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Charlie Siem

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PRESS CONTACT:

  • jeremy@charliesiem.com
  • Jeremy Murphy
    jeremy@360bespoke.com
  • Morgan Matthews
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    marie@grovecommunication.com

“When Charlie Siem gets the tiger under the chin, it purrs.” — Vanity Fair

One of the world’s most captivating young musicians, violinist Charlie Siem combines classical music prowess and cross-over appeal with striking good looks and charisma.  The result: a thoroughly modern musical star.
 
Garnering praise around the globe (“When Charlie Siem gets the tiger under the chin, it purrs,” hailed Vanity Fair), the artist is a virtuoso who is bridging the worlds of classical music, fashion and pop culture, known for his well-trained ear, technical precision and stylish, graceful performances.
 
Born in London, Siem studied the violin at the Royal College of Music with Itzhak Rashkovsky, and later with Shlomo Mintz, while attending Eton College and Cambridge University. At only 30 years of age, he became the youngest Professor of Music in the UK (Leeds College of Music). He performs with one of the rarest instruments on the classical music stage — a priceless 1735 Guarneri del Gesù violin once owned by the King of Prussia.
 
Siem has played all over the globe with many of the world’s finest orchestras (The Royal, Moscow and Rotterdam Philharmonic Orchestras; the Czech and the Oslo National Symphony Orchestras) and conductors (including Charles Dutoit, Edward Gardner, Zubin Mehta, Yannick Nézet-Séguin, Sir Roger Norrington, Libor Pesěk and Yuri Simonov).  He’s  performed for the Queen of Denmark and in after playing throughout China in 2016, was named Cultural Ambassador of Nanjing.
 
Siem has recorded eight albums, with his latest, Beethoven: Violin Concerto & Romances released in 2022.  Throughout his diverse discography, he has performed alongside powerhouses like the London Symphony Orchestra and Münchner Rundfunkorchester as well as with his frequent collaborator, renowned pianist Itamar Golan.
 
While an unabashed purist, Siem has expanded his repertoire to bring classical music to a wider audience, performing onstage with The Who, Bryan Adams and Jamie Cullen, all while gaining superstar fans in Lady Gaga, Patti LaBelle and Katy Perry.
 
Siem’s dapper, international lifestyle has landed him on Vanity Fair’s International Best Dressed List twice and made him a muse for designers like the late Karl Lagerfeld, who photographed him as part of the 2015 and 2016 Dior men’s campaign as well as for Little Black Jacket (Taschen), his artbook with former French Vogue editor Carine Roitfeld.  Siem has also had numerous collaborations with fashion brands including Armani, Chanel, Dunhill, and Hugo Boss.
CHARLIE SIEM

Siem was born in London

Born in London, Siem studied the violin at the Royal College of Music with Itzhak Rashkovsky, and later with Shlomo Mintz, while attending Eton College and Cambridge University. At only 30 years of age, he became the youngest Professor of Music in the UK (Leeds College of Music). He performs with one of the rarest instruments on the classical music stage — a priceless 1735 Guarneri del Gesù violin once owned by the king of Prussia.

Siem’s dapper, international lifestyle has made him a muse for designers like the late Karl Lagerfeld, who photographed Siem for both the 2015/16 Dior men’s campaign and his art book Little Black Jacket (Taschen), which he did with former French Vogue editor Carine Roitfeld. In addition, he has been named to Vanity Fair’s International Best Dressed List in 2014 and 2017.

PRESS COVERAGE
  • VANITY FAIR
  • THE NEW YORK TIMES
  • ROBB REPORT
  • CLASSiCAL MUSIC
  • WWD
  • ESQUIRE CHINA
  • USA TODAY
  • GENTLEMAN’S JOURNAL
  • BOND OFFICIAL
  • UPSCALE LIVING MAGAZINE
  • MAGNIFISSANCE MAGAZINE
  • CIGAR AFICIONADO
  • EPOCH TIMES
  • CORRESPONDENCE MAGAZINE
  • WFMT WITH LISA FLYNN
  • SKY NEWS
  • CBS NEWS
  • BUSINESS TIMES
  • THE NEW YORK TIMES
  • ESQUIRE
  • FINANCIAL TIMES
CHARLIE SIEM

Q&A with Charlie Siem

Did you always want to become a violinist?
I’ve always played the violin — I picked up on it when I was three and I’ve never looked back. It was my mum who introduced me to the instrument. She used to play tapes of music and I really fell in love with it. The repertoire for the violin is particularly special, there’s so much variety. Some of the great pieces which I used to listen to as a child are absolutely inspirational and they really stimulated my imagination. And it was wanting to play this music myself that really led me into it.

What are some of your fondest musical memories?
When I was 11, I played in Israel, in Tel Aviv — the Vivaldi concerto for four violins with Ida Haendel, one of the great violinists of all time, whom I studied with, and Shlomo Mintz, who is also my teacher. That was a great memory for me. Also, when I first played with the Oslo Philharmonic (I’m half Norwegian). I also remember playing with the Royal Philharmonic in Kenwood House, which is this big open-air venue in London, when I was 17. When I wrote my own piece, one or two years ago, and recorded this with the English Chamber Orchestra, that was a special moment for me because I’ve never written a piece before.

How does being so well-traveled affect your music?
Playing the violin is a very technical thing, and traveling is distracting in a way because the best way to be good at the violin is to stay in one place and practice very hard. But travelling is a great privilege and I enjoy it as much as I can. I don’t know if that affects the way you play, but I think it affects the way you enjoy music and what you get out of music. Your breadth of understanding is expanded when you travel because you see various different cultures, meet very different people and this opens you up. It makes you more aware of the differences in the world. And this allows you somehow to maybe be more generous in the way you express yourself in the music.

CHARLIE SIEM

Q&A with Charlie Siem

You have also become a style ambassador and muse for designers like Karl Lagerfeld. When did this develop?
By chance. I was playing a concert and I was asked the next day to be in the Dunhill campaign. I thought this was a great way to get exposure as a violinist and so I said yes. That’s how it started. I’ve done a few things in the fashion world and I continue to do things with those guys because I can meet a lot of interesting people and it doesn’t take much time. And I get paid very well!

You make it sound very easy.
If you’re lucky to work with great photographers, they make everything happen. It’s different than music but the same principles apply — you really have at it. And it’s a challenge every time when you go on the stage to do the best you can and to be at your highest level. 

Why do you think the fashion world has taken such a liking to you?
I’ve got my personal style and I feel strong about who I am. I don’t think of myself as a fashionable person. I don’t follow the fashion of today. I like clothes and I like style but I find my own style, which is not necessarily the fashion of today. I do something unusual for the fashion world to use – they don’t have many violinists that they use. It’s an unusual but kind of glamorous connection.

What is your style secret?
The key to me is wearing clothes that fit you in a very complimentary way and are tailored particularly to your body shape. And also not to be wearing very flamboyant clothes so that everyone looks at the clothes and they don’t look at you. You don’t want people to just notice the clothes and not the person. I don’t like too many colors –  I keep it simple.

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Iestyn Davies

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IESTYN DAVIES

Iestyn Davies is a British countertenor widely recognized as one of the world’s finest singers celebrated for the beauty and technical dexterity of his voice and the intelligence of his musicianship.

The singer was awarded the Member of the Order of the British Empire (MBE) in the Queen’s 2017 New Year’s Honors List for services to music.  Among his other accolades are two Gramophone Awards, a Grammy Award, a Critics’ Circle Award for Exceptional Young Talent and a 2010 Royal Philharmonic Young Artist of the Year Award.  Most recently, he received an Olivier Award nomination. 
Although blessed with a Welsh name, Iestyn (pronounced YES-tin) hails from York, England. 
 
Iestyn began his singing life as a chorister at St John’s College, Cambridge under the direction of Dr. George Guest and Christopher Robinson.  He recalls that time as “the single greatest influence on my musical life.  I remember then, and even now watching the boys there sing, that physical and demonstrative delivery of the music. It’s not the rigid, cliché ‘English discipline’ you’d expect. It gives the sense that by listening you’re being transported.  It gets in your bones.” 
 
The artist discovered his unique countertenor voice – often compared in range to a male alto – through a combination of teenage popstar dreams and sheer accident.  After years in choir, his voice changed, he formed a band and merited an audition for Sony Records in London.  However, at his mother’s urgings, he kept his focus on university.  While there, during a choir rehearsal, he randomly channeled his inner popstar and jokingly tried singing in a higher register.  “The person next to me thought my falsetto ‘sounded quite good,’” he explains, “I took him at his word and explored it.” 
 
And, as the singer explained to The Wall Street Journal, “It wasn’t predestined, but that felt like I’d climbed into the right sort of costume.”  And having been born into a musical household — his father the founding cellist of the Fitzwilliam String Quartet – the classics indeed felt just like home. 
 
After graduating in Archaeology and Anthropology, Iestyn studied at the Royal Academy of Music, London where he is now a Fellow.
 
In a review of Iestyn’s “mesmerizing” 2019 DC recital The Washington Post explained the fascination with Ietsyn’s unique voice: “the enduring appeal of countertenors is the persistent disconnect between the way they sound and the way they look.”  The Post continued, raving about his “arresting voice, its sound at once otherworldly and rich, dense and thin, with the clarity and heavy sweetness of plum wine— not quite a woman’s, but certainly not what we associate with a man’s.”
 
Iestyn likens performing in a range that most men rarely reach as the vocal equivalent of being a contortionist.
 
Iestyn’s professional career took off in 2004, when he won second place in the London Handel Festival’s singing competition, catching the attention of an agent who put him on the fast track  to record deals and global opera productions.  He would go on to make a breakthrough debut in Zurich as Ottone in Monteverdi’s Incoronazione di Poppea, which has become one of the signature roles in his career.  He would go on to play major roles including Oberon, the fairy king, in Benjamin Britten’s “A Midsummer Night’s Dream” in 2009 in Houston and again in 2013 at New York’s Metropolitan Opera House. 
 
Iestyn has performed as Arsace in Handel’s Partenope for New York City Opera; Apollo in Britten’s Death in Venice for English National Opera and in his house debut at La Scala, Milan; Hamor in Handel’s Jephtha for Welsh National Opera and Opera National de Bordeaux; the title roles in Steffani’s Niobe at the Royal Opera House, Covent Garden and Handel’s Rinaldo at the Lyric Opera of Chicago and Glyndebourne Festival Opera (where he also played David in Handel’s Saul).  He’s played Bertarido in Handel’s Rodelinda for English National Opera and made his Met debut as Unulfo in the same piece. 
 
In addition, He’s performed in 21st Century operas including George Benjamin’s Written on Skin in debut performances at the Opéra Comique and the Munich and Vienna Festivals, and as Trinculo in Thomas Adés’ The Tempest at the Met and as Francisco de Avíla in the world premiere company of Adés The Exterminating Angel, in Salzburg, London and New York.
 
In 2017, mere months after he finished his engagement at the Met in “The Exterminating Angel,” the opera superstar became as Town & Country hailed: “Broadway’s New Favorite Singer” when he made his NY stage debut opposite Oscar, Olivier and three-time Tony winner Mark Rylance in the play Farinelli and the King for a five-month run after originating the role in an Olivier nominated production at The Globe in London’s West End.
 
In an unorthodox and inspired bit of casting, Iestyn (dressed identically to Sam Crane, the speaking actor) played the singing voice of the famous castrato recruited to soothe the addled mind of King Phillipe of Spain (Rylance).  The New York Times raved about his “sublime” and “blissful” voice and captured the unique thrill of the performance: “watching Mr. Rylance’s Philippe experience Farinelli’s [Davies’] voice, we hear what he hears. And an actor and a singer temporarily turn a night at the theater in an anxious city into an Eden beyond worldly care.”
 
Iestyn has performed in recitals and concerts around the globe.  Some highlights include:  two Bach recitals at the Edinburgh International Festival, performances at the Teatro alla Scala in Milan, the Barbican, Théâtre des Champs-Élysées, the BBC Proms in the Royal Albert Hall and at New York’s Lincoln Center and Carnegie Hall accompanied by some of the greatest orchestras and musicians in the world. He also enjoys a successful relationship with London’s Wigmore Hall, where he curated his own residency in the 2012-13 season.
 
He has performed and appeared on nearly 60 recordings and films dating back to his early choir days.  Highlights of his extensive discography include: two versions of Handel’s Messiah (New College Oxford, AAM/Naxos) and (Polyphony, Britten Sinfonia/Hyperion), Handel’s  Chandos Anthems (Hyperion),  Handel’s Flavio with The Early Opera Company and Christian Curnyn (Chandos),  a collection of Handel arias with The King’s Consort (Vivat).  He’s also recorded Bach’s Easter Oratorio with Retrospect Ensemble, Bach Cantatas with Arcangelo, a disc of Porpora Cantatas with Jonathan Cohen and Arcangelo, Faure Songs with Malcolm Martineau and looks forward to releasing a new recording of Bach’s Magnificat and B Minor Mass (Hyperion) in the coming months.
 
He released his debut solo recording Live at the Wigmore Hall in 2010 with his own Ensemble Guadagni and released an award winning disc of works for Guadagni (Hyperion) a recital of Dowland songs, The Art of Melancholy (Hyperion), Flow My Tears (Wigmore Live), and Arise My Muse, for which he received the Gramophone Recital Award.
 
Iestyn will be performing in concerts, recitals and operas throughout the UK and Europe through 2023, including stagings of Eternal HeavenHandel Oratorio Duets & Songs with Lea Desandre and Ensemble Jupiter, directed by Thomas Dunford, a world premiere London production of An Anatomy of Melancholy John Dowland’s bittersweet music in an intimate theatrical meditation directed by Netia Jones as well as returning to the role of Ottone in Monteverdi’s L’incoronazione di Poppea in Versailles and an engagement with the Berliner Philharmoniker performing Handel’s Oratorio Il Trionfo del Tempo e del Disinganno (The Triumph of Time and Truth).
 
While clearly a master of classical music, Iestyn continues to challenge the boundaries of what his voice can accomplish, including occasional forays into modern music, often performing Eric Clapton’s “Tears in Heaven” as a concert encore which The Washington Post hailed as a “bracing and contrasting send-off.”
IESTYN DAVIES

Performances at the Teatro alla Scala

Recent highlights have included two Bach recitals at the Edinburgh International Festival, Britten’s ‘A Midsummer Night’s Dream’ at the Aldeburgh Festival and Schubert’s ‘Die Schöne Müllerin’ with Julius Drake at Middle Temple Hall, London.Future plans include Thomas Adès’s “The Exterminating Angel’ at the Metropolitan Opera New York and Farinelli & the King with Mark Rylance on Broadway, New York.

IESTYN DAVIES

Two versions of Handel's Messiah

His recordings include two versions of Handel’s Messiah (New College Oxford, AAM/Naxos) and (Polyphony, Britten Sinfonia/Hyperion), Handel’s Chandos Anthems on Hyperion, Handel’s Flavio for Chandos with The Early Opera Company and Christian Curnyn, Bach’s Easter Oratorio with Retrospect Ensemble, his debut solo recording Live at the Wigmore Hall with his own Ensemble Guadagni, a disc of Porpora Cantatas with Jonathan Cohen and Arcangelo,  an award winning disc of works for Guadagni for Hyperion and a disc of Handel arias with The King’s Consort for Vivat. 2014/5 saw the release of The Art of Melancholy, a recital of Dowland songs for Hyperion, Flow my tears, songs for lute, viol and voice on the Wigmore Live label and Arise my muse for which he received the Gramophone Recital Award. 

He is the recipient of the 2010 Royal Philharmonic Young Artist of the Year Award, the 2012 & 2014 Gramophone Recital Award, the 2013 Critics’ Circle Awards for Exceptional Young Talent (Singer).

MEDIA COVERAGE

Media coverage where Iestyn Davies has been featured

  • THE WALL STREET JOURNAL
  • THE NEW YORKER
  • THE NEW YORK TIMES
  • EPOCH TIMES
  • THE TELEGRAPH
  • WASHINGTON POST
  • FINANCIAL TIMES
  • RHINEGOLD CLASSICAL MUSIC
  • WWD
IESTYN DAVIES

Q&A with Iestyn Davies

How do you treat/maintain your voice after performing six nights a week for 4 months?
In addition to the health routine I developed, I worked very hard at not trying to produce something magical all of a sudden, which you can do when you’ve had days of rest between operas or concerts. Instead, I had to be very monk-like and follow an almost religious path of ablutions, vocally speaking. I kept my warming up routine to the minimum necessary for the show and tried not to sing anything until each afternoon to give myself ‘recovery time’ after performances. Like athletes, when we use our vocal muscles, at least half of the preparation for a future performance is in the recovery from the previous one. Without recovery, you are singing on tired vocal cords. Inevitably, after weeks of day to day performing, the cords and vocal muscles accumulate tiredness, but the pay-off is that they also acquire a resilience. 

What is your favorite opera to perform?
It’s a difficult thing to nominate a favorite opera to perform because there is the music and then there is the dramatical side of things, which can often be deadened for you by a limp production. But I’ve had enjoyable times performing Britten’s ‘A Midsummer Night’s Dream’ as the character Oberon, a role written specifically for a countertenor which holds a special place in the canon for all countertenors. My most memorable experiences performing in operas have been when the cast gels and the whole is greater than the sum of its parts, so for example this summer we performed Handel’s ‘Saul’ (strictly an ‘oratorio’ not one of his operas but staged at Glyndebourne Festival Opera very successfully by Barrie Kosky). The energy that Barrie brings to his productions rubs off on every performer, and this piece relied a great deal on that energy coming from the chorus, who were phenomenal. You feel part of a team of dozens of performers instead of being one of a few ‘stars’ trying to hold a show together! Much more enjoyable. 

IESTYN DAVIES

Q&A with Iestyn Davies

Who are your greatest influences?
The single greatest influence on my musical life was my time singing as a boy in the Choir of St John’s College at Cambridge. To me, it was more than just another choir. I can listen to 100 recordings of different choirs and tell you exactly which was at St. John’s. There is a tradition of singing in the choir that somehow passes down the ages of each new group of performers that favors a very emotional commitment to words and from that the phrasing of the music sounds very persuasive. To the untrained ear, I suppose it translates as a sense that by listening you are being literally transported. I remember singing as a boy, and even now watching the boys there sing, they remain, as I was, very physical and demonstrative in their delivery of the music. It is not the rigid, cliché ‘English discipline’ you’d expect. It gets in your bones when that is your upbringing. It’s true in anything I suppose; one’s early experiences imprint themselves on you for the rest of your life. For me it was that – the emotional delivery above everything else – perfection was never talked about. What is it? we were taught that by being emotional and therefore very expressive we would bring something to the music that the composer had been unable to render in the printed score – like reading between the lines. you could call that ‘interpretation’ but that is often something you sit down and discuss. This was more than interpretation as it was spontaneous expression. I liked the ephemeral quality to that sort of music making. 

You performed “Farinelli and the King” for six months in 2017/ 18. How is Broadway different than opera?
The actual number of shows, and demands this made on me as a singer, was like running a marathon, and I can’t think of a better way to compare it to singing in an opera. This past summer, for example, I performed in an opera at Glyndebourne Festival Opera to the tune of 13 performances, which is considered a ‘heavy load,’ and that was spread over five weeks! On Broadway, I took part in six per week for four months. I think I sang over 100 shows. The audience is very different, too. In pure terms, they are a ‘theatre audience’ accustomed to plays and musicals. I met a great deal of people who had never seen or heard any opera. So many times, I was quizzed, ‘do you sing opera,’ to which the simple answer was always, ‘yes, that is what I do!’ But looking back now, I think that was a small success of that play; it crossed over to people who would otherwise have never committed to an opera, and reminded me that essentially what I do is sing music with a story or an emotional message that just happens to be part of a bigger. In its simplest terms, I performed songs, and that is the same raw musical structure that anybody can identify with and understand. The other weird and wonderful thing about performing in a Broadway show is that your company of actors and musicians is all consumed by the day-to-day, week to week, month to month habitation of one single space. The community of coworkers such as backstage, box office and front of house people becomes your support network and family. It’s a great and rewarding feeling, which contrasts enormously with the life in an opera house, where the singer or performer often feels like a house guest, constantly asking where the bathrooms are and how to get to the stage door to leave! 

IESTYN DAVIES

Q&A with Iestyn Davies

Do you get nervous before going on stage? If so, how do you get over it? If not, where do you get that confidence?
The older I get, the more often nerves surprise me in a way they never used to. I watched the New Tom Volf documentary ‘Maria by Callas’ last weekend at the New York Film Festival, and Callas said something which resonated with me: “when you are young you do things (perform) that are instinctive, and when you grow older that ebbs away.” I suppose, in going through life, we learn from experiences which goes hand in hand with making us more aware as human beings, more able to predict circumstances ahead. It should mean we become better at controlling nerves, but actually I think it makes one more aware of the potential of failure. When you start out, failures are few and far between, everybody wants a newcomer to succeed and failure is measured against no evidence. To deal with nerves you have to understand why they are there and how to channel them into the right place – nerves are helpful in helping you focus and concentrate if used correctly. A lot of the time you have to stop listening to the inner voice in your head telling. Take your mind of it by talking to someone or quickly changing your activity in hand, distract yourself. Then find ways of making the fear be something serious that slows your breathing and calms your nerves.  Remember to exhale and take in the audience in front of you, remind yourself they are there because they want to be entertained or be moved, and then think of enjoyment. It’s always good to be aware that nobody is making you do this job of performing – you chose to do it, it didn’t choose you, or if you believe it did be grateful for that. Enjoy the nerves because they are there to remind you that it’s not easy and we’re fortunate to be the person or people who are still able to overcome those difficulties. 

When did you discover you had your voice/ talent?
Twice in my life my voice was ‘discovered’. The first time was really all down to nurture. My parents sent me to be a chorister in the Choir of St John’s College, Cambridge where we sang the daily service of Evensong for the eight weeks of University term. By the time I was 13, I had learned to sing in a way that worked well, and I was able to be expressive. Once my voice broke, I lost that vehicle for musical and emotional expression, so then it was a discovery that had to find my countertenor voice. I didn’t plan to be a countertenor; I just flipped my voice into falsetto one very boring afternoon in a school chamber choir. The person next to me thought my falsetto range ‘sounded quite good,’ and I took him at his word and explored it. Looking back, I remember it feeling like a door at been opened that wasn’t open since I had sung as a treble, so perhaps that was the ‘discovery’.

IESTYN DAVIES

Q&A with Iestyn Davies

What advice do you give to young singers just beginning their career in opera?
My favored piece of advice is twofold. First, singers are by their very nature unique. It’s important to remember that without feeling egotistical about how it might sound. No matter how much training and guidance you have that falls in line with your colleagues, your very DNA and hence physical make up will dictate a sound to your voice independently recognizable to that of anybody else. After that there is a whole host of other factors that will complicate life and you can’t always be in control of these. But, remembering you are you and not in competition with anybody but yourself is a good starting point. Secondly, but possibly more importantly, have a sense of humor. It’s always a good piece of advice, as there is no joy to a singer’s performance who appears to be weighed down with the duress of the act of making music. It gives you perspective, and perspective should translate into a sense of humor. A colleague of mine rather glibly said ‘in the end it’s just dressing up and singing songs in a room’ – but I rather like that. 

What do you do to relax when you’re not on stage?
I enjoy cooking and good wine, and I’m obsessed with good coffee — making it properly and drinking it. I studied Archaeology at University, so I have a penchant for antiquities, and in particular historic architecture. I’m a supporter of Liverpool FC so that takes up the odd afternoon in front of the television (don’t get me started on how difficult it is to actually get a ticket to a game – it’s much more elitist than opera!). I’m also constantly on the brink of getting a dog. I think the one thing in the entire world that takes me from stress level 100 to chill level 0 is the presence of a dog in a room…they are disarmingly magical in that sense. Labrador, please. 


What is your life motto?
I’d hate to pin my colors to one mast, but if I had to for the sake of answering a question like this I suppose I always do try and look on the bright side of everything. It’s never worth getting angry about something (maybe for a short while) but better to push that aside. I know people think the English bottle things up, but time is a great healer and if you do put something under the carpet you’ll often find the payoff is many more days of joy compared with a few days pushing the vacuum reluctantly under the carpet.

Jeff-Leatham-1-scaled.jpg

Jeff Leatham

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JEFF LEATHAM

Jeff Leatham is a celebrated artistic director, taste maker and florist whose work is exhibited around the globe.

There are florists and there are floral artists. JEFF LEATHAM, the celebrated artistic director and tastemaker is squarely the latter.

As Artistic Director of the Four Seasons Hotel George V in Paris, and the Four Seasons in Beverly Hills and Philadelphia, Jeff has been creating a sensation with his floral designs and installations since he first began working with flowers at the Beverly Hills Four Seasons in 1994. 

In 2014, Leatham received one of his biggest honors to date — the prestigious Chevalier de l’Ordre des Arts et des Lettres, the French Government’s equivalent of a knighthood and the nation’s highest honor for artists who have made a significant contribution to French culture.

Leatham’s bold and intuitive sense of color, chic and stylish and elegantly simple arrangements have made him one of the most in-demand talents for weddings, parties, holidays, brand collaborations, hotels, fashion shows and other global events. Breathtaking and unforgettable, Jeff’s signature designs are always integral to the setting, never merely a backdrop.

Most recently, Leatham was hailed by The New Yorker as the “mastermind” of the New York Botanical Garden’s Orchid Show’s return in 2022 (after previous shows, including his 2020 event were cut short due to the pandemic). An undisputed hit, the show was described as “joyous, uplifting and timely” “intensely beautiful” and “brilliantly conceived” by Forbes and according to Travel & Leisure, “the most Instagrammable event we’ve ever seen”

He’s recently launched a nationwide high-end floral delivery service — Bloom Bundle — featuring specialty fresh flowers from Holland and South America that are favorites at the Jeff Leatham Studios. In 2021, he launched a gender-free fragrance line with longtime client Kim Kardashian West (Jeff Leatham by KKW). On the heels of that success, Leatham will release his first solo-branded fragrance — Voodoo Rose — this year.

Leatham’s career exploded in 1999 when he was recruited to design the lobby of the newly re-opened and renovated George V. His previous work at the Four Seasons in Los Angeles had so impressed the owner of the legendary Paris hotel, he gave him carte blanche to design the venerated palace as he saw fit. His work became the hotel’s signature – often using 13,000 stems a week — and provided Jeff a global stage to showcase his many talents and being dubbed “the most fashionable florist in town” by The New York Times.
The Times went on to encapsulate his work: “What makes his flowers so seductive is his belief that they are an artistic medium. He sculptures, builds and blends. He plays with dimension and texture. He breaks planes and disrupts symmetry. He infuses each display (he doesn’t do ‘bouquets’) with clean lines, strong colors and a lot of unspoken sex.”
Leatham breaks down his design aesthetic to what he calls the Leatham Rule of 3. “Keep everything clean, simple and chic. Never mix more than three types of flowers or colors together. and Keep everything monochromatic.” His combinations of shape, color and simplicity produce dramatic effects and make bold unforgettable statements, with many of his installations compared to contemporary art and all are unmistakably his. Says Leatham: ” In fashion you can look at Valentino and say ‘That’s a Valentino red dress’ or ‘That’s an Yves Saint Laurent white women’s tuxedo.’ I’m lucky to have a design that is characteristic to me. You can look at a style of flowers and say, ‘That’s Jeff Leatham.'”

Leatham’s work at the George V helped him attract an A-list celebrity clientele — including Cher, the Dalai Lama, The Kardashian family, Madonna, Dolly Parton, Tina Turner and Oprah Winfrey, and as well as designing the weddings of Chelsea Clinton, Eva Longoria, Tina Turner and Sophia Vergara.

His work has been part of design expositions around the world through frequent collaborations with international luxury brands including Dolce & Gabbana, Alexander McQueen, Chanel, Balenciaga, Bulgari, Swarovski Crystal, Givenchy, Ellie Saab, Louis Vuitton, Goyard, Burberry, Waterford Crystal, Dom Perignon, Lexus, and Samsung.

Leatham has taken his living art to other mediums as the author of three best-selling books, including Flowers by Jeff Leatham, Flowers by Design, and Jeff Leatham – Visionary Floral Art and Design for Rizzoli and his forthcoming The Art of the Flower due in 2023. In addition, he was the creator and star of the TLC/Discovery documentary series Flowers Uncut.

In 2016, Jeff had a homecoming of sorts when he added art directing the Four Seasons Hotel Los Angeles back to his portfolio, while continuing his work at the George V and later adding the Four Seasons Philadelphia to his stellar client list.

Leatham’s work has been featured at the Chateau De Versailles’ first major event since the time of Louis XIV and Marie Antoinette, the 2004 re-opening of MoMA in NYC and in iconic holiday windows for Bloomingdales as well as two immersive, 5-week long art exhibits at Intersect by Lexus in New York City and in the Main Pavilion of Franklin Delano Roosevelt Park for the Philadelphia Flower Show “HABITAT: Nature’s Masterpiece” in 2021.

Leatham has pushed the boundaries of modern floral design and will continue to be a tastemaker for years to come and he’ll appreciate every second of it, as he said to USA Today:

“I create lasting memories and put smiles on people’s faces every day. That’s the best part of my job. From when we do a huge installation and people are like, ‘Oh my God,’ to the simplicity and beauty of one of my guys delivering a beautiful flower arrangement to someone from someone they love. I’m a pretty lucky guy.”

JEFF LEATHAM

Attracting celebrity clientele

Leatham’s work at the George V helped him attract a celebrity clientele — including Madonna, the Dalai Lama as well as Chelsea Clinton, whose wedding he designed — in addition to collaborations with brands like Balenciaga, Alexander McQueen, Dom Pérignon and Chanel. In 2014 he was awarded the prestigious Chevalier de l’Ordre des Arts et des Lettres, the highest honor for artists who have made a significant contribution to French culture given by the Minister of Culture. He has also created the floral design at Versailles, among other famous landmarks.

JEFF LEATHAM

Three best-selling books author

Jeff is also the author of three best-selling books, including Flowers by Jeff Leatham, Flowers by Design, and Jeff Leatham – Visionary Floral Art and Design, and he is creator of the documentary series Flowers Uncut. Jeff also has a line of giftware and barware, “The Jeff Leatham Collection,” with Waterford Crystal, and he will be releasing his first signature fragrance later this year.

 In 2016, Jeff had a homecoming of sorts when he added back to his portfolio the Four Seasons Hotel Los Angeles, which he art directs in addition to the George V. He also has incorporated the Four Seasons Philadelphia at Comcast Center to his growing clientele.  Jeff operates four offices around the work, including Paris, LA, Philadelphia and China.

PRESS COVERAGE

Media Coverage

USA TODAY
BLOOMBERG
NEW YORK TIMES
ARCHITECTURAL DIGEST
NEW YORK LIFESTYLES
POLO DEMARCO
ARCHITECTUAL DIGEST
FORBES
LOS ANGELES TIMES
WWD
NY POST
BOSTON HERALD
DUJOUR
WPIX-TV NEW YORK
BRIDES
FORBES
WALL STREET JOURNAL
REACH FURTHER
Jeff Leatham

Q&A with Jeff Leatham

What do you differently from other artists/ florists?

I create lasting memories, and I put smiles on people’s faces every day. That’s the best part of my job, from when we do a huge installation and people are like, ‘Oh my God,’ to the simplicity and the beauty of one of my guys ringing someone’s doorbell and there’s a beautiful flower arrangement in their hands from someone that they love.

What is your style/ inspiration?

My whole styling and favorite period is that whole Mid-century Modern [era] – the 60s and 70s are so inspiring to me because those designs are so timeless and bold. I think that’s what I want people to think of my work as timeless, bold statements of color and texture. And when I work there’s definitely a certain style –my flowers leaning out the side of the vase, for example. There’s a styling that goes with a Jeff Leatham look. I’m lucky as a designer to have a design that is characteristic to me and my personality, especially in floral design. In fashion you can look at Valentino and say, ‘That’s a Valentino red dress’ or ‘That’s a white women’s tuxedo from Yves Saint Laurent.’ The fact that you can look at a style of flowers and say, ‘That’s Jeff Leatham,’ makes me a lucky guy.

What’s the secret of your success?

Talent and inspiration, but the real secret are the flowers themselves—they’re the real star. It comes down to the quality of the flowers, so make sure you buy high-quality flowers and make sure they last a long time. You want the colors to remain beautiful and make sure their heads aren’t drooping. You know, in Paris, I get all my flowers directly from Amsterdam.

What is the “Leatham Rule of Three”?

Keep everything clean, simple, and chic, which means bunching all of one type of flower together; never mixing more than three types of flowers or colors together and keeping everything monochromatic. For me the most important thing is just creating things and evolving, so you’re never just staying stagnant. You always have to have your signature thing. I think it’s just being your own person and your own artist, no matter what you do.

What is your process? Where does it start?

For me, seeing the space is the most important. I can never just work off of a photo — I’m a very visual person, so I actually need to go to the space and see what’s going on. The color is the next important piece to me: deciding what color to use, a color that goes with the space. Then, we decide on the shape we want and then we decide on the flowers. It’s kind of the reverse process that people think: usually, people would think, ‘Oh, you choose the flowers first,’ but the flowers are actually the last thing I choose.

What do you differently from other artists/ florists?
I create lasting memories, and I put smiles on people’s faces every day. That’s the best part of my job, from when we do a huge installation and people are like, ‘Oh my God,’ to the simplicity and the beauty of one of my guys ringing someone’s doorbell and there’s a beautiful flower arrangement in their hands from someone that they love.

What is your style/ inspiration?
My whole styling and favorite period is that whole Mid-century Modern [era] – the 60s and 70s are so inspiring to me because those designs are so timeless and bold. I think that’s what I want people to think of my work as timeless, bold statements of color and texture. And when I work there’s definitely a certain style –my flowers leaning out the side of the vase, for example. There’s a styling that goes with a Jeff Leatham look. I’m lucky as a designer to have a design that is characteristic to me and my personality, especially in floral design. In fashion you can look at Valentino and say, ‘That’s a Valentino red dress’ or ‘That’s a white women’s tuxedo from Yves Saint Laurent.’ The fact that you can look at a style of flowers and say, ‘That’s Jeff Leatham,’ makes me a lucky guy.

What’s the secret of your success?
Talent and inspiration, but the real secret are the flowers themselves—they’re the real star. It comes down to the quality of the flowers, so make sure you buy high-quality flowers and make sure they last a long time. You want the colors to remain beautiful and make sure their heads aren’t drooping. You know, in Paris, I get all my flowers directly from Amsterdam.

What is the “Leatham Rule of Three”?
Keep everything clean, simple, and chic, which means bunching all of one type of flower together; never mixing more than three types of flowers or colors together and keeping everything monochromatic. For me the most important thing is just creating things and evolving, so you’re never just staying stagnant. You always have to have your signature thing. I think it’s just being your own person and your own artist, no matter what you do.

Jeff Leatham

Q&A with Jeff Leatham

What is your process? Where does it start?
For me, seeing the space is the most important. I can never just work off of a photo — I’m a very visual person, so I actually need to go to the space and see what’s going on. The color is the next important piece to me: deciding what color to use, a color that goes with the space. Then, we decide on the shape we want and then we decide on the flowers. It’s kind of the reverse process that people think: usually, people would think, ‘Oh, you choose the flowers first,’ but the flowers are actually the last thing I choose.

What first attracted you to floral design?
I was working retail for the Gap and modeling part time. I came home from Europe and got a job at the Four Seasons at Beverly Hills. Before then I had never touched a flower, never even wanted to work with flowers, and that’s where my career started. Four Seasons really gave me that whole spectrum: I started making big, grand flower installations, so that really helped me be the artist I am today.

You’ve achieved international fame, yet you continue your work with Four Seasons hotels (Paris, Beverly Hills, Philadelphia) — a company you joined more than 20 years ago.
A lot of people, when they achieve success at a young age, tend to take every offer that they get to grow their brand and do different things. The loyalty that I’ve had to Four Seasons and to my clients has probably been the biggest secret to my success. I recently celebrated my 20-year anniversary at the George V. People still say, ‘I want to hire that guy that does the flowers in the lobby of that hotel in Paris.’ They still say that, all these years later. Even if they don’t know my name, they know where my flowers come from. My biggest clients, my greatest friends—how did you meet them? In the lobby of the George V. I did Chelsea Clinton’s wedding. Where did I meet the Clintons? In the lobby of the George V. Four Seasons has basically given me my entire career — they’ve always been there and been super supportive. 

What first attracted you to floral design?

I was working retail for the Gap and modeling part time. I came home from Europe and got a job at the Four Seasons at Beverly Hills. Before then I had never touched a flower, never even wanted to work with flowers, and that’s where my career started. Four Seasons really gave me that whole spectrum: I started making big, grand flower installations, so that really helped me be the artist I am today.

You’ve achieved international fame, yet you continue your work with Four Seasons hotels (Paris, Beverly Hills, Philadelphia) -- a company you joined more than 20 years ago.

A lot of people, when they achieve success at a young age, tend to take every offer that they get to grow their brand and do different things. The loyalty that I’ve had to Four Seasons and to my clients has probably been the biggest secret to my success. I recently celebrated my 20-year anniversary at the George V. People still say, ‘I want to hire that guy that does the flowers in the lobby of that hotel in Paris.’ They still say that, all these years later. Even if they don’t know my name, they know where my flowers come from. My biggest clients, my greatest friends—how did you meet them? In the lobby of the George V. I did Chelsea Clinton’s wedding. Where did I meet the Clintons? In the lobby of the George V. Four Seasons has basically given me my entire career — they’ve always been there and been super supportive. 

You always credit your team for your success. How do you stay so modest?

My team is everything to me. That’s why I also tag #TeamLeatham on my social media. I am nothing without my team. They make it possible for me to do all of this travel, they make all these beautiful things possible, and I have the most brilliant, talented team in the world.

What’s your favorite flower?

My favorite flower of all time is the magnolia. Listen, I’m not trying to be like the Dalai Lama here, but the magnolia reflects experiences in life. It’s absolutely beautiful when you pick the flower, but because the life span of a magnolia is so short, the flower loses its beauty day-by-day. So, you have to enjoy it and love it while you can. Magnolias are probably the rarest flower and also my favorite.

Jeff Leatham

Q&A with Jeff Leatham

You always credit your team for your success. How do you stay so modest?
My team is everything to me. That’s why I also tag #TeamLeatham on my social media. I am nothing without my team. They make it possible for me to do all of this travel, they make all these beautiful things possible, and I have the most brilliant, talented team in the world.


What’s your favorite flower?
My favorite flower of all time is the magnolia. Listen, I’m not trying to be like the Dalai Lama here, but the magnolia reflects experiences in life. It’s absolutely beautiful when you pick the flower, but because the life span of a magnolia is so short, the flower loses its beauty day-by-day. So, you have to enjoy it and love it while you can. Magnolias are probably the rarest flower and also my favorite.

Jeremy-

Jeremy Murphy

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Jeremy Murphy is a critically acclaimed author whose first book, “F*ck Off, Chloe: Surviving the OMGs and FMLs in Your Media Career” (SkyHorse Publishing) received rave reviews when it was released in 2023. Distributed by Simon & Schuster, the book was called “hilarious” by the New York Post while the Daily News raved, “Media mavens will love “F*ck Off, Chloe: Surviving the OMGs and FMLs in your Media Career.” Radar added “(the book is) filled with witty and humorous prose that will no doubt leave you laughing out loud” while named “F*ck Off, Chloe” a must read. The book is currently being developed into a TV series. 

Murphy is currently writing “Star, Skies & Scotch: If You Remember It, You Weren’t There,” (Post Hill Press), which will be released in 2024. Co-written with Sophia Paulmier, the dishy-witty confessional chronicles his decade of flying the world as editor of a major glossy magazine, and his interactions with celebrities.

Murphy is also a screen writer, and is developing the scripted TV series “House of Medici” with producers James Brolin and Scott Hart about secrets and scandals from the Medici era that come back to haunt a family in the 1980s London. Actor Andrew Cooper is attached to star. The project is being packaged by the Gersh talent agency.

In 2014, Murphy collaborated with celebrated violinist Charlie Siem, who wrote his first composition, “Canopy,” for CBS Television’s Watch magazine, which Murphy had created and edited. He used Siem’s music as a theme song for the magazine’s digital platforms, marketing efforts and sales campaigns, which was hailed by The New York Times as a new model in media: the first print publication to create an original “soundtrack” to transform magazine into a brand. Murphy used Siem’s recording for three years, including campaigns narrated by Julianna Margulies (2016), Michael Weatherly (2015) and Pauley Perrette (2014). The project was a collaboration between the magazine, CBS and Team One, a division of Saatch & Saatchi specializing in luxury marketing.

Murphy also appeared in a documentary for the Pop network that went behind the scenes of the photo shoots Murphy had commissioned. In addition, he launched CBS Interactive’s CNET magazine, a quarterly publication featuring the online brand’s reviews, features, product previews and personalities. Murphy served as General Manager of the magazine, helping build a readership of 1 million across the country as well as newsstand placement throughout the US.

In 2017, Murphy was featured in Channel 4 UK’s documentary “A Very British Hotel,” which gave viewers a behind-the-scenes peek at the operations of the Mandarin Oriental Hyde Park London. Murphy, a “fan” of the brand and the London hotel, appeared in all four episodes, which were syndicated around the world.
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Alchemy Gallery

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Alchemy is a process of creation and transformation, elevating the ordinary into the extraordinary.  Alchemy Gallery’s mission is to realize that process artistically, fostering the development of artists at all levels, across all mediums, and championing their art with the right audiences of quality collectors. 
 
The elusive, ephemeral, almost magical quality of alchemy resides in gallery co-founders Sean Thomas and Jess de la Hunty who bring a combined 25 years of art advisory and mature collectorship from their disparate backgrounds to the space. 
 
Thomas and de la Hunty, both experienced curators with tremendous eyes for new talent are guided by their preternatural instincts and voracious curiosity to fill the gallery with visceral, unpredictable, edgy, and revelatory works in its short time on the scene. 
 
As much about their discerning eyes as their guts, the pair offer a unique balance of street smarts, global sensibility (and contacts) with academic credentials and impeccable taste to Alchemy, creating the foundation for a truly modern gallery.  This is what art is now.  Alchemy is a place where new artists are developed, emerging talent is introduced to a broad range of buyers and collectors and established talent can make an unexpected splash.  Thomas and de la Hunty are gallerists who love art, understand artists, and have deep knowledge to navigate the business of art. 
 
“We’d talked about it for years, but only in the abstract based on the gaps we saw in the representation of artists that we’d been bringing to the attention of our respective clients for years.  We wanted to see those artists get a proper showing in New York,” says Thomas. 
 
Located at 55 Delancey Street on New York’s Lower East Side, Alchemy Gallery boasts a 1000 square foot space which gives its selected art a great showcase.  The space is intentionally discreet giving the art room to breathe and command the attention for viewers to discover, explore and collectors to acquire. Notes de la Hunty, “at Alchemy Gallery, the eye cannot go anywhere but to the work itself.” 
 
Since opening in May 2022, Alchemy Gallery has always had a charitable component baked into the business. “As a brick-and-mortar gallery, there are a finite number of artists we can curate in any calendar year,” Thomas explains, “Alchemy Editions allows us the flexibility to bring new collectors to contemporary art and collaborate on releases with both artists and manufacturers who we may never have had the opportunity to work with as well.” 
 
Having spent a long time both producing editions and as avid print collectors, the founders always planned to incorporate an editions portion to the business to give back. With every release, 100% of the proceeds from the sale of Edition Number One will always be donated to charity. 
 
Alchemy Gallery is a young space born of established expertise and industry knowledge alongside global perspective and reach and a deep, driving ambition toward the future, including an overseas expansion in 2023.  
 
 
MEET THE FOUNDERS 
 
Sean Thomas and Jess de la Hunty’s unique and diverse backgrounds are the catalyst that has created a truly unique space for artists and collectors alike.  Thomas’ picaresque journey from New York City’s vibrant downtown scene in the 90’s to the global arena to de la Hunty’s rise through the Australian and British art establishment, landing in New York as a leading art consultant. 
 
 
ABOUT SEAN THOMAS 
 
Born in Manchester, England and relocating to the U.S. with his family at a young age, Sean Thomas is a quintessential New York City success story. 
 
Thomas made his way to NYC on his own at age 17 and dove headlong into the city’s arts and nightlife scene, working at one of the hottest clubs in the world, the notorious Limelight, where he was one of a group of young creatives who ran the venue’s influential Communion showcase and was part of the throngs of club kids that ran New York in the 90’s.  
 
Thomas’ circle of friends bounced back and forth from the downtown club scene to nights at Lincoln Center, Cafe Carlyle, and the Met Gala.  After a stint at NYU Film School, he booked a series of production jobs all over Asia for more than a decade, expanding his global perspective. 
 
An avid art lover, Thomas found early success as a casual collector in the thriving UK street art scene.  When that began to feel too limited, he branched out to New York’s contemporary art gallery world. 
 
His approach to art is visceral, following his instincts almost to a fault, which has cast him as an occasional enfant terrible, courting controversy with some of his shows and occasionally landing in New York’s gossip pages.  
 
But the noise of NYC’s chattering class can’t drown out Thomas’ intuitive taste, skill, and reputation as an art advisor to go to when collectors need something nobody can get.  When a romance led him to Moscow, Thomas remained beyond the relationship’s end, working as an advisor for high profile clients across Europe including one of the richest men in Russia, who eventually became his sole client.  During his tenure, Thomas curated a truly singular collection worth tens of millions of dollars including works by Basquiat, Calder, Picasso and Warhol. 
 
Now, as co-founder of Alchemy Gallery, Thomas returns to New York, his gallery roots, and to his truest passion – emerging art. 
 
Like most New York fixtures, Thomas continues to embrace a balance of high and low culture.  He’s a regular patron and benefactor at Lincoln Center and can still be found as a regular at his favorite dive bar haunts on the Lower East Side.  He thrives in both.  
 
And like most New York characters, he left everything behind to find his dream in New York, parlaying his time as a club kid to becoming one of the most significant art advisors in the world. 
 
ABOUT JESS DE LA HUNTY 

Hailing from Australia, Jess de la Hunty comes to Alchemy with years of experience as one of New York’s leading art advisors known for an honest and fresh perspective to art collecting, informed by years of experience in the international art world. 

From the minutiae of project management to big-picture curatorial endeavors, de la Hunty has a proven track record of successful Post-war and Contemporary art placement in both private and corporate collections backed by the lasting satisfaction of her clients. 
 
Holding a master’s degree in art administration, De la Hunty is USPAP certified and has had a diverse array of experience fine-tuned through her fieldwork in the global arena. 
 
Whether sourcing Post-war and contemporary art through private and public channels, designing and managing individual collections, providing valuation and deaccession services or coordinating logistics for individual works from framing to installation, her knowledge and deeply rooted relationships with artists, galleries and dealers around the globe has given her an invaluable insight into the art world. 
 
Her background as a one-on-one counselor, building collections and executing projects has earned her a stellar reputation among collectors, galleries, and designers alike – a reputation born of anticipating her client’s needs by continuously building her pipeline of contemporary works, cutting-edge independent artists, and post-war masters repped by established blue-chip galleries, proving time and again that her specific knowledge and connections enhance any collection as a lasting investment and her passion as an extensive world traveler keeps her on the cutting edge of current and emerging trends. 
 
She’s applied her skills both as a private art advisor and a studio manager for Bradley Theodore Studio, as senior sales associate, and art fair coordinator at Damian Hirst’s publishing company Other Criteria (where she served since its inception in 2014) as well as working with Victori Contemporary, and with the esteemed Australian artist Bronwyn Bancroft as well as working with numerous galleries throughout Australia and the UK. 
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Darren Greenblatt

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Darren Greenblatt

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DARREN GREENBLATT

Bringing to the canvas a visual dialogue that confronts fashion's waste and pretension with artistry, beauty, and relevance

Debuted his handbag collection in Vogue. Designed clothes, jewelry, and accessories. Authored books. Even opened a bakery. Now, fashion veteran Darren Greenblatt is channeling his creativity in a whole new medium: mixed media art.  Combining paints, French acrylics, Hermes and Gucci wallpapers and vintage magazines, the critically acclaimed designer and producer has created a 20-piece series that evokes his love/ hate relationship with the industry, bringing to the canvas a visual dialogue that confronts fashion’s waste and pretension with its artistry, beauty, and relevance.

Debuted his handbag collection in Vogue. Designed clothes, jewelry, and accessories. Authored books. Created and sold TV shows. Even opened a bakery. Now, fashion veteran Darren Greenblatt is channeling his creativity into new mediums. His third book F*ck Off Chloe- Surviving the OMGs and FMLs in Your Media Career will be published in March 2022, featuring his illustrations along with author Jeremy Murphy’s prose.

This artistic output continues with Darren creating art, and taking interior design commissions- from London to Los Angeles. His recent mixed media works are inspired by his decades-long career as an outsider within the fashion industry. Combining paints, French acrylics, Hermes and Gucci wallpapers, and vintage magazines, the critically acclaimed designer and producer has created a 20-piece series- his first collection in eight years- that evokes his love/ hate relationship with the industry, bringing to the canvas a visual dialogue that confronts fashion’s waste and pretension with its artistry, beauty, and relevance.
The result is a collection bursting with color, contradiction, and nostalgic futurism.

“As a fashion ‘refugee’ with distance from the industry, and from the craft that has been a driving force since I was a child, I’m able to explore and see things with new eyes,” says Greenblatt, who creates his art from his home studio in Princeton, New Jersey. “My recent work homages the enigmatic and magical world of fashion- past, present & future – and how it works within different spaces and mediums.”

Greenblatt found inspiration in a wealth of materials, from flowers to graphic design, layered patterns, prints, and textures. His use of color is boisterous and bold, brimming with hope and fury. How those elements relate and conflict gave the artist the tension to capture his message and complete the fantasy.

“There is friction between the duality of organic nature within confined spaces, and two-dimensional graphic design of three-dimensional matter,” he says.

Rather than name each work, Greenblatt, in an ode to the fashion industry, simply numbered each piece — like the looks/ exits from a runway presentation. Greenblatt’s new series is his first collection in eight years. After more than two decades in New York, where he established himself a creative and entrepreneurial force in the fashion industry, Greenblatt, his husband Sam, and daughter Olive relocated to Princeton, NJ in 2015, amid protracted custody-related litigation. The move and overwhelming sense of loss extinguished the creativity that once helped him produce enduring art.

“Our lives became learning to survive trauma,” Greenblatt says. “That may serve as inspiration for other artists, but it was never what drove me to create. So, it was hard to find the light and color that always guided my work in such darkness.”

It was in 2019 when Greenblatt began thinking of the new series as an emotional response and a desire to find the color in life again, which was fortuitous because six months later the pandemic hit.

“It’s what I needed, and I think what the world needed,” Greenblatt says.

DARREN GREENBLATT

The artist will begin exhibiting the series later this year

Greenblatt’s career trajectory has taken many routes. A graduate of the Fashion Institute of Technology – where he won the prestigious Critics’ Choice award, he studied with designer Betsey Johnson and couturier Christian Francis Roth before founding his first multi-media platform, Girls Rule. It was the first group show during NYFW catering to the youth market and created a new runway for emerging designers to show their collections, sponsors to enter the industry and up-and-coming models, actresses, and socialites to take the world stage. Girls Rule ruled New York Fashion Week for a decade. Planet Yumthing D-I-Y, Greenblatt’s second multi-media platform for teens, produced a website, a book (Randomhouse), and a TV pilot (Fox Family). At the same time, Greenblatt designed himself, becoming a creative director for iconic fashion brand Fiorucci before starting his own luxury bag label Stanton Maxwell, whose collection debuted in Vogue’s 2008 September issue. Greenblatt also began an illustration series called “The Ugly Lives of Beautiful People,” featuring sketches of runway collections with pithy, ironic quotes about life, culture, and the fashion industry.

Greenblatt has been featured in Vogue, Harper’s Bazaar, Allure, People, and Women’s Wear Daily and his designs have been sold at Bloomingdales, Bergdorf Goodman, Saks Fifth Avenue, and Jeffrey New York. He has appeared on The Apprentice, The Today Show, The View, Rachael Ray, and CNN. Darren’s first gallery show was in the west village, NYC in 2001, and his first interior design project was his own NYC apartment, which won Honorable Mention in Metropolitan Home magazine’s esteemed Home Contest.

DARREN GREENBLATT

The 2009 recession encouraged Greenblatt to expand

The 2009 recession encouraged Greenblatt to expand his creative palate to a new medium: food. His passion for cooking, entertaining and experience-design, coupled with the entrepreneurial instincts that have always guided his work, led him to start Donna Bell’s Bake Shop first as a mobile food truck and later, with two friends as a brick-and-mortar shop in midtown Manhattan. Its success spawned the NYT best-selling book, Donna Bell’s Bake Shop: Recipes and Stories of Family, Friends and Food.

 Upon relocating to Princeton, Greenblatt started a new firm, Princeton Creative Services, a full-service agency dedicated to the life-enhancing power of good design. Its purpose? To make lives and spaces more beautiful. Something he has done throughout his career.

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eric rutherford

Fashion and lifestyle world’s most known and beloved personalities

There are florists and there are floral artists. JEFF LEATHAM, the celebrated artistic director and tastemaker is squarely the latter.

Brand ambassador. Model. Influencer. Content creator. Known to more than 250,000 followers as @mr.rutherford, his positivity, smile, silver fox mane, and impeccable style have made him a magnet for marketers and brands who want to reach audiences through an authentic voice and lens. He rose to early prominence when, in his early twenties, he was discovered by famed photographer Bruce Weber at a restaurant in Miami. Within a week, he was chosen as the subject for a major fashion shoot for L’Uomo Vogue, shot by Weber. 

Rutherford enjoyed a career as an actor and model, shooting tv, commercial and editorial work for top brands, magazines, and television shows. Rutherford soaked in each new experience, looking beyond the glossy photos to understand the photographer’s eye, the director’s vision, and the designer’s inspiration. His interest was always being more than just another pretty face. After years of acting and modeling, he focused on learning all the elements of producing events. From creating brand collaborations to marketing campaigns to world premiere events, he worked with some of the most recognizable names, even working with someone named Oprah. Through each new project, Rutherford learned the nuts and bolts of brand awareness, audience development, and finding your authentic voice.