{St. Louis’ Finest}
slmag.net
Sept/Oct 2026
five dollars
LOCALLY OWNED | FREE ESTIMATES | CUSTOM STORAGE SOLUTIONS
2626 S. BIG BEND BLVD | 314.781.9000 |
STLOUISCLOSETCO | STLOUISCLOSETCO.COM
{St. Louis’ Finest}
Sept/Oct 2026
slmag.net
21
9 13 21 27 31 33
38 40 44 47 48 50 52 56 58 63 64 67 75 77 79 81 83 85 87 91
27 Art of the Possible Nick Schleicher in photo.
2
slmag.net
Sept/Oct 2026
five dollars
on the cover:
Hospitality Begins at Home Photo by Carmen Troesser
Remembering John Ferring Sculpted by Nature Hospitality Begins at Home Art of the Possible Edward Boccia’s Long-Awaited Renaissance The Relais & Châteaux Side of French Polynesia Of Note... Carpool Cool Where the Land Speaks Bibliotaph Vintage Point Pinky Promise Saint John’s Resort Denim Ascends to Haute Couture The Excelsior Experience A Venetian Reverie Hook’em The Chair That Changed the World Began in St. Louis Sophisticated Celebrations Calendar Third Annual Mind In Bloom Miriam School Fundraiser 35th Annual Forest Park Forever Hat Luncheon The Third Annual Groovy Do Hairspray at The Muny Rung for Women Drag Me to Brunch Saint Louis Fashion Week Is Back! Tennessee Williams Pool Party 2026 ZOOFARI 2026
PUBLISHER Craig Kaminer Craig@slmag.net EDITOR Lou Ann Wilcox EditorSTL@slmag.net DIGITAL CONTENT PRODUCER Grayling Holmes digitalSTL@slmag.net ADVERTISING Cortney Vaughn Cortney@slmag.net Rachel Sokolich Rachel@slmag.net ______________________________________________ CONTRIBUTORS Writers Grayling Holmes Craig Kaminer Lou Ann Wilcox Design Jon Feagain Photography Zach Dalin Carmen Troesser ________________________________________________ SOPHISTICATED LIVING MEDIA Eric Williams Bridget Cottrell Greg Butrum Jason Yann Sophisticated Living® is published by High Net Worth Media, LLC and is independently owned and operated. Sophisticated Living® is a registered trademark of Williams Media, Inc. All Rights Reserved. Sophisticated Living® is published six times a year. All images and editorial are the property of High Net Worth Media, LLC and cannot be reproduced in whole or in part without written permission. Annual subscription fees are $25.00; please add $5 for subscriptions outside the US. Single copies may be purchased for $5 at select fine retail outlets. Telephone 314-82-SLMAG.
SLMAG.NET
From the Publisher
Every year, the SOPHI Awards remind me just how much extraordinary creative talent exists in St. Louis. Our city is filled with architects, interior designers, builders, landscape architects, artisans and craftspeople whose work shapes the way we live — often without receiving the recognition it deserves. The SOPHIs were created to change that, and what began as a celebration of exceptional design has grown into one of the most anticipated evenings in our creative community. This year, the SOPHI Awards will quite literally be in full bloom. On November 12, we will gather at the Missouri Botanical Garden for the 2026 SOPHI Awards — an evening designed to be as imaginative, beautiful and memorable as the work we are honoring. Few places embody the intersection of architecture, landscape, art and human ingenuity as elegantly as the Garden. It is one of St. Louis’ great treasures and the perfect setting for an event devoted to recognizing the people who make our homes, businesses and public spaces more thoughtful, more inspiring and more beautiful. Our emcee for the evening will be acclaimed designer Marshall Watson, whose warmth, wit and unmistakable sense of style make him an ideal guide for the festivities. Marshall understands that great design is never merely about appearance. It is about emotion, atmosphere and the way a space makes us feel. I have no doubt that he will bring that same sense of generosity and joy to the SOPHI stage. The botanical theme will weave its way through every element of the evening, beginning with extraordinary floral-inspired works by Alex Katz, Donald Sultan and Ross Bleckner. Each artist approaches the natural world from a distinctly different perspective, yet all three remind us that flowers and plants can be far more than decorative. They can be bold, graphic, mysterious, sensual and surprisingly modern. Their work will provide an artistic backdrop worthy of both the Garden and the designers we are celebrating. Of course, an unforgettable evening also requires unforgettable food and drink. Catering St. Louis is creating an exciting menu inspired by the setting and the season, while 1220 Spirits and 4 Hands Brewing Co. will bring the theme to life with a botanical bar designed especially for the occasion. And because even the most sophisticated among us should never outgrow the pleasure of an ice cream cart, Clementine’s Naughty & Nice Creamery will provide the evening’s sweetest — and perhaps most irresistible — finishing touch. But as much fun as we intend to have, the heart of the SOPHI Awards remains the work itself. The entries represent countless hours of imagination, collaboration, problem solving and craftsmanship. Behind every finished room, residence, garden or building is a team that debated the details, confronted the unexpected and refused to settle for anything less than exceptional. The final result may appear effortless, but those of us who understand the design and building process know better. Excellence is rarely accidental. That is why recognition matters. The SOPHI Awards give our creative community a platform to celebrate its best work, introduce talented professionals to a larger audience and inspire all of us to think more ambitiously about the places we inhabit. They also bring together people who might ordinarily compete for the same projects but, for one evening, can applaud one another’s accomplishments and celebrate the collective strength of St. Louis design. I hope this issue whets your appetite for what is ahead. The 2026 SOPHI Awards promise to be more than an awards ceremony. They will be an immersive celebration of design, art, nature, hospitality and the remarkable people who continue to elevate our city. Thank you to the leadership of STIFEL, KDR, Dielmann Sotheby’s, AUTCO, TRUE+Caliber, Slyman Bros., Lococo Fine Art, 1220/4Hands and Clementine’s in sponsoring the SOPHIs so we can make it the best award program in the city. Please join us at the Missouri Botanical Garden on November 12. Come dressed to celebrate, prepared to be inspired and ready for a few surprises along the way. This year, the SOPHIs are growing into something truly extraordinary — and I cannot wait to see all of you there.
Craig M. Kaminer, Publisher craig@slmag.net 6
slmag.net
EDWARD BOCCIA
Edward E. Boccia, Ephraim Morning, 1984, oil on canvas, 91 1/2 × 56 inches, Courtesy of Philip Slein Gallery
Philip Slein Gallery
4735 McPherson Avenue Saint Louis, Missouri 63108 p 314.361.2617 f 314.361.8051 www.philipsleingallery.com
Remembering John Ferring The quiet giant who changed St. Louis
Written by Craig Kaminer / Photos courtesy of Contemporary Art Museum St. Louis Every city has its visionaries. Every city has its philanthropists. And, every so often, a city is fortunate enough to have someone who is both — a person whose influence quietly extends into nearly every corner of civic life, not because they sought recognition, but because they simply believed they could make things better. For St. Louis, that person was John Ferring. His sudden passing has left an unmistakable void, not only for his beloved wife, Alison, and their family, but for an entire community that is stronger, healthier, more beautiful and more compassionate because of the life they built together. In the days following John’s death, I found myself asking the same question that so many others were asking: What was it about John that made him so extraordinary? Certainly, it was his remarkable intellect, his business success or the astonishing breadth
of his philanthropy. But none of those quite captured the essence of the man. Then Blake Strode, Executive Director of ArchCity Defenders, found the perfect word. “For weeks after John’s passing,” he told me, “I struggled to pin down the precise quality that made him so unique and his impact so profound. In a word, I think it was sincerity. That doesn’t seem like something that should be rare, but it is. There was no pretense or performance with him — only a deep commitment to good work and the people doing it.” Sincerity. It is such a simple word, yet it explains so much. John never approached philanthropy as charity. He approached it as partnership. Whether serving on nonprofit boards, supporting cultural institutions, advancing healthcare, preserving Forest Park, or strengthening educational opportunities, he wanted to understand the mission, challenge
assumptions and help organizations become stronger than they imagined possible. His generosity was measured not only by the checks he wrote but by the hours he invested, the conversations he initiated and the confidence he gave to others. “John led and inspired others with deep thought and humility,” recalls Lesley Hoffarth, President and Executive Director of Forest Park Forever. “Many know of his philanthropic efforts, but he also generously shared his time, advice and enthusiasm for so many efforts that were important to the St. Louis region. I will always remember the delight he took in seeing others succeed in lifting our community.” That joy in seeing others succeed may have been one of his defining characteristics. John understood that great cities are not built by individuals seeking credit. They are built by people willing to strengthen institutions, empower leaders and invest in ideas whose greatest rewards may not be realized for years, even decades. No institution illustrates that better than the Contemporary Art Museum St. Louis, where John served as board chair and remained one of the museum’s most devoted champions. “John understood how transformational art is,” says the museum’s Executive Director Lisa Melandri. “How being surrounded by art in your home or experiencing it out in public makes life more thoughtful, more joyful. He lived that belief and expressed it through all of the work he did for the St. Louis community.” slmag.net
9
10 slmag.net
For Melandri, John’s commitment went far beyond financial support. “John and Alison have shown up for CAM when it really mattered. Again and again, they made things possible that might not have been possible otherwise. As a dedicated board member and former chair, he gave so much of his expertise and resources. He was a true partner to me. He is quite literally in the walls and the fabric of our museum, and we are eternally grateful for their generosity and support of our institution.” That phrase — “a true partner” — surfaces repeatedly in conversations about John. People rarely describe him simply as a donor. They describe him as someone who listened first, asked thoughtful questions, challenged people to sharpen their thinking and then committed himself fully to helping worthy ideas succeed. Artistic Director of the St. Louis Shakespeare Festival, Tom Ridgely, experienced exactly that. “John was extremely generous, as everyone knows, and along with Alison, a truly central figure in the story of the festival. But it never felt like a handout with John. He made it his business to understand your thinking, and he wanted it to be sound, which often boiled down to focus and discipline. So it felt like a partnership.” Then Ridgely offered perhaps the most personal reflection of all. “I just admired the heck out of him. He was a real ideal of manhood in my eyes. Totally confident but never imposing himself. Smart and tough, but also somehow soft and gentle. You could tell just by the way he carried himself that he had substance and integrity.” He laughed as he recalled visiting John’s office and noticing something unexpected — not cutting-edge technology but an elegant leather-bound paper planner.
“He showed it to me, and his whole life was in there. Every appointment, every reminder, even when he needed to get his tires rotated six months from now. It blew me away. Just unbelievable the level of organization and forethought he brought to his hours and his days.” Ridgely promptly bought one for himself. “It didn’t make me more like him,” he joked. “But just being around him, you felt inspired to try and do better.” That may be John’s greatest legacy. Not simply that he transformed institutions, but that he elevated people. He challenged others — not through criticism or ego — but through example. His humility encouraged humility. His discipline encouraged excellence. His optimism inspired confidence that St. Louis could become the city it aspired to be. Of course, no remembrance of John would be complete without acknowledging Alison. Their partnership has long been one of the defining forces in St. Louis philanthropy. Together, they championed the arts, education, healthcare, civic life and countless organizations that enrich our community every day. John’s accomplishments were never separate from that shared vision. Their generosity reflected common values and a mutual belief that
investing in people creates the strongest possible legacy. Today, that legacy surrounds us. It lives in children discovering creativity inside the Contemporary Art Museum. It lives in families enjoying Forest Park. It lives in groundbreaking medical research, in nonprofit organizations serving those most in need, in artists finding audiences, in students finding opportunity and in civic leaders inspired to dream bigger because John believed they could. Many of those whose lives have been touched by his generosity will never know his name. John would have been perfectly content with that. He believed the mission mattered more than the recognition. St. Louis has lost one of its finest citizens. Yet the city John loved continues to benefit from the institutions he strengthened, the leaders he mentored and the culture of generosity he helped cultivate alongside Alison. Some lives are measured by titles earned or wealth accumulated. John Ferring’s life will be measured by something far more enduring: the countless people whose lives are better because he quietly chose to invest in a city he never stopped believing in. His presence will be deeply missed. His example will be impossible to forget.. sl slmag.net
11
kdrshowrooms.com
SCULPTED BY NATURE
are homes that occupy a site, and then there are homes that seem destined for it. AwardThomas Wall designs There winning architect Thomas Wall’s design (of Mitchell Wall Architecture and Design) of a a contemporary lakeside retreat in Labadie, Missouri, belongs squarely in the latter category — a residence that feels less constructed than discovered. Rising from nearly 20 wooded acres overlooking retreat where secluded lake about an hour outside St. Louis, the contemporary home is an exercise in architecture, landscape arestraint, craftsmanship and permanence. and craftsmanship Ironically, the project began before escaping to the countryside became fashionable. “This started before COVID,” Wall recalls. “The client wanted to build what he called become one
By Craig Kaminer Photos by Alise O’Brien
a ‘cabin’ on property he owned in Labadie. He was a bachelor at the time, a high-powered attorney and aerospace engineer and he wanted someplace he could escape from his daily routine. He loved contemporary architecture and mid-century modern design and wanted something unique.” What followed became far more than a weekend cabin. It became an architectural retreat designed around one simple premise: create a home that was as durable as it was beautiful. “We jokingly called it ‘zombie proof,’” Wall says with a laugh. “He wanted to be able to close everything up when he wasn’t there and know it was secure. From day one the idea was concrete, glass and steel — not only because they’re incredibly durable, but because he loved that aesthetic.” That concept established both the visual language and structural framework for the entire residence.
slmag.net
13
“The house actually began with a structural grid,” Wall explains. “Once I had that grid established, I started laying out the program. That became the fundamental basis of the design, and then I’d break the grid where necessary to create different room sizes, unique shapes and most importantly, the views.” Those views became the home’s defining feature. Set beside a tranquil lake surrounded by mature woodland, every principal room is intentionally oriented toward the water. Floor-to-ceiling glass dissolves the boundary between inside and outside, making the changing seasons an essential part of the home’s interior experience. “’Bringing the outside in’ has become an architectural cliché,” Wall says. “It’s a cliché because it’s a really good idea. The client wasn’t interested in manicured lawns or perfectly controlled landscaping. He’s letting nature be nature, so it made sense for us to capture as many views as possible. The entire lake side of the house is almost completely glass.” Wall laughs when recalling one design idea that ultimately didn’t survive the approval process. “In the original primary bathroom, I actually designed what I called the ‘poo view,’” he jokes. “The toilet faced a four-by-eight-foot window looking directly out toward the lake. The client later met his eventual partner and she decided that wasn’t going to happen.” Even without that memorable feature, the primary suite remains one of the home’s most tranquil spaces. A freestanding soaking tub overlooks the lake through expansive glass, while floating walnut vanities, stone surfaces and minimalist fixtures reinforce the home’s calm material palette. Like every other room, the focus remains fixed on the landscape beyond the walls. Throughout the residence, Wall relies on an intentionally restrained collection of materials. Concrete panels, richly figured walnut, blackened steel, stone and glass repeat from room to room, creating continuity while allowing texture and craftsmanship to become the decoration. 14 slmag.net
Natural light becomes another building material. Morning sun filters into the home, casting rhythmic shadows across polished concrete floors before afternoon light grazes textured walls, revealing subtle imperfections that soften the home’s industrial vocabulary. The home’s dramatic floating staircase exemplifies Wall’s philosophy that even functional elements deserve architectural significance. “Stairs are always important to me,” he says. “They either need to be completely hidden and utilitarian, or they need to be beautiful and thoughtful. If they’re one of the first things people see when they walk into the house, they need to be interesting.” Suspended from a concealed steel spine, thick walnut treads appear to float effortlessly through the two-story space. While visually sculptural, the staircase also serves another purpose. “I wanted to make sure it didn’t block the natural light or interrupt the views coming through that two-story wall of glass,” Wall explains. “It has weight and presence without becoming an obstacle.” That balance between strength and lightness is evident throughout the home. T h e l i v i n g ro o m o p e n s a l m o s t entirely to the lake through disappearing glass walls, allowing the interior to flow seamlessly onto the terrace beyond. A twosided linear fireplace can be enjoyed both inside and on the covered deck, introducing warmth without dominating the space. Understated furnishings in soft neutral tones quietly support the architecture instead of competing with it. Adjacent to the living area, the kitchen serves as the home’s social centerpiece. Anchored by a substantial walnut island topped with dramatic black stone, the space balances professional functionality with furniture-quality craftsmanship. Open shelving integrated into the island reinforces the home’s relaxed aesthetic while showcasing everyday objects rather than concealing them. Above, one of the home’s most distinctive architectural features stretches
throughout the public spaces — the striking walnut slatted ceiling. Interestingly, Wall is quick to credit his client. “I wish I could take credit for those,” he says. “The original idea was simply to introduce more wood into the house and help with acoustics because concrete floors and walls can create a lot of echo. The client took that idea much further by incorporating acoustic panels and then adding the integrated linear lighting. It became an acoustical feature, a lighting feature and a visual feature all at once.” The ceiling also subtly guides movement through the home, drawing the eye toward expansive windows and reinforcing the architecture’s strong horizontal lines. Although the residence appears to be constructed entirely of exposed concrete, achieving that look required considerable ingenuity. Wall initially explored numerous structural systems before settling on a more practical solution. “There is a steel skeleton underneath everything,” he explains. “The concrete appearance actually comes from a large-format material called 2-Stone that mimics industrial concrete. It gave us the aesthetic we wanted while making construction much more practical. It also provides flexibility for electrical systems,
plumbing and future modifications that solid concrete walls simply wouldn’t allow.” That willingness to embrace innovation without sacrificing design reflects Wall’s broader philosophy about luxury. “I think luxury today has less to do with excessive space and more to do with thoughtful design,” he says. “After the McMansion era, people realized that bigger doesn’t necessarily mean better. More and more, clients would rather invest in craftsmanship, details and sophistication than simply adding square footage.” It is a philosophy that echoes many of the principles established decades earlier by Frank Lloyd Wright, whose influence remains evident throughout contemporary architecture. “Wright’s homes weren’t enormous,” Wall notes. “Most were around 2,000 square feet, but they represented the height of luxury because they were beautifully designed. It wasn’t about 20 rooms or multiple kitchens. It was about creating a functional house that was exceptional.” Perhaps nowhere is that philosophy more evident than in the home’s remarkable restraint. Furnishings remain intentionally sparse, allowing the landscape to become the dominant visual experience. “We wanted people looking outside,” Wall says. “Why build a house in a place this beautiful if everything inside is what you’re paying attention to?” slmag.net
15
16 slmag.net
The project also reflects an unusually collaborative relationship between architect and homeowner. With a background in mechanical engineering, the client became deeply involved throughout construction, even completing portions of the interior installation himself. “Some clients disappear after the design phase and come back when it’s finished,” Wall says. “Others want to be involved every step of the way. This client loved the process and I think that made the project stronger.” Looking back, Wall considers the residence among the finest work of his career. “This is one of my favorite projects,” he says. “It was one of those perfect storms where you have a great client, a great process and enough freedom to really explore ideas. The guidance was simply, ‘Here’s the style I like. Here’s what I need. Let’s see what you can do.’ When clients trust architects like that, that’s often when the best work happens.” That trust is evident in every carefully considered detail — from the floating staircase and sculptural material palette to the uninterrupted views across the lake. More importantly, it is evident in what the house doesn’t do. It never overwhelms the landscape. It never relies on excess. Instead, it quietly demonstrates that the highest form of luxury isn’t measured by square footage or spectacle, but by the emotional connection between architecture and place. In an era when so many custom homes strive to impress through sheer scale, Thomas Wall has created something far more enduring: a contemporary retreat where thoughtful design, honest materials and the surrounding landscape combine to create architecture that feels timeless. It is a home that rewards careful observation, revealing new details with every visit while allowing nature to remain the true masterpiece. sl slmag.net
17
ASHLEONARDDESIGNLLC.COM | 314.642.4847 |
ASHLEONARDDESIGNLLC | INFO@ASHLEONARDSTUDIO.COM
Founded in Spain in 1997, Vilagallo embodies the art of European luxury, where bold creativity meets exceptional craftsmanship. Designed between the vibrant streets of Madrid and the renowned textile region of Piacenza, Italy, each collection reflects a harmonious blend of Mediterranean sophistication and Italian artisanal heritage. Every garment is meticulously crafted in Europe using the finest materials and an unwavering commitment to quality, sustainability, and timeless design. Distinguished by vibrant colors, exquisite prints, and refined tailoring, Vilagallo offers effortlessly elegant pieces created for women who appreciate individuality, impeccable craftsmanship, and modern luxury.
165 Carondelet Plaza, St. Louis, MO 63105 • (314) 725-7205 • @lussotheboutique
by Tony Montano
52 2 S . H A N L E Y ROA D @ W Y D OW N | C L AY TO N , MO 6 310 5 B U D S S T L .C OM | 314 . 371. 4 6 4 6 | H E L LO @ B U D S S T L .C OM | @ B U D S F LOW E RS S T L
SHOP NOW
HOSPITALITY BEGINS AT HOME
How Ben Poremba is using restaurants to rebuild community on Delmar Boulevard By Craig Kaminer / Photos by Carmen Troesser When Ben Poremba talks about restaurants, he rarely begins with food. Instead, he talks about people. “Food is a catalyst for people to get out of their house and go somewhere,” he tells me as we sit inside Del Bono, the newest addition to his growing collection of restaurants in the Delmar Maker District. “Less and less, we have reasons to gather. You can work from home. You can order everything online. You don’t have to leave your house anymore. Going out to eat is one of the last things we actually do for social reasons.” It is a deceptively simple observation, but one that explains nearly everything Poremba has built during the past decade. While many restaurateurs talk about concepts, menus and market demographics, Poremba speaks about gathering, belonging and creating places where strangers might eventually become neighbors. Food, in his mind, is the invitation. The real objective is human connection.
That philosophy comes into sharp focus in the Maker’s Yard, where three distinctly different Bengelina Hospitality restaurants — Nixta, Florentin and Del Bono — surround a welcoming outdoor commons. Families linger while children play. Friends gather for coffee, cocktails or dinner. Music spills across the lawn. People arrive without reservations and, more importantly, without an agenda. The restaurants are the anchors, but the yard is the living room. Spend even a few minutes there and it becomes clear that this is more than another restaurant development. It is an experiment in placemaking, rooted in Poremba’s belief that hospitality can extend beyond the dining room and into the life of an entire neighborhood. That vision did not emerge from a corporate strategy session. It was born out of necessity. When the devastating May 2025 tornado tore through the Delmar Maker
District, it damaged businesses, disrupted momentum and left several neighboring storefronts dark. Nixta survived, but suddenly found itself operating in a district many people assumed had closed altogether. Business slowed dramatically — not because the restaurant had lost its appeal, but because people had lost their reason to come. “So I started thinking opportunistically,” Poremba recalls. “If I wanted Nixta to survive, I had to activate this space.” He approached the founders of Third Degree Glass Factory, developer Doug Auer and Jim McKelvey, the co-founder of Block, Inc. (formerly known as Square), with an ambitious proposal. Rather than search for unrelated tenants to fill the vacancies, what if Bengelina Hospitality took a larger role in activating the complex? What if, instead of one restaurant trying to draw people to the neighborhood, there were several reasons to visit throughout the day? slmag.net
21
A breakfast café could attract parents, professionals and young families in the morning. A contemporar y Mexican restaurant could energize lunch and dinner. An approachable Italian pizzeria built around a wood-fired oven could welcome families, date-night couples and evening crowds. Surrounding it all would be a public gathering space programmed with concerts, markets, dance lessons, outdoor games and community events. “I wanted people to have a reason to come here that wasn’t just making a reservation,” he says. “They can come for the yard. They can come because their kids want to play. They can come because there’s music or a market. The restaurants become part of the experience.” The distinction is significant. Restaurants have traditionally been conceived as destinations unto themselves: Guests arrive, eat and leave. Poremba envisioned something more fluid — a place where visitors might begin the morning with coffee 22 slmag.net
and shakshuka at Florentin, wander through Third Degree Glass Factory and neighboring shops, return for dinner at Nixta, linger in the yard over a glass of wine and finish the evening sharing pizza and gelato at Del Bono. “Italians have this wonderful phrase,” he says with a smile. “Dolce far niente — the sweetness of doing nothing. That’s what I wanted people to experience here. Just come and be.” The sentiment feels almost radical today. In an age defined by schedules, notifications and relentless productivity, Poremba is creating spaces that encourage people to slow down. His vision is not built around efficiency but around presence — and it is built around Delmar Boulevard itself. For decades, Delmar has carried the weight of a phrase every St. Louisan knows: the Delmar Divide. The words evoke separation — economic, racial, cultural and geographic. Poremba does not deny that history, but he refuses to accept that it must define the street’s future. “When people
hear Delmar, there’s so much stigma and negativity,” he says. “I want to turn the story upside down. I want people to think, ‘Let’s go to Delmar today.’” That optimism is visible not only in the energy of the Maker’s Yard but also in the remarkable diversity of Poremba’s restaurants. On paper, an Israeli-inspired café, a contemporary Mexican restaurant and an Italian pizzeria appear to have little in common. After spending time with him, however, it becomes clear that they are chapters of the same memoir. “I don’t work in a linear way,” he explains. “I have this bank of ideas — little snippets, little vignettes from places I’ve traveled or experiences I’ve had. Then the puzzle comes together.” That process helps explain why each restaurant feels transportive without becoming theatrical. Florentin captures the colorful, bohemian energy of its namesake Tel Aviv neighborhood through a mostly vegetarian menu inspired by Israeli street
food. Nixta explores the immense regional depth of Mexican cooking, filtered through Poremba’s own “American Mediterranean” perspective. Del Bono channels memories of Italy through pizza, cocktails and the warm glow of a wood fire. None of the spaces are literal reproductions. They are personal interpretations shaped by memory, travel, curiosity and emotion. “All my spaces are autobiographical,” Poremba says. “They’re an invitation into my head.” That may be what distinguishes him from so many restaurateurs. Poremba does not think primarily in terms of brands; he thinks in terms of stories. Each project becomes another chapter — an opportunity to immerse himself in a culture or cuisine that has captured his imagination. “It’s almost like writing a new book,” he says. “I investigate a cuisine. I travel. I build the characters. The result just happens to be a restaurant instead of a novel.” The newest chapter, Del Bono, may also be his most approachable. The name carries several personal references: It honors business partner Del Buono, translates loosely as “of the good,” echoes Delmar and recalls the name of a street on which Poremba once lived in Italy. At the center of the restaurant is a copper-clad wood-burning oven that commands attention from the street. It is echoed by a dramatic mural created with copper tape by local artist Julie Heller, while dark walls, warm oak furnishings and midcentury details give the room an
industrial Milanese sensibility. Working with architect Patrick Knobloch of Mademan Design, Poremba has created a restaurant that feels polished but never precious. The menu follows the same philosophy. Wood-fired pizzas are joined by fresh salads, mozzarella-forward antipasti, Italianinspired cocktails and house-made soft-serve gelato. It is serious food presented without self-importance — the kind of place where one table might hold a family celebrating a birthday while the next hosts two friends sharing a Negroni before a show. For Poremba, the oven represents far more than kitchen equipment. It is the visual and emotional centerpiece of the room — the communal hearth that has drawn people together for thousands of years. Children watch as pizzas disappear into the flames and emerge minutes later blistered and fragrant. Families gather around it and friends linger nearby over cocktails. The fire provides warmth, but it also provides theater. Poremba approaches restaurant d e s i g n m u c h l i k e a s t a g e d e s i g n e r. Lighting, music, art, furniture, scent and service all contribute to the experience. Guests may not consciously notice every decision, but they feel the cumulative effect. The room establishes the setting, the staff advances the action, the food supplies the emotional punctuation and the people seated at the tables become the principal characters. Yet a successful restaurant cannot merely look hospitable. It must behave hospitably. slmag.net
23
24 slmag.net
Poremba’s understanding of that distinction began at home. His mother profoundly influenced his view of generosity, teaching him through example that hospitality is not performance but care. It is noticing what someone needs before being asked. It is setting a table in a way that communicates affection. It is insisting there is always room for one more person. That lesson remains central to his work. The flowers, art and meticulously considered rooms matter, but they are only the outward expressions of something more elemental. True hospitality is the feeling that someone has been expecting you. It also shapes how Poremba thinks about his employees. The conventional wisdom of the restaurant business insists that the guest must always come first. Poremba believes the equation begins one step earlier: If employees do not feel respected, supported and cared for, they cannot authentically extend those things to guests. That conviction has been tested through restaurant closings, relocations, the pandemic, rising costs and the upheaval following the tornado. Poremba has experienced enough uncertainty to understand that resilience is not an abstract business principle. It lives in the people who continue showing up — in the managers who solve problems, the cooks who maintain standards and the servers who welcome guests even when circumstances behind the scenes are far from easy. Restaurants may be built with brick, tile and wood, but they are sustained by trust. Poremba’s investment in Delmar is therefore both entrepreneurial and deeply personal. He is betting that great restaurants
can help rebuild the identity of a street, but he is also attempting to build something meaningful for his children. He wants them to see that ambition does not have to be defined solely by expansion, awards or financial success. It can also be measured by the lives one touches and the places one leaves better than they were found. That may ultimately be the most revealing aspect of the Maker’s Yard. Poremba is not simply opening restaurants. He is creating the kind of place he wants his own family to experience: welcoming but sophisticated, diverse but connected, beautiful without being exclusionary. It is a place where children can play within sight of their parents, where young couples can afford to share dinner and where longtime St. Louisans might rediscover a boulevard they thought they understood. There is, of course, risk in all of this. Restaurants are notoriously fragile businesses and neighborhoods cannot be transformed by optimism alone. But Poremba has never seemed particularly interested in the safest path. His career has been defined by a willingness to trust his instincts, follow his curiosity and create the places he believes St. Louis needs — even before the city realizes it needs them.
Perhaps that is why these restaurants feel different. They are not manufactured from focus groups. They come from lived experience: his mother’s table, the markets of Tel Aviv, the streets of Mexico, a restaurant in Lucca, the neighborhoods of St. Louis and the simple pleasure of watching people gather around a fire. On a warm July afternoon, the Maker’s Yard begins to fill. A couple settles in with drinks. Children chase one another across the lawn. Someone carries a pizza toward an outdoor table as music floats from the shipping-container DJ booth. People who arrived separately begin to occupy the same space and become, if only temporarily, part of the same story. Looking around, I am reminded of Poremba’s belief that food is merely the catalyst. The real accomplishment is what happens after it brings us together. Perhaps Ben Poremba is not really in the restaurant business after all. He is in the business of giving people a reason to leave home — and creating a place that feels like home once they arrive. sl slmag.net
25
50
Fifty years, never ordinary
For more than three decades, Dielmann Sotheby’s International Realty has been a proud supporter of the Saint Louis
Art Fair, championing the creativity, culture, and artistic excellence that enrich our community. As we celebrate this year’s event, we also recognize two significant milestones: Sotheby’s International Realty’s 50 years of shaping tastes
around the world and Dielmann Sotheby’s International Realty’s 21 years as part of that legacy. legacy As the 7th affiliate
office to join what has grown into a global network of more than 5,000 offices, we are honored to continue connecting extraordinary properties, exceptional people, and inspiring experiences throughout St. Louis and beyond.
8301 Maryland Avenue, Suite 100, Clayton, Missouri 63105 | 314.725.0009 |
dielmannsir
Katherine Bernhardt in front of mural wall at her St. Louis studio
ART OF THE POSSIBLE
Three of St. Louis’ most perceptive gallerists identify the artists whose work belongs in the city’s next great collections By Craig Kaminer
Every serious art collection begins with recognition. You stand before a work of art and something happens before you can explain it: the room changes, your attention sharpens and an object you did not know you needed feels inevitable. The best collectors trust that response, then study the artist’s development, provenance and condition. They learn the difference between something fashionable and something that will keep revealing itself long after fashion moves on. St. Louis is fertile ground for that kind of looking. The city has produced artists of international consequence, nurtured careers before the wider art world recognized the artist and preserved important chapters
of American modernism that remain surprisingly accessible. The deeper story extends beyond our museums into studios, universities, private homes and galleries where artists and collectors have built relationships for decades. If architecture gives a city its silhouette, art gives it an interior life. To understand which St. Louis artists deserve closer attention now, I turned to three gallerists with complementary perspectives: William Shearburn, Philip Slein and Tanner Steslow. Shearburn has long connected St. Louis collectors with the national and international art world. Slein, himself a painter, looks with an artist’s sensitivity to structure, color and sustained practice. Steslow represents a younger generation of gallery leadership; attentive to material invention, emerging voices and the way contemporary collectors are redefining what belongs on the wall. Other important gallerists include Greenberg Gallery, Bruno David Gallery, Duane Reed, Lococo Fine Art and Kodner Gallery.
Their selections range from internationally recognized names and rising institutional talents to mature local painters and historic artists ready for rediscovery. Together, they make a persuasive case for collecting local and regional artists without a provincial perspective.
A City with International Reach William Shearburn’s list begins with artists whose St. Louis roots never limited their ambition. Kennedy Yanko, born here in 1988, has developed one of contemporary art’s most distinctive sculptural languages. Her works marry salvaged metal with great folds of poured paint she calls paint skins, turning industrial weight into something that can feel airborne. With work in MoMA, the Brooklyn Museum, the Museum of Fine Arts Boston and the Smithsonian National Museum of African American History and Culture, and inclusion in the 2026 Venice Biennale, Yanko has moved well beyond the category of promising. slmag.net
27
To m Fr i e d m a n a n d K a t h e r i n e Bernhardt offer two very different models of international success. Friedman transforms ordinary materials into objects of painstaking invention, using humor and conceptual sleight of hand to make us question what we see. His monumental “Looking Up” outside the James S. McDonnell Planetarium is one of the city’s most quietly optimistic public sculptures. Bernhardt has turned the clutter of contemporary life — Pokémon, cigarettes, Crocs, sharks, fruit and logos — into a vocabulary entirely her own. Represented by David Zwirner and living in St. Louis, she proves a major international career no longer requires permanent exile from one’s hometown. Kahlil Robert Irving and Dominic Chambers belong to a generation whose ascent has been rapid and deserved. Irving, a Washington University MFA who works in St. Louis, uses ceramics and mixed media to excavate street surfaces, digital images, racial histories and the visual noise we absorb without realizing it. His work is held by 28 slmag.net
MoMA, the Whitney and the Carnegie Museum of Art. Chambers, born in St. Louis in 1993, paints Black figures reading, resting and dreaming in fields of extraordinary color. Influenced by magical realism and W.E.B. Du Bois, he gives leisure and interiority the gravity art history too often reserved for power. His work has entered LACMA, the Hirshhorn, the High Museum and the Museum of Fine Arts Boston. Basil Kincaid is reshaping quilting by treating found textiles as carriers of memory, ancestry and spiritual information. Dividing his time between St. Louis and Accra, Ghana, he brings family history and the African diaspora into works that feel both intimate and monumental. A United States Artists Fellow and former Rubell Museum artist-in-residence, Kincaid is materially unmistakable, conceptually rigorous and increasingly visible to institutions. History Hiding in Plain Sight A sophisticated collection cannot be built on momentum alone. It also needs memory. Shearburn’s inclusion of Ernest
Trova and Oliver Lee Jackson reminds us that St. Louis has played a consequential role in American art for generations, even when the national narrative has failed to give the city sufficient credit. Trova’s “Falling Man” became a defining image of postwar American sculpture: a smooth, incomplete figure suggesting human imperfection in an age of technological confidence. His work entered MoMA, the Guggenheim, Tate and the National Gallery of Art, while his gift of sculpture helped establish Laumeier Sculpture Park. Because Trova produced the image in multiple materials, scales and editions, collectors should prize strong provenance, meaningful rarity and a clear relationship to his central ideas. Oliver Lee Jackson may offer the greatest distance on this list between having artistic significance and public recognition. Born in St. Louis in 1935 and closely connected to the Black Artists Group, Jackson created paintings in which bodies, gestures, music and historical memory emerge from dense
Opposite page, left: Jamie Adams, Trio by the Sea, oil on linen, 2024, 84 x 96 inches. Right, Song Watkins Park, Imposter, oil on linen, 24 x 24 inches.
townscapes and still lifes reveal discipline and independence. Reconsidering Betsberg on her own terms is not historical courtesy; it is an overdue correction that allows collectors to participate in recovering an important woman’s career. Amy Granat occupies another category. The St. Louis-based experimental artist works with 16mm film, often scratching, painting or physically altering it. She participated in the 2008 Whitney Biennial, and her work is held by MoMA and the Whitney. Collecting time-based media requires diligence about editions, exhibition copies and preservation, but Granat rewards those willing to think beyond traditional objects.
fields of color. A National Gallery of Art exhibition brought overdue attention to his work, but his market still does not fully reflect his importance. That gap is where informed collecting becomes culturally meaningful. Philip Slein extends the historical argument through Arthur Osver and Ernestine Betsberg. Osver arrived at Washington University in 1960 after teaching at Columbia, Yale and Cooper Union. His early urban landscapes transformed rooftops, water tanks and smokestacks into psychological portraits of American life. Later abstractions retained that architectural backbone as the imagery loosened. MoMA acquired his work in the 1940s, yet substantial Osver paintings remain available without the frenzy surrounding many lesser artists of his generation. Betsberg, Osver’s wife, is too often treated as an appendage to his career rather than the accomplished modernist she was. The two maintained separate studios and distinct visual languages throughout nearly 70 years of marriage. Her abstractions,
The Painter’s Eye Slein’s recommendations reveal the habits of a painter: attention to sustained bodies of work, formal intelligence and the difference between novelty and development. Jamie Adams, a longtime Sam Fox School of Design & Visual Arts at Washington University faculty member, creates figurative paintings that combine cinema’s psychological charge with the seductive surfaces of old-master painting. His “Niagara,” “Blondie Bubba” and “Dollhouse” series move through family, fantasy and unease. The paintings are beautiful but never merely pretty; they seem to remember something the viewer cannot quite retrieve. Erik Spehn takes the opposite route toward intensity. His abstractions build networks of acrylic lines and rivulets over exposed linen. From a distance they appear controlled, almost algorithmic. Up close, they become tactile, irregular and deeply human. The Saint Louis Art Museum and Albright-Knox have acquired his work, yet he remains accessible enough for collectors to develop a relationship with the practice rather than simply chase a name. Song Watkins Park is the earliestcareer artist among Slein’s selections. Born
in South Korea and based in St. Louis, she uses herself as a recurring figure in scenes drawn from childhood, literature, memory and her Korean upbringing. Vulnerability, fear, strength and curiosity coexist within ambiguous spaces. Recognition from New American Paintings and exhibitions beyond St. Louis suggest gathering momentum, but the greater reason to pay attention is already on the canvas: a voice that feels personal without becoming closed to the viewer. Material Intelligence Tanner Steslow’s recommendations move the conversation into a present where painting, sculpture and textile are increasingly porous. Carrie Gillen transforms painted fabric into dimensional wall works, folding the surface so color, light and shadow change as the viewer moves. The pieces retain painting’s immediacy but refuse to remain flat. They are recognizable without becoming repetitive, a valuable quality in an artist whose language is still expanding. Nick Schleicher also pushes painting off the wall, pulling paints, gels and pigments across shaped supports whose wrinkled surfaces and irregular edges have a bodily presence. His works suggest windows, ghosts, tombstones or figures without resolving into one image. Schleicher experiments while maintaining coherence; materials change and forms evolve, but the sensibility remains unmistakably his. Sarah Giannobile brings decades of practice to lyrical abstractions filled with botanical shapes, invented symbols and layers of remembered experience. Her work unfolds slowly: a decorative form becomes structural, a repeated mark begins to feel like language. Represented in the collections of the Federal Reserve Bank of St. Louis and St. Louis Lambert International Airport, Giannobile offers a mature local practice that continues to evolve rather than settle into formula. slmag.net
29
Below: Sharon Giannobile Right: Erik Spehn, Báthory, acrylic on linen, 2024, 52 x 52 inches
The Artist Two Gallerists Chose Only one artist appears on two lists. Both William Shearburn and Tanner Steslow selected Damon Davis, one of the most vital multidisciplinary artists St. Louis has produced. Davis moves across painting, printmaking, film, music and public art to examine identity, power, history and mythology. His “All Hands on Deck” project emerged during the 2014 Ferguson uprising and became an enduring statement about community, visibility and resistance. His documentary “Whose Streets?” carried local voices to an international audience without surrendering the complexity of what happened here. Wo r k b y D a v i s i s h e l d b y t h e Smithsonian National Museum of African American History and Culture, and his reach extends beyond the conventional gallery system. That may explain why his cultural importance has outpaced his traditional market. Collectors acquiring his work enter a larger conversation about who gets seen, who controls the narrative and how art moves between private reflection and public consequence. 30 slmag.net
What Makes a Collection Matter There is no single correct way to build a collection. Some pursue a movement or generation; others begin with one artist and let relationships lead outward. The strongest collections share a quality unrelated to budget: conviction. They reveal someone willing to look carefully and support an artist before consensus makes the choice comfortable. These 18 artists could anchor very different collections. International credibility might begin with Friedman, Bernhardt, Chambers, Trova or Yanko. Institutional momentum points toward Irving and Kincaid. Jackson, Osver and Betsberg create a powerful dialogue in rediscovery. Gillen, Schleicher, Watkins Park, Spehn and Giannobile illuminate the future of painting and material practice. Davis and Granat stretch the definition of the collection itself, insisting that film, public art and cultural intervention belong in the room. The most compelling approach may resist categories. Let Trova’s mechanized figure confront Yanko’s salvaged steel. Place Betsberg beside Bernhardt and watch two radically different women painters claim
space across time. Allow Jackson’s layered bodies to speak with Chambers’ dreamers, or Kincaid’s textiles with Gillen’s folded fabric. A collection becomes personal when the works begin making arguments with one another. St. Louis has always been better at producing talent than announcing it. That modesty can become neglect. Collecting artists who emerge from this city is more than an opportunity to acquire important work before the world catches up. It preserves the city’s interior life — its tensions, humor, beauty, memory and capacity for reinvention. The artists are telling the story. The question is whether we are looking closely enough to see it. sl William Shearburn Gallery 336 Selma Ave., St. Louis, MO 63119 314.367.8020 | info@shearburngallery.com shearburngallery.com By appointment only Philip Slein Gallery 4735 McPherson Ave., St. Louis, MO 63108 314.361.2617 | director@philipsleingallery.com philipsleingallery.com Tr-Sa, 11 a.m.-4 p.m., or by appointment Square One Gallery 4814 Washington Blvd., Ste. 312, St. Louis, MO 63108 314.252.8571 | info@squareonegallery.com squareonegallery.com M-F 9 a.m.-5 p.m., Saturday by appointment
EDWARD BOCCIA’S LONG-AWAITED RENAISSANCE By Craig Kaminer
Some artists achieve fame in their lifetime. Others must wait for history to catch up. For Edward Boccia, that moment has arrived. This fall, St. Louis collectors and art lovers will have an extraordinary opportunity to rediscover one of the city’s most influential — and most underappreciated — artists when Philip Slein Gallery presents a major exhibition of Boccia’s paintings. Being published in conjunction with the exhibition is “Edward E. Boccia: Painter of Nightmares and Dreams,” the first comprehensive monograph devoted to the artist, written by art historian Rosa J.H. Berland. Together, the exhibition and the book represent far more than a retrospective. They are a long-overdue reassessment of an artist whose imagination, technical mastery and influence on generations of painters place him among the most significant figures in St. Louis’ cultural history. Born in Newark, New Jersey, in 1921 to Italian immigrant parents, Boccia showed remarkable artistic talent almost immediately. As a teenager he was already painting commissioned murals before studying at Pratt Institute, the Art Students League of New York and Columbia University. Following service in the U.S. Army’s legendary Ghost Army during World War II, he embarked on a career that would eventually bring him to St. Louis. When Washington University recruited Boccia in1951, it did so on the heels of celebrated artists including Max Beckmann, Philip Guston and Stephen Greene. “That gives you a real sense of how highly thought of he already was,” Berland says. “He followed these art stars to Washington University because of both his teaching ability and his artistic production.”
Edward E. Boccia in his St. Louis studio 1960, Courtesy of The Edward E. Boccia Artist Trust, St. Louis
For more than three decades, Boccia became one of the university’s most influential professors, mentoring generations of artists while producing an extraordinary body of work that blended Renaissance craftsmanship, Expressionism, mythology, spirituality, literature and autobiography into a visual language unlike any other. “There really is no American artist like him,” Berland says. “He combined Expressionism, Renaissance painting, regional modernism and deeply personal storytelling into something completely unique.” His paintings reward patience. Monumental figures drift through dreamlike landscapes filled with symbolism drawn from religion, philosophy, classical mythology and the artist’s own life. Every canvas invites viewers to linger, discovering new relationships and meanings with each encounter. Berland believes Boccia’s originality stemmed from an unusual combination of influences. While many associate him with Max Beckmann, his artistic vocabulary was equally shaped by growing up in New York during one of the most dynamic periods in modern art. “He wasn’t simply influenced by Beckmann,” she explains. “He was formed by seeing Picasso, Surrealism, Abstract Expressionism and the great European exhibitions happening in New York. Then he arrived in St. Louis, where Morton May’s extraordinary collection allowed him to study masterworks up close. That’s where his mature artistic voice truly emerged.” May, one of America’s foremost collectors of Expressionist art, became Boccia’s principal patron, purchasing works annually for decades. Their friendship proved transformative, giving the young painter unprecedented access to one of the country’s finest private collections while helping establish his reputation among collectors. slmag.net
31
Edward E. Boccia, “Bird of Paradise,” 1982, oil on canvas, 38 x 46 in, Courtesy of Philip Slein Gallery, St. Louis Edward E. Boccia, “Frans Hals,” 2010, oil on canvas, 36 x 24 in, Courtesy of Philip Slein Gallery, St. Louis
Yet despite considerable success during his lifetime — including international exhibitions, major museum acquisitions and being knighted by the Italian government — Boccia gradually faded from broader public attention following his death in 2012. Berland has spent nearly a decade changing that. What began as a catalog essay for a Saint Louis University Museum of Art retrospective evolved into years of research involving journals, correspondence, sketches, poetry and personal archives preserved by the Boccia family. “I had never encountered an archive this rich,” she recalls. “The diaries, letters, sketches and notebooks revealed not only an extraordinary artist, but an extraordinary thinker.” The resulting book positions Boccia within the broader story of American art while challenging the long-held assumption that Abstract Expressionism alone defined postwar American creativity. “The history of American art is often told as the story of abstraction,” Berland says. “But Boccia reminds us there was another equally compelling story — one rooted in figurative painting, Renaissance traditions and profound human questions.” That perspective feels especially relevant today. As museums and collectors increasingly reexamine overlooked artists, Boccia’s work has begun attracting renewed national attention. While recent exhibitions in New York introduced his paintings to new audiences, the Philip Slein Gallery exhibition here in St. Louis marks the first major presentation to coincide with Berland’s landmark publication. 32 slmag.net
The exhibition will feature approximately 30 paintings spanning five decades, including several of Boccia’s celebrated multi-panel works inspired by Renaissance altarpieces. “Those paintings are among his greatest achievements,” Berland says. “They combine the scale and power of Renaissance art with deeply modern subjects. They’re incredibly moving.” Perhaps Boccia’s greatest legacy extends beyond his paintings. His students consistently describe him as a demanding yet generous mentor whose insistence on mastering drawing and composition shaped not only their artwork but also their own teaching careers. “He dedicated his life to making young artists better,” Berland says. “His influence reaches far beyond his own paintings because so many of his students carried those lessons into classrooms across America.” For St. Louis, the exhibition serves as a reminder of the city’s remarkable artistic legacy — a legacy built not only by gifted artists, but also by visionary patrons, museums and universities that created one of America’s most vibrant mid-century cultural communities. “People think of New York as the center of the art world,” Berland says. “But artists like Edward Boccia became who they were because of St. Louis. Its collectors, its institutions and its commitment to art allowed him to flourish.” The convergence of Philip Slein Gallery’s exhibition and Berland’s beautifully illustrated book offers collectors and art lovers a rare opportunity to rediscover a painter whose work has never been more relevant. Sometimes history doesn’t change. It simply catches up. sl
View from the Uaina Bar at Le Bora Bora. Photo by Bridget Cottrell
THE RELAIS & CHÂTEAUX SIDE OF FRENCH POLYNESIA Pearl Resorts creates luxury anchored in tradition. Written by Bridget Cottrell Taking a deep breath before releasing my death grip on the deck ladder of my overwater bungalow at Le Tikehau (letikehau.com) and sliding into the pellucid waters of the South Pacific, I recalled resort manager Stéphane Pons’ words a few hours earlier after I’d mentioned spying a shiver of blacktip reef sharks swimming among the support posts: “Don’t worry, they’re the puppies of the sea.” Though I didn’t venture more than an arm’s length from the ladder, as a lifelong galeophobe, it was a transformative moment that capped off an extraordinary visit to three of four Pearl Resorts’ Relais & Châteaux (relaischateaux. com) properties in French Polynesia. From my Midwestern home base, it took roughly 18 hours to reach Tahiti. Air Tahiti Nui (us.airtahitinui.com) made the long journey feel surprisingly effortless, flying nonstop from Los Angeles to Papeete, Tahiti's capital. Onward travel among the 38 inhabited islands spread across French Polynesia's five archipelagos is managed by Air Tahiti, whose codeshare partnership with Air Tahiti Nui allows travelers to seamlessly book key bucket-list routes like Bora Bora and Rarotonga on a single ticket.
On the final stretch of the journey to our first stop, a 30-minute boat transfer to Le Taha’a by Pearl Resorts (letahaa.com), the anticipation built with the force of a champagne cork that’s ready to pop. The resort’s 59 suites and villas are situated on a secluded coral islet off the coast of Taha'a, a fertile, flowershaped, volcanic island that produces eighty percent of the region’s vanilla and whose pristine lagoon is used to cultivate Tahitian black pearls. The heavily tattooed Tavita, Le Taha’a’s cultural ambassador, wearing a traditional lavalava (sarong) and playing a ukarere (a Tahitian version of a ukulele), and the
affable general manager, Laurent Le Seac'h, greeted us at the pier, where we were quick to note a plethora of original art and sculpture paying homage to Polynesian culture. As a 100% Polynesian-owned hotel collection, Pearl Resorts takes a deliberate and reverential approach to illuminating local culture through art, food, music, and by lightly treading on the environment. Crafting a unique sense of place and minding the minutiae is uniquely aligned with Relais & Château’s championing of exceptional fine dining, rich local heritage, and deeply personalized hospitality in unique, intimate settings across its 580 member properties. slmag.net
33
This page clockwise from top left: Aerial view of Le Taha’a. Photo courtesy of Pearl Resorts. Marine life milling about below the deck of the End of Pontoon Overwater Bungalow at Le Tikehau. Tavita, Le Taha’a’s cultural ambassador. Photos by Bridget Cottrell
Opposite page clockwise from top left: Overwater bungalows at Le Tikehau, located on Motu Tianoa, a private coral islet in the Tuamotu Archipelago. Entrance to the Royal Suite at Le Tikehau. Photos by Bridget Cottrell. A “Tahitian TV” in the floor of a Pilotis Premium Overwater Bungalow at Le Tikehau ensures that you are always connected to what’s going on in the water. Royal Beach Villa at Le Bora Bora. Photos courtesy of Pearl Resorts
34 slmag.net
Le Seac’h escorted our group to a central reception and restaurant building designed to meld with the towering trees. “We want to be discreet in nature, allowing its embrace to help guests disconnect and rendezvous with Polynesian culture,” he explained. Extremely passionate about his work and the first person I’ve met who is fully adept at waxing poetic, Le Seac’h added: “If you have a sensitive soul and are a feeling hunter, you will take something with you when you leave.” That spirit extends to guest relationships, which go far beyond loyalty discounts. Longtime guests have had trees planted in their honor or initials etched into the coral garden so they can track growth with each visit. One repeat guest, Hermès’ in-house perfumer, was inspired to create Un Jardin sous la Mer, a floral-musky eau de toilette. That sense of delight is matched by Pearl Resorts’ gastronomy program, where even a simple pleasure like ice cream is elevated. “It’s not just eating, it’s poetry,” said Le Seac’h of indulging in a sweet treat made with vanilla grown on nearby Taha’a. At the fine dining Tipairua Restaurant, Le Seac’h likens the blind tasting menu to attending a couture fashion presentation. “It’s a show of artistic creation.” At the remote Le Tikehau, dining is an extension of the atoll itself—unhurried, deeply connected to the sea, and rooted in
the flavors of French Polynesia and shaped by French culinary techniques. At Le Bora Bora (leborabora.com), each meal is accompanied by sweeping views of Mount Otemanu and Bora Bora's legendary turquoise lagoon. One of several bespoke dining options, Pearl Resort’s signature breakfast service is delivered to overwater bungalows via a traditional Polynesian outrigger canoe. Accommodations at Pearl Resorts, representing an interpretation of the traditional fare, the vernacular homes that have sheltered Polynesian families for centuries, are chock-full of Polynesian motifs, tapa-inspired patterns, and handcrafted decorative elements. While the overwater bungalows with their expansive terraces and “Tahitian TVs,” glass panels in the floor at Tikehau and in the coffee table at Le Bora Bora and Le Taha’a, designed to incorporate a peek-a-boo view of the cerulean water from the inside, are rightfully the stars of the show, beach bungalows are equally luxurious with powder-sand beaches and outdoor showers. At each property, the entrance to Royal Villas, luxurious and sprawling multi-building compounds (the largest of which, at Le Bora Bora, is nearly 5,000 square feet with an ocean-front pool) are marked by a bright red Tiki sculpture, created by Tahiti-based artist HTJ, one of the island’s early graffiti pioneers.
slmag.net
35
36 slmag.net
Opposite page clockwise from top left: A sculpture garden at Le Taha’a. Opening the towering tiki gate at Le Bora Bora leads to a lush sanctuary where walking paths meander throuhgh dense tropical vegatation dotted with sculptures. Photos by Bridget Cottrell. Dinner at Tipairua. Photo by Ilya Kagan. Te Reka Ika Restaurant at Le Tikehau features a daily-changing menu based on the day's catch. Photo courtesy of Pearl Resorts. At Le Tikehau, an amphitheatre located on a secluded pink-sand beach under the stars is designed to gather guests around local storytellers who share Polynesian legends and the ancient art of celestial navigation. Photos by Bridget Cottrell.
Water activities formed the backbone of our stay, with the simplest pleasure coming from jumping directly from our bungalow into tepid lagoons. We also snorkeled on-property coral gardens where tropical fish nibbled on coconut flesh right from our hand, and charted a boat at Le Tikehau to snorkel amid majestic manta rays, listen to the deafening calls of thousands of avians who nest at Motu Puarua, and enjoy a beach barbecue lunch where the leftover fish was fed to sharks who seemed to proliferate in the blink of an eye as soon as the first piece of flesh broke the water’s surface. As golden hour approached one evening at Le Bora Bora, we boarded the Okeanos Pearl, French Polynesia's first solar-electric luxury catamaran, and set out on a two-hour cruise to watch the day fade
into a spectacular South Pacific sunset. On dry land there are workshops on Polynesian dance, storytelling and basketweaving, and excursions to nearby islands to learn about the area’s most famous exports: vanilla, pearls and coconut. Quite simply, you could make a day out of appreciating the light. From the cotton candy clouds that glow at dawn's first light to looking up, gobsmacked, from atop the observation tower at Le Tikehau, where the brightness of the Milky Way is a timeless spectacle that has guided Polynesian navigators across these waters for centuries and is a reminder of the scale of the universe. The area’s absolute quiet turns up the volume on a hidden acoustic landscape. On one early morning, I could discern the distant creaking of a sailboat's mast as
Sunset from Le Taha'a's helicopter pad, with the island of Bora Bora in the distance. Photo by Bridget Cottrell
From the observation tower at Le Tikehau, the atoll unfolds in every direction, offering a spectacular panorama of powdery islets and turquoise lagoons by day and a vast starry sky at night. Photo courtesy of Pearl Resorts.
it bobbed to and fro. On my last evening, wanting to soak in every moment, I sat with my feet suspended just over the water, reveling in the ripple of shark fins as they deftly darted in and out of the light beneath my bungalow. While I’ve long championed another French collectivity, St. Barth, as my favorite tropical destination, French Polynesia has since stolen the crown, having all the bougee but with more bounteous beauty. At these resorts, you don’t come for the scene but rather to see and appreciate the land and a culture whose identity traces back to 200 BC, when the Mā'ohi people migrated from Southeast Asia to the South Pacific. Le Seac’h summed it up best one evening, champagne in hand, as we watched the sun fade behind the shadowy peak of Bora Bora’s Mount Otemanu. “It doesn't matter what you've done with your life, but in this moment, you pause to consider what got you here and think ‘kid, you did good’.” sl
slmag.net
37
Of note...
Taking Care of Business Compiled by Bridget Cottrell As summer gives way to school schedules and fresh routines, these beautifully designed furnishings and accessories create inspiring spaces for productive workdays and successful study sessions.
LAGO Air 1912 Bookshelf and Desk ($16,185; lagodesign.com)
Four Hands Weston Rotating Desk ($3,099; fourhands.com)
BDI Linea multifunction storage cabinet ($2,399; bdiusa.com)
38 slmag.net
1.
1
Madheke Calen Desk (from $14,479; madheke.in) Carl Hansen and Son CH621 Swivel Chair ($3,590; carlhansen.com) Carl Hansen and Son CH110 Desk (from $26,410; carlhansen.com) Sarreid Ltd. Gabriella Shagreen Desk ($2,235; sarreid.com) Baccarat Louxor Pencil Holder ($420; baccarat.com) Taamaa Tino Charging Station ($250; taamaa.us) Aerin Charlton Table Lamp ($749; aerin.com) L’Objet Crocodile Letter Opener ($195; l-objet.com)
2. 3. 4. 5. 6. 7. 8. 2
3 9.
Circu Merida Corner Bed, Kings & Queens Desk, Baloo Chair, Toy Box and Storage Stairs (circu.net) 10. David Michael Furniture Makassar Desk (davidmichaelfurniture.com) 11. AM Living Keen Desk and Still Chair (amliving.com) 12. Ethnicraft Boomerang Desk ($1,929), Bok Dining Chair ($959) and Roller Max Side Table ($589; ethnicraft.com)
7 4
6 5 8
9
10
11
12
slmag.net
39
CARPOOL COOL Edited by Matthew Cottrell
Gone are the days when the family car was just a way to get from point A to point B. Today's luxury SUVs turn the daily drive into a first-class experience. With flexible seating, cargo space for backpacks and sports gear, and technology to keep even the pickiest passengers entertained, these vehicles make family life feel stylish. Throw in sumptuous interiors, whisper-quiet cabins, and performance that makes every errand more enjoyable, and volunteering to drive carpool doesn't sound like such a chore after all.
Aston Martin DBX S
40 slmag.net
Aston Martin DBX S The Aston Martin DBX S elevates the marque's award-winning luxury SUV with an even sharper focus on performance, craftsmanship, and distinction. Powered by an enhanced twin-turbocharged V8 delivering increased horsepower and quicker acceleration, the DBX S pairs exhilarating speed with the poised handling expected from one of Britain's most celebrated sports car manufacturers. Lightweight materials, refined suspension tuning, and aerodynamic adjustments further sharpen its dynamic character, while the handcrafted interior surrounds occupants in supple leather, carbon-fiber accents, and bespoke detailing.
BMW iX3 The all-new BMW iX3 is the first production model built on BMW's groundbreaking Neue Klasse platform. Designed from the ground up as an electric vehicle, the luxury SUV fuses sleek, minimalist styling with a thoroughly modern cabin centered around BMW's next-generation Panoramic iDrive display and intelligent digital technologies. Under its sculpted exterior, an advanced 800-volt electrical architecture delivers faster charging, greater efficiency, and significantly improved driving range, while BMW's signature focus on balanced handling and responsive performance keeps the iX3 distinctly driver-oriented.
BMW iX3
slmag.net
41
Cadillac Escalade IQL Built on General Motors' advanced Ultium platform, the extended-wheelbase IQL offers expansive three-row seating, increased cargo capacity, and an impressively quiet ride powered by an all-electric drivetrain. Inside, a sweeping pillar-to-pillar LED display, premium materials, and an available AKG Studio Reference audio system create a first-class environment for every passenger, while Super Cruise handsfree driving technology adds a new level of convenience on long highway journeys. Land Rover Defender Vertex Positioned near the top of the Defender lineup, the new Vertex features distinctive
exterior enhancements, including redesigned bumpers, a more sculpted profile, exclusive finishes, and available 22-inch wheels, giving the iconic SUV an even more commanding presence. Inside, premium Windsor leather, sustainable textile options, state-of-the-art climate control, and the latest "Hey Land Rover" AI voice assistant boost everyday comfort while preserving the Defender's adventure-ready spirit. Mercedes-Maybach GLS 680 The latest Mercedes-Maybach GLS 680 blends the commanding presence of a flagship utility vehicle with the handcrafted refinement expected of the Maybach name. Powered by a 603-horsepower electrified
Cadillac Escalade IQL
Land Rover Defender Vertex
42 slmag.net
Mercedes-Maybach GLS 680
V8, it delivers effortless performance while cocooning passengers in superb craftsmanship, from hand-finished leather upholstery and open-pore wood veneers to precisely tailored rear executive seating. Enhanced personalization through Mercedes-Maybach's MANUFAKTUR program allows owners to specify bespoke paint finishes, interior materials, and design details, making each vehicle uniquely their own. Equally at home maneuvering city streets or arriving at a private estate, the GLS 680 embodies the modern definition of luxury—where advanced technology, exceptional comfort, and understated elegance converge in one remarkably sophisticated SUV.
For When You’re Running Late: Ferrari Amalfi Replacing the acclaimed Roma, the new Ferrari Amalfi represents the next evolution of the marque's front-engine grand touring tradition. Powered by a 640-horsepower twin-turbocharged V8, the Amalfi delivers invigorating acceleration while remaining remarkably composed for everyday driving. Its sculpted exterior refines Ferrari's contemporary design language with cleaner, more muscular lines, while the completely reimagined interior places a renewed emphasis on craftsmanship, intuitive technology, and driver connection—including the welcome return of physical controls for key functions. More than simply a successor, the Amalfi is designed to reflect the spirit of la dolce vita, delivering a distinctive balance of supercar performance, long-distance comfort, and unmistakable Italian style for a whole new generation of Ferrari enthusiasts.
Porsche Cayenne Electric With the introduction of the all-electric Cayenne lineup, Porsche is proving that electrification can increase—rather than compromise—the attributes that have made its luxury SUV a global success. Spanning a range of models from refined everyday variants to high-performance S and Turbo derivatives, the Cayenne Electric family is designed to satisfy drivers desiring both utility and pulse-quickening performance. Built on an advanced 800-volt architecture, the lineup delivers rapid charging, extended driving range, and the instant acceleration only electric power can provide, while Porsche's legendary chassis tuning ensures every model retains the finesse and responsiveness synonymous with the crest on its hood. Inside, each Cayenne Electric combines premium craftsmanship with next-generation digital technology, offering spacious accommodations for families without sacrificing the driver-focused experience that defines the brand. sl
slmag.net
43
WHERE THE LAND SPEAKS Inside Santa Barbara Wine Country Written and photographed by Jay Gulick When our small group arrived on a sunbaked hill in the sweeping Santa Maria Valley of Santa Barbara County, rancher and winemaker James Ontiveros greeted us with a smile and a refreshing midmorning glass of his Native9 Pinot Noir. Wearing rumpled Wranglers, a gleaming, oversized belt buckle and a broad-brimmed cowboy hat, Ontiveros looked every bit the guy who attended Cal Poly-San Luis Obispo thirty years ago on a rodeo scholarship. The Ontiveros family arrived in California from Sinaloa, Mexico during the American Revolution in 1781, making James the ninth generation to farm this fertile valley. In addition to Native9, Ranchos de Ontiveros produces crisp, neutral oak chardonnays under the Rancho Viñedo label. After 30 years in the wine business, Ontiveros is certain that the vintages produced in Santa Barbara occupy a unique and distinguished place in the industry. “There is an energy and freshness in these wines, from A to Zed, that you don’t get anywhere else.” 44 slmag.net
Over three cloudless June days in Santa Barbara, I learned the only thing as vibrant and interesting as the impressive selection of California wines being produced in the region is the passionate and accomplished community of winemakers crafting them—although most of them prefer the focus remains squarely on the wine. “The wine is not about me,” insists Jessica Gasca, founder and winemaker at artisanal winery Story of Soil in Los Olivos. “It’s about the place.” In Gasca’s case, making the wine about the place centers on her conviction that the soil and favorable microclimate in which her grapes are grown allow the land to speak through the elegant, balanced grenache, pinot noir, syrah and sauvignon blanc varietals she produces in small lots sourced from carefully farmed vineyards. Unlike the renowned Napa Valley 350 miles to the north, which produces more than 9 million cases of wine annually, Santa Barbara County produces just 2 to 3 million, depending on the year. Whereas Napa is home to several large corporate owners like Duckhorn and
E.&J. Gallo, Santa Barbara is home to mostly small, independent producers like Gasca, for whom making wine is as much a calling as an occupation. “I really believe wine is more than just wine,” she told me. “Wine is art, science, geology, geography, and philosophy. It’s history but it doesn’t stop there. It’s a glimpse of the past, the present, and the future. It’s cross-cultural. Wine is a connector—connecting us to the land and connecting us as humans when we open and share a bottle.” Known as the “American Riviera” for its stunning south-facing coastline that produces year-round sunshine, its temperate Mediterranean climate, and laid-back lifestyle, Santa Barbara is the epitome of California cool, and its wine community reflects this vibe. Home to seven distinctive American Viticultural Areas (AVAs) and more than 300 wineries and tasting rooms, the region benefits from a unique confluence of topographical and climatic factors. This exceptional environment facilitates the cultivation of more than 75 grape varieties, ranging from Albariño to zinfandel. As
Presqu’ile winery. Image courtesy of Pressq’ile.
Phil Carpenter, general manager of the Santa Barbara Vintners’ Association puts it when elaborating on the diversity of the area, “We’ve got like eight world-class winemaking regions in our county.” The Transverse Ranges in Santa Barbara County (Santa Ynez, San Rafael and Sierra Madre) are among the only mountains in the continental United States that run east-to-west instead of north-to-south. This east-west orientation acts as a funnel, allowing cold winds, fog, and the marine layer—a mass of cool, humid air that develops over a large body of water and acts as a container for fog— to flow freely in from the Pacific Ocean. Located 12 miles from the coast, the Santa Rita Hills AVA, with its cool breezes, warm afternoon sun and preponderance of sandy, loamy soil, is particularly hospitable to growing pinot noir and chardonnay. To the north and a little further inland than the Santa Rita Hills, the Santa Maria Valley AVA features one of the longest grapegrowing seasons in the world owing to chilly Pacific winds and fog that settle in the lowlying river valleys. This extended “hang
time” influences the sugar-acid balance of the grapes and helps produce complex pinot noir, chardonnay, cool-climate syrahs, and cabernet sauvignons. Ontiveros explained the interdependent importance of timing and taste to our group by saying, “I want to make wines from physiologically mature fruit, before it gets sugar ripe.” There’s an oft repeated saying in Santa Barbara that for each mile you travel east, away from the ocean, the temperature rises one degree Fahrenheit. Happy Canyon (a nickname earned during Prohibition owing to several remote and joy-inspiring moonshine operations in the area) is the furthest AVA inland and, as a result, the warmest, making it an exceptional place to grow bold Bordeaux varietals like cabernet sauvignon and sauvignon blanc. All the winemakers I met in Santa Barbara, regardless of their place in the enormous 3,800-square-mile county, exp ressed a deeply res pectfu l and symbiotic relationship with the land. None more so than Chad Melville, with whom we met at his family’s eponymous winery in the town of Lompoc. The origin story of Melville Winery begins with Chad’s father, Ron. Following a career in the military, Ron fell in love with wine in the late 1960s, attended viticulture classes at the University of
California, Davis, and bought a vineyard. Melville Winery, under Ron and Chad’s leadership, has been in its current location since 1996 and features 130 acres of organically grown grapes. After touring the vineyard, we sampled a sublime array of Melville’s Santa Rita Hills pinot noir, syrah and chardonnay. During the tasting, Chad told us a story, which quickly took on the quality of a parable. One day, during a bad storm, the Santa Ynez River breached its banks and flooded a large section of the vineyard. Chad was rushing around frantically, trying to stem the rushing water and protect the vines. Ron said to him, “What are you doing?” Chad responded, “Trying to save this fucking place. What are you doing?” “No, you have to let it go,” said Ron. “You have to let it run its course. Then we come in and rebuild.” This exchange between father and son illustrated the greatest lesson Chad told us he had learned in 30 years in the wine business: giving up some measure of control over the process in order to work in harmony with the natural world. “Our business plan, the foundation of everything we do, is tied to Mother Nature. So we need to be able to look her in the eye.”
The author (front right) with winemakers and journalists at Bell’s Bistro in Los Alamos.
slmag.net
45
Clockwise from top left: Angela Osborne from A Tribute to Grace Wine Co. Rancher and winemaker James Ontiveros of Native9 Pinot Noir. Winemaker Chad Melville of Melville Winery. Jessica Gasca, founder and winemaker at artisanal winery Story of Soil in Los Olivos.
If Bacchus, the ancient Roman god of wine, were looking for a worthy place to hang his ivy crown in 2026, he wouldn’t find a more enchanting or visually striking venue than Presqu’ile Winery in the Santa Maria Valley. Situated high on a hill, with extensive views of the vineyard and ocean in the distance, the modern facility features an energy-saving, gravity-flow design, a butterfly roofline, and an indoor-outdoor orientation that integrates it into the natural landscape. Over a colorful Mezze lunch of gazpacho, stuffed piquillo peppers, salad, chorizo skewers, paella rice, and fresh farmer’s cheese, we sampled aligoté, chardonnay, and gamay varietals and chatted with Presqu’ile’s founding winemaker, Dieter Cronje, and its co-founder and owner, Madison Murphy. Murphy explained that Presqu’ile is a French word for “almost an island” or “peninsula” and was originally a name 46 slmag.net
bestowed on a beloved piece of property the family had owned on the Mississippi Gulf Coast since the 1950s. Hurricane Katrina destroyed the Louisiana compound in 2005, but the family took the name as inspiration for the winery, which they started on the site of a former Gladiola farm in 2007. Presqu’ile has since been named “One of the ten most beautiful wineries in California” by Condè Nast Traveler. We gathered on our last evening around a meal of sea urchin, wild Gulf shrimp with apricots, steak au poivre, and a sinfully rich dark chocolate mousse with toasted rosemary, at the French-inspired, Michelin-starred bistro Bell’s in Los Alamos. Our dinner companions were winemakers Will Henry from Lumen Wines and Angela Osborne from A Tribute to Grace Wine Company, as well as A.J. Fairbanks, estate director at Crown Point Vineyards in Santa Ynez. While the server poured Osborne’s 2023 Santa Barbara Highlands Vineyard
Grenache, someone across the table asked her how she described this particular wine (the way it was asked made me think the questioner already knew the answer and just wanted the rest of the table to hear it). Osborne answered in her melodious New Zealand accent, “It’s like a woman riding bareback without shoes on, carrying an incense stick.” It was difficult for me to imagine one of the corporate types up in Napa casually dropping that description on one of their $200-a-bottle Cabernets. When I later spoke to Osborne about the challenging conditions in which the Highlands Grenache is grown, her enthusiasm for the site in the Cayuma Valley was clear. “It’s incredible. The vineyard is a mile high. There’s tumbleweed and coyotes and a shock of green. And there’s a 50-degree daily diurnal shift.” The diurnal shift is the temperature differential between the hottest part of the day and the coldest part of the night, and it is highly prized by those seeking to make bold, complex red wines like Grace’s Grenache. Osborne and Gasca, in particular, made a point of talking about the camaraderie and character of the winemaking community in Santa Barbara. In fact, everyone I met on my visit spoke warmly of their colleagues (and ostensible competitors) and stressed what a supportive place it was to work and live. It seemed the years they had collectively spent at the mercy of Mother Nature had engendered a common sense of humility as well as a deep-seated pride of place. The winemakers of Santa Barbara County are a cheerfully irreverent bunch who venerate the sea, sun, and soil that govern the annual fruit of their labors. This fosters an exceptional spirit of community—one that is even greater than the sum of the impressive, delicious wines they each produce. sl
Bibliotaph
Compiled by Victoria Chase Opens the door to twelve extraordinary residences tucked within the American Riviera’s most coveted neighborhoods. From grand estates and meticulously restored historic homes to contemporary retreats and secluded mountain sanctuaries, the beautifully photographed volume showcases the region’s distinctive architectural character and sophisticated interiors. Featuring insights from the architects, interior designers, landscape designers, and builders behind each project, along with behind-the-scenes stories from photographer Margie Grace Lepere, the book offers a rare look at the creative collaborations that shape these exceptional homes. A stunning companion to Private Gardens of Santa Barbara, it is an inspiring celebration of timeless design, craftsmanship, and the effortless elegance of Santa Barbara living. Holly Lepere - Private Homes of Santa Barbara: The Visionaries & Creators - Hardcover, 256 pages, Gibbs Smith This book uncorks the timeless lessons of the vineyard, showing how the art of winemaking mirrors the journey of personal growth, resilience, and transformation. Blending her passion for wine with candid stories of reinventing herself in midlife, Lauren Brynjelsen explores how every stage of the winemaking process— from cultivating the soil to harvesting the grapes—offers wisdom for living with greater purpose and intention. Complete with curated wine recommendations and vineyard destinations in every chapter, this inspiring guide is a perfect companion for wine lovers, book clubs, and anyone looking to embrace change and savor a more meaningful life. Lauren Brynjelsen - I Learned It Through The Grapevine: Wine, Wisdom, and the Art of a WellLived Life - Hardcover, 224 pages, Resolve Editions.
This richly illustrated biography follows Robert Lee Eskridge's extraordinary journey from the studios of Paris to the shores of Tahiti, Hawai'i, Brazil, and beyond, where he chronicled disappearing cultures through luminous paintings, evocative writing, and fearless exploration. Featuring hundreds of rare images, artworks, and archival discoveries, the book celebrates an artist whose curiosity knew no borders and whose legacy offers a captivating window into a world on the cusp of change. C.J. Cook - Robert Lee Eskridge: Affable Artist, Author, and Adventurer in Tahiti, Hawaii, Brazil, and Beyond Hardcover, 344 pages, South Pacific Dreams Publishing Paul Gauguin’s years in Tahiti (1891–1893, 1895–1901) left an indelible mark on modern art, while his bold, luminous paintings conjured the enduring fantasy of Tahiti as a distant, unspoiled Eden in the Western mind. This lavishly illustrated book invites readers into Gauguin’s world, following his passionate quest for paradise through vivid journeys, artistic breakthroughs, and a life as colorful as his canvases. With celebrated works, thoughtful analysis, timelines, and rich historical background, the volume paints a layered portrait of the artist whose imagination forever changed both modern art and the world’s vision of the South Pacific. Caroline Bugler - Art Masters: Paul Gauguin - Hardcover, 96 pages, Sirius Books slmag.net
47
VINTAGE POINT Five wines to fall for
Written and photographed by Vicki Denig
Hi there, Sophisticated Living! My name is Vicki Denig, and I’m a wine and travel journalist (and Certified Specialist of Wine) based between New York and Paris. Within each issue, you’ll find five recent wine discoveries that have left me craving more—and if you also have a passion for delicious wines from around the globe, I think they’ll have the same effect on you, too! Feel free to follow along with my travel and tasting journeys on Instagram at @vickidenig or at vickidenig.com. Without further ado, check out this month’s five bottle selections.
48 slmag.net
Filipa Pato ‘3B’ Brut Nature Blanc de Blancs NV (Bairrada, Portugal — SRP: $28.00) I genuinely believe there’s never a bad time for bubbles, especially if you happen to be on vacation. Over the summer, my family and I headed to Portugal for a family wedding. As someone who always tries to drink locally while abroad, I was thrilled to find this budget-friendly bottle from Filipa Pato on a restaurant list in Cascais. Produced from a biodynamically farmed blend of local grape varieties (70% Bical, 23% Maria Gomes, and 7% Cercial), the wine undergoes primary fermentation with native yeasts in tank prior to aging for 9 months on the lees in bottle. Crisp, refreshing, and slightly creamy, the wine’s notes of green apple, citrus zest, wild thyme, and sea salt paired perfectly with our bowls of linguine with fresh mussels. Punta Crena Vigneto Ca’ da Rena Pigato 2024 (Liguria, Italy — SRP: $30.00) If you find yourself regularly dreaming of Liguria’s colorful coastline, you’re definitely not alone—and this bottle from Punta Crena offers the perfect mental escape. Crafted from the local Pigato variety, fruit for this wine hails from a 2-hectare parcel of terraced vineyards planted between 300 and 900 feet above sea level, where bright red clay soils and salty sea air create a solid backbone of acidity in the grapes. Although lesser known, the Pigato variety is absolutely worth seeking out. Beloved for its signature flavors of grapefruit, dried sage, and Mediterranean scrub-like undertones, the grape offers a savory, equally satisfying alternative to Pinot Grigio and other Italian varieties. I recently enjoyed it with baked clams at my go-to Italian restaurant in New York. Give it a whirl and let me know what you think! Evening Land Vineyards 'Seven Springs Vineyard' Chenin Blanc 2023 (Willamette Valley, Oregon, USA — SRP: $35.00) Although most famously associated with France’s Loire Valley, Chenin Blanc can certainly shine outside of France; enter this zippy, fruit-forward expression from Evening Land Vineyards. Fruit for this wine comes from Seven Springs Vineyard, one of the most iconic—if not the most iconic—sites in all of Oregon. Fleshy and round, the wine’s fuller body is balanced by ample amounts of lip-smacking acidity, resulting in a satisfying, invigorating finish. Notes of crisp pear, yellow apple, beeswax, and chamomile are layered with honey-driven undertones, which bring an innate warmth to the palate—one that screams early fall. Pair this with roasted root vegetables or pork chops for a seasonally delicious pairing. Fun fact: Only 48 cases of this wine were made, though it looks like you can still snag a few directly from the winery’s website. Le Grappin Hautes-Côtes de Beaune ‘Aux Grandes Raies’ 2023 (Burgundy, France — SRP: $45.00) Le Grappin is making waves across Burgundy thanks to their vivacious, fruit-forward wines made with minimal intervention. Overseen by Emma and Andrew Nielsen, two expats from England and Australia respectively, the pair centers their efforts on well-farmed, lesser-known vineyards across the region, including sites in the Mâconnais and Hautes-Côtes de Beaune. ‘Aux Grandes Raies’ is made entirely from Pinot Noir fermented with partial whole clusters and native yeasts, then aged in used, large-format oak barrels before bottling without fining or filtration. The result is a juicy, vibrantly hued wine with high-toned flavors of strawberry, raspberry, and floral undertones. Drink this one slightly chilled for maximum enjoyment—even better if you’ve got an early fall bonfire on deck. Luigi Ferrando ‘Etichetta Bianca’ Carema 2021 (Piedmont, Italy — SRP: $90.00) Followers of this column know that Nebbiolo is a regular fixture in my glass, so this recommendation should come as no surprise. However, contrary to the majority of Piedmontese Nebbiolos that come from Italy’s Langhe area (the overarching region that encompasses both Barolo and Barbaresco), this high-toned, wildly aromatic wine comes from the little-known appellation of Carema, which sits almost directly on the border with the Valle d’Aosta. Fruit for this wine comes from southernfacing, pergola-trained vines planted at the foot of Mont Blanc and is aged for an extensive 30 to 36 months before bottling. Medium-bodied and delicate, the wine offers generous notes of red cherry, violet, dried rose petal, and a touch of tar, with firm tannins and bright acidity leading to a long, persistent finish. Only 4,800 bottles of this precious wine make it to the States annually, so if you see one, be sure to grab it! sl
Vicki Denig is a wine / travel journalist based between New York and Paris. Her work regularly appears in various industry publications, including Decanter, Food & Wine, and WineSearcher. In addition to journalism, Vicki also works with a handful of wine-focused clients, including Paris Wine Company, High Road Wine & Spirits, and more. When not writing, she enjoys running, indoor cycling classes, petting dogs, and popping bottles on her rooftop with friends.
slmag.net
49
1
2
5
3
pinky
4
Promise
50 slmag.net
6
7
Small in scale but big on personality, these statement-making pinky rings pledge to deliver outsized style
Compiled by Bridget Cottrell
8 9
Dating back more than 4,000 years to ancient Mesopotamia and Egypt, signet rings were used to press a unique seal into wax or clay to authenticate official documents. They went on to be adopted by the Greeks and Romans and later by European nobility, who used them to express hereditary emblems often passed down through generations. Today, signet rings continue to evolve as a bold expression of personal style.
11
12
10 15
13
14
1. Michael M Orb Stripe Signet Ring. Available through Richter & Phillips Jewelers in Cincinnati, Reis-Nichols Jewelers in Indianapolis, Genesis Diamonds in Nashville, and michaelm.com 2. Ashaha Candy Ring (ashaha.com) 3. Alder Fine Jewellery Initial Ring (alderfinejewellery.com) 4. Lagos Pearl Statement Ring. Available through Richter & Phillips Jewelers in Cincinnati, Moyer Fine Jewelers in Indianapolis, Schiffman’s Jewelers in Lexington, Diamond Cellar in Nashville and lagos.com. 5. Chris Ploof (chrisploof.com) 6. Marco Bicego Siviglia Ring. Available through Reis-Nichols Jewelers in Indianapolis, Schiffman’s Jewelers in Lexington, Davis Jewelers in Louisville, Diamond Cellar in Nashville, and Clarkson Jewelers and Simons Jewelers in St. Louis and marcobicego.com. 7. State Property Alara Tigerlilly Signet (thisisstateproperty.com) 8. Miraki Pavé Heart Signet Ring (mirakijewels.com) 9. Picchiotti RK57 Xpandable Ring (Available through Moyer Fine Jewelers in Indianapolis, Clarkson Jewelers in St. Louis and (picchiotti.it)) 10. Ray Griffiths Crownwork Coin Signet (raygriffiths.com) 11. Statement My Way Ring (statement.paris/en) 12. Seal & Scribe Seal Ring (sealandscribe.com) 13. Nicole Couronne Equinox Ring (nicolecouronne.com) 14. MACADAM Quadra Open Enamel Ring (macadamjewelry.com)15. Ophelia Eve Starburst Ring (opheliaevejewelry.com)
slmag.net
51
SAINT JOHN’S RESORT An unexpected partnership of a luxury hotel and life-changing humanitarianism Written by Tracy Cottrell. Photos courtesy of Saint John’s Resort One of my many pleasures when planning a trip is the delightful anticipation and preparation for all aspects of my getaway. Most travelers start by exploring the chosen accommodations and amenities, recommended or planned activities, unexpected options, and overall ambiance. Sophisticated adventurers are also looking for hospitable gourmet dining options, memorable cuisine accompanied by 52 slmag.net
unique cocktails, all supported by the epitome of excellent service. Preparations for my trip to Saint John’s Resort allowed me to easily check off all the above, enhancing my anticipation and growing curiosity about this unusual resort with the storied history and present-day humanitarian ambitions. The gated entrance and the resort’s internal roadway usher guests in,
showcasing the gently rolling hills and immaculately manicured grounds. I was immediately struck by the sheer size of Saint John’s Resort campus. Originally built as a seminary in the late 1940’s, the resort features a low-rise Romanesque style with a vibrant red brick facade and Mission-style terra cotta tile roofing. It is not a tall building, but broad, claiming the landscape and highlighting the
contrasting red brick against the vibrant green of the manicured grounds. The historic elegance of the resort and the 200-acre campus welcome guests with open arms, offering the best of the past and all the amenities of the present. My itinerary included enticing activities, but first on my own list was exploration of this unique resort. I was curious to understand how the resort
achieved its humanitarian ambitions. The answer is multifaceted. Ensuring e xc e l l e n c e i n a l l a s p e c t s o f g u e s t experience has been central to the success of Saint John’s Resort. Beyond the robust assortment of amenities, guest satisfaction starts with the resort itself and is achieved by operational focus and excellence. Equally important is successful, happy staff. These are not unique strategies in the hospitality industry. However, directing all net profits to worldwide humanitarian initiatives is exceptional. Saint John’s Resort is owned by the Pulte Family Charitable Foundation and is par t of its Humanitarian Hotels collection, which also includes The Inn at Stonecliffe on Mackinac Island, Michigan, and Hilton Garden Inn Laramie in Wyoming. Through this philanthropic hospitality model, 100% of the hotels’ net profits support charitable causes worldwide. The foundation has invested more than $100 million across the three properties to create luxury hotels where hospitality serves as a force for good. In 2025, it awarded $10.1 million in grants to 221
nonprofit organizations serving nearly 10 million people across 33 countries. Ever yone connected with this outstanding hotel is delighted and eager to share their firm commitment to making the world a better place. The depth of their success across a range of humanitarian efforts is matched by their commitment to every aspect of the guest experience. This is just the beginning of the many qualities that make Saint John’s Resort truly unique. As I continued to investigate the dignified edifice of Saint John’s, I walked through the lushly carpeted corridors and open spaces; the intimacy of each area was unexpected and luxurious. The omnipresence of an eclectic collection of original artwork on permanent display contributes to the resort's pervasive beauty and reflective ambiance. There is no fanfare about any of the artists, allowing the artwork to speak for itself. Perusal of the collection could last for days but is perhaps more enjoyable in brief visits as guests travel from one part of the resort to the other. My attention was caught by multiple pieces, and I succumbed to the urge to stop and enjoy each one. slmag.net
53
54 slmag.net
Clockwise from top left: Doyles Irish Pub. A carefully curated art collection is a focal point of the property’s massive, multimillion-dollar renovation. The Wine Grotto
Excellent gourmet options are around every corner. Five Steakhouse is directly across from reception and is open for breakfast, lunch, and dinner. The menu is sophisticated and the food superb. I particularly enjoyed the Good Morning Smoothies and the Mediterranean Seared Halibut. Doyles offers traditional Irish Pub food and leads enthusiastic games that turn guests into competitive teams, laser-
focused on the win. The Wine Grotto is famous for its wines, of course, but equally renowned for having been the resting place of a deceased Cardinal (religious, not aviary) during the seminary days. The body has since been relocated with all appropriate permissions, but the story makes for excellent cocktail fodder! The undeniable stars of the resort’s campus are the award-winning golf
courses, designed by renowned architect Raymond Hearn. I had the opportunity for a golf lesson while at Saint John’s and will admit I was not enthusiastic. My past attempts to develop any golf skills had been lackluster. The opportunity to try again at Saint John’s won me over. My lesson was a revelation, and I finally understood how enjoyable golf could be. My transformation was attributable solely to my excellent, supportive instructor. I enjoyed the experience immensely. On a tour led by a member of the hotel’s executive staff, details about Saint John’s history, renovations, and operations were shared with great enthusiasm, equaled by a clear dedication to the nonprofit mission. After experiencing the multifaceted Saint John’s Resort and the staff's profound dedication to the mission, the continued success of this unique resort seems inevitable. sl slmag.net
55
DENIM ASCENDS TO HAUTE COUTURE
Christelle Kocher and Levi's® prove that America's iconic fabric belongs on Paris' most exclusive runway. Edited by Elliott Greene / Photos by Kayla Connors For more than 170 years, Levi's® has defined the language of American style. From miners and movie stars to musicians and modern tastemakers, the brand's denim has become one of fashion's most recognizable cultural symbols. This July, however, the legendary label took an unprecedented step, making its debut during Paris Haute Couture Week through a striking collaboration with French designer Christelle Kocher. The Christelle Kocher for Levi's® capsule marks a compelling intersection of two seemingly disparate worlds: the rugged authenticity of American denim and the meticulous artistry of French haute couture. The 10-look collection demonstrates that the world's most democratic fabric can also become one of its most luxurious. Kocher, celebrated for her signature Couture-à-Porter philosophy and her role as Artistic Director of Maison Lemarié— one of France's storied couture ateliers—approached the project not as a reinvention of denim, but as an exploration of its untapped potential. Working alongside Levi's® designers and textile innovators, she transformed familiar icons, including the legendary 501® jeans and the classic Type II Jacket, into coutureworthy statements through extraordinary handcraftsmanship. The collection is a masterclass in textile manipulation. Featherwork, hand embroidery, sculptural draping, intricate plissé techniques, floral fabric constructions, leather embroidery, lace applications, and resin-coated denim combine to create garments that blur the line between ready-to-wear and wearable art. Rather than concealing denim's inherent character, these techniques celebrate its texture while revealing new dimensions of softness, movement, and refinement. Among the collection's standout pieces are dramatic black denim gowns that flow with unexpected elegance, sculptural feather capes that create ethereal movement, and layered plissé bustiers resembling abstract floral arrangements. One particularly arresting
56 slmag.net
ensemble—a full feather gown paired with a coordinating cape—combines denim, lace, resin, and featherwork into shimmering surfaces reminiscent of fish scales, illustrating just how far the humble textile can be pushed without losing its identity. Accessories continue the narrative, with the Levi's® Baby Brooklyn Bag reimagined as a couture accessory and dramatic feather headpieces adding theatricality to the collection's silhouettes. Together, they reinforce Kocher's vision that craftsmanship extends beyond garments to every element of a complete look. For Kocher, the collaboration is deeply personal. "It was a privilege to bring these two teams together and see this collection come to life," she says. "This capsule reflects my life between the United States and France, two countries that fuel my creative energy." That transatlantic dialogue lies at the heart of the project. American denim serves as the foundation, while generations of French artisanal expertise elevate the material through painstaking handwork. The result is neither American sportswear nor traditional couture, but an entirely new conversation between the two.
Levi's® sees the partnership as a milestone in the brand's ongoing evolution. "Bringing Levi's to Paris Haute Couture for the first time is a major moment for us," says Mathilde Vaucheret, Vice President of Europe Marketing & Brand Experience. "With over a century of history behind the brand, partnering with Christelle Kocher felt like a natural fit. She brings a distinctly Parisian perspective with a modern edge that complements our denim heritage. Her Couture-à-Porter vision is the perfect way to elevate the craftsmanship of denim." Presented during Haute Couture Week, the capsule represents far more than a fashion collaboration. It challenges long-held assumptions about denim's place within luxury fashion, proving that craftsmanship—not material alone—defines couture. The collection also signals Levi's® expanding role beyond everyday apparel, positioning the brand within the worlds of performance, red carpet dressing, and cultural expression. At a moment when luxury i n c re a s i n g l y va l u e s a u t h e n t i c i t y alongside artistry, Christelle Kocher and Levi's® have created a collection that honors both. By allowing American denim to speak fluently i n t h e l a n g u a g e o f Pa r i s i a n couture, they demonstrate that innovation often comes not from abandoning tradition, but from viewing it through an entirely new lens. sl Designer Christelle Kocher
slmag.net
57
58 slmag.net
Opposite page: Hotel Excelsior boasts 139 rooms and 19 luxury suites divided between Villa Odak, the original sand-colored villa, and a mid-century modern tower. Adriatic Luxury Hotels’ five-star properties design modern, seasonal menus that feature dedicated vegan, vegetarian, and gluten-free dishes across their fine-dining and beachfront restaurants. Vegan dessert from Sensus at Hotel Excelsior. Bathed in golden light, Dubrovnik’s historic rooftops frame the elegant bell tower of the Dominican Monastery, with the formidable walls of Fort Revelin rising above the Adriatic—a timeless portrait of the city’s layered architectural legacy. Photo by Marko Todorovic. This page, bottom: Starting at sunrise, a steady procession of kayakers glides out from the Old Town port, weaving their way between Hotel Excelsior and Lokrum Island.
THE EXCELSIOR EXPERIENCE
At Dubrovnik’s iconic Hotel Excelsior, restorative rituals, Adriatic flavors, and timeless design redefine the luxury of checking in. Written by Bridget Cottrell
In all my years of traveling, it never occurred to me to book a spa appointment on the day of my arrival when it falls well before standard check-in time. That was until it was recommended to me during my visit to Hotel Excelsior in Dubrovnik, Croatia. Although I was still bleary-eyed from an early morning touchdown, stepping into the glass-walled lobby, outfitted with iconic midcentury modern furnishings, and taking in the elevated view of the Adriatic and the Old Town of Dubrovnik had the same effect on me as a double shot of espresso. I left my luggage with the valet and headed straight to the hotel’s 9,000-squarefoot spa and wellness area. There, I slipped into a plush robe and settled into a heated deck chair amid this piscine palace, complete with a 65-foot-long pool, Jacuzzis, a Roman bath, and a Finnish sauna. The soothing sound of bubbling fountains shepherded my speedy slide into a restful catnap before a delightfully restorative massage, instantly establishing a new favorite travel hack for eradicating jet lag and getting in sync with the local time zone. Built in 1913 on a promontory that endows it with beguiling views of the medieval walls surrounding Dubrovnik’s Old Town—instantly recognizable to Game of Thrones fans as King’s Landing—the five-star Hotel Excelsior, part of the Adriatic Luxury Hotels group (ALH), boasts 139 rooms and 19 luxury suites divided between Villa Odak, the original sand-colored villa, and a midcentury modern tower. Rooms in Villa Odak deftly toe the line between traditional and modern, with box-trimmed walls and marble bathrooms, while the tower rooms, like the public areas, embrace Bauhaus design with clean lines, warm wood tones, and a neutral color palette. Most accommodations offer sea and city views from a balcony or terrace. slmag.net
59
Any time I stood on the balcony of my spacious tower room, I found myself transfixed by the scene. Below, a linear arrangement of striped umbrellas at the water’s edge sported a shade of teal discernible among the mosaic colors of the Adriatic. Children splashed in the hotel’s natural seawater outdoor rock pool, carved directly into the limestone cliff and replenished by the sea. Starting at sunrise, a steady stream of kayakers set out from the Old Town port at sunrise and travel between the hotel and Lokrum Island (lokrum.hr/en). The lush, carfree nature reserve and botanical garden is home to the ruins of an 11th-century monastery, an ostentation of roaming peacocks, and an official naturist beach on its southeastern edge. Every summer, all-electric hydrofoil RaceBirds go headto-head along this same stretch of water as part of the E1 Dubrovnik GP (e1series. com/Dubrovnik), the world’s first allelectric raceboat championship. Just steps from the water, Prora Restaurant occupies an intimate alfresco terrace, where tables are nestled beneath towering limestone arches that frame the view. Overhead, unique chandeliers made from r uste d mariners’ cha ins allude to a menu highlighting the best of Mediterranean cuisine, with seafoodfor ward offering s created under the direction of Executive Chef Peter Obad, a native of nearby Konavle. Common across ALH’s collection of Croatian hotels and villas is a strong
60 slmag.net
commitment to showcasing local cuisine, olive oil—consistently ranked among the best in the world—and wine. Oenophiles will enjoy discovering new varietals, including the comic-sounding Grk, an extremely rare indigenous white grape that yields dry, robust wines with notes of melon, herbs, and white pepper. During dinner at Hotel Excelsior’s sleek Sensus fine-dining restaurant, I paired Dalmatian pašticada, Croatia’s famous slow-cooked beef stew, with a glass of Plavac Mali, the undisputed king of Dalmatian red wines. At Hotel Kompas’ Suton restaurant (adriaticluxuryhotels. com/hotel-kompa s- dubrovnik), we shared small plates of Dalmatian spe cialties while our ser ver poure d Malvazija Istarska, the flagship white grape of the Istrian peninsula. “It’s like tasting Dubrovnik,” she remarked. One of Hotel Excelsior’s greatest advantages is its location: a five-minute downhill stroll to the Ploče Gate of Dubrovnik’s Old Town. Anyone who has spent time traveling through Europe
is familiar with the prevalence of graffiti. Dubrovnik, by contrast, is notable for being exceptionally clean—so much so that exploring the Old Town, whose origins date to the seventh century and whose defensive walls were largely constructed between the 13th and 17th centuries, feels like stepping onto a film set. In addition to Game of Thrones, Star Wars: The Last Jedi (2017) and Robin Hood (2018) used the historic city as a backdrop. Sadly, the city’s pristine appearance is partly attributable to tragedy. The brutal seven-month siege by the Yugoslav People’s Army in 1991 left more than 60 percent of the buildings within the UNESCO World Heritage Site damaged. To get a bird’s-eye view of the area, you can either take the easy way—the Dubrovnik Cable Car (dubrovnikcablecar.com), located just outside the Old Town, makes for a quick ascent to the summit of Mount Srđ and its 19th-century imperial fortress—or, as I did, hike a zigzagging 3.4-mile out-and-back trail. While the route gains nearly 1,000 feet in elevation, the most challenging part was the
Opposite page: The beachfront at Hotel Excelsior. The indoor pool at Hotel Excelsior. Photos by Bridget Cottrell. Clockwise from top left: The Piano Bar at Hotel Excelsior. Photo by Marko Todorovic. Common across the Adriatic Luxury Hotel porfolio is a commitment to highlighting Croatian cuisine and wine. With more than 5,400 stone steps, stairs are ubiquitous in Dubrovnik, and any street branching off the main thoroughfare quickly turns into a steep climb. Known as Dubrovnik’s "oldest citizens", stray cats are legendary residents within the ancient walls. Brought in the 13th century to combat plague-carrying rats, they now roam the alleys and sunbathe on stone steps as iconic, unbothered felines. Photos by Bridget Cottrell.
seemingly endless series of stairs required to exit Old Town and reach the trailhead. With more than 5,400 stone steps, stairs are ubiquitous in Dubrovnik, and any street branching off the main thoroughfare quickly turns into a steep climb. Similarly, walking the entire 1.2mile loop atop the Old Town’s walls (citywallsdubrovnik.hr) entails plenty of steep, narrow steps but rewards the effort with picturesque vistas and several bars worthy of a pit stop. Don’t miss popping into a bakery for a burek, a flaky pastry made with crisp layers of phyllo dough
stuffed with savory fillings such as minced meat, cheese, or potatoes. For those who count shopping as their cardio, leave the central boulevard and wander through the narrow lanes to discover boutiques offering handmade filigree jewelry, hand-braided Adriatic coral jewelr y, and intricate Konavle embroider y. The latter, traditionally stitched onto women’s folk costumes, is celebrated in the nearby village of Čilipi, which hosts a traditional folk-dance experience every Sunday morning from Easter through the end of October in the
square in front of St. Nicholas Church (visit.cavtat-konavle.com/en). While Dubrovnik’s coastal location made it the premier maritime power of the eastern Adriatic for centuries, today it provides leisure travelers with ample opportunities for aquatic exploration. The concierge at Hotel Excelsior can arrange a yacht charter to explore the nearby Elafiti Islands, where you can bob in the Blue Cave on Koločep Island, relax in the sandy bay of Lopud, and enjoy a seafood lunch on Šipan, one of just three inhabited islands in the 13-island archipelago. slmag.net
61
Clockwise from top left: Each room at Hotel Supetar Cavtat is unique in its design. Photo by Marko Todorovic The Wine Bar at Hotel Supetar Cavtat. Photo by Bridget Cottrell. Supetar Cavtat is located on the waterfront in the charming village of Cavtat, just over 13 miles from Dubrovnik. Photo by Marko Todorovic. Vapor Restaurant terrace at Hotel Bellevue Dubrovnik. Photo by Marko Todorovic
You can also travel by boat to Hotel Supetar Cavtat (adriaticluxuryhotels.com/ hotel-supetar-dubrovnik-cavtat), ALH’s 16-room “boutique villa,” housed in a threestory former private mansion 13 miles from Dubrovnik in the charming seaside town of Cavtat. The nondescript stone façade, built atop the remnants of the ancient city of Epidaurum, belies the playful, art-infused interiors, where each room is unique. The property was awarded one MICHELIN Key in 2025. Scuba divers should note that the surrounding waters are home to one of Croatia’s most notable underwater archaeolog ical areas, with numerous shipwrecks to explore. Another ALH property, the fourbedroom Villa Agave (adriaticluxuryhotels. com/villa-agave), is situated between Hotel Excelsior and Villas Orsula and Argentina. The 96-room Villa Argentina (adriaticluxuryhotels.com/villa-argentinadubrovnik), one of Dubrovnik’s original f i ve - sta r l a n d ma rk h o te l s , re c entl y reopened after a multiyear renovation. Around 14,000 plants, predominantly Mediterranean species, create a verdant oasis on the Garden Terrace, uniting the communal spaces from Villa Argentina’s pool deck to the boutique 13-room Villa Orsula (adriaticluxuryhotels.com/villaorsula), originally built in the 1930s. Like its neighbor Hotel Excelsior, Villa Argentina’s spa is designed as a wellness sanctuar y, with indoor and outdoor pools, comprehensive thermal therapies, a 62 slmag.net
state-of-the-art fitness center, and highly personalized treatments. Dramatically carved into a rugged 100-foot cliff above Miramare Bay, less than a mile from the Old Town, ALH’s Hotel Bellevue (adriaticluxuryhotels.com/hotelbellevue-dubrovnik) is home to Vapor restaurant, consistently ranked among the best restaurants in Croatia. The terrace, which overlooks a pebbled beach, lends the feeling of dining aboard a luxury yacht, while the tasting menu, under the direction of Chef Mate Matić, layers fine-dining techniques and global influences onto classic regional ingredients and dishes.
One evening , I gazed out from my balcony as the Old Town basked in the golden glow of sunset, the limestone walls glowing with the energy of centuries past. My thoughts wandered to the medieval builders, imagining their astonishment at the sight of mega yachts moored like modern-day invaders outside the ramparts the y once built to defend. Now, the drawbridges are lowered, and the imposing gates are beacons of welcome, inviting a lively tide of tourists, each one irresistibly drawn like bees to honey. Staying at Hotel Excelsior made this visit to the “Pearl of the Adriatic” even sweeter. sl
A VENETIAN REVERIE Artemest brings Italian craftsmanship to life during Homo Faber in Città 2026 Edited by Elliott Greene Photos courtesy of Artemest
Few cities embody craf tsmanship as completely as Venice. Its canals, palazzi, and handblown Murano glass all reflect a culture where artistry has long been a way of life. This September, that legacy finds a striking new expression with Ca' Riflesso, Artemest's immersive installation transforming a historic Venetian residence into an exquisitely imagined collector's home as part of Homo Faber in Città 2026 (homofaber.com/en), the internationally acclaimed celebration of contemporary craftsmanship organized by the Michelangelo Foundation. Ca' Riflesso embraces this year's emphasis on light, materials, and the human hand. Visitors exploring Venice during the month-long festival will discover exhibitions and artisan experiences throughout the city, with Artemest's installation among the most immersive destinations. Under the creative direction of Artemest co-founder Ippolita Rostagno, the installation inside Casa Sanlorenzo in Venice's Dorsoduro district embraces the quiet poetry of everyday living. Rather than presenting objects in the familiar format of a gallery exhibition, Artemest invites visitors into an experience that feels intimate and deeply personal. The
exhibition unfolds room by room, where crafted furnishings, lighting, decorative objects, textiles, and works of art appear as though they have been thoughtfully acquired over a lifetime. The effect of this living narrative is cinematic, allowing guests to imagine inhabiting these extraordinary design vignettes. The exhibition’s name reflects the spirit of the project. Derived from the Venetian word Ca', meaning "home," and the Italian Riflesso, meaning "reflection," Ca' Riflesso explores the dialogue between memory and modernity, craftsmanship and innovation. In each room of the restored late-1940s residence, reimagined by architect Piero Lissoni, Venice's ever-changing light illuminates handcrafted surfaces, reinforcing the central theme that exceptional craftsmanship is meant to be lived with rather than merely admired. More than fifty Italian artisans and celebrated brands are contributors to the installation, representing disciplines ranging from Murano glass and sculptural lighting to bespoke furniture, ceramics, textiles, and decorative arts. Together, their body of work forms a layered portrait of Venice's creative heritage while showing how traditional techniques continue to evolve through
Clockwise from top left: Contemporary glass artisan Simone Crestani of Atelier Crestani. Micheluzzi Glass is designed by Elena & Margherita Micheluzzi and handcrafted in Murano. Founded in 1957 near Venice, Argenteria Schiavon produces works where classic motifs and modern designs are created by master silversmiths using age-old artistic techniques. Photo by Andrea Piovesan.
contemporary design. Historic Rubelli fabrics, long synonymous with Venetian luxury textiles, provide the exhibition's drapery. Open to the public from September 1–30, 2026, Ca' Riflesso promises to be one of the standout design experiences of Venice's cultural calendar, offering visitors an opportunity to step inside a world where the artistry of Italy is beautifully lived. sl slmag.net
63
Hook
1
2
Bold curves, natural beauty, and sculptural style converge in jewelry that's impossible to resist.
4
Compiled by Bridget Cottrell 1. 2.
3. 4. 5. 6. 7. 8.
Carolina Bucci Florentine Finish Corno Pendant (carolinabucci.com) David Yurman Cornicello Amulet. Available through Moyer Fine Jewelers and Reis-Nichols Jewelers in Indianapolis, Schiffman’s Jewelers in Lexington, Davis Jewelers in Louisville, Diamond Cellar in Nashville, Clarkson Jewelers in St. Louis, and davidyurman.com. Hermes Maillon Necklace in Metal and Horn (hermes.com) Jacquie Aiche Pave Horn Tusk Charm (jacquieaiche.com) Zadeh Buffalo Horn Rio Bracelet (zadehny.com) Chan Luu Oasis Horn Ring (chanluu.com) Lizzie Fortunato Milano Horn Necklace (lizziefortunato.com) Harwell Godfrey Unicorn Drop Huggie Earrings (harwellgodfrey.com)
3
5
7
8 6
64 slmag.net
Skip the Build. Make It Yours.
760 Kent Road
Ladue
Set on 2.84 private acres adjacent to St. Louis Country Club, this extraordinary 12,000+ square-foot estate offers 7 bedrooms, 8 full and 2 half baths, showcasing exceptional craftsmanship, soaring ceilings, and timeless luxury throughout. Resort-style amenities—including a pool and pool house, lap pool, tennis court, wine cellar, theater, and stunning gardens—create an unparalleled lifestyle in one of Ladue’s most prestigious settings.
Learn more at julielanerealestate.com julie@julielanerealestate.com | 314.303.6504
janet mcafee inc. I 9889 clayton road I saint louis, missouri 63124 | 314.997.4800 I www.janetmcafee.com
marcia moore design 314-395-1114 | marciamooredesign.com
THE CHAIR THAT CHANGED THE WORLD BEGAN IN ST. LOUIS The world’s most famous chair traces its origins to a curious young man who learned to see architecture by walking the streets of St. Louis By Lou Ann Wilcox
Few pieces of furniture are instantly recognizable by name alone. The Eames Lounge Chair is one of them. For nearly seven decades, its graceful molded wood shell, supple leather cushions and unmistakable silhouette have appeared everywhere — from architect-designed homes and executive offices to Hollywood films and the permanent collection of New York’s Museum of Modern Art. Introduced in 1956, the chair has become an enduring symbol of modern design. Yet what many people don’t realize is that one of the world’s most celebrated furniture designs traces its origins to St. Louis. Long before Charles Eames became one of the twentieth century’s most influential designers, he was a curious young man roaming the streets of St. Louis with a sketchbook, fascinated by the city’s churches, warehouses, bridges and skyscrapers. Those early explorations fostered a lifelong appreciation for architecture, engineering, design and craftsmanship — qualities that would shape not only his career, but the way millions of people experience furniture today. St. Louis has produced an extraordinary roster of innovators whose influence extends far beyond the city’s borders. Susan Blow established the nation’s first successful public kindergarten. Chuck Berry helped define rock ‘n’ roll. Tennessee Williams transformed American theater. Phyllis Diller broke barriers for women in stand-up comedy. Charles Eames belongs comfortably in that company. His work changed the way the world thinks about furniture, proving that exceptional design could be beautiful, functional and inviting all at once.
The Eames Lounge Chair and Ottoman. Photo Courtesy of Herman Miller.
slmag.net
67
Charles Eames in St. Louis, circa 1925. © 2026 Eames Office, LLC. All rights reserved.
68 slmag.net
Charles and Ray Eames working at the Eames Office in Venice, California, circa 1960. © 2026 Eames Office, LLC. All rights reserved.
Born in St. Louis in 1907, Eames grew up in the city’s south-central neighborhoods. His family was modest — his father, Charles Sr., worked as a security guard — but the city itself became his classroom. He spent hours sketching historic buildings, wandering Forest Park and studying the architecture that surrounded him. Those experiences nurtured the curiosity that became the hallmark of his career. And, because this is St. Louis, perhaps the most important question of all: Where did Charles Eames go to high school? He graduated from Yeatman High School in 1925. Today, the building is home to Central Visual and Performing Arts High School, which proudly counts Eames among its distinguished alumni. After graduation, Eames enrolled in Washington University’s School of
Architecture on scholarship. There, however, his admiration for modern architects such as Frank Lloyd Wright and his willingness to challenge the traditional Beaux-Arts curriculum often put him at odds with faculty. Whether he left voluntarily or was encouraged to do so, the experience reinforced the independent thinking that would define his career. Fo l l o w i n g h i s d e p a r t u r e f r o m Washington University, Eames worked for a local architectural firm before opening his own practice. Few projects from those years are widely documented, but they provided valuable practical experience and allowed him to develop his own design philosophy. One little-known chapter of his early career unfolded at The Muny, where Eames designed stage sets for productions. Even then, he moved effortlessly between
architecture, engineering, theater and art, refusing to see boundaries between creative disciplines. That interdisciplinary approach would later become one of his greatest strengths. In fact, according to the Eames Institute, Charles would go on to work as a set designer for MGM and became close companions with the film director Billy Wilder after Charles worked with him on “The Spirit of St. Louis,” a film about Charles Lindbergh. Another pivotal influence came from renowned Finnish architect Eliel Saarinen. At Saarinen’s invitation, Eames moved to the Cranbrook Academy of Art in Michigan in 1938. There he quickly became an instructor and head of the industrial design department while collaborating with Eliel’s son, Eero Saarinen — whose own legacy would eventually include the Gateway Arch. slmag.net
69
The Eames Lounge Chair and Ottoman in red leather. Photo courtesy of Herman Miller.
During a Museum of Modern Art furniture competition, Charles met artist and designer Ray-Bernice Kaiser. Their professional partnership soon became a personal one, and the couple married in 1941 before relocating to Los Angeles, where they established the legendary Eames Office design studio. Together, Charles and Ray began experimenting with molded plywood, searching for ways to create furniture that was both innovative and accessible. During World War II, their techniques were adapted to produce lightweight splints and stretchers for the U.S. Navy, demonstrating that thoughtful design could solve practical problems far beyond the living room. Their groundbreaking work soon caught the attention of Herman Miller, which acquired the rights to manufacture and distribute their furniture in 1947. 70 slmag.net
It became one of the most successful collaborations in design history. Then, in 1956, came the chair that would define their legacy. Inspired by the comfort of a traditional English club chair, the Eames Lounge Chair combined molded plywood with rich leather upholstery in a way no one had seen before. Charles famously wanted it to have “the warm, receptive look of a well-used first baseman’s mitt.” Ray later remarked that it looked “comfortable and un-designy” — perhaps the highest compliment either designer could have imagined. The chair has remained in continuous production ever since. Today, authentic Eames Lounge Chairs are still assembled by hand at Herman Miller’s Michigan factory using techniques that remain remarkably faithful to the original design. Available
in multiple wood veneers, leather finishes and two sizes, the chair continues to attract collectors, architects and design enthusiasts around the world. Amy Auscherman, Director of Archives and Brand Heritage for MillerKnoll, Herman Miller’s parent company, believes people are initially drawn to the chair’s beauty but remain attached to it for a much more personal reason. “Over time, it becomes part of its owner’s story, a cherished part of their home that is often passed down to be treasured by future generations,” she says. “Charles and Ray Eames designed the chair and ottoman to feel welcoming from the moment you sat down in it. That feeling still resonates.” Ma i n t a i n i n g t h a t a u t h e n t i c i t y remains central to the company’s mission. According to Auscherman, Herman Miller works closely with the Eames family, the
Eames Office and the MillerKnoll archives to preserve the integrity of the original designs while thoughtfully embracing new technologies. One recent example is the introduction of bamboo-based upholstery, which reduces the chair’s environmental footprint without compromising its comfort, craftsmanship or character. She also sees growing appreciation from younger buyers. “Many younger buyers are looking for pieces with authenticity and lasting value,” Auscherman explains. “They appreciate the story behind the design, the craftsmanship and the idea of investing in something they’ll live with for years rather than replace in a few seasons.” Perhaps the chair’s greatest surprise, however, is one that can only be experienced in person. “Many people recognize the chair immediately,” she says, “but what surprises
them is how comfortable it is. There’s often a moment when someone sits down and you can almost see them relax. Charles and Ray never wanted it to feel formal or intimidating. They wanted it to feel welcoming.” That spirit of welcoming design has never gone out of style. It also makes the July opening of St. Louis’ first dedicated Herman Miller showroom, at 32 Maryland Plaza in the Central West End, especially meaningful. The showroom celebrates not only one of the company’s signature products but also the city where Charles Eames first discovered architecture and design. “St. Louis felt like a natural fit for Herman Miller,” says Auscherman. “It’s a city with a strong appreciation for architecture, design and culture, and it is where Charles Eames’ story began. While the opening is about serving a growing community of
design-minded customers, there’s something especially meaningful about bringing Herman Miller to a place that played such an important role in shaping one of our most influential design partners.” Although Charles and Ray spent most of their professional lives in California, Charles never completely lost his connection to St. Louis. Ironically, he died here in 1978 while on a consulting trip. He and Ray, who died 10 years later, are buried together at Calvary Cemetery, and his star on the St. Louis Walk of Fame honors a hometown visionary whose influence spans generations. Nearly 70 years after its debut, the Eames Lounge Chair remains exactly what Charles envisioned: warm, welcoming and timeless. And it all began with a young St. Louisan who loved to walk the city with a sketchbook. sl slmag.net
71
SINCE 2015, WE HAVE HELPED RAISE MORE THAN $5-MILLION AND GARNERED MUCH NEEDED AWARENESS FOR ST. LOUIS NONPROFITS. ON-LINE DONATIONS | MATCHES WITH CORPORATE DONORS REPORTS ON GIVING TRENDS IN ST. LOUIS | ADVICE FROM DONOR-ADVISED FUNDS
There are more than 19,000 nonprofits in St. Louis. Sophisticated Giving helps them stand out. IN THESE DIVISIVE AND UNPREDICTABLE TIMES, IT IS MORE IMPORTANT THAN EVER THAT WE SUPPORT ST. LOUIS’ NONPROFITS TO ENSURE THEY BOTH SURVIVE AND THRIVE. BY STATING THE ORGANIZATION’S HISTORY, PURPOSE, GOALS, AND NEEDS, ORGANIZATIONS — FROM THE ARTS TO EDUCATION, PUBLIC WELFARE AND FAR BEYOND, YOU CAN LEARN MORE ABOUT THOSE GROUPS WHO ARE HELPING OUR CITY HELP OTHERS. THE STORIES THEY TELL EDUCATE US ON WHAT IS BEING DONE AND WHAT IS STILL NEEDED.
HELP US WRITE ANOTHER STORY TELL US ABOUT YOUR FAVORITE NON-PROFITS SO WE CAN FEATURE THEM IN THE 2025 - 2026 SOPHISTICATED GIVING CHARITY REGISTER. AND PLEASE CONSIDER DONATING SO WE CAN PROFILE AS MANY NONPROFITS AS POSSIBLE AT NO COST TO THE NONPROFITS.
THANK YOU
To help, donate, or get involved, contact Craig Kaminer at 314-363-3333 or craig@slmag.net
S E R E N E . T E X T U R E D. B A L A N C E D.
No destination too far. Personalized travel across the World.
Best in seating comfort and ultimate in range.
Interested in owning, chartering, or joining our exclusive Charter Shares Membership Program? Contact St. Louis’ leading private jet charter company. Your next adventure awaits.
SOPHISTICATED CELEBRATIONS
Presented by
September 7 9-13 & 23-26 12 12 12 14 17 17-27 18 19 19-20 26
Japanese Festival at Missouri Botanical Garden, missouribotanicalgarden.org St. Louis National Charity Horse Show EverTrue Ageless Gala, evertrueliving.org St. Jude Walk, fundraisingstjude.org Grant’s Farm Oktoberfest, grantsfarm.com Chef ’s Night Out, missourikvc.org Great Forest Park Balloon Glow, greatforestparkballoonrace.com The Tennesse Williams Festival, twstl.org Great Forest Park Balloon Race, greatforestparkballoonrace.com The Walk to End Lupus Now, lupusfoundationofamerica.com Pedal the Cause, pedalthecause.org Together We Share Night for Hope & Healing, hopeandhealing.org
October 3 3 7 12 9 16 17 17 18 19 19-25 24 26 31
Zero Cancer Run Walk, zerocancer.org Silk Threads Annual Charity Gala, silkthreadsfundraiser.com Spike & Sparkle: A Dog Soiree, straydogtheatre.org A Tasteful Affair: Celebrating 37 Years of Nutrition Supporting Nutrition , my.onecause.com Sweet Harvest Elegance Fundraiser Gala, cityblossoms.org Gridiron Gala, isaacbruce.org SSM Health Foundation – St. Louis Bright Night Gala, ssm-health-foundation-stlouis.org Arthritis Foundation Bone Bash, arthritisfoudationbonebash.com Sababa Jewish Arts Festival, sababastl.com 33rd Annual Scramble for Charity Golf Tournament, Ronald McDonald House, rmhcstl.org Stifel Charity Classic, stifelcharityclassic.com A Starry Night: Soiree with the Angels, angelbandproject.org Winter Opera St. Louis 20th Season Gala, winteroperastl.org Walk to End Alzheimer’s, act.alz,org
For more Celebrations and party pics, go to sophisticatedstlouis.com slmag.net
75
Your Image is Your First Introduction
Elevate your personal brand. Studio and on-location sessions available.
zachdalin.com
Photos by Kim Lorenz, Creative Visions Photography
Third Annual Mind In Bloom Miriam School Fundraiser On April 18, Minds in Bloom blossomed for Miriam School and Learning Center. Celebrating a record-breaking evening at its 1
2
third annual Minds in Bloom auction and dinner, the school raised more than $300,000. The money will go to support its mission of providing specialized education for students with learning differences. Held at the Clayton Plaza Hotel, the event drew its largest attendance to date, with more than $181,000 designated for the Fund the Future Scholarship Fund, helping make a Miriam education more affordable. The inspiring evening featured heartfelt
3
remarks from scholarship recipient Eddie
4
and Miriam parent Erin Chien, whose stories underscored the life-changing impact of the school’s individualized approach to education. Guests also applauded outstanding community leaders. Steve and Karla Rosenblum received the Fannie Landau Award for Volunteerism. The Steele family was honored with the Legacy of Giving Award and Miriam alumnus and longtime benefactor George Diederich was 5
6
presented with the Lifetime Achievement Award. The fundraiser reaffirmed the St. Louis community’s commitment to ensuring that Miriam students continue to thrive academically and personally for generations to come. sl
7
9
10
1.
Gala guests raise paddles.
2.
Event Co-chair Judi Scissors and Honorary Co-chairs Susie and Bill Hizar.
3.
Head of Miriam School and Learning Center Meg Bamford, Eliot Bamford.
4.
Miriam staff members Sara Barnes, Dr. Karen Cross, Laura Schnarr.
5.
Natalie Vasilyev, Megan Westman, Miriam board member Diana Wittig, Brooke Young, Danyal Timmerman.
6.
President of Miriam Board of Directors Kristen Bowser, Jeff Bowser.
7.
Event Co-chairs Judi Scissors and Stephanie DePlanty with best-dressed winners Tammy and Sidney Clark, John Metille, Chris Lints.
8.
Event Co-chairs Judi Scissors and Stephanie DePlanty with Steve and Karla Rosenblum, Fannie Landau Award for Volunteerism recipients.
9.
Guests enjoyed a delicious meal before the fundraising began.
8
10. Sara Marler wins the bid war for a signed Taylor Swift guitar.
slmag.net
77
UPCOMING EXHIBITIONS OLGA DE AMARAL: WEAVING THE INFINITE SEP 10, 2026–JAN 31, 2027
FRED WILSON: IRMA, OTA, AND I MARCH 5–AUGUST 8, 2027
IDEAS OF AFRICA: PORTRAITURE AND POLITICAL IMAGINATION MARCH 5–AUGUST 8, 2027
@PULITZERARTS PULITZERARTS.ORG 314 754 1850
Photos by Gara Elizabeth Photography for Forest Park Forever
35th Annual Forest Park Forever Hat Luncheon
1
2
3
4
5
6
7
7
8
On June 2, nearly 800 civic leaders, philanthropists and park supporters gathered at the World’s Fair Pavilion for the 35th Annual Forest Park Forever Hat Luncheon, celebrating two significant milestones — the 150th anniversary of Forest Park and the 40th anniversary of Forest Park Forever, the nonprofit conser vancy dedicated to preserving and enhancing one of America’s premier urban parks. Emceed by Carol Daniel and co-chaired by Akberet Boykin Farr and Laura Sawyier, the sold-out event raised a record-breaking $665,000 to support the daily care of Forest Park’s 1,300 acres. Since its founding in 1986, Forest Park Forever has partnered with the City of St. Louis to restore historic landmarks, maintain gardens, lakes, trails, woodlands and thousands of trees, while funding improvements that help welcome more than 15 million annual visitors. The Hat Luncheon, established in 1991 by the organization’s Women’s Committee, has become one of St. Louis’ most beloved philanthropic traditions. Guests don elegant and whimsical hats in celebration of summer while raising millions of dollars over the event’s 35-year history to ensure Forest Park remains a vibrant civic treasure for generations to come. sl 1.
Event Co-chair Akberet Boykin Farr (left) of Emerson, Forest Park Forever Executive Director Lesley Hoffarth and style consultant Laura Sawyier.
2.
City of St. Louis Alderwoman Shameem Clark-Hubbard and St. Louis Magazine Executive Director Sarah Fenske were judges in the hat contest along with fashion expert AK Brown (not pictured).
3.
The Saint Boogie Brass Band performs while marching to the World’s Fair Pavilion.
4.
Lauren Herring, CEO of Impact Group, chats with fellow attendees.
5.
Maria Briggs, Arlene Maminta Browne, Joan Berkman.
6.
Attendees of the 35th Annual Forest Park Forever Hat Luncheon celebrate.
7.
Standing from left: Arlene Maminta Browne, Ann Balsamo. Seated from left: Kelly Hiatt, Kristen Sorth, Dena Ladd, Joan Berkman.
8.
Dr. Jody Sowell, Susan Sherman.
slmag.net
79
Striking Custom Home Set on 3.49 Private Acres in Wildwood 1602 Wolf Trail Road | Wildwood, Missouri 63021 5 BEDROOMS | 5.5 BATHS | 5,020 SQ. FT.| 3.49 ACRES | $1,599,000
Set on 3.5 acres in Wildwood, this architect-designed contemporary home offers 6,440 square feet, breathtaking views, passive solar design, and earth-sheltered construction. Highlights include 5 total bedrooms, expansive windows, flexible living spaces, a private lower-level apartment, walk-out patio, and 4-car tandem garage.
314.607.5555 | tedwightrealestate.com
dielmannsir.com | 314.725.0009
Photos by MaryKatherine Patteson and Grayling Holmes
The Third Annual Groovy Do Hairspray at The Muny 1
2
3
4
5
6
7
8
9
10
More than 150 donors embraced the spirit of the 1960s before the June 18 performance of “Hairspray” at The Muny, gathering at the Broadhurst Pavilion for the third annual Groovy Do fundraiser. The lively evening raised more than $95,000 to expand the nation’s oldest and largest outdoor musical theater’s accessibility initiatives, ensuring that audiences of all abilities can experience the magic of live performance. Chaired by Cheree Berry, Ashley Kemper and Brooke Ray, the festive event supports The Muny’s longstanding commitment to inclusion through its renowned free seats program, which offers nearly 1,500 complimentary tickets for every performance, as well as a wide range of accessibility services including wheelchair assistance, American Sign Language interpretation, assistive listening devices, audio description and closed captioning. By helping remove financial and physical barriers to attendance, Groovy Do ensures that theater continues to inspire, entertain and uplift everyone. The evening proved that generosity and community spirit can create standing ovations long before the curtain rises. sl 1.
Kelly Bagwe, Melissa Miller, Heidi Gorham
2.
Lizzo Dutcher, Hillary Dutcher, Arden Conner, Alex Dutcher
3.
Tamar and Karen Sher
4.
Audrey and Rebecca Schulz, Ali Siegel
5.
Mike Issacson, Taylor Louderman, Rebecca Roam
6.
Groovy Do Host Committee. Back row from left: Kelly Bagwe, Jessica Herschend, Laura Deutsch, Rebecca Schulz, Rachel Seward, Mina Nashan, Gina Nelson, Ashley Kemper, Brooke Ray, Susie Hindupur, Karen Sher, Laurie Lock, Mary Felker, Kelly Peck, Anna Ives. Front from left: Cory Smallwood, Madeline Akins, Stephanie Martin, Cheree Berry, Grace Jones, Heather Johns, Hillary Dutcher.
7.
Kathleen Matecki and MUNY President & CEO Kwofe Coleman
8.
Groovy Do Co-chairs Ashley Kemper, Brooke Ray, Cheree Berry
9.
The Bagwe Family
10. Susie Hindupur, Jessica Herschend, Mary Choquette, Jennifer Strahle
slmag.net
81
Photos by Holly Swan and Grayling Holmes
Rung for Women Drag Me to Brunch
1
3
4
5
6
7
9
2
8
10
11
Forget the typical charity luncheon. More than a fundraiser, Rung for Women’s annual Drag Me to Brunch transformed the Rung ballroom auditorium into a high-energy celebration where hundreds of guests — predominantly women — cheered, danced and reveled in performances that felt more like an electrifying nightclub than a traditional gala. Hosted by legendary drag entertainer Ming Lee, the cast of Devorah the Doll, Vanessa Frost, Amber Lance Valentino and Moxie Contin had the crowd erupting with every dip, death drop and dazzling strut down the runway. Chaired by Vincent C. Flewellen and Elizabeth Southern, the June 7th event raised more than $50,000 through sponsorships, donations, a designer handbag raffle and the ever-popular Perfume Pull. Founder Ali Hogan and CEO Leslie Gill reminded guests that behind the exuberant entertainment was the powerful mission at Rung: Helping women climb the economic opportunity ladder. Proceeds will support Rung’s new Career Center, expanding career coaching, professional development and employment resources that empower women to achieve lasting economic mobility. It was proof that philanthropy can be joyful, inclusive and every bit as unforgettable as the show itself. sl 1.
Vanessa Frost, Moxie Contin, Devorah the Doll, Amber Lance Valentino, Ming Lee
2.
Mary Wimbley, Grayling Holmes
3.
Wendy Hamstra-Smith, Jill Halpin, Elizabeth Walters
4.
Margo Kopman, Dawn Weinstock, Kathy Leonard, KC Carroll
5.
Keantee Lang, Danyal Hurd, Catina Stephenson, Regina Walker, Tracey Wayne
6.
Christine Blynn, Jessica Rodriguez
7.
Sharon Fenoglio, Rung CEO Leslie Gill, Christina Verbarg, Todd Dufour, Vincent C. Flewellen, Elizabeth Southern, Rung Board Chair Ali Hogan
8.
Malachi Moore, Elizabeth Calixto, Paul Woodruff, Tim Clavin, Celeste Prince, Lisette Sangsters
9.
Vanessa Frost
10. Devorah the Doll 11. Entrance to the Rung complex.
slmag.net
83
Photos courtesy of Saint Louis Fashion Week
Saint Louis Fashion Week Is Back!
1
2
3
4
5
6
7
8
Ten years. That’s how long Saint Louis Fashion Week had been absent from the city before this year. The June 8 kickoff was a stunningly stylish reception at Powell Hall. This year’s line-up included a series of four unique and innovative runway shows featuring models and designers throughout Missouri. Saint Louis Fashion Week ended on June 13th at 18 Rails with a proclamation from St. Louis Mayor Cara Spencer acknowledging the comeback of STLFW. A portion of the proceeds from the week’s events – $10,000 – was donated to support the Saint Louis Fashion Fund’s scholarship program. According to STLFW’s President & CEO Teisha Barber, who hails from Kansas City, “When we made the decision to bring STLFW back, we knew there would be challenges. Launching in a new city, rebuilding a brand that had been gone for a decade, earning trust and creating something people would believe in again wasn’t going to be easy. But from day one, St. Louis embraced the vision.” Four sold-out runway shows, designers, models, sponsors, volunteers, media and fashion lovers came together to prove that fashion belongs in St. Louis and that the community is ready for something bigger. “I’m incredibly grateful to everyone who took a chance on this first season back. Your support, enthusiasm and belief in what we’re building made this week unforgettable,” said Berber. “After 10 years away, Saint Louis Fashion Week is back. And we’re just getting started. Here’s to two seasons in 2027 beginning next April!” sl 1.
Jeremy Braggs
2.
Models: Ashley Haverman. Aiden Smith (male model in white and blue). Alana Albright, female model in flowered dress. Front row from left: Galia Movitz, Ellen Soule. Model on far right is Abigail Horton
3.
Front from left: Lara O’ Brien, Beki Nyland, Ashley Haverman, AK Brown. Back from left: Eli Stack, Amber Thornton, Layne Whitehouse, Gracie Key, Teisha Barber, Lauren Stachiw, Bree Irvin, Lauren Bander, Jenn Robbins
4.
Sophia Sikes
5.
Fey Chavez
6.
Brian Bristow, Grace Nieberle, Becky Domyan, Drea Ranek, Ted Wight
7.
Kim Gellman, Arlene Maminta Browne, Joan Berkman
8.
Alana Albright
slmag.net
85
Photos by Ted Wight and Grayling Holmes
1
2
3
4
5
6
7
8
9
10
Tennessee Williams Pool Party 2026 The Tennessee Williams Festival St. Louis brought together theater lovers, philanthropists, and arts patrons on July 12 for its signature summer fundraiser, an “In-Appropriate” pool party made a big splash. Hosted at the elegant Central West End home of Andy Arnold, the cleverly named event paid tribute to the Festival’s 2026 headlining production, “Appropriate,” Branden Jacobs-Jenkins’ two-time Tony Award-winning play and the first production in the Festival’s history not written by Tennessee Williams — a fitting nod to the playwright’s enduring influence on contemporary theater. Proceeds from the annual pool party help underwrite the Festival’s productions. Guests enjoyed poolside fare from Katie’s Pizza & Pasta, cocktails from Brennan’s mobile bar, appearances by delightfully campy Mrs. Ropers and a curated art auction featuring works by noted regional artists including Peter Shank, Arthur Osver, Charles Houska, Belinda Lee and Tom Reed. Equal parts chic summer soirée and meaningful fundraiser, the afternoon celebrated the arts while helping ensure another memorable Tennessee Williams Festival season. sl 1.
Ted Wight, Charlie Houska.
2.
Adam Day, Josh Spangler, Jay Perez.
3.
Carrie Houk, Jilanne Klaus, Michael James Reed, Lizi Watt, Joel Moses.
4.
Bill Donius, Cody Curran.
5.
Evan Pierce (foreground) frolics on the edge of the pool while other guests meander poolside.
6.
Mary Wimbley, Jackie Fontaine.
7.
Grayling Holmes, Evan Pierce.
8.
Angela Poremba, Carrie Houk.
9.
Ray Simon, Maria Briggs.
10. Guests mingle at pool party.
slmag.net
87
Secure your legacy Removing assets from your taxable estate may preserve more value for your beneficiaries by lowering your eventual federal estate tax liability. Because decisions around gifting, trust structures, charitable strategies, and tax planning may be interrelated, high-net-worth families require the benefit of thoughtful coordination and long-range perspective. Commerce Trust can advise on strategies for moving assets out of your taxable estate while aligning timing, intent, and tax considerations with your broader wealth and estate plan. Your dedicated private wealth team integrates financial planning, investment management, tax strategy, and trust administration to help you preserve wealth, create financial flexibility, and secure your legacy. Learn more at commercetrustcompany.com
Commerce Trust does not provide tax advice to customers unless engaged to do so. Commerce Trust does not provide legal advice to its customers. Consult an attorney for legal advice, including drafting and execution of estate planning documents. Commerce Trust is a division of Commerce Bank. Investment Products: Not FDIC Insured | May Lose Value | No Bank Guarantee
SPONSORED CONTENT
Moving Assets Out of Your Taxable Estate By Scott LaPresta, CTFA, Senior Vice President, Director of Private Client Advisors, Commerce Trust
Removing assets from your taxable estate may preserve more value for your beneficiaries by lowering your eventual federal estate tax liability. There are a number of gifting and asset transfer strategies that can be employed to remove assets from your taxable estate. Working with an experienced private wealth management team to navigate the complexities of relevant tax provisions is critical to making informed decisions that will have a lasting impact on your estate. Using your annual gift tax exclusion Giving assets to family or others during your lifetime is a straightforward way to transfer assets out of your taxable estate while allowing recipients to benefit from your gifts today. In 2026, the annual gift tax exclusion allows individuals to gift up to $19,000, or $38,000 for gifts from a married couple, to an unlimited number of recipients. Consistently using this exclusion each year, over time, can lead to a lower federal estate tax liability. Gifts for someone’s tuition or qualifying medical expenses do not count against your annual gift tax exclusion if payment is made directly to the provider. Gifts that exceed the annual gift tax exclusion typically require the donor to file a gift tax return, and the gift will count against your lifetime exemption from gift and estate taxes. Efficiently leveraging your lifetime estate and gift tax exemption With the passage of the One Big Beautiful Bill Act (OBBBA), starting in 2026, the federal lifetime estate and gift tax exemption increased to $15 million per individual and is effectively doubled for married couples. Gifting appreciated assets sooner can remove their potential appreciation from your taxable estate while avoiding capital gains taxes that would result from selling the asset before gifting it. Transferring assets to irrevocable trusts Making a taxable gift to an irrevocable trust generally reduces your remaining lifetime exemption and may remove the asset and any future appreciation from your taxable estate. Different types of irrevocable trusts, such as spousal lifetime access trusts (SLATs), dynasty trusts, and intentionally defective grantor trusts (IDGTs), offer additional benefits for long-term wealth transfer. A SLAT allows one spouse to benefit from a trust funded by the other, the grantor, while keeping assets outside the grantor’s taxable estate. Dynasty trusts are designed to benefit several generations of the grantor’s descendants while minimizing estate taxes. And shifting assets to an IDGT allows the grantor to remain responsible for any income tax liability, but at the grantor’s income tax rate rather than as trust income.
Giving to charitable organizations Donating assets to charity can be another effective strategy for removing appreciating assets from your taxable estate, realizing potential income tax benefits, and supporting philanthropic causes in a meaningful way. Assuming you itemize your deductions, donations to a qualified charitable organization can provide an income tax deduction between 20% and 60% of your adjusted gross income (AGI) in the year the donation is made. In addition, it is not typically necessary to pay capital gains taxes on these assets if they are donated directly to a qualified organization. Upstream gifting Upstream gifting is a term used to describe the transfer of assets out of your estate by gifting them to a parent, with the intent that those assets will later be bequeathed back to you or your child. When done effectively, upstream gifting can remove assets from your estate while providing a step-up in cost basis to the current fair market value for capital gains taxes if you or your children eventually sell the assets. PLAN FOR THE TRANSFER OF YOUR WEALTH WITH A COMPREHENSIVE APPROACH Considering the right methods and timing to manage your federal estate tax liability as part of a comprehensive estate plan starts with understanding your long-term personal and family goals for wealth transfer. Contact Commerce Trust at commercetrustcompany.com/ estateplanning today to learn more about our team-based, holistic approach to private wealth management, including how we can help you navigate tax planning to preserve your wealth and provide the most impactful gifts for your heirs and philanthropic beneficiaries. The opinions and other information in the commentary are provided as of May 27, 2026. This summary is intended to provide general information only, and may be of value to the reader and audience. This material is not a recommendation of any particular investment or insurance strategy, is not based on any particular financial situation or need, and is not intended to replace the advice of a qualified tax advisor or investment professional. While Commerce may provide information or express opinions from time to time, such information or opinions are subject to change, are not offered as professional tax, insurance or legal advice, and may not be relied on as such. Consult an attorney for legal advice, including drafting and execution of estate planning documents. Past performance is not a guarantee of future results. Diversification does not guarantee a profit or protect against all risk. Data contained herein from third-party providers is obtained from what are considered reliable sources. However, its accuracy, completeness or reliability cannot be guaranteed. Commerce Trust is a division of Commerce Bank Investment Products: Not FDIC Insured | May Lose Value | No Bank Guarantee
A L I SE O’ B R I E N PHOTO G R A PH Y
E M I LY C A S T L E . C O M Design by Laurie LeBoeuf, ASID Allied
ZOOFARI 2026
1
3
4
5
7
2
ZOOFARI 2026 presented by Wells Fargo, the Saint Louis Zoo’s most important fundraiser and grazing gala, was held on June 12. Guests enjoyed a beautiful summer night at the Zoo with refreshing libations, special activities and main stage music from A-Town A-List. The allinclusive night out and foodie paradise featured more than 40 local restaurants and caterers presenting samples of their signature dishes. Special fundraising activities to benefit the Zoo included a wine pull, bubbly wall, bourbon tasting, local restaurant gift card wall, interactive Topgolf experience, Hearth & Soul pop-up shop, Kendra Scott Color Bar®, giving gallery featuring flamingo artwork and a silent auction offering exclusive Saint Louis Zoo experiences. ZOOFARI proceeds support the Zoo’s animal care and conservation efforts. sl 1.
Saint Louis Zoo Association Board President Michael Hickey; ZOOFARI Co-chairs Annie Lux and Stephanie Schwendinger, Saint Louis Zoo Dana Brown President & CEO Dwight Scott, Honorary Co-chairs Karen and Don Jubel, St. Louis Zoological Park Subdistrict Commission Chair Larry Thomas. Photo by Carmody Creative Photography.
2.
Honorary Co-chairs Karen and Don Jubel. Photo by Carmody Creative Photography.
3.
Zoo Association Board President Michael Hickey, Emily Hickey. Photo by Carmody Creative Photography.
4.
Judy and Dave Lemkemeier, Carolyn and Rick Dames, Saint Louis Zoo VP of Philanthropy Amy Dove, Douglas Dove. Photo by Jason Winkeler/Saint Louis Zoo.
5.
Ryan Hogland, Samantha Fernsler, Mitch Fernsler, Kristi Hogland, Philip Lux, Debbie Herman, David Herman. Photo courtesy Jason Winkeler/Saint Louis Zoo.
6.
A-Town A-List on the main stage. Photo by Danny Recklein/Saint Louis Zoo.
7.
Guests at the Cake Snob booth. Photo by Jason Winkeler/Saint Louis Zoo.
8.
Jan Goldstein, Jim Gidcumb, Rand Goldstein, Charlie Hoessle, Cathy Gidcumb. Photo by Jeffrey Huntington/Saint Louis Zoo.
9.
Co-chair Stephanie Schwendinger, Derek Schwendinger. Photo by Carmody Creative Photography.
6
8
10. Co-chair Annie Lux, Phillip Lux. Photo by Carmody Creative Photography.
9
10
11
11. Saint Louis Zoo Dana Brown, President & CEO Dwight Scott, Wells Fargo representative Charles Cowles. Photo courtesy Carmody Creative Photography.
slmag.net
91
“The choice of a lawyer is an important decision and should not be based solely upon advertisements. Past results afford no guarantee of future results and every case is different and must be judged on its own merits.”
TT H H EE M MO O SS TT TT RR UU SS TT EE DD N N AA M M EE II N N M M AA JJ O O RR H HO OM M EE AA PP PP LL II AA N NC C EE SS
A ST. LOUIS ICON
Offering the World’s Most Iconic Luxur y Brands
WEST COUNTY | SOUTH COUNTY | ST. LOUIS CITY | O’FALLON MO | COLUMBIA MO
314.912.9838
SlymanBros.com
All the Fall Feels
There’s nothing like that perfect autumn day in the Midwest. With special hayride experiences and 3,200 scenic acres to explore, fall adventures await at America’s Best Historic Resort. Discover why French Lick Resort is the pick of the season.
VISIT FRENCHLICK.COM AND PLAN YOUR FALL GETAWAY
Must be 21 years or older to enter the casino. Gambling Problem? Call 1.800.9.WITH.IT or text INGAMB to 53342!
For more than a century,
Stifel has called St. Louis home. We’re proud to support the traditions, institutions, and organizations that help our community thrive. By investing in the people and ideas shaping the future, we’re helping build a stronger city for generations to come. Because success isn’t measured only by what you achieve. It’s measured by what you help create. Where Success Meets Success.
INVESTING. BANKING. ADVISING.
Proudly headquartered in St. Louis since 1890 501 North Broadway | St. Louis, Missouri 63102 Stifel, Nicolaus & Company, Incorporated | Member SIPC & NYSE