MONTH 2XXX DECEMBER 2017 TILMAN FERTITTA ROCKETS’ BILLION DOLLAR BUYER JUSTISE WINSLOW MIAMI HEAT’S RISING STAR Victoria’s Secret’s Martha Hunt FACE OF AN ANGEL MIAMI AMERICA’S SEXIEST CITY LAND ROVER HISTORY OF AN ICONIC BRAND RAY FISHER JUSTICE LEAGUE’S UNSUNG HERO M A X I M . C OM My sign a t ure is my curre n cy – my sh o e be ars t h e h o n or Available at select retailers Order online: www.heinrich-dinkelacker.com “If I have seen further, it is by standing on the shoulders of giants.” S ir i Sa ac New toN MAXIM Beyond Perfection Handcrafted German Shoe Tradition Available at selected retailers or online: www.heinrich-dinkelacker.com 34 martha hunt 08 ob jec t s of de sire 44 The Victoria’s Secret Angel is more than just a pretty face Exquisite gifts for the discerning holiday shopper Our guide to America’s sexiest city 18 dri v e time 58 Timepieces from world-class automakers and horologists Watchmaker Richard Mille on what inspires his incredible designs 20 cLose encounter s 62 The fragrance makes the man with these seductive colognes How Land Rover became a dominant global brand 22 au to focus 72 Ferrari’s last naturally aspirated V-12 marks the end of an era Photographer Bruno Bisang has become a living legend 24 m a k ing it Look e a s y 80 No director has done more with less than Joe Swanberg How Midual crafted one of the world’s best motorcycles 26 a r t s & enter ta inment 82 This month’s roundup of the best in culture Tilman Fertitta on building his business empire and owning an NBA team 28 r ay fisher 86 The 30-year-old actor makes an epic leap from stage to screen Meet Nick Popovich, the world’s top airplane repo man mi a mi time a nd pa s sion the m a k ing of a Legend m a s ter pL a n the french connec tion the hous ton rock e t a ir r a ider 30 pri vate s ta sh Bottles from a $23.5 million vintage liquor collection the jus tise Le ague The Miami Heat’s rising star, Justise Winslow, is poised for a career-making season 4 D E C E m b E r 2 017 maxim.com gilles Bensimon 32 on the cov er Martha Hunt wears a silk shirt by Mes Demoiselles, bra by Victoria’s Secret, and velvet trousers by the Kooples. Photographed by Gilles Bensimon. CUSTOM SHIRTS. MADE SMARTER. 1. Create your custom size by 2. Shop from hundreds of 3. Shirts are made to answering 10 simple questions styles and conveniently order and ship to your door. at propercloth.com. order online. Perfect fit guaranteed. Visit propercloth.com and use code MAXIM for $20 off your first shirt. The Leading Voice in Men’s Luxury Lifestyle Sardar Biglari Editor-in- Chief special creative adviser Gilles Bensimon art & design director executive editor managing editor European fashion director director of photography deputy art director contributing writer & editor associate editor market coordinator Guillaume Bruneau special lifestyle editor A lessa ndr a A mbrosio senior vice president of sales & marketing Mitch Moxley senior vice president of sales Susan Kilkenny Louis Coletti chief business development off icer Art Gonzalez Lucy Silberman Caroline Christiansson vice president of marketing & events Scott Lehmann Jessica Athanasiou-Piork Southeast director Jim Young Paul O’Dea West Coast director Larry Stevens Justin Rohrlich Detroit sales off ice Keith Gordon digital director Olivia Perry deputy digital editor Fuel Media Chris Wilson Patrick Carone entertainment adviser Nick C a nnon chief operating off icer Robert Price For advertising inquiries, please call 917-348-4029 or email: email@example.com For licensing inquiries, please email: firstname.lastname@example.org MAXIM Inc. A Biglari Holdings Company Beverly Hills The Rolex Building 9420 Wilshire Blvd Beverly Hills, CA 90212 New York 268 west 44th street New York , NY 10036 Monte Carlo 5 bis Av. Princesse Alice Monte- Carlo, 98000 Monaco TIME REDEFINED Kathryn Boren of American Ballet Theatre wears Macedon. Swiss quartz calibre. Rose goldtone on embossed calfskin leather. $530 as shown. Shop Follow AlexanderWatch.com 6 @alexander_watches gift guide OBJECTS OF DESIRE Extravagant items for the man who thought he had everything FOR THE Aperi tem quasi AVIATOR tet ommossi rendesequi offictatior soles exerest, odipisti conet, simus magnihi llupta invendaerum The Twistair might looksunt like minti something from Blade Runner qui occus, ut adi sundam ullabor ehenit hillam es 2049, but it’s queactually derunt.scheduled for real-world release in early 2018. A collaborationGendeliam between design firmrae 2sympleks andiur anma engineering ventiiscit eos idebit, dolo quaeteam from Trendak Aviation, the sa tandem comes in three porrupi tisimint vente aut ea gyrocopter nosandist quo dolendi do- versions: one with aeium fullyadenclosed cockpit (seen here), lescimpos ut dit eosam, voluptiunt expedone mi,with auta- the doors removed, and model aut withiusonly a front tur atia eum nimacusantur dolupti beaturwindscreen, sapiendae. offering the most and cone exposed-to-the-elements flying experience. Nequi cumvisceral que ipsanis parcidit verfere ssenim asped mo coreruntur acerchitiunt autae. Itatum eum courtesy of 2sympleks maxim.com D E C E m b E r 2 017 9 gift guide Spending six figures on a home audio system might guarantee you’ll hear every note perfectly, but it’s no assurance of beautiful aesthetics. Pennsylvania-based OMA’s AC1 loudspeaker is both a world-class audio experience and a visually stunning speaker system. Handcrafted from locally sourced hardwoods, the AC1 works best in midsize and large rooms and will almost certainly draw a crowd. (Above: AC1 loudspeaker. Below, from left: OMA Mini; OMA Monarch) 10 D E C E m b E r 2 017 maxim.com c y n t h i a va n e l k / o m a FOR THE AUDIOPHILE gift guide FOR THE COFFEE AFICIONADO Super Veloce, the South African company better known for its masterful automotive designs, has now turned your coffee maker into a work of art. The Espresso Veloce Aurum 18ct—a single-serve, capsuletype espresso maker with a grappa dispenser—is based on the V-12 engine that once defined Formula 1 racing. It’s crafted from surgical steel, nickel, titanium, anodized silver, aerospace alloys, and 18k-gold plating; even its baseplate is made from exotic carbon fiber. Just 10 units will be produced. While the five-figure price tag is steep, it’s still more affordable to start your morning with a V-12 in your kitchen than in your garage. 12 D E C E m b E r 2 017 maxim.com GET E XC L U S I V E ACC E SS S I G N U P F O R YO U R W E E K LY MAXIM NEWSLETTER G O TO M A X I M .C O M / N E W S L E T T E R p r e v i o u s pa g e : c o u r t e s y o f s u p e r v e l o c e . t h i s pa g e : c o u r t e s y o f p g gift guide FOR THE SUNDAY RIDER With a production run of just 667 units, the PG Bugatti Bike provides the same level of craftsmanship, design, and exclusivity as the brand’s automobiles. The entire bicycle weighs in at less than 11 pounds, thanks to high-quality carbon fiber (95 percent of the bike is crafted from it). The design is inspired by Bugatti, while Kussmaul, which produces components for other Bugatti vehicles, oversees the handcrafted production. 14 D E C E m b E r 2 017 maxim.com gift guide FOR THE CURATOR The “Baby” (above) is a four-meter baby grand piano based on nature’s Golden Spiral, crafted from polyurethane foam, fiberglass, brass, liquid metal, and Tramazite (an artificial material invented by Based Upon). The “Gentleman’s Desk” (below) is constructed of Tramazite, liquid metal, phosphor bronze, and oak. For more information, see page 94. courtesy of based up on Based Upon, an artistic collaboration between British twins Ian and Richard Abell, has earned acclaim in the art world with audacious creations that range from social commentary (a toilet made of gold and a diamond covered in rust) to award-winning furniture design and metal sculpture. Its clients include Nobu, Donna Karan, Gordon Ramsay, and Giorgio Armani. 16 D E C E m b E r 2 017 maxim.com NOW WITH ALL-WEATHER TRACTION CONTROL The Rainy Day Founder delivers pure Hubbard comfort, along with a waterproof GORE-TEX® membrane and non-slip Davos® Ice Sole. Harsh weather? Bring it on. Free shipping and returns. Order online or call 844.482.4800. Style DRIVE TIME Partnerships between automakers and horologists are resulting in must-have timepieces To mark the major milestones of life and work—that big promotion, the game-changing deal, retirement— you reward yourself with one of two things: a watch or a car. And there’s a reason: Both, at their best, are grand achievements in design, aesthetics, and function. Elite watchmakers and automakers spare no expense to create their signature products, and the price tags reflect that. They are rare, they are exquisite, they are statements. Because of their shared attention to detail and pursuit of perfection, horologists and car designers make for natural partners, and the results of their collaborations are ideal rewards to mark whatever milestones lie ahead. 1. Hublot’s MP-05 LaFerrari Sapphire has a polished sapphire crystal case and suspended vertical tourbillon. 2. From the Breitling for Bentley collection, the Bentley GMT Light Body B04 S features a titanium case shielding a black or silver face. 3. The Parmigiani Fleurier Bugatti Aerolithe catches the eye with its palegreen dial color, supple Hermès Epsom calfskin band, and titanium and white-gold case. 5. The Bremont Jaguar MKII has a face inspired by the instrument display on the dashboard of a classic Jaguar E-Type, with a slim steel case and a double-domed crystal for a vintage look. For more information, see page 94. 18 D E C E m b E r 2 017 maxim.com No. 1 COURTESY OF THE BR ANDS 4. From the first-ever series of timepieces by Porsche Design, the Chronotimer Series 1 Black & Gold features a sturdy titanium case attached to a bracelet of matte black titanium. No. 2 No. 5 No. 3 No. 4 GROOMING Close enCounters With these seductive colognes, the fragrance makes the man P h o t o g ra p h e d b y M AR K P L AT T S t y l e d b y O L I V I A P ER RY 20 D E C E m b E r 2 017 maxim.com Good manners and good cologne transform a man into a gentleman, Tom Ford is believed to have said. As the designer knows, good cologne should express the wearer’s identity— it’s as much a personal statement as it is a fragrance. For the brooding, mature man, there’s Orto Parisi’s Terroni and Frederic Malle’s Monsieur, with notes of spices and patchouli. For those with a lighter step, try Vilhelm Parfumerie’s Basilico & Fellini or Maison Francis Kurkdjian’s Aqua Universalis. Fragrances, clockwise from far left: Deux, TRUDON. Terroni, ORTO PARISI. Aqua Universalis, MAISON FRANCIS KURKDJIAN. Mille Feux, LOUIS VUITTON. Monsieur Beauregard, PENHALIGON’S. Colonia Pura, ACQUA DI PARMA. Monsieur, FREDERIC MALLE. Cote d’Azur, ORIBE. Basilico & Fellini, VILHELM PARFUMERIE. Serving tray, CB2. Gold frame, AERIN. Crystal stemware, vintage. For more information, see page 94. Cobra S P E C I A L O P S W A T C H . C O M Designed, engineered and hand-assembled in the US AUTO FOCUS SUPER, FAST Ferrari’s last naturally aspirated V-12 marks the end of an era Te x t b y k EI T h g O R d O n The “8” in the car’s name stands for 800 PS (789 horsepower), and the “12” for the number of cylinders. The term Superfast carries a lot of weight: Some of the most beautiful, bold, and dramatic Ferrari designs have been honored with the name. To earn the Superfast moniker, you need power. This comes via a refined V-12 that is slightly larger than the motor from the F12berlinetta (6.5 liters versus 6.3), features upgrades on 75 percent of engine parts, and produces more horsepower (789 hp at 8,500 rpm) and torque (530 lb/ft at 7,000 rpm) than its predecessors. The 812 is also lean, with a dry weight of just over 3,300 pounds, meaning it can reach 62 mph in 2.9 seconds, with a top speed of 211 mph. The Maranello-based automaker’s latest grand tourer, rumored to cost north of $335,000, has Ferrari’s seven-speed dual-clutch gearbox and power steering, updated Side Slip Control for easier drifting, and a groundbreaking fuel injection system. A 6-into-1 exhaust manifold amplifies the V-12, and the entire car is outfitted with aerodynamic improvements such as a passive front aero design and a rear diffuser that provides stability at low speeds and reduces drag at high speeds. While Ferrari’s special creations, such as LaFerrari, will draw the most attention, and its base models, like the 488 GTB and the new Portofino replacing the California T, will record the most sales, it’s the V-12 Grand Tourer that has always served as the brand’s flagship. And with the 812 Superfast, this era of Ferrari is closing out in style. COURTESY OF FERR ARI When a company like Ferrari, with seven decades of sports-car-industry dominance, announces its most powerful naturally aspirated production vehicle ever—one with no turbocharger, supercharger, or hybrid system— you know it’s an event. And the brand-new 812 Superfast, the successor to the previous Ferrari V-12 grand tourers, the F12berlinetta and the F12tdf, is a high-water mark in the company’s history. From the 1956 410 Superfast Pininfarina Speciale to the 1964 500 Superfast, the name has been synonymous with some of Ferrari’s most remarkable creations. The 812 Superfast will likely be Ferrari’s last nonhybrid, naturally aspirated Ferrari. The company says cars built from 2019 onward will all feature some battery assist. 22 D E C E m b E r 2 017 maxim.com S U B S C R I B E TO F O R A S LO W A S $ 1 . 2 5 AN ISSUE G O TO M A X I M .C O M INTERVIEW Making It Look Easy After 15 years of working from home or in coffee shops or on spare couches, the filmmaker Joe Swanberg finally rented an office. It’s comfortable, but nothing extravagant: a signless concrete storefront on the North Side of Chicago next to a Central Asian restaurant. There’s a studio apartment upstairs with a kitchenette and built-in shelves. “All these books were in my house as of a week ago, driving my wife bonkers,” he says, folding spare towels. “Just that alone is worth the rental price.” Swanberg, 36, had spent August and September in Los Angeles finishing postproduction on Easy, his Chicago-set Netflix anthology series, the second season of which debuts on December 1. In truth, he’s still getting the place set up. (It took him three tries to figure out how the ceiling fan worked.) That the office feels to Swanberg more like “a bonus” than a necessity isn’t remotely surprising: Few directors working today have done more with less. During his first years in the entertainment business, Swanberg was so tenacious, and churned out so much material, he says people had a hard time keeping up. He’s made an astounding 18 feature films so far; the first, Kissing on the Mouth (2005), he shot for a few thousand dollars and sold to a now-defunct DVD distributor. (The New York Times once called Swanberg’s films “flagrantly noncommercial”; he’s not sure his parents have even seen everything he’s put out.) Easy feels like a modest departure. The show, a collection of loosely connected vignettes about Chicagoans and their middle-class concerns (namely, romance and money), is noticeably more polished and accessible than some of his early stuff, without losing the emotional intimacy or specificity. Stories seem to pour out of him—about love and sex and ambition and responsibility, often drawn from his own life or the lives of those close to him. His movies are largely improvised, acutely observed, and impressively naturalistic. Indie darlings of the ’80s and ’90s—the Coen brothers, Jim Jarmusch, and Kevin Smith—were inspirations, as were foreign filmmakers he met as a part-time employee of the Chicago International Film Festival in 2003 and 2004. To a guy who’d only picked up a 16-mm camera a few years earlier, they “demystified the experience,” Swanberg remembers, proving that “if you commit your life to poverty and the craft of film, you can survive.” In the ensuing years, Swanberg has carved out an unusual degree of professional autonomy. Aside from college, he’s never left Chicago, living with his wife (fellow filmmaker Kris Swanberg) and their two children, rolling meager profits directly into future ventures and covering the rest with funds he raises via Forager Films, the production company he cofounded. Hannah Takes the Stairs, in 2007, lifted Swanberg’s profile and launched the career of Greta Gerwig. (With a budget of $60,000, he says he felt like he was making Ben-Hur.) Five years later, he finally hired a Hollywood agent, who helped him find financing for Drinking Buddies, starring Olivia Wilde and Jake Johnson, a scruffy romantic comedy and his first mainstreamish success. From there, and without major studio interference, he’s hustled his way into some unexpected clout, attracting legitimate stars (Anna Kendrick, Orlando Bloom) and solidifying a fruitful partnership with Netflix, which distributed his latest feature (the wellreceived Win It All ) and his first foray into television with Easy. Swanberg finds actors who are “relatively comfortable playing themselves” and who let life play out on camera. That sensibility is on full display in the incisive Easy. Swanberg’s pitch to the streaming giant was simple: “What if it was just my movies, but they were 30 minutes instead of an hour and a half, and what if some of these characters knew each other, so there were these little incidental bits, like it was all happening in real Chicago?” The sexual connotation of the title felt appropriate. So did the feeling it evoked, of mature and capable people working through the messy problems of adulthood. Richard Linklater’s Boyhood is a reference point; rather than compressing 12 years of one family’s life into less than three hours of footage, Swanberg wants to tell disparate stories about a diverse group of Chicagoans as they grow older and the world changes around them, in real time. Swanberg’s ideal version of Easy “is one where we’re always Netflix’s cheapest show, and we’re always being left alone over here to do our weird little Chicago thing.” (It would also run for “50 years.”) In the meantime, he’s writing a script with Johnson, a simpatico collaborator, and starting to imagine how his specific skill set could transfer onto bigger stages. If streaming services are intent on disrupting independent cinema’s traditional distribution model, taking movies out of the art house and moving them onto viewers’ television sets, nobody is better positioned to capitalize on the coming revolution, aesthetically or ideologically. Downstairs, Swanberg pulls from a cardboard box a framed stained-glass panel, deep blue and ornate, with easy written in the center. Chicago’s oldest glass company custom-designed it; for one season-two episode, Swanberg shot the glass as his title card, an expense his younger self could never afford, let alone justify. “Isn’t that awesome?” he says, stepping back to eye the handiwork. “Usually my shit just goes into storage.” Te x t b y adam d o s t er 24 D E C E m b E r 2 017 maxim.com Drinking Buddies (top), starring Olivia Wilde, found a wider audience than his previous films and paved the way for Easy c lo c k w i s e f r o m to p l e f t: j ay l . c l e n d e n i n /c o n to u r by g e t t y i m a g e s ; a f a r c h i v e /a l a m y s to c k p h oto ( 4 ) No director has done more with less than Joe Swanberg. Now, with 18 films under his belt and an acclaimed Netflix show, the 36-year-old Chicagoan is finally finding a mainstream following. ARTS & ENTERTAINMENT The MonTh in CULTURe Margot Robbie as Tonya Harding, Errol Morris’ trippy Netflix miniseries, a political album from U2, and more Te x t b y t h o m A s fr eem An TV Will the Game of Thrones formula of sex and swords make actual history more gripping? The History channel unveils the Jeremy Renner– produced series Knightfall (Dec. 6), which offers a wildly speculative look into the Knights Templar, the fabled military order of the Middle Ages. Netflix melds documentary and scripted narrative with Wormwood (Dec. 15), a six-part miniseries from Oscar winner Errol Morris (The Fog of War). Actor Peter Sarsgaard reenacts the last days of CIA employee Frank Olson, who plunged to his death in 1953 after being secretly doped with LSD. His son Eric, still fixated on his father’s death, probes the psychochemical warfare program responsible. U2 had nearly completed its 14th album when escalating political tensions altered its direction. “The world had changed. We needed to put things on pause to take in the scale of the change,” Bono told the New York Times. After retooling the sounds and imbuing the lyrics with pleas for compassion, Songs of Experience (Dec. 1) is here. With his recent collaboration with singer Hailee Steinfeld, “Let Me Go,” still resounding through nightclubs, Swedish DJ Alesso is releasing his sophomore album, However (Dec. 8). After years of working with megawatt stars like Madonna and David Guetta, it’s his chance to shine on his own. FILM Nineties tabloid fixture Tonya Harding is somewhat redeemed in the biopic I, Tonya (Dec. 8). Margot Robbie plays the disgraced Olympic figure skater for sympathy (and Oscar recognition) while Sebastian Stan delivers chills as Jeff Gillooly, her diabolical exhusband, who orchestrated the 1994 attack on rival skater Nancy Kerrigan in “the whack heard round the world.” Robbie thought the script for I, Tonya was so outlandish she didn’t initially realize Harding and Kerrigan were real people. “I thought it was entirely fictionalized,” she told Vanity Fair. Meanwhile, The Disaster Artist (Dec. 8) chronicles the failure of another unlikely icon: Tommy Wiseau, the creator of The Room, a movie considered “the Citizen Kane of bad movies.” James Franco directs and plays Wiseau, the foolhardy actor and director whose romantic drama later earned a cult following for its stilted dialogue and unintentional humor. Also, a little movie called Star Wars: The Last Jedi hits screens Dec. 15. 26 D E C E m b E r 2 017 maxim.com BOOKS An unexpected entry on the 2017 Man Booker Prize shortlist, Fiona Mozley’s Elmet (Dec. 5) will be published in the U.S. by Algonquin Books. The grim English noir centers on a family living in a secluded home in the woods of Yorkshire, whose ostensibly ideal life is threatened by a rapacious landowner and encroaching violence. The rarefied New York City setting of One Station Away (Dec. 5, Ecco) seems more like a world away. Olaf Olafsson’s fifth novel entwines the stories of three women—a dancer, a pianist, and a comatose patient—and their relationships with Magnus, a lover, son, or doctor, depending on the character. Who knows when Olafsson, an executive vice president of Time Warner when he’s not writing, found the time. Clockwise from top left: James Franco in The Disaster Artist; the History channel’s Knightfall; U2; new books by Fiona Mozley and Olaf Olafsson C lo C k w i s e f r o m to p r i g h t: © 2 0 1 7, A & e t e l e v i s i o n n e t w o r k s ; s i m o n e C e C C h e t t i / C o r b i s / g e t t y i m A g e s ; C o U r t e s y o f e C C o ; C o U r t e s y o f A l g o n q U i n b o o k s ; © 2 0 1 5 wA r n e r b r o s . e n t e r tA i n m e n t i n C . MUSIC THE LEADING VOICE IN MEN’S LUXURY LIFESTYLE SUBSCRIBE TODAY! 1 YEAR (PRINT + DIGITAL) FOR $19.99 CODE V710HA OR 1 YEAR (DIGITAL ONLY) FOR $9.99 CODE 1710HD For fastest service, order online: MAXIM.COM/ORDERNOW To order by phone please call (386) 447-6312 and mention code above for the exceptional manÉ Continuous Service Guarantee: Your subscription will continue unless you ask us to stop. Each year you’ll receive a reminder notice followed by an invoice for the low renewal rate then in effect. You can cancel at any time and receive a refund on all unserved issues. Cover price is $6.99. Canadian orders, add $6 per year in U.S. funds (inc. GST). Foreign orders, add $12 per year in U.S. funds. MAXIM is published 6 times per year. Please allow 6-8 weeks for delivery of first issue. LEADING MAN IntroducIng rAY FISHEr These days, actors don’t just sign on for a single film; they hitch their star to entire cinematic universes. For Ray Fisher, who was first cast as Cyborg in Justice League all the way back in mid 2014, it has occasionally felt a little more like falling into a black hole. “It’s like I’ve been counting down to Christmas,” Fisher says, “but for the last three years.” Thankfully, all that waiting came to an end last month when the superhero film finally hit theaters. Audiences were given their first opportunity to catch Fisher in action as the cybernetic crime fighter, saving the world from CGI devastation alongside Gal Gadot’s Wonder Woman and Ben Affleck’s Batman—as well as fellow franchise novices Ezra Miller (the Flash) and Jason Momoa (Aquaman)—as part of DC Comics’ most powerfully synergistic superteam. Amazingly, the gargantuan production isn’t just Fisher’s first major Hollywood project—it’s his first real film role, period. But the 30-year-old actor says it was worth the wait for a debut of this scale. Plus, it’s not even like this is the first time he’s had to keep a role on ice for so long. “What’s crazy, man, is I feel like the milestones in my career have all had a gap between them,” he says. Fisher first caught the movie industry’s eye playing Muhammad Ali in the stage play Fetch Clay, Make Man. His work there earned him a spot in the audition finals for Star Wars: The Force Awakens, before he eventually snagged the gig as Cyborg. “We did the original run of that show in 2010, but the production in New York didn’t happen until 2013, so for three years I was just lusting and fiending after this thing, keeping up the training and knocking on wood,” Fisher recalls of playing the boxing great. “I think that helped me build the patience I needed for [Justice League]. And it was also going from one black superhero to another.” The hero Cyborg is the alter ego of Victor Stone, a highschool athlete who transforms into a bionic hero once his injured body fuses with one of the three all-powerful doohickeys at the center of Justice League’s epic-scale conflict. The five heroes (presumably minus Henry Cavill’s dearly departed Superman) unite their Olympian efforts to keep these ancient MacGuffins from falling into the hands of an extragalactic villain. Considering he is essentially half man, half plot device, Cyborg understandably ends up playing a key role in the proceedings. Even so, Fisher found joining up with a franchise already in motion an interesting process. “Obviously Ben, Gal, and Henry had all been involved in other films with those characters prior to this,” says Fisher of joining the superensemble. “Jason, myself, and Ezra are coming into it kinda baby-faced and wide-eyed.” Going straight from theater to a blockbuster megaproject like Justice League is akin to going from driving a four-door sedan to a Boeing 777: There are a whole lot more bells and whistles involved. “With theater, you can generally tell how things are going in the moment,” says Fisher. “Whereas with this, I’m in pajamas jumping in front of a green screen with someone saying, ‘Okay, you see that tennis ball? That’s Steppenwolf. Go!’ I don’t even know how I’m going to look half the time.” The film has also undergone a number of reshoots since director Zack Snyder handed the reins over to Joss Whedon, and a number of new scenes feature Fisher. Maintaining emotional continuity in the face of corporate rescheduling isn’t exactly something they taught Fisher when he attended the American Musical and Dramatic Academy. And Cyborg or no, it’s easy to lose one’s humanity once plugged into the Hollywood system. Luckily, Fisher seems to have figured out how to keep his heart going amid all the machinery, both for his character and for himself. “I’ve accomplished a huge amount in 30 years, but 10 of those years were grinding, trying to make ends meet, having to move into my mom’s house multiple times because I couldn’t afford to pay rent and act simultaneously,” Fisher says. “After 10 years of that, all of a sudden something clicked. I’m not doing anything different from what I was doing before. It’s just bigger. Now it’s about what’s next.” He’ll probably do a little theater, to refresh his system, and there’s a good chance he’s going to have to return to orbit in the DC Universe if the announced Cyborg standalone film ends up moving forward. Whatever’s on the horizon, Fisher is definitely done waiting. Te x t b y k ei t h s ta s k i e w i cZ 28 D E C E m b E r 2 017 maxim.com e n t e r ta i n m e n t p i c t u r e s /a l a m y s to c k p h oto. o p p o s i t e pa g e : n o r m a n j e a n r oy/ c o u r t e s y o f wa r n e r b r o s . p i c t u r e s With his star-making turn as Cyborg in Justice League, the 30-year-old actor makes the leap from stage to screen in an epic way DRINK PRIVATE STASH Bottles from a $23.5 million vintage liquor collection will soon be available in the U.S. The owner of one of the world’s greatest booze collections rarely partakes in its pleasures—in other words, he doesn’t get high on his own supply. So when Bay van der Bunt, an eccentric antiques dealer turned spirits collector, pours two different cognacs distilled in 1848 into glasses in front of me, he’s making a rare exception. “I have a glass of cognac and I’m not right for two days,” he jokes. “That’s the advantage to me. They buy to drink it. I buy to collect it.” Van der Bunt’s unassuming countryside estate is tucked away in the sleepy outskirts of Breda, in the Netherlands. It looks like little more than a charming farmhouse and a few barns. And that’s essentially what it is, except that Old Liquors is also headquartered here. In the cellar of a former cow barn are some 10,000 bottles of liquor worth more than €20 million (about $23.5 million). The crowded storehouse is stuffed to the brim with bottles proudly coated with centuries of dust that testify to their age and authenticity. As the thirst for rare spirits has risen in recent years, Old Liquors is, for the first time, bringing parts of its collection to retail stores in the U.S. This was never part of a grand plan, but is instead the culmination of a hobby that turned into a passion, and then snowballed into a veritable treasure chest of a hooch collection. “There’s no why,” van der Bunt says about the beginnings and expansion of his private stash. “I couldn’t imagine this 20 or 30 years ago.” Van der Bunt’s company procures its stock from major auction houses, amassing thousands of bottles per year in bulk lots. In an adjoining room next to his main collection are stacks of hundreds of unopened brown boxes—recent auction purchases yet to be cataloged. The company used to sell bottles privately and at auctions, but now operates exclusively as a 30 D E C E m b E r 2 017 maxim.com wholesaler. Old Liquors utilizes an intensive system to authenticate and appraise bottles in order to connect to potential buyers. Most bottles sell for between $2,500 and $50,000. His oldest cognac dates to 1760, and his oldest bottle overall is a Madeira from 1715. There’s the six-liter bottle of cognac from 1795, said to have traveled with Napoleon’s army, and there are the shelves of prestigious bottles obtained from floundering fancy restaurants in need of a cash influx. There’s rum from 1780, some chartreuse here and assorted liqueurs there, and the occasional bottle of scotch. But primarily, Old Liquors has cornered the market on absurdly old cognac and Armagnac. If there was a prized vintage from any of the major cognac houses at any point in the 19th century, van der Bunt probably has it. By the end of 2017, the company hopes to establish a presence in a select number of fine liquor stores in major cities including New York, Los Angeles, Washington, D.C., and Chicago. It’s easier said than done. The bottles aren’t in standard U.S. sizes, labels are in many cases partially or entirely missing, and there are the logistics of importation and distribution. Further, every product sold at retail is required to have a specific, approved label, and because each bottle is a unique specimen, or one of a mere handful, a new label must be created. Then there are the intertwined matters of authentication and convincing prospective buyers to make a purchase. The company builds minutely detailed histories for each bottle, who sold it to whom, when, and for how much, its distillery information and contents painstakingly authenticated in every way possible. Each bottle will then be housed in a “museumlike” plexiglass display case with its personal fact sheet included. “It’s like art: You need the provenance,” says Bart Laming, managing director of Old Liquors. “It’s not about price; it’s about uniqueness. Some of these are the last bottles in the world.” Old Liquors’ collection features bottles dating back to 1715. Most sell for between $2,500 and $50,000. F R O M TO P : B A R T L A M I N G ; A D VA N B E E K Te x t b y JAK E EM EN DON’T BE ANTISOCIAL F O L LO W M A X I M E V E RY W H E R E good sport The Justise League After a stellar rookie season, an injury cut short Justise Winslow’s sophomore effort. This year, can the Miami Heat’s rising star move into the ranks of the NBA elite? Te x t b y K EI T H G O R D O N P h o t o g ra p h e d b y N I C K GARC I A I S S A C B A L D I ZO N / N B A E V I A G E T T Y I M A G E S I t’s the second game of the 2015-16 NBA season and the Miami Heat are in Cleveland to play the reigning Eastern Conference Champion Cavaliers. Heat rookie forward Justise Winslow, fresh off a college national championship at Duke, checks into the game midway through the first quarter. The Heat players pick up their defensive assignments, and Winslow is faced with a borderline impossible task: In only his second NBA game, the young guard finds himself face-to-face with one of the greatest players of all time, LeBron James. “I got in around the six-minute mark and immediately match up with LeBron, and I’m guarding him well and he’s hitting tough shots,” Winslow remembers. “That’s when it triggered in my brain that these guys are really talented, and sometimes you just got to give it your best. Sometimes that’s good enough, and sometimes it’s not.” The rookie held his own, and before long became his team’s top perimeter defender. His success on the defensive end of the floor helped him stay on the court while his offensive game developed, and it gave him the confidence to thrive at the NBA level. “This is where I was meant to be,” Winslow says. “I take pride in matching up against the other team’s best players...It was LeBron, then it was James Harden, then it was Derrick Rose. I was thrown in the gauntlet early.” Winslow’s defensive skills earned him NBA All-Rookie Second Team honors. Then last year, Winslow upped his scoring from 6.4 points per game to 10.9 and more than doubled his assists per game before requiring seasonending surgery in January. Now entering his third NBA season, the versatile small forward is determined to become the twoway superstar the Heat were hoping for when they selected him with the 10th pick in the 2015 NBA draft. If the team is to develop into a legitimate threat, they will need Winslow to develop into a legitimate star. An All-American, fivestar prospect in high school, the 21-year-old Houston native played for coach Mike Krzyzewski at Duke, where he won a national championship in his only season. After defeating Wisconsin in the 2015 title game, Winslow had a tough decision to make: keep playing for the Blue Devils, or declare himself eligible for the NBA draft. “Once we won, I didn’t want to leave at all. It took until the day before the deadline for me to decide to leave. Ultimately, winning that national championship did play a major part, and as a competitor I wanted that next challenge and that was the NBA.” During the 2015 NBA draft, the Boston Celtics reportedly offered the Charlotte Hornets four first-round draft picks to trade up for the chance to grab the 6'7" Winslow with the ninth pick. He had considerable attributes that could make him a formidable NBA player: A two-way small forward, he could guard the opposition’s best attacker, rebound, run the floor, and finish at the rim. The Hornets refused Boston’s overture and passed on Winslow, leaving the Heat, picking 10th. They were rewarded with a player who showed flashes of brilliance as a key member of a new core of young players. The Heat were in transition, having experienced the breakup of the Big Three of LeBron James, Dwyane Wade, and Chris Bosh—a nexus that appeared in four consecutive championship series, winning Winslow’s foundation, Robin’s House, is aiding in hurricane relief efforts in his hometown of Houston. Donations can be made at robinshouse.org. “when my game’s aLL said and done, i feeL Like i’LL be an mVP candidaTe.” two—and needed wing players who could fill the enormous shoes James left behind went he returned to Cleveland. Winslow was, and still is, a big part of that transition. Immediately, Winslow established himself as one of the league’s top rookies and a fearsome defensive stopper. But his offensive numbers showed enormous room for improvement, as he was shooting just 40 percent from the field and 25 percent from the three-point line. A bigger concern was his low usage rate: He was attempting just 5.9 field goals per game. (By comparison, James, who is as prolific a passer as he is a scorer, recorded 17.6 field goal attempts per game in his last season in Miami.) Entering his second year, Winslow’s points per game reached double digits, and he more than doubled his shot attempts. After Winslow’s season ended with a torn labrum, the Heat showed promise down the stretch, going a stellar 30-11 in the second half of the season, but missed the playoffs. “I tried to find a silver lining [in the injury] and just get better,” Winslow says. “Find a way to improve even while injured, and that’s what I did. It teaches you a lot going through an injury like that, about yourself as a person, about discipline, about paying attention to details.” This year’s Heat hold a lot of promise. Hassan Whiteside provides a legitimate interior threat on both ends of the floor, and Goran Dragic is capable of leading the offense after averaging 20.3 points per game last season. Winslow is optimistic. “Our goal is to get home court in the first round and go on from there. We definitely want to be a top-four team in the East, and I feel the way we ended last year, we were a top team in the league, and that was without me...We’re gonna try to keep that momentum going in the right direction.” As he enters this pivotal season, Winslow appears poised to make the leap to stardom. “As my offensive game grows, it’s just gonna help my game and my teammates around me,” Winslow says. “Once my jumper gets consistent, I feel like there’s just not going to be really anything I can’t do on the floor. This year my goal is to win Most Improved Player. I feel like when my game’s all said and done, maybe seven, eight years from now, I feel like I’ll be an MVP candidate.” maxim.com D E C E m b E r 2 017 33 Turtleneck, M MISSONI. Hoop Opposite: earrings, JACQUIE Sequin jumpsuit, OUD pARIS. AICHE. SuedeYVES boots,SALOMON. GIUSEppETrilby, ZANOttI DESIGN. Mink trench, tHE KOOpLES. Over-the-knee boots, MAISON ERNESt. COVER STORY A BEAUTIFUL MIND Victoria’s Secret Angel Martha Hunt meditates, writes, and spends her downtime watching TED Talks. More than a pretty face, indeed. Te x t b y A . D. PAR K P h o t o g ra p h e d b y G I L L E S B EN S I M O N S t y l e d b y c ARO L I N E c h R I S t I AN S S O N M artha Hunt has a showstopping body, but her headspace is just as enviable. The Maxim Hot 100 model and Victoria’s Secret Angel practices transcendental meditation, plays brain games, and writes in her spare time. Though Hunt is constantly flying from job to job—or perhaps because she is—she makes time to stay still. “I’ve hardly been home this month, and it just really blocks out the noise,” she says of her meditation practice. “I can be in any environment and ground myself and feel more centered.” Staying grounded is increasingly important for the model, whose career hit new heights when she was named an Angel in 2015. “I still pinch myself about doing it,” she says. “When I was first cast for the show, I was screaming and freaking out and calling my entire family to share the news.” The gig has made her one of the biggest names in modeling, and new doors have since opened, like starring in the Chainsmokers’ music video for “Paris.” Meditation is just one of the ways Hunt sharpens her mind. She also uses Lumosity, a brain training program, when she’s on the road. “I think it’s really important to work on your mind just as much as you work on your body,” Hunt says. “I also like to read when I travel and I write in my free time…Maybe one day I’ll write a book, but for now it’s relieving stress. It’s very cathartic for me.” Hunt says she’s been writing since she was a kid, and she even dreamed of becoming a writer. But Hunt, a North Carolina native, could hardly have imagined walking the Victoria’s Secret fashion show one day; she grew up watching it on TV, but never thought she would actually strut down its runway with giant 36 D E C E m b E r 2 017 maxim.com wings on her back. Hunt’s career has taken some unexpected turns since she was named an Angel, with opportunities like the Chainsmokers music video. “I had so much fun filming that video, because I really got into that character,” she says. “It was about a person living a double life: On the outside everything’s okay, but on the inside she’s battling demons. So I channeled people I know who gave me that impression—friends of mine I knew personally.” Hunt also sort of made a surprise appearance in the music video for Taylor Swift’s “Look What You Made Me Do” when her name appeared on Swift’s T-shirt. “I didn’t know that was coming,” she laughs, recalling all the hype she received after the video premiered. “I think everybody and their grandmother and goldfish watched that video.” While Hunt is open to more acting opportunities, her modeling career doesn’t allow her much time to send in tapes for auditions. She’s had her hands full with a jewelry collaboration with Pluma, called the Inégal Collection, to benefit scoliosis research. As a teen Hunt suffered from scoliosis, a malformation of the spine, and she helped choose several girls with the condition for a photo shoot to promote the jewelry. “I want them to know that I had my own insecurities with my body and they should embrace these as well and not feel too inhibited by scoliosis,” she says. Hunt had an operation to treat her scoliosis when she was 18, and she says her experience gave her more incentive to work out after her surgery, which helped her self-esteem. Of course, working out goes hand-in-hand with her career now. Being a Victoria’s Secret Angel means she always needs to bring her A game. “Year-round, working for the brand, we consistently stay in shape because we have to shoot in lingerie all the time,” Hunt says. She says lately she’s been alternating different workouts, including isometric body movements, Thong, VICtORIA’S SECREt. Boots, MAISON ERNESt. Ring, ELIE tOp. Opposite: Silk dressing gown, OUD pARIS. maxim.com n o v E m b E r 2 017 37 Leather mesh dress, MARtA MARtINO. Opposite: Satin bomber jacket, MAJE. Corset and lace panty, VICtORIA’S SECREt. Stockings, FALKE. Crystal necklace, REINE ROSALIE. Strapless plunge bra, COSABELLA. Stud earrings (worn throughout), model’s own. Opposite: T-shirt, MAJEStIC FILAtURES. Y neck chain, DAVID YURMAN. maxim.com n o v E m b E r 2 017 39 40 D E C E m b E r 2 017 maxim.com weight training, and cardio. “I’m always doing something different to challenge how my brain connects to my body,” she says. Hunt says while she does make sure to maintain a healthy diet, she’s not a fan of the phrase cheat foods. “It associates guilt with the food, and I think that I personally don’t feel guilty if I’m enjoying food,” she says. “I think it’s all about moderation.” It doesn’t hurt that Hunt enjoys staying active in her downtime, either. She plays tennis, walks her half-beagle, half-Pekingese dog, and has tried surfing, in addition to attending concerts, though she says she “cannot sing” herself. – Mohair knit tank top, WEER. Gold chain anklet, MEN E. Hunt is also fascinated by artificial intelligence, and she spends time watching TED Talks and reading about tech. “When I was younger I went on a nerdy phase, learning HTML codes and designing my own websites, and later coding came back as a fundamental part of technology evolving into what it is now,” she says. “I wish I’d kept up the coding…Some of the old codes I used still work, but it’s so different.” She laughs when asked if determined fans could perhaps find an old Angelfire website she designed. “They probably totally could!” she says. “That would be so embarrassing.” Panty, VICtORIA’S SECREt. Patent leather pumps, MAISON ERNESt. Opposite: Dress, ALEXANDRE VAUtHIER. Leather booties, GIUSEppE ZANOttI. – Gold bracelet, MEN E. For more information, see page 94. Hair, Massato for Massato Salon paris. Makeup, Lloyd Simmonds for Agence Carole. Nails, Johanna Sanchez. maxim.com D E C E m b E r 2 017 43 Magic city Miami’s always been a party town. It still is—only now it’s got thriving restaurant, art, and culture scenes to go with it. Welcome to America’s sexiest city. The UlTimaTe PenThoUse The Aston Martin Residences, rising from one of the last parcels of available land along Miami’s waterfront, will be a 66-floor ultra-luxury skyscraper that will tower above its neighbors once completed. The building’s design is borrowed partly from Aston Martin’s own vehicles. Resident perks will include 24-hour valet service, an art gallery, a fitness center, movie theaters, and even an infinity pool, on the 55th floor. Buyers of the property’s pricier apartments will receive a special limited-edition Aston Martin “Miami Riverwalk” DB11. Only 47 units of the car will be produced, with customized interiors made from the finest materials. And the buyer of the $50 million penthouse will be handed one of the most soughtafter cars on the planet: a $2.3 million Aston Martin Vulcan. That’s what we call an amenity. —Keith Gordon MIAMI the party moves Downtown Hot neighborhoods like Brickell in the core of Miami are pulling crowds from South Beach and beyond Te x t b y s h aY n e b en oW i t Z o p e n i n g s p r e a d a n d t h i s pa g e : a s to n m a r t i n / g & g b u s i n e s s d e v e lo p m e n t s i t’s a Thursday night in Brickell. Diners at Komodo nibble on hamachi crudo as a wave of leggy young women parade through the dining room around them, filling up tables in a section inconspicuously presided over by a large security guard. David Grutman darts around the floor with the alertness of a regal hunting dog, nose in the air, iPhone in hand, anticipating the imminent arrival of the evening’s VIP guests. The managing partner of Miami Beach nightclubs LIV and Story, Grutman (see Q&A, page 50) opened Komodo in 2015 as his first foray into both the restaurant world and the rapidly developing Brickell financial district on Miami’s mainland, located across Biscayne Bay from South Beach and adjacent to downtown, bordered by the Miami River. In recent years, Brickell has seen a boom in luxury condominiums, restaurants, and nightlife venues, making the area a desirable place to live and play, especially among Miami’s young professionals. Tonight at Komodo, Diddy is throwing a Welcome to Miami party for retired New York Yankees captain and new Miami Marlins co-owner Derek Jeter. In attendance are a cast of characters who regularly headline Grutman’s establishments: DJ Khaled, Busta Rhymes, and French Montana. This is exactly what diners at Komodo are here for—a chance to rub elbows with the celebrities Grutman has famously befriended by throwing legendary parties in Miami for the past decade. He initially saw potential in Brickell when he noticed guests were dining at popular restaurants like Zuma and Perricone’s Marketplace & Cafe before going to the beach for his clubs. “I think they just want to go with the hot places, to tell you the truth,” he says. “And for the first time ever, people see Miami has an urban area now and not just South Beach. It amazes me that people travel from all parts of Miami to go to Komodo, despite Brickell being known as more of a business and financial district. I never thought in a million years people would leave the beach and come over here.” On the way back to South Beach, there are more restaurants and bars in Brickell and downtown worth swinging by than ever before. A U.S. subsidiary of Hong Kong–based Swire Properties debuted the $1.05 billion mixed-use development Brickell City Centre, a high-end, alfresco shopping center with multiple restaurants, office towers, and condominiums, in November 2016. “Coming from a European background, in which apartment living was the norm, led me to develop here,” says Ugo Colombo, a Milan-born developer who was one of the first to build luxury condominiums in Brickell back in the 1990s. “I saw a void in Miami’s condo market because buyers typically associated ‘luxury’ with larger-style homes. So I set out to develop ‘mansions in the sky,’ a.k.a. large, luxury condominiums with water views, over-the-top amenities, security.” Colombo’s latest project, Brickell Flatiron, is slated to debut in 2019. “I always believed that sooner or later that area would become very attractive. It needed a catalyst like Brickell City Centre to really give it a boost.” Across the Miami River, downtown Miami is a neighborhood of contrasts. Historic beaux arts architecture and cozy hipster haunts abut cavernous warehouses turned after-hours nightclubs. The intersection of N. Miami Ave. and NW 11th St. offers a concentrated snapshot of this juxtaposition, where E11EVEN Miami, the 24-hour nightclub-cabaret, quasi-gentlemen’s-club hybrid, is kitty-corner to Club Space, the city’s long-standing after-hours techno club, which has been known to stay open continually. But between these two megaclubs, a trio of homey bars and restaurants offer a completely different kind of night out. The Corner is a softly lit bar with large picture windows and rough-hewn wood paneling serving some of the city’s most expertly mixed classic cocktails to an eclectic local crowd. A few doors down, Fooq’s is an intimate restaurant specializing in global fare with Persian and Italian influences, where a wall of ephemera features both a Native American dream catcher and a Grateful Dead acid bear. While the area is still on the rise, downtown is ripe for further development, and many see it as Miami’s next It neighborhood. “As more people move in, you’ll see increased demand for restaurants and shopping at the ground level,” Colombo says. The Brightline high-speed rail service and its MiamiCentral station will connect downtown Miami to Fort Lauderdale and West Palm Beach before the end of the year, and the forthcoming, nearly 30-acre, $3 billion–plus Miami Worldcenter mixed-use development is slated for 2019, exponentially increasing the area’s curb appeal. As Grutman puts it, “There’s a lot going on. Miami should be excited.” But Don’t Rule Out South Beach Just Yet… Sure, downtown and Brickell are heating up, but South Beach will always be hot. Visitors in the know will always want a room at sls south Beach or The setai, a steak at Prime 112, or a table at liV. But South Beach is also evolving. New hotels, restaurants, and nightlife are moving inland and away from the busiest stretches of Ocean Drive to hot spots like Collins Avenue and the area surrounding Collins Park, where boutique hotels are being built or refurbished. The Plymouth, for example, brings an art deco redesign to its property, featuring an outpost of NYC’s acclaimed Blue Ribbon sushi Bar & Grill and its famous fried chicken. Kimpton angler’s hotel offers pampered seclusion steps from the beach, featuring suites, lofts, two-story villas, and three-story poolside bungalows. The hotel is expanding and plans to have a new 85-room tower, complete with a rooftop pool, finished in early 2018. Washington Park hotel, meanwhile, is an art deco refuge and home to the second outpost of New York’s employees only, a speakeasy hidden in the venue’s historic coral house. —KG maxim.com D E C E m b E r 2 017 47 MIAMI BeyonD ceviche A growing rank of talented local chefs, such as Stubborn Seed’s Jeremy Ford, are creating a bona fide Miami food scene At Stubborn Seed, chef Jeremy Ford’s new South Beach restaurant, a large picture window, framed by a wall of vertical white subway tile, offers a portal to the kitchen where diners can glimpse the athletic ballet required to prepare Ford’s artfully plated, thoughtfully sourced chef ’s tasting menu. With a Top Chef Season 13 win under his belt and a stint as chef de cuisine at Jean-Georges Vongerichten’s Matador Room at the Miami Beach Edition hotel, Stubborn Seed is Ford’s first foray as chef-partner. In his new role, he’s relishing the intimacy and immediacy of being at his 74-seat restaurant after working the volume-driven kitchen at Matador Room. “It’s just us and the guys here cooking every day,” Ford says. “It’s a great place to be. I’ve never been so happy to come in and get my ass kicked as much as I do.” A native of Jacksonville, Florida, Ford, 32, is part of the growing rank of local chefs turning Miami’s culinary scene on its head. “It’s completely different than when I came down here 10 years ago. A lot of local heroes have made their mark,” says Ford of the emergence of a legit Miami food culture. This new class of homegrown and local talent includes chefs Brad Kilgore, Giorgio Rapicavoli, José Mendín, Eileen Andrade, and Niven Patel. Not only are they building empires with multiple restaurant concepts, they’re also shaping the identity of Miami’s burgeoning neighborhoods, like Wynwood and South Beach’s Sunset Harbour, by drawing a devoted local fan base. In the kitchen, Ford is impossible to miss, with a tall, athletic build, shaved head, and sleeve of tattoos. He and his longtime chef de cuisine, Joe Mizzoni, are awhirl in constant motion as they conduct their kitchen staff through a symphony of inventive plates, like the smoked foie gras on grilled sourdough with aged sherry vinegar, quince-paste ravioli, and a dusting of microplaned Marcona almonds soaked in Sambuca. This, delivered to the table beneath a glass dome to release the smoke for an olfactory hit and a dramatic presentation. Some of his more surprising ingredients include Egyptian star flowers, mingling with quail egg atop a bed of caviar in his warm celery root and crackling maitake mushroom dish; and Monterey Bay sea grapes, for a briny splash of the ocean, when served with kajiki fish flown in daily from Hawaii. Ford also has an affection for more straightforward ingredients: the humble carrot, making multiple cameos. “Teaching someone how to properly glaze a carrot is actually a lot harder than you think,” he says with a laugh. Heirloom carrots are even the centerpiece of a mural on his kitchen wall, framed by radishes and fish bones. He insists that Stubborn Seed’s product-driven, meticulously plated dishes are not overly precious. “It’s really not that complicated. We take our time making sure all of the components are flavorful and they look as good as they should on the plate, but it’s not a molecular-style kitchen at all.” He says his time under Vongerichten was particularly influential in honing his skills for contrasting and balancing flavors, as well as the use of acids and, specifically, dried chilies, an ingredient found in Stubborn Seed’s menu almost from start to finish. There’s the garbanzo chili dip served with warm bread, Thai chili mignonette, Fresno chili oil, pickled chili, and fermented green chili buttermilk. “Jean-Georges was a game changer. It was probably the smartest career move. His style of food is going to be part of my repertoire for the rest of my life,” Ford says. “And we use a lot of chili, that’s for damn sure.” 48 D E C E m b E r 2 017 maxim.com Chef Jeremy Ford (top left) has developed a devoted local fan base with creative dishes including slow-cooked snapper (right) t h i s pa g e , F r o m to p : n i C K g a r C i a ; C o u r t e s Y o F g r o v e b aY h o s p i ta l i t Y g r o u p. o p p o s i t e pa g e : C o u r t e s Y o F g r o v e b aY h o s p i ta l i t Y g r o u p Te x t b y s h aY n e b en oW i t Z FoRd’s miami eaTs Flanigan’s seafood Bar and Grill “I love Flanigan’s for simple stuff with the family. It’s somewhere I take my daughter, and she loves the ribs.” 2721 Bird Ave., Coconut Grove & various locations (305-446-1114; flanigans.net) momi Ramen “I go for noodles in Brickell with the boys. They’ve got a great kimchee ramen. I’m actually craving it right now.” 5 SW 11th St., Miami (786391-2392; momiramen.com) Pubbelly sushi “Pubbelly spots are always cool. I get their crab roll; that thing’s addictive.” 1424 20th St., Miami Beach & various locations (305-531-9282; pubbellysushi.us) Tacology “This is a new spot at Brickell City Centre. I always get their ceviche made to order.” 701 S. Miami Ave., Miami (786-347-5368; tacology.us) matador Room “I already miss the chipotle chicken tacos with grilled jalapeño salsa.” 2901 Collins Ave., Miami Beach (786-257-4600; matadorroom.com) MIAMI the night king David Grutman might not party like he used to, but he still rules Miami’s club scene Te x t b y K ei t h g o r d o n What gives you an edge in such a hypercompetitive industry? I’m a really energetic person. I love what I’m doing. I don’t really do stuff that I’m not passionate about or that I’m not that into, so I like to convey that to people. How I do that is through my energy. Listen, I have bad days like everybody else, but if I walk into an environment, I want to make sure that I’m setting that tone for everybody else around me because I think my energy and my feeling is contagious to the rest of the team. What makes miami unique as a party city? Miami was one of those cities where in the ’80s and ’90s people kind of saw it as the wild, wild West. It actually gave people a really safe environment for them to let go of their inhibitions, which really helps. That’s why these celebrities and big clients will come here with us, knowing that they’re safe. how do miami parties differ from those in l.a. or nYC? When people party in the city that they live in they’re a lot more reserved than they are when they let loose in a vacation or jet-setting scenario. If you go out in NYC it’s pretty fucking boring. People are really uptight and reserved because they don’t know who from their company is there or what could happen. In Miami, there are no rules for that, so people let loose. liV is widely recognized as the crown jewel of miami nightlife. What’s the key to keeping guests surprised and entertained? We really feel like when people come to Miami they look at LIV as that benchmark of what nightlife is supposed to be. The one thing we focus on is we don’t just sit back and not do anything. We really try to give clubgoers a different experience every night they come. how do you fight off competition from the constant stream of new clubs? Once you get [to the top], everyone is gunning for us. Anytime a new club is opening, they always say, “We’re going to be the next LIV.” They always refer to us in everything they do. Which is fine; I think it’s cute. What is it like having to work within the context of a huge party? is it hard to stay professional and on task in the middle of the revelry? When you’re trying to throw the party, it’s like you don’t want to really be part of that party. My care is about other people, so I’m just looking toward them. Listen, when I was younger I’m sure I would love to have shots with everybody and do everything with everybody. As you get older it’s just about making sure that [the guests] are having the best time. What are your best miami nightlife recommendations? The Design District is a new up-and-coming area. We actually have a really cool coffee shop there [OTL] and are opening a new restaurant [Swan] with a lounge above. So many cool stores, a lot of really cool designers, and stuff you can’t get anywhere else. You need to go to Little Havana. It’s supercool to see the guys, the old-school Cubans, playing dominoes. There’s a lot of great art there: Cuban art. And a place called Ball & Chain that makes great mojitos. Or the ice cream parlor Azucar: They have CocaCola ice cream. It’s the best. But definitely get on a boat while you’re in Miami. You have to see Miami from that perspective. hoW To PaRTY on a YaChT There’s nothing that says “Welcome to Miami” quite like cruising through the aquamarine waters of Biscayne Bay, popping bottles, and gazing at the glittering skyline aboard a sleek yacht. Whether it’s a fast and stylish 40-foot red VanDutch open, or a luxurious, fully loaded 76-foot Sunseeker Manhattan with Jet Skis and multiple staterooms, there are plenty of charter options to choose from. hoW To ChaRTeR The Advantaged Yacht Charters & Sales is a favorite among celebrities for its wide selection of megayachts and fully customizable packages. Their marquee vessel, the 122-foot Oceanfast Never Say Never, was featured in the SNL Digital 50 D E C E m b E r 2 017 maxim.com Short “I’m on a Boat” and has been taken for a spin by Justin Bieber. On-demand yachting services, like YachtLife and Boatbound, provide a platform to search thousands of available charters, narrowed down based on your needs and budget. WheRe To Go Explore Biscayne Bay, spy on Star Island mansions, get lost in Elliott Key’s nature preserve, or party at the Haulover Sandbar. If you have more time, the Florida Keys and the Bahamas are easily accessible from Miami. doCK & dine Cruise along the Miami River between a canyon of high-rises and arrive in style at downtown hot spots like Seaspice and Kiki on the River, which provide dockage and a festive, Champagne-soaked scene. Alternatively, the Standard, Miami Beach offers mellow, bohemian vibes, a swimming pool, a spa, and a restaurant with dockage (best for smaller boats), all floating on Belle Isle between South Beach and the mainland. BY The nUmBeRs Powerboats start from $1,400. Small open yachts (under 50 feet) go for $1,800 and up. Yachts (50 to 80 feet) start at $2,200. Yachts larger than 80 feet are $5,500 and up for a full day. —SB i n s e t a n d o p p o s i t e pa g e : s e t h b r o Wa r n i K / W o r l d r e d e Y e / C o m D avid Grutman is the reigning king of Miami nightlife. And in a city of glitz, glamour, and celebrity, heavy is the crown. Grutman, who worked his way from bartending in a mall to overseeing a nightlife empire, owes his success to his nonstop energy, enthusiasm, and determination. His flagship club, LIV at the Fontainebleau, is a model for the modern superclub. The 43-year-old Florida native, who is developing a flurry of new restaurants and lounges, and has a hotel deal in the works, took a few minutes from his busy schedule to speak with Maxim about his reign. MIAMI Jay aJayi’S MiaMi The star running back on the best of South Beach and beyond Te x t b y K ei t h g o r d o n Just as Maxim went to print, Jay Ajayi was traded by the Miami Dolphins to the Philadelphia Eagles. But Ajayi spent the first years of his career with the Dolphins, and he still knows the best spots in the city. He finished last season a breakout NFL star, ranked fourth in the league in rushing with 1,272 yards. He’s a workhorse back and three-down runner, as dangerous catching the ball out of the backfield as he is crashing between the tackles. Born in London and raised in Maryland and Texas, the former Boise State sensation is living his dream on and off the field, recently launching his own clothing line, YURP^. Maxim caught up with the 24-year-old for an insider’s look at Miami and what keeps him busy when he’s not steamrolling opposing defenses. Best spot for good eats I love eating at STK [an upscale steakhouse and lounge] in South Beach. Best place to grab a drink I always like to vibe with good company and people-watch at low-key spots every now and then. Kiki on the River [Greek food] and Sugar [an Asian fusion restaurant and bar at EAST, Miami] are my favorites for that. miami’s car culture The car culture is huge in Miami. You always see the nicest cars when out in South Beach, to where it almost feels like a competition. I drive a Benz. miami’s reputation as a party town I definitely think the Miami [party] culture is exactly how it’s portrayed, but I try not to get caught up in the nightlife too much. I will occasionally step out to LIV or Story. The best off-field outdoor activities Definitely having a fun boat day. Every now and then I enjoy going out on a Jet Ski. Favorite aspect of miami I just love the style of life out here in Miami. 52 D E C E m b E r 2 017 maxim.com I’m still young, so I’m able to both enjoy my career and live in a place where people from all over the world come for vacation. home after football I’m not sure yet. London, Texas, New York, Cali. But yeah, Miami is definitely in the mix. t h i s pa g e , C lo C K W i s e F r o m to p : s p e n s e r h a r t u n g ; s e t h b r o Wa r n i K / W o r l d r e d e Y e .C o m ( 2 ) . o p p o s i t e pa g e : C o u r t e s Y o F m i a m i e xot i C a u to r a C i n g Favorite miami neighborhood Wynwood. I love the vibe and the creative environment. The area is inspiring and helps inspire my own fashion brand [YURP^]. oCean dRiVe How to ride around Miami in style To get past the VIP ropes in South Beach, you’ll want to arrive in a hot ride. Consider a convertible Lamborghini or Rolls-Royce Phantom Drophead from MPH Club, a rental company whose roster includes supercars, private jets, and yachts. Car rentals start at $395. For a more adrenaline-fueled option, check out Miami Exotic Auto Racing, where drivers can test out the newest McLaren or Ferrari at HomesteadMiami Speedway. A few hundred dollars gets you behind the wheel, but consider the three-car package ($799–$899), which includes the finest Italian, British, and German automobiles. —KG MIAMI a Guide to MiaMi’S art Scene With galleries popping up all over town, Miami is about more than just Art Basel Te x t b y s h aY n e b en oW i t Z design district For a snapshot of Miami’s art scene, Salpeter recommends starting with a morning in the Design District. ICA Miami’s inaugural program inside its new 37,500-square-foot space includes the thematic group exhibition “The Everywhere Studio,” spanning the early 1960s, with works by Picasso, to the present day, with a new commission by Margaret Honda featuring 50 artists and over 100 works that explore the organizing principle of artists and their sites of production. Nearby, the de la Cruz Collection stages annual exhibitions as one of Miami’s long-standing, world-class private art collections. Admission is 54 D E C E m b E r 2 017 maxim.com always free at both institutions, so Salpeter recommends “spending your dollars on a great coffee at Blue Bottle,” which is slated to open a few blocks away by year’s end. The Design District is also home to the Haitian Heritage Museum and Locust Projects exhibition space, as well as a new public sculpture program in collaboration with the ICA Miami that will feature two monumental Sol LeWitt sculptures at the eastern entrance to the area and Thomas Bayrle’s Wire Madonna in the atrium of the Moore Building. Wynwood Walls Just south of the Design District, Wynwood is home to a concentrated collection of street art by local artists such as Magnus Sodamin, Typoe, and Jessy Nite as well as international superstars like Shepard Fairey, RETNA, Swoon, OSGEMEOS, and Maya Hayuk, in large part thanks to the Wynwood Walls outdoor project conceived by the late developer Tony Goldman in 2009. museum hop Continuing south, the game-changing Pérez Art Museum Miami, dedicated to modern and contemporary art, moved to its present home downtown in 2013. Designed by Pritzker Architecture Prize–winning firm Herzog & de Meuron, the building overlooks Biscayne Bay. Similar to ICA, the Bass museum on South Beach, established in 1964, has new digs to flaunt after a two-year-plus renovation to its original art deco building, which created 50 percent more usable space for the contemporary institution. The adjacent Collins Park is home to Art Basel’s Public sector, exhibiting site-specific installations and sculptures, under new curator Philipp Kaiser, for the annual fair. Gallery Crawl Once concentrated in Wynwood, Miami’s galleries have dispersed to new neighborhoods, like downtown and Little River, and returned to South Beach. Salpeter’s go-tos include Nina Johnson, Spinello Projects, Emerson Dorsch, and Fredric Snitzer. She finds the presence of a local gallery scene to be absolutely essential. “The notion that you would be a city just of presenting work is not sustainable,” she says. “You need to have the artists here.” And if she has anything to do with it, Miami will continue its ascendancy as a thriving, singular destination for contemporary art and emerging artists. Left: A section of a mural by Fafi at the Wynwood Walls, which spotlights graffiti and street art. Right: Juliana, a sculpture by Frank Benson, at the Rubell Family Collection, one of the largest private contemporary art collections in North America. p h oto g r a p h s , i n s e t a n d o p p o s i t e pa g e : j e s s i C a at h a n a s i o u . t h i s pa g e , u n t i t l e d , m u r a l bY Fa F i , i n t h e W Y n W o o d Wa l l s , 2 0 1 5 . o p p o s i t e pa g e : j u l i a n a s C u l p t u r e bY F r a n K b e n s o n , 2 0 1 6 , pa i n t e d a C C u r a ® x t r e m e p l a s t i C r a p i d p r otot Y p e , 5 4 x 4 8 x 2 4 i n ( 1 3 7. 2 x 1 2 1 .9 x 6 1 C m ) . pa r t o F t h e r u b e l l Fa m i lY ColleCtion, miami. From the exhibition “high anxietY” “Miami has its own rhythm and energy,” says Ellen F. Salpeter, director of the Institute of Contemporary Art, Miami, which opens the doors to its newly built permanent space in the Miami Design District on December 1. Designed by Spanish architecture firm Aranguren + Gallegos with a contemporary façade with overlapping metal forms and illuminated inset panels, it’s a new addition to Miami’s ever-expanding, shape-shifting cultural landscape. Since its inception in 2014, the museum had been housed inside a temporary space at the historic Moore Building in the same neighborhood. Salpeter made the leap from the New York City art world, most recently as deputy director at the Jewish Museum, to join the Miami institution. “The opportunity to get in on the ground floor of something new, and help shape the ICA Miami and grow the cultural ecology and landscape of the city, was intoxicating,” Salpeter says. With an impressive contemporary art scene, the emergence of Wynwood’s kaleidoscopic street art, and Art Basel Miami Beach ever present in December since 2002, Miami has chiseled a unique identity on the international art stage. “What’s great about Miami is that it is a relatively young city. There’s all this energy and youth and cultural diversity. It’s multilingual. It’s a portal to South America, Latin America, the Caribbean; all of those things add to the mix of Miami,” Salpeter says. “It’s very different from long-standing or more established cities. It’s also very different from cities that sprung up quickly in, say, China or the Middle East. Miami has its history, and it’s constantly reinventing itself as it moves forward. For me, what that adds to the international art world is a flavor and a point of view.” tK gutter Credits maxim.com D E C E m b E r 2 017 55 eScape to the everglaDeS The best ways to explore the wetlands (and hunt predatory pythons) Te x t b y K ei t h g o r d o n © h u b e r i m a g e s / e s to C K p h oto MIAMI MIAMI South Florida is inhospitable to humans. In fact, few people lived there until a series of projects in the 19th and 20th centuries drained much of the area to allow for development. What remains of South Florida’s natural wetland makes up Everglades National Park, a complex and diverse ecosystem that covers 1.5 million acres. A unesco World Heritage site and designated biosphere reserve responsible for a third of all Floridians’ water supply, Everglades National Park is an ecological nirvana. Just over an hour from Miami, the Everglades offer a range of activities for visitors. There are miles of hiking paths available, but many choose to explore the area on the water. everglades national Park Boat Tours rents kayaks and canoes ($45–$55 per day for a kayak, $38 per day for a three-person canoe), ideal for paddling through the mangrove trees. For a more thrilling outing, try an airboat; Gator Park airboat Tours offers private boat rentals (starting at $250 per hour). Remember, this isn’t a zoo: The animals in the wetlands are wild, and that gator lying motionless beside the footpath likely isn’t dead. Keep your distance if you don’t want to become a cautionary tale. FoReiGn inVadeRs The Everglades are under attack from invaders from abroad, upending the entire region’s ecosystem. Burmese pythons— some were pets that were foolishly released, while others escaped from a facility during Hurricane Andrew—have taken over much of the Everglades. These snakes can grow to more than 20 feet, and have no natural predators in the area once they reach even moderate size. The result has been the decimation of the Everglades’ mammal and bird populations as the python population grows unchecked. The State of Florida has instituted specific trapping and hunting programs to try and combat the problem. Visitors can sign up for a python hunt, but the animals are nearly impossible to track and capture, meaning this ecological wonderland faces a real threat—one with no solution in sight. FASHION time AND PASSiON Watchmaker Richard Mille, who carved his first design from a bar of soap, draws inspiration from tennis greats and Formula 1 racers alike W hen Rafael Nadal won the U.S. Open in September, marking his 16th Grand Slam title, it was also a victory for watchmaker Richard Mille. Only 16 years after he released his first timepiece in 2001, French-born Mille has already come to be regarded as one of the all-time great watchmakers, producing pieces like the $725,000 tourbillon Nadal wore when he defeated Kevin Anderson in the men’s final at Flushing Meadows. Nadal is Mille’s most high-profile brand ambassador, and his feats on the court while wearing Mille’s incredibly lightweight watches have helped earn Mille, who carved his first watch design out of a bar of soap, worldwide renown. Mille, who calls Nadal “a born winner, and a great guy to work with,” says the relationship with the Spanish tennis sensation is more than merely a financial arrangement. “I don’t believe in just paying people to wear one of our watches,” he explains. “It has to be real love and real passion; otherwise it’s just fake.” In fact, Nadal has been instrumental in developing the highperformance pieces he wears. “We learn a lot when a timepiece is really on the court in the heat, on the racetrack, golf course, or cockpit,” Mille says. “We can then analyze its shock resistance, functions, its comfort factor during a swing or under high g-forces, and many more real-life conditions.” Tennis is just one area of interest for Mille, whose passion for automotive excellence led him to found the Chantilly Arts & Elegance Richard Mille in France in 2014; it has quickly become one of the world’s preeminent classiccar events. He lives and works at his own 18th-century château, which also houses his personal car collection; it includes a Porsche 917 that was raced at Le Mans, a pair of Lancia Stratos rally cars, and classic Formula 1 cars. 58 D E C E m b E r 2 017 maxim.com Famed F1 driver Felipe Massa first introduced Mille to the idea of using the high-tech, lightweight materials for which Mille is now famous. Massa “threw down the gauntlet to see if I could make a watch so light that he would not be distracted by it on the racetrack,” Mille says. “You have to remember that under extreme g-forces, even light objects can feel very heavy.” The result was Mille’s first light tourbillon: the RM 006 Felipe Massa, weighing in at just 48 grams, including the strap. Mille, who has a partnership with McLaren’s F1 team and has been the presenting sponsor of the Le Mans Classic since its inception, says he gets inspiration from cars “in every way imaginable. A watch is not fast like a racing car, but the requirements in terms of stability, shock resistance, longevity, friction, and capacity to function under extreme situations are exactly the same for both in regards to technical design and execution. In terms of the purely visual aspects, the connections for inspirational design concepts are everywhere as well…Inside a car, I find a beautifully finished and crafted engine can be as sexy as any piece of erotic art, and for me the same applies to a beautifully thought-out and executed watch movement. The only real difference in aesthetics between a car and a watch is that one is bigger than the other.” Chantilly Arts & Elegance, with its unmistakably French panache, allows Mille to indulge his love for both cars and design. “For me, at any rate, great racing cars are the same as great works of art, architecture, fashion, or sculpture,” he says. “Since I really hate the artificial boundaries we set up between all these areas, I wanted to be involved in an endeavor that simply unites all these areas: incredible cars, incredible architecture, art, fashion, history, great food—all within an artistic atmosphere at a very high level.” Mille prides himself on exacting precision, and his product is priced accordingly. “The extreme pricing of my watches fascinates people because Mille has had a long love affair with automobiles. He has a partnership with McLaren’s F1 team and founded the Chantilly Arts & Elegance Richard Mille, one of the world’s premier classic-car events. c o u r t e s y o f r i c h a r d m i l l e . o p p o s i t e : t h o m a s l av e l l e / c o n to u r by g e t t y i m a g e s . n e x t s p r e a d, f r o m l e f t: t h o m a s l av e l l e / c o n to u r by g e t t y i m a g e s ; m at h i e u b o n n e v i e Te x t b y Jar ed pau l s t er n maxim.com D E C E m b E r 2 017 59 it is so high,” he explains. “Yet the pricing is directly based on the actual cost of production and research. Our quality control is the strictest in the business…Almost 90 percent of the parts we use, even movement and case screws, are specially manufactured to our specifications. [The] cost of the research and studies we undertake is astronomical. I will never cut corners in a way that might compromise this production philosophy.” Nor does he need to. Even those who still consider his designs overly avant-garde have to admit he’s onto something. As for future plans, “Apart from some fine-tuning, why change a winning approach?” Mille asks. “We plan to continue doing what we have been doing for almost 20 years now. Our clients have no complaints about what we have achieved to date, and even today we still cannot fulfill all the orders we receive each year.” That includes Nadal’s watch, which was produced in a limited run of just 50 pieces, guaranteed to be in even higher demand now that the Spanish ace is ranked world No. 1 again. “When we first met, Rafael was still coming out of the period after his injury, and honestly speaking, no one knew how that was going to resolve itself,” Mille says. “At the time, I was simply deeply impressed with his personality and willpower; I was convinced he was going to go very far.” And Mille is someone who would know. “The only real difference in aesTheTics beTween a car and a waTch is ThaT one is bigger Than The oTher.” Known as the Spectre Defender, this vehicle is one of 10 made for the James Bond film Spectre and one of the lucky few to have survived the shoot. The vehicle is a double cab and features a snorkel that allows it to wade through deep water. Opposite: Queen Elizabeth II has been a longtime Land Rover owner and driver (and even mechanic). C O U R T E S Y O F R A N G E R O V E R . O P P O S I T E : P O P P E R F OTO / G E T T Y I M A G E S “it hit like lightning, with a demand they had never anticipated.” AUTO the making of a legend Land Rover was born from a driftwood sketch on a Welsh beach seven decades ago, manifested via British ingenuity, and built into a dominant global brand. Much has changed along the way—and even more has stayed the same. a s with anything in life, context is everything. To understand the genesis of Land Rover, one first must survey the smoldering landscape of its birthplace in Great Britain. It was 1947, just a few years removed from the devastation of WWII. The nation lay in rubble, infrastructure destroyed, factories barely powering back up under heavy limitations on materials, energy, and capital. This is the setting where, on an overcast beach in Wales, brothers Maurice and Spencer Wilks found themselves discussing their next move. As board members of one of the largest automakers in the land, the Rover Car Company, there was little room for error. Rover was then known for building sprawling luxury cars, for which there was now zero demand. Maurice grabbed a piece of driftwood, bent over the golden sand, and sketched the outline of a Jeep-like vehicle. “This,” he said, looking up at his brother as he roughly outlined the small truck. “This is what we’re going to build.” That this sandy image looked a lot like a Jeep was no coincidence. While laboring on and clearing his Anglesey farm, Maurice had fallen in love with a surplus military Willys, his do-everything beast of choice. Taking inventory of the countless obstacles that his company—and the nation at large—would have to overcome to slog their way out of the war-torn decade, Maurice’s idea was a wise one. “The country just came out of a massive war; it was victorious, yet the entire area was on its knees. The industry was down, there were massive issues overall, and literally no running economy,” says director of Jaguar Land Rover Classic Tim Hannig. “And so they said, ‘Look, we need to try to do something that can be a tool to help get this country back on its feet—or let’s say its wheels,’” Hannig says. “A go-anywhere, do-anything vehicle. And that was its sole purpose; it was nothing but to get around in it and be as flexible and versatile as possible.” Compounding complications was the asphyxiating rationing of raw materials. The war industry had swooped up most available steel, making the metal rare and prohibitively expensive. Yet aluminum, Te x t b y N I CO L A S S T EC H ER maxim.com D E C E m b E r 2 017 63 ENDS OF THE EARTH As the chariot of choice for traversing the fading British colonial empire, Land Rover had established its off-roading foundations early on. But the brand set itself apart with a series of expeditions that immediately separated it from all pretenders. In 1954 Land Rover participated in the Oxford and Cambridge Trans-Africa Expedition, in which two teams of university students raced 86" Land Rover Series I station wagons across 25,000 miles of Africa, from Egypt to Cape Town and back. The following year the Oxford and Cambridge Far Eastern Expedition traveled from London to Singapore, an absolutely brutal, never-before-done campaign that defined Land Rover’s abilities to plumb well beyond the edges of civilization. Harnessing this pedigree, Rover returned for the British TransAmericas Expedition in 1971 and 1972 to prove the off-road integrity of its nascent Range Rover model. The punishing voyage traversed 18,000 miles from Alaska to Tierra del Fuego, crossing harrowing terrain including the roadless Darién Gap, previously thought So the Wilkses built a rough prototype with central steering, both to save money, by not having to develop both left- and right-hand drive models, and to appeal to tractor-acclimated farmers. Development was accelerated beyond comprehension: From that first beach sketch, the vehicle was designed, engineered, tested, and produced in one calendar year. It debuted in April 1948 at the Amsterdam Motor Show. The initial 48 preproduction vehicles were a landmark. What came next not even Maurice could have dreamed in the happiest moments pulling stumps on his Welsh farm. “It hit like lightning, with a demand they had never anticipated,” Hannig says. “They just could not make them fast enough.” to be impenetrable. Led by the British military, the team bridged the Panama and Colombia border and later crossed the finish line in Chile. In 1980, the most famous Rover-centric expedition, the Camel Trophy, was born. It soon earned the title “the Olympics of offroading.” Developed to demonstrate the surreal capability of off-road vehicles, every year the Camel Trophy aimed to conquer the Earth’s most remote corners. In 1981 several teams crawled their way through 1,000 miles of Sumatran jungles. Then eight teams crossed Papua New Guinea. The topography the Camel Trophy attempted to negotiate was so challenging it famously forced teams to work together to survive, fording dangerous rivers and penetrating uncharted rain forests. Expeditions through Zaire, Borneo, Australia, Madagascar, Siberia, and Sulawesi followed. It is here, under the crucible of the planet’s most trying terrain, that Land Rover matured from sturdy off-road machine into the unrivaled icon that it is today. —NS Evolving into an expedition to push Land Rover off-road vehicles—and the men brave enough to drive them—to their limits, the Camel Trophy brought these rugged vehicles to some of the harshest locations on earth, such as Papua New Guinea and the Amazon C O U R T E S Y O F R A N G E R O V E R . O P P O S I T E : N I C K D I M B L E BY widely used in the suddenly vanished airplane industry—was in surplus. So the Wilks brothers designed this four-wheel-drive prototype around what was available, using steel only where absolutely necessary (e.g., chassis, bulkhead, and engine), and incorporating only the simplest light alloy body panels to circumvent expensive presses. To optimize the vehicle for export, and to jumpstart British industry, the mandate was to use as many Rover parts as possible, especially expensive R&D components like the gearbox and 1.6-liter four-cylinder engine. They even shaved pennies with the paint, a hue dubbed Grasmere Green, reputed to have been salvaged from surplus aeronautics. ENTER THE SERIES II As utilitarian as the Land Rover was, it soon became apparent the company would have to build a newer model with a diesel option, which was the preferred fuel on farms. The Series I was also rough around the edges and even rougher on riders. “I do not want to discredit anything that was ever done by the company, but it wasn’t the smoothest of all rides,” Hannig admits with a tinge of guilt, as if mentioning any Rover deficiency were some sort of British sacrilege. “So they needed to sort all the issues they accumulated with it and create an upgraded version.” In 1958 the Series II debuted, retroactively dubbing its predecessor the Series I. The standard wheelbase increased from 80 inches to 88. A bigger rear window, nonscratch glass, and rounded quarter rear windows were added for better visibility, as were such luxuries as exterior door handles and locks. It was made easier to drive thanks to a new synchromesh gearbox that eliminated the need to double clutch into second gear. By 1959, the 250,000th From top: The Holland & Holland edition ($245,495), a collaboration between Land Rover and the firearm brand, was limited to just 30 vehicles arriving in America. A leather-trimmed, aluminum gun locker is located in the trunk, ideal for storing a pair of Holland & Holland shotguns or rifles. The limited-edition Range Rover’s door handles have intricately carved designs, including the Holland & Holland logo and signature acanthus scroll. COURTESY OF HOLL AND & HOLL AND (3). OPP OSITE: ALEx HOwE And so the Land Rover was born. The boxy, crude, 8-bit stamped metal creature you’ve fallen in love with through grainy black-and-whites—mud-splattered and overcoming unbreachable obstacles—that was no object of design. Or rather, it was an object of pure design, of an almost Bauhausian obedience to function over form. Make it capable to an ideal, use as many bin parts as you can, and make it as affordable as possible. For the first years of the Land Rover’s existence, every few weeks tweaks were made. Created in just 12 months, its design, construction, and production all evolved on the fly. So a Land Rover built in April could be significantly different than one built in August. “There was no luxury behind it; there was no performance behind it,” notes Hannig. “It was purely and only about capability.” The Land Rover’s capability was so pure and pervasive (52 horsepower, 23 mpg, 60 mph top speed) that word of this feisty British four-wheeler spread like a postwar meme. During that era England was still profoundly connected to its commonwealth, so exports to Australia, New Zealand, India, and throughout Africa exploded; within a year they were exporting to nearly 70 nations. This is where the Land Rover mythos was made, rolling over the vast Serengeti in search of big game; clawing its way through uncharted jungles chased by locals; breaching golden Saharan dunes; whisking Winston Churchill or Queen Elizabeth or Ernest Hemingway to the edge of the empire. It is said that for one third of the world’s population, the Land Rover was the first mechanized vehicle they ever saw. As many as 150 varietals were available from the factory during that decade, including ambulances, pickups, armored cars, station wagons, and lightweight versions built for airdropped delivery. Maybe 50 were built with welding stations installed to work on trains and remote repairs, as were 340 fire engines, fully equipped with pumps, hoses, and flashing red beacons. One delivered to Norway in 1953 was only recently retired. Thanks to an entrepreneurial Scottish company that configured Land Rovers with tank-like treads to better negotiate the sodden soil, the Cuthbertson edition was born. HOLLAND & HOLLAND RANGE ROVER Roll around the palm-studded boulevards of Los Angeles in the apex Range Rover model, the SVAutobiography, and you’ll enjoy an intoxicating degree of luxury—one usually reserved for the TMZ-baiting crowd. Developed by Jaguar Land Rover’s esteemed Special Vehicle Operations (SVO) unit, the interior is the apotheosis of luxury for an SUV (e.g., foldout aluminum tray tables, Champagne cooler, sliding panoramic roof, electric sunblinds, etc.), powered by a growling 550- or 557-horsepower supercharged V-8. While unwanted attention is minimized thanks to subtle exterior badging and famously reserved British styling, first-class attention from valets is still all but guaranteed. But because enough is never enough in the rarefied world of ultra-luxe, the SVO team develops even further considered vehicles for those seeking, well, more. One such opus, the exclusive Holland & Holland edition, elevates bespoke attention to the next level. The collaboration with the venerated British gunmaker is finished in Holland & Holland’s signature green custom paint formulation, and features an interior swathed in deep espresso and tan leather, the buttery hide covering acres of cabin including the dashboard, doors, and transmission tunnel. French walnut-veneer trim accents the interior and comes from a single piece of wood, much like the stocks on a pair of oil-rubbed Holland & Holland rifles or shotguns. To further advance the brand messaging, the Holland & Holland logo can be found carved into the console, intricately engraved onto pull handles along with an acanthus scroll design, embroidered on seats, and on door and tailgate badges. There are deployable walnut tables in the reclining Executive Class seats in the back, as well as a 29-speaker Meridian Audio stereo and interior mood lighting. The most singular element of the Holland & Holland Range Rover edition, however, is the aluminum rifle and shotgun cabinet tucked in the trunk. The leather-trimmed locker is lined in matching espresso Alcantara, and is custom-built to neatly store a pair of firearms for weekend trips into the misty countryside. Harris Tweed hunting jackets are not included. —NS THE DAWN OF THE LUXURY SUV After decades of relative global dominance, Land Rover knew it was time to make its next sketch in the sand, and the company’s inner circle set out to develop a more civilized utility vehicle. Under the leadership of Gordon Bashford and Charles Spencer “Spen” King, Land Rover began experimenting with a more comfortable, car-like vehicle that still offered all the off-road capability of the Land Rover. A decade earlier Bashford had experimented with one that used Rover’s station wagon as its base, but that experiment halted in 1958. In 1966, it began anew. Regardless of Land Rover’s worldwide success, in America Jeep was king. And as the 1960s wore on other proto-SUVs, like the International Harvester Scout, Ford Bronco, and Chevy Blazer, were also making noise, and, on the U.S. market, were presumably doing so for far less money than the British product. So under the code name Velar (derived from the Latin for “to veil” or “to cover”), Bashford, King, and company built 26 prototypes, camouflaged at the time to hide them not only from nosy pedestrians but also dubious Rover board members. Finally, in June of 1970, Land Rover unveiled the Range Rover. Bearing an unrivaled suspension of long-travel coil springs, permanent four-wheel drive with a vacuum-operated center differential, a 215-cubicinch V-8, and safety technology such as disc brakes and seat belts, the Range Rover—much like its Land Rover predecessor—revolutionized the automotive landscape. For the first time, a truly capable off-road vehicle boasted car-like handling and manners. The simple, clean-line design of the Range Rover was so revolutionary that it garnered awards and was displayed at the Louvre as a totem of superb design. When the Range Rover was finally introduced to the United States in March of 1987, it offered real luxuries—novel in a truck— like power seats, a leather-swathed interior, wood trim, and a premium stereo. The age of the luxury SUV was born. In front of the Packington Estate, the Range Rover Sport (left) and the Range Rover (right) flank the 1948 Land Rover Series I Amsterdam Motor Show vehicle, one of the first Land Rovers and an inspiration for its successors, including the current model lineup. Opposite: The Spectre Defender was built by Land Rover’s Special Vehicle Operations department. It was then sent to Land Rover specialist tuning company Bowler, which boosted the power and suspension and fit massive 37-inch tires. T H I S S P R E A D A N D F O L LOw I N G S P R E A D : CO U RT E SY O F R A N G E ROV E R Land Rover rolled off the assembly line, and by April 1966 sales had doubled to a half million. “It actually started off as a tool. And I think this is important to understand: The undisputable emotional connection that people have with Land Rover is not necessarily because the car is so special mechanically or technically, but it is because of what memories they have with the car,” says Hannig. “The Land Rover is the car that people learned to drive in on their farms, that rescued them from lions in water holes, that actually brought the help when they were in trouble and rescued them out of the snow. It’s the Land Rover that did it. “So this emotional love affair people have with Land Rover is all about what you can do through one. The car is a pretty rough tool, and it always was a pretty rough tool.” Hannig pauses for a moment, before adding: “All that changed with the Range Rover; that is a different animal.” 70 D E C E m b E r 2 017 maxim.com ADDITION BY SUBTRACTION Now with its latest clean-sheet model, Range Rover segues into a new phase in its design paradigm. With the Velar—named in homage to those first veiled prototypes—the goal of Land Rover’s chief design officer, Gerry McGovern, was to modernize the brand’s DNA, in the truest sense of the word. In the vein of modernism, which transformed the visual language of architecture, furniture design, fine art, fashion, music, and more in the mid-20th century, McGovern embodied the philosophy by reducing the Range Rover’s aesthetics to only the most necessary elements. Unnecessary lines were deleted, extraneous bells and whistles removed; the Velar is Range Rover distilled into its purest form. “Everything is left bare, carved from the solid; it’s more about taking what you’ve got and honing them to precision,” says McGovern of the Velar, and more holistically of Range Rover’s reductionist mandate. And one can expect that as each model evolves into its next generation, this modernization will work its way across the Range Rover landscape. Might the already gorgeous Evoque be next? But don’t get it twisted: The Velar is not a precious objet d’art. “My job as the sort of spiritual leader of the brand is not just about where I’m taking the brand visually. When it comes to design it isn’t just about the appearance; it’s about the way it functions, it’s about the versatility, it’s about the way you use the vehicle. Design and engineering are at one,” McGovern argues. As McGovern is aware, design may be the most salient factor in Range Rover’s newest, shiniest model, but it is hardly the most important one. Those who know what defines a Land Rover—well, they know. They look at any Range Rover and see right past the sumptuous leather and walnut comforts, the intricately knurled aluminum switchgear, high-tech gadgetry, and other indulgences, and see instead a tool of great utility. One that was engineered not with luxury as its sole motivation but rather an undying directive to be the most useful, dutifully capable, and unstoppable off-road vehicle on the planet. And while it’s unlikely most will ever know about Maurice Wilks and his sketch on that soggy Welsh sand, they most definitely will feel his mandate. The most recent offering from the British automaker, the Range Rover Velar fits between the entry-level Evoque and the Range Rover Sport in the brand’s current lineup, positioning the company as a strong contender for superiority in the luxury SUV category that features competitors like the BMW X5 and the Porsche Macan PORTFOLIO master plan Bruno Bisang has accomplished what he set out to do at 19: become a legendary photographer Te x t b y K EI T H G O R D O N P h o t o g ra p h e d b y B RU N O B I S AN G m any top photographers come to their calling via a combination of curiosity, exploration, and luck that turns a hobby into a career. There’s no plan, and the route to a life behind the lens is circuitous. Not so for Bruno Bisang. Born and raised in a picturesque small town in the Italian-speaking region of Switzerland, Bisang attended photography school in Zurich. 72 D E C E m b E r 2 017 maxim.com He then landed an apprenticeship before becoming a freelancer in 1979. “I was inspired by the Italian films of the ’50s,” he says. “One day I just said to myself, Let’s go and try.” What followed was four decades of fruitful work in genres spanning beauty and fashion to automotive and portraits. Now in his mid-60s, Bisang has shot for magazines including Cosmopolitan and Photo and for brands slug here HEADLINE TK Molictor lis hilistcnos, noncem depoericae resicio, virtus fices hor poericubliceps, obultora, unuastemc. “ME occus, vELEsTIo DuNTET, quI vErA DEbIsT, AuT AuT ALIT LAb IL AsT ATAETAsEExpLITEM” Te x t b y t k n am e Tiuia de voluptate sit poreiciatur aut moditiist, quidel molupti dolectu repedis modis sam, ut inctation enihici llanis as dem liatur accaborectem fugita vel eos doluptatur apiduci debisit es nienda consed mod et officideris esent, ut enditecti doluptur reium ni velenda provid quaerspe estrumq uostio doloris et eum fugiatent que et et quia et evel ium quam exero bla doluptur? Ur? Quiatempore comnis re dolum is pedit, is que molorrum il ipsam volestrum eatquia tasperia con ernamus nectecea quam eos mos derero magnihicae sentiat iassim est lis dolut volupta vitatum renet unt. Ne dia cullum enihit offic to tem volore, sus doluptur? Si omnimaior audit, sitasped quis imet, cusdae nonserernam hariasped ut ma ipsa dia qui qui ipidel ipsant aspersped qui tet dent qui que voluptatem iust, nobis ilia sit quia volut aut alit, sam voluptatiis sim nost, cusae quiasseque quia inihiciendi quae mi, sum faceprati ut asint et rectibus. Id quam accus ius iur, volupta tecabore omniaep erfersp ernatianis si officte sinimaxim ium ad que labo. Itatibusam nihit quam, quiatum nulpa duciant omnihil luptata id ent hillatibus audam etur renis pro debit doluptur?Puditis eos et il ilitatibusti ipsam aut laborem quiberc imoluptiore ea que non pro beribus sum eosandella conse vollab isimagn ihitist, initectur? Quid eum volore molupit atessequi delit odi totatem erspiet voluptae magnis et et vellor susam imporio ressum ea nem latur ad militatur? Bus aboraepe nonseque magnatquia nobitae ribusae et omniae expliti cum quate corpor moles atur, sae voles etum qui corepellab in eumque pre pro que nis ipidel eosaped que nam quaspe provid quos dolupti ullatureiur aut exped quidellaut quias aperunt essinum et rerum sam, suntur? Event eum dolupta id minulparci aut lita autenih icipita dellum as ero mod molorum restrume corehendit is et et lat. Ucit fuga. As molupta tusdam sum, quia Model: Alyssa Miller @luvalyssamiller. Opposite: Model: Elsa Hosk @hoskelsa 74 Do n EC v E m b E r 2 017 maxim.com Caption info here delenda epelestem inient ma porectent, quaeseque inctus dolorem acea idesto od quis aut aut molupiet, id ex et doluptatem duciaer umendignimus utaquo tem ipsunte nimusap eliquam imus deles eium esciatem voloreictum harunt, eos iunti consed modis evelitatur mos doloreri ini ut laborrovid untiassintem laut pore, core ent ipsa debis am, comnis maximus por sit hillestio mod ut la consect otatus. Nam lit omnis sinveni hitatiberum eaqui blanientur, non nestias pernamus atur? Quis dest quia conestionse cum, eate ilictat volorerionet del in non consequis earibus si nonse nus acerci odis cus expeles dolupitatur, sum a ernam, consectet vere coribusam expel imillatem. Omnimus rendit et volorestrum volupta quamet lacesci delessus, cum qui ut et quo quiasimet quassit, volupta iduntur se placium solum qui amus, corempor sedipsum et ra sedici apienis sit quia dolut fugitiora experis mos et fuga. Oluptatem reperias aliquuntiur? Equi ipis quas et estecabo. Experibus veliqui sequam voluptates dolupta tectem rempost idunt exerruntiate ea simperem. Nam dendae nonsectur seditatistet officit illore latur senetus. Ne cus es repudamusam faccuptamet audi cum arum et laut rerunti orerum unt quis culpa cum con plantin ihictat iassuntion cus, sandunti res ea quibero magnimi, omnimagniae quia quam estio. Ita sapis quiam, sum faceatin pa sini optas di tempe cus, temporu ptibus eaque pori doluptassi net liquas sam, te sum quatemod quasita turibus. Hentiam iure dolupta spedis re, quo beatemqui volorro blaborem asin ped maio maios ium eos diorrorro occusae istrum il intiust quodis aut est molorro toribusapis at atus simus mo in et aut volor as deliquiam simil ipsum in con reiustem ati a ipsume pro de dolorerum volor sunt explatatem aceatec ese Ne cus es repudamusam faccuptamet audi cum arum et laut rerunti orerum unt quis culpa cum con plantin ihictat. —Dan Carney Fashion credit, brand. Fashion credit, brand. Fash credit, brand. tk gutter credits P h o t o g ra p h e d b y t k n am e such as Chanel, Givenchy, Ford, and Triumph. He has established a reputation as someone capable of sculpting any photographic project. But he’s best known for his portraits of models. “I like to work across a larger spectrum, but I’m faithful to images of sensuality…I love to photograph women.” Though he has worked with some of the industry’s most celebrated models, Bisang is just as comfortable with unknown or up-and-coming subjects. “I have an image in my head [before the shoot], but I also allow space for improvisation,” he says. “I cultivate a set with relaxed music and an intimate atmosphere.” Crucial to capturing a memorable image is a partnership and trust between photographer and model. “I believe respect for the model is everything, so I try to involve the model in the shoot as a partner,” Bisang says. He feels this not only puts the subject at ease but makes it easier for him to balance the need for sexuality with a desire to avoid gratuitous or objectifying images. Bisang has spent nearly 40 years working his way to the top of his industry. But for a man with a plan, he takes a rather laissez-faire attitude toward his future subjects. “I have no idea,” he confesses. “I just follow what my inner voice says to me.” maxim.com D E C E m b E r 2 017 75 maxim.com j u n E / j u l y 2 017 77 Previous spreads: Boots, DR. MARTENS (worn throughout). Jeans, HUDSON. This page: Blanket, NAKED CASHMERE. Hair and makeup, Tina Lipman. MOTO THE FRENCH CONNECTION How Midual crafted one of the world’s best motorcycles Te x t b y K EI T H G O R D O N M ost vehicle makers design their products based on their customers’ needs. But some companies—Bentley, RollsRoyce, Bugatti—build to let their customers experience what is possible. In the motorcycle realm, this crown is worn by French motorcycle builder Midual and its roughly $185,000 Type 1. The long-awaited offering from Midual, cofounded in 1997 by Frenchman Olivier Midy, is a new benchmark in performance and design. Midy is of the belief that brand identity is first and foremost an engine, and the rest of the bike is there to serve it. A lover of big two-cylinder engines, Midy was intrigued by the potential of a flat engine, with its balance and reliable performance. In 2007 he tested his own flat-twin engine, tilted down 25 degrees, mounted parallel to the road, and attached via a chain drive. The result is a balanced setup with an output of 106 hp at 8,200 rpm, and 93 Nm of torque at only 5,500 rpm. Once Midy had created his dream engine, he needed to craft the chassis, a process that took at least five years. The result is a doublewall aluminum alloy monocoque that serves not only as the frame but as the fuel tank as well. Suspension is entrusted to the experts at Öhlins, while the brakes, two four-piston calipers up front and a two-piston caliper at the rear, are sourced from industry leader Brembo. The production run is short— just 16 units are currently in the works—so move fast; this bike is worth the price tag. cOuRTEsy Of mIDual TITAN THE HOUSTON ROCKET Tilman Fertitta talks to Maxim about building his business empire, his commitment to customers, and his latest acquisition—a star-studded NBA team with stratospheric ambitions T ilman Fertitta is a relentlessly civic-minded businessman and TV celebrity who could probably win the mayor’s job in Houston if he wanted it. But why downgrade? Fertitta owns the new Post Oak tower going up and the luxury hotel and Rolls-Royce showroom that will reside there. He owns the city’s aquarium. He owns the Kemah Boardwalk amusement park south of Houston. He’s chairman of the University of Houston System Board of Regents. His company, Fertitta Entertainment, owns more than 500 restaurants both locally and nationally, including Landry’s, Mastro’s, Rainforest Café, Morton’s the Steakhouse, and Bubba Gump Shrimp Co. And in his spare time he stars in his own reality TV show on CNBC, Billion Dollar Buyer. The show’s title became even more fitting when Fertitta wrote a check for a reported $2.2 billion to buy the Houston Rockets of the NBA, the highest price ever paid for a basketball team. He bought the Rockets because he’s a lifelong fan. And because, well, he really wanted to own them. “I knew where the ballpark [was],” he says, referring to the other bidders. “And I knew this is what it was going to take to buy it. I was going to buy this basketball team and that’s it, period.” Buying the Rockets was even more satisfying for Fertitta considering that he was outbid when the team came up for sale almost 25 years ago. He wasn’t going to come up short again, even if he had to spend an extra $100 million or so to win. “You gotta remember the New York Yankees sold for $10 million in  and the Cowboys sold for $140 million in the [late ’80s],” he explains. In other words, major sports franchises never go down in value. Still, he reasons, baseball is history—and the NFL is now iffy. Basketball is youthful and global. “If you try to look into the future 10 years, 20 years, 50 years,” he says, “I think the best franchise to own in America today is an NBA team.” Fertitta brings to the Rockets his rare mix of determination, skill, and work ethic. His company—restaurants, hotels, casinos, amusement parks, an aquarium, and other assorted assets—will bring in almost $4 billion in revenue. He’s also an active philanthropist: He recently donated $1 million to a Hurricane Harvey relief fund, and in 2016 he gave $20 million to the University of Houston to help transform its basketball arena. Fertitta was in some ways born for business. He grew up in the restaurant his father owned, learning from the ground up. Although he could do everything from peeling shrimp to loading in the fish order, he realized he had a head for numbers. By the time he was a teenager he knew he could run the family business. His ambition was bigger, though. After dropping out of business school (he says it didn’t have much to teach him), he borrowed $6,000 to invest in a seaside hotel in Galveston, Texas. Te x t b y B I L L S AP O R I TO maxim.com D E C E m b E r 2 017 83 A few years later, the savings and loan crisis hit Texas-based banks extra hard and leveled the real estate industry. Fertitta took the opportunity to buy out his partners. “When the world fell apart in Texas in the ’80s,” he says, “when I bought my partners out, I said, ‘I think I will start building restaurants—since you won’t be building any.’ ” It would become a pattern that served him well. When the economy tanked, Fertitta would be on hand to soak up risk as if it were Gulf sunshine. “When things are really good, we forget they’re ever going to be bad again,” he says. “And when things are really bad, we forget they’re going to be good again.” And in 2008 and 2009, things were really bad. By then, Fertitta’s outfit, Landry’s Inc., was a public company, and the stock, like many others, had been hard hit. Increasingly, CEOs had been subject to close scrutiny under the Sarbanes-Oxley Act. Fertitta had had enough. “You’re the majority owner of the company still, even as a public company, and all the auditors wanted to do was look at my American Express bill,” he says. “It just didn’t make any sense, and I just said, ‘This is ridiculous.’ The stock had fallen. And I said, ‘I’m just gonna take it private and own it 100 percent again.” So Fertitta bought the company back to become sole owner, winning a lengthy battle. In addition to building more Landry’s locations, Fertitta continued to acquire struggling restaurant companies: Joe’s Crab Shack in 1994; Crab House restaurants in 1996; Rainforest Café in 2000; Muer seafood restaurants, Chart House, and Saltgrass Steak House in 2002. There would be a lot more over the next decade, including high-end places such as Morton’s the Steakhouse, Vic & Anthony’s Steakhouse, Brenner’s Steakhouse, Grotto, and La Griglia. Last year, he bought New York City’s BR Guest restaurants. Fertitta made a big leap in 2005, buying the Golden Nugget Casino in Las Vegas. The logic is simple: It’s the big-box theory. “If you’re gonna do 50 restaurants that do $5 million each, that make a million each, you gotta go out and find 50 general managers, 50 locations. Takes a lot of corporate support. You go out and you do one casino, it’s one general manager that does it and it does $250 million and it makes $50 million.” And you can also install your $5 million-a-year restaurants in them. He would expand Golden Nugget to five locations, including Atlantic City, where he bought out the struggling Trump Marina casino and turned the property into a thriving Golden Nugget. There are no spare customers. This is the mantra by which Fertitta operates and the essence of his management style. You are either gaining customers or losing customers, so everything you do as a business has to be focused on them. As a manager, Fertitta continues to be obsessed with details. “You teach the culture—there’s no spare customers—and you pay attention to the details, and you set a strategy and a culture for your company. But you can’t micromanage when you’re this big. I’m not out over there picking out the fish,” he chuckles. The same will apply to the Rockets, who have one of the best operations in the NBA but also the misfortune of being in the same division as the league champion Golden State Warriors. On the other hand, the Rockets have just added the standout guard Chris Paul, who joins the all-galaxy James Harden in the Rockets’ backcourt. It will at least make the playoffs more interesting, and Houston expects to be there. “It’s nice to have a James Harden and a Chris Paul,” says Fertitta. “This is a superstar league. If you don’t have a superstar, you’re not getting to the playoffs and you’re not getting past the first round of the playoffs.” And if the Rockets should need to sign a third superstar to get them up to championship level, they know that the guy holding the checkbook will add another zero if he has to. Because in 10 years fans might forget whatever it is that Fertitta spent to get the team, the players, and the arena. But they always remember the championships. 84 D E C E m b E r 2 017 maxim.com Fertitta’s company—which includes restaurants, hotels, and casinos—brings in almost $4 billion in revenue P R E V I O U S S P R E A D A N D T H I S S P R E A D : T I m PA N N E L L / f O R B E S cO L L E cT I O N /cO R B I S V I A g E T T y I m Ag E S ADVENTURE AIR RAIDER When bankrupted airlines, corrupt dictators, and broke money managers stop paying for their jumbo jets, expect to see Nick Popovich—the world’s top airplane repo man s av e r i o t r u g l i a Te x t b y er i C s P i tZN ag el 86 D E C E m b E r 2 017 maxim.com 88 D E C E m b E r 2 017 maxim.com airplane hangar in Joliet, Illinois, puffing on a cigar as big as a baby’s arm. Popovich is a repo man who deals exclusively in planes, helicopters, and private jets. The harrowing ordeal in Haiti may have been more than 30 years ago, but he’s had no shortage of misadventures and near misses since then. Tapping into a database of 4,000-plus pilots ready to fly for him at a moment’s notice, Popovich estimates that he and his team have repossessed more than 1,800 fixed and rotary planes since 1979 and made millions in revenue, while somehow managing to repeatedly cheat death. In a field with very little competition—Popovich claims there are maybe four other plane repo companies in the world—he’s become the most successful guy in a career that didn’t technically exist until he started doing it. Popovich never planned on repoing planes for a living. He got his pilot’s certificate when he was just 16, because his father told him it “might come in handy.” In the late ’70s, he cofounded a small airline called Liberty but soon learned it wasn’t his cup of tea. “I was bored out of my mind,” he says. But then he got a call from a banker friend looking for a favor. “Somebody stopped making payments on their Boeing 747s and parked them in Sri Lanka,” Popovich says. “My friend asked me if I’d go get them. I’d never done anything like that before, but what the hell. It sounded like a real adrenaline rush.” Popovich brought back the planes, and after realizing the number of zeros on his paycheck amounted to much more than anything he was Co u rt e sY o F t H e sag e - P o P ov i C H F i l e s N ick Popovich woke up with two black eyes, several missing teeth, and no shoes or wallet. His face was swollen “to the size of a watermelon” and he was pretty sure he had a few broken ribs. To make matters worse, he was in a Haitian prison. How Popovich ended up there was a long story. He’d come to Port-auPrince, Haiti’s hard-bitten capital, to track down a Boeing 720 jet owned by a small Caribbean airline. The company had skipped a few payments, and their lender, a U.S. bank, had hired Popovich to repossess it. Though the plane was only worth $600,000, the airport manager in Port-au-Prince demanded a million in “service fees.” Popovich tried to make a late-night getaway without paying, but a jeep full of kids with machine guns stopped him on the runway and, in his words, “beat the crap out of me.” Popovich might still be in that prison today, if not for some fortuitous timing. Just a few weeks into his prison stay, there was an uprising in Haiti and President Jean-Claude “Baby Doc” Duvalier was overthrown. Port-auPrince erupted into anarchy, and one of the rioters ran into the prison and opened all the cell doors. In the ensuing chaos, Popovich and the other prisoners made their escape. He walked several miles barefoot to a Sheraton hotel, called a pilot friend with a Learjet in the U.S. to fly out and get him, and then stole a courtesy van to get to the airport. “I showed up in Florida with no shoes and no passport,” he laughs. “But I was alive.” It’s easy for Popovich to joke about it now, as he lounges in an Jewelry That Dances With Every Step PENDANT: $99 EARRINGS: $99 Set Price: $169 (Save An Extra $29) - Excluding Ship ping. “Dancing” Pendant & Earrings Collection An Unbelievable 70% OFF 18K Yellow Gold Finished Sterling Silver Was $329.00 NOW ONLY $99 (You Save $230) +S&P per piece or $169 for set (And save an extra $29) eautiful, Stunning, Elegant… She’s all those things and more; give her the only jewelry that can come close… B The setting is a pioneering new concept. Featuring a revolutionary, patented design allowing the feature stone to vibrate, creating a consistent shimmering of fire and brilliance. The created diamonds are handset at precise angles which enable continuous movement of the centre created diamond with every movement she makes. Capture her movements, Capture her heart.... An elegant fluid gold open pear shape pendant is set with a 5mm shimmering created diamond at its centre, cradled by smaller created diamonds for added subtle sparkle. Matching earrings are available, set with 3mm shimmering created diamonds. Also available in Platinum Finished Sterling Silver The Perfect Gift This Holiday Season ORDER NOW TOLL FREE 24/7 ON 1-800 733 8463 AND QUOTE PROMO CODE: MX7DDS Or Order online at timepiecesusa.com/ml7d enter promo code MX7DDS Timepieces International Inc, 12800 N.W. South River Drive, Medley, FL 33178 90 D E C E m b E r 2 017 maxim.com F r o m to P : s t e v e N P u e t Z e r / g e t t Y i m a g e s ; C o u r t e s Y o F t H e s a g e - P o P o v i C H F i l e s . N e X t Pa g e : C o u r t e s Y o F t H e s a g e - P o P o v i C H F i l e s earning at the time, decided it might be time for a career change. “My mind was made up,” he says. “This is what I wanted to do with my life.” For the past four decades, Popovich and his team have repossessed planes on every continent—an average of 12 to 15 per year, with planes valued at anywhere between $1 million and $30 million—and they’ll go just about anywhere as long as the price is right. A plane repo isn’t all that different from a car repossession. Somebody takes out a loan to buy a fancy mode of transportation, then realizes they can’t afford it and stops paying their lender. That’s when Popovich is brought in to retrieve the asset. He charges between $25,000 and $250,000, depending on the size of the plane, the danger involved—and how much he likes you. More than half of the planes Popovich repossesses are from certified airlines, either small charter companies or commercial airlines on the verge of bankruptcy. The rest are either corporate or personal plane owners who invested beyond their means. The clients are almost always investment firms or banks, like Transamerica Corporation and Citibank, looking to cut their losses on a bad investment. Popovich’s business ebbs and flows, depending on the economy. When times are good and people can pay their bills, he doesn’t get as many calls. During the 2008 recession, business was booming. But lately, despite a strong economy in 2017, Popovich says he’s been busier than usual. “It’s been picking up,” he says. “It’s the opposite of what we usually see. People are too confident.” In most cases, Popovich says, the hardest part of a repo job is just making sure you show up with all the paperwork. If you’ve got the right documentation and lease terminations, usually nobody will try to stop you. But every once in a while, you get a pissed-off hedge fund trader with an Uzi—a real scenario Popovich once encountered. He has a seemingly endless supply of movie-worthy stories. The only place he won’t return is the Democratic Republic of Congo, in central Africa. “We repo’d the president’s [Gulfstream II] jet while his wife was shopping in Switzerland,” Popovich says. “He wasn’t really happy about that. There’s still a death warrant out for me there, so I don’t want to take any chances.” He’s repossessed planes from New York mobsters, Ponzi scheme money managers (like Arthur G. Nadel, who fleeced investors out of $162 million), and well-armed white supremacists in South Carolina, who held a gun to his head and threatened to “blow my fucking head off ” when he tried to repossess their Gulfstream II jet. (Popovich ignored their warnings and took the plane anyway. One of his rules is “If a guy says he’s going to shoot you, he’s not going to shoot you.”) He was also put in chains after trying to repossess a Boeing MD-81 from French jewel magnate François Arpels, who had launched his own charter service, called Fairlines, but didn’t pay off the planes. Popovich called to try and work out a deal, but Arpels purportedly scoffed at him, saying, “I’m François Arpels and this is Paris. You will never find the plane.” Popovich responded with, “Frankie, it’s all but gone.” (Arpels “hated that I called him Frankie,” Popovich says.) Popovich soon found the Boeing parked at Charles de Gaulle airport, but ignored a judge’s orders taped to the cockpit, grounding the plane because of unpaid fuel bills. He was stopped by airport cops before he could take off. After spending the night in a cell, he told a French magistrate, “It was written in French, so I didn’t think it was important.” (He was soon released and escorted back to the States.) Now 65, he’s not in mortal danger as regularly as he once was, but his job still has the crackle of rogue excitement. His hangar is buzzing with activity as full-time employees and freelance pilots refuel his Hawker jet for an upcoming flight. Popovich has two planes always at the ready, a Hawker 700A and a Challenger 601-3A/ER, that can cross the Atlantic. Popovich sits at a table right in the middle of the action, oblivious to the roar of jet engines, and flips through a big folder filled with info on his loyal and pending clients. These days, he’s expanded his business—which is called “Sage-Popovich Inc.” even though Sage, one of his ex-wives, no longer co-runs the business— to include more than just repossession. The firm sells airplane parts, offers airline management consulting, and runs a charter operation, including free flights for post-9/11 military veterans. But repossession is still their number one service. While Popovich could easily stay in his hangar, counting the money that comes pouring in, he still enjoys the thrill of the hunt. Sometimes he’ll do a repo “just because it’s going to be fun,” he says. Just a few months ago, he was hired to pick up a Hawker in West Palm Beach, Florida, and the owner took off before Popovich could get a court order. “He called the client and said, ‘When your guy wants to learn how to repo an airplane, tell him to give me a call.’ That pissed me off.” Popovich put the word out with his numerous airport contacts, and soon learned that the plane had been spotted in Fairhope, Alabama. Popovich flew down and grabbed it within a few hours. “The first thing I did was get on the guy’s airphone and call him up,” Popovich says. “I said, ‘Hey, guess what? This is Nick Popovich. Turns out I don’t need your repoing course, cause I’m sitting on your airplane and you’re paying for this call.’ ” Earlier this year, Popovich was given one of the highest honors of his profession, the Living Legends of Aviation award. It’s like the Pulitzer Prize S U B S C R I B E TO F O R A S LO W A S $ 1 . 2 5 AN ISSUE G O TO M A X I M .C O M for pilots, with a very small and iconic list of honorees that includes Buzz Aldrin, Sir Richard Branson, Chesley “Sully” Sullenberger, and Bob Hoover. In a ceremony last January at the Golden Globes Ballroom in Beverly Hills, Popovich received the rare accolade before an audience that included Harrison Ford and John Travolta. Popovich scoffs at the idea of retiring. “I’m in this business till I die. I’ve got four ex-wives—I’m working till I’m dead,” he jokes. “I don’t want to retire, but I’ve got grandkids now. 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