot
kinney
boule-
vard.
business serves as an online
platform for communities and
brands to do good work.
Colosimo cites the virtually
inexhaustible nearby talent pool.
“The location is a good place to
live, and that makes it easy for us
to recruit,” he says. “There is an
amazing talent pool that’s coming
out of universities here. People
are excited to be a part of a city
that has that many resources and
diversity of market—and it’s sort
of just coming out of its shell.”
Like everywhere else, the
index of desirability is real
estate. “Prices are already 3 per-
cent higher than at the peak of
the bubble in 2006,” says Diane
Dorin, a long-time real estate
agent with Venice-based Teles
Properties. “It’s the highest I’ve ever seen. Not only are people coming from
the San Francisco Bay area, but you have people moving from downtown as
well,” she says. Along with tech industries, other companies that support the
high-tech culture are moving too. Several big San Francisco coffee houses
like Philz Coffee and Blue Bottle are about to open their doors on the beach.
Rising real estate prices inspire resourcefulness. “Our office is the back
unit space of my house,” Colosimo says. “We have a garden outside and a
little trailer which is our conference room, and dogs running everywhere. It’s
very Venice.” When not at his office, Colosimo can be found at Le Zinque on
Venice Boulevard. “During the week, from 7 to 11 in the morning, you see at
least half a dozen of your friends who are also running companies. They’re
either hanging out, working or taking meetings.”
If he needs to meet elsewhere, Colosimo opts for one of 40 co-working
spaces in the area. The cooperation-not-competition ethic has produced
a tight-knit group of entrepreneurs who support each other with fund-
ing, strategy and recruiting. That’s why EarPeace has its headquarters
in a co-op space: not only because it’s cost effective, but also because it
“You are starting to see the art, fashion, design community
become more technology savvy, and the techies becoming a little
bit cooler. — ian murphy

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