LUX Mag

The Dutch Wanderer

dariussanai — Thu, 28 Feb 2013 08:32:00 +0000

[gallery type="slideshow" ids="12,15,16,13,14"]

MARCEL WANDERS IS ONE OF A HANDFUL OF DESIGNERS WHO HAVE REWRITTEN THE RULES OF THE GAME IN THE PAST TWENTY YEARS. Caroline Davies GETS UP CLOSE AND PERSONAL WITH HIM

Marcel Wanders is such a design legend that a number of design-savvy colleagues were convinced he is dead, gone with fellow-countryman Bauhaus pioneers like Mies van der Rohe. But he is not dead. In fact, he is very much alive, sitting in front of me, describing the occasion when he ran naked across a conference stage in New York, throwing sweets into the audience. The rebel of staid Dutch design schools, Wanders has been creating his own unique strand of work since the 1990s. Relying on an offbeat aesthetic intelligence and a determination with the horsepower of a super yacht, he charged into the design world with his own ethos; imaginative, bizarre and full on. His designs are everywhere. At 30,000 feet with his British Airways collaboration, in your back pocket on your ACME pen or at The MOMA in New York who proudly display his “knotted chair” as part of their permanent collection. The success and influence of his conceptual designs have permeated around the world; it is easy to forget that he is not yet 50. On first meeting, Wanders appears surprisingly conservative. Upright and composed, with a cow lick flop of silver grey hair and designer stubble, a crisp white shirt and well cut suit, the only unusual feature about his appearance is a string of coloured beads and stones, lying neatly across the top of the small triangle of revealed chest. They are, I discover later, representations of different parts of his life, collected for their interesting back story; lava, meteorite, birthstones, Viagra. Not brash, but perhaps a little playfully subversive. Not unlike his designs. His vase based on a mould of a condom filled with hard boiled eggs. The image of a half fish, half spoon decorating a hotel wall. His airborne snotty vases, a scan of small section of mucus in flight from a sneeze. No one quite designs like Wanders. Few are as conspicuous as him either. “I want design to be more humanistic,” he says. “More human, more personal. If you think you can hide behind the rational you are not making humanistic things. I sign off my work, because I am human. It is not the best in the world, but they are my mistakes. If I want to do this then I think I should show my face, who I am.” Who he is does seem closely linked to Wanders’ work. Expelled from his first design school, the Design Academy Eindhoven for “thinking outside the box”, Wanders graduated from the Institute of the Arts Arnhem in the late 80s. He joined Dutch design brand Droog, created his “knotted chair” and began to establish a reputation for fun, innovative design. Today he is the co-owner and artistic director of design company Moooi, although perhaps his most prevalent body of work is that created for his host of eclectic collaborations, from hotels in Miami to Marks Spencer’s, Puma to Mac, projects spanning the globe. “I am very disappointed about my ability to change the world,” he says, with a small laugh. “But I think something has changed in design. When I started, it was cold, mathematical, noncommunicative, non-human, technocratic, cold, clean, whatever. Today it is more romantic, more beautiful, more communicative and a lot more important as it reaches way more people.” Disparaging as he may seem about the past, Wander’s also has a respect for it too. “In today’s design we create children without parents, which I think is a very cynical approach to life,” he says. “If we have more respect for the past we can make things today that still have meaning tomorrow. “If we want to create a sustainable life, we need to change. We have to forget that new is better than old. It is our responsibility – it is my responsibility to change things.”

Go Faster Stripes

dariussanai — Fri, 01 Mar 2013 09:43:13 +0000

[caption id="attachment_63" align="alignnone" width="800"] Virgola Seating System[/caption] NOW HAS A THRIVING HOMEWARE BUSINESS AND IS LAUNCHING SELF-DESIGNED HOTELS AROUND THE WORLD. LUX EDITOR-IN-CHIEF Darius Sanai CATCHES UP WITH ANGELA MISSONI, CREATIVE DIRECTOR AND DRIVING FORCE OF THE BRAND, OVER COFFEE IN KNIGHTSBRIDGE [caption id="attachment_61" align="alignright" width="110"] Angela Missoni[/caption] DS: What is the key to your longevity? AM: I often ask myself the same question, I think it is a miracle. I think really it is because my parents invented the style. I was lucky enough to inherit style from them and was able to revamp it and make it fashionable again. Missoni was not only a zigzag and it isn’t only a zigzag. It is a style, a colour base, they were pioneer in many things in fashion. The palate of Missoni is vast in terms of patterns and colours, I’m not scared in adding to it. I’m never working on the past, I always work on the future. I never go to archives. I know the archives by heart, I was there. Every reference in my mind of my youth and growing up is related to a pattern, to a dress, to a person, to something related to fashion. If ever I ask to see something from the archive I tell them the precise year and I know exactly what I am asking for. How do you stop everything from slipping into the past and keep it moving forward? I use my instinct, with my knowledge of the pattern. I don’t have a recipe, I work by instinct which luckily has worked till now. I think I have courage. I was asking myself “how can I be so sure of what I am doing?” but I’m not, anymore. I like things and I go on. Season after season, I follow my instincts. There is something which is a continuation. Every collection has a precise identity but the research work never stops. There is a continuation. Maybe someone from outside can analyse better. You have this reputation for being an earth mother… I like to live in the country. I like to come out of the country of course, but I do like to come back. I started an organic chicken farm 30 years ago, maybe that’s where the reputation started. The two things can go together. Do you ever try to combine them? What fashion and the chicken farm? No! Fashion is fantasy, you try to work with natural material, there is a comfort that has to be there for me in our clothes which is part of something. Those clothes have to make you feel better, or at least I hope that they do. I don’t look at trends. Either you see them or you don’t and you filter. I think I have good eyes. I see details that the majority of people don’t see. In a good sense as well as a bad sense, as you see defects everywhere. I see that there is a plug under the couch over there. I see when it’s dirty and I want it to be clean. I am very curious and I try to see as much as I can in general and I am attracted by many different things, I analyse everything and I translate it into my work. Your mother lost interest in fashion, which is part of the reason she passed the business over to you. How do you stay engaged and interested in it? [caption id="attachment_58" align="alignright" width="221"] Bowl design for Target with the characteristic Missoni zigzag pattern[/caption] My mother felt trapped. When she asked me to do the main line, she was tired of fighting with the commercial side. As soon as she stepped out of it, she said she wanted to retire. She has many other interests in life, but then she started with the Missoni home collection. She still does research. If she goes to a flea market, she will bring me something back so she hasn’t lost her passion for fashion. At the time she felt alone, fighting the commercial side, and she said to me “fashion you have to do when you are young and passionate, and you have the strength to fight with the commercial side otherwise they will ask you to always do the same thing that they sold yesterday.” What keeps you inspired? Sometimes you finish a collection and you are very tired. You might not even have the time to finish one before you start on the next. Sometimes you don’t know where you are. A little thing is enough to start it. You might see a small thing that opens the door again and you can start the process to go on. Of course, that’s what keeps you going on. I don’t only design fashion, me and my brothers own the factory and the brand. It means you are involved in all the processes, you have various things that can keep your attention alive all the time. When I see that my clothes are well received, I do have a sense of satisfaction. It is good to see that you are on the right track, so that you can go on. When I see that my daughters enjoy my clothes too, they are also very inspiring. [Angela’s daughter Margarita is an A-list model and unofficial face of the brand]. What does the Missoni brand mean? [caption id="attachment_60" align="alignleft" width="150"] Three generations of the Missoni family[/caption] It is fashion, but I would like people to think of it as more than fashion. It is artisanal, craftsmanship and many values. It is a brand with a very long history so that’s what I was trying to communicate. Sometimes I can hardly distinguish the brand from the family. Doesn’t mean that we all eat together everyday or that I see my mum everyday, I might see her three days in a row. I do talk to my daughters very regularly. At the moment my daughter is getting married so I seem to talk to her every 30 minutes! She was in New York for five years and one day I told her that instead of her having a phone she should have an intercom from New York and here because we speak so often. What would you like people to think when they think of Missoni? First thing is I would like them to have a smile. Then think of something positive. They should think beauty, joie de vivre, a lift in the spirit. You can think of art, of good food, dinner with friends. Family is not only family members, it is a large sense of family which includes your friends. A sense of hospitality. It started with my father at the very beginning. The first collection that my father decided not to show in Florence (which was in Palazzo Pitti) because he realised why go there when there was an international airport 15 minutes from the house. That was how the Milan fashion week started. Others followed. They were not showing in Milan, they were showing in the factory. That is incredible when you think of it today, but in 1970-1971, all the fashion crowd was 150 people from magazines to Bloomingdales and buyers from Hong Kong. My mother was organising lunch and dinner for them too. [caption id="attachment_59" align="alignright" width="200"] Angela Missoni design for the A/W 2012/13[/caption] What is the relationship between art and fashion for you? Both subjects are the expression of the moment together with other forms, music and film, etc. I don’t think that fashion is an art but more of a craftsmanship. That’s what makes the link. We are talking the language of now or rather of tomorrow. Art also is an expression, an extract of what is now. This setting is the link. With my work I just want my clothes to look beautiful, to give you something more. Art sometimes can be disturbing. I’m not going to make clothes that disturb you, so it isn’t the same process as art can be. I like the interaction with artists. More recently I have been asked by several artists if they can do a collaboration with us, which is very interesting. They want to work with us, with our materials. Last week I was asked by Nick Cave who I would love to work with. I would like to ask them what they think about Missoni. I wanted to work with Peter Blake, but I convinced Juergen Teller to have his photo cut out. No one touches a photo of Juergen Teller, but he let it happen. It was done at the Museum of Everything. We did a campaign inside the museum. For the summer campaign I put together Juergen Teller, Pedro Almodovar, Rossy de Palma. Everybody enjoyed it. Put creative talent together and shake. Artists are very much in their own world. Rarely you see them watching other artists. I had the image of Sergent Pepper’s Lonely Hearts Club Band in my head and I wanted to have an image like that with all our family. My projects, I have to work fast. If I am working for a campaign I need to work with a very fast rhythm. From the show to the day you have to have the material in your hand, you have a month, a month and a half. You can start thinking before but not much because the collection is really defined when it is on the catwalk. We did a movie with Kenneth Anger two years ago. Sometimes you think people are very hard to approach but actually it is very simple. Kenneth came and stayed five days with us. How does the fashion side relate to the home, the hotels? [caption id="attachment_62" align="alignleft" width="150"] Spool Tables[/caption] It relates because there are some patterns that can translate. What I like is that patterns in fashion stay there for 6 months or even less, but the same pattern you can put on an armchair and it has a life of 15 years. It gives you satisfaction. Certain patterns maybe are not instantly recognisable as Missoni, particularly from the outside, but they became Missoni classic designs. You’re wearing some very cool accessories. Can you explain what they are for the benefit of our readers who can’t be here? I always create my jewels myself. I don’t like to wear the things that other people wear. I do it instinctively. This is a souvenir chain with little presents, charms. It is a long chain from the beginning of the last century, I think it was meant for a monocle. I am wearing black trousers, black t-shirt, boots, and a sweater wrap. The earrings are the same. I was in Columbia at the end of the year and bought a little coffee grain from the airport, which I have hung on it too.

The Art Pioneer

dariussanai — Fri, 01 Mar 2013 09:33:39 +0000

TIM ETCHELLS FOUNDED ART HONG KONG, WHICH HAS NOW BEEN TAKEN OVER BY ART BASEL AND IS THE LEADING ART FAIR IN ASIA. NOW HE’S LAUNCHING ANOTHER FAIR – IN LONDON, HOME OF FRIEZE. HE TELLS LUX WHY What is Art13? It is London’s global art fair. The capital has people from all over the world, living here, working here and appreciating art. The existing art fairs don’t cover everyone. London is a big city of 8 million odd people, it can certainly warrant another. We don’t want people to feel intimidated, it is a friendly fair. The gallery content is very much global; half of our stands are from 25 other countries outside the UK, from Korea, China, Australia, India, all over the world. Many have never shown here or if they have, it hasn’t been for a long time in an art fair, even many of the UK galleries. Why is it different? There are people out there who like art and are wealthy individuals and who feel that there isn’t an art fair in London they can relate to. The affordable art fair is about decorative art, filling a hole on the wall with a piece of art and probably not curated. Frieze is vetted and curated, but your average person who buys two or three pieces of art a year at a reasonable level is intimidated when they visit. They don’t feel relaxed. Its focus is a very serious art fair, the character and the atmosphere. Art13 will be a serious art fair, but a friendly art fair with a personality. How do you make an art fair friendly? We have employed an architect who is working on the theme, ‘All the Fun of the Art Fair.’ He works on interior design for restaurants and homes, most recently Adele’s house. He understands approachability. If you had an exhibition designer, they would create a design for an exhibition space, it would look like all the others. The prevalence of social media means the look of the place is even more important. You want your guests tweeting, bringing an audience there through the week. If it looks great, busy and a place you want to go, then people will come, word of mouth drives it. Who do you want to attract? Art fair audiences are a pyramid. At the top are the really serious art collectors, in the middle are the wealthy individuals who collect art and then the general public who just want a day out. We see all three sectors as equally important and feeling that they are welcome there; they can walk into a gallery and talk to the owner about the art. Maybe they won’t buy today, but they will buy tomorrow. How did Art Hong Kong begin? I first had the idea when I was in Australia. I was speaking to Australian galleries who told me they had been up in Hong Kong selling art by taking hotel rooms. It didn’t seem a very smart way to do it so when I heard they had no art fair I went up there. I had never been to Hong Kong before, but I realised there was a gap and decided we should do an art fair. Hong Kong is a hub, Asia is growing, the pieces of the product slotted together How difficult was it to establish it? People were very sceptical. We got into month three or four of the project and I said “at what point should we pull it, do we have a fair?” because we were struggling to get galleries in. Magnus Renfrew, the Fair’s Director, just kept on pushing; he had a real vision about how he wanted the fair to be. In the first year the gallery year was almost there, not exactly what we wanted, but it was good enough to build the fair on. We were determined never to do a deal with any galleries. There is a real temptation to do that, especially with a new art fair, but it can be the kiss of death. If the galleries you give spaces to pull out, it sends the wrong message to others. In London there are still some galleries we would like to be in it, but at the moment it is a good enough base so that the galleries that we want to be there are interested in participating. Is it easy to set up an art fair? It has become tougher, probably because of global competition. People look at any fair from a global perspective. A gallery will decide whether they want to show in Rio or Miami now, where as before they would be much more local. It really is about getting your positioning right. It isn’t just about the message of the fair, but also about where and when. We deliberately chose February because we go through the terrible January period, then in February the flowers start to come out, London Fashion Week and the BAFTAs appear, the Oscars start coming and people are looking for things to do. We chose West London because of the wealth around there. If you get those bits right, you can make a great fair. Have art fairs changed the art scene? It has changed how galleries sell their art. You look at the sales mix now and they sell it through the gallery, through their website and through the art fairs. If you look at any serious gallery, they will all have at least one or two art fairs in their year. They bring out a different audience they often can’t access any other way. Art fairs are important for the audience too. I have never seen someone unhappy at an art fair. I went to Fiac in Paris in the Grand Palais, it’s stunning. How could you not enjoy that? What are your concerns? The concern of anyone running these events is that you want both sides to do business. You want the visitor to enjoy it and buy art and the galleries to sell, either that day in the fair or later on, when people visit their gallery. I have no problem bowling up to a visitor in the art fair to see what they think. 9 times out of 10 people will tell you and you get an honest answer. Most of my lot are terrified of it, but I love it, that’s how you learn. They will tell you little things, the negatives so that you can react to them. How did you become involved in running events? 30 years ago I was a photocopy salesman; to this day I have no idea how a photocopier works. I found selling boxes that copy things boring so I changed job to work as a salesman for an events company. I worked my way up and after 8 or 9 years asked the owner if I could ever buy a stake in the business. When he said no, I left to join a new company and started ‘The Money Shows’. We built them up and sold them on which is how it all started. Have you had any particularly difficult events? I decided to launch The Clothes Show in London and linked it to Cosmopolitan. The deal was that they lent their brand and I funded the show. We persuaded the companies we worked with on London Fashion Week to take a stall alongside some cool cosmetics companies and held it in Earl’s Court. We got an audience, but they were all kids, 16 year olds with no money, not the 25 year old readership Cosmo described. Normally with fairs, you expect to lose in the first year, make back the loss in the second year and make profit in the third, but with that show, you could never make it back again. Cosmo wanted me to do it again, but I walked away with a half a million pound loss. Do you always invest your own money? Yes, always. The art fairs are more challenging than any. You have massive staff costs, over heads, venue costs, promotion costs and you don’t get a penny in for months and months. The art fair at the moment, I doubt we have had £5000 in income. Do you enjoy the risk? The house isn’t on the line, but I do enjoy the risk. Like anyone who invests in something I’m always aware that I have to put more in, so you don’t have the painful moment of trying to find that money from somewhere. What is it that you still love about running these shows? The satisfaction of seeing it come together. Some shows are nightmares, you nearly pull them, you can’t sell the stands. The buzz that you get at the end of the second day – if you have a strong start it generally follows through – when everyone is happy is great. As a business man, when you have a successful event, you know that is something you can build on. That’s a really nice feeling. What are you most proud of? Probably Art HK. I had never done a high end art fair and I had never been to Hong Kong. To create something that Art Basel buys 70% of and be considered in the premier league of art fairs is phenomenal. Do you collect art? Bits and bobs. I buy a lot of Australian art because it is colourful, it’s clever and it’s quite good value and I have some Warhols. I quite like pop art because I was brought up in the 60s and 70s. I bought my first Wahol in the late 80s in New York just after I had done a deal. I said to the guy in the gallery “I really like this painting. He’s not making them like this anymore is he?” and he replied “no, that’s because he has been dead 10 years.” So really, I didn’t know anything about art! Art13 London, 1-3 March, 2013, artfairslondon.com Interview by Caroline Davies

Conran Uncovered

dariussanai — Sun, 03 Feb 2013 19:23:14 +0000

[caption id="attachment_202" align="aligncenter" width="800"] The second floor will house the permanent exhibition[/caption] SIR TERENCE CONRAN IS A MAN WHO CHANGED THE WAY THE WORLD THINKS ABOUT DESIGN. AND HE WANTS TO DO IT AGAIN.Caroline Davies HEARS HIS SAGE WORDS AT THE UNVEILING OF LONDON’S SPECTACULAR NEW DESIGN MUSEUM PROJECT Terence Conran’s influence on design and culture is astonishing. An independent designer from the age of 21, in 60 years Conran and his work have affected the way we shop, decorate, eat and live, but he is still working to leave his mark. Conran is as active as he has ever been during the past six decades, and his latest project is, he says, one of the most exciting yet. “This to me is really one of the most fantastic days of my rather long life,” he says. “We have the next three years to fulfil our ambition to make this the very best design museum in the world,” he says. “Every city wants a design museum it seems these days, but this is where creative Britain should lead.” [caption id="attachment_204" align="alignright" width="212"] Sir Terrence Conracn[/caption] He is speaking at the groundbreaking of Britain’s spectacular new Design Museum, which will be an institution that showcases every type of design from around the world. It will be located on the site of the former Commonwealth Institute in one of London’s wealthiest areas, replacing the boutique site occupied by the current Design Museum. There are few individuals better placed to lead the project. He is a “serial entrepreneur” whose career has seen him build and establish an architectural practice, a design company and a series of restaurants. Habitat, his furniture store that brought sharply designed furniture to the masses, was the first to introduce Britain to sharp contemporary design with wit and genuine creativity. Wondering how the average CEO’s office morphed from dark oak panels and antiques to minimalist whites, glass and an Alessandro Mendini chair? Conran’s influence influenced those who changed the world. His first restaurant, “Soup Kitchen” was just the second spot in London to boast an espresso machine and his subsequent projects have been credited with popularising fine dining in the UK: his designs made him a restaurant king in the 1990s. And before that his designs for Mary Quant’s stores altered all expectations for the shop floor. Although Conran’s main projects have been in the UK, his mission to deformalize design and make creativity available to every stratum of society have had a profound effect on every element of design around the world. Spurred on by his belief that good design should be democratised and celebrated, he founded the Design Museum, firstly in the Victoria and Albert Museum then in its current location in Bermondsey, South London. Gaining credibility and more crucially funding for the project was not an easy process and Conran semi-affectionately refers to the period as their, “guerrilla time in the absolutely terrible old boiler house.” [caption id="attachment_197" align="alignleft" width="300"] The museum will be located in the former Commonwealth Institute
on Kensington High Street[/caption] “Getting this particular site was absolutely brilliant,” says Conran. “It is a very important symbol and marker. Here we have this building from the 1960s an extraordinary structure, sadly sat here for the last 12 years unused.” Soon to be part of the museum hub of Kensington, joining the V&A and the Royal College and Imperial College, the museum is due for completion in 2014. Despite his passion and ongoing energy for design, Conran does not seem quite as robust as he once was. In his usual blue suit with red cheeks, he moves slowly and rather gingerly, hunched over the microphone, carefully stating his message. His increasing years seem to make him even more determined that the public, and crucially the government, should listen. [caption id="attachment_198" align="alignright" width="300"] The plan for London’s new Design Museum[/caption] “We must start to make things again,” he says determinedly. “If you can put designers together with entrepreneurs together with engineers we can make beautiful and useful things again in this country that the world will want. I think it just needs a push from government to make this new collaboration of entrepreneurs, designers, engineers to start another industrial revolution.” The distant beep of an articulated lorry begins in the background. “I hope government sees it and sees that construction is underway,” says Conran, smiling. “We are going to make a rather large hole.”

Artifical Reality of Olivo Barbieri

dariussanai — Thu, 21 Feb 2013 07:30:47 +0000

[gallery type="slideshow" ids="1033,1034,1035,1036,1037"] Olivo Barbieri creates artifice out of reality. The Italian art photographer and film-maker, who has shown at MOMA New York, the Sundance Festival and Tate Modern in London, specialises in visual studies of spectacular urban landscapes that make cities look like haunting plastic architects’ maquettes. In an exclusive interview with Caroline Davies, he talks of his adventures in India, China, and London’s Olympic Park. How do you start on a project? There is no rule, it depends on the project. Each is different. I use some inspiration from books or the Internet. Because I use a helicopter, I will speak to the pilot to decide what to do. Much of the time I have a selection of places in mind but whether we can reach these often depends on the city I am in. London is easier because you can get permission to shoot. How do you select your subjects? That is a difficult question to answer. I try a lot of subjects and I don’t know before I shoot them what will happen. It is difficult to explain. Sometimes something interests me. When I was shooting London it was very important for me to see the new Olympic area and some new construction. The subject has to be right for my work, not everything belongs with it. When I select my images I try to tell a story, like a small novel. Normally I decide to have only 12 images that relate to one another. I will shoot more or less 2000 images before I select and when I start, I don’t know what will be. The first step in the project is when I shoot, but the second is in post-production. The really famous landmarks are more difficult because they are well-known subjects, St Paul’s or Tower Bridge for example. There are so many images in the history of photography that it is difficult to do something new. That is part of the challenge of my work. What do you want to achieve? I want to capture a city in a new way, but also discover what will be the future of this city; I’m always experimenting. The important thing is to imagine how it will be in the future, not how it is now. I choose something major so that people will look at the picture and see the possibility. I am looking for what will be. Do you remember your first camera? Yes it was an Eura Ferrania, an Italian - made camera. I was 8 years old. I still have some photographs and the camera, it still works. It is very simple. I liked it a lot, but I only started taking photographs seriously when I was 18. I wanted to be a photographer, but create art photography, not commercial photography, and have my work in a gallery. I looked at work of Monet and Andy Warhol. How did you start your career? At the beginning I did straight photography. I shot in the outskirts of cities, often at night because I was interested the artificial illumination of the city. I took pictures of Europe and Asia and made a comparison between the way each uses artificial illumination. After that I started to use select focus where only part of the lens is in focus so it was possible to decide what the more important part is. I built a project in Italy, India and in China and I did a big exhibition. In 2003 I started shooting famous cities of the world from a helicopter. The plan was quite specific, I tried to look at the world like an installation. The selected focus technique is very interesting. I started using it because I was a little bit tired of the idea of photography, I wanted to decide what part of the picture was interesting. I discovered that not only was it possible to decide important to me because no one had done that before. Then I made a discovery when I tried to do it from a helicopter. When what was to be the central focus, but the result was something like a new world, a new way to see the world. It was very I first used it, I was very surprised, it opened a new world of possibility. It was very interesting to me that everything could be made to look like this, less real. I tend to decide after whether something has worked or not. What do you think of the camera phone? I like it a lot. When everyone has a camera, they can take a normal photo around me so it allows me to focus on art photography, to take a photo of something that they cannot. It gives me more freedom

Seaside Sensation

dariussanai — Wed, 26 Sep 2012 03:23:50 +0000

Tracy Emin, the wildest young British artist to have shot to fame after the Royal Academy’s Seminal Sensation exhibition 15 years ago, has calmed down and gone home to the seaside town of Margate. Or has she? Caroline Davies caught up with her at the Turner Contemporary [caption id="attachment_1048" align="aligncenter" width="600"] Tracey Emin in Margate[/caption] [caption id="attachment_1053" align="aligncenter" width="600"] The exhibition includes new and existing drawings, monoprints, sculptures and neons[/caption] On an icy bright British day, a column of deliberately scruffy DFLs – that’s local shorthand for Down From Londoners - marches deliberately out of Margate station along the grey promenade of this faded English seaside resort. It snakes past the empty, half lit amusement arcades, the shell sculpture decorated tea shops, the tanning salons, the bucket and spades and the few Margate locals on the street at midmorning who turn to give each other a knowing glance. The DFLs are not interested in the superannuated charms of Margate: they are heading towards the angular cement modern building sitting on the edge of the sea wall, The Turner Contemporary, to see the works of Britain’s most famous female artistic talent. They are here to see Tracey Emin. [caption id="attachment_1052" align="aligncenter" width="600"] The show is Emin’s first major exhibition in her home town[/caption] [caption id="attachment_1051" align="aligncenter" width="600"] A view of the installation, She Lay Down Beneath the Sea[/caption] Emin is waiting in the gallery on the day I visit. Although this is a return to her hometown, in many ways, Emin never really left here. Works inspired by the town pepper her shows and anecdotes about her upbringing slot their way into almost every interview to explain her pieces, her behaviour. “You can take the girl out of Margate,” Emin once remarked with her infamous grin. “But you can’t take Margate out of the girl.” When The Turner Contemporary first opened in April 2011, Emin was one of the first on the scene, visibly emotional as she took a turn around the cavernous space, a trail of press at her heels. “I never imagined such a beautiful building, an art gallery where I grew up,” Emin said at the time. “Margate’s lost 20 years, it’s been quite run down, but I think this will make a big difference. It’s fantastic, it’s beautiful.” Emin’s arrival on the day I visit for the opening of her exhibition ‘She Lay Down Deep Beneath the Sea’ is greeted with a gentle hush and rapid cannon of turning heads. She needs no announcement; she has everyone’s silent attention. “Welcome to Margate,” she beams. There is something of a swagger about Emin; her confident stride and her asymmetrical smile are surprisingly recognisable. Her voice is light and high, and speaking to Emin, you first are struck by her directness. She knows what she is saying and why she is here. And it isn’t only about the art. [caption id="attachment_1049" align="aligncenter" width="600"] Sex 1[/caption] “This is a shift in my work,” she says, looking confident if a little self conscious. “Something has happened in the last year because I am nearly 50. I am looking at art in a new way and trying to understand what it is that made me an artist, what it is that I love about art.” The show features several images of beds, the first a series of blue painted images of Emin’s bed, her window and her chest of drawers and later a cast bronze branch lying in the centre of a stained mattress. The mattress was Emin’s, put in her studio after three years of use, the stains made without conscious effort. “I'm not going to go into the gory details. Believe me, it was all naturally made,” Emin says. “It wasn't all on my own, I can assure you. It goes back to that thing of being over. It's over. This explains it very well. It was there, but it's gone.” Emin is particularly clear on this point, stern even. “The girl is gone, she’s never coming back,” she says adamantly and perhaps a little proactively. Emin has the habit of speaking quickly and determinedly, particularly when discussing her work. It is as though she is worried someone will criticise her before she is finished, interrupting her explanation. However, as soon as the topic of Margate springs up, Emin’s tone softens. “You’re seeing Margate at its absolute best,” she says, smiling. “Maybe not at it’s most romantic. It’s most romantic when you have thirty foot waves crashing over the sea wall. That’s quite something.” “That is why Turner loved being here, not just for the beautiful sunsets, but for the storms and the craziness. I always say to people who want to visit the UK, don’t go to Brighton, go to Margate, it’s really dirty. It has a real edge to it.” Her passion for her home town seems inalienably twisted with a sense of responsibility. “I’m always anxious with a show, but more so with thisone,” she says. “I’ve been tearing myself to pieces.” [caption id="attachment_1050" align="aligncenter" width="600"] Turner was designed by Stirling Prize Winner David Chipperfield Architects[/caption] “After my Hayward show last year I thought ‘there’s no way I can do some sort of retrospective or survey show, I have to do something completely new’ for two reasons,” she says. “One I owe it to Margate for all that Margate has given me and the other reason is 92,000 people went to see my show at the Hayward. On days like this, I want the beach to be full, I want people swimming. I want Margate to be celebrated again.” For Emin is an artist perhaps as misconstrued as her home town. She became a household name after the installation ‘Every Man I Have Ever Slept With’ was shown at the Royal Academy’s Sensation exhibition in the summer of 1997; yet she is a sublime draughtswoman, as any examination of her drawings will reveal. An old-fashioned artist at heart, from an old-fashioned seaside town? “There is a possibility that with this show and with this gallery more people will come to visit than ever. Art can change things. There is a lot riding on it, not just for me but for what art can do. I don’t mean it in an ego way, I could be anyone sitting here saying that, but it is an effect that art can have and it should be positive.” Emin’s exhibition lasted only through the summer; so is one of Britain’s truly gritty seaside towns worth a visit? “Even if people don’t like my work I still think they should use it as an excuse to come down,” says the artist with her off-centre, tight-lipped grin. “Even if you come down and slag me off, I don’t care, just come.” turnercontemporary.org

Green and Growing

dariussanai — Wed, 26 Sep 2012 07:02:23 +0000

A green sanctuary at the edge of Thailand’s oldest rainforest offers the eco-conscious a place to feel good about feeling good With the opening of Thanyamundra Organic Resort, Thailand’s interior just got a little greener. Sitting at the edge of the Khao Sok National Park in the rolling hills of southern Thailand’s, Thanyamundra is a luxurious retreat that not only pampers its guests but the environment as well. The nine-suite resort is housed in two golden, teak villas each decorated with a collection of Asian antiques. Inside there is a restaurant serving Thai cuisine and a spa offering traditional Thai herbal and aroma oil massages. Outside there is an infinity pool from which the land falls away to the terraces of the organic farm and beyond to a thick green wall of vegetation that announces the beginning of what appears to be an impenetrable forest. It is the farm that makes Thanyamundra so unique. It is the heart and soul of the resort. On this lush, 25-acre lot, Thanyamundra organically grows 51 different types of fruits, vegetables and spices including everything from mangoes and pak choy to lemongrass, onions, pumpkins, three types of beans and four different types of rice. When harvested this means that up to 70 percent of the ingredients used in the meals served at Thanyamundra come from the farm. Anything that is not used in the kitchen is sold online through Pura Organic. Furthermore, before any food spoils it is dried or dehydrated and fruits like bananas and mangoes are used for jam or ice cream and sorbets. Any discarded cuttings or waste is added to the compost to produce the natural fertilizers used on the farm. Even the dining menus are written up on large leaves from the garden as a way of saving paper. How’s that for eco-conscious? The greening of Thanyamundra doesn’t end in the kitchen. The resort has taken numerous steps to reduce its carbon footprint to a bare minimum. Look around your suite and you won’t find any plastics other than the water bottles and even those are recycled once used and all amenities, cleaning products and even the mosquito spray are environmentally friendly. On the grounds, guests move about in rechargeable electric buggies and the 50-metre lap pool uses an ozonater filtration system that naturally keeps the pool clean and reduces the amount of chlorine used. Thanyamundra’s eco-efforts have now moved beyond the borders of its property. The resort has just teamed up with naturalist Thom Henley, author of the definitive tome on Khao Sok, Waterfalls and Gibbon Calls to blaze new trails into the heart of the park. Thailand’s biggest national park with forests dating back 160 million years, older than even the Amazon, Khao Sok is home to an incredible range of animals including wild elephants, tigers, leopards, Malayan sun bears, Asiatic black bears, barking deer, long tailed macaques, 46 species of snakes and almost 200 species of birds. Helping guests take it all in, a series of walks has just been developed by Henley, who, when in residence, will actually conduct guided walking tours himself. According to Thanyamundra General Manager Shaun Dunhofen it is an opportunity to learn about and truly understand a part of Thailand few ever get a chance to visit. “Mr Henley is a walking encyclopaedia on Khao Sok and his passion is infectious,” says Dunhofen. “The trail walks he has developed offer a truly unique experience. I’ve done some of the walks myself and I can say that I’ve never been in a forest that teemed with such a profusion of wildlife.” When he is not at Thanyamundra, tours will be conducted by park rangers trained by Henley. “As upscale tourism grows, there will be more jobs available for locals, either as guides or related jobs,” says Henley. “I’m very proud of our lead guide and his son, Mr Nit and You Chanyoo. Nit is a key part of the story, for his life encapsulates everything we are trying to do.” It’s an inspiring story. Before teaming up with Thanyamundra, Nit supported his family by poaching. Like many of the other local farm boys,he poached to supplement his income - even though his mother was always against it. One day while out on a poaching run, he came across a wild elephant mother and baby and something happened. For a reason Nit himself can’t explain, his mother’s words came to him and he just couldn’t pull the trigger. Now he is not only one of the park’s most respected guides but he visits local schools teaching children about conservation. It is the combination of all these efforts that will help ensure the survival of this very special place for another 160 million years. thanyamundra.com

The Eyes Have It

dariussanai — Fri, 28 Sep 2012 08:20:44 +0000

[gallery type="rectangular" ids="1068,1067,1065"] Presentation is an important part of any dining experience, but can the look of the dish really make or break a meal? STACEY TEO We’ve all heard the expression “you eat with your eyes”, but how true is it? What importance do aesthetics really have on ones’ enjoyment of a meal? It wasn’t until the advent of nouvelle cuisine that food presentation began to take on the importance it holds today. It was an exhilarating time for the culinary world with never-before-seen creations coming one after another. Plating-up became an industry buzz word and the dish suddenly offered an empty canvas which chefs used to create their own personal form of gastro-art. In the early days Paul Bocuse, Michel Guerard and the Troisgros brothers not only lightened up traditional French cooking, they also paved the way for the kind of sculpted dishes we see today. Presentation was an exciting new tool that allowed chefs to put their signatures on their dishes. But now, fifty years down the line, nouvelle is no longer new and a lot of what we see is either a copy of a copy, extremely overthought or downright silly looking. Checking out how the food looks is the cook's last task and the diner's first. Food that is well-presented makes the diner want to eat it and allows them to identify the ingredients and their quality while poor presentation gives a bad first impression and means you face an uphill struggle to win over the client. The Japanese, as with so many other things, have turned food presentation into a high art. They even have a word, Moritsuke, which applies to seven very specific rules of food arrangement. Personally I think presentation counts for about 30 per cent of the experience, the other 70 per cent of course is taste, but I have colleagues that would argue for a 50/50 split. To me one of the most important aspects of plate presentation is what it represents. Whether you are dining out or entertaining at home, presentation attests to the artistic nature of the experience, the effort behind the meal and helps set it apart from an everyday experience. This kind of attention to detail indicates that you value your guests enough to go to the trouble to try and achieve something beyond the mundane, it shows you care and that they are important to you. As long as a dish is presentable then I’m happy with it. Don’t get me wrong, by that I mean it must look clean and simple with fresh, inviting colours and it should never look messy. I also follow the rule that everything on the plate should be there for a reason and that everything should be edible. I think the biggest mistake chefs make is to try too hard to impress with the presentation. It often makes the dish look pretentious and means they are focussing too much of their attention on aesthetics which normally is not something that makes or breaks a meal. [caption id="attachment_1066" align="aligncenter" width="600"] Pierre Gagnaire’s shrimp with gaya and popcorn[/caption] As a colleague of mine, Michelin-starred chef Marc Fosh says, “Food should look as natural as possible and every element should be there only if it serves to enhance the flavour of the dish. I hate inedible garnishes and towers of food that collapse and then look like a mess when touched by a fork. I know I have it right when the food looks like it was born on the plate. Of course presentation is important, but at the end of the day, it is the flavour that will bring clients back time and again.” True, no matter how beautiful it looks, if the flavour is wrong nothing else matters. We are not making sculptures only to be admired. Eventually the client is going to taste the food, they always do, and then nothing that came before really matters. I have been asked many times if I ever studied food design. Many culinary schools teach specialised courses in food presentation but I have always felt that they are nice but unnecessary for a chef. The most important thing is that the ingredients themselves look as good as possible. To achieve this takes a skilled hand in the kitchen. Cooking temperatures and timing are key. For example when blanching vegetables, the water must be exactly 100 degrees Celsius, you have to add a dash of salt and then immediately run them through ice water. A good chef knows that not following these steps will mean colourless and unappetising vegetables. Likewise, overcooked ingredients not only lose their flavour but also their natural shape and colour too. Once that happens, no matter how you sculpt it, your dish will look as bland and uninteresting as it tastes. So although you may eat with your eyes, it is the cook’s hands that truly make or break the dish. My advice then, perfect your cooking techniques and the food will present itself.

Beijing Star

dariussanai — Tue, 25 Sep 2012 07:32:43 +0000

Championed by the influential alternative gallery Beijing Commune, Huang Yuxing is one of China’s artistic stars. Here he speaks to LUX about art, life, and everything. Born in Beijing in 1975, Huang Yuxing graduated from The Central Academy of Fine Arts (CAFA) in 2000. Brought up during China’s meteoric rise to the world’s largest economy, Yuxing’s work have been described as “highly political” although they do not feature humans. Instead, Yuxing’s pieces contain brightly coloured geometric patterns, originally inspired by everyday structures, deconstructed. “What you feel from my works is my disturbance about the future,” says Yuxing about his pieces. “In my growing years, many good things around me disappeared, but new ones will appear anyway. The future is difficult to predict but it remains, it is still there even if the whole world was destructed.” “Yuxing is from a new generation of artists that have been brought up in the period when the country has gradually steered itself from political fever to economic development,” says Lu Jingjing, director of Beijing Commune, the gallery representing Yuxing. “In a sense, they experience the influence of ideology in a much different way from the predecessors.” “His work first attracted me with the tension he created. I think you feel the power the moment you stand in front of a Huang Yuxing painting.” Yuxing has produced an extensive body of work with a variety of focuses. His "Diary" series touched upon different issues from internet suicide to a bird's eye view of Hainan Island, all painted on keyhole shaped boards, intended to make the audience into peeping toms. His 2007 work, “When I need Love” saw the artist paint directly on to Ikea clocks, depicting physical brutality, recreation and loneliness, drawn together by the regular tick of the mechanisms. “My works, which concern now will be a thing of the past. They are presented to the audiences honestly, with no sense of mystery. For me, the shapes attached with colours and feelings in my works, presented deeply, touch hearts. The mystery you feel is from the incomplete perception of the truth, but it would interest you to get into the truth which makes my works more attractive.” Yuxing insists that he does not intend to intimidate his audience. “If you can feel that, it means this quality lives in your heart already,” he says. “My work just brings it out.”

Art at Home

dariussanai — Mon, 24 Sep 2012 08:02:00 +0000

[caption id="attachment_1083" align="aligncenter" width="700"] Rupert Shrive: Painted Lady, 2012[/caption] Serena Morton had a unique challenge to curate an art collection for one of London’s landmark historic buildings, now an exclusive members’ club. The twist: she had to complement décor ranging from Georgian grand to Zaha Hadid-designed cool. Caroline Davies discovers how she did it How do you start curating for a space like Home House? Before this project the art in Home House was a bit of a mish-mash. Over the years, someone would take a fancy to this or to that and it would go in. The Courtauld Institute was based at Home House from 1932 to 1976. It is a strong thread that holds the house together and we wanted to bring it back with a big statement. We looked at Home House members. They all have a connection to London, are varied in age and are a pretty sophisticated bunch. We decided that you could make the balance of membership more interesting by really creating a solid art program, which helps draw more of a culture crowd. Why did you decide to have individual artists in each room? I have launched, run and directed 3 galleries, two of my own and one for someone else, and curated exhibitions in many different pop-up forms. The one thing I know is that it is much less impactful when you put a bunch of artists together who don’t really have any connections. This is happening a lot at the moment, but the connections are still forming. We don’t really have a current movement so why would you mash them all together? When you just have one thing to look at and the space around it it’s more interesting. Home House is itself a set of rooms. It was three Georgian town houses which were joined together, each a residence so each room is different and so is the décor. Spreading the art across all the rooms wouldn’t necessarily work, but these ‘mini galleries’ allow the art to flow and creates conversation. Which artists did you use and why? They range in age from seventies downwards. You have some really senior artists like Ethel Walker and Simon Edmonson right down to some emergent stars like Jim Threapleton and Robi Walters who recently won the Lexus Telegraph prize. Rupert Shrive, who has had double page Vogue spreads around the world, a huge piece in the Grand Palais and is now in the Courtauld, is on the staircase. Ethel Walker, one of the leading Scottish colourists has painted some huge panels in the dining room, they take you up to the heavens. Mary Anne Aytoun-Ellis is in The Garden Room next to her; I love the scale she uses, which is physically difficult, combined with her feminine take on landscapes. I hope the dining room atmosphere elevates your palette and your senses, rather than getting indigestion because you are looking at something rather pornographic. [caption id="attachment_1084" align="aligncenter" width="300"] Jim Threapleton: 3-Quinuclidinyl Benzilate IV, 2012[/caption] Piers Jackson’s geometric shapes are in the bar, which is the core, the kernel of the club; everything else starts to morph around that. Theo Mouxigouli, next door, is very different. He is a Georgian painter based in Shoreditch. He lives in squats and travels around with his canvases rolled on his back. His work is mainly of London, representational, all about feeling with a sense of going back to the past. I think you get a kind of mini buzz from each. Simon Edmondson is a huge heavyweight that London forgot. He has a whole installation in one big member's lounge which is almost going to be like a Rothko chapel. He creates large interior scenes with a muted pallet, sometimes quite sexual. I think he needs to be seen again. Jim Threapleton was a film maker that has been studying at art school. It has taken a long time to work out what he is doing visually and he has not shown; it’s about slowly presenting him without too much over exposure. I loved Robi Walters’ work as soon as I saw it. There is such an intelligence and positivity about it. He is a massive star in the rising and still very young. Chris Moon is in the House lounge. The Hayward described him as a cross between Bacon and Hockney which is a rather large statement. He is a darn good painter. How did you select the artists? I tend to go with my gut feeling. I picked people that I hoped would appeal to a range of ages and members. All the pieces are originals, there is no edition work and they are all technical; they don’t look like things that have been made easily, you couldn’t do it yourself. There is a lot of conceptual art around at the moment and it is not that. It is nice to promote the emerging rather than fully blown. There is a gang of artists that everyone knows about in the London scene at the moment and I wanted to present something different. I am working with these people, but I am always working with a huge number of others as well. I think it’s only natural that you would promote people that you believe in. [caption id="attachment_1082" align="aligncenter" width="650"] The Octagon 02 dining room[/caption] How did you work with your artists? All of the artists have been in to see the space. They go away, put together a mock up, come back and we talk. As a curator they trust me to say what I think and to steer the project. At the end of the day, I have chosen the pieces with them. We work together; I’m very artist indulgent. What do you want to achieve? I’m not trying to be clever, I’m just trying to present things that are interesting and beautiful and well made. I’m tired of going to art fairs, tired of being presented with over-priced things. I call it the “I could do that” school of art. I feel we are in serious times and we can still put something forward that is hopefully taking this to a more beautiful, hopeful, positive place. homehouse.co.uk

The Final Frontier

dariussanai — Mon, 24 Sep 2012 08:17:21 +0000

[gallery type="rectangular" ids="1090,1089,1088"] The final frontier Our columnist is a pioneer, an artist who left New York in 1994 to travel to China and establish himself as an artist, curator and commentator on the burgeoning contemporary art scene. From his unique standpoint, he outlines for LUX his views on Chinese contemporary art and its future directions MATHIEU BOYRSEVICZ I went to China in 1994 as an artist, to get out of NYC and find some inspiration. I was oblivious to what I might find there. I was enamoured by the spirit of the scene and the intensity of the terrain. Then, there was no support system for the artists, and outright intolerance from the authorities. There was no market or history of contemporary art, but there was a socio-cultural precedent and an impassioned will. This renegade, almost idealistic approach to art dazzled me and was something I felt artists in NYC seemed to have lost a long time ago. There were no real venues for contemporary art; you had to seek it out, mainly in the artists’ homes. The direct contact with the work, people and stories gave me tremendous insight. The changes that have happened since then are parallel to those of the country itself. China’s art market is the second largest in the world. In the summer of 1998 there was only the recent, awkward, birth of one gallery in Beijing and one in Shanghai. Now there are tens of thousands of galleries. The economic aspect is only one side. The change in attitude from the officialdom is astonishing. Now all the major academies train ‘contemporary artists’ and the government has sanctioned places like 798 in Beijing as ‘cultural zones’ and official tourist destinations. There are initiatives across the country, by both public and private sectors, to establish ‘world-class’ art museums. The Ministry of Culture has even established an Experimental Art Committee, served by some of China’s most important avantgarde artists. Then there is the case of the Chinese artists on the international circuit. In the late 90s and early 2000s most of the [Western] art world politely rolled their eyes and dismissed Chinese art as another perestroika-like phenomenon. Now the most prominent galleries in the world – Gagosian, Pace, and White Cube just to mention a few – all have Chinese artists in their stable. Major Western museums are not only exhibiting contemporary art from China, but are systematically collecting it as well. Up until the late 1990s, the market for Chinese art was mainly an export one; made in China, consumed in the West. China offered something sexy to Western dealers and curators – the rebel, the revolutionary, working against the system, moreover a communist system. Chinese contemporary art also evolved with multicultural and post-colonial theory in the West. It made a perfect ‘other’, an Orientalist’s feast. In many people’s minds this export dynamic also impacted the nature of the work. Westerners established the market. In the early 2000s it finally became apparent to the Chinese government and private sector that contemporary art had serious market value. The Chinese themselves got involved and the ante was raised – prices shot up, galleries and private museums opened and the system blossomed. I’ve had the pleasure of watching some artists evolve and others sadly retrogress. I recently launched Xu Bing’s new Book from the Ground project in China and watching this artist’s evolution has been nothing short of astounding. Xu’s ability to retain his commitment to and concentration on many multi-faceted, long-term projects simultaneously, along with serving as vice dean to the Central Academy of Fine Arts is truly astonishing. Liu Wei (the younger) is somebody who I thought in the 1990s was just following trends and would eventually fade away, but over the last few years he has become a firestorm of truly awesome production. Zhang Huan is also someone who has gone through multiple periods of metamorphosis, each one begetting the next. Yang Fudong never ceases to amaze. Just when you think he’s repeating himself he delves a little deeper, pushes the bar further and dazzles. Ding Yi is interesting for the complete opposite reasonbecause he does nothing but repeat himself like a wise monk murmuring his mantra. No matter what one thinks of Ai Weiwei’s tactics and the spectacle surrounding him his ability to stand up for his beliefs is truly anomalous in China. He is one of the few citizens, and certainly one of the only artists, to make his revulsion to injustice a brilliant art and effective protest. Xu Bing is another big inspiration. He approaches his artworks as a scientist might approach research. His explorations are almost like a lifelong unthreading of our global cultural spindles. In terms of new young artists, Gao Weigang came out of nowhere a few years ago with a very mature body of work and has been coming on with full force ever since. Gao is a conceptual artist that oscillates between many different mediums with such ease, confidence and understanding of his materials, while at the same time retaining a consistent language, subdued sense of poetry, humour and temper. Xu Zhen is the Chinese art world’s jester. Both his early work and reincarnation as ‘Made In Company’ (a collective of which Xu is the director) are not only hyper-imaginative (think the Cookie Monster surfing the internet on acid) and rich with humour but also poignant in their take on global politics. Ouyang Chun, Lee Kit, Zhao Yao, Liao Guohe, Lu Yang, Zhang Lehua, Lin Zhipeng are all other exciting young artists to look out for. Unlike Western artists who get into art as a way to express themselves – meaning the existential angst of being alive – much contemporary Chinese art has, up to this point, been more focussed on the bigger socio-political picture. Maybe it’s a generational thing, but many artists are now looking at themselves, the personal, psychosomatic terrain of their daily lives. Chinese contemporary art is a by-product of globalization. The history of contemporary art in China started in the late 1970s when China opened up its economy to the outside world; financial investment, literature, film, art, and culture also poured in. On the other hand we now see a very homogenized approach to the arts, especially with artists born after 1980. They have had a different socio-economic experience than previous generations; many have studied abroad, are socialmedia crazed, drink Starbucks. Much of their work looks like it could’ve been made anywhere in the world. This, perhaps inevitable, situation evens the playing field but at the same time makes things less diverse. The current debate for artists and the creative industries in China is how to be contemporary while still being Chinese. The Chinese economy is facing one of the toughest times in recent years but this leaves the 1%, the biggest consumers of art, largely unaffected. Those with money in China don’t have many investment options; the real estate market and stock market are bust. There was a bubble growing; maybe it hasn’t burst completely but it’s deflated. Yesterday I ran into an artist who was recently evicted from his 798 studio and returned to working at home. He said “I feel like we’re going back to early 2000 days… but it’s a good thing!” The cycles help to clean things up a bit, weed out the weaklings, and hopefully reinvigorate the art. Mathieu Boyrsevicz is a curator and art advisor based in Shanghai and New York. Latterly Director of Shanghai Gallery of Art, he opens his own gallery space in China this autumn. mabz.net

Inside Track

dariussanai — Tue, 28 Feb 2012 09:50:50 +0000

[caption id="attachment_1162" align="aligncenter" width="650"] A 16th century palazzo in central Genoa is home to Via Garibaldi 12[/caption] Interior design and homewares are undergoing a boom to parallel the explosion in the art market. Karys Webber seeks out some of Europe’s coolest places to accessorise your living space Objeto de Deseo. Barcelona Objeto de Deseo, rather more of a gallery than a shop, stocks an eclectic mix of ornamental vintage and contemporary objects from both big name designers and anonymous artists around the world, most of which are exclusive to the store. Unusual items in glass, ceramic, wood, metal and clay range from the traditional looking to the exotic and often just utterly bizarre; a porcelain beaver skull complete with gold-coated teeth an example of the latter. objetodedeseo.es [caption id="attachment_1161" align="aligncenter" width="400"] Objeto de Deseo, Barcelona[/caption] Via Garibaldi 12. Genoa Via Garibaldi 12 is a family run emporium housed in a grand 16th century palazzo in central Genoa. Often mistaken for a museum, customers ascend the marble staircase to explore the eight impressive rooms, two of which have frescoed ceilings depicting scenes from the Punic Wars. Despite the building's rich history, Via Garibaldi 12 displays an array of modern furniture and home accessories from the store's own label, B Home Interiors, other established names and up-and-coming designers. The store, which recently celebrated its 10th birthday, has become a must visit for international industry professionals who attend the annual Salone del Mobile in nearby Milan. viagaribaldi12.com [caption id="attachment_1160" align="aligncenter" width="650"] Via Garibaldi 12 features pieces from its own label B Home Interiors[/caption] [caption id="attachment_1164" align="aligncenter" width="450"] Via Garibaldi 12[/caption] Ben Pentreath. London Architect and interior designer Ben Pentreath opened his modest shop nestled in the heart of London's Bloomsbury in 2008 and, alongside store manager Bridie Hall, has crammed it with delectable treasures for the home sourced from all over the world. Claiming they only stock products they themselves like, their exquisite taste has ensured a shop full of new and antique items that you won't find elsewhere. Standout pieces include glass plates by John Derian, linen tablecloths and tea towels by Les Toiles de Soleil and limited edition illustrations by Glynn Boyd-Hart. benpentreath.com [caption id="attachment_1169" align="aligncenter" width="650"] New and antique pieces at Ben Pentreath[/caption] [caption id="attachment_1171" align="aligncenter" width="650"] Ben Pentreath, Bloomsbury, London[/caption] Normann Copenhagen. Copenhagen Wander around Norman Copenhagen's vast flagship store, once home to a theatre, and the most mundane household item seems like a work of art. The 1700 square metre space is filled with quirky products that challenge traditional design; tilted cognac glasses that gently rotate around a point and twisted 'swing' vases (each one unique) in which it would be impossible to put flowers in, are just a couple of the unusual items you can pick up from here. normann-copenhagen.com [caption id="attachment_1172" align="aligncenter" width="650"] Normann Copenhagen’s 1700 sq metres of design[/caption] [caption id="attachment_1170" align="aligncenter" width="650"] Normann Copenhagen[/caption] Moooi. Amsterdam Moooi's flagship store in Amsterdam is a weird and wonderful space full of innovative furniture, lighting and home accessories arranged in Dali-esque displays. Alongside the store's own range, designed by co-founder Marcel Wanders, and other established designers such as Jasper Morrison and Ross Lovegrove, Moooi is credited with giving up and coming designers their big break. Relative unknowns Front were catapulted into the limelight when Moooi stocked their somewhat surreal matt black lamp in the form of a life size horse. moooi.com [caption id="attachment_1163" align="aligncenter" width="800"] Moooi’s flagship store in Amsterdam[/caption] [caption id="attachment_1177" align="aligncenter" width="650"] Dali-esque displays at Moooi[/caption] Il Valore Aggiunto. Milan Set back from the street, the treasure trove that is Il Valore Aggiunto, project of sisters Elena and Patrizia Sterzi, is not easy to find but is well worth the effort. A loft space that opens out into a picturesque courtyard; the duo have amassed a vast selection of decorative furniture, frames, mirrors and chandeliers with elaborate Italian flair plus period pieces ranging from the 1700s to the 1970s. ilvaloreaggiunto.it [caption id="attachment_1176" align="aligncenter" width="650"] Il Valore Aggiunto, Milan[/caption] Graanmarkt13. Antwerp This unusual boutique in a residential neighbourhood in Antwerp houses founders Ilse Cornelissens and Tim Van Geloven in the top floor of their stately renovated row house whilst the remaining three floors they have thrown open to the public. The result is an intimate and warm shopping experience filled with a carefullly selected range of home accessories and fashion from cutting edge designers. The location also boasts an exhibition space, restaurant and outdoor terrace café where shoppers can relax with a glass of champagne. graanmarkt13.be [caption id="attachment_1178" align="aligncenter" width="650"] Graanmarkt13, Antwerp[/caption] [caption id="attachment_1168" align="aligncenter" width="650"] Graanmarkt13[/caption] Mint. London Mint, based in central London, is an interior designer's dream. Avant-garde furniture and home accessories are hand picked by owner Lina Kanafani, who champions emerging talent, often commissioning design graduates for one-off and limited edition pieces for the store, which is laid out in the context of a real living space. Hand crafted 'bark bowls' carved from reclaimed trees which are dried for a number of months before applying a bright lacquered interior, are just one of Mint's unique offerings. mintshop.co.uk [caption id="attachment_1175" align="aligncenter" width="650"] Mint, London[/caption] Hay. Copenhagen For effortless style and the best of contemporary Danish design look no further than Hay on Copenhagen's bustling Østergade. Clean lines and bold colours make up the desirable furniture from the likes of Louise Campbell and Jakob Wagner plus a fantastic selection of rugs range from the fun, multi-coloured 'Pinocchio' rug to some well chosen vintage boucherouites. Chic stationery sets and beautiful children's toys are also on offer. hay.dk [caption id="attachment_1173" align="aligncenter" width="650"] Iconic Danish design at Hay, Copenhagen[/caption] Svenskt Tenn. Stockholm Established in 1924, Svenskt Tenn has a long history but a recent refurbishment has seen the store almost doubled in size and given a new lease of life. The perfect place to see the newest trends in iconic Scandinivian design, the store has an array of colourful and contemporary pieces plus an extensive fabric and textiles selection. The newly revamped store even has a charming tearoom offering a selection of teas specially customised for the store and served in teacups by Florentine porcelain maker Ginori. svenskttenn.se [caption id="attachment_1174" align="aligncenter" width="650"] Scandinavian design Mecca, Svenskt Tenn[/caption]

Luxury Travel View

dariussanai — Wed, 05 Sep 2012 06:50:35 +0000

[caption id="attachment_1185" align="aligncenter" width="450"] Hutong, fiery food, fiery views[/caption] In which our Editor-in-Chief travels from a neo-Mongolian skyscraping culinary landmark in Hong Kong to a 17th century tithe barn in Hampshire, and points between Arriving in Hong Kong from London in the early evening, being whisked to my hotel and being checked in in-room, the call of mild has never been more powerful. A thorough room service menu, ranging from Cantonese to club sandwich, the assurance of brisk service and a half-bottle of 2009 Sauzet Puligny-Montrachet, a view from the sofa across to Kowloon, and a four-day schedule of meetings starting with no respect to jet-lag at eight the following morning: why would you venture out of your luxury hotel room? Because... well, just because a friend who owns a tour operator had told me the Star Ferry to Kowloon is the best introductory experience to Hong Kong, and because otherwise the city would be viewed for the first time through the rose-tinted spectacles of dinners, lunches and parties with friends. And so with pockets jangling with change for the ferry ticket machine, and the hotel doorman's slightly perplexed ministrations that it would be much more convenient for me to take a taxi to Kowloon, uncomprehending of the fact that the journey was the destination, I headed through the tropical rain, along a latticework of walkways, past hurrying locals and the odd sauntering tourist, and took my place on a seat by the window. The churning journey across the few hundred metres to Kowloon plunges you into a valley of sea between mountain ranges of human endeavour and show, the edifices on either side; and then you are in Kowloon, and ducking into the lobby of an office skyscraper just before the downpour starts again. Strange for a Westerner to travel to an acclaimed restaurant in the lift of an office building, but exit on the 28th floor and this is the world of Hutong, a sort of Inner Mongolian gastronomic temple (I later learned that it is designed to mimic Ancient Peking) complete with contemporary bar and ravishing guests. I sat at a table by the floor-to-ceiling window and gazed at the jumble of skyscrapers, each bigger than the last, spreading up and across and out, of Central, Hong Kong, obscured sometimes for seconds by drifting low clouds of the storm and then switched on again as the sky cleared. I toasted the view with a half-litre of draft Veltins, one of German's finest, most aromatic lagers served icecold and surprising at Hutong. The cuisine is a meld of northern Chinese with whatever else they wish to serve, and my beef fillet with Sichuan chillis was edgy, precise and focussed. The following evening I was taken by a friend to his new(-ish) restaurant, The Principal, in Wan Chai, a formerly sleazy, now rapidly yuppifying, area along the seafront that mixes massage parlours and ultra-cool shops in roughly equal measure. The Principal is unusual for Hong Kong, I was told, in that its entrance is on street level, which makes it very usual for where I come from. You walk through a gleaming bar area and into a restaurant room that is pared back, minimalist contemporary chic. The menu is Australian in its imagination, and quite contemporary London in its simplicity. The signature starter of baby beet, yoghurt, black quinoa and micro herbs was a quadratic equation of flavours with a very complete resolution; saltbush tenderloin of lamb with sweetbreads, aubergine, chickpeas and Moroccan ras-el-hanout was not North African so much as mid-Indian Ocean, and perplexing and delightful. My friend also owns a wine business, so the Wine Atlas, with picks of the most interesting wines from around the world, was very compelling. This sort of laid-back glamour is the new Hong Kong style, apparently, and London could rather do with some of its own. [caption id="attachment_1186" align="aligncenter" width="600"] The Principal, a culinary highlight in Hong Kong’s cool Wan Chai area[/caption] Business finished at lunchtime on the last day in Hong Kong, a Sunday, so a friend who runs an auction house and I wandered down at teatime to the Captain's Bar, a legendary institution in Central, the heart of town. In a part of the world where high floors and astronomical views are de rigueur for bars, it was arresting to be in a windowless space on a ground floor, an L-shape punctuated by glass tableaux of a chess game, low banquettes, and private jet set businesspeople of no fixed abode muttering deals to each other. This is one of Asia's most celebrated cocktail bars, but with a 12-hour flight ahead we weren't in the mood for cocktails, instead finding solace in the metal tankards of extremely cold, perfectly headed Asahi lager. As the Germans and Belgians - and evidently the Hong Kongers - know, beer benefits from being served correctly as much as any wine appreciates its appropriate Riedel stemware. I had never had lager in a metal tankard before, but after two, we agreed that your own personalised, engraved tankard at the Captain's Bar was an essential item for any gentleman of the world. My friend had auctioned off two of these for charity a year or two before, but sadly they are no longer available, so I left Hong Kong with a slight sense of yearning. [caption id="attachment_1184" align="aligncenter" width="600"] Frank Gehry-designed fish on the seafront at the Hotel Arts, Barcelona[/caption] I have wanted to visit the Hotel Arts in Barcelona for more than a decade, but despite a number of trips to the city, never quite managed to make it. Back in 1998, the world, or Europe in any case, had seen nothing like it: a new build skyscraper devoted to showing off artworks to its guests, more six-star than five. In a city as earthy as Barcelona, it is a strange and rather liberating feeling to be hoisted 20 floors into the sky and survey the scene from above, Asian-style. My room was a paragon of contemporary comfort: silence, a perfectly-sprung bed, a bathroom with the glass walls that are essential parts of a hotel designer's repertoire now (affording more physical space as well as a feeling of it). And if you tire of Barcelona's rather impressive (for a big city) public beach on the doorstep, you can view what is probably Spain's finest overall collection of contemporary art or retire to the hotel's own pool, stretched out just below the landmark Frank Gehry fish sculpture, which could be said to have kickstarted the whole contemporary design trend in northern Spain. The pool's architecture is such that it reminded me rather of the Villa d'Este's pool on Lake Como, famously floating in the lake on its own pontoon, even though the Arts’ pool is very much on dry land. Without wishing to belittle the hotel's art offering, which is compelling and makes a stay rather like staying in a contemporary museum, my highlight was art of a different form, in the restaurant Arola. This is food with wit, taste and just enough conception: cod esqueixada with tomato pearls, very particular patatas bravas, sea cucumbers and razor clams with kalix (which reminded me of samphire) were wonderful and not overdone. The artistry of the form of the dishes was matched by their culinary execution; here is another example of modern Catalan cuisine taking its inspiration from Ferran Adrià's now departed El Bulli but painting with its own palette, so to speak. And one of the most refreshing factors was its informality: Arola is conceived as a modern take on a tapas bar, so the service was swift and down-to-earth, not remote and Michelenic. Home territory this summer featured a tour of the ancient hillsides of the Cotswolds, and a delve further south. I was struck a few years back when a friend who owns some of the coolest hotels in the world told me he considered Barnsley House as his favoured retreat in the now-ultra-fashionable hillsides and wooded folds between Oxford and Gloucester. England has recently been host to a number of spectacular country hotel openings, and I went expecting a grand super-Cotswold resort, only to be greeted by a bijou little property, all higgledy rooms and hidden staircases, tastefully refreshed in a contemporary style. Our suite was in a former stable, approached along stepping stones in its own private garden - very St Tropez and perfect for a shy rock star making an escape with the wrong person's girlfriend, in its seclusion. Inside the palette was light and contemporary, an offset to the building's history. It was all very refreshing, although the garden and private water area could perhaps have been more organic, more easy on the eye. For those who want country without Country Life, Barnsley House is probably a perfect weekend stop. As traditional and cosy as Barnsley House is New Gen Chic, Woodstock's Feathers hasn't changed much, barring the required investment in keeping everything up to date, since I used to escape there on Sunday evenings with friends while a student at Oxford in the late 1980s. This establishment fixture can accurately claim to be the Gateway to the Cotswolds; it is also on the doorstep of my favourite stately home in the area, Blenheim Palace. [gallery type="rectangular" ids="1190,1189,1188,1187"] The Feathers has been nurtured lovingly into the modern era, not jolted into it: fabrics and warm and autumnal, grandfather clocks still stand, history is alive, but there is a lack of fust and fuss. There is a feeling of cosiness, enhanced by the enclosed (in the best possible way) nature of its 17th century buildings. Service is friendly and country, not town, and you get the feeling that a gin and tonic, rather than a raspberry Martini, will be the favoured drink here for a century to come - although naturally they will serve you both. Fifty kilometres is a distance that means nothing in China (unless you're breaching the border between Hong Kong's Special Administrative Region and China proper). In England, it takes you to a different part of the country, as a foray to Norton Park from the Cotswolds attested. Steep rolling hills are replaced by broad downs and open plains, and Norton Park makes the most of these views and its wonderful and vast 17th century tithe barn. Here is a new-style country hotel of a different perspective; the simple, well-sourced and thoughtfully cooked country cuisine tells the tale of a country whose culinary history has been jolted out of a shameful past in just the last 10 years. Norton Park's new building is removed by some ancient woodland from its original manor house, where we found snug ceilings, secret passages, and a lawn leading to a duckpond and an overgrown copse; ancient meeting modern. Darius Sanai is Editor-in-Chief of Condé Nast Contract Publishing

Not Just a Pretty Face

dariussanai — Mon, 11 Jun 2012 03:43:35 +0000

Chinese jewellery designer Dickson Yewn combines contemporary chic with rich historical references – and is a favourite of Michelle Obama. Karys Webber meets him

“It’s akin to asking if one likes a pretty girl with no soul”, says Hong Kong-based jewellery designer, Dickson Yewn, in response to my asking about the importance of symbolism in his designs. “It wouldn’t be a piece of Chinese jewellery if it doesn’t represent something auspicious, important designs need to have a story and I have plenty of untold stories.” Jewellery that is designed simply to be pretty to look at, this is evidently not. And it’s really rather refreshing. Each of Yewn’s unique and exquisitely designed pieces aim to tell a story, his collections are lessons in Chinese history and culture, told via the medium of jewellery.

Born and bred in Hong Kong, Yewn started drawing when he was just nine; “since then I haven’t stopped learning about art nor seeking beautiful things,” he claims. His fascination with all things oriental also took a hold of him in his early years. “I was top of my class in Chinese history and literature,” says Yewn, “What’s more, I was in a Catholic school where only two subjects were taught in Chinese, the rest were in English, so Chinese became something of a rare gem to me.” Despite this, Yewn went on to study elsewhere, in Vancouver first, then Ottawa, and ended up in Paris at the Sorbonne studying French literature and civilisation. Once his studies were completed, Yewn first channelled his creativity into the world of film and advertising; “I’ve always had a burning desire to express myself in some sort of medium, as a teen, film was my first love.” But after four years, it was his self-confessed “poor verbal communication” that prompted a change in direction. “Film and advertising demanded a lot of communication, so I withdrew to something more personal, some form of expression that didn’t require me to work with others. I picked jewellery design and fine arts.” With that, Yewn went off to study again, this time in New York, at the Fashion Institute of Technology where he completed two courses to master the art of jewellery design. By 2000, Yewn’s conceptual jewellery store, Life of Circle, had opened in Hong Kong’s trendy Tsim Sha Tsui district and swiftly acquired a dedicated and elite clientele.

Yewn gained the ultimate seal of approval from the first lady herself, Michelle Obama

Since then, Yewn has gone on to receive impressive worldwide acclaim – Life of Circle was named one of the top 25 stores in the world by Forbes magazine in 2005 (alongside fashion forces, Hermés, Manolo Blahnik and Ralph Lauren) and a collaboration with Sotheby’s in 2008 saw Yewn’s jadeite, diamond and melo pearl (extremely rare due to its vibrant, apricot orange hue) collection sell for a whopping HKD$5.32 million at auction.

More recently, Yewn gained the ultimate seal of approval from the First Lady herself, Michelle Obama, when she wore his Jadeite Diamond Wish Fulfilling Lattice Ring to a high profile dinner at Buckingham Palace in honour of the British Royal Family. “I didn’t know about it until a month after the event” Yewn declares, “a Danish jeweller congratulated me at a trade show and showed me a gossip magazine of her wearing it. I found out later that she bought it at Bergdorf Goodman in New York.” Despite not being one for celebrity endorsements, Yewn admits that he was thrilled; “to have Michelle Obama wear my creation at such a major event is definitely an important milestone and an influential one, given that she is probably the most powerful woman any woman could aspire to be.” Still drawing inspiration from the rich culture of the Orient, Yewn’s recent Imperial Cage collection portrays the ancient craftsmanship of bird cage making and China’s long-standing tradition of breeding birds for display, a symbol of wealth, social status and power. Yewn’s homage to this ritual incorporates black and white diamonds to depict a birdcage and traditional Chinese flowers, chrysanthemum and plum blossom. The equally stunning Fragrance Locket collection tells the story of the fragrance pouch, stuffed with aromatic herbs and worn around the neck in ancient China, thought to ward off evil and bring good fortune. yewn.com

A Stately Cruise

dariussanai — Wed, 06 Jun 2012 09:35:24 +0000

[caption id="attachment_1205" align="aligncenter" width="650"] A golden glen enroute to the Lodge[/caption] When your everyday car is a Rolls Royce Phantom and your back garden stretches over thousands of hectares, a drive between your properties in something completely different has its own sort of appeal. Dr Sin Chai, a Scottish-based entrepreneur, makes a tour of some of the most spectacular scenery in the Scottish Highlands in the Mercedes- Benz SLS AMG Roadster A good friend and I try to do this at least twice a year: a road trip somewhere interesting in a ‘nice’ car. We both own a few of these, but this year we were presented with an interesting option: a Mercedes-Benz SLS AMG Roadster, the most expensive model in their portfolio and a rival for some supercars we are rather familiar with. [gallery type="rectangular" ids="1207,1204,1206"] The next question was, where to go. We have done most wine producing regions, and then one day it hit us: the obvious answer had been there all the time. Scotland has some of the best driving roads in the world, and it's also where I happen to live and where my company happens to have a few hotels. The car was delivered to The Atholl, our latest hotel and Edinburgh's most exclusive, at 9:00 am on a weekday morning. The first thing I noticed was that it was holding up the morning human traffic on the pavement very seriously. Foot traffic in Edinburgh has been considerably disrupted by the tram works, and pavements have been diverted and traffic rechanneled. People (mostly men) were slowing down and taking a second look. Whilst leaning on the car, I made the most of it; nonchalant, sunglasses on, trying to look ordinary. It felt rather well-placed to The Atholl: a car you could arrive in, park, and then stroll into your private whisky-tasting room (we have whiskies that nobody else does) or sample some first growths and cheese from your in-room cabinet while soaking in a hot tub on your terrace. The SLS is powered by a 6.3 litre engine handbuilt by AMG. Most cars of this caliber give out a growl whenever the accelerator pedal is touched. The SLS noise was much more civilized, a controlled purr, indicating there is plenty of reserve. It was a different pitch, more like a jet engine, and again it was turning heads as soon as we started burbling down the streets. My friend drove first, and on the open road he put it to the test. In short bursts the acceleration was phenomenal. As soon as his foot was off the pedal, the car abruptly decelerated, obviously gearing down, ready for the next surge. The driver was completely in control, and so I felt safe as the passenger. Is this what Formula 1 driving is like? Will have to ask Jenson or Lewis. [caption id="attachment_1209" align="aligncenter" width="500"] The Mercedes-Benz SLS AMG roadster[/caption] I am a more sedate driver than my friend, but I felt it was my duty to do the needful, since I was going to have to write about it. At slow speeds (70mph, legal) it felt comfortable, just like a luxury marque. It really came into its own when cornering at high speed. Twisty Scottish mountain roads are very testing, and Scottish winters are not kind to tarmac: cracked surfaces remain so all summer. Even on what the government euphemistically calls “uneven surface” (read potholes), the SLS was stable, and did not bounce around. And it shot out of corners like a rocket. [caption id="attachment_1203" align="aligncenter" width="650"] Alladale Wilderness Lodge[/caption] We made it, hair tousled by the wind, to Alladale, our other new hotel. Alladale Wilderness Lodge is a 23,000 acre estate in the remotest part of Scotland, the Northwest Highlands of Sutherland. Up here, you are more likely to bump into a European bison, moose, Scottish wildcat or a wild boar than a supercar, or indeed any car. Our Land Rover Defenders are rather more suited to the terrain there, but the SLS was happy ambling up the single-track lanes on the approach. I was sad to let go of the car after two days of bliss. The very competent top opening mechanism (with the top open, at speeds over 50mph, rain is deflected by the very clever design and you don’t get wet!), the little warning flashes in the wing mirrors whenever a car (or a Highland cow!) sneaks up in the blind spots, all these made the SLS special. The superb handling one just took for granted. Dr Sin Chai is chairman of ICMI and is not a racing driver; icmi.co.u

Art's Hot Six

dariussanai — Thu, 07 Jun 2012 06:13:16 +0000

Six of the best Anyone with a few million to burn can buy a Richter, but who are the hottest living artists that everyone doesn’t know about? Our columnist, a consultant to some of the world’s most prominent collectors, gives the lowdown on her hot half dozen LISA SCHIFF Tal R Tal R is an Israeli-born, Danish artist who is often mistaken as German. His presence in Berlin and Düsseldorf seems to have overshadowed his actual roots in Copenhagen. I think this is important because much of what makes up Tal R’s paintings, drawings, or sculptures comes out of his personal experience in Denmark. One visit to the Tivoli Gardens and all of his figures come alive. While less known in North America, Tal has a line-up of European museum shows through 2017. He will be having his first New York show at Cheim & Read this November which should not be missed. [caption id="attachment_1217" align="aligncenter" width="650"] Tal R: Night Awning, 2012[/caption] Sterling Ruby [caption id="attachment_1219" align="aligncenter" width="350"] Sterling Ruby[/caption] Sterling Ruby is not unknown; maybe he even has too much attention. Nonetheless, I think it’s worth mentioning because I think he still has a way to go. Sterling has been making interesting work in LA for at least a decade now, if not more, and it keeps on coming. Sometimes an artist can attract a certain market hype early on that can actually damage his or her career. This has been the case with Sterling, but he seems to be impervious to it. Sterling shows with Xavier Hufkens in Belgium and with Sprüth Magers in Berlin and London. He is currently considering several galleries for representation in the US. [caption id="attachment_1218" align="aligncenter" width="400"] Sterling Ruby’s Installation at Sprüth Magers Berlin[/caption] Charline Von Heyl [caption id="attachment_1220" align="aligncenter" width="200"] Charline Von Heyl[/caption] Charline has been making great paintings for decades. Unfortunately, the first thing most people say about Charline is that she is Christopher Wool’s wife. At long last, those days are finally fading. One of the many difficulties in being a painter is to contribute something new to the history of the medium. It’s not easy to emerge with an original visual vocabulary, but Charline has done it and done it brilliantly. For the past few years, she has had back-to-back museum shows in both the US and Europe, and they are knockout shows. Sometimes it takes time to catch up with an artist’s vision. I have been looking at Charline’s work for years and finally, with her last show at the ICA Boston, I had my “aha” moment; I am catching up with her vision. The best news, the paintings are incredibly undervalued. At least for now, but I doubt for long. See Petzel Gallery in New York to learn more about her work. [caption id="attachment_1221" align="aligncenter" width="600"] Charline Von Heyl: Spanish Fly, 2007[/caption] Roe Ethridge [caption id="attachment_1222" align="aligncenter" width="250"] Roe Ethridge. Self-portrait (Polaroid)[/caption] Roe, I think, will emerge as the William Eggleston of this generation. Lately photography has taken a back seat to painting and sculpture, as the heyday of the big, glossy works of artists like Gursky and Struth seems to fade into the distance. Roe’s particular style never made it to the heights of fashion as did the former, and that appears to be a good thing as all the while he has been making consistently good work with consistently positive critical response. His prices have been kept fairly low over the years while the quality in production has remained high. I have been buying and selling his work for 10 years now and cannot wait to see where he is at in another 10 years. I am guessing he will go down in photo history as epic and I suspect he is now recession proof. Andrew Kreps Gallery in New York is where I bought my first photo in 2002 and it’s where I just bought the most recent. [caption id="attachment_1223" align="aligncenter" width="400"] Roe Ethridge: Louise with red bag, 2011[/caption] Alex Israel [caption id="attachment_1224" align="aligncenter" width="300"] Alex Israel[/caption] [caption id="attachment_1225" align="aligncenter" width="500"] Alex Israel: Sky Backdrop, 2012[/caption] Throughout the history of southern Californian art, certain major father figures have emerged – Baldessari, Ruscha, Opie, Zittel, Kelley, McCarthy, Pittman amongst others. It seems that young Alex has a good chance of sliding into one of these spots. His work is informed entirely by popular culture but particularly that of SoCal today and largely by Hollywood film culture. He makes art different than any other artist working today – i.e. faux talk show videos, sunglasses, paintings fabricated on the Warner Brothers’ lot, rented film props, etc. Alex’s work is already becoming difficult to access. Javier Peres in Berlin is the best way to find him. Tavares Strachen Probably the best secret tip I could impart would be regarding Tavares. Born and raised in the Bahamas, he made his way via scholarship to RISD for his BFA and Yale for his MFA. Now based in NY, he makes art that is informed by science and that largely engages timely questions about man vs. nature and man’s place in the world. Unlike other black artists, Tavares is not focused on blackness as a subject; rather he is interested in the way travel, the Internet, and globalization have contributed to general displacement for any race. He reminds us of Gauguin’s famous work: Where do we come from? What are we? Where are we going? Although he does not have representation just yet, it’s almost impossible to obtain works by Tavares. Somehow those in the know have already made their way to his studio. [caption id="attachment_1216" align="aligncenter" width="600"] Tavares Strachan: 01 02 Already Home, 2010[/caption] Lisa Schiff is principal of Schiff Fine Art schifff ineart.com

Indonesia Voyage of Discovery

dariussanai — Sun, 10 Jun 2012 06:38:08 +0000

Indonesian art is hot at the moment as collectors worldwide discover its variety, spirituality and depth. Arianne Levene, a leading global curator of Asian art, presents her four favourite Indonesian artists. [caption id="attachment_1238" align="aligncenter" width="650"] Agus Suwage[/caption] Agus Suwage Agus Suwage is one of Indonesia's most influential artists. I first came across his work in 2008 at the Shanghai Art Fair where he presented an impressive installation of 50 watercolour depictions of major 20th century artists. This particular work, portraits of our most controversial and challenging conceptual and performance artists, excited me not just for the artist’s exceptional drawing skills, but for his almost encyclopedic knowledge of and interest in art history. The work is a homage to those who have most informed Suwage’s practice (Marcel Duchamp, Nan Goldin, Sarah Lucas); its quotations of iconic and transgressive poses create a tissue of visual rhythms, presenting the body as a site of influence. [caption id="attachment_1241" align="aligncenter" width="330"] Eko Nugroho[/caption] Eko Nugroho Eko Nugroho is a key figure in the contemporary Indonesian art scene. His unique visceral visual language, which borrows from comic books, a combination of traditional Indonesian folk art, western painting and urban art, allows him to communicate serious political messages to both his contemporaries and to the younger generation. The hybrid characters in his art populate a mysterious universe, one which is disconnected to the rapidly changing nature of the world, dominated by social and political injustices around us. Nogroho’s multidisciplinary approach, which includes murals, paintings, sculptures, drawings and embroidery, add to his universal appeal whilst highlighting his creative talent. [caption id="attachment_1240" align="aligncenter" width="314"] Ariadhitya Pramuhendra[/caption] Ariadhitya Pramuhendra Ariadhitya Pramuhendra is rapidly making a name for himself as an artist to watch in Indonesia. His large-scale black and white charcoal portraits capture the viewer with their striking beauty and powerful spiritual undertone. As a Catholic in a predominantly Muslim country, Pramuhendra is continuously driven to question his own identity. I am particularly fascinated by his daring decision to revisit figurative painting, reviving the tradition of western selfportraiture as well as Christian iconography by repeatedly depicting himself in a position of authority. His most recent works search for the truth and divine in man by raising thought provoking questions regarding the legitimacy of universally accepted organisations, such as established ‘state’ religions and medical institutions. [caption id="attachment_1239" align="aligncenter" width="650"] Nyoman Masriadi[/caption] I Nyoman Masriadi Arguably the most well-known of the contemporary artists working in Indonesia today, Nymon Masriardi's razor sharp observations of Indonesia's male dominated society and, more precisely, its art world, are both highly entertaining and superbly executed. Superhero's, boxers, footballers, athletes and men at work are characters that appear again and again in the artist’s theatre of the absurd and serve as both his alter ego and his contemporaries. Whilst his style has evolved tremendously in the last ten years from a more cubist inspired caricatural figuration to a comical realism, there remains a definite artistic stamp thanks to his signature black skinned figures. Arianne Levene, Founder of New Art World. newartworld.co.uk

Living on the Edge

dariussanai — Mon, 12 Mar 2012 02:04:20 +0000

[caption id="attachment_1266" align="aligncenter" width="650"] Epic Tomato’s Iceland trip[/caption] Travelling to the earth's wildest places has obsessed humans for centuries. The difference is that now, we can do it in style and little risk, as Darius Sanai explains To travel to the ends of the earth. It's a metaphorical concept these days, but one that has inspired travellers from Livingstone to Scott. Many of us would like to think of ourselves as modern-day explorers, setting foot where no man or woman has gone before, and there are a surprising number of experiences that can take you very close to this goal. Staying in a mountain village in Papua New Guinea, or trekking across the Antarctic, may not be replete with the kinds of danger Stanley faced in Africa or Scott in the South Pole, but it's certainly a change from the office grind, yacht or private jet, however privileged your lifestyle. And a new generation of travel companies has emerged to assist clients with just such demands. [caption id="attachment_1268" align="aligncenter" width="600"] Antartica exploration from Abercrombie & Kent[/caption] It's about far more than barefoot chic. "One of our clients, who is on the Forbes Billionaires list, comes from a very humble background," says one travel company insider. "He wanted to show his children that the world is very different from their Chelsea house and Nikki Beach holidays. He asked us to organise a three month tour through South America, including being left on an Amazon tributary for a week with just the supplies on their back. They had no satellite phone, nothing: if they'd gotten ill or lost, they would have died. But they didn't; and they had the time of their lives." They also spent time in mountain villages in Peru where very few Westerners had gone before. Some may decry such journeys as "human safaris", but how better to learn about the world? And if it is done with humility and empathy, there is no reason why all three sides - the traveller, the locals, and the travel company - can't benefit. [caption id="attachment_1267" align="aligncenter" width="350"] Going over the edge with Epic Tomato’s first Guyana and Venezuela adventure[/caption] One of the companies at the forefront of this style of travel is the London and New York-based outfit Black Tomato, which has recently launched an even more extreme offshoot, Epic Tomato. "To me Epic Tomato is about meeting the needs of an experience-hungry person who wants to be challenged and get more than the easily accessible," says Tom Marchant, the company's young founder and CEO. "They may have the yacht, the plane and the island but to summit a never-beenclimbed mountain, or trek through jungle that no western traveller has ever set foot in, is something truly unique. "To me it is also a modern definition of luxury. Luxury these days is about providing rare access and extremely personalised services to an individual and dropping off the grid to go somewhere where few others or no one has been before is the embodiment of that."

They may have the yacht, the plane and the island but to summit a never-been-climbed mountain, or trek through jungle that no western traveller has ever set foot in, is something truly unique

Another player in the adventure travel field is the global travel company Abercrombie & Kent. Says their UK Managing Director Justin Wateridge: "Our clients have the curiosity and confidence to learn more of the astounding diversity of this planet. Travel gives them so much – experience, empathy, perspective, understanding and such vivid memories. They come to us for inspiration. We listen to their brief and deliver an experience that is tailor-made to their needs." The great Victorian-era travellers were criticised in some quarters as selfish, for leaving their families and seeking personal gain from their experiences. We can be just as selfish; the difference is, we can do it with our families, and with rather less risk to life and limb. These pages are a celebration of the enduring human passion for adventure travel. [caption id="attachment_1265" align="aligncenter" width="600"] Hunting in the jungles of Guyana[/caption]

Art on the Far Side

dariussanai — Wed, 11 Jul 2012 06:50:26 +0000

[gallery type="slideshow" ids="1276,1275,1274,1278,1277,1279"] Tasmania may be an unlikely location for a cutting edge art show, in a state-of-the-art museum space. But that's exactly what you'll find if you make the spectacular journey to the Museum of Old and New Art this summer Darius Sanai If ever there were a show that could be dubbed Adventure Art, it would be this. On an exposed tip of the island at the farthest corner of Australia sits the spectacular Museum of Old and New Art, a space that combines a microbrewery, chic wine bar, restaurant, arresting architecture, and, oh, one of the world's greatest collections of global antiquities, combined with dramatic works by leading contemporary artists from around the globe. It is into this space that Jean-Hubert Martin, former director of the Centre Georges Pompidou in Paris, is guest curating a one-year show launching this June, entitled Theatre of the World. The show is a journey through the wildest recesses of Africa, South America, Australasia, and east London, with works by artists ranging from Chris Ofili to Sidney Nolan. There are more than 300 works on in a show the museum describes as taking visitors "on an experiential voyage that moves them from the visceral to the symbolic, and the factual to the poetic." In an interview with LUX, Martin commented: "There is no reason to look at art only in terms of historical and geographical categories. An anthropological perspective allows for comparison between any creations of humankind. It provides a much broader scope." Those making the journey, he said, "should be free to interpret and play with their imagination, combining and playing with their knowledge, not mine, in front of items we have put together to excite their neurons." And if your neurons don't get enough excitement from the 4000 year-span of the works on show, there's always the rest of MONA, which includes a rather splendid winery and brewhouse. MONA itself is the creation of David Walsh, a brilliant, colourful, and eccentric Tasmanian multi-millionaire, and if his aim was to put Tasmania on the world map, one could say he is certainly succeeding. A visit to MONA is an adventure in itself; and getting there only adds to the fun.

To the Ends of the Earth

dariussanai — Tue, 13 Mar 2012 12:00:19 +0000

[gallery type="circle" ids="1282,1286,1285,1284,1283,1287,1288,1289,1290"] For the adventurous traveller, no continent has the allure of Africa. The cradle of civilisation is also host to the world's greatest big game, some of its most magnificent vistas, and is spellbinding in the sheer variety of its wildlife. Award-winning photographer William Chua has travelled many of Africa's most celebrated wilderness areas, from the Serengeti to the Namib, and we showcase his images on the following. William Chua is an award-winning photographer whose work has been seen in numerous international publications such as Geographical Magazine (UK) and Asian Geographic Magazine. In collaboration with luxury travel experts Country Holidays, William also accompanies photo hobbyists to the far ends of the earth to share his passion and impart wisdom to help capture the perfect shot. williamchua.com countryholidays.com.sg

Swiss Serenity

dariussanai — Sat, 02 Mar 2013 00:42:10 +0000

[caption id="attachment_124" align="aligncenter" width="800"] The Matterhorn put Zermatt on the map[/caption] DEEP BLUE SKIES, PERFECT TEMPERATURES, NO TEEMING CROWDS, EXCELLENT CUISINE, CLEAN AIR, ENVELOPED BY NATURAL BEAUTY: WHAT’S NOT TO LOVE ABOUT THE SWISS ALPS IN THE SUMMERTIME, ASKS Darius Sanai [caption id="attachment_119" align="alignleft" width="273"] Beau Rivage Palace overlooking Lac Leman[/caption] The deep midwinter is when residents of the western hemisphere traditionally make their plans for the summer holidays, and the world’s travel industry has long been shaped around these rhythms. Things are changing, as a rapidly increasing number of travellers from countries where ‘summer’ is a far less clearly defined concept (think Singapore, Hong Kong, Brazil, India) make their presence felt. And even among those for whom seasons are clearly demarcated, the tendency towards last-minute travel means booking in July, for July, is more than a temporary trend. But still: you’ll be reading this in the traditional Western winter, and you won’t have missed the flood of television and magazine advertisements enticing you towards your next grand trip. You may well hear the howling of a winter gale outside, and you might have gritted the drive this morning ahead of the forecast snow. All of this might go some way to explaining why a quite perfect summer holiday destination for anyone with an active family, a love of luxury, culture, cuisine and the great outdoors, rarely appears at the top of people’s list. Switzerland is associated with many great things, but intense heat and sunshine are not among them, which is a great shame because I and the family picked up the most lasting tan in years during the couple of weeks we spent touring some of this country’s most interesting Alpine destinations last summer. Switzerland may be mountainous, but the southern half of the country is also Mediterranean - it borders Italy, makes wine, serves antipasti and pizza, and some of it even speaks Italian - so sunshine is coupled with clean air and moderate temperatures. The latter is a boon as anyone who has ever tried to take small children to Sicily in August as we did the previous year may know. Forty degrees is OK for sipping rose in the shade, but not for actually doing anything much. In the mountains, strong sun combines with temperatures in the 20s to make for perfect days. Before I continue, a note: this article has been strung together below from a series of visits at different dates to the destinations below. However, there is no reason at all why someone might not combine some or all of them in one trip, as Switzerland is as compact as it is mountainous. By The Shores of Leman: The Beau Rivage Palace, Ouchy Anyone who knows Lac Leman, or Lake Geneva, from its reference in TS Eliot’s rather depressing Wasteland poem might be expecting a rather gloomy place, but arriving in Ouchy, a bijou port village appended to the city of Lausanne, the feeling is just the opposite. The streets - formerly vineyards, which still surround the village - slope steeply down to the lakeside, the pastel coloured buildings speak of Romantic architecture, and the lake itself stretches thick and blue and still, some 10km across to the spectacular mountains on the French side, and as far as the eye can see both left and right. It’s a south facing location, not so much bathed as drowned in delicious southern sunlight: the point at which northern Europe becomes southern Europe. From here, all rivers flow south, to the Mediterranean, and the North European Plain is left behind. [caption id="" align="alignleft" width="174"] Beau Rivage Palace overlooking Lac Leman[/caption] The location deserves a great hotel, and it has one, courtesy of the Belle Epoque travellers who flocked here in search of sunshine and clean air. It pays to be wary of 100 year old palace hotels in Europe, as some of them have fallen into disrepair as travellers take their money away by jet; but I was delighted to see that it was precisely the opposite with the Beau Rivage. The ceilings are high, the corridors palatial and the ballroom is a wonder, but everything has been refurbished to top global standard at what must be an absolutely eyewatering cost to the private owners. Our rooms had two balconies looking out over manicured lawns, a wood, tennis courts, a large outdoor pool and a considerable terrace area - the hotel seemed to stretch in every direction, a great relief after the cramped conditions one encounters even in the very best Mediterranean hotels. The view stretched to the Mont Blanc massif, looming opposite over the lake (Mont Blanc itself is hidden behind its siblings), and to the Upper Rhone valley to the left. The pool turned out to be two pools, indoor and out, with diversions to tennis, table tennis, giant chess and simply meandering through the grounds as appropriate. The surrounding area is home to one of the world’s highest concentrations of Michelin-starred restaurants, but, frankly, why bother? We started in the hotel’s bar, which has been remodelled with advice from some extremely cool Londonbased consultants in a super-contemporary style that is somehow still in keeping with the location - plenty of greys and dark woods, not too many urban whites. Mojitos, alcoholic and otherwise, provided a good counterpoint to the day’s heat, and I can’t imagine there are many other places in Switzerland where you can get a Mojito as good as at Claridge’s Bar. [caption id="" align="alignleft" width="350"] Gstaad Palace’s New Lounge[/caption] [caption id="" align="alignright" width="346"] Private spa suite at Gstaad Palace[/caption] The oriental-style bar snacks were spot on, but for dinner on our first night we revisited the same spot we had lunch, where I couldn’t resist revisiting a salad of rocket, artichoke, pine nut and parmesan, whose texture still lingers delightfully in the memory. The organic salmon nigiri with yuzu lemon and oyster espuma was a sort of aristocratic sushi that makes one wonder why more Japanese restaurants in Europe are not more adventurous with their nigiri variations. The menu is constantly changing, so you will likely not have what I did, but the conceptualising and cooking were pinpoint sharp. As was the wine list: a Crozes Hermitage from Jaboulet, from the excellent 2009 vintage, accompanied beautifully (although I was later to regret not having tried one of the excellent selection of Swiss wines). The Cafe Beau Rivage is somewhere you could eat every meal of every day, but the hotel also owns a highly popular Italian trattoria/pizzeria in the neighbouring building whose terrace is the meeting point of the young cool set of the area, and a highly regarded traditional Japanese restaurant, Miyako, in the main building. We left feeling rather guilty that we hadn’t indulged in a private boat trip on the lake, or visits to neighbouring vineyards, but it is always best to leave something for next time. The Beau Rivage palace is that rare example of a contemporary classic that makes its destination what it is: without it, Ouchy (pronounced Ooshy) would be a pretty lakeside village like many others in Switzerland and Italy (and it does have an Italianate feel). Gstaad and the Palace Ouchy may have views of high mountains, but in Swiss terms it is a lowland destination, on a large lake at a mere 375 metres altitude. From now, our trip would take us ever higher into the Alps. A little way down the lake from Lausanne is the town of Montreux, known for its globally-celebrated jazz festival but a slightly humdrum place otherwise. Montreux’s railway station is the starting point of the Goldenpass, one of the Alps’ most famed train rides. The train, with a special panoramic viewing roof, makes its way not along the lake, like the main train line, but up the mountainside abutting the lake. It climbs quickly to 1000 metres, over a pass, and then descends gently into a wonderland of deep green Alpine meadow, woodland, lush valleys, streams, and chalets. The children kept a lookout for Heidi, and I kept wondering if it was all a projection by the Switzerland Tourism, the sophisticated national tourist authority, but no: it was real. The air was cooler but still warm, the sunlight tempered by dark forest, the slopes rising to snow patches below rocky peaks. [caption id="" align="aligncenter" width="640"] Train arriving in Gstaad from Montreux[/caption] Gstaad is at the end of this expanse of Alpine perfection, a little town in a bowl of big hills and small mountains, with an open view in every direction. And the Palace in Gstaad sits atop the town like a fairytale castle, with its own tennis courts, spa hewn into the rock, and permanent residence (or so it seems) of clients who have either just arrived or are just about to leave in their private jets from the nearby airstrip. The rockfaces of the mountains turn gold in the dusk sunlight as the conversations on the terrace turn to what the next generation will do with the wealth amassed by this one. Not having to worry unduly about such things, we sipped our aperitifs every evening and spent daytimes split between the hotel’s own spa and exploring the mountains. The spa feels very Swiss, hewn out of the rockface under the hotel, with a granite-lined pool that stretches in an Lshape to a glass wall that opens fully on summer days. The treatments are perfectly thorough and correct as you would expect, my massage unclicking a joint that had been frozen for months; and the adults-only hydrotherapy pools are a fine place to spend a while amid the view. It was here that I noted another key advantage over traditional summer destinations: you are not overwhelmed by other people’s children; in fact, they are a mere footnote to the rather discerning adult clientele. The Palace is a lively place in winter with its louche nightclub Greengo, but in summer it is altogether more chilled out. Gstaad’s mountains are not toweringly high by Swiss standards, but it’s an excellent place to start: we took a lift up to a restaurant atop one of the mid-size mountains from where the view stretched to the next range behind, and after a rustic lunch of veal (adults) and veal sausages (children) the offspring spent an enjoyable hour or two amusing themselves by seeing if there was anything in the meadow the restaurant owner’s pet goats would not eat. Branches, dandelions, weeds and wildflowers alike were consumed by the goats-with-a-view. The people, like the goats, traditionally ate what was available locally here, which explains the surfeit of excellent veal which, being local, comes with fewer animal rights worries. And then there are the products, notably the local Gstaad cheese and the considerably more famous Gruyere from just down the valley. These combine most notably in a fondue, and on the recommendation of the local tourist office one evening we took a twenty-minute journey to Gsteig, the next village in the valley, for a fondue at Baren Gsteig. Amid low beams and cowbells, we settled down to the freshest fondue I have experienced. It may sound odd to call a cheese fondue fresh, but I suspect the fact that all the cheese used [caption id="" align="alignright" width="283"] Edward Whymper was the first to climb the Matterhorn[/caption] was unpasteurised hard cheese made a significant difference to both the bite and the minerality of the dish. The bread was just right too, slightly stale (one day old, we were told) crusty local sourdough - if it’s too fresh, it flops into the melted cheese. The fondue also contained a dose of the local brandy, adding more bite and fruit freshness. Another evening we went to the oldest restaurant in Gstaad proper, at the Hotel Post, on the bijou little high street, where the steak (local, again) had a combination of metallic earthiness and butter-tenderness I haven’t encountered elsewhere. The Palace is a most civilised place to return after such rustic outings: the lobby and bar have a chalet-like feel, but the view is all around. On our last evening, the moon lit up the glacier at the side of the far peak up the valley. We were due to visit the glacier, accessible by cable car, but this was not to be this time. Again, something for another time. To Zermatt If there is one place in Switzerland, or indeed the Alps, that can claim to be as important in summer as it is in winter, it is Zermatt. Skiers may know the resort for its challenging black runs, excellent apres-ski, and cosy haute-cuisine mountain dining. But Zermatt is that rare resort, where visitors and global celebrity predated going down mountains with two planks tied to your feet. Like many chi-chi Alpine villages, it was for centuries a remote and impoverished farming hamlet, but its transformation came in the 19^th century when Victorian-era Britons, bent on surmounting every challenge the world held, came to conquer its iconic mountain, the Matterhorn. In the 1860s, successive climbing parties arrived in Zermatt bent on scaling the Matterhorn (now known to anyone who eats chocolates or buys Caran d’Ache pencils) and other peaks in the amphitheatre that surrounds the valley: along with Chamonix, the French village at the foot of Mont Blanc, Zermatt can lay claim to being the home of Alpinism, of mountaineering as we know it. Even 150 years later, with the arrival of the big-money skiing parties and the accessibility of higher and more challenging mountain ranges in Asia and South America, Zermatt still attracts the Alpinists in summer. The Matterhorn’s most accessible ridge, first climbed by the Englishman Edward Whymper in 1865 in a tragic expedition that involved the death of four of its members and which cemented the mountain’s ominous reputation, is now more accessible. With the help of fixed ropes, a carefully mapped route, and modern equipment, hundreds of people climb it every year. But its other aspects, and in particular its vertical North Face, remain a monumental challenge, as do a number of the 30 other 4000 metre high peaks that surround Zermatt. Oddly, none of these other peaks, the largest collection of 4000 metre mountains in the Alps, are available as the train ascends the valley to Zermatt. The village still bans cars, so train is the only way to arrive. Alight at the train station, in a mini urban sprawl, and you may wonder what the fuss is all about. But take a few paces over towards the river, look up, and there is the Matterhorn, as otherworldly as it ever was, rising to 4478 metres above Switzerland and Italy. For me there was only one place to stay in Zermatt. The Monte Rosa hotel is the village’s original hotel, built in the 19^th century to house those climbing parties, and gently renovated since. Its heart and soul are in Alpinism: the walls are festooned with souvenirs from climbing parties, letters of good wishes from the likes of Winston Churchill to resident climbers, some of them triumphant, some doomed. The bar is cosy, low-ceilinged, a place to exchange stories about the day’s adventures, although today’s climbers are no longer all gentlemen of the aristocracy and many of them stay in the town’s youth hostel instead. The restaurant is a classic white tablecloth hotel dining room where you dine on the set menu and choose from the array of Swiss wines on the list, including some very interesting Pinot Noirs from the east of the country, and, my personal favourites, some rich, spicy satisfying single vineyard wines made with the local Cornalin grape in the sunny Swiss Rhone valley nearby. [caption id="" align="alignleft" width="302"] Monte Rosa, the home of Alpinism[/caption] The Monte Rosa still occupies its original site in the very heart of the village on the square, and the hotel itself attracts carefully limited numbers of tourists come to visit the original home of the Alpinists. Its sister hotel, the Mont Cervin, a couple of hundred metres away, has a large pool, spa and garden that guests can use. The view from our suite was directly to the Matterhorn’s north face, with the village church beside us. And Zermatt, you rapidly learn when you arrive there, is not about lounging about in your hotel: it is about activity. There is a cog railway station opposite the main railway station in the village, and here we boarded a narrow gauge train that inched its way through the village and up through the thick forest on the steep valley sides. So far, Zermatt had remained an enigma, the Matterhorn towering over it, but the vast amphitheatre of mountains that accompany it remaining hidden behind the steep valley sides. As the Gornergrat train climbed, peaks started to reveal themselves on the opposite side of the valley. Like an animal revealing its sharp teeth, they emerged, pyramidal rock faces rising above the glacier and pricking the sky, and within minutes we were faced with a panorama of jagged edged 4000 metre mountains, from the Weisshorn to Dent Blanche, that climbers the world over come to conquer. The train’s track rose above the treeline and still we carried on climbing. Another towering series of jagged peaks emerged on our side of the valley, plunging down into scree, valley, and forest. The Gornergrat mountain we were ascending flattened out, the train climbed over a ridge, and suddenly the most spectacular view of all confronted us, a huge series of snowy giants looming at us from directly across the long tongue of a glacier. This was the Monte Rosa, the highest mountain in Switzerland, and its associated peaks. Emerging, blinking, onto the rock and summer snow patches of Gornergrat, 3100 metres up, we climbed to a rocky viewing point. There was a 360 degree view of peaks higher than 4000 metres, and very little sign of human civilisation. Below us on one side a near vertical slope dropped to the glacier, where we could just pick out the figures of some climbers tramping their way back from an expedition. Walking down a little from Gornergrat, trying not to get vertigo, we passed a heavenly mountain lake, surrounded on all sides by wild flowers, in which a rockpool of tadpoles swam, and where an elegant green frog sat sunning itself on a grass patch. The path picked its way through more high meadows of wildflowers, around the ridge, and to the Riffelberg train stop, where we boarded the train home. On another day we took a lift up the neighbouring mountain, past a little green lake, and strolled down to Findeln, a little hamlet in a sainted position facing the Matterhorn across the valley. We sat on the terrace at the Findlerhof restaurant and enjoyed astonishing food: sashimi with a lime dip; beautifully cooked sea bass; veal in a gentle white wine sauce. The terrace was spacious, wooden and rustic with an astonishing view; the food was perfect urban sophistication. Apparently there are dozens of restaurants like that on Zermatt’s mountains, something the original climbing parties plainly missed. Pontresina and the Engadine There is a train that connects Switzerland’s two most famous resorts, Zermatt and St Moritz, directly. The Glacier Express runs several times a day in summer, and while it neither goes through a glacier (although you see plenty) or goes very fast (rather the opposite), the seven hour journey was a great way to kick back, relax and watch central Switzerland proceed slowly past. Our destination was not St Moritz itself but its chic neighbouring resort of Pontresina, and its flagship hotel, the Kronenhof. Pontresina is a tiny Italian-feeling village on a ledge above the high Engadine valley that cuts through the mountains of eastern Switzerland, near the Austrian and Italian borders. The Kronenhof has a grand courtyard on the village’s main street and a dramatic view across the valley and up towards the glaciers of the Piz Buin. It was remarkable and rather wonderful to find a hotel of such sophistication so deep in the mountains. The huge indoor pool has been built onto the valley side of the hotel and, surrounded by glass, gives a feeling of flying, with mountains all around. Our suite’s balcony looked down onto forest and up onto glacier, and the jazz bar, again with dramatic views, felt very F. Scott Fitzgerald. [caption id="" align="aligncenter" width="560"] Pontresina’s flagship hotel, the Kronenhof[/caption] The Kronenhof is a big hotel with a panoply of distractions, including one of the region’s finest restaurants (which we have saved for next time), an extremely spacious and throrough kids club, replete with a proper children’s library, and a spa, attached to the pool, so good that it attracts the glitterati from nearby St Moritz all winter. Our room was decked in contemporary Alpine cool, plenty of blond wood, stone and grey, with generous panorama areas to look at the views, and a bathroom squarely aimed at the demanding international traveller. One morning, leaving the hotel, we took the quaint, twoseater chairlift up through the forest to Alp Languard, a restaurant on a ridge overlooking Pontresina’s valley and the Engadine; another high mountain lunch of extraordinary quality ensued, and a hike up towards the high ridge at the top, which, eventually, defeated us. We took the chairlift down through the forest, amid the scent of pine and wildflowers. Tea at the Kronenhof involved the magnificent sight of the mountains turning rose, as the sky at this high altitude (the village is at 1800m) turned pink then midnight blue. Perhaps the most memorable aspect of our stay was the evening we made our way down the 10 minute walk to the bottom of the valley, to be met by a coach and two - two horses pulling an open carriage. The children were thrilled, and the horses made their way up the secret Val Roseg. It is secret because it is a nature reserve, with no cars or even mountain bikes allowed - only horses and hikers. At the end of the high valley loomed a great white dome of a mountain, above the Roseg Glacier, and it was to the edge of this glacier that we made our way, up the enchanted valley, along a river, past a family of marmots, the most elusive of Alpine creatures, who stood to attention as we rode past. Dinner was at Alp Roseg, another spectacular mountain restaurant with a vast wine list and haute-rustic cuisine, where steak in cafe de paris sauce was consumed with so much gusto you might have thought we, and not the horses, had done the climbing. The journey back in the starlight was equally memorable. The Waldhaus at Flims Flims is a resort that has become something of a legend among the snowboarding community. It sits on a very sunny, south facing shelf above the Rhine valley, in eastern Switzerland, halfway between Pontresina and Zurich. On the forested plateau adjoining Flims, in its own generous grounds, sits the Waldhaus resort, a Victorian-era grand hotel that has been developed and brought up to date. The grounds are generous enough to incorporate forest, copious lawns, an adventure playground, and a large petting zoo where the children spent amounts of time befriending donkeys, goats and chickens - the animals were so well fed by the hotel that their attempts to feed them usually ended in failure. [caption id="" align="alignleft" width="384"] The Waldhaus resort in Flims[/caption] The hotel has a glass-encased indoor pool and interconnected outdoor pool, and, next to it, a natural swimming pool where you can swim in non-chlorinated water among frogs and small fish. We enjoyed a memorable cocktail and canapes on the terrace of the pavillion one evening as the sun set over the mountains opposite, and a very sophisticated meal at one of the hotel’s fine dining restaurants, Rotonde, with its floor to ceiling windows looking onto the forest; those in search of even higher cuisine can venture to Epoca, which has 17 Gault Millau points.

A trip on a chairlift took us to the Berghaus Naraus, a restaurant on a south-facing ledge with sweeping views and an excellent line in barley soup and air-dried beef - and yet another quite astonishing wine list, which we resisted, it being lunchtime. Instead we saved ourselves for dinner at the Arena Kitchen Flims, a cool, urban bar, club and restaurant that could have been in Vermont or Colorado, in the city centre. It was quiet in summer, but you could imagine the teeming hordes in the ski season. And that, I think, is the way I like it: clean sunshine, pure air, astonishing views, focussed cuisine, excellent service, Europe’s best hotels, and no teeming hordes. I’ll be back to Switzerland in summer. Beau Rivage Palace: brp.ch Gstaad Palace: palace.ch Monte Rosa: monterosazermatt.ch Grand Hotel Kronenhof: kronenhof.com Waldhaus Flims: waldhaus-flims.ch The best way to travel around Switzerland is by train. See swissrailways.com for details

Help from Above

dariussanai — Mon, 04 Mar 2013 10:46:52 +0000

[caption id="" align="alignright" width="300"] Group Sales and Marketing Director, Alex Berry[/caption] FROM EARTHQUAKES TO UPRISINGS, FOR ONE PRIVATE JET COMPANY THE SKIES ARE NO LONGER THE SOLE DOMAIN OF ROCK STARS AND HOLLYWOOD A-LISTERS. GUY FIORITA REPORTS Turn on the news any day of the week and, unfortunately, there is probably a story about a human tragedy taking place somewhere in the world. Usually by the time we first hear about it, relief is already on the way. We see images of it arriving by the planeload to some far-flung airstrip. Ever stop and wonder who is behind those jumbo jets full of food and blankets? Not many would guess that it’s the same company that’s flying the hottest new boy band in ultra-luxury from one stop to another on a world tour but, from spoiling VIPs to flying relief missions, for the last 40 years Chapman Freeborn has been doing both. Launched in 1973, Chapman Freeborn is the world’s leading jet charter company with offices in 25 countries. They have flown their share of jetsetters, royalty, oligarchs and stars and they’ve learned to provide a luxurious experience better than anyone else, but according to Alex Berry, Group Sales and Marketing Director, there is another side to the business that is a lot less glamorous but much more rewarding. “From flying humanitarian aid into areas in need, to moving people displaced by war, there hasn’t been a major international incident in the last 30 years that we were not involved in.” When tragedy strikes, like an earthquake in Haiti or famine in Sudan, aid organizations need to move food, blankets, workers and much more, and they need to do it fast. “The airlines won’t fly on credit. Not even for organisations like the UN or Red Cross. So you need to have someone with the capacity and financial capabilities to make this work and make it work fast. Since we are privately owned and financially strong, we can meet the needs of the agency by mobilizing people and equipment without any delay.” Some cynics say flights like these merely amount to making money out of other people’s misery. It is a claim Berry has heard before. “Do we make money out of evacuating people from war zones or bringing in relief to the needy? Yes we do, however we understand the importance of these missions and we make sure that everything is carried out as quickly, efficiently and professionally as possible. Often there are lives on the line. It is a huge responsibility and we take it very seriously.” [caption id="" align="alignleft" width="300"] Group Sales and Marketing Director, Alex Berry[/caption] The Haitian earthquake of 2010 is a perfect example of Chapman Freeborn putting their experience and resources to work for a good cause. After the devastating quake, relief material came pouring in from around the world but the airport had no offloading equipment to handle it all. “The first thing we did was fly in the proper gear and we immediately unloaded 10 planes. They could then fly back out to bring in more material. The Haiti tragedy happened on a Boxing Day. Our entire staff came in and worked throughout the holidays. Most of them ended up even sleeping in the office. It was tiring but very rewarding work.” Chapman Freeborn has a product called REACT (Rescue, Evacuation and Aid Charter Team) that monitors international news sources and then, as its name suggests, reacts as quickly as possible when an aid organisation needs their help. During the Arab Spring REACT responded to crisis situations in Egypt, Libya, Tunisia and Bahrain handling over 100 evacuation flights, flying over 20,000 passengers to safety. “Having 35 offices in 25 different countries around the world means we can deploy people from local offices to be on the ground right away. We were the first aircraft into Fukushima, Japan. We flew in a German search and rescue team with dogs and 13 tons of technical equipment from Frankfurt to Tokyo on a chartered B767 aircraft.” In October, 2011 when St. Anthony Central Hospital in Denver closed an old facility and donated the surplus medical equipment to Hanoi’s Bach Mai Hospital, Chapman Freeborn organised the air transportation of over 50 tons of medical equipment. “The delivery was particularly poignant as it arrived on the 40^th anniversary of the Bach Mai Hospital bombing in 1972 which claimed the lives of 28 hospital staff. It was very inspiring,” says Berry. And, as it turns out, just part of the job.

EMILIA WICKSTEAD: FASHION FIT FOR ROYALTY

dariussanai — Mon, 04 Mar 2013 08:37:10 +0000

[caption id="attachment_2401" align="alignnone" width="4713"] Emilia Wickstead SS16 Collection, backstage at London Fashion Week[/caption]

Emilia Wickstead’s designs are attracting the attention of Hollywood royalty (and even the real thing) for their mix of the classic and the modern. LUX discovers what inspires her

[gallery ids="2409,2408,2406" type="rectangular"]

LUX: What do you think you picked up? EW: I learned from my mother that it was all about the cut and fit and the quality of fabric. The theory that the quality on the inside should be the same as on the quality of the outside of the garment. Those are things you don’t necessarily learn at university, as there is so much focus on design, experimentation and building your philosophy of who you are as a designer. So I do think I learned from her the majority of what I know in terms of those very important factors, without which you couldn’t have a successful line of business. Read next: Art is the greatest legacy, says renowned auctioneer Simon de Pury LUX: The architectural cut is something you’re renowned for. Do you think that’s something all designers should pay attention to? EW: I think that it’s something that’s very ‘old world’. It depends on who they are as a designer, their aesthetic and what their business model is. I always believe that, for me and my business, what I would hope for in years to come is that people will pull out an Emilia Wickstead piece as though it is a Chanel suit. You will still wear that Chanel suit because (a) the quality of the fabric is brilliant and because the quality of the garment is excellent and (b) it is just a beautiful cut. So when I look for inspiration, I will look at anything from old Christian Dior to Christian Lacroix to Chanel and look at the way they have constructed a garment. The design lines are incredible and I do feel that with fast fashion sometimes that’s a little bit lost. There is a little bit of a trend going on at the moment of not focusing necessarily on the fit or the cut of the garment, but when a designer does get it right, I think that’s when it plays a tremendous part in either becoming a brand or becoming a garment that’s going to stay in your wardrobe forever. LUX: How do you create something that is timeless yet fashion forward? EW: I’d like to think that we’re creating ‘the new modern’. I’ve always used the reference of old world design, which I find incredibly inspiring. But for me, it’s about modernising that, too. That’s something Raf Simons did when he entered into the world of Dior; he was playing on archive pieces and old-world silhouettes. He was creating clothing for a new modern woman in the way that he was designing clothes. In the same way, I think that by playing on the traditional while keeping myself very fashion forward, my clothing represents someone who’s confident and incredibly feminine. I showed that during London Fashion Week [in February 2016]. I am always pushing the boundaries, but at the same time it’s very important that I’m selling clothing that women want to purchase. LUX: Is there an age group who buys your clothes? EW: I think that Emilia Wickstead is for all women. That can be a girl in her twenties and it can be a woman in her nineties. Up until three years ago, I worked in my store every single day and did every single fitting for the major side of the business. What was so wonderful about it was that you just got to understand that the collection was for every woman, which is such a nice touch for a business model to have – to be able to think that yes, it’s youthful because everyone wants to feel fresh, young, and modern, but at the same time it is really for everybody. Read next: Chopard’s Caroline Scheufele’s vision of the future LUX: You mention “business” a lot for a designer… EW: I’ve always had a business head on my shoulders, which has meant that I haven’t designed a collection and didn’t know who I was going to sell it to or what I was going to do with it. I built a client base; I showed to friends and family and through word of mouth, so I tested the product and market that way. I basically did everything backwards! Given the financial constraints, we couldn’t afford to create units or to sell through wholesale. We couldn’t afford to carry stock and we didn’t take on any investment either to do that. I guess people did genuinely like the clothes and that’s how the business grew. As we started making money, we started taking on stock, and then in the next chapter we started to build wholesale relationships and wholesale accounts. It’s been a very organic and natural process. Now we’re speeding things up. I always knew I wanted to have my own business and always knew that I wanted clothes that sell – to make money out of my business as much as love what I do. That was always very clear in my mind. LUX: At Central Saint Martins, what were the most valuable things you learned? EW: The most valuable things I learned were how to think outside of the box. I never picked up a fashion magazine. You would be in a library photocopying and looking through books. I didn’t Google images! It was a very raw education. For inspiration we went to galleries, watched old movies, old fashion shows that were all archived in the Central Saint Martins libraries. It was a really different way of researching compared to today… I Google everything now! What Central Saint Martins pushed you to do was, for example, to look at a window frame and see how that inspires you, see what’s beautiful about it, and to understand what you gain from that, where it leads you and what it does for you. You had to approach things in a different way. It was a creative process being educated there; it was very raw and very wonderful. LUX: Has your success and endorsements by prominent people taken you by surprise? EW: Yes, and they still do! LUX: What do you think made them come about? EW: From a modesty perspective, I don’t know! You really just count your lucky stars, I guess. Every time you make a collection, you put yourself out there. You do it because you want to change the way people dress, you want to say what people should be wearing for the season, as well as what you believe in and what you’re passionate about. It always catches me by surprise when people are shown [in the media, wearing my designs]. I believe that we have a niche in the market and that we have a point in difference. I am a real believer in what I am doing. I absolutely love it and I love my client base, which has some big supporters in it. It is always a nice surprise to see someone else really believing in your brand and wearing your clothes beautifully. LUX: How did you find that niche in the market? EW: I love anything nostalgic and old world, that’s really what gave me the drive to create my own business and to do something different. I loved the idea of playing on how women used to dress in shops, the women who love to dress up, who go somewhere and can sit down in a room and have something made for them, who can have a say in what they’re having made for them, choose the colour and fabric, and who want to be really fashion forward as well. That always inspired me. It was always going to be very important to meet the demands of today’s woman. She wants to buy it off the rails and wants to wear it that night or she wants to go on e-commerce and wants to have it in a few hours. We tap into that like every other designer, but our point of difference is that I wanted to keep a little bit of tradition. We have made-to-measure, which is a full service in which we have a fitter and fittings. That is very old school. But then it was also very important to have a modern version of that for today’s woman. For example, if you come into my store, see a dress and absolutely love it but want it in a different colour, you can order the garment in the preferred colour in your size and have it made in Italy in 20 working days. My business model offers those different services, which is very important. I never wanted it to feel too much like a normal retail experience, more a little bit of a salon when you walk into the store. On Sloane Street [in London’s Knightsbridge], I truly believe we have created just that. We sit alongside Chloé and Valentino and we are not a fuddy-duddy, old-fashioned, made-to- measure house but a modern version of it. What you are measured for is what you see during London Fashion Week and on the catwalk. Read next: Exclusive interview with photographer Tierney Gearon LUX: Is there pressure to constantly produce new collections? EW: A little bit. We used to design just two collections a year, for the fashion weeks in February and September. But this year, I have designed – I am the only designer, we don’t have a design team – six collections. [caption id="attachment_2410" align="alignnone" width="4715"] Wickstead is known for the architectural cut of her garments[/caption] LUX: You started up six years ago. In six years’ time, where do you see the business? EW: Everywhere! Stand-alone stores, stand-alone salon with made-to-measure areas, like we have on Sloane Street, and more variation within a collection. Since December we’ve had a slightly better infrastructure in our business model, whereby we have made key hires, and that’s been incredibly exciting, because it’s meant that we can build bigger collections. It also gives more scope in terms of accessories; also we worked with Matches and designed cotton dresses for them, which reached out to another group of clients; I had never done cotton dresses before. It was really different but still carried the Emilia Wickstead aesthetic, but it just meant that you could wear them in the south of France or Italy. LUX: How do you balance being a mother with everything else that you do? EW: I don’t really balance it very well [laughs]. I don’t think there’s any right answer to that. I think in what I am doing. I absolutely love it and I love my client base, which has some big supporters in it. It is always a nice surprise to see someone else really believing in your brand and wearing your clothes beautifully. LUX: And finally… your style is dressy and also everyday. How does that work? EW: What I always try to project is that an Emilia Wickstead piece, like a pair of trousers, shirt or a dress, dresses you up, but it’s a very effortless way of dressing. You put on that piece and you are dressed up, comfortably. It’s meeting the demands if you are a stay-at-home mother but if you want to look a little dressed up, or if you’re a workaholic and work five to seven days a week, it works as well. You can tap into anything in the collection, as there’s something for everybody. For example when we were styling our Spring/Summer fashion show last year the model had little gold hoop earrings, very little makeup, brushed back hair with little bits falling out at the sides and was wearing a piece with flat shoes. It goes to show that there is a way that you can make yourself look absolutely fantastic and feel great in your own skin with what you’re wearing. Emilia Wickstead can do that. emiliawickstead.com

Creating a Space for Space

dariussanai — Sun, 03 Mar 2013 16:00:32 +0000

[gallery type="rectangular" ids="181,185,184,183,182"] RECENT WINNER OF SINGAPORE’S URA ARCHITECTURAL HERITAGE AWARDS, SPACE FURNITURE’S NEW HOME JOINS TWO HISTORIC BUILDINGS WITH A MODERN GLASS STRUCTURE TO FORM A 40,000 SQ FT MULTIPLEX THAT IS A TRIUMPH OF DESIGN. LEAD ARCHITECT Chan Ee Mun, SENIOR ASSOCIATE OF WOHA, WALKS US THROUGH THE PROJECT We’d known about these buildings ever since they received Heritage status and I d admired them from the outside but had never been inside. The space was stifling, dark and closed. The previous owners had it very compartmentalized in order to maximize on rental. It was not at all compatible with SPACE. From the onset we decided that we wanted to recapture the charm of the original building with as much authenticity as possible. At the same time we needed to create a voluminous interior. We also had to take into account the fact that the neighbouring buildings were at least 12 stories tall so we had to find a way to make the building stand out in its own way and, of course we had to do so within the confines of some very strict zoning laws that mandate how we could use the space. Whenever you work with an existing structure you have to deal with the constraints of the building as well as with your budget constraints. Demolition is expensive and there are obvious disadvantages. It was our job to enhance rather than rebuild. One of the problems we faced was that there was not enough height between the floors. To make this work for SPACE we needed much higher ceilings, so we had to reconfigure the floors without interrupting the original structure too much. Even the glass building in the centre of the project is built over the original building. We had to readjust and strip the internal floor plates and relocate them to new floors. It was a complex procedure. It also had to look right since the internal structure would be exposed by the use of glass. [gallery type="rectangular" ids="186,190,189,188,187"] The fact that it’s a sales site means that there are very specific requirements. The main challenge was designing the middle unit because although modern it had to get along with its neighbours, the two older buildings. We wanted to expose the showroom/furniture and we were trying to figure out how to best accomplish that. The law at the time stated that if a building had Conservation status then the exteriors must not be altered. We had to work with the authorities to change that rule to allow us to give it a more modern and urban look. Inside, we needed to find the best way to design a showroom that would work well with lots of different brands, many of which are in competition with each other. They needed to be separate but at the same time there has to be a connection between them all. SPACE carried 13 major brands and each had a different design philosophy. In the end it was SPACE that determined the location of each brand and how much floor space to allocate to each and it was our job to make that possible. SPACE was very adamant about creating an experience for their clients. They were very particular about the lighting and for the music they installed a Bang & Olufsen sound system. To complete the picture, they even customized their own scent for The . Every detail was taken into consideration to enhance the shopping experience in a homely setting, so that the customer can understand the pieces and the environment. spacefurniture.com.sg

On the Radar

dariussanai — Mon, 04 Mar 2013 11:24:24 +0000

ARCHITECTS, DESIGNERS, ENGINEERS, AS DISCIPLINES MERGE, EVERYTHING IS BLENDING INTO ONE CREATIVE-SCIENTIFIC PARTY. Karys Webber SCOURS THE WORLD FOR SOME OF THE MOST EXCITING CREATIVES IN ARCHITECTURE AND DESIGN [caption id="attachment_232" align="alignleft" width="119"] Studio Weave’s The Longest Bench[/caption] STUDIO WEAVE - LONDON Despite only recently gaining their registrations as architects, duo Je Ahn and Maria Smith founded Studio Weave back in 2006 and completed a number of projects as humble students. With a fun and quirky style, they tend to concentrate on public space improvements; one of their more renowned projects is The Longest Bench in Littlehampton, West Sussex. Made from reclaimed timber interspersed with the odd colourful stainless steel bar, the wiggly bench can seat up to 300 people and was inspired by a charm bracelet. studioweave.com KRAUS SCHOENBERG - HAMBURG Spatial experience and coherence between external and internal spaces is the design focus for German architecture practice Kraus Schoenberg, something they clearly demonstrate in the sustainable housing projects that they are best known for: Haus W and H27D. Clean and contemporary in design, Haus W is a prefabricated, low energy house in Hamburg designed as one big connected space created by rooms of various heights corresponding to their individual function. H27D, a five-storey apartment building in Constance, isn’t much to look at from the outside but was designed this way to match the look and feel of the historic city centre where it lies. The highly engineered building can be recycled to achieve zero waste. kraus-schoenberg.com [caption id="attachment_235" align="aligncenter" width="515"] BIG’s cultural arts centre in Bordeaux[/caption] BIG - COPENHAGEN Danish architects BIG have designed an enormous new cultural arts centre in Bordeaux alongside French studio, FREAKS freearchitects. Scheduled to open in 2015, MÉCA (Maison de l’Économie Créative et de la Culture en Aquitaine) will become the new combined home of arts organizations the FRAC, the OARA and the ECLA, situated on the Garonne waterfront. The striking design for the 12,000 sq m building features a central rectangular hollow which will be used as a huge stage and exhibition space. big.dk AMPHIBIANARC - CALIFORNIA An ambitious, shape-shifting, ‘transformer building’ has been designed by Californian architects, amphibianArc, for the headquarters of Zoomlion, a Chinese industrial vehicle manufacturer in Changsha, Hunan province. Each end of the proposed building will have a transforming façade made of hinged steel and glass plates designed to mimic the movement of eagles, butterflies and frogs. amphibianArc claim that their goal is to ‘create buildings that not only reshape the lived reality but also inspire minds that will invent the future’. amphibianarc.com [caption id="attachment_234" align="aligncenter" width="640"] Polifactory’s Hous.E+ generates energy from a lake on its roof[/caption] POLIFACTORY - SHANGHAI Shanghai-based architects Polifactory have designed Hous.E+, a self-sustaining rammed earth house designed for a rural site in Vancouver, Canada that generates energy from a lake on its roof. The concept house is designed to produce more energy than it consumes; turbines embedded in the walls produce electricity from water being pumped through a system of pipes and the walls would act like a breathing structure, allowing air exchange without significant heat loss. polifactory.com [caption id="attachment_236" align="aligncenter" width="640"] Coca-Cola Beatbox, Asif Kahn[/caption] ASIF KHAN - LONDON Despite not technically being an architect (he never quite got round to sitting his final exams), Asif Khan has received impressive acclaim for his experimental work across architecture, products and design. He was awarded Designer of the Future award in 2011 after showing his unique Cloud installation at Art Basel Miami. More recently, Khan teamed up with Pernilla Ohrstedt for the London Olympics project, Coca-Cola Beatbox; a striking red and white sculpture doubling up as an enormous musical instrument. asif-khan.com RAW EDGES - LONDON Tel Aviv-born twosome Yael Mer and Shay Alkalay formed London-based design studio Raw Edges following their graduation from the Royal College of Art in 2006, where they met and teamed up. They have since won a string of highly respected awards for their innovative and striking products for the home which blur the line between art and furniture. Their work can be found within the permanent collection at MoMA in New York and Stella McCartney commissioned the duo to create the floor for her Rome store after spotting their installation at Art Basel. raw-edges.com MISCHER’TRAXLER - VIENNA Vienna-based design studio Mischer’Traxler is made up of partners in both their professional and personal lives, Katharina Mischer and Thomas Traxler. The pair design experimental products, furniture and installations, characterized by conceptual thinking and the use of unexpected materials. Their complex project ‘The Idea of a Tree’ combines natural input with a mechanical process, driven by solar energy, which translates the intensity of the sun into one object a day. The outcome is a unique product that reflects the various sunshine conditions that occur during that day and becomes a three-dimensional recording of its process and time of creation. This kind of innovative thinking won the duo the accolade of Designers of the Future at Design Miami/Basel in 2011. mischertraxler.com [caption id="attachment_242" align="aligncenter" width="560"] Hamilton Scotts, Singapore features ensuite sky garages[/caption] HAMILTON SCOTTS - SINGAPORE In Singapore, luxury high-rise residential building Hamilton Scotts, project of real estate developer KOP Properties, have come up with a novel alternative to underground parking: en suite sky garages. Residents need simply to drive their car into a designated spot outside the building and, after a quick biometric thumb scan, their car is whizzed straight up to their apartment via a special lift. By the time the owner reaches their apartment, the car is displayed behind a glass wall off the living room, ready to be admired. hamiltonscotts.com COOP HIMMELB(L)AU - VIENNA Austrian architecture firm Coop Himmelb(l)au have completed work on the enormous Busan Cinema Centre in South Korea. The impressive building boasts a 4000-seat outdoor cinema covered by a seemingly gravity defying cantilevered roof (the world’s largest at 85 metres from end to end), the ceiling of which is illuminated by thousands of LED lights to create a kind of virtual sky. The building will be the new home of the Busan International Film Festival and is Coop Himmelb(l)au’s first project in Korea. coop-himmelblau.at [caption id="attachment_233" align="alignleft" width="163"] DCPP Arquitectos’ 20-storey building porposal for Lima, Peru[/caption] DCPP ARQUITECTOS - MEXICO A luxury 20-storey apartment block featuring individual swimming pools that teeter out over the city like diving boards has been proposed by Mexican architects DCPP Arquitectos to be built in Lima, Peru. The building has been designed with a transparent façade for a location in the east of the city overlooking a golf course. DCPP say the idea behind the design is to ‘incorporate the exterior space to the interior life of the apartments and create a new relation between public and private areas’. dcpparquitectos.com YVONNE WENG - LONDON For her graduation proposal, Architectural Association student, Yvonne Weng, designed The 6^th Layer: Explorative Canopy Trail, a non-invasive, airborne system that would allow scientists to live in the treetops of the Amazon rainforest whilst carrying out research, without the risk of damaging the forest’s fragile eco-system. The incredible design imagines a series of super strong webs made of synthetic fibres and suspended teardrop shaped pods where scientists could study and harvest medicinal plants. The concept won Weng acclaim from scientists and architects alike and the 2012 Foster + Partners Prize for excellence in sustainability and infrastructure. [caption id="attachment_241" align="aligncenter" width="640"] Bamboo Courtyard from HWCD Associates[/caption] HWCD ASSOCIATES - SHANGHAI The Bamboo Courtyard, a floating teahouse in Yangzhou, northwest of Shanghai, has been created by architects HWCD Associates. Organised in asymetric cubes on a lake, brick rooms are connected and encased by tall rows of bamboo arranged to create depth and interesting visual effects, further intensified by the atmospheric glow from lights inset into the door frames. The architects say ‘the simple form illustrates the harmonious blending of architecture with nature’. h-w-c-d.com [caption id="attachment_244" align="alignright" width="232"] Lee Sehoon’s Anitya range features a collection of all black funiture[/caption] LEE SHOON - KOREA Korean designer, Lee Sehoon uses the process of heating vinyl to create his dramatic, all black furniture range, Anitya. The idea behind the collections is to create an illusion of perpetual and dynamic movement, achieved by the vinyl expanding when heated and contracting when cooled which results in unexpected and unique shapes. More recently, Sehoon designed Squaring, a clever bookcase design made up of hinged boxes that can be spun around to create numerous shapes and designs. leesehoon.com WANG SHU - CHINA Chinese architect Wang Shu may run a practice called Amateur Architecture alongside his wife, Lu Wenyu, but don’t be fooled, his work is anything but. Shu, also a professor, recently won the extremely prestigious 2012 Pritzker Prize (generally regarded as the Nobel prize for architecture), for work representing consistent and significant contribution to humanity. Shu has completed five major projects in China including three college campuses and the Ningbo History Museum. His style typically combines modern design with traditional, often recycled, materials. Additional research by Rebecca Stanczyk

Hand in Glove

dariussanai — Wed, 10 Apr 2013 08:10:24 +0000

[caption id="attachment_298" align="alignright" width="749"] Giorgio Sermonetta[/caption] GIORGIO SERMONETA RESPONSIBLE FOR THE WORLD’S MOST DIVINE GLOVES, IN EVERY CONCEIVABLE HUE. Caroline Davies TRAVELS TO ROME FOR AN AUDIENCE WITH THE WORLD’S SUPREME GANTIER When I arrive in Giorgio Sermoneta’s flagship store in Rome, things get off to a slightly unnerving start. Squeezing into the multi-coloured glove store – floor to ceiling of outstretched elegant hands, greens, yellows, browns and blacks, studs and bows, cut-outs and ruffles – I muscle my way over to what Google images had promised me must be Sermoneta. Bright blue eyes, square figure, neatly cut white hair and a serious mouth. I tap him on the shoulder. “Mr Sermoneta?” He looks blank. “Me? I don’t work here. You’ll have to ask someone over there. I’m just browsing.” There is an awkward pause as I hurriedly scan the room. The serious mouth twitches then beams and the blue eyes crinkle. “I got you then!” Before I have time to force a relieved laugh, he says we are heading off for lunch. I follow, past the browsing crowds into the glaring sunshine. Sermoneta’s first glove shop could hardly be in a more perfect location. In the shadow of the Spanish steps, its rainbow colours and glowing reputation attracts passers by and those in the know. While the tourists marvel at the sheer number of ways you can decorate a hand, connoisseurs march to the front desk for the owner’s advice. Wise decision. Were it not for a helping (well-dressed) hand, you could easily spend hours hypnotically running through the options. Some wide-eyed, open-mouthed wanderers in the corner look like they might have done just that. Carefully crafted, beautifully dyed and exquisitely designed, Sermoneta gloves have graced some of the most influential hands in business, fashion, music, film and politics. Without knowing it, you have watched them seduce and enrapture, part a crowd and denounce dictators. With that sort of power, you had better pick the right pair. And if you were looking for a guide to gloves, you would be hard pressed to find one more knowledgeable or experienced than Giorgio Sermoneta. He first established his glove business in 1964 after he left the army at the age of 21. Keen to make his own mark away from the family business, he adopted the idea of glove making from his 17-year-old girlfriend’s family, now his wife. With little experience in business or gloves, Sermoneta relied on his wits and wide-eyed creativity to pull him through. [caption id="attachment_299" align="alignright" width="800"] Carefully crafted, beautifully dyed and exquisitely designed[/caption] “When I started, I knew nothing about gloves. I was surrounded by monsters in the business,” he says. “Big names. It was like a comedian between mummies. They were old, dedicating their gloves to blue blood; they had only black and brown leather. We wanted to bring something new.” It isn’t particularly difficult to imagine Sermoneta as the only one refusing to take glovemaking quite so seriously. We take our seats on a busy side street tucked moments from the Piazza di Spagna, but no sooner have we sat down then Sermoneta is up, greeting friends who pass by in streaming Italian, always ending with a husky laugh and a teasing joke as he waves them on. Unfortunately, to start with, Italy didn’t seem to like his sense of humour. “At the beginning it was very, very, very, very difficult,” he says, fixing me with a serious stare, emphasising each “very” with a soft bang on the table. “Then I started to find a new way to do business.” Before I can venture a guess, Semoneta continues.“Tourists!” he says, triumphantly. “They want to buy gifts for their family, maybe five, 10 people to make happy, but they do not have much space in their suitcase. Gloves are very easy, very easy to carry. People started saying to people ‘Go to Sermoneta.”’And this is how I started.” Trade picked up rapidly. “I remember the time we didn’t even go to lunch. Starting from 9 o’clock in the morning to 8 o’clock in the evening,” he says of the early days. “No lunch.” The waiter approaches our table with a hefty maroon coloured menu. Sermoneta waves it away and orders several plates of fresh mozzarella, tomatoes and basil and a mysterious local dish of spaghetti and pancetta, mixed in front of your eyes in a hollowed out bowl of hard parmesan.“ Do you like cheese?” He asks. I nod. He gives me an approving smile. In his time, Sermoneta has seen many stores come and go. What is the secret to his success? “Nobody is perfect,” he says. “Something could happen to a Mercedes, a 777 plane, anything, so we give a guarantee. Even from Rome, Japan, Australia and we still do it. We always put our customer first.” It probably helps that Sermoneta is an outstanding salesman. Watching him at work is a marvel. As smooth as his leather, he glances at each hand, perhaps gives one a small squeeze then burrows into the rolls of gloves tucked in the shelves behind him, barking ‘what length?’ over his shoulder. Finger gloves to elbow length, embellished or classic; with a no nonsense, experienced tone, he will cut down your options, flicking through the layers of leather hands as though they were pages of a notebook. “The first pair of gloves you have should be black, because you can do so many things. You can go to a party, an opera, they go with everything, even if you don’t like black,” He says. “Then you can progress.” And goodness, is there room for progress. The sheer variety is impressive. I ask Sermoneta where his ideas come from. “Sometimes I wake up in the night, make a little sketch and go back to sleep,” he says. “I came up with the idea of the iPhone touch glove which everyone is copying. This year, I’m doing denim.” You can see how a love for gloves can become an easy habit to slip into. Some visitors return so regularly that they become friends. When she was U.S. Secretary of State, Madeleine Albright once diverted her cavalcade simply so she could pop by to say hello. “I was in my store in New York,” he says. “There was one lady trying on gloves while her friend smoked a cigar outside the window. I came out and started talking to her. ‘Do you like gloves?’ I asked. ‘I have a pair of gloves my father left me 30 years ago. They are so worn. No one in the world can make these gloves.’ I asked to see them and she pulled out a pair of beautiful chicory yellow gloves, so used and damaged they looked like they should be in a museum. ‘It is easy. I will make them for you, but I don’t want to be paid. Give me your name and address and I will deliver them’ ‘Annie Leibovitz.’ I didn’t realise who she was. She was so happy though.” [caption id="attachment_297" align="alignright" width="234"] The most beautiful gloves you'll own[/caption] Despite the variety of celebrated hands that now boast Sermoneta’s gloves, he realises that gloves are not for everyone. “If they don’t match your personality or your dress, it is better not to wear them at all,” he says. “It is like having chocolate on a pizza. Disgusting. When you see certain people who have matched their gloves correctly you can say ‘There is a gentleman with a capital G.’” We stroll out onto the afternoon sunset streets of Rome, Sermoneta chatting to tourists – even once bursting into Japanese – waving at shop keepers, punching the arm of a passing leather goods man. “Now you have had a long day, I think you must have an ice-cream.” He does not, however, have gloves designed specifically for ice-cream consumption. Yet. sermonetagloves.com

The Art of Wine

dariussanai — Wed, 10 Apr 2013 09:15:22 +0000

[gallery type="rectangular" ids="307,308,309,310,311,312,313,314,315,316"] To mix art and wine is a heady contemporary combination: fine wine and contemporary art are two of the hottest 'investments of passion' in the world right now. One of Italy's greatest wine brands, Ornellaia, beloved of oligarchs and thought leaders from Moscow to Hong Kong, has been working with contemporary artists for the past five years, and has just announced the results of its latest collaboration, with Italian artist Michelangelo Pistoletto. The 2010 vintage marks the 25th anniversary of Ornellaia, from the celebrated Tuscan coastal region of Bolgheri. Pistoletto has interpreted 'La Celebrazione' (The Celebration) for the labels of a limited and numbered series of large-format bottles of Ornellaia 2010 that will be sold at auction in London later this year. If you don't manage to secure one of the ‘vendemmia d'artista’ - artist's vintage - bottles, don't fret. Not only is 2010 an excellent year for Ornellaia in particular and Tuscan wines in general: Ornellaia and its sister wine Masseto have been among the best-performing wines in investment terms over the past 12 months. Secure a few cases, and either enjoy with a Chianina beef tagliata in five years time, or sell them and buy a Pistoletto painting for your wall. Perfetto. - Darius Sanai

Luxury Travel Views

dariussanai — Fri, 12 Apr 2013 02:05:38 +0000

[gallery type="slideshow" columns="4" ids="325,326,327,329,330,331,328,332" orderby="rand"] DARIUS SANAI’S Luxury travel views Where our Editor-in-Chief ponders culinary conundrums from his sojourns around the world Not so long ago, to experience the best of the world’s cuisine, you had to travel to their origins. Interested in exploring Escoffier’s legacy? Fly to Paris, Burgundy or Lyon. Want to know what the greatest sashimi tastes like? Try the stalls at Tsukiji Market in Tokyo. To taste the best Shanghainese seafood, you’d need to be looking at the Yellow River. Now, everything has changed. Now there’s no question about being inauthentic if you taste Tuscan food in Vegas, or sample Joel Rebouchon in London, or Nobu in, well, anywhere. The greatest ingredients, and the greatest chefs, are where they are. Which makes Miami such an interesting conundrum. The only food the city can really, authentically claim as its own is Cuban, imported by the hordes fleeing Fidel Castro from the 1960s onwards. That, and the ubiquitous stone crab, served by the pile, a food to eat with fries and a big Sonoma Chardonnay and to grow fat on. But Miami is also South Beach, host of America’s biggest annual food festival, home to some of the most glamorous restaurants and hotels in America outside Vegas; the place where Russian oligarchs and New York tycoons gather under the sun to talk art, women, wine and song on megayachts and in megaresidences. And I was intrigued by what my megahotel in SoBe, the Fountainebleau, would have to offer. On the culinary side, that is. As a resort hotel, its offering is pretty evident to anyone arriving up its driveway crowded with limos and Lambos: about 10,000 rooms in various buildings, Art Deco and mock; a properly mega swimming pool which I estimated as around 60m curved end to end, which would have been perfect for lengths, had it not been overoccupied by smooching couples taking advantage of its uniform shallowness; a private shopping mall; a stretch of private beach with uniformed staff shifting sunloungers to the evermoving gaps in the afternoon sunlight as the sun set beneath the giant structures of the hotel itself. The Fountainebleau is not short of celebrated options, with Hakkasan and Scarpetta operating there. Just to be different I chose to entertain my guests at the hotel’s nouveau-Japanese restaurant Blade, which registers there as one of the ‘casual’ dining options. ‘Casual’ meaning informal service and a lack of tablecloths, rather than low prices. It was eye-opening. The straight sashimi and nigiri – yellowtail, sea bream toro – was as good as sashimi can be, flown in from Tsukiji as it is in any fine sushi restaurant. A mark of standards and craft, but nothing else. It was the speciality rolls that would make or break Blade. These were ambitious: the Geisha, with yellowtail, ooba leaf, orange, asparagus wrapped in soy paper with a yuzu miso glaze. The Chateau with spicy snow crab, spring onions, cucumbers, and spicy tuna. The Dragon, with deep-fried shrimp, asparagus, avocado, barbecue eel, miso wasabi and aioli. And what about the Ronin: salmon, mozzarella, tomato, cilantro, Serrano ham, chilli, and crispy onion – about as derivative as you can get and still claim Japanese roots, sort of. We tried all these rolls and more, and my conclusion on Blade reflects the conclusion on cuisine in general, which in turn reflects a contemporary worldview. They were on the whole beautifully made, with ingredients that had plainly been sourced from the very best possible sources, and hewn together by a chef who understood the intricacies of the human palate. I entertained at Blade every time I could during my sojurn; even ate there by myself once. But the fact that I was eating at a soi-disant Japanese in a corner of the United States was irrelevant: this is the new food, inspired by everywhere, with certain splashes of somewhere more prominent than others, meticulously made, perfectly served. Just as the model in the corner was a mix of Chinese, Persian, Russian and German, from everywhere and nowhere, so was Blade’s food. Once that meant the worst: international cuisine. Now it is the trademark of a new contemporary quality. Many hotels thrive these days by attaching luxury brand chefs’ names to their restaurants: these bring in visitors who otherwise would not be seen dining at a hotel restaurant, for fear of appearing like tourists. One of my favourite hotels in the world, though, has another take. The Parkhuus restaurant, in the Park Hyatt Zurich, is as cool, and spectacular in its internal architecture, and as imaginative in its menu, as any high-concept chef ’s: but the restaurant is entirely the hotel’s own. A sweeping open kitchen dominates the room; ceilings are high, as are windows; tables lack formal dressing, instead bedecked in contemporary architecture. The menu effortlessly combines the casual and the formal, the haute and the bas: you can simply choose ‘Chop, Wood Roasted, 400g’; or go for the Swiss ‘pike-perch fillet, pan fried, herb crust, herb salad, tomato jam’ accompanied by the wood-roasted seasonal vegetables. Both were sublime in their delicacy with the signature of the Parkhuus wood oven. The menu at Parkhuus is brutally seasonal, in the best possible way: there are no signature dishes, only seasonal dishes, so if you go in autumn you would be crazy not to try the products of shoots in nearby Burgundy, for example. As befits one of the very best restaurants in the city that serves as the capital of Europe’s wealth management business, the wine cellar is breathtaking in its breadth, although I have recently favoured the local draft beer, served swiftly and ice-cool, its hoppy bitterness a welcome counterpoint to the slight caramel sweetness that arises in some of the woodroast dishes. Parkhuus is an interesting room in that it runs counter to what I normally admire about restaurants. It is a big space, with big windows, and a view technically of nothing but the other side of a quiet Zurich street. Yet it feels sexy, alive, because of the lighting, the attitude, the décor, the service, the style. You feel this is a destination for locals, not because of the name of a chef above the door, but because of the sheer quality. Around 1000 miles north of Zurich, on a very different kind of lake, is the Scottish Highland hotel of Cameron House. Cameron House is on Loch Lomond, a long lake that stretches like a finger into the Highlands, and you can’t quite imagine the barren beauty that unfolds before you as you stand on the lochside of the hotel, without having been there. On one of Scotland’s most famous lochs, this is the perfect location. The hotel’s main restaurant has fine views over the water, but on my latest visit I stopped in on the Boat House, the more casual option, on the water’s edge. You feel as though you are floating on this untamed loch, and the casual atmosphere is enhanced by the engagingly informal staff – and the crowds, for this is a popular place. The menu is created by the Loch Fyne people, they of seafood bars across the UK, and that guaranteed a level of quality: excellent selection of salmon of various smokes, mussels that were well cooked in white wine and parsley; spectacularly presented oysters. Good quality for a seafood lover, if nothing too ambitious, but the view of a snowstorm whitening the head of Ben Lomond across the water (this can happen at any time of year) was ambitious enough. In the course of my annual travels I stay in quite a number of luxury hotels, and those that disappoint usually outnumber those that excel. So it is a delight when a hotel that was supposed to do nothing other than perform solidly, does so with flair and a panache of proper hotellerie, like a mid-division football team suddenly matching Barcelona at their own game. That was my experience, shortly after Cameron House, with the Hilton Central in Glasgow. Hilton has been demeaned as a brand over the past years, the sometimes glorious towers of Hilton International now replaced by business lodges stamped with the brand. Some exceptions remain, for me in the U.S., and London’s Park Lane: but Glasgow’s Hilton is evidently in a category of its own. The service was not only attentive but intuitive; the rooms well-arranged, a sort of cookiecutter- plus, for road warriors who want to know where everything is but also have high standards. It was the food that surprised, a sequence of room services arriving swiftly and with pride, steaming hot, sea bass cooked a point, a perfectly herbed soup: the kinds of things you wish room service would do around the world, but it so rarely does. And with staff that took pride: they were neither overtrained, nor obsequious, nor over-aware, nor over-cool: just spot on. Hilton Glasgow, you outdo many of your more glamorous five-star rivals. Back very much closer to home, I am delighted at the reopening, after a few months’ refurbishment, of my favourite part of one of my favourite restaurant/food shops, Villandry, in London’s NoHo. Villandry is part café, part food hall, part restaurant, and the latter two have just reopened, accompanied by a fine wine theme and a bank of those fine Enomatic machines at which you can taste fine wine by the small pour. Redecorated in exquisite taste by Claire Sheppard and her team, it retains that light, airiness so rare in central London venues, as well as fine ingredients cooked simply, whether for breakfast, lunch or a prix-fixe dinner. Bon appétit. Darius Sanai is Editor-in-Chief of Condé Nast Contract Publishing

Crazy Eats

dariussanai — Thu, 11 Apr 2013 01:57:15 +0000

[caption id="attachment_350" align="alignleft" width="728"] Berry pie at De Kas, Amsterdam[/caption] Michelin stars are so twentieth century. Karys Webber rounds up 21 establishments around the world where you can have a meal on the wild side, whatever your tastes MOTO, Chicago Michelin-starred Moto in Chicago is molecular gastronomy at its best. Chef with a hint of mad scientist Homaro Cantu creates the most inventive, surprising and bizarre dishes for a multi-sensory food experience using high tech equipment and intricate techniques. The menu and ingredients change regularly and dishes are given mysterious names like ‘River’ and ‘Paradise’ that give little away. But one thing is consistent, nothing is quite as it seems: expect hard to be soft, savoury to be sweet and inedible to be edible. In a bid to avoid the use of paper in the restaurant, even the menus at Moto are edible, printed onto rice paper using a modified Canon i560 inkjet printer in which the print cartridges are filled with food-based ‘inks’, including tomatoes and purple potatoes. The science theme also extends to the laboratory style decor, which features walls of the periodic table of elements and displays of glass flasks and beakers. motorestaurant.com [caption id="attachment_344" align="alignright" width="230"] Acrobats and fine dining, Circus, London[/caption] CIRCUS, London If you favour a side of acrobatics with your dinner then head to Circus in London's Covent Garden, a late night cocktail bar and cabaret restaurant rolled into one. A surrealistinspired décor, dreamed up by designer Tom Dixon, is striking in black and white with gold Harlequin wallpaper and mirrors galore whilst a Pan-Asian menu offers up dishes such as Chilean sea bass, lychee and aubergine green curry and red pepper lamb chops with chilli and honey. Performances from acrobats, fire eaters, trapeze artists and burlesque dancers occur spontaneously during dinner but come into full force afterwards when the glossy white platform that dominates the main dining room transforms from communal dining table to stage and runway for the entertainment. circus-london.co.uk DISASTER CAFÉ, Lloret de Mar If you are someone who thinks going out for a meal is just too easy, perhaps you should make a visit to Disaster Café in Lloret de Mar, Spain where they make eating that much more of a challenge. The bizarre underground restaurant simulates an earthquake equivalent to 7.8 on the Richter scale during your dinner. Waiters don protective headgear and reflective vests and guests, unsurprisingly, are advised to wear machine washable clothing as inevitably things get messy. Even more bizarrely, the restaurant is a hit; tables are booked up weeks in advance by diners who clearly aren’t put off by the fact that the majority of the meal will end up on the floor. disastercafe.com [caption id="attachment_346" align="alignleft" width="262"] Situated in a restored greenhouse, De Kas grows its own fruits and vegetables[/caption] DE KAS, Amsterdam De Kas is the project of Michelin-starred chef Gert Jan Hageman who in 2001, rescued Amsterdam's Muncipal Nursery from demolition and turned it into one of the city's coolest and most beautiful restaurants. Located in Frankendael Park, the 8-metre high greenhouse, which dates back to 1926, now operates as a unique restaurant-comenursery serving up fresh, seasonal and organic vegetables grown on the premises and locally sourced meat and fish. A fixed menu of simple, stylish dishes inspired by rural Mediterranean is created each morning based on the day's harvest. Recent offerings have included smoked halibut with celeriac ravioli and lemon panna cotta with pomegranate seeds, melon and basil ice cream. The conservatory dining area is minimalist in design, courtesy of Dutch designer Piet Boon, letting the impressive glass structure take centre stage and a four-seat chef 's table is also available in the kitchen if you're interested in seeing all the action. Alternatively, weather permitting, you can also dine outside in the picturesque herb garden. restaurantdekas.nl [caption id="attachment_345" align="alignright" width="230"] Underwater dining at Ithaa Undersea Restaurant, Maldives[/caption] ITHAA UNDERSEA RESTAURANT. Maldives If you fancy dining with the fishes there's no more magical an experience than Ithaa Undersea Restaurant on the Conrad Maldives Rangali Island. Residing nearly five metres below the surface in the Indian Ocean, Ithaa – which means 'mother of pearl' in Dhivehi, the native Maldivian language – allows its diners to marvel at some of the richest marine life in the world whilst sipping champagne cocktails. Sharks, turtles and stingrays are all regularly spotted along with swarms of tropical reef fish and with a seafood heavy Maldivian-Western fusion menu, there's a high chance you'll be able to spot what's on your plate swimming above your head. Intimate with only 14 seats, the 5 x 9 metre restaurant is encased by 12.5mm thick clear acrylic glass and cost $5 million to build. conradhotels.com CANNABALISTIC SUSHI, Tokyo Nyotaimori is the obscure Japanese practice of serving sushi on the body of a naked woman. Inspired by this, a restaurant in Tokyo has taken the concept to new levels with a macabre twist. Definitely not for the squeamish, at the Cannibalistic Sushi restaurant, guests are presented with an edible ‘human body’, wheeled out on a gurney by a waitress dressed as a nurse. The chefs at the restaurant ensure that the life size corpse is as realistic as possible, using dough to create the flesh, sushi and sashimi inside to replicate organs and blood red sauce embedded in the skin layer to create realistic bleeding when you make your incision. You can even choose between male and female bodies. DINNER IN THE SKY, Worldwide If you suffer from vertigo then this one may not be for you, however for spectacular views and your meal with a side of fear then Dinner in the Sky is a must do. The bespoke experience dangles 22 guests 100 feet in the air at a location of your choice with a chef, waiter and entertainer enclosed in the centre to tend to your needs, plus the swiveling chairs allow you to enjoy 180-degree views. Just make sure you take a bathroom trip beforehand, the whole table has to be brought down if anyone needs to go to the toilet during dinner. dinnerinthesky.co.uk [caption id="attachment_348" align="alignleft" width="234"] A zip-lining waiter enroute to the Soneva Kiri Treetop Dining Pod[/caption] SONEVA KIRI TREETOP DINING POD, Koh Food, Thailand Also taking dining to new heights is five star eco-resort, Soneva Kiri, on the Thai island Koh Kood. Soneva Kiri offers its guests a unique Treetop Dining experience using a rattan pod that seats up to four people. Boarded at ground level, the bird’s nest-esque pod is then hoisted up 16 feet into the native massang trees so guests can enjoy their meal at one with nature and with stunning views of the island and out to sea. The menu also follows a jungle theme serving up dishes such as 'Canapés in the Canopy' and 'Forager's Basket' using produce predominantly from the island’s organic gardens. With such a secluded, uneasy to reach location you may be wondering how your food arrives. In fact, the waiters glide elegantly through the trees using zip wires to reach you. However, designer of the Treepod, Louis Thompson, has said, “we are also looking into guests being able to fly on the zip line through the jungle themselves, as there is a certain amount of envy when they watch the waiters." soneva.com/soneva-kiri/home OPAGUE, Los Angeles Everyone enjoys a candlelit dinner so why not go one step further and ditch the light completely? You can do just that at Opaque in Los Angeles where they promise a 'more stimulating dining experience' based on the theory that removing your vision heightens your remaining senses, enhancing the smell, taste and texture of your food. Guests at Opaque enjoy their meal in a completely pitch black room aided by waiters who are all blind or visually impaired. darkdining.com. [caption id="attachment_347" align="alignleft" width="225"] The Wrapping Gallery combines a restaurant with a contemporary art gallery[/caption] THE WRAPPING PROJECT, London The venture of Australian-born theatre director and curator Jules Wright, The Wapping Project in London brings together a restaurant and contemporary art gallery in a disused hydraulic power station. With utilitarian furniture, high ceilings, bare-brick walls and looming industrial machinery, it's not the cosiest of settings to settle down for dinner, but it is impressive. The daily changing menu offers up treats like veal rump with winter tomato, wild fennel, herb, almond and ricotta, courtesy of newly appointed chef Matthew Young, plus an all-Australian wine list handpicked by Wright. A cavernous art space at the back plays host to a variety of installations and exhibitions each month. thewappingproject.com EL DIABLO, TIMANFAYA NATIONAL PARK, Lanzarote El Diablo restaurant crowns the top of Islote de Hilario, the tallest of Timanfaya National Park’s famous ‘Fire Mountain’ volcanoes in Lanzarote. What makes this circular, glass-walled restaurant unique though is not just the spectacular views and odd location choice, it’s the way they cook the food. The chefs use the semi-dormant volcano itself to grill your dinner to perfection via a cavernous black pit, which reaches to the ground to utilize the natural 400°C heat that emanates from below the ground’s surface. The restaurant itself was designed by the late artist and architect, César Manrique, who was responsible for much of Lanzarote’s development. lanzarote.com/timanfaya LAINO SNOW VILLAGE ICE BAR, Ylläsjärvi, Finland The Laino Snow Village Ice Bar resides in the town of Ylläsjärvi in Finland, just north of the Arctic Circle, and as you may have guessed, is made entirely of ice and snow. Diners here can enjoy local specialties such as reindeer, Lappish potato soup and vodka-lingonberry jelly (served in ice glasses of course) and as the restaurant is kept at a cool -2 to -5 degrees Celsius at all times, fur rugs are considerately draped over the solid ice chairs to keep you warm. The restaurant only exists however during the winter season when the weather is cold enough to sustain it, for the rest of the year it disappears entirely and is rebuilt from scratch when winter next arrives. snowvillage.fi FORTEZZA MEDICEA, Volterra For a somewhat tense dining experience, try Fortezza Medicea restaurant in Volterra, near Pisa, which just happens to reside inside a maximum-security prison. An experiment in prison rehabilitation, all the waiters and chefs that work in the restaurant are convicts who inhabit the 500-year-old facility, based on the idea that the inmates will learn valuable skills to help them find work upon release. Unsurprisingly, security checks are thorough: would be diners are required to submit a two-month background check before their reservations are considered and upon arrival at the restaurant, guests have to pass a series of checkpoints and hand over mobile phones and handbags before settling down for their meal. Armed prison wardens are stationed around the restaurant and, just in case, all cutlery and plates are plastic. The menu consists of Southern Italian dishes like mini frittatas and gnocci with a fava bean puree, plus a pianist doing life for murder serenades diners during their meal. [caption id="attachment_349" align="alignright" width="800"] Fully automated service at `S Baggers, Nuremberg[/caption] ‘S BAGGERS, Nurenberg At ‘s Baggers restaurant in Nuremberg they’ve done away with the traditional table service in favour of a fully automated electronic system. Customers simply place their orders themselves using the touch screen computers at each table and when ready, your food will come whizzing towards you from the kitchen above on the spiraling metallic tracks that dominate the dining area. sbaggers.de ANNALAKSHMI, Singapore The motto at vegetarian restaurant Annalakshmi in Singapore is simply, ‘eat what you want, give what you feel’. That’s right, it’s up to you to decide how much you’d like to pay for your dinner. To entice your generosity however, the money you pay is donated to the Temple of Fine Arts, an artistic and cultural organization dedicated to serving the society through arts, music and dance, and all the staff at Annalakshmi are volunteers who hold regular day jobs and view their work at the restaurant as ‘service’. The unusual restaurant also has outlets in Kuala Lumpur and Perth. annalakshmi.com.sg [caption id="attachment_343" align="alignright" width="800"] Sound of Silence, Australian barbecue in the Outback[/caption] SOUNDS OF SILENCE, Ayers Rock If a romantic, starlit dinner is more your thing then try the awardwinning Sounds of Silence experience which offers a memorable meal in the secluded Australian outback. Champagne and canapés kick start the evening at sunset on a lone sand dune overlooking Ayers Rock followed by a traditional Australian barbecue in a candlelit desert clearing, serving up classic Northern Territory dishes kangaroo, crocodile, emu and barramundi. After dinner, you can indulge in a spot of stargazing with the resident astronomer on hand to guide you through the night sky. In the chillier winter months a campfire is also lit to keep things toasty. ayersrockresort.com.au HAJIME, Bangkok At Japanese restaurant, Hajime, in Bangkok they’ve come up with a novel, if slightly terrifying, way to serve customers. All food here comes courtesy of enormous, bug-eyed robots, dressed in snazzy samurai outfits. What’s more, they also perform clunky dance routines to Asian pop music for your entertainment. Owner Lapassard Thanaphant invested nearly $1 million to create the boogying robot waiters. hajimerobot.com THE SPAM MUSEUM, Austin, Minnesota Brilliantly dubbed The Guggenham, The SPAM Museum in Austin, Minnesota is 16,500 square foot dedicated purely to the canned meat. Visitors to the museum can experience 'the world's most comprehensive collection of spiced pork artifacts' with exhibitions ranging from a short film entitled 'Spam...A Love Story', vintage SPAM brand advertising, SPAM trivia and a World War II exhibit that includes a letter from former U.S. president, Dwight Eisenhower, thanking the company for keeping the troops well fed during the war. Of course, you can also swing by the museum store on your way out to stock up on priceless SPAM collectables. spam.com/spam-101/the-spam-museum MESTIZO, Santiago Mestizo restaurant in Santiago, Chile, doesn’t really look much like a restaurant. If it wasn’t for the arrangement of tables and chairs, catching sight of it you’d be much more likely to mistake it for an art gallery or a museum. Designed by architect Smiljan Radic Clarke, what makes the structure so unique is the use of large boulders to support the wooden roof that stretches over the kitchen at one end, the indoor section of the restaurant in the middle and an outdoor deck patio at the other end. Occupying a corner of Parque Bicentenario, the restaurant overlooks picturesque water gardens and serves an eclectic mix of Chilean and Peruvian cuisine. mestizorestaurant.cl THE CURRYWURST MUSEUM, Berlin As ‘the culinary emblem of Germany’s capital city’, naturally the currywurst should have a museum dedicated to its greatness in Berlin. Opened in 2009 to commemorate the 60th anniversary of the dish, the museum claims that ‘no national dish inspires as many stories, preferences and celebrity connoisseurs as this one does’ and holds interactive exhibitions including a Spice Chamber which features a sausage sofa, sniffing stations and a ‘Currymat’ that will tell you what curry type you are. currywurstmuseum.de ROADKILL COOK-OFF FESTIVAL, West Virginia, USA Yes, you have read that right. Every September, the people of Marlinton, West Virginia hold the stomach-churning Roadkill Cook-Off Festival. Thankfully, the dishes are merely inspired by common roadkill in the area as opposed to participants actually using animals scraped off the country roads. The rules state that competitors’ main ingredient must be an animal that often meets it’s grisly end in a road accident, be it a possum, beaver, raccoon, deer, squirrel or even a rattlesnake. Previous dishes have included teriyakimarinated bear. Vegetarians need not apply. pccocwv.com/

Power with Responsibility

dariussanai — Fri, 12 Apr 2013 10:10:07 +0000

[gallery type="rectangular" columns="2" ids="387,383,386,388"] OVER THE PAST DECADE, MERCEDES-BENZ AMG MODELS HAVE BECOME A BYWORD FOR THE ULTIMATE COMBINATION OF POWER, LUXURY AND EXCITEMENT. Guy Fiorita SPENT A COUPLE OF DAYS AT AN EXCLUSIVE OWNERS’ EVENT, GETTING TO KNOW THESE THOROUGHBREDS OF THE ROAD – AND FALLING IN LOVE WITH THEM I’m not a car fanatic, a speed freak or adrenaline junkie. I don’t particularly enjoy driving fast. When I learned to drive, I made a conscious effort at smoothness. The goal of any good driver, I thought, was to drive so that your passenger hardly noticed the movement. No sudden turns or slamming of brakes. Right? “Wrong, all wrong,” comes a voice on a walkietalkie by my side. “You have to hit the brake much, much harder. Jam it as hard as you can and pull the steering wheel to the left.” Sitting behind the wheel of a Mercedes-Benz CLS63 AMG, stopped in the middle of a racetrack, I had have obviously blown my first test. The voice is Former British Formula 3 and DTM racer Marco Engel, my team leader. I’ve just finished the first leg of the first day of training and I am already coming up short. The racetrack is in Andalucia, Spain and I am here as part of an AMG Private Lounge event. My co-drivers are all AMG Mercedes owners. The chassis number on their cars qualified them to join the AMG Private Lounge, of which there are now more than 20,000 members. The thirty or so here with me are mostly from Germany and the UK but also from as far away as Brazil, the US and Lebanon. These are people who are serious enough about their cars and driving not only to have paid the price of an AMG but to have splashed out a few thousand extra to spend two days speeding around a racetrack having orders barked at them by professional race car drivers. The Lounge event is taking place at the Ascari Race Resort. We were helicoptered in the day before from Marbella. From above, the track is a beautiful expanse of tarmac that twists its way through the rolling hills. This 5.4 kilometres track with a total of 26 total turns was once called “the most challenging race track in the world,” by some guy named Fernando Alonso and I get the feeling I’m soon going to find out why. Earlier this morning we were divided into groups and now each is out on a section of the track being put through their paces by one of the instructors. AMG has brought along an impressive group of rock-star drivers like F1 and Le Mans racer Karl Wendlinger, endurance racer Roland Rehfeld and four-time Mercedes DTM champion Bernd Scheidner. They have their work cut out for them with me. Back on the track I am finding that this Lounge is anything but relaxing. After my initial break and turn failure, we move onto a series of warm-up exercises including a combination of fast slalom, cornering technique, trail braking and handling parcours, skid pad and lead and follow training. At the end of each exercise we stop just long enough to switch cars between the AMG CLS 63, SLS, SLK and my soon-to-be favourite, the C63 AMG Black Series. And off we go again. Around and around. I soon find I am pushing the limits, if not of the car then at least my own. I’ve been bitten. The faster I go, the faster I want to go. At one stage in the loop, we get to drag race against another driver. Each time I punch the gas a little harder and break a little later. I’m surprised by how much I want to win. I never do, except once when the other driver was penalised for stopping outside the box. And it is not only the speed that’s got me. It’s the sound. The primitive, guttural rumble of an AMG is exhilarating. No wonder owners say it was one of the main factors in their decision to purchase one. Later that day I get a chance to see how it should be done, this time as a passenger in a Pagani Huayra. Equipped with a Mercedes-AMG V12 engine that produces 720 horsepower, this brandnew Italian hypercar has a top speed in excess of 230 mph (370 km/h). By the time I get myself strapped into the passenger seat, my Italian driver is already giving me the thumbs-up. “Ready,” he says and something suddenly pushes me deep into my seatback and I find out what 0–60 miles per hour in just three seconds feels like. The rest of the lap is a jostling blur that proves once and for all that I knew nothing about real driving. There was nothing smooth about that, I say to myself as I walk away on wobbly legs. Looking at the itinerary the next morning I thought that the “On Road Experience” and the chance to take a leisurely drive through the Andalusian countryside at the wheel of a classic AMG would be more my pace, but my pace had obviously changed. Halfway through the drive, beautiful as it was, I found myself itching to get back on the track. Before I could however, I was taken off road in a Mercedes-Benz G63 AMG. The vehicle proved to have impressive power as we slogged our way over the muddy hills around the resort grounds but I was here for speed. Which is exactly what I lacked as we lined up for the big event of the day, a team trail where all the times are added together and the lowest total time receives a prize. I really want this one, or at least I don’t want to let my team down. They’ve been so patient. So this time I really go for it, pushing myself faster and faster until I come skidding to a stop, dead centre in the box. Perfect. I look over to see that my time is just a few seconds worse than the slowest member of our team. Not bad for a non-speed freak. The proud moment is short lived. It appears I’d missed two gates and hit a cone along the way too. It all adds up to 15 seconds of penalty time and knocks my team out of any chance for a victory. Fortunately everyone’s attention quickly turns to the last event of the day and the chance to run a few laps in a true race car, the SLS AMG GT3. The top-of-the-range of Mercedes-Benz cars, it is a strictly limited edition and so extreme you are not allowed to use it on the road. This was universally considered the highlight of the whole Lounge by my co-drivers. Personally I found the asbestos suit, the helmet with just an opening for the eyes and a driver’s cage that took a Houdini-like effort to get into, almost unbearably claustrophobic. On the track, the car’s raw power is scary and I am afraid it remains beyond my skill set. The experience, however, certainly gave me a new-found respect for race drivers. I may not have come here much of a “car person,” but by the end of the three days, having driven, and heard, enough horse-power to propel a horde of Mongolians across the Steppe, something in me has changed. Now as the shuttle slowly winds its way back to Malaga airport, I sit leaning over the seatback in front of me like a restless child, watching the road ahead. “Are we there yet,” I ask the driver. “No, about another hour,” he answers. After my AMG Private Lounge experience, I’m confident that I could do it in half that time. And as I watch the olive groves move slowly past my window, one thing becomes perfectly clear, I’d sure love the chance to try. mercedes-amg.com

it’s a small World

dariussanai — Thu, 11 Apr 2013 13:45:42 +0000

[gallery type="circle" ids="399,398,397,396,395,394,393,392,402" orderby="rand"] Christopher Boffoli is the photographer and inspiration behind the astonishing ‘Big Appetites’ series of photographs, of which we publish a selection here. Largely self taught, the Seattle-based photographer decided to take up a creative career after witnessing the events of 9/11 first hand and then sustaining a serious injury at high altitude while mountaineering on Mount Rainier in the Pacific Northwest. The witty, original and thought-provoking Big Appetites was a finalist for a 2012 James Beard Foundation award and is the subject of a forthcoming book from Workman Publishing, to be released in Autumn 2013. His fine art photography has been showcased in exhibitions across the US and in London, Monaco and Singapore. His work has been published in more than 95 countries and can be found in galleries and private collections in the US, Canada, Europe and Asia. What inspired Big Appetites? The original genesis of this series was a childhood fascination with miniature things. As a young boy I was an avid model builder and a collector of Matchbox cars. Growing up in the late 70's and early 80's there was also a lot of television and cinema that exploited the concept of scale juxtaposition. The list of shows and movies with tiny people in an over-sized world is long. It was a very common theme. Actually, it recurs surprisingly frequently in our culture, from the Science Fiction films of the 1950's to the present day, most likely because it was a cheap, easy special effect to pull off and also one that offered much dramatic and comedic potential. In fact, the idea even suited Jonathan Swift in the 18th century's Gulliver's Travels. And if you consider that many museums around the world are filled with miniature idols and other tiny representations of the real world, human beings have had a fascination with minuscule things for tens of thousands of years. What informs your food photography? Food was a conscious choice as one of the elements of my work from the start. I thought that it offered a broad palette of beautiful colour and texture, especially when photographed with natural light. Of course I also realized that food would make the work broadly accessible cross-culturally, as whether you eat with a fork, chopsticks or your fingers everyone has a familiarity with food. The surprise was that food really isn't that beautiful. We tend to see most food from a certain distance at the supermarket or at a restaurant. I discovered that photographing it up close with macro lenses revealed all of its imperfections. Likewise, as a North American I thought there was something to say about the dysfunctional parts of our collective relationship with food that exist amidst the tremendous bounty that is available to us as consumers. Humour and surprise are definitely the top notes in my work. But I hoped this work would open a conversation about portion sizes, over-consumption, industrialized food production and the degree to which we have become food spectators in America, consuming gorgeously photographed food through the media (with our eyes) but over-relying on prepared and processed foods at meal time. How did you first become interested in it and why? I saw an exhibition at the Saatchi Gallery in late 2002 (a Chapman Brothers diorama) which used miniature figures in an artwork. Around the same time I saw the brilliant work of Walter Martin and Paloma Muñoz (Travellers) with scale figures presented in snow globe dioramas, often in somewhat disturbing scenes. I loved the idea of luring in the viewer with something whimsical and then surprising them with something they perhaps weren't expecting. Those two works are what motivated me to begin conceiving what would eventually become my Big Appetites series of photographs. I worked away at the idea for the better part of a decade without anyone at all paying very much attention to what I was doing, save for my young niece who loved the images. But then some of the work in the series was spotted by an editor in Europe in 2011 who syndicated the images in the British press. Judging from the reaction, combining two of the most common elements in just about every culture in the world (toys and food) was more powerful than I ever realized it would be. And I've found it compelling to explore both the human fascination with detailed miniatures and with food. What are your forthcoming projects? I'm continuing to work on the Big Appetites series. In fact, I have just completed a few months of shooting many new images for an upcoming book to be released worldwide by Workman Publishing (NY) later this year. I'm continuing to show large-format, fine art photographic prints from this series which in the last year have had exhibitions in Seattle, New York, Los Angeles, Toronto, London, Monaco and Singapore. In the UK the limited edition prints are represented by the Flaere Gallery (flaere.com). I'm also keeping busy with a range of editorial and commercial commissions. Christopher Boffoli's work is available at bigappetites.net

Going on a Bear Hunt

dariussanai — Fri, 12 Apr 2013 13:51:48 +0000

[caption id="attachment_412" align="alignright" width="709"] The Lodge seen from across the Snake River[/caption] Caroline Davies doesn’t care for beaches or spas when she’s on summer holiday. Perhaps foolishly, she mentioned to LUX’s editorial team that she had a taste for adventure. Not long after, she found herself on a plane, headed for America’s wildest bear country. And she survived to tell the tale “Got bear spray?”, the park warden asks. My guide nods and gestures with his chin to me. I helpfully hold up a hairspray size can labelled “50 times stronger than mace”. It has a vivid warning photo of a man gushing blood from a bear sized bite in his forehead. “Well alright then.” The park warden opens the gate and our 4x4 rumbles down the open track and into the woods. Welcome to Idaho, America’s real life adventure playground. Unlike the well-visited Yosemite to the south west and Yellowstone to the north east, the wilds of Idaho are the well kept secret of those who like their nature without burger bars. Reaching Idaho Falls, population 60,000, was no mean feat. A few hops across America on United Airline planes of ever decreasing sizes I buzzed over flat fields, deeper and deeper into the American heartland. Touching down, I had been met by Ian, the general manager of South Fork Lodge. Broad and affable with a sarcastic sense of humour, he is in town to pick up me, some groceries and to stop by the Sportsman Warehouse, a cavernous huntsman’s store on the outskirts. Under the gaze of your future targets – glass eyed moose heads and stuffed eagles hang from the soaring rafters – you can browse the racks of rifles and rails of hunting outfits. “Camouflage isn’t a method of disguise here,” says Ian, catching me quizzically browsing a selection of camouflage bikinis. “It’s a fashion statement.” We drive through the valleys of low growing potato bushes and dry farming plots of hay. The summer bush fires from neighbouring states have brought a haze to the city and valleys, blotting out the hills in a dense blue until you are almost upon them. After an hour, we begin to descend through the river worn valleys to the lodge. Curled around a lazy bend in the Snake River in Swan Valley, South Fork Lodge is located on 65 miles of dry fly fishing river, making it one of the fishing destinations of the North West. Tucked away from the main road, past their fly fishing shop, the lodge’s cabins scatter their way across the gentle slope down to the river. Designed to fit with local architecture, the warmth of the honey coloured wood, grey stone chimneys and slate roofs blend with the burnish tones of the forests, the bubbling pebble colour of the river. The main lodge holds the suites, all with their own grey stone fireplace and private terrace looking out to the river. For a little more privacy or larger groups there is an eight person cabin complete with pool table and your own deck on the river. For families or smaller groups the vast double bedrooms with connecting doors give you more than enough space and come with a balcony or veranda. I dump my bags, hit the hot tub and curl up on the rocking chair outside with the wine and jerky from the welcome basket. [caption id="attachment_410" align="alignright" width="770"] A double suite at South Fork Lodge[/caption] Inside, the lodge is decked with original art works by local artists, hung next to panoramic windows that look out on the landscapes and wildlife that inspired them. The relaxed restaurant, which spills out from the polished wood octagonal dining room on to the flagstone terrace, has recently had a shake up. The newly appointed chef was chosen for his menu of local flavours and produce, created with a twist. Rainbow trout sushi is popular, as is their lamb, and the hen of the woods, served with a reduced cherry dressing to add sweetness and balance to the slight bitterness of the mushrooms, is a flavoursome update on the traditional dish. Over dinner, watching the few remaining boats sidle past, I meet a few of the lodge’s guide and the sous-chef. He is only a few rounds away from a place in the smoking finals in Memphis, I am told. I look blank, mind whirling with images of grizzled men manically smoking multiple Marlboros simultaneously in a Memphis shed, their eyes on a cigaretteshaped trophy. “Meat smoking is big business around here,” explains Ian. “Ribs, chicken, all sorts of meat. Our guy came 3rd out of 2000 in the last competition.” [caption id="attachment_414" align="alignright" width="480"] Steamy morning views[/caption] The lodge holds rib evenings throughout the summer, but the next big event is in a few days time at a local music festival. Despite competition from across the valley, they always sell out. The morning arrives misty and fresh, condensation spotting my boots as I brush past the long grass on my way up to breakfast. Ovals of folded grass, like amateur crop circles, spot the fields; the only remaining sign of the deer that bedded down here the night before. After a large plate of sticky soft French toast with maple syrup I set off. We drive the short distance to Wyoming, past rock strewn drops, dense pines and a winding roadside queue for ‘the world famous square ice cream’ parlour. Stopping in a gravel lay-by we perch above the river to watch the rapids. The river courses through the bolder littered banks, hurling inflatable rafts up and over. Children shriek with excitement, bumping downstream. In summer the water is comparatively low, but the river swells in spring and has taken the lives of a few daring rafters with it. We turn back, pausing to watch the dam that feeds into the Snake River. Built in the 60s, the dam is partly responsible for the rich fishing in South Fork, pushing cooler, oxygenated water from the bottom of the river through and encouraging the creatures that feed the fish to multiply. By the time we return to Idaho, the dew has dried. I am dropped at the bottom of a steep crag, the edge of a range of hills. Being British, they seem more like small mountains, rough and shrub strewn, thin grey wires bend up and across the peaks. “T-bar or harness?” Ian asks. I hesitate. I’ve not zip wired before and my palms are already a little clammy. He laughs. I think he’s joking. Helmeted and trussed up in a harness, I clamber into an open air all terrain vehicle next to the driver, an octogenarian with a deep tan and a hearing aid. He beams at me, then starts the near vertical ascent. “You’re up.” I step up to the small wooden platform, the last point before the slope disappears, becoming a flat rock face. I’m clipped in and edge forward, trying to absorb all of the instructions. “Don’t worry if you start going backwards, particularly when you reach the end, that’s normal. If you go upside down, keep your knees tight and give us a big wave. Ready?” I nod, walk off the edge and drop. Eight wires later, and jumping off a cliff feels quite normal. I even go upside down while backwards willingly. Blood still pumping a little, but feet now back on the ground, I follow my nose firstly for a dip in the sulphur hot springs next door and then the pizza parlour for a Hawaiian and a jug of ice cold beer watching the sun creep down. [caption id="attachment_416" align="alignleft" width="365"] Heading out for a trout of two[/caption] I wake early to hit the river. Not early enough. The hard core crews have been and gone, setting off at six to catch the first fish of the day and watch the valley waking. Leave as the sun rises and you should catch deer, moose, perhaps even the odd bear, strolling to the water’s edge for a morning drink. Foolishly travelling without a hat, I drop by the lodge’s shop to pick up a floppy khaki number complete with draw string chin strap and a friendly-looking embroidered fish. Feeling the part, I saunter to the car park to meet my fishing guide, Dave. Dave is a man of few and select words. He has the deep tan of a fly fisher that has spent every summer on the river, black reefer shorts bleached grey by the sun. As I approach he pushes his cap over his salt and pepper hair and I notice that the backs of his hands and knuckles are speckled with small cuts and scrapes, presumably from manly outdoor activities. “Can you see ok in those sunglasses?” he asks. My Jackie O style glasses have always served me well before, but as we push off down the river I realise quite how little I see. We bob under a bridge and I squint to spy the nymphs Dave points out stuck on the pillar, brushed by the waterline. Dave gamely hands me his, in a case labelled “welcome to the city”. They are rose tinted. “Not only clever, but they make the world look cheerier.” He says. We drift downstream, resting up against gravel banks, wedging the boat among the rapids and fishing out. Focusing hard on casting and not catching Dave on my hook – a possible explanation for the cuts – you can almost forget to look up at the soaring canyon around you. Sandy coloured grass and 3ft tall bracken sweeps down the lower reaches of the reddish tinged rock formations, camouflaging the wildlife sheltering from the midday sun. Although you need keen eyes to spot a deer, birdlife is easier to notice, either tucked among the reeds or circling against the azure sky. The water bubbles past, so clean you can see the pebbles on the river bed. “Gin clear.” says Dave, seeing me watch a failed catch as it slips away down river. We fish until the sun begins to set, turning the river from blue to copper. As we pull in to the bank and our camp for the evening, a fire is crackling, the beers are chilling and the red wine is breathing in the last of the day’s heat. Ian and his fiancée Haley are at the stove, cooking steaks that fill an entire pan. After a competitive game of horse shoes, someone suggests clay pigeon shooting. Ian mocks me up a makeshift set of headphones – folded tissue paper tucked into a bandana – and gives me a quick tutorial. With no machine to fire the clays, Ian throws them out like a Frisbee. As night falls, we tuck ourselves into the sturdy wooden picnic table to eat platefuls of tender meat and buttery vegetables by torch and candle light. By dessert, a sizzling hot berry crumble, we are all sitting around the glowing embers of the fire, draining the last of the bottles of wine. After a heated discussion with Dave about which really was the greatest Rolling Stones record, I pad into the tall white tent and clamber into my cot. We wake to a hearty breakfast and a cold dip in the river for the brave. The camp packed up, we jump into the waiting boat and skim back upstream to meet our transport back to the lodge; three glossy steeds, two red and one white. We amble our way gently on a path that takes us through the undergrowth, the trees and finally out of the canyon into field upon field of chest high corn. [caption id="attachment_411" align="alignright" width="800"] Lodge dining with views of the river and beyond[/caption] Back in the ranch there is a buzz. It is the last night of the music festival and it seems everyone is going. The “Young Dubliners” are headlining, an Irish folk band. The park in Victor town centre is rammed, barely an inch of grass between picnic rugs strewn with plates full of ribs, burgers and noodles as people balance bendy plastic pint glasses on the grassy mounds. South Fork’s stand queue winds around the stall; they are nearly out. We grab some of the last rack of ribs and manoeuvre our way to the front. The band starts up, authentic Irish accents, violins and guitars and the audience stands to its feet, jumping around in fake jigs, beer splashing the ground. My final day at South Fork and I go east to Jackson Hole, Wyoming with my trekking guide, Bob. We stop just outside the centre for a big breakfast at Nora’s and necessities for our walk. I loiter outside the store, admiring the number of different states on the number plates. Jackson Hole is a well known spot for nature tourists and adventure holidays are big business, especially when the adventure feels real. We buckle up in the 4x4 and Bob hands me a bag with the bear spray. “Just in case, always best.” He says as I scrutinise the directions for use. We head towards the mountains. [caption id="attachment_413" align="alignright" width="800"] Summer may be short but it’s extremely lush[/caption] A boutique ski resort in Winter and outdoor activities centre in summer, Jackson Hole is one of the wealthiest regions of America. “The billionaires are buying out the millionaires.” Bob says as we drive past the airport, sleek private jets lining the runway. The slopes, now devoid of snow, still run a cable car throughout the summer, offering one of the best ways to see the Tetons. We clamber onboard, joined by a group of five T-shirted men in their twenties wearing three-foot backpacks; paragliders. “We have seats left if you want them.” one says to the rest of the car. I smile, but Bob turns to see if anyone is taking them up on the offer. They are serious. We follow them up to the peak and watch as they piece together their equipment on the slope. Those with passengers strap them in tightly and point their instructions; run down the mountainside and don’t stop until told or the mountain ends. The first one catches a gust, untangles his parachute and runs, full pelt, off the edge. For a moment he is still, feet just off the ground, parachute hovering above him, then the force of the wind takes him up and off, smoothly gliding. Mesmerised, we watch them each as they follow one another, circling like a bird of prey before curving out of sight behind the mountain. When we reach the bottom, I follow them to their landing spot, watching them bump down. One of Wyoming’s largest national parks, Grand Teton National Park spans around 31,000 acres, including peaks of Teton range, lakes and forges. Driving past the entrance, we zigzag our way through the trees, as I keep an unnecessarily close watch for wildlife. We are pulled over by an officious looking ranger, tight lipped and severe. “You sure you guys want to head down this way?” he asks. “There are a lot of grizzlies around and they’re hungry and grouchy. Where you walking?” “Death Canyon.” Says Bob unflinchingly Our ranger sucks his teeth. “You sure you wouldn’t rather go to Jenny Lake?” Jenny Lake does sound preferable, but after jumping off cliffs, learning the difference between a Rainbow and a cutthroat trout and wearing a floppy khaki hat without shame, I’m fairly committed to following South Fork’s expertise. We soldier on. Thinking it’s best to be prepared, I ask Bob for some bear advice. “Well they used to say make yourself small, then they said make yourself big. Neither of those work particularly well though,” he says. “Probably the best advice is to run.”We park at the bottom of the trail. “Bears don’t like to be surprised so if you make a lot of noise that can scare them off.” I talk non-stop up the mountain, jumping once at a chipmunk. Thin reddish trees flank the path, row after row, disappearing to fine lines in the distance. We pass a thick tree next to the path, freshly shredded by bears in search of food; they were here a few hours before us. The path ahead clears to one gnarled tree, its roots bursting out through the dusty ground, its branches framing the spectacular view; a deep blue lake, pine green forests, jagged mountain sides and tiny bays. Slightly out of breath from my constant conversation, I stand at the edge in silence, leaning against the tree, drinking it in. Our final stop is Jackson Hole town centre, an idyllic scene with a wooden sidewalk lined with art galleries and boutiques. The highly manicured, lacquered stores gleam with wares of country living; furs, fishing, a bronze of an eagle. It is well equipped. As we ride out of town, we pass a row of tents with a handmade sign reading “Art Fair.” “Now art,” says Bob, sighing. “That’s the thing that will wear you out.” Caroline Davies travelled as a guest of Natural Retreats who provide luxury holidays in secluded locations of natural beauty in Europe and the USA. They have recently introduced Natural Retreats properties to buy Naturalretreats.com, South Fork Lodge

Heaven-Scent Dove

dariussanai — Fri, 19 Apr 2013 10:13:57 +0000

[gallery type="circle" ids="433,434,436,437,435"] ROJA DOVE’S SCENTS ARE THE ROLLS ROYCES OF THE PERFUME WORLD. AND THE FLAMBOYANT ENGLISHMAN WHO HAS REWRITTEN THE BOOK ON HIGH-END PERFUME FROM THE GULF TO HOLLYWOOD HAS NO INTENTION OF SLOWING DOWN, AS Caroline Davies DISCOVERS OVER GREEN TEA AT CLARIDGE’S Roja Dove’s worst nightmare is to catch a cold. “I find it frightening. I become very panicked. It is like someone, I imagine, would feel if they lost sight. We take in so much about our world through a sense of smell. It gives you the power of memory whether you like it or not. “I haven’t travelled on the underground for years. If you imagine smells are music, it is as though someone has put all their records on at once at top volume.” The curator of Harrods Haute Parfumerie, creator of bespoke perfumes for the global elite and his own range – the number one and two best selling perfumes in Harrods – Dove is The Nose. Commonly renowned as the most significant perfumer of this century, he has helped pull back his industry from the brink. “There was a point when most houses were launching with 30ml sprays with a free gift,” he says of the old days. “People forget that, that’s how debased it had become. I was embarrassed to tell people my profession after 15 year of training. 15 years! Surgeons take eight.” Carefully combed back hair, Indian-yellow coloured silk cravat bulging illustriously from his open crisp, white shirt, cuffs just hiding gold bracelets and a chunky watch, Dove is dressed precisely and flamboyantly. His manner is soft and careful, punctuated with the occasional dignified sniff. With the wafts of breakfast, coffee and the floral display, I catch only a whisper of his scent, “something I created just for me, one of the perks of the job.” Those devoted to his work can tell his creations from just a sprinkle. “There are elements I come back to, because I like them,” he says. “When I was little, my mother used to bake something between a bread and a cake. She made it very rarely, perhaps twice a year and only in the evenings as we were going to bed. It would go in the oven and as we were up in bed, the scent of this thing, laden with spices and a lot of cinnamon,” Dove wafts his hands “would fill the room. I like very soft spices and I have no doubt that is where it came from.” Dove began his career at Guerlain, where he stayed for 20 years. Harrods approached him. “I was invited in for a cup of tea” says Dove, delicately. “Before I was seated they said “We would like to open a perfumery with you”. I said “I would just like tea please”. I didn’t know what they wanted to see me for, but that wasn’t in my realm of consciousness.” Harrods persuaded Dove to curate his own ultimate collection within their store. “If we were going to open a perfumery, it had to have a raison d’être,” he says. “The world does not need another regular perfumery. Everything in there is my personal edit of what I think is great perfume. It’s not about whether it is old or new, it’s not particularly driven by its price, it is whether I think it is a good example.” A perfume historian, Dove found that he often had a better knowledge of a perfume house’s work than they did. “I spoke to the managing director of Dior to request Diorama and Diorling,” he says. “He told me that they didn’t make them. ‘You do make them, you never stopped making them, but that they only sell them in the Avenue Montaigne.’ They found that they did sell it and allowed us to stock it.” Dove pauses and shrugs, raising his eyebrow slightly. “Eight years later, those scents have now been re-launched and you can buy them from any Dior counter in the world.” Although he had been creating bespoke perfumes after his lot gained a storm of interest at a Christie’s charity auction, raising more money than a Mercedes sports car or a holiday for 8 in the Maldives, Dove steered clear of creating his own range until he had dinner with an old friend. “She said to me ‘wherever I look in the world of perfumery I see your name. Your shadow is enormous. As a client, if I read about you and I want to walk into your shadow, how do I because I can’t find your products anywhere. You need to create your own range so that customers can discover your work.’ I realised that she was right.” Dove launched his own house in 2007. “Within a month I had the number one selling perfume in the shop, which was one of the pinch, pinch, pinch, pinch, is this really true, moments,” he says, eyes shining, pinching his shoulder. “Now we have the number two best selling perfumes in the shop. “What I find the most amazing is that we don’t advertise. What seduces the client is actually the perfume. People find my work beguiling enough it seems so that when they smell it they say I will take one.” Today Dove’s reach stretches across the world. London –“in Harrods, the only truly international address”–Dubai, Russia –“I speak it a little, but only enough to make a Russian smile” – Switzerland and Abu Dhabi . This year he will open in Oman –“I have always wanted to visit, they have the best frankincense” – Germany and Jeddah. He is careful to avoid the mistakes of the other major perfume houses. “I don’t want to be in lots of places,” he says. “It is very important that wherever we sell the perfumes I will always go to the store and explain to the staff what the stories are and the ideas behind them. I don’t want someone else doing it. It’s too personal for me.” Dove’s way of introducing scent is unique. Working with a palate of smell across four different families – three feminine, three masculine and two crossing in the middle – he guides you across the spectrum to find your favourite. “When you meet people who are informed about scent, they talk to you about ingredients. “This contains heliotrope and celiac and exotic benzoine.” How does that help you? We need to get people to understand that a perfume is sweet and sexual. It is a bit like when you go to a restaurant. Do you actually care what the chef was doing in the kitchen? You want to know that what you eat is delicious.” Dove’s kitchen is a complicated concept. “There are fewer perfumers on earth than there are astronauts,” he says. “If you want to understand my world, close your eyes and try to think of a colour you have never seen using no reference point; so you can’t say a peachy shade of turquoise because you already know those two colours. Then try to imagine a smell you have never smelled before. “My world is trying to think of an idea. I sketch an idea of the sorts of smells that might be part of that idea, put them on blotters then put them on a wheel. They mix in the air and you try to see if that will give you what you want. It is trial and error, patience, memory and hopefully having a little bit of good taste.” Inspired by a selection of adjectives which become the tongue in cheek names for his creations, Dove creates a story, an image behind each. “Take something like mischief,” he says. “I knew I wanted a fresh floral in my palate. Freshness suggests movement and lightness. I thought mischief is perfect. If you think of a child when it has been mischievous what does it normally do? It normally nips there and does the thing it shouldn’t, stands there looking very innocent or it zips out again” he whistles. “You can feel the movement in your nose.” Some of Dove’s perfumes have a much darker, seductive edge. “When I created Reckless, the name came about in a totally different way. I was on holiday with my partner Peter and he read out a fabulous line; “reckless maybe, foolish never,” he says, gently. “It put an idea of a woman in my mind, a woman who has got what she wants out of life. I saw this woman in the theatre or opera house in the half light with a big open décolleté and a diamond necklace. I had the idea of how the diamonds would shimmer and tremble; the same effect is created in the perfume by the aldehydes. I wanted to create a scent where you imagine the woman going home, slipping out of her silk dress and if you picked it up,” he pauses and takes a deep sniff, far into the back of his nose. “You would smell the softness and warmth of her skin and her perfume. “It is the antithesis of a man’s world, but something they find irresistible. The woman knows that. She will always take risks and follow her heart, but she will never do anything to damage herself as she is reckless maybe, foolish never.” So how should you discover if you are a ‘Mischievous’ or a ‘Reckless’? Dove recommends trying each first thing in the morning, firstly on blotters, comparing each one to another until you find the one you prefer. Do not use hand cream or hand wash, wear it and let the perfume sink in. “Scents are like love affairs, you only know whether it works when you have spent the night together.” And how do you know if you have found the one? “If you spent the night with a lover,” says Dove, leaning in conspiratorially, “You would know whether or not you would want to go back a second night.” rojadove.com

Hats off to the preacher man

dariussanai — Fri, 19 Apr 2013 14:50:58 +0000

[gallery type="rectangular" ids=",447,448,444,446,445" orderby="rand"] From ‘Princess Kate’ Middleton to Lady Gaga, celebrities are nobody without a Philip Treacy hat. But what drives London’s divine milliner? Caroline Davies probes for the answers from the god of gorgeous headwear “It’s a bit like being a missionary,” Philip Treacy says. “I’m preaching, ‘hats are good.’” To many Philip Treacy is not just a dedicated evangelist of millinery; he is one of its gods. His designs adorn the heads of Royal Princesses and Harry Potter characters, Sarah Jessica Parker and of course, Lady Gaga. He has collaborated with designers of every ilk including Chanel, Versace, Givenchy, Alexander McQueen, Valentino and Ralph Lauren. But while he is adaptable – his designs may be outlandish, ironic, classic or surreal – they are recognisable. A small quirk, a way of designing, of seeing the world, a creation of this designer is unmistakably a ‘Treacy’. His hats are eccentric and dramatic. They pull your stare, captivate and amaze. They are unapologetically whimsical, direct but from a new perspective. “When you meet somebody you meet their face not their foot,” Treacy says, bluntly. “It is a very potent part of the body to decorate and embellish.” Is what he does challenging? “When you design hats people want something new that they have never seen before, has never been invented and that’s not easy,” he says. Does he worry he will run out of ideas? “Every day. But it hasn’t happened yet.” With constant demand flying in from around the globe – “Lady Gaga likes a hat a week” – the ideas need to flow thick and fast. “It is catching all over the world,” he says. “We have interest from cultures that didn’t necessarily think they could wear our hats before. Fashion is a big communicator today. Lady Gaga has introduced my hats to 11 year olds. That’s quite fun, because she’s a hat wearer of the world. She’s a 21st century Isabella Blow.” Treacy tone changes, softer and almost conspiratorial. “I’m not giving her Isabella’s crown, that’s not mine to give. But she reminds me of her, rather alarmingly. I don’t think anyone has any doubt about that. They do have a certain similarity. What’s most interesting is that Isabella was a very, very sweet person and so is Miss Gaga. A very, very sweet person.” Gaga’s appearance at Treacy’s 2012 September London Fashion Week show, his first in 8 years, was the surprise entrance of the season, even to Treacy. “She said if she went to my show, she would come in her own way,” he says. “It was all her idea to come to the show. An hour before, she called me up and apologised that she was running 10 minutes late. “She said ‘I’m wearing a brown wig and I’m channelling Isabella’ and I said ‘Ok, I hear you’ thinking ‘Yikes’. And then she turned up looking like her. “She’s a conceptual artist. She told me what she was going to say and I said ‘please don’t say that, they are going to think I told you to say that.’ She said ‘Philip, don’t worry, I’m not going to mess up.’” Dressed in a florescent pink shroud that covered her entire face, draped over her arms, Gaga walked down the catwalk with echoing footsteps. She stopped, raised her arms and said in a deep, echoing voice “Ladies and gentlemen, the greatest milliner in the world, Philip Treacy.” She was cut short by the crowd as they erupted in applause. Born in Galloway, Ireland, Treacy began making hats - “because I was good at it” - while at Fashion College in Dublin. In 1988 he began his MA at The Royal College of Art. Aged 22, he met Isabella Blow. “Oh God.” Speaking about Blow, an illustrious magazine editor and then legendary style editor of Condé Nast’s London-based Tatler magazine, Treacy’s voice becomes softer. It is clearly a story he has told before, but one he doesn’t mind revisiting. “The first time I met her, I was in Tatler’s art department. It was the late 80s and the power suit look was in; navy, white, red suit. It was very suit with pearls. “Isabella was in evening dress; transparent Galliano cobweb top with a satin skirt and yellow Manolo Blahnik satin shoes. Evening wear while everyone else was in day wear. Today that is a common look, but then it was very unusual. She stood out, she was different. It wasn’t an extreme outfit but she was certainly different. And she had lipstick on her teeth.” He pauses. “She wasn’t friendly, she wasn’t not very unfriendly... but she was checking me out.” Treacy had been called in by Michael Roberts, then fashion editor of Tatler, to create a green hat, the centrepiece for a fashion story based on the 1920s novel of that name. “It’s difficult to find a green hat, because weirdly enough people can be superstitious about them. I’m not, I love green hats.” When Treacy returned to college, he had a message. It was from Isabella. She wanted him to create something for her wedding. “I was used to white brides, so I thought she meant a veil. But Isabella was wearing purple. Velvet. With Aquitaine embroidery. So I made her a golden wimple.” The hat and wimple sparked off a fashion partnership far more significant than designer and muse. After graduation, Blow not only wore Treacy’s creations, but arranged for him to set up his workshop in the basement of her house. “She changed my life.” Today, Treacy rarely stands still. I have caught him while he is momentarily in his London studio. His itinerary over the next week alone will take him to New York for Grace Jones’ concert, back to London and on to Melbourne for the Melbourne Cup before working on hats for Armani’s couture collection. London, however, remains his home. “England is the home of the hat,” he says. “I make hats for very conservative English women who think my hats are normal. That’s why I work in England, I love it here. That is the epitome of English eccentricity as far as I am concerned. Many of my customers are very conservative dressers, but when it comes to a hat they like a very stylish hat. They want something more from a hat.” Treacy’s craft can be divisive. The image of Princess Beatrice in his creation, a swirling cream, pink hat, at the Royal Wedding in April 2011 caused a stampede of criticism from twitter to the mass media. A month later it sold for a record breaking £81,101 on a charity eBay auction. “Hats are provocative, they always have been,” says Treacy. “You love it, you hate it, you think it’s wonderful, you think it’s ridiculous. Hats have always brought about conversation. People are attracted to that person; they want to talk to that person.” Treacy’s recent partnership with Asprey, a company that has centuries of experience in catering to the most extravagant eccentric tastes, is not unusual. The outcome is. He has designed a Christmas cracker. “They thought I was joking,” he says. “I wasn’t. I love Christmas. Christmas reminds us of our childhood when we were at our happiest.” The cracker is unexplored territory. It’s another version of a hat. It’s something you don’t need, but you do need. It’s food for the soul. A cracker can be beautiful too.” Every detail of the cracker, on sale at Asprey Bond Street in November 2012, was overseen by Treacy, from the pop up hat that unfolds when you remove the ribbon, the sterling silver thimble engraved with his signature, to the jokes curled inside. His vision, rendered completely, translated to something new. “We live in a world of shape and I make shapes,” he says. “I have my own style of shape so I can adapt what I do to anything potentially. Designing a building would be fun, in Shanghai, China; they are very open to the future. Sydney Opera House is my favourite hat in the world. It’s not a building, it’s a hat. It’s a symbol of Australia, it’s the most exquisite building.” “I’m happy with my lot,” says Treacy. “When Isabella [Blow] started wearing my hats first, no one wanted them. Now they all want my hats, her style of hats, interesting hats. People are much more adventurous than they have ever been before.” asprey.com Philip Treacy by Kevin Davies, published by Phaidon now available

why Krug rules

dariussanai — Mon, 22 Apr 2013 13:07:39 +0000

[caption id="attachment_455" align="aligncenter" width="493"] Grande Cuvée Brut, the product of as many as 1,000 tastings[/caption] THERE ARE CHAMPAGNES, VINTAGE CHAMPAGNES, PRESTIGE CHAMPAGNES, AND, FOR A NUMBER OF CONNOISSEURS, THEN THERE IS KRUG. OUR COLUMNIST, HIMSELF A LEGEND IN THE WINE TRADE, EXAMINES WHAT IT IS THAT MAKES THIS CHAMPAGNE SO SPECIAL “Bring anything you like as long as it starts with K and ends with G.” So I was instructed before a dinner at which only the best would do and it was up to me to bring champagne. So why is Krug considered by true connoisseurs to be the best among many fine champagne houses? To help answer this question I was invited to Krug on a cold winter morning. In contrast to the many splendid champagne ‘Maisons’ in Reims, France, the Krug headquarters is an unprepossessing building that does not prepare you for the splendours inside. I was invited to a special tasting by Margareth Henriquez, the president of Krug. We were joined at the tasting by Eric Lebel, the chef de cave. The wines to be tasted were Krug Grande Cuvée, Krug 1996, Krug Clos du Mesnil 1996, Krug Clos d’Ambonnay 1996 and Krug 1998. The wines were very different yet all had some things in common. First was a core of firm acidity, the backbone of Krug. All had a very fine mousse and were wonderfully fresh. All were richly aromatic with multi-faceted flavours that danced across the palate, suggesting perhaps grilled nuts for a moment, then a touch of honey followed by toasted brioche or dark red fruits. The sensations went on and on. All had an impression of size and volume yet were so elegant that the aromas and flavours seemed to be balanced on the point of the finest needle. Finally, a long finish that lasted minutes rather than seconds. The wines could be enjoyed on two levels; immediate pleasure certainly, but they also repaid contemplation when so much more was revealed. They are not showy wines but really quite cerebral. The two wines closest in style were the Krug Grande Cuvée and the Krug 1996. The Clos du Mesnil, a 100% Chardonnay champagne, reminded me of a young Montrachet, but the flavours were much finer. Totally harmonious, very complex and like a ballerina poised on tip toe, supremely elegant. The Clos d’Ambonnay 1996, made entirely of Pinot Noir, had the same Krug backbone as the Clos du Mesnil but its taste profile was entirely different. The texture silkily smooth, the bouquet and flavours hinting at dark red fruits, a touch of toasted brioche, dark chocolate and as Eric Lebel suggested “that classic burgundian feature, sous bois”. There is no equivalent word in English: ‘boskiness’ gets about 20% of the way there. The richness and power of the fruit perfectly balanced by the firm acidity which is a feature not only of Krug but also of 1996. The taste went on and on, the long finish was of almost symphonic complexity. Among wine snobs it is common to look upon the Grande Cuvée as a sort of entry level Krug, a mere nonvintage wine. This is a great error. So how does Krug achieve such outstanding quality? Apart from insisting on only the best for every small decision that has to be made during the whole process there are several key factors that elevate Krug above their competitors. Of utmost importance is the raw material. As their own vineyards provide just 40% of their needs, the remaining 60% have to be bought in. The source of their grapes is not a few very large vineyards but dozens of tiny plots, some no larger than a large garden. Each terroir being subtly different, this brings great complexity to the final blend. The growers keep the yields low and the contracts with Krug often go back many generations. Several growers told me that it is considered an honour to supply Krug with grapes. It should be noted that Krug buy only grapes, never wine. Every parcel bought is kept separate. Many Champagne houses mix the many lots bought in large tanks. Not so at Krug. Amazingly, the grapes from each plot of land from each grower are fermented separately. There is a severe triage and the wines are fermented in old 205 litre oak casks. Krug is the only great Champagne house that still ferments all its wines in oak. The casks are old because the aim is not to add tannins but to allow a slow interaction between the must and the tiny amount of oxygen that the casks allow through. This method ensures a long, slow evolution of the wine and contributes enormously to its legendary longevity. A further contribution to longevity is that the malolactic fermentation is never induced. In March the growers come and taste their wines at Krug. It is quite possible to find, from one grower for example, that one wine is fine and fruity, one more structured while the third is over-ripe. This last wine will be rejected by Krug and sold elsewhere. The most difficult task of all is the assemblage, especially for the Grande Cuvée. For a vintage Champagne, those casks whose characteristics best represent the unique character of the year will be set aside. But for the Grande Cuvée where consistency is paramount, Krug can call upon its amazing array of reserve wines which are stored in stainless steel. For the blending, Olivier Krug and a tasting committee of seven spend five months with as many as 1000 tastings, seven wines at each tasting. They will have as many as 7000 tasting notes. These are all reviewed by Lebel who will then suggest certain blending combinations to the committee until that special Krug character, taste and quality is achieved. [caption id="attachment_454" align="aligncenter" width="659"] Clos du Mesnil[/caption] Krug use about 15-20% Pinot Meunier in their blends. Some find this surprising as it is often considered to be an inferior variety. It was explained to me by Eric Lebel and Margareth Henriquez. “The character of Pinot Meunier is the most variable of the three grape varieties. It is not so much Pinot Meunier per se that we seek but a little touch of spice or fruitiness or je ne sais quoi that a certain grower in a certain village can produce,” said Margareth. It is incidental that it happens to be Pinot Meunier. It also acts to enhance and enrich the other two varieties so that the final blend is a more complex, exciting and harmonious wine. They have a similar attitude to grand and premier cru rated villages. The tasting committee never discusses the benefits of adding say a little more grand cru village wine, preferring to suggest perhaps a little more Chardonnay from a certain grower in say Trépail for its extra elegance and finesse or a little more Pinot Meunier from a grower in Sainte Gemme whose Pinot Meunier has, say, an extra charm, fruitiness or spiciness. In other words, the grapes used depend solely on their quality and character regardless of what the grape variety is or which village it comes from. There is no formula though it almost always ends up with Pinot Noir being the most used followed by Chardonnay and then by Pinot Meunier. Krug is not afraid of modernity. They use giro pallets for the riddling of the standard sized bottles but for all other sized bottles the riddling is done traditionally by hand. A rosé wine is also produced as is Krug Collection which is a vintage wine. This is exactly the same wine as the standard vintage wine. However it has been stored in Krug’s cellars for at least 20 years prior to being released. This guarantees the provenance and therefore the freshness and condition of the wine. The actual date when Krug Collection is released depends on when the wine attains a new phase in its life story, a sort of second life when new flavours of maturity emerge. One will pay accordingly. As Olivier Krug told me, “there are no short cuts to quality and at Krug every tiny detail is carefully considered and has only one aim which is to make the best possible Champagne in that totally unique Krug style”. Howard Ripley founded his eponymous wine merchant while practicing as a dentist in London. He became a global legend among connoisseurs for his deep relationships with some of the most important producers of Burgundy’s wines.. He is now retired.

Scandic Sensation

dariussanai — Tue, 23 Apr 2013 01:22:48 +0000

[gallery columns="2" type="square" ids="463,464,465,462" orderby="rand"] SWEDEN IS CELEBRATING ITS OWN, UNIQUE GASTRONOMIC CULTURE LIKE NEVER BEFORE, AS Caroline Davies DISCOVERS ON A TOUR OF THE CAPITAL Sweden is going back to its own. No longer satisfied with following the dictates of the French, the demands of the Spanish, the inventions of the Americans, Swedes are making a stand. Organic, traditional, simple, smoked, foraged and served, the Swedish food movement is embracing its homegrown tastes and getting its hands dirty. In more than one way, they are going back to their roots. My visit to Sweden starts in twilight, at 3pm in the afternoon on a winter’s day. By the time my friend Rory, a discerning foodie, and I arrive in the city known as the “Venice of the North”, night has fallen. We bumble our way through the old town streets of Gamla stan, pausing to take in the view across the lakes, ornate pristine facades and street lights reflected in the water, or to peer past the curtained covered windows of cafes promising bowls of hot chocolate. At the unlikely location of a motorway junction, we find our first stop. Strömmingvagnen, the herring stand, is the Swedish equivalent of a burger van. For over 20 years, the small trailer under a large golden fish has served herring in different forms to late night snackers and adventurous tourists. Ravenous from the journey, we examine the faded images displayed behind the counter and opt for rye bread, gravalax, dill and herring. Warm, gooey, salty and sweet, it is impossible to eat neatly and without noises of appreciation. Hands still a little sticky, we head for our hotel. Hotel Rival, owned in part by Benny Andersson of Abba fame, is a converted cinema. The huge theatre, filled with 700 red velvet covered seats, is still used for screenings – Abba, the movie was premiered here – theatre productions and comedy nights. On performance evenings the foyer and bar are lively and the hotel has more spirit than most. Swedes love their coffee shops, a welcome escape from the winds that whip across the waterways, and Hotel Rival’s cosy art house style cafe tucked in the corner is a good spot to grab something smothered in cinnamon. Each room is decorated with a wall sized print of a famous golden moment in cinematic history, a teddy bear and, of course, an Abba “The Greatest Hits” Album. Unsurprisingly, the sound system is not only crystal clear, but available in a variety of guises. If you haven’t had enough after singing along to “Dancing Queen” in the shower, you can request a speakerphone pillow from the menu and allow Benny, Agnetha, Björn and Anni-Frid’s dulcet tones to sing you to sleep. Buoyed by the burst of Swedish pop, we head out for our first taste of the food. Volt is discreet. Situated on an elegant street in Ostermalmstorg we walk past it a couple of times before noticing that the clean framed front with elm branches in the window is the entrance. The decor - black carpet with white walls, the occasional pencil sketch hung on the wall – sounds stark, but is surprisingly relaxing, even comforting. Perhaps it is the quiet friendliness of the staff, who are so closely involved in the restaurant they pick everything from the art on the walls to the berries used in the tea at the end of your meal, that makes the restaurant feel familiar. Their music choices, which sounds as though they should be the soundtrack to an indie film, mummer in the background. Brass pipes cross geometrically along the walls with the occasional tap, used to refill the jugs with icy cool water. The six course tasting menu, paired carefully with wine from Germany and France, focus on in season ingredients. Plates are balanced, but flavoursome with interesting pairings; smoky tinges are encouraged but not dominant, berries present but used sparingly. The Normandy cider, made only from fallen apples from a Michelin starred producer was a confident match with the cheese plate from local farms. With understanding and careful delivery, the menu wins even initial sceptics round. “This place is one gravedigger short of Elsinore.” Rory says as we wander the isolated path towards the nursery gardens in Djurgården. There is something Hamlet-esque about the Rosendals Trädgård in winter. Black mud sucks in the green tendrils of the grass and stains the solid grey boulders, silver birches hold cawing ravens. The bright light of daytime cuts the outlines of the surroundings into clear focus, so that we can see a horse drawn cart dragging its way through the mud in the distance with distinct clarity. We come across an art installation, the words “this is the corner of a larger field” written in swirling handwriting, created in white wire 10ft long, its stand planted solidly in the marshy ground giving the impression that it has been scrawled across the landscape. The gardens are in the stately home of Rosendal palace. An organic haven, they grow seasonal produce for local restaurants and their own cafe, an expansive, steamy greenhouse with painted blue picnic benches laden with plates of Swedish biscuits and rosehip tea. In summer the gardens are full, but in the colder months, the cafe is filled with dog walkers and knowledgeable foodies. It is a curiosity, not quite bleak and not quite twee. We wander the garden’s paths past artistic bamboo structures and carefully pruned topiary to find a locked greenhouse, empty but for a leaf strewn dinner table, decorated for a dinner party that never came or is perhaps yet to arrive. Henrik Norström is viewed as the pioneer of the Swedish food movement. Formerly a chef at a Michelin starred restaurant in central Stockholm specialising in French and Spanish cuisine, Norström decided that he was tired of meals dominated by flavours from other countries. He wanted his dishes local. In 2003, he opened Lux, a converted staff canteen for the Electrolux company, overlooking the lake on the small island of Lila Essingen. In 2004, they won a Michelin star. “From here you can see the changes in the season,” he says. “If you have a restaurant in the city you have your four walls and you cannot see if it’s summer, winter, autumn or spring.” Even a trained eye might find it difficult to spot the distinction between each of Norström seasons; there are 16. He is an innovator in tune with his subject. “If you came back here this time next year there would be different items on the menu,” he says. “I use the same produce, but I never go back and use old dishes.” Over the past decade Norström has developed a relationship with each of his suppliers, be they the fisherman, apple growers or reindeer farmers in the northern reaches of Sweden. Not unlike its owner, the restaurant is elegant and understated; the focus is on the food and a lifestyle, not brash gimmicks. Back in central Stockholm, Swedish restaurants are fast becoming a la mode. With the food’s hunter gatherer ethos, some restaurants have adopted a macho edge. Ekstedt is bold. Red brick walls, black granite surfaces, bare light bulbs and a scorching fire behind wisely placed glass barrier, this is a hearty restaurant. Dishes are smoked, sizzled and grilled at the flame before being prepared by chefs in leather aprons at the central table and presented carefully on slate plates and wooden charred slats. The food is rich and creamy, the meat tender and the flavours strong. Butter soft reindeer meat, baked in ember and served with truffle proves a highlight, and their lemon ice cream with smoked almonds and salty caramel mixes textures well. The chef and creator behind it, Niklas Ekstedt, researched traditional methods to give his food the authentic Swedish edge; you can certainly imagine that their five-course tasting menu would sustain you through a long winter. Full to the brim and as it is our final night in the city, we wrap up and meander through the old streets of Gamla stan past churches and narrow passages. Heading for home, we find ourselves in front of the big golden fish over the small trailer. We pause. There is always a little room left for herring. Volt: restaurangvolt.se Ekstedt: ekstedt.nu The Rival Hotel: rival.se Info: visitstockholm.com

Eating Right

dariussanai — Tue, 23 Apr 2013 13:43:07 +0000

[caption id="attachment_474" align="alignright" width="737"] Stacey Teo[/caption] For the conscientious chef, sustainability is more than just a fashionable catch phrase, as our columnist explains, it is both a moral obligation and our best chance for the future. STACEY TEO I am not a professional writer, I’m a chef, but I do know that when writing an article it is good to grab the readers attention right away. How's this for an attention grabber? According to the World Wildlife Fund, over 73 million sharks are killed each year just to feed consumer's demand for sharks fin soup. That’s not a typo. 73…million. It’s a shocking number and the saddest part is that in most cases the shark is pulled from the water, its fin is hacked off and the rest of the majestic animal is unceremoniously dumped back into the sea. More numbers? According to the Food and Agricultural Organization of the United Nations, 85% of the world's fisheries are either fully exploited, over exploited, depleted, or recovering from depletion. It's no wonder. Singapore alone consumes an average of 100,000 tons of seafood each year and the global seafood market is expected to grow another 50 million tons by 2025. On land things aren’t much better. Millions of tons of food go to waste each year. It is estimated that in the US, 14% of food purchased at the grocery store is thrown away. This is an incredible waste of resources – not just to produce the food but also to ship, process and store it, all for nothing. Something needs to be done and as chefs I believe that we are part of the problem but hopefully, we're also part of the solution. For too long we have been abusing our resources and it is now time we start thinking about how we can stop destroying the raw materials we need to run our businesses. We have to set the example for our clients to follow. Yes, we face difficult questions and tough steps will need to be taken, but I am confident that if professionals and clients work together, we will not only sustain but actually begin to replenish. This is the goal towards which we have already taken some important steps at our newly opened Montigo Resort, Nongsa. Before we opened our doors we began reaching out to area farmers to purchase as much locally produced food as possible. On the property itself we use organic fertiliser and we are planning to create our own gardens where we will grow vegetables, herbs and fruits to use in our restaurant. We do not have items like cod and instead of industrially caught tuna we serve a locally caught variety. Salmon is occasionally served but we have replaced it on the menu with similar types of fish as often as possible. Finally we do our very best to only buy what we will be using. Many restaurants over-buy which is not only environmentally wasteful but also bad for the bottom line. We ask our suppliers to deliver our products in minimal packaging without compromising on freshness and sanitation. Aubergine really does not need to be individually wrapped the way it is in the supermarket. [caption id="attachment_475" align="alignright" width="746"] Sustainability can be achieved without compromising on flavour[/caption] When planning the menus I thought long and hard about how to make each dish sustainable. To be truly sustainable you need to do more than just strike an item like shark fin soup from the menu. Buying locally sounds great but the reality is that not everyone starts out on an equal playing field. In Batam the main agricultural product is cassava leaves. That doesn’t give you a lot of menu options. Limited local crop variety means chefs have to become much more creative to develop a menu that offers a bit of variety but there is only so much one can do. Relying on local, seasonal harvests also means certain products are not available during certain times in the year. In consequence dishes need to be changed more often leads to more menus printed which adds to the restaurant's overall costs and increases the carbon footprint. It's also difficult for a chef to select the right local farmers. Not many use organic compost these days and it’s difficult to keep track of who is using what in their growing cycles. To be sure a chef has to keep a list of farmers who support sustainable initiatives but how many of us have time to check-up on these things. One thing we can control is the education of our staff. At Montigo, having everyone on the same page and fully understanding the reasons behind our initiatives is key. We are hopeful that some may start coming up with their own ways to help the cause and that it will carry over to their home lives and they will help spread the message if they ever decide to change jobs. Our guests also need to be aware that the future depends in great part on what they order when they are out and what they cook at home. As industry professionals, we are just the tip of the ice berg. We need to lead by example but it is up to our clients to follow. Ultimately our goal is not only to sustain but regain. Want to help? There are a number of things you can do. First take a stand against unsustainable fishing by pledging to buy MSC (Marine Stewardship Council) certified seafood. It is still not readily available everywhere so if you can't find seafood with the MSC label in your local store, please ask for them because businesses do listen to their customers. Next, inform yourself. You can find a lot of great information on the WWF website. There are sites for every area in the world. I love the Singapore site. It has useful information on what you can do to help preserve the area’s waters, from taking a Save the Sharks Pledge, to seeing what restaurants are shark-fin free and best of all, you can download an easy to carry guide to sustainable seafood shopping. I also like to check in at the Marine Stewardship Council’s website where apart from a lot of useful info on sustainable fishing there are some tasty recipes. Stacey Teo, Executive Chef at KOP Hospitality wwf.org, msc.org

Issue 2, 2013 - the FUTURE issue

dariussanai — Sat, 29 Jun 2013 03:51:40 +0000

[caption id="attachment_517" align="aligncenter" width="245"] Issue 2, 2013 - the FUTURE issue[/caption]

Zowie, Mr Bowie

dariussanai — Sat, 06 Jul 2013 07:45:05 +0000

[caption id="attachment_522" align="aligncenter" width="543"] Marco Lodola, Aladin[/caption]

As Bowiemania takes over the world, our columnist tells how he is putting on a particularly original, global tribute to the multifaceted cultural icon. JEAN-DAVID MALAT

The current exhibition on David Bowie at London's V&A, sponsored by Gucci, is an interactive hi-tech exhibition featuring more than 300 objects - handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs, personal instruments and original album artworks, brought together by the V&A for the very first time in order to give visitors a more comprehensive insight into the life, career and mind of David Bowie. One would ask “why such mass enthusiasm for the artist?”, to which only one answer is possible: because he is a legend and his influence on contemporary creative society is exemplary and will be remembered. Bowie has sold close to 136 million albums, and ranks among the ten best selling acts in UK pop history. In the BBC's 2002 poll of the ‘100 Greatest Britons’, Bowie ranked 29 – that’s Britons of any type. Bowie’s avant-garde artistic aura is what made him the legend he is, and art has played a large part in his life. Andy Warhol, probably the most famous artist of the pop art movement, was one of Bowie’s greatest inspirations. In 2003, in an interview with Performing Songwriter magazine about the song he wrote about Warhol, Bowie explained that he took the song to The Factory (Warhol’s studio and workshop) when he first visited America and that Andy Warhol hated it. After this unfortunate event, Bowie got to know Warhol and they became friends. In 1996, David Bowie even played the part of Andy Warhol in Julian Schabel’s film ‘Basquiat.’ So, in parallel to the Victoria and Albert Museum exhibition, in 2013, the Opera Gallery is opening a visual artistic tribute exhibition on the legendary musician and icon. Over twenty contemporary artists, from the US, the United Kingdom and the rest of Europe have been asked to create an artwork that pays homage to the singer, in their own style and technique. The list of participating artists include Spanish portraitist Lita Cabellut - whose large-scale portraits fascinate the viewers with striking depth and colours; French stencil artist C215 who usually makes portraits of the poor 01 and homeless but eagerly accepted the challenge to depict the iconic singer for this exhibition. British street artists Bob and Chaz from The London Police (TLP) collective are also taking part in the exhibition ‘The Many Faces of David Bowie.’ Famous for their lovable & iconic ‘Lads’ characters that have been seen on streets all over the world, they will bring a new dimension to the tribute display thanks to their unique back-to-basic black and white ink drawing technique. Other street artists from the British scene were selected to take part in the exhibition, such as Bristol-born Nick Walker, who emerged from the graffiti scene in the early 1980s and is now famous for his style and humour that have gained him worldwide recognition. Finally, Mac1 is a photo-realistic graffiti artist who came out of Birmingham’s innovative scene in the 1980s & 90s. He is a selftaught artist who deals mainly with acrylics, oils and inks. Inspired by pop and comic art as well as iconic figures from the past and present, Mac1 has been painting for 19 years, mainly with aerosol paint. Nick Gentry presents a portrait in his very own recycling-upcycling technique that consists in painting with oil on a background made of floppy disks and cd-roms And British visual artists Zoobs continues to incorporate different cultures and their representations into breath-taking iconic images that are often themed with death, love, pain, celebration and magic. His images, verging on the surreal, are haunting and sinister yet fashionably contemporary. There is no doubt that his take on a portrait of music and fashion icon Bowie, right up Zoobs’ street, will be strikingly edgy and sensual. [caption id="attachment_524" align="aligncenter" width="656"] Eduardo Guelfendein, David Bowie[/caption] From the French scene, we are delighted to welcome Kan and Blo, from the ‘Da Mental Vaporz’ collective, as well as Hisham Echafaki and Jef Aerosol. Initially from the south of France, Kan joined the Da Mental Vaporz crew in 2000. Blo, on his side, discovered graffiti at the age of 14, inspired by the urban landscape and hip-hop culture of his childhood. Following his first personal exhibition in 2003, Blo’s work evolved towards a more contemporary approach, yet remaining firmly attached to the codes of his graffiti background. Moving to Paris in 2005, he further developed his figurative style on a variety of mediums. Integrating various techniques and influences, the art of Blo earned him respect from the graffiti community as well as recognition in the contemporary art world, allowing him to display his work in prestigious venues such as Paris' Grand Palais in 2008. Jef Aerosol is a main proponent of the first generation of French street artists who started working on the streets in the early 1980s. A legend himself, he will take on the challenge of paying tribute to the British legend David Bowie in the recognisable stencil and collage style that he is famous for. [caption id="attachment_523" align="aligncenter" width="709"] Mr Brainwash, Bowie Triptych[/caption] From the rest of the world, the exhibition will showcase works by the infamous Los Angeles based Mr Brainwash, moniker of Paris-born Thierry Guetta who became famous thanks to Banksy’s film ‘Exit Through The Gift Shop’ and who was introduced to the London public in the summer of 2012 when he took over the Old Sorting Office to present his large-scale installations, murals and stencils largely inspired by the iconic pop culture imagery. Canada will be represented by painter André Monet, who blends collage of old newspapers and books, and paints portraits over this specially-made background. The traits of his characters are recreated with such precision that one might see a realistic photography arising from a distance. This new technique reveals the strengths and weaknesses of individuals appearing on the canvases. In the mixed media category, the Italian sculptor Marco Lodola, who participated in the Venice Biennale several times in the past, will illuminate the exhibition with a neon and aluminium sculpture depicting David Bowie as Aladdin - the alter ego hero of his sixth album ‘Aladdin Sane’. Joe Black, the London genius who describes himself as an ‘image-maker’ rather than an artist, features in the exhibition as well. Famous for his portraits made out of toy soldiers, badges, Lego and other small mundane objects, he will present a portrait of David Bowie entirely made with painted test tubes, proving once again that his ingenuity and resourcefulness are endless when it comes to depicting figures that inspire or have inspired him. Finally, the most famous Scottish contemporary sculptor, the Royal Academician David Mach, who works with postcards, coat hangers, match-heads and pin-heads to create monumental installations, sculptures and collages, will create a new piece for the purpose of this exhibition, and to render homage to one of the most beloved singers and musicians of our times. Jean-David Malat is director of the international Opera Gallery group; operagallery.com David Bowie Is, V&A 23 March to 11 August 2013 The many faces of David Bowie, Opera Gallery London 20 June to 31 August 2013. After London the exhibtion will tour in Opera Gallery venues in Hong Kong, Singapore and Seoul.

Learning to be Hospitable

dariussanai — Mon, 18 Mar 2013 03:15:55 +0000

[caption id="attachment_1253" align="aligncenter" width="650"] Les Roches International School of Hotel Management[/caption] Ever stay at a hotel and have your every wish anticipated by the staff, sometimes even before you knew you what you wanted? It doesn’t happen often but when it does it makes for a memorable hospitality experience. Chances are that behind the hot bath you find waiting for you after a day of hiking and the extra goose down comforter on a chilly evening, is a professional trained at one of a handful of top hospitality schools. Thirty years ago very few schools offered hotel management or hospitality courses. Today that number has risen to well over 5,000 but of those, it is still the traditional, mainly Swiss, schools that continue to turn out the highest number of upper level hospitality employees. [gallery type="rectangular" ids="1255,1256,1251"] One of the oldest and still finest of these is Ecole hôtelière de Lausanne which began training students for the hotel industry back in 1893. Today the school attracts applicants from around the world and has over 90 nationalities represented on campus. According to the school’s Marketing Director, Véronique Malan, “Many students have two or three or even more nationalities, they usually speak several languages, and many have lived in several different countries and studied in different educational systems. We select smart, passionate people who have the potential to become tomorrow’s leaders in hospitality. We are therefore looking for academic potential, passion for hospitality, creativity, resourcefulness, charisma, leadership and social skills.” [caption id="attachment_1254" align="alignright" width="180"] David Garcia, General Manager of London’s Cranley Hotel[/caption] What do they learn? David Garcia, a graduate of Les Roches International School of Hotel Management in 2007 and currently the General Manager of London’s Cranley Hotel thinks the best hospitality institutions are those that prepare their graduates for real world situations. “My course lasted three years. Each year was divided into two semesters. Six months for theoretical training and six months for practical situations. By the time I graduated I had been in three real working environments in different parts of the world which helped me find and define the hospitality direction that most interests me. The most valuable thing I learned is to be committed to the hotel and to exceed the guests’ expectations whenever possible.” For Nandeeta Byrne, Director of Sales at LUX Legion and also a graduate of Les Roches, the most valuable thing she learned in school was, “an appreciation and understanding of the multicultural mindset of travellers and the ability to tackle them diplomatically.” Allwyn Drego, Director of Montigo Resorts, Nongsa and a graduate of The Oberoi School of Hotel Management says most students that attend the top hospitality schools are, “real gogetters, usually in a hurry to get to the top. Sometimes this can cause problems because some graduates come out of school with a bit of an attitude and think they know it all. Luckily time has a way of levelling the playing field and in due course everyone ends up where they belong.” This may be why Drego says that the most valuable thing he learned was, “Humility. And that the devil is in the details. In other words you cannot overlook even the smallest detail and you have to be constantly fine tuning the operation.” Anyone who has experience in the travel industry, either as an employee or a guest, will tell you that the best hospitality workers seem to have been born for the positions they hold. The ability to anticipate a guest’s wants and needs and their attention to detail appears to be a natural talent, not something they learned at school. In the nature versus nurture debate in the hospitality industry, Garcia comes down on the side of nature and he has his reasons. “I have always believed that a good hospitality person is born, not trained. This business is all about sacrifice, especially in small hotels where dedication and perseverance is called upon at all times. Hospitality school can teach the technical side of the business, however, the commitment and motivation must come from within and that cannot be learnt at school.” [caption id="attachment_1252" align="aligncenter" width="400"] Students at the Glion Institute of Higher Education[/caption] Garcia uses two real world examples to prove his point: “On one occasion, on a very busy day, both our maintenance manager and reservation agent called in sick so I had to take over both roles. I can tell you now it’s not easy taking a phone reservation with one hand while fixing a shower curtain with the other. Thankfully everything turned out alright but it’s the kind of thing you don’t learn in school.” On another occasion Garcia was working the night shift in a boutique hotel in Knightsbridge. “I was going through the handover procedure with the evening duty manager when the fire alarm went off. On the video panel we saw that the fire was coming from the kitchen in the basement so we both went down and found flames shooting out of a pan. It was pretty wild but I knew I could put it out, so I told my colleague to go back up and tell the guests the fire was ‘under control’ and there was no need to evacuate. I think in his panic he understood ‘out of control’ so he lit out through the back door and ran off into the night. We never saw him again. Since then I have been a firm believer that although training is important, being a good hospitality employee is something you are born with.” Even so, the benefit of attending a school like Les Roches is not only the training the students receive but also the exclusive club they enter into upon graduation. According to Byrne, who is Les Roches Alumni Association’s representative for Singapore, “The hospitality industry has one of the strongest old-boy networks in the world. I was hired to my present job by an ex-school mate. There are even alumni gatherings between sister schools Lausanne, Glion and Les Roches which broaden the network even further.” To Drego this in-hiring is only natural. “This is an industry where the human touch is very important so one tends to hire old colleagues and school friends because they know what to expect and their ability to deliver.” Malan says the main thing her school endeavours to instil in its students is, “the relentless striving for excellence in both the art and science of hospitality, so that the students leave with a unique blend of knowledge, know-how and savoirêtre.” And, we might add, the ability to hold one’s ground, even in the face of scary looking pan fire.

Thriller from Manila

dariussanai — Sun, 14 Jul 2013 08:43:27 +0000

[gallery type="square" ids="533,530,531"] Ronald Ventura is already a record breaker. When his piece, ‘Grayground’ went on sale at Sotheby’s Modern and Contemporary Southeast Asian Paintings auction in Hong Kong in April last year, the result astounded onlookers. Met by a whirlwind of bids, the piece sold for $1.1 million, the highest for Sotheby’s in its bracket. A year later and now back in Hong Kong, Ventura opened his solo show “Voids and Cages” at Galerie Perrotin this spring. Combining disconnected imagery and references, his work is a mixture of traditional craft and tales, informed by a wide array of artistic inspirations from old masters to Japanese anime and horror films. Ventura, who one days hopes to open a contemporary art museum in Manila, has recently begun the painful business of buying his own art – which is appreciating rapidly in value - back from buyers for his own collection. Today, he holds on to one piece from each solo exhibition so he won’t be stung again. With his work in high demand from solo shows across America, Europe and all of Asia, Ventura is one to watch, particularly for aficionados of southeast Asian art, which is growing in influence each week.

The next big thing

dariussanai — Sat, 06 Jul 2013 09:17:54 +0000

[caption id="attachment_541" align="aligncenter" width="567"] A young model shows off Kenzo’s SS13 designs[/caption] DESIGNERS ARE SETTING THEIR SIGHTS ON THE NEXT GENERATION, AS THE FIRST GLOBAL KIDS FASHION WEEK IN LONDON PROVED High fashion for little people. The first ever Global Kids’ Fashion Week, in association with designer children’s outfitters AlexandAlexa.com, was held in London's Freemason’s hall this spring. With not a miniature fashion faux pas in sight, the catwalk featured designs from Chloé, Junior Gaultier, Supertrash and Little Marc Jacobs to scratch the surface. With ambassadors including model, Portia Freeman and founder of my-wardrobe.com Sarah Curran and Jodie and Jemma Kidd on the front row, no one could deny that the show had style. Taffeta party dresses, neon laced new rave trainers and real indie kids tiptoed and clomped down the catwalk, cooed and snapped by well-heeled mothers and fathers. But how much sartorial elegance does an eight year old need? Opinion may differ on having children on the runway, but the show wasn’t a solely commercial exercise; all proceeds from the SS13 public fashion show were donated to Camila Batmanghelidjh’s highly respected Kids Company charity, which works with dispossessed children a million miles away, metaphorically, from the privilege of the party. globalkidsfashionweek.com [caption id="attachment_543" align="aligncenter" width="567"] The grand finale[/caption]

Tech chic

dariussanai — Tue, 20 Aug 2013 09:20:21 +0000

Technology fairs are not just about geeks comparing chips. A raft of collaborations between the art and science worlds means tech fairs can be as wild as a festival. Caroline Davies presents six of the best [caption id="attachment_548" align="aligncenter" width="567"] Kinetica Art Fair, Titia Ex The Walk 2[/caption] Kinetica Art Fair Kinetica is the galleries’ tech art fair. Bright lights, a pulsating spiky suspended ball and an agressive looking, electronically operated boar’s skull all fought for attention at this year’s show with exhibitors from Singapore to the States, Russia to Indonesia. The fair encourages independent and student artists to exhibit alongside established galleries making it a good place to pick up unique art works. London,UK, Febuarary/March 2014 kinetica-artfair.com [caption id="attachment_549" align="aligncenter" width="709"] Ars Electronica’s exhibition centre[/caption] Ars Electronica First started in 1979, Ars Electronica is the techwhizz- kid grandfather of technology art festivals. 2013 is the year of ‘Total Recall: The Evolution of the Memory’, but AE is far more than just a fair. Its annual competition, Prix, spots the talent before the markets do: previous winners included Pixar, Wikipedia and Wikileaks. Their exhibition centre draws year round crowds with their interactive exhibits on everything from media art to prosthetics and the cinematic sounding ‘future lab’ supports experts in art, design, architecture and virtual reality that will change the way we interact with the world. Linz, Austria, 5-9^th September 2013 aec.at Art Futura The first place to see entertainment innovation. Originally held in Barcelona in 1990, Art Futura holds 13 festivals simultaneously across different Spanish speaking cities. If digital technology connects the world, it makes sense that a fair does too. Last year’s central event was held in Uruguay. Focusing on new media, interactive design, videogames and digital animation, previous participants include Brian Eno, MIT Media Lab and Pixar. International. November 2013 artfutura.org [caption id="attachment_547" align="aligncenter" width="387"] Barcelona’s OFFF Festival highlights film, art, design and music[/caption] Offf As bohemian as tech gets, OFFF is all about the arts, not the funding. A post-digital culture festival, it showcases films, art, design and music and holds its own market, lounge, gallery and classroom. Independently curated, it is free of the big corporate atmosphere and has more of an extended family vibe. Conferences are so popular, guests sometimes sit on the floor to hear speakers. Barcelona and international, 6-8thJune 2013 offf.ws Dutch Electronic Art Festival – DEAF Founded under the dramatic title ‘Manifestation for the Unstable Media’, DEAF is the biennial art and media technology fair run by interdisciplinary art and media centre, V2_. Aimed at pulling in a new, diverse audience, the fair is another way of sparking debate for the group who also publish works by the great minds of technology today. Expect to hear the big questions, even if you don’t always find the answer. Rotterdam, Holland, Next in 2014 deaf.nl [caption id="attachment_550" align="aligncenter" width="499"] Paul Friedlander, The Enigma of Light[/caption] Festival de Arte Digital – FAD The quirky art tech festival in Brazil was set up by Tadeus Mucelli, aka DJ Tee, and Henrique Roscow, the fair encourages young creators to experiment with digital technology. A pioneering idea in their state, the fair began in 2007 as a way of informing the public and exciting artists. Today the fair is concerned with democratising information on new technologies so that everyone can make the best use of the new digital world. Belo Horizonte, Brazil. October 2013 festivaldeartedigital.com.br

Licence to print

dariussanai — Thu, 22 Aug 2013 12:00:35 +0000

By Jessica Bowen For full style marks this summer have the courage to go bold with super-bright colours and clashing prints [gallery type="circle" ids="560,559,558,557,556,555" orderby="rand"]

Go East Young Man

dariussanai — Thu, 22 Aug 2013 03:16:17 +0000

[caption id="attachment_570" align="aligncenter" width="486"] The century old White Chapel Gallery is still a Mecca of contemporary art[/caption] Mayfair is so 2012. The future of London retail, art, cuisine, and trends, is east, on the grimy streets of Shoreditch, Hoxton and beyond. Kitty Valentina Harris selects her favourite boutiques and also quizzes John Skelton, founder of cult Dalston fashion store Late Night Chameleon Café, on the secrets of his success Nelly Duff ‘Not on your Nelly!’ Even the name, rhyming slang for life, oozes cool and conjures intrigue like the treasure chest that the gallery is. Located in a small pocket of East London, Nelly Duff was brought into the world by Jessie Dyer and Cassius Colman to serve a purpose. Its calling: ‘to exhibit emerging and explosive talent.’ They buy the artwork that evokes an emotional response and pieces ‘that will feather the nest that is their home’. The lino-cut work of Baltimore’s social muralist Gaia and Obama’s favourite Ben Eine are a few gems cloistered in this truly original and precious artistic hub. nellyduff.com [caption id="attachment_573" align="aligncenter" width="476"] I Boundary, where London and Paris fashions meet[/caption] 11 Boundary Born and bred in East London, Debra Winstanley dreamed of owning her own boutique. Spotting a niche in the market for a womenswear store, 11 Boundary is now ‘a chic London boutique with a Parisian edge.’ Filled with diverse and exciting labels, the store is refreshing to wander around in. When she buys she goes for ‘versatile pieces that are wardrobe staples.’ Her perfect customer would be Keira Knightley or Sienna Miller as she already stocks lots of the labels they wear. Labels range from Tom Ford sunnies to American Vintage. 11boundary.com [caption id="attachment_567" align="aligncenter" width="709"] Tatty Devine is all about fun to wear, original design jewellery[/caption] Tatty Devine In 1999 after graduating from Chelsea School of Art, Harriet Vine and Rosie Wolfenden came across a bin liner of discarded leather and decided to create their own cuffs to sell on a market. Now their shop in Brick Lane is ‘fun, original and all about jewellery.’ They look for pieces that are different and that excite them and ‘more importantly things they want to own.’ Currently they are focusing on Tatty Devine’s own collection. In celebration they throw a party in traditional Holi Style from which everyone emerges covered head-to-toe in powder paint. tattydevine.com [caption id="attachment_569" align="aligncenter" width="577"] Present, from retro to the latest in men’s fashion[/caption] Present On entrance Gwilym, the world barista champion, is there to hand-pull you an espresso and while you wait one can flick through an issue of Monocle or take in the fantastical, fanciful smells of their candles such as one titled ‘Mars’. Further into the store the walls are adorned with one off items collated from around the world. The sophisticated and fun shopping arena houses both international and British brands such as Bass Weejuna leather shoes and Hartford clothing. Founders of the new age store, Steve Davies and Eddie Prendergast, balance their stock with both established and niche brands. It captures oldschool retro with new school swarve bringing men’s fashion into the present. present-london.com [caption id="attachment_568" align="aligncenter" width="567"] Start Store is the latest edition to Start’s growing empire[/caption] Start Where to begin? One has to choose where they wish to start; in the newest addition to Mrs Brix and Mr Philip Start’s: Mr Start’s store empire, in the Suits Store, in Start for women, or in Start for men across the street. Start cherry picks their buys with items from designers such as Helmut Lang and Rick Owens, and if you are puzzled how to piece them together, don’t panic! All the staff are trained stylists. Coming in July is the Mr Start Woman AW13 range; expect structured slim fit trousers with soft, plush jumpers and elegant overcoats. The bonus of a visit to the shop is meeting the fashion famous Gladys and Pixie. These are Brix’s (who was a guitarist and lead singer respectively in post-punk cult bands The Fall and The Adult Net) precious pugs that were the faces of the Christmas scarf last year. start-london.com A Child of The Jago Expect the unexpected is generally a good mindset to approach this store with. Founded in 2007 by Joseph Corre and Simon ‘Barnzley’ Armitage (who has now left for Peru) it resides in a former Victorian slum and is described as ‘a child of the street. The destitute and illegitimate progeny of a hopelessly rundown environment.’ ACJ seeks to cause trouble while it interrupts the status quo of menswear with high quality garments ruling over pre-packaged trends. Made in Britain, in nearby Clerkenwell, these pieces are limited and unique as they are dependent upon the length of the different British fabrics they source. achildofthejago.co.uk [caption id="attachment_574" align="aligncenter" width="709"] The Tunnel at LN-CC[/caption]

MEETING THE CHAMELEON

A hybrid of creativity and determination that is rapidly becoming a global discovery icon, Late Night Chameleon Café is an evolutionary anomaly in the retail biosphere. Its arena is the up and very becoming Dalston and its camouflage is a cave like structure in what appears to be a derelict building. The benefit of such a misleading exterior: one is transported to another realm of outspoken luxury. LN-CC’s cofounder John Skelton became Selfridges’ youngest buying team member at age 20 before moving to Harrods two years later. Now as LNCCs Creative Director, Skelton takes a birds eye view and hands-on approach to styling shoots, market perception and brand direction. LN-CC.com

Where does the name Late Night Chameleon Café come from?

John Skelton: LN-CC stands for late night chameleon café. The name comes from a variety of places, and is kind of tongue-in-cheek but at the same time is a true reflection of how we came about and what we are about also. The idea of LNCC was born over many late nights, mostly music related and just coming up with ideas in the early hours and developing them through the very early hours over the course of years I guess. I like the idea that a chameleon is constantly changing and is such an interesting creature and we had always planned to have a library, a club, and a café so it just stuck. It just felt right, and it still does.

Why did you choose Dalston for LN-CC’s home?

J.S: Dalston is a place where most of us were living or have lived over the past 8 years, and when we decided to launch LN-CC it was a very natural choice. Even though there was nothing around here three years ago when we secured our space, we knew the area was ready for something like LNCC. In the last year the area has exploded with new stores, bars, galleries and restaurants opening up weekly. Initially people told us an appointment only space carrying some of the most expensive products in the planet would never work in a run down area like Dalston. We believed in it and it’s been an incredible ride.

Now revamped how would you describe the vibe at the hub that is LN-CC? J.S: I think the beauty of LN-CC is the simplicity of what we are doing. Yeah, sure our store may be seen as a concept store however I don't believe what we do to be overly conceptual, or conceptual at all for that matter. I've spoken about this with Dan (Mitchell) the other half of the creative here at LN-CC and our concept essentially is to put all the things we love whether it be clothing, music, books etc in an environment that is interesting to us. That is quite simply our concept. The good thing about us is that we get bored very easily so were always looking to progress, create, re-create and keep moving the project forward from all angles as to keep ourselves interested. The vision is quite simply that, to excite ourselves, as if we can do that then you will excite and interest others also.

How has your original vision changed over time?

J.S: I don’t think the vision has ever changed, we have just evolved and moved things in the direction that feels right at as we develop. Our main aim is to keep pushing things forward and keeping everything we do on the front foot as to push not just our concept forward but retail in general.

[caption id="attachment_575" align="aligncenter" width="709"] LN-CC’s Light Room[/caption]

With LN-CC in mind and on a broader scale where do you see the future of retail going?

J.S: Retail is quite simply in the hands of retailers and it can go anywhere they want to push it. At the moment it is very easy to make an impact and do something new and interesting as the mass majority of retailers’ offerings are so safe that there is a lot of room and scope for development in the sector.

Which designers do you see leading the way?

J.S: It's hard to say really. The future of retail is about carving your own niche, a world for people to come and get inside. The formula for that is to put your own selection of brands together in a way that is personal to you and then to develop the customer base as you grow. This therefore means that you will benefit from doing something different as opposed to just selling the hot brands of the moment.

Which designers do you currently carry and can you tell us a little bit about them?

J.S: In terms of brands that I think are in a good stage of development and will become more relevant for the future, I think Yang Li is currently leading the pack. For a new designer his production and fabric choice is second to none and has a very strong idea of where his brand is going. I also have to say that I think JW Anderson’s womenswear is developing into a really strong brand and will be a force to be reckoned with going forward.

[caption id="attachment_576" align="aligncenter" width="522"] Bottle Apostle, one of the city’s finest independent wine shops[/caption] JOHN SKELTON’S SELECTION OF MUST SEES IN DALSTON Trangallan This restaurant has been set up by 2 young (very nice) Spanish couples who have a real love of food/wine/culture. The food is delicious, very interesting yet refined Spanish cuisine, and the wine list is great also. It obviously has a great selection of Spanish wines; a lot of them on the front foot but offers the best of the French and Italian staples also. In the basement they have a space that they use for more cultural events and have done all kinds of things from independent film screenings, offbeat music projects, etc, etc. trangallan.com Trullo Restaurant For those who know the area and are into food then they will obviously know about this place, but if you don't, then you should go. You’ll need to book a few weeks before. The food is (in my opinion) the best Italian food you will eat in east London and as a full package is amazing. The staff are friendly and knowledgeable, the atmosphere is relaxed and very comfortable (ask if you can have a table upstairs; downstairs feels a bit like sitting on a dancefloor full of tables as the lighting isn’t quite right) and the wine list is diverse, extremely well considered and not crazy expensive. They do however have a specials wine board which has more expensive and really good staples and experimentals. trullorestaurant.com Bottle Apostle This wine store in Victoria Park is a great little independent. It covers everything from the best of the Italian and French (which it does extremely well) but also has some very interesting Portuguese, Swiss, Hungarian and many more that are very well edited and curated. They also have supper clubs downstairs with guest chefs and wine pairings which are really good also. bottleapostle.com

Tech chic

dariussanai — Thu, 22 Aug 2013 03:30:01 +0000

[caption id="attachment_587" align="aligncenter" width="567"] Kinetica Art Fair, Titia Ex The Walk 2[/caption] Technology fairs are not just about geeks comparing chips. A raft of collaborations between the art and science worlds means tech fairs can be as wild as a festival. Caroline Davies presents six of the best Kinetica Art Fair Kinetica is the galleries’ tech art fair. Bright lights, a pulsating spiky suspended ball and an agressive looking, electronically operated boar’s skull all fought for attention at this year’s show with exhibitors from Singapore to the States, Russia to Indonesia. The fair encourages independent and student artists to exhibit alongside established galleries making it a good place to pick up unique art works. London,UK, February/March 2014; kinetica-artfair.com [caption id="attachment_584" align="aligncenter" width="709"] Ars Electronica’s exhibition centre[/caption] Ars Electronica First started in 1979, Ars Electronica is the techwhizz- kid grandfather of technology art festivals. 2013 is the year of ‘Total Recall: The Evolution of the Memory’, but AE is far more than just a fair. Its annual competition, Prix, spots the talent before the markets do: previous winners included Pixar, Wikipedia and Wikileaks. Their exhibition centre draws year round crowds with their interactive exhibits on everything from media art to prosthetics and the cinematic sounding ‘future lab’ supports experts in art, design, architecture and virtual reality that will change the way we interact with the world. Linz, Austria, 5-9^th September 2013; aec.at The first place to see entertainment innovation. Originally held in Barcelona in 1990, Art Futura holds 13 festivals simultaneously across different Spanish speaking cities. If digital technology connects the world, it makes sense that a fair does too. Last year’s central event was held in Uruguay. Focusing on new media, interactive design, videogames and digital animation, previous participants include Brian Eno, MIT Media Lab and Pixar. International. November 2013; artfutura.org [caption id="attachment_586" align="aligncenter" width="387"] Barcelona’s OFFF Festival highlights film, art, design and music[/caption] As bohemian as tech gets, OFFF is all about the arts, not the funding. A post-digital culture festival, it showcases films, art, design and music and holds its own market, lounge, gallery and classroom. Independently curated, it is free of the big corporate atmosphere and has more of an extended family vibe. Conferences are so popular, guests sometimes sit on the floor to hear speakers. Barcelona and international, 6-8th June 2013; offf.ws Founded under the dramatic title ‘Manifestation for the Unstable Media’, DEAF - Dutch Electronic Art Festival – is the biennial art and media technology fair run by interdisciplinary art and media centre, V2_. Aimed at pulling in a new, diverse audience, the fair is another way of sparking debate for the group who also publish works by the great minds of technology today. Expect to hear the big questions, even if you don’t always find the answer. Rotterdam, Holland, Next in 2014; deaf.nl Festival de Arte Digital – FAD, the quirky art tech festival in Brazil was set up by Tadeus Mucelli, aka DJ Tee, and Henrique Roscow to encourage young creators to experiment with digital technology. A pioneering idea in their state, the fair began in 2007 as a way of informing the public and exciting artists. Today the fair is concerned with democratising information on new technologies so that everyone can make the best use of the new digital world. Belo Horizonte, Brazil. October 2013; festivaldeartedigital.com.br

Fashion Future Perfect

dariussanai — Thu, 22 Aug 2013 03:47:09 +0000

[caption id="attachment_595" align="aligncenter" width="709"] Applying fresh radical applications to indigenous craft traditions sit at the core of Head of State[/caption] Quality and quantity might just be what Singapore needs to be in with the rest of the cool kids in the international fashion arena. Just what kind of quality and quantity are we looking for here? Lucinda Law ‘talk shop’ with some of Singapore’s fashion stalwarts and decide on how Singapore can have it all A surreptitious makeover is taking place in the fashion industry in the last ten years. While Singapore has certainly touted itself as a shopper’s paradise, more savvy shoppers are turning their heels away from the rapid rise of homogenous shopping malls housing run-of-the-mill high street brands. A new generation of Singapore business owners, artists, designers and visionaries – shoppers – are filling the supply that they have demanded. A more diverse shopping experience made up of concept stores or shopping venues away from the malls, with an increasing range of local design-led fashion products with a focus on quality is upon us. The hunt for quality amidst the massproduced goods readily found in Singapore gave rise to a number of bespoke services and artisan brands. With almost 25 years of experience in the fashion scene, Kevin Seah, Director of Kevin Seah Bespoke, says he is “targeting men with discerning taste who appreciates quality and well-made products.” Carolyn Kan, Founder and Designer of Carrie K. Artisan Jewellery, is toeing the front line for quality in Singapore. The former Managing Director of M&C Saatchi started her jewellery line in July 2009 and in 2011, launched KEEPERS, an artisan showcase bringing together independent designers, artists and artisans, and lends these brands more visibility. Kan says, “I see a greater appreciation of artisan craftsmanship and bespoke design. I’ve also noticed a growing pool of people who value quality over quantity. So we started KEEPERS to give people an opportunity to learn more from the artisans and independent designers behind the work”. And they come from a range of fashion products, namely bespoke shoes, timepieces and hats. A more robust fashion economy certainly calls for a more diverse range of fashion products, and as confidence in the industry grows, more cult brands emerge. One such designer is Chee Sau Fen, Founder & Designer, Heads of State Millinery. Chee is a self-taught designer who has worked for more than fifteen years in the visual arts and events industries before starting her own millinery label. It is quite curious to observe that the media release includes a footnote explaining that ‘millinery refers to the art of hat-making’. A consideration on Chee’s part, perhaps due to fact that a local brand dealing in millinery is largely unheard of. Her beautiful sculptural head pieces are made from traditional handloom abaca fabric of the Daraghuyan Community of the Bukidnon Tribe in Philippines and they are each hand-draped and sewn by Chee. [caption id="attachment_592" align="aligncenter" width="415"] The three driving forces behind label Mystic Vintage were brought together by their passion for eyewear[/caption] Highly-coverted, never-been-done before, hip and made from utmost quality, brands like Heads of State check all the boxes for the new emerging Singapore labels. Likewise, Mystic Vintage Eyewear, is just one of the brands that understands cool eyewear is part of the complete head-to-toe assemblage in fashion. Mystic Vintage was started in 2008 by Alvin Tan, Jason Tong and San Yin Mei, the three veterans in the design and creative industry were brought together by their passion for eyewear. A bespectacled, Alvin Tan, who is also part of PHUNK, a famous Singapore art collective, says, “Mystic Vintage is very focused on design and the theme revolving around it. Each model is inspired by a different theme, for eg, Music, Aviation, Magic, etc, and its design relates to that. What’s unique about each design is that the frames have different quotes engraved on the arms of the eyewear, it could be lyrics from a song or a quote from a movie, something that might bring a sense of familiarity to the person wearing it.” Their obsession for details and quality has garnered them a sizeable following and helped raise the bar for cult labels in Singapore and their presence overseas. Tan adds, “There’s a heightened interest in creating locally and also more awareness for supporting local labels. The market in Singapore is small so many brands might find themselves having to explore foreign markets. We think the fashion industry will grow regionally, creatively and gain international awareness.” Because Singapore is a little red dot, she is immensely conscious of the need to reach out to an international audience, but first, some local attention never hurts and is imperative for the makeover to take place. There has been a longstanding sentiment about the lack of support for local products, but all this is beginning to change. [caption id="attachment_594" align="aligncenter" width="488"] Ling Wu’s python skin handbags and clutches are all ethically sourced.[/caption] Goh Ling Ling, founder and designer of LingWu bags, a lecturer in Fashion at Lasalle College of the Arts and a veteran of the Singapore fashion scene says, “In the last 10 years, I’ve seen such a dramatic increase of designers developing their own creations; not just fashion but visual artists and designers, jewellery, textile, etc. But for a long time designers in Singapore were having a pretty hard time getting acceptance from people here, and Singaporeans like to compare the local with the international, which can be unfair at times.” So the time has finally come to do away with the naysayers. Instead, a more enthusiastic and ‘pret-ta-support’ attitude fans the industry. Samuel Wong, Creative Director of evenodd, a young menswear label says, “Singaporeans now support and buy local designers and is proud of it. There is a significant growth for ‘made in Singapore’ fashion. The media attention and customers patronage have increased.” Wong’s edgy and youthful menswear label is a testament to the confidence among young start-up brands, with a good measure of business sense thrown in. There is an unprecedented rise of independent fashion labels. Some freshly out of school, but those with prior experience in the creative industry are helming the fashion industry. The message is loud and clear: We are doing it ourselves and we are doing it our own way. Mash-Up, an independent street-wear label is just one of the brands that is echoing this zeitgeist. Daniel Monasterios Tan, Nathanael Ng and Shaf Amis’aabudin says, “we design for ourselves and because we are always changing it means our brand is always changing and growing. Everything about our brand is about promoting the D.I.Y. Spirit and mashing together different elements of the world around us with stories/cultures from the past to create a new visual language through fashion design.” The D.I.Y and entrepreneurial spirit is palpable across the country. Tan says, “the very fact that a non-corporate and niche label like us exists in Singapore will hopefully inspire and encourage other brands/designers to make their own ideas come alive, no matter how whacky.” Look around and you can begin to see that it is certainly taking place. “It feels like everybody in our generation is starting something of their own and it feels like the whole world is connected and supporting each other”, says Tan. Singapore’s fashion is gaining traction. Fast. Tan says, “currently it’s an ‘act local, think global’ scene for fashion and small cult labels.” Goh also notes, “I think creative Singaporeans now feel they are competing on an international stage. You can see this across all creative industries – fashion, art, music and design. This is partly due to various government support initiatives, and partly because there are some really prominent Singaporeans out there – Andrew Gn, Ashley Isham, Ethan K, Phunk Studio, Tham Khai Meng. This helps build a sense of pride and responsibility in the industry and the next generation of creative thinkers.” [caption id="attachment_593" align="aligncenter" width="567"] Carrie K’s aptly titled ‘A beautiful mess splat Necklace & Spill Cuff ’[/caption] A new level of playing field has been created and Alvin Tan notes, “with more fashion and trade shows coming into the country in recent years, local fashion brands are exposed to a growing number of international press, media, buyers and consumers”. This influx of interest is working in favour for everyone, as quality gets better and the quantity of diverse fashion products increases. You can witness this progression yearly at Blueprint. A four-day fashion trade and consumer event organised by the Blueprint Group, a joint venture between the Textile and Fashion Federation of Singapore, MP Singapore and Mercury Marketing and Communications to catapult emerging talents to international prominence. All in order to help these brands grow their export market. Tracy Phillips, Project Director of Blueprint Tradeshow and Emporium, says, “as Asia’s fashion gateway, we want to feature the best of Asian fashion design talent, including a good mix of emerging talents to be discovered, as well as established brands looking to grow their distribution, all together under one roof ”. Besides Blueprint, there are also events namely, the Asia Fashion Summit conference, Audi Star Creation competition and Audi fashion week to engage the fashion community. A rise of such events are great opportunities for labels to showcase their works and certainly help foster a bigger, better and stronger community. Lasalle College of the Arts is also one to recognize this need as it launched the Asian Fashion Graduate Showcase 2013 (AF/GS) in May to showcase its fashion graduates’ work from across Asia. Nur Hidayah. A. Bakar, Dean, Faculty of Design at LASALLE College of the Arts, says, “the objective of AFGS is to develop a network linking fashion schools in Asia. I would like AFGS to be the official platform for these institutions to discuss and exchange ideas on what could be the next phase of the fashion industry in the region”. So as Singapore continues to get creative in whether launching new malls, new fashion labels or showcases, the industry is making strides in creating a myriad of artisan-quality fashion products, meaningful showcases and hopefully exploring further developments of new market segments, thus moving the scene ahead, fashion forward each time. Lucinda Law lectures, writes and creates art installations inspired by music, fashion, literature, arts, design, spirituality and travel.

To Boldy Go...

dariussanai — Thu, 22 Aug 2013 03:58:03 +0000

[gallery type="rectangular" ids="603,602,601,600,599" orderby="rand"] So you’ve done Morocco, burned through Bali, and Bhutan is just so yesterday. Take a tour with Caroline Davies of six destinations that are for now – and the future THE ATACAMA DESERT, Chile There are few places as serene as a desert at sunrise. The world’s most arid desert, a drive through the Atacama can lead you to volcanoes, salt flats, geysers, natural hot springs, isolated beaches and fertile valleys rich in wildlife. Dotted with colonial towns such as San Pedro de Atacama, the desert is also famed for its clear skies. Combined with the lack of light pollution and radio interference, it is one of the best places in the world for astronomical observation. Where to stay? Alto Atacama Desert Lodge and Spa. Tucked in a secluded valley alongside the San Pedro river, the lodge’s red sandstone blends into the craggy deep red ridges. And of course, it has its own observatory. altoatacama.com SYLT, Germany OK it’s not exactly a discovery, but the German chi-chi classes like to keep this stretch of idyllic sandy haven to themselves. The island sits off Northern Germany in the influence of the Gulf stream, keeping its summer temperatures above those of the mainland. A favourite of the well-to-do, the small island even has its own branch of Hermès and a polo club which hosts beach polo cup games. Where to stay? Kampen is perhaps the most famous of the 11 villages on the island. Beautiful beaches, broad heaths and a rugged red cliff, the scenery is dramatic and the hotels refined. KURDISH, IRAQ, Iraq A trip for adventurers who like their routes untrodden. The region retains a degree of political freedom from Baghdad and surprisingly boasts 5 star luxury hotels and spas – the Marriott, Hilton and Kempinski are all on the way too – as well as a UNESCO World Heritage site. In fact, the ancient city of Erbil was named 2014’s tourism capital by the Arab Council of Tourism. Castles, churches, monuments and archaeological sites are all key tourist spots, but few sites beat Gali Ali Beg. Also known as ‘the Grand Canyon of the Middle East’, this dramatic lush green ridge provides biblical views as well as rafting and rock climbing. Where to stay? At present, tourism infrastructure is still in its infancy outside Erbil, so take a tour to see the country fully. ‘Undiscovered Destinations’ provides a good grounding in the harrowing recent history of the country as well as the ancient influences that shaped the region. undiscovered-destination.com MONTENEGRO Referred to as the hidden pearl of the Mediterranean, the small state of Montenegro is tucked next to better known Croatia and holds the same beautiful coastline, ready to be explored. Despite the unspoiled mountainous scenery, parts of Montenegro are far from rustic. Porto Montenegro, one of the newest luxury yacht developments on the Mediterranean, houses Versace, Armani, Missoni and Feragamo alongside gleaming mega yachts. Where to stay? Luštica Bay. After a few days in the noise and the action, retreat to Luštica Bay on the ancient bay of Trašte. No less well catered for, the Bay has a quieter pace than the port and is just a stone’s throw away and holds the country’s first 18- hole golf course. lusticabay.com MYANMAR Previously closed off by a military regime, Myanmar, (or Burma), remains relatively unaffected by the trappings of a globalised world. Intrepid travellers are beginning to dip their toes into this mysterious country, although don’t expect fast food restaurants, credit card machines or 3G just yet. The release of Aung San Suu Kyi in 2010 and Obama’s visit in 2012 have made for a more optimistic atmosphere in a country steeped in a fascinating if volatile past. Where to stay? Orient Express, Orcaella Myanmar. From July 2013, Orient Express will launch its newly built luxury river cruise into the heart of Burma down the Ayeyardwady and Chindwin Rivers. With only 25 cabins on its four decks, the cruise is an intimate way to be introduced to the country. orcaella.net THE NORTHWEST HIGHLANDS, Scotland A stay in the rugged highlands can inspire novels and symphonies as aristocrats, royalty and artists have known for centuries, and a new generation of travelling classes is discovering for themselves. Drive through twisting valleys and watch your phone signal and worries drain away as the lochs and purple heather appear. The land of countryside pursuits, you can try trekking, fishing, stalking, mountain biking, white water rafting or clay pigeon shooting. Alternatively, a brisk walk and a wee dram from a whiskey distillery can be just as rewarding. Where to stay? Alladale, Wilderness Reserve. Follow in the gentry’s footsteps and stay in the main sporting lodge at Alladale. Built in 1877 it is protected by a dense forest of Caledonian Scots pine. You can go helicopter fishing, stalking, shooting, hiking, and even hit the beach. With a roaring fire in winter the drawing room has its own baby grand piano which might get you singing, the array of single malt whiskies certainly will. alladale.co.uk

The new Cantonese

dariussanai — Wed, 21 Aug 2013 18:05:38 +0000

A couple of years after The Arts Club shook up London's already buzzing members' club scene, Hong Kong is getting its own world-class den of artistic cool. Duddell's is a new type of space for the city, with its laid-back interior design by Ilse Crawford (of Soho House fame), impeccable arts credentials courtesy of Yana Peel, co-founder of the Frieze Outset Art Fund, and ahead-of-the-curve founders. Alan Lo and hyper-restaurateur Paulo Pong are among the dream team behind the venue in Central, near all the best galleries. And the presence of Pong, one of Asia's most respected wine traders, also ensures the wine is as good as the art. Now get yourself nominated as a member! duddells.co

LUX Issue 3 /2013 - The Bespoke Issue

dariussanai — Wed, 18 Sep 2013 10:04:13 +0000

Just launched - The Bespoke Issue

Nautical Celebrations on Aqua Voyage

dariussanai — Wed, 25 Sep 2013 06:24:21 +0000

[caption id="attachment_625" align="aligncenter" width="377"] Sunseeker - The craft has a capacity of up to 14 cruising guests and comes with three en-suite cabins[/caption] Have your private, personal boat party — without having to fuss over the small things. ANDREA SEIFERT shows how There is something about a sea voyage that lends itself to a celebration. Cruising the water on a luxury yacht is a true escape, and a welcome hiatus from the drudgery of everyday life on land. So what better way to celebrate my husband’s impending 40th than with an intimate gathering of close family and friends on the water? The occasion needed to be marked with a show-stopping celebratory event, and a tailor-made journey on the sea with luxury yacht charterers Aqua Voyage seemed the perfect solution. With a myriad of options and destinations available, an overnight stay was eschewed in favour of a day trip on a sleek Sunseeker to Riau island in Indonesia. This would allow a full day of Saturday fun without cutting into busy schedules for an entire weekend. Being a devoted epicurean, the adventure began with the most important aspect of the party – the menu. A consultation with the Aqua Voyage Executive Chef revealed that the culinary aspect of the event could be entirely tailored to personal preference; whether it be full onboard catering by a specific restaurant, or a bespoke menu prepared by Executive Chef Stacey Teo. As this was a day to spoil my better half, we devised a menu with a mixture of his favourite dishes from all around town and a few new surprises thrown in by Chef Stacey. [caption id="attachment_624" align="aligncenter" width="375"] Wild Diver Scallops with Orange Jam, Almonds[/caption] We set sail for Riau Island early in the morning, slightly bleary-eyed. Butlers were on hand to serve up decadent, buttery pain au chocolate and croissants from the Joel Robuchon bakery, freshly squeezed grapefruit juice and espressos. Departing from Singapore, the scene was set with a pre-programmed iPod on the stereo system playing soft bossa nova tunes, and mimosas swiftly followed the coffees to get the party going. The cerulean waters and white sands of Riau island beckoned, and a lazy morning of swimming in the sunshine soon came to an end as the boat docked a lazy dozen or so meters from the beach, just in time for a luxe picnic lunch. There’s nothing better than an assortment of zesty salads in the tropics, and we started with a salad of handpicked crab, avocado, citrus fruits and toasted sunflower seeds from the newly opened restaurant, The Black Swan. This was accompanied by Chef Stacey’s Wild Diver Scallops with Orange Jam, Almonds and Micro-Cress Salad with Egg Dressing. Creamy, indulgent burrata and vine ripened tomatoes followed alongside home-made duck rillete and crusty baguette. The grand finale was my very own famously gooey brownies. Nothing defines a tropical getaway like a pampering spa treatment. This was a day for sybarite excesses and pleasure, so two therapists from our favourite spa in town were recruited to come onboard and pamper us with aromatherapy oil massages and foot reflexology to ease any work week tensions. A few guests then retreated to the luxurious mastersuite complete with fine Egyptian cotton linen and fluffy duvets for a heavenly post treatment snooze. Given my husband’s provenance, Afternoon Tea at Sea was a given and served in delicate bone china cups with a selection of refreshing herbal Gryphon iced and hot tea, scones with jam and clotted cream, and an assortment of Indonesian tidbits as a tribute to the location. [caption id="attachment_623" align="aligncenter" width="375"] Dock at the Marina - Ready to set sail for a day out on the seas[/caption] Expertly timed fireworks alongside the brilliant scarlet sunset brought the day to a dramatic and triumphant close. Our favourite mixologist from a premium cocktail bar in Singapore had been drafted as a surprise to prepare hubby’s signature drink and arrived onboard to act as our very own flair bartender, dazzling us of gravity defying bottle juggling and glass pouring set to music. The final culmination of the perfect day was a round of our Aqua Voyage cocktails to toast the birthday boy with, and a unanimous group decision, to celebrate many more birthdays on sea. aquavoyage.com

Couture for Everyday

dariussanai — Wed, 25 Sep 2013 07:08:57 +0000

[gallery type="square" ids="643,644,645,646,641"] Lanvin is a great French fashion house that no longer (since 1992) creates Haute Couture, the most exclusive and bespoke of all the collections. However, some might say the artistry of its revered creative director, Alber Elbaz, makes couture irrelevant. When LUX asked Elbaz for his thoughts on the relationship between the house’s couture past and its high-end readyto- wear present, he gave us these measured — and exclusive — thoughts: “For the latest collection [Winter 2013], I wanted to take the time for once and to treat it like real luxury. I wanted to go back to the preciousness, to the emotion, to the know-how of the French atelier. “I wanted to show that couture is an experiment and it’s a laboratory of forms, of shapes, of colours, of fabrics. I wanted to show that it is something that is relevant and you can wear it with flat shoes. I wanted to bring that Parisian French feeling to it, of workmanship.” “An atelier for me is mostly a laboratory with amazing people that in a few years will be retired. So we might as well enjoy it while it’s there. When I arrived at Lanvin, I realised that the ateliers were the same as the time of Haute Couture at Lanvin. Today, there are still people who have worked at Lanvin for the Haute Couture. This savoir-faire is extremely important. And I have a very close relationship with the people at the atelier. I don’t work with a head of seamstress like the other couture houses usually do. [gallery type="rectangular" columns="2" ids="651,652"] “I found that it was better to speak directly to the ‘modéliste’ (pattern maker). So I am like the head of seamstress. I work with them every day, speaking of the problems they have on a dress, doing fittings three, four or five times on a model. And the studio is just at the top floor of the atelier, so it is very easy to meet each other. I love these amazing people who help me to realise my dreams day after day.”

An Acquired Taste For The Best

dariussanai — Wed, 25 Sep 2013 12:10:34 +0000

[caption id="attachment_658" align="aligncenter" width="569"] Stubai Valley - Four family-friendly skiing areas cater to all aptitudes[/caption] Jackson Hole or Hokkaido? Courchevel or St Moritz? None of the above, says Darius Sanai, rediscovering a childhood passion for why Austria offers one of the most involving ski experiences of all For a sport that essentially involves the same thing, namely gliding down a mountainside with your feet attached to fiberglass boards, skiing divides opinions quite dramatically among its connoisseurs. If you play golf, you will more likely than not admire the same courses as other golf savants; mountaineers agree that Nanga Parabat and K2 are likely to exercise you more than any other peak; drivers aspire to the Nürburgring. But ask 10 experienced and affluent skiers their opinions on where the best place is to ski and you will likely receive 10 opinions. A powderhound might insist on Jackson Hole. A lover of open pistes (and diamonds) will cast her vote for Courchevel. Fans of vertical drops (and gourmet lunches) will urge you to visit Zermatt. Heli-skiing fanatics will go for the Alberta back country; expert ski/socialisers will favour Aspen. And so on. And they may all be correct, for skiing has so many sides to it, both on the slopes and in terms of what happens before, afterwards and in between. One of the prominent categories of aficionados is the Austria-lover. While this may seem a rather broad church — affiliated to a country, rather than a single resort — it shares a common range of loves, and I have to admit that I am becoming part of it. To be an echt Austriaphile, you need to satisfy various conditions. You need to be an admirer, and consumer, of that country’s unique tradition of gastronomically high-achieving, comfortable, familyrun, small luxury hotels. These are never part of a chain, and often idiosyncratic, but are run to exacting standards of hotel keeping that would make many a luxury chain blush. They are as precise in their standards as Swiss watches; indeed Switzerland has a similar tradition, although its luxury mountain hotels tend to be bigger, grander, and more generic (and less gastronomic) than the Austrians. [caption id="attachment_657" align="aligncenter" width="569"] Spa Facilities - Relax in the indoor or outdoor pool with views of the Tyrol mountains[/caption] You need also to admire wood-panelled cosiness, in quantities that can sometimes be kitsch, and are now sometimes melded with contemporary chic. You should favour friendly Alpine village-style service over highly trained service staff who could be replicated from an island resort. And you have to tolerate idiosyncracies: slopes that do not link up as well as some of the slickest purpose-built resorts and mountain areas that sometimes require a walk from your hotel (although the advent of ski depots on the mountain has taken the pain away from this element). I am not new to Austria. I learned to ski there, in the era of long skis and Franz Klammer, and having since skied pretty much the best of Europe, North America and Africa (although not Japan’s Hokkaido, which remains on the must-ski list), find myself irresistibly attracted to it again now I have a family of my own learning to ski. Partly it is because of the superb standard of the Austrian ski instructors; partly it is because the country is so well served by Crystal, the excellent UK ski tour operator; and partly it is for all the reasons outlined above. And as it is time to be planning your winter’s hit of snow and mulled wine, I can heartily recommend you replicate our own experience last winter; if you are not an Austriaphile already, it is likely to convert you. Our chosen destination was not one of Austria’s world-famous names (St Anton, Lech, Kitzbühel), but a village (Neustift) in a valley (the Stubaital) that was previously unknown, even to me. The decision was informed by the fact that Neustift has a highly-rated family-run luxury hotel, the Jagdhof, with indoor and outdoor pools; it also has snow-sure glacier skiing at the Stubai glacier, a few kilometres down the valley; and it is amazingly near Innsbruck airport — a mere 25 minute transfer, which, when you have car-sick children to worry about, is a holiday game changer to the three to five hours each way required by many of the big resorts in France. [caption id="attachment_660" align="aligncenter" width="569"] The Stuben - Enjoy an extensive breakfast spread and award-winning cuisine in the expansive restaurant[/caption] The Jagdhof appeared slightly unprepossessing at first, as it is tucked on a road exiting the village of Neustift; it is only on entering that you realise that its gardens, views and open spaces are on the other side, onto which our room, a family suite in the annexe, fortunately looked. Our balcony was vast, big enough to cross country ski on, and it sat above meadows and parkland covered with thick snow, and a view down the valley towards the glacier on which we would be skiing. The bar at the Jagdhof, where we went every evening for the pre-dinner aperitif, is all alcoves, wooden panels and super-professional bartenders, exactly as an Austrian hotel’s bar ought to be. There was no attempt to mimic urban bar chic in terms of décor, and although there was an extensive cocktail list, we delved instead into the quite superb list of Austrian and other European wines. Occasional wine drinkers may be familiar with refreshing Austrian Grüner Veltliners and fruity Rieslings, but Austria also has an array of distinctive, characterful, soft and layered red wines that don’t see broad distribution outside the country. They go very well with post-skiing evenings, sitting in the intimate restaurant across the corridor from the bar, sipping as temperatures drop outside. Blaufrankish and Blauburgunder from Burgenland, Pinot Noir from the Wachau: these warm but approachable reds also matched the intricate cuisine served in the restaurant. Char, trout, salmon and turbot were fragranced, always perfectly cooked, and nuanced rather than overwhelmed by their accompaniments; lamb was a mountain staple. Desserts were Austrian-sweet and creamy. (One observation: if you are not too fond of dairy, it is worth letting them know, as this is a chef who is fond of his cream and cream-based foams, from the amuses onwards.) [caption id="attachment_659" align="aligncenter" width="569"] Hotel Jagdhof - Expect traditional Tyrolean hospitality in the five-star hotel[/caption] And then, there was the skiing. The Stubaital, or Stubai valley, of which Neustift is the main village, has a number of skiing areas, the most extensive and snow-sure of which is the glacier, at its southern end. The journey to the lifts takes 20 minutes by road and you take the gondola up to the glacier’s hub, you can fan out in a number of directions: everything from nursery slopes to black runs are available. The children advanced from the nursery area to the longer blue runs fanning around the hub within a day or two; I enjoyed the couple of black runs, although I should note that this is not an area for a group of skiers who only wish to bash the blacks. Some longer reds were exciting also, and the star piste was the 10km (challenging) red run, with almost 2,000m vertical drop, from the top station, through a hidden valley, to the valley station of the gondola. The altitude difference was quite breathtaking, and if you did stop to catch your breath halfway down, you found yourself in a valley with no sign of human hand or habitation (apart from the piste), far away from the lifts and restaurants. If you are a mixed-ability family or group, and enjoy the convenience of getting together on the mountain for lunch every day and not splitting off from each other for the entire day, the Stubai glacier is one of the best options I have come across in the Alps. There is one caveat: the main gondola serving the glacier is quite old and low-tech, and on a windy day it can close, as happened to us. This is being addressed by a new hi-tech gondola that will open at the start of the 2014 season. The other areas of the Stubaital are notable more for their cute, tree-lined pistes cutting through the forests (they are at much lower altitude) and excellent mountain huts serving fondues, hearty salads and mountain meat dishes, than their world-beating skiing. For a gentle family meander interspersed with a meal incorporating high-quality ingredients at reasonable prices (I hope the French are paying attention here) they are memorable. In the end, the blend of traditional warmth, exacting standards, excellent organisation, convenience of transfer, and catering to all standards of skier, is something the Stubaital has down to perfection. If and when our children become experts themselves, we will look elsewhere; but it is heartening to know that varying standards of ski ability do not need to mean an inconsistent standard of holiday. A number of operators offer five-star packages in Austria; of them Crystal Ski (crystalski.co.uk) is probably the slickest and most experienced. Crystal offers half board at the Hotel Jagdhof including airport lounge passes, flights, transfers, and all the extras you might expect, including the excellent childcare from the kids’ club, which in our experience goes above and beyond the call of duty.

From Paris With Love

dariussanai — Thu, 26 Sep 2013 02:20:35 +0000

[caption id="attachment_669" align="aligncenter" width="496"] Former Exhibitions - ‘Van Gogh, Dreaming of Japan’ and ‘Jackson Pollock and Shamanism’ were about transversality[/caption] This autumn, Singapore hosts two notable events: a Formula One Grand Prix, and the Pinacothèque de Paris’ first ever pop-up museum in the region. Marc Restellini, the owner of the fabled museum, talks us through its collection and his philosophy “A museum must not become a cemetery.” André Malraux’s remark underlines a fear, which unfortunately, has been well-founded for years, not only in France, but also all over the world. [caption id="attachment_667" align="aligncenter" width="302"] Marc Restellini - The academic and Modigliani scholar owns and runs the Pinacothèque de Paris[/caption] His statement raises a fundamental question: what becomes of an artwork once it has left a collector’s walls to take its place in a museum? Whether they have donated, sold or loaned artworks, collectors are the wellsprings of museums. The Louvre, the MoMA, the Hermitage or the NAMOC for example, there is no museum in the world that has not come into being by virtue of private collections. I have never ceased to wonder why an artwork loses its power as soon as it is exhibited in a museum. Being fortunate enough to have seen the works in the collectors’ homes and being stunned by their splendour, I cannot understand why, when I find them years later inside a museum, that they have lost that magic, that aura which I found in them previously. Is this the fear that Malraux tried to express? He was, after all, an enlightened art lover who knew collectors so intimately, and who was for so long the head of the French museums as the country’s first Minister of Cultural Affairs from 1958 to 1969. But what is a museum? In the past, collected objects were kept and exhibited privately. The great collectors such as Barnes, Morosov, or Chtoukine, just to mention some of the best-known, allowed public access to their collections once a week. Is the private museum not an extension of the Curiosities Cabinet? The Curiosities Cabinet first emerged during the Renaissance and was a place to house collections of a variety of objects. The term ‘Chamber of Wonders’ was used later for collections that primarily held works of art. Curiosities Cabinets finally disappeared in the 19th century when they were essentially replaced by museums. [caption id="attachment_670" align="aligncenter" width="664"] Pinacothèque de Paris, The art gallery is located at place de la Madeleine, in the 8th arrondissement of Paris[/caption] The idea today is to bring back everything the museum had lost of its essence and meaning. Indeed the name of the museum that will open in 2015 in Singapore is called La Pinacothèque de Paris. Etymologically, ‘pinacothèque’ means ‘box of paintings’, and connotes intimacy and secrecy. To provide visitors with a taste of what is to come when the Singapore Pinacothèque de Paris officially opens, a pop-up exhibition will open this year on 14 September. Entitled ‘The Art of Collecting, Masterpieces from the Pinacothèque de Paris’, the exhibition will span over five hundred years of art history through prestigious works of art by 20 world-famous artists including Botticelli, Rembrandt, Van Dyck, Monet, Renoir, Modigliani, Picasso and Chu Teh Chun among others. The museum in Singapore will mirror that of France, a fine art museum known for its critically acclaimed exhibitions that celebrate transversality and the dialogue between different works of art. ‘Transversality’ is a term that goes some way towards explaining how a small, timeless, community of artists, from all periods, cultures and origins, are united by a similar way of thinking and behaving. By its encyclopaedic approach, every museum tends to make us forget its main role: to ensure that the works stay alive. They all speak of beauty, have identical references and the same historical narrative. But these works have to be placed together in order to set up a dialogue — beyond borders and periods — for they summon up what we all have in common. [caption id="attachment_666" align="aligncenter" width="601"] Pablo Picasso, Jacqueline, Undated[/caption] That is why, for the first time, I have chosen to show works together without classifying them by period or artist, or even by category like in other museums. By combining them according to my sensitivities and with an iconographic, and aesthetic logic, I have attempted to re-establish the original dialogue found within the art lover’s cabinet, that timeless place wherein the works can converse, dialogue and come to life again. So forget everything you have been taught, or all you have not learned; let yourself go with the intermingling, the combinations, and try to find the keys you are offered in order to hear the works speaking to each other. You will enjoy, without any complexes, works that are usually impossible to see side by side. You will see Botticelli, Van Dyck or Renoir representing the worthies in the same way, be they Italian in the 16th century, Flemish in the 17th or French in the 19th century. You will also notice that Botticelli and Pierre de Cortone’s circle saw religion in an identical way; and that the landscapes by Picasso, Monet and Ruysdael were constructed in the same fashion. [caption id="attachment_668" align="aligncenter" width="244"] Chaim Soutine, The Bellboy, 1927-1928[/caption] A singular experience in today’s world, a museum exhibition serves as a reminder that understanding can be framed in an attractive and playful manner, as long as one liberates one’s sensitivity. The artworks shall not be contemplated individually, but should be observed together, within their referential aspects. Future visitors of the Singapore Pinacothèque de Paris will be invited to enter the precious lair of a collector’s passion and experience a repository of wonderment and beauty. Singapore, a country with numerous museums, shows a strong interest for culture(s) and a serious involvement in community outreach and education. That was therefore natural and logic to implement the Pinacothèque de Paris in Singapore. And as a matter of fact, the Pinacothèque de Paris will offer the first network of museums making the connection between Asian and Western art. We are excited to welcome you to our first show in the Red Dot. About the Pinacothèque de Paris Pinacothèque de Paris, the largest private art museum in Paris, will open its first venue outside of Europe in Singapore. Set to fully open by the first quarter of 2015, the Singapore Pinacothèque de Paris will be located at the Fort Canning Centre, within Fort Canning Park. Pinacothèque de Paris is well-known for presenting world-class exhibitions by master artists the likes of Rembrandt Harmensz, Vincent van Gogh, Claude Monet, Amedeo Modigliani, Pablo Picasso, Edvard Munch and Jackson Pollock among others. These masterpieces are borrowed from private collections not normally seen in a museum setting and the way they are presented is unique.

The King of Stealth

dariussanai — Fri, 27 Sep 2013 15:00:55 +0000

Moynat could justifiably claim to be the world’s most luxurious bag maker, but it doesn’t. It is both historic and brand new. It is owned by the greatest luxury tycoon in history, who doesn’t talk about it. Darius Sanai gets an exclusive insight into the luxury brand of the future with its CEO and its creative director in their Paris flagship store “Luxury is the time taken to make something. It’s about the effort put in to every element of making something, it’s not just about a label or a brand. It’s about taking it to the limit of the best that I can be proud of.” Ramesh Nair is talking animatedly in a hushed boutique on the Rue St Honoré in Paris. If luxury were a religion (and it might be) the St Honoré would be its equivalent of the Vatican: where pilgrims the world over come to worship. The striking, sweeping boutique we are in, with its open, circular design and leather goods displayed as artworks on plinths and up walls, is metres from the global flagships of Hermès, Louis Vuitton, Goyard and Chanel. Nair’s colleague Guillaume Davin takes up the thread. “From the very beginning, we felt the object had to be beautiful, so beautiful. This house is only about superior craftsmanship; we concentrated on the product and only the product because that was all there was.” For Davin, a former highly successful marketeer, this is a striking statement in itself. But everything about Davin and Nair’s business is striking. We are at the flagship (and to date, only) store of a very particular luxury brand, Moynat. And if you haven’t heard of Moynat yet, prepare to be very surprised. [caption id="attachment_685" align="aligncenter" width="600"] The heritage archive trunks are displayed alongside the modern-day creations[/caption] Wander up to the Moynat store on the Faubourg St Honoré unaware, and you would be forgiven for being a little intrigued, or even confused. You would be correct in assuming you hadn’t heard of it because it hasn’t spent a cent on advertising or product placement: which puts it among numerous tiny niche brands trying to carve a place out for themselves in a growing market with limited budgets. But the huge, striking storefront on the most prime piece of retail real estate in the world is not something that a niche brand could possibly contemplate. Equally, the artistry and the scale of the shopfit and arrangement inside seems too perfect, more museum of contemporary luxury, than something a non-advertising niche brand could manage. Take a closer look at the goods on display. Pick up one of the signature Pauline bags, for example. The leather is lustrous, thick, unblemished, perfectly grained, and all of one piece. The detailing shows the bag is plainly hand-made, and yet it is also perfect, minimal, classic contemporary. No niche operation could source leather of what is plainly Hermès standard, in unmarked single pieces big enough, and find the craftsmen to create them. And yet everything about Moynat’s marketing, or lack of it, is entirely niche. It is not affiliated with any other brand; it sells through word of mouth only; it has no ambitious store opening program, and not a single celebrity has been given one of its products. Somehow, though, uber-model Natalia Vodianova and Chanel creative guru Karl Lagerfeld both proudly display their Moynat bags. For Moynat is the new private brainchild of Bernard Arnault, Chairman of LVMH, the world’s biggest luxury goods conglomerate and unarguably the most important luxury tycoon in history. Arnault owns Louis Vuitton, Dior, Marc Jacobs, Givenchy, Lanvin, Bulgari, Loro Piana, Dom Perignon, Veuve Cliquot, Château Cheval Blanc and numerous other brands at the top of the luxury tree (most of them through his holding in the LVMH parent company). But Moynat is different. Conceived in 2010, launched in 2011, but dating back to 1849, Moynat is a trunk and bag maker — a malletier, in French — taken by Arnault, privately, and revived and relaunched by him for the 21st century. It is, plainly, a vehicle for Arnault to conquer the very highest peaks of the luxury market, currently claimed only by Hermès, the family-owned company he would love to get his hands on, but can only (currently) hold on to a 23.1 per cent stake in. Moynat is the attempt by the greatest entrepreneur in luxury to create the most rarefied — not the biggest, or the best known, or widest-selling, but simply the best — brand in luxury. Nair and Davin are leading the charge for Arnault. Nair, formerly of Hermès and Maison Martin Margiela, is the creative director, charged with oversight of the designs and the small atelier in the French countryside where Moynat products are currently made. Davin, as CEO, is in overall charge. Formerly the highly respected director of Louis Vuitton in Japan, he says he had left LVMH when a call came out of the blue from Arnault. [caption id="attachment_684" align="aligncenter" width="600"] Moynat re-opens its doors at 348 rue Saint Honoré[/caption] “The very beginning for me was Spring 2010, when I got a first call from Monsieur Arnault, and he said he wanted me to come to Paris to see something,” says Davin. We are sitting in the salon privé of Moynat on its upper floor, enclosed from the tide of luxury on the street outside. “He was not very…he did not disclose the name, he did not disclose the project, it sounded like a precious house or a little gem, and he had just bought the name. And he was undecided about doing something, but he wanted to just share some of the elements about the archives of the house. “So I came to Paris to see what he had to show, and of course I did not recognise the name. Moynat was really a forgotten house, and only trunk and vintage car collectors knew about the house. They also had one concave-based trunk (in the archive), and you know, I had spent a few years at Vuitton and I had never seen this. And then I heard the house was founded and run by a woman, I started understanding the feminine side of the trunk, and I felt, oh, there is something different. And the fact that the house was a bit older than Vuitton or Goyard was also very interesting.” Arnault had bought the name and archive of a defunct Parisian trunk maker, so long gone that not even his own directors at Vuitton knew its name: but Moynat had proper heritage. In the Belle Epoque era of the early 20th century, archives showed it was one of the most desirable trunk and bag makers in the world. “It started with a little atelier in 1849,” says Davin. “In 1854 — that’s before Louis Vuitton is even created — Moynat patented a waterproof trunk using materials from Indonesia.” Nair takes up the tale of the creation of the modern Moynat from when he joined, recruited by Davin in 2010 from a senior craft position at Hermès. “It all seems to be a bit of blur now! Monsieur Arnault wanted to open the store at the end of 2011, so we had just a year to work everything out. So I had to quickly come up with something, study as much as possible, collate the archives because we really didn’t have anything much, so I feel that we needed a strong base, we needed the roots to really come up with everything and be authentic. “I’m a minimalist, and I find ideas everywhere. For instance, Pauline (the signature bag) became the profile of a trunk… I, a purist, I prefer going towards high-end leathers; I love leathers, I love skins, I love the textures and the odour, so I’m more into high-end leather. And of course our construction is really, really, really good. (With my background at Hermès) when you’ve studied with the best, you cannot take a step downwards, it’s very difficult. And it’s a question that which I used to ask myself at Hermès, was ‘What next?’ Quality is something which really fascinates me; there are times when I’m still not happy enough, I still want to keep pushing, to see what more I can do.” And were they confident from the start or were they nervous about creating a new brand for a boss as demanding as Bernard Arnault? “We still are nervous,” says Nair. “It’s a market which I would say is almost saturated, and you’re trying to battle, I mean whatever has to be done, has been done. So you’re just reinventing the wheel, and yes, we’re always nervous. But I always feel that if you go high in, if you go with what we call the know-how, the workmanship, the savoir faire, and excellent quality, I don’t think there’s a reason you could go wrong.” [caption id="attachment_683" align="aligncenter" width="600"] Moynat opened its first boutique in 1869 at 5, place du Théâtre Français[/caption] I suggest that it is unusual for Bernard Arnault, the undisputed emperor of luxury marketing, to launch a brand with no marketing at all. They both smile slightly wryly in agreement, before Davin suggests that Moynat is more a labour of love, a personal passion, a creation for the history books, for Arnault than it is another money-spinning venture. “It is quite mysterious to people, that Monsieur Arnault is not talking about it at all. He never made any announcements, yet he keeps us under his wing. He calls like twice a day, but it’s the tiniest business he has.” Is it about a personal desire from Arnault to create something that is simply the very best? “We think so,” nods Davin. “It’s also I think like his little baby, and his little experiment,” says Nair. Presumably, I suggest, they have access to the vast expertise of Louis Vuitton and the rest of the LVMH group in terms of leveraging suppliers, craftspeople, sourcing hides… “Nothing. Nothing. Nothing,” says Davin, as emphatically as one can in a hushed private space. “Even on the materials, the leather… we are on our own!” In fact, they say, it works the opposite way: some of the materials and techniques Moynat is using are so high-end and so original that they are filtering down into the LVMH brands. “It was not like Monsieur Arnault ever pushed this and said, let’s open a store every 10 months. In a way …it’s a different M. Arnault I see here,” says Davin. Because it’s a personal project? “It’s a personal project. It’s very small. And he wants to take it step by step.” Nair adds, intriguingly, “And I think also, for (Arnault), I would say, it’s the very first campaign that he’s starting from zero. A luxury house which is his own creation effectively, so he’s also interested in a very personal way, it’s almost like a baby. It’s interesting, he would see a bag and he’d say is this really good quality? Where is this leather from? Things you normally wouldn’t find a CEO asking, and he’d really be interested in knowing where the leather came from, in a certain type of finish…” “It is a luxury startup,” agrees Davin, “but it is also for him a piece of savoir faire, a piece of the French patrimony. He is very interested, really going into questions like should the edge be a bit thicker or slimmer, or how do you polish it. He’s incredibly in tune with the little details, and these are questions, because we are so small, we can adjust from one product to another product. Ramesh will say oh let’s do a contrasted edge, or let’s do same coloured edge, and we can adjust and show different things, because it’s one craftsman doing the bag from A to Z, so if we want to just ask a different colour combination we just do one unit. In an interesting insight into the modus operandi of the LVMH chairman, Davin points out that while Arnault is interested in the product detail of Moynat, this is not unusual. “I have known him for a long time; I was in cosmetics (as head of Dior cosmetics in Japan), and when he was coming to Japan, we had a little lab, and he was always coming and saying ‘try using this… don’t you think this is still a bit sticky?’, or whatever. He was smelling things, he knew about it, he is obsessed with products, and the weight of the packaging. I think that one of the reason why he is so successful today, is that he has an incredible eye for products and quality. I mean, yes, Hermès is supreme quality, but I think M. Arnault has a sense of this. “And it’s true at the same time he’s leading a group that now have so many brands, so I’m sure some times of the day he’s also focusing on other elements of the company, but he is completely driven by products and stores. He’s obsessed with what the client sees and touches. You know, when he was coming to Japan he was coming three days, and it was two and half days visiting stores and touching products. And business reviews was one hour for three brands — three hours, then finished. The numbers he can access them any time. It’s all product. Stores. And he has an opinion on absolutely every single piece, you know if he feels it’s a bit too matte, or if it’s a bit too shiny, or if there is a powdery feeling he does not like he will tell you, ‘are you sure about this? Try to show me something different next week’. I think there would be no success (for LVMH) if he was not completely obsessed, he knows that product quality is essential. So we try not to disappoint him on this that’s for sure! “And with Moynat, Monsieur Arnault doesn’t want to advertise, he doesn’t even want us to communicate, he wants to concentrate on the products, on the atelier, on hiring more craftsman, he’s more obsessed with this — that if the product is right, the house will be right.” And what are the products? The signature product for women (they don’t describe it as such, but it is plainly so) is the Pauline bag which comes in various sizes and can be bespoked in any colour you like; the Rejane is a smaller city bag, the Quattro more of a super-luxe tote. For men, the curved Limousine cases (as purchased by Karl Lagerfeld) are the standouts, in various sizes and styles. Up in the workshop, I also saw a couple of one-off works in progress, attaché cases and portfolios, not yet released, but which looked sublime. And where, I wonder, are their clients from, these highly-well-heeled, highly knowledgeable customers who are so sophisticated they wish to carry a brand nobody else will recognise? “The number one nationality is the Americans,” says Davin, “but Asia is also a very big proportion. Japan is probably around 10- 12 per cent, South Korea is six or seven percent, Greater China (including Hong Kong) is around 20 per cent but mainland China is quite small, but South East Asia is big. Indonesia, Malaysia, Singapore, the Philippines. It is all word of mouth.” And will Moynat remain the luxury world’s best-kept secret? There was a pop-up at the Galeries Lafayette in Paris this summer, and there are unconfirmed rumours that the brand will open a second and even a third store somewhere in the world in 2014. “We cannot accelerate, we are doing everything we can to hire craftsmen, to train them, but this will take time,” says Davin. “We hope that Moynat will really be a beautiful house in 10 years, or 20 years. I am not sure Monsieur Arnault is joking when he says it’s for your grandchildren.” A privately-owned luxury house sitting atop the world of leather goods and bags, passed down the Arnault family from generation to generation, whatever happens to the megabrands of LVMH. That would be a legacy. And you can witness its birth now, on the Rue St Honoré. Just don’t tell anyone.

Red Alert

dariussanai — Thu, 03 Oct 2013 14:00:01 +0000

[gallery type="circle" ids="698,699,700,701,702,697"] Red is autumn’s punchiest colour so surround yourself with bright flashes at home and out and about to keep your spirits lifted. View the slide show above.

Custom Cuisine

dariussanai — Fri, 04 Oct 2013 07:00:46 +0000

[caption id="attachment_708" align="aligncenter" width="600"] Test Kitchen - A specially designed on-site ‘test kitchen’ allows for constant experimentation[/caption] Customisation continues to be the craze that consistently dominates the top of food trends and chefs are constantly challenged to satisfy and suit individual taste buds while balancing kitchen work flow and costs. Our columnist questions whether science can help and delves into the thorny issue of whether the menu is a thing of the past STACEY TEO I had a dream. A first-time patron walked through the door of the restaurant and immediately the kitchen knew. ‘Filets de perche, sans beurre’. Guest is ushered to the seat and after waiting for a short while without ordering, the maître d’ appears with the desired dish. Service is seamless; the diner is left totally in awe and completely satisfied. If only the dream would come true. But what if it was actually possible? In the not-so-distant future, it is predicted that the exploration of neuroscience in food would perhaps provide a breakthrough in determining and detecting diners’ desires with exacting accuracy. Imagine: a device, like say, a gantry that scans the brain as a guest walks through the door and immediately profiles every preference, whims and fancies, known — and unknown — food allergies and transmits them on the spot into the system. But until such technology is developed — a matter of time, surely — perhaps science, though able to solve such perennial problems for the kitchen, will however still not be the best answer for restaurants because the dining experience will be impacted forever and the people behind service would lose their purpose. Let’s keep in mind, the human side of dinner service is, after all, pretty sacred. I firmly believe that cooking is more art than science. Wholesome cooking that titillates the senses to evoke an Anton Ego moment like in Disney favourite Ratatouille would require something rather special, a creation that is out of the blue. I recall one such ‘wow’ moment of opportunity occurred some time ago; my most memorable career challenge came in the form of a themed birthday party ‘Suzie Wong style’ (yet Dubai camels were involved) featuring an exciting modern Australian menu with a distinctly Asian influence, incorporating fresh western ingredients and cooking techniques. How then do we incorporate such specifications in a considered, detailed, quantifiable manner? Enter stage right, the menu. Throughout the ordering process, the menu serves as a tangible tool that is part and parcel of the meal experience. However, a number of restaurants have ventured further to the extreme end of the spectrum when they decided to ditch menus altogether. Fuad’s in Houston, Texas has been successful with the ‘No Menu’ concept for 37 years and running (cheekily enough, when customers check out their ‘menu’ on their website, it would reveal itself as a blank white page). The pioneer Parisian steakhouse, Le Relais de l’Entrecôte still simply serves steak frites where you just have to indicate your desired doneness. Tetsuya Wakuda’s eponymous restaurant in Sydney surprises with his 10-course degustation menu albeit keeping a few firm favourites alive. Personalisation at these institutions are pretty much non-existent and yet they pack in a solid crowd day after day, week after week, so what gives? [caption id="attachment_709" align="aligncenter" width="600"] Sydney Tetsuya’s consistently ranks as one of the world’s best restaurants[/caption] Customisation has and will continue to drive customer satisfaction, as guests are offered more opportunity to control what is served to their table. However, chefs would prefer to exercise that same element of control to express a certain level of creative culinary freedom, so there has to be a balanced approach. The key is to break down barriers between the kitchen and the table. In order for restaurants to understand and grasp guests’ preferences better, there has to be greater interaction and direct communication between the chef and diners. Does that mean more restaurants ought to join the fray in exiting stage left by removing menus altogether and leave the choice to the chef completely? Or should diners dictate the dishes on their table? That will depend on how willing consumers can relinquish control and be open to surprises. I say go ahead, trust the chef. But like Fuad’s menu or a Japanese omakase, the verdict is wide open. More interesting articles Eating Right A Feast for the Eye

Force of Nature

dariussanai — Thu, 10 Oct 2013 23:00:34 +0000

[caption id="attachment_716" align="aligncenter" width="600"] Theaster Gates Photo: Sara Pooley Courtesy White Cube[/caption] Theaster Gates is a phenomenon — one of the world’s most influential artists, he features at number 56 on Art Review’s list of the most powerful people in art. Gates is also a plain-speaking social commentator and activist. Some of his most powerful work is on display this fall at simultaneous shows held at White Cube’s galleries in Hong Kong and Sao Paulo, Brazil. The shows are dominated by ‘salvaged materials’ — found objects, including junk, in layman’s terms— and speak of homelessness, forced migration, and religious and political persecution. Gates comes from Chicago’s notorious South Side, where he still lives and works. His voice voice is a clear and powerful call connecting art, urban chaos and decay (he trained as an urban planner) and social issues that interweave the world. They are impossible to understand unless seen up close and personal — as anyone who saw his powerful ‘12 Ballads for Huguenot House’, created for last year’s dOCUMENTA (13) fair in Germany, can testify. Now you have a very good excuse for that visit to Hong Kong or Brazil. [gallery type="rectangular" ids="717,720,719,718,715"] More Interesting Articles Pinacothèque de Paris’ - From Paris with Love The Art Pioneer - Tim Etchells

Generations of Soul

dariussanai — Thu, 17 Oct 2013 12:00:43 +0000

[caption id="attachment_740" align="aligncenter" width="650"] Ergonomics, style and sound. Sports car technology, intelligently combined.[/caption] In which Darius Sanai experiences the latest model of the most iconic sports car of all, and an updated version of a modern legend Porsche 911 C4S Convertible Pity is not an emotion that has commonly been projected onto purchasers of Porsches over the decades. Envy, loathing, awe, respect — all of these have their place. But pity? Yet I do feel for purchasers of the latest Porsche 911 Carrera 4S Cabriolet, and, more particularly, for the car’s makers. They are judged by an impossibly high standard. When comparing benchmark wines against each other, it is standard practice, among professionals and amateurs, to do so ‘blind’, in a quasi-scientific setup that ensures each product is (theoretically) judged on its virtues alone, and not its reputation. It is impossible to do so with cars. Even if you were to blindfold a driver until he was seated, and to cover up the badges in the interior, most driving enthusiasts would recognise the interior style of a new sports car as belonging to a brand with which they are familiar: whether it’s Aston Martin’s architectural cool, AMG’s metallic chic or Ferrari’s boyish flair. In the case of the Porsche 911, one look at the rev-counter dominating the instrument pod and the sweep of the interior door handles is enough. Even though the latest 911 may have no visible parts carried over from its predecessors, it is plainly a 911. And that means it is judged as a 911: not just an icon but a benchmark, the 911 is to sports cars what Château Lafite is to wine or (currently anyway) what Bayern Munich is to football. Everyone wants to try and beat it; everything else is the underdog. Even the most ostensibly unbiased enthusiast may fall into the trap. Drive the latest Aston Martin, or speedy Jaguar, or Audi, and you err on the side of the positive. You forgive. The steering that is not quite right is ignored in favour of the handling balance that is. Traction that may be questionable is overlooked in favour of blowout mid-range performance. Back seats that aren’t really usable are less relevant than the machined finishing on the dashboard. You are constantly thinking: is it as good as a Porsche? Is it better? Parts of it are better! Porsches, like all cars, are constantly improving: each generation is faster, smoother, more economical, roomier, more efficient. And the 911 can only be benchmarked against itself. I climbed in to the 911 C4S Cabrio, and, instead of marvelling at its stunning exterior — stretched, slicker, smarter than before — and modernised, roomier interior, immediately asked myself whether the electronically-aided steering system would be as alive as the wonderfully tactile steering in its predecessor model. I realized I was preparing to judge the 911 on a different standard to any other sports car: not asking whether it was fun, fast, well-made and complete, but whether it was perfect: whether every element of it was an improvement on every element of every one of its predecessors. And that would be falling into the trap I outlined above. So, instead, here are my views on the new 911 C4S Cabrio — at the moment the fastest of Porsche’s convertibles, with an uprated engine, as well as four-wheel drive — as if written by someone encountering the brand for the very first time. Firstly, it looks stunning. Mine was in silver with a crimson roof, and matching crimson interior — every centimeter of the seats, doors and dash leather was crimson. Very, very cool. Even in more standard colours, the extended back and elongated light cluster on the rear give it an elegance that adds to the 911 squatness (necessary because the engine is in the back). It instantly makes all the previous models look a little squitty. The interior is functional and purposeful, rather than chic: the red dash leather is a good idea because I imagine that in black it might look a little basic. There are lots of switches and the instrument display is absolutely clear and crisp. There is a surprising amount of room: much more headroom than in any other sports car (even with the convertible roof) and so much rear legroom that my long-legged 11-year-old could happily sit straight while my long-legged wife sat in front with her legs stretched out.. The downside, according to the rear seat passengers, is that the seat squab itself is flat and you have to sit very straight up. Fine for a fit nearly-teen child, not so good for a bibulous adult. You may imagine that the slim front area of a 911 doesn’t offer much of a boot/trunk and it’s certainly an odd shape, stretching deeper than it does long, but it’s surprisingly commodious. It can take a couple of weekend bags, tennis rackets and other bric-a-brac with ease — apparently golf clubs fit comfortably in it (although I would think that if you are keen on golf perhaps a Jaguar might suit you more). The convertible roof is very quick and easy to raise and lower electrically, and you can now do so while outside the car by pressing a button on the key, which makes for a good show on the street if you are hiding behind another car. You do need to keep pressing hard, though, or it stops and reverses its movements next press; in the end I found it easier to do so using the button in the car. Instantly noticeable on driving the 911 is the beautiful purity of the accelerator’s response. There is no mechanical connection these days between the pedal and any engine — it’s all done by computer, like flying an Airbus. As a result fast cars can suffer from one of two ailments: over-eager programming that sends the car spurting forward as soon as you brush the pedal, which is both tiring and inauthentic; and turbo-response, which means wildly differing amount of go per touch on the pedal depending on where you are in the rev range. The 911 suffers from neither of these. Instead, you feel like you are coaxing that powerful six-cylinder engine gently from a prowl to a growl and then finally a wild sprint. I spent the first couple of days with the Porsche driving it like a sports car: engaging the Sport option that speeds up responses and firms up the suspension, measuring my way into corners and blasting out, noting with satisfaction that, pushed hard, it has a wonderfully interesting tendency to remind you the engine really is at the back — the 911 thrill, although I shouldn’t be noting that as I am playing the 911 novice here. I can’t think of a better sports car. On the last day I had an early-morning journey entirely within central London, so I flipped it into lazy-automatic mode. Comfort suspension, automatic gearbox. How would it cope? Would it feel like a caged lion? Would the automatic gear changes to maximise engine efficiency mean you never got into the speedy range of the engine, and thus lacked performance to zip into gaps in traffic? It was surprisingly good: quiet, smooth, with enough low-rev muscle to remind you that you were in a seriously fast car. Not as intuitive as a sports car with a proper automatic gearbox like an AMG Mercedes, perhaps, but this is technically an automated manual, not a traditional automatic, although the differences are becoming increasingly moot. And how was the steering? It is precise, well-weighted, intuitive, and gets more communicative the harder you drive. I suspect that on a circuit it would be brilliant. Compared to all the other super-sports cars out there, it’s near the very top. Putting the 911-critic hat back on, I would, if pressed, say it’s not quite as tactile as the previous version of the 911 that went off sale last year. It means the car, as a whole, is perhaps a tad more grown up. Less instantly loveable, perhaps, but a better machine. And if you want fun, all you have to do is lower the roof, punch Sport, and the (optional) exhaust button that makes the car sound fabulous, and take off. At the price, the 911 Carrera 4S Cabriolet is impossible to beat. LUX Rating: 18.5/20 [caption id="attachment_741" align="aligncenter" width="650"] Chassis control systems make a key contribution to the 911 driving experience[/caption] Porsche’s iconic 911 celebrates its 50th birthday this year. To mark the occasion, LUX spoke to Vic Elford, former racing and rally legend and one of the most famous 911 drivers of all time, for his view on how the icon has developed over the decades. LUX: What is the defining driving characteristic of a 911? Vic Elford: Unlike many ‘luxury’ cars of today which apparently think for themselves, the Porsche 911 can not be left to just wander around on its own — it needs a firm, knowledgeable hand in control at all times! How does it compare to its peers when driven on track? The simple answer is, it has no peers! There is no other car like the 911 in what it can do and how it does it. Sure you can make some Ferraris go fast, even some modern Corvettes, although they do it by brute force and not engineering superiority. Is each generation of 911 better than the last, in what way? I would say, “I would say different, but not necessarily better”. For example, in my ‘Porsche High-Performance Driving Handbook’ originally published in 1994 and still selling well in it’s second edition today, the chapter on ‘Driving in Unusual Conditions’ explains how to drive fast on snow or ice; but since the advent of on-board electronics which take over when they think the driver has overstepped his or her ability, some of those manouevres are impossible to do with a modern car. And you can’t switch them off; they are always waiting in the background ready to switch on again when they think something is wrong. Have they become less thrilling even as they have become more sophisticated? In some ways, yes, as noted above. Which are your favourite 911s to drive in the real world, and why? Older versions where I decided what the car was going to do, not the car itself! What are your favourite 911 memories? In 1967, only the second time I had driven a 911, I should have won the Monte Carlo Rally, but quirky regulations meant that although we were leading as we approached the Col de Turini for the very last speed test before the finish, I had no snow tires available when it started to snow heavily. I finished third. So my favorite moment was the following year, 1968, when for the first time the Monte Carlo Rally was a pure scratch event — fastest driver in the fastest car wins. I did! First time for Porsche, last time for a Brit! 911s used to have a reputation that they needed handling with care — do you think this is still true? Years ago the 911 had a reputation created by people who had no idea what they were doing. A 911 is a very gentle understeering car but early ones, especially the short wheelbase which was so effective in rallies in the late 1960s, were extremely sensitive to the input from the driver, especially in the way it affected the balance of the car. Modern versions are too, but to a much lesser extent as improved chassis engineering and having tires that fit the performance of the car iron out most of the problems for normal drivers. Would you encourage 911 owners to get onto the track? Sure; why not? Just make sure you read my book first and then get really expert tuition from an approved driving school or from the expert driving consultants at a Porsche Experience Centre. If you could have one 911 from any era to race, which would it be? A 1967/68 911R with a 2 litre four-cam engine!!! (If you have never heard of that engine, look it up. I think I am the only driver who ever used it). If you could have one 911 from any era to own and drive every day, which would it be? Since I discovered and analysed the need for it and then wrote the original specification, I would have to say, ‘The Porsche RS America’, 1993. Preferably in Sky Blue, my favourite colour! [caption id="attachment_739" align="aligncenter" width="650"] World Class Dynamics
- The new revised V12 engine makes this the most powerful DB9 every produced[/caption] Aston Martin DB9 Volante It is hard to believe it has been 10 years since Aston Martin launched the DB9. Motoring experts point to its predecessor, the late 1990s-issue DB7, as the car that saved the company, selling more units than all Aston models before it put together. But the DB9 was something else. While the DB7 still had hints of old-fashioned English sports car about it — parts of it were based on the 1970s Jaguar XJS — the DB9 was strikingly, brilliantly modern. Here was a British sports car which you wouldn’t dream of specifying with walnut wood on the dash and black piped Connolly hide on the seats accompanied by a Racing Green Exterior. It had to be metallic grey or black, with anthracite leather, all the better to show off the metallic-chic dash. The DB9 belonged to an industrial-chic, minimalist, modernist school of design — indeed, it was at its vanguard. It was equipped only with a V12 engine, looked superb with brushed aluminium and carbon fibre adorning its interior, and was a quantum leap over any other Aston in terms of driving appeal. It was developed with a personal passion by Dr Ulrich Bez, the transformational CEO of the company who is also a successful racing driver. My first experience of the car was in a pre-production model driven on the country roads around the factory between London and Birmingham by Dr Bez himself. Brilliant and highly desirable though it was, the DB9 was not perfect. Its imperfections were minor and masked by those wonderful avant-garde looks and that beautiful-sounding engine. They crept up on you slowly. In my first drive with Dr Bez, I couldn’t help notice that for such a sophisticated-looking car, its ride seemed ever so brittle. Drive onto a change of road surface and you could feel the change with a thump, and seemingly no suppleness in the suspension. I drove an early DB9 to Scotland and back and returned with a blend of exhilaration and doubt. This was an involving, entertaining car to drive; but pushed like a sports car, its responses weren’t as progressive or intuitive as they should have been. It wasn’t agile, like a Porsche 911, and it wasn’t as relaxing as a Bentley. It did look beautiful though. Now, a decade later, there is a new DB9, although in terms of its looks it is strictly evolutionary. It looks like a sleeker, updated version of the original, particularly from its mean, flat front end. But there’s no mistaking what it is. The interior has also had the touch of a gentle magic wand: you know things have changed, but it’s unmistakeably a DB9 and you would be hard-pressed to say what, exactly, has changed. [caption id="attachment_742" align="alignright" width="265"] Nearly 50 per cent of all parts and more than 70 per cent of all body panels are new[/caption] The engine, still a V12, has 60 horsepower more than the original, taking it to 510, and while this sounds like a lot, it is worth bearing in mind that the lead two-seater super-convertible at the time of the Aston’s original launch, the Mercedes SL55 AMG, managed more or less that kind of output a full 10 years ago. (Its successor has even more now.) And the Aston is not a lightweight car. For the purposes of an honest assessment, I took along as a passenger a friend who bought one of the first DB9s to appear in 2003 and who still owns it, among numerous other cars. (His is a coupe, while my new test car was a convertible ‘Volante’ version). His immediate response a few seconds after we set off down a central London road was that this model was far more refined, quiet, and smooth in its ride. “It’s like being in a saloon car,” he said. “Mine is like a wooden go-kart in comparison.” The actual driving experience is also very different, although subtly so. The car sounds the same — that is to say, magnificent — and you still know you are at the helm of a long two-seater super-sports car. This DB9’s responses are smooth, accurate, progressive: it is a relaxing car to drive slowly through traffic, especially when you hit the D button for fully-automatic mode. It heads into corners with gentle determination, or with gusto when you push it, although at speed you are more aware that this is quite a heavy car, despite the admirable flatness of the suspension. What is new is the suppleness to both ride and handling: there is no crashing of suspension, no unnecessarily sudden responses. It makes for a far more satisfying and relaxing experience. The engine wails mellifluously when you accelerate, and this, combined with the looks which are as striking today as on the previous model, means it scores highly on the head-turn-o-meter I use while driving among tourists in central London. (Most accurately measured by the scientific measurement of cp/h, or cellphone pictures per hour.) The Aston also has two back seats, although you need very understanding children if you are planning to sit them there (adults won’t fit) and they are best suited to Hermès and Chanel bags, including the larger sizes. It seems almost all the niggles of the previous DB9 have been ironed out in this new model, although I should mention one factor that will be of concern to a minority of readers. The acceleration is fast, true and smooth, as a V12’s should be: but the car lacks the ultimate punch of today’s latest cars of this price, most of which would leave the Aston behind on cross-country blast (I am thinking in particular of the Ferrari California and Mercedes SL63 AMG). This may only make a difference of mere minutes to a journey, but it also means that an overtaking manoeuvre that is accomplished easily by those other cars might be tight in the Aston: and that’s not necessarily what you might expect from a car with an Aston Martin badge and a V12 engine and a price tag to match. If that doesn’t worry you — and in most places, you won’t be able to use the car’s full power in any case — then the new DB9 Volante is as beautiful as it gets, and now refined, sophisticated and modern to go with it. LUX Rating: 18/20

A Taste of Travel

dariussanai — Sat, 19 Oct 2013 07:41:32 +0000

[caption id="attachment_1262" align="aligncenter" width="600"] Brindisa in London’s Borough Market[/caption] It may not have the adrenaline rush of free falling from an airplane but for our columnist there is nothing quite as thrilling as making a new culinary discovery - Stacey Teo Travellers today are given the choice of dozens of kinds of adventure holidays. For me though, instead of zip lining over a 300-foot gorge or swimming with great whites, I like my adventures served to me on a plate. There is a real excitement in trying a local dish for the first time or discovering a new flavour. In my wanderings I’ve stumbled upon some excellent places. I will never forget, and still long to return to, a busy little stall in Bangkok’s Otoko Market for their perfectly grilled Mekong River prawns. I had another memorable experience many years ago on a trip to Hong Kong where I discovered some of the world’s best egg tarts at the Tai Cheong bakery. Those were lucky moments. Really special finds like those have been rare. In between I’ve had my share of dreadful food experiences. I know I can limit the risk by picking up a guide, and there are a lot of good ones out there, but I have made it a personal rule to go by word of mouth instead. Of course this doesn’t included big name, award winning restaurants. I don’t need a guidebook for that. I normally reserve a Michelin star, or two or three, before ever packing my bags. No, what I’m interested in finding are the places that only the locals know. Finding these little gems is the kind of adventure I want in my travel. Basically wherever I go, I am in search of the rustic fare that forms the base for that destination’s cuisine. As a chef, I know that in order to appreciate the flower one must understand the root. Ferrán Adrià’s brilliantly deconstructed tortilla means nothing to anyone who has never had a slice of the humble Spanish potato omelette. One of the advantages to working for a company with a multinational staff is that, without leaving the office, I can get great insider tips on local restaurants that normal tourists would never find. Before I set out on any journey I ask around to get a few pointers and now that I have a pretty good idea of whose culinary instincts to trust, the system works like a charm. This is how I ended up at Mak’s Noodles in Wellington Street, Hong Kong. I’d been in the city countless times but it was thanks 01 to a co-worker that I enjoyed one of the best plates of wonton noodles I’d ever had. Thanks to another recommendation I also had one of the best pizzas in my life at a place called L’Antica Pizzeria Da Michele in Naples where the Condurro family has been making pizza since 1870. Five generations later it is no longer a tightly held secret, especially since Julia Roberts in the film Eat, Pray, Love ate here, but the two types of pizza they serve (Neapolitana and Margherita, that’s it) are out of this world and the plainly decorated dining room still has a very local feel to it. One sure sign of food globalisation I have noticed recently is that I am no longer being recommended just the fish and chips in England or the tacos in Mexico. Like my office, the food world has gone international and I am just as likely to hear about a good paella in Washington DC as a fantastic burger in Madrid. A recent trip to Paris was highlighted not by the French food of a famous chef, although there was plenty of that too, but by the falafel served at Chez Marianne followed by a sorbet at Maison Berthillon. [caption id="attachment_1261" align="aligncenter" width="500"] Spicey chorizo sandwich from Brindisa[/caption] Before my last trip to London a colleague steered me to a little place called Brindisa in the Borough Market where I had a chorizo roll served with rocket and roasted Navarrico Piquillo peppers. I had to wait out the 20-minute queue that snaked its way into the market (I had been warned) but the smoky intense flavour of the barbequed chorizo was well worth it and probably just as good as anything I could get in Spain. Next up? A colleague from Montreal who insists there are two stops I simply must make if I’m ever in the city. One is to a humble little establishment called Patati Patata for an order of what she says are the very best fries in the world. The secret apparently is to use a little basil in the frier. The other is to Schwatz’s deli for a thin sliced pastrami sandwich. Normally I’d choose New York for my Jewish deli sandwiches but I’ve dined with this woman numerous times. I know her and trust her taste, so I’ve promised myself that if I ever make it to Montreal I will make time, and room, for both.

Bespoke By Design

dariussanai — Thu, 24 Oct 2013 20:00:52 +0000

[gallery type="square" ids="749,750,751"] Looking for a piece of design that absolutely nobody else has? You need to head to a busy Swiss motorway junction and visit the Stilhaus (style house), a gigantic new building bespoked for showing off the best designers of interior architecture, luxury products, furniture and just about anything else. The building itself is as cool as anything it shows, but it’s also the only thing you can’t take with you. This particular image is of the latest winner of the prestigious Red Dot Design Award, by Zurich-based design team Gessaga Hindermann, showcased at the Stilhaus recently. There’s always something on. stilhaus.ch More Intertesting Articles Go Faster Stripes - Missoni The King of Stealth - Moynat

It’s a Girl’s World

dariussanai — Wed, 30 Oct 2013 12:17:50 +0000

The elite British education system has never been more in demand. Yet some wonder whether educating boys and girls separately is an anachronism in a 21st century environment where they will work together in their business lives. Our columnist outlines her views on why sending your child to a top single-sex school could still be the best move you ever make Helen Pike A businessman told me recently that in his native China, two British luxury brands are well-known: Harrods and Eton. It seems that elite single-sex schools not only dominate the cultural landscape and the league tables in the UK, they are part of what makes Britain distinctive globally. Some elite single-sex schools have moved into international education, an export market which amounts to £17.5bn annually, by opening in Asia and the former Soviet Union, markets hungry for top-quality education. For parents of boys, Eton, Harrow and the like are brands with resonance around the world. That said, elite single-sex schools are a minority, even in the UK. Only 7 per cent of UK pupils are educated in the private sector, of which 20.9 per cent comprises single-sex schools: just over 250 schools in total. So what gives them their resonance internationally — what drives ambitious parents to steer their children towards schools like the above (or the school I am fortunate enough to head)? I have spent my professional life thus far in five highly academic single-sex schools, three of which are within spitting distance of the River Thames. (Not that any pupils of these schools would do anything so vulgar as to spit, of course.) If anything, single-sex education has become more controversial globally since I did my teaching practice in a single-sex girls’ inner London state school. Elite single-sex schools in the UK are indeed cosmopolitan, exciting places in which to work and learn, the envy of the world, as witnessed by the stiff competition for entry; but in 2013, can we justify that so many of the UK’s finest schools continue to segregate girls and boys? The most obvious answer is history. The oldest and most famous schools were for boys only; schools for girls came centuries later. So we can contrast the foundation of Eton in 1440 and St Paul’s School in 1509 with that of The Cheltenham Ladies’ College in 1853 or South Hampstead High School (full disclosure: my employer) in 1876. A serendipitous combination of grand tradition, location, favourable education policies since 1945, and dynamic school leadership has meant that some — but by no means all — of the oldest schools have remained at the top of an ever-growing pile and become vanguardists in education across the sector. Elite single-sex education can provoke the glorious British cultural schizophrenia which defends tradition with a sword in one hand, while threatening to take a hatchet to it with the other. Surely the British should not continue to champion segregated hothouses, when all but those who join enclosed holy orders will live and work in a resolutely coeducational world? Single-sex schools have responded to this in a number of ways. On one side, the Girls’ Schools Association in the UK has been more vociferous, in part because some of its members are defending a market share in the face of boys’ schools which have recently become fully or partly coeducational, and in part because girls’ schools have always been more focused on righting the inequalities which women can encounter — which was why they were founded in the first place. Meanwhile the International Boys’ School Coalition does what its name suggests, and organises research and an annual conference which brings together schools from the UK, USA and Australia. It argues that it is single-sex boys’ schools which are the endangered species, while girls-only institutions are more numerous and surer of their niche. And they are right to be: there is much evidence that boys and girls — and particularly girls — make greater progress in single-sex schools and have better life chances than their counterparts in coeducational schools. I make this point when parents of both boys and girls ask me why they should choose single-sex education. High-achieving single-sex schools are the intellectual and emotional equivalent of elite training for athletes. Crucially, children are not adults. There is so much to be said for an education which, in preparing them for the world they will inherit, does more than simply allow boys to be boys and girls to be girls: it consciously plays to their strengths and needs. Some might regard the idea that children are being sexualised at an ever-younger age is a species of moral panic, but the commodification of girls in particular continues apace. To put it more simply, there is less fuss about dress in single-sex schools. Single-sex schools also avoid helpmeet syndrome: in boys-only schools which admit girls, for example into the Sixth Form at 16, the girls can become the facilitators of the boys’ progress in the classroom, deferring to the boys rather than testing out ideas of their own. In single-sex schools, gender roles are less marked; there is no opportunity for boys to dominate the brass section of the orchestra while girls tootle fragrantly in woodwind. If we take the 26 schools of the Girls’ Day School Trust, of which my school is one, we find that GDST girls are over twice more likely to study A-Level Physics or Chemistry than girls nationally, and overall nearly half the students in GDST Sixth Forms take at least one science A-Level (the highest level of school qualification in the UK). This carries forward into university choices, where again over 40 per cent of GDST students do Science, Medicine or Mathematics as part of their degrees. If girls in the UK as a whole sat as many Physics, Chemistry or Maths A-Levels as girls at these 26 GDST schools, there would be nearly 9,000 more school-leavers with A-Level Physics, 20,000 with A-Level Chemistry and 21,000 with A-Level Maths in the population every year. By way of comparison, a recent study by the Institute of Physics found that in nearly half of co-ed schools there were no girls studying A-Level Physics at all. None of this comes cheap. Annual boarding fees at Eton are now over £32,000 (and Eton is by no means the most expensive), while more competitively-priced day schools charge between £10,000 and £15,000 per year. Is it worth it in a world where a woman can be Chancellor of Germany or head of the International Monetary Fund (although this is not to say workplace equality is with us)? My view is that parents and pupils recognise that it is precisely because the rest of the world is so overwhelmingly co-ed that a single-sex education has such value. Helen Pike is Headmistress of South Hampstead High School, London, which is ranked among the top five girls’ schools in Britain by the Financial Times; shhs.gdst.net

A Face in the Crowd

dariussanai — Thu, 31 Oct 2013 23:00:33 +0000

[caption id="attachment_764" align="aligncenter" width="509"] An expert team of make-up artists and beauticians make every request happen[/caption] Does make-up all look the same to you? Are you tired of telling your Revlon from your Lancôme? If that’s the case, you might want to pay a visit to a small boutique where every foundation or eye-shadow is bespoke, says Caroline Davies Near the coffee shops and restaurants of Motcomb Street, in a quiet corner of London’s Knightsbridge, sits Cosmetics à la Carte, small and unobtrusive. Cream carpeted with soft furnishings, make-up displayed plainly on the small table in the centre, it has the reassuring feel of a store that has no need to shout; the people who know about it, know it well. Cosmetics à La Carte began in 1973, founded by Christina Stewart and Lynne Sanders. The two originally met in the lab, working for Unilever Research and moved together to Yardley where they formulated Marks and Spencer’s first make-up range and various Vidal Sasson hair products. Bored of the mass production line, they left to start their own make-up revolution — tailor-made make-up. Need a lipstick to match your dress, an eye-shadow to suit your floral arrangements or a foundation that, well, matches you? Stewart and Sanders had the know-how to whip one up. In the company’s laboratory in Battersea, two large white rooms are piled high with carefully marker-penned cardboard boxes, neatly sealed bags of multi-coloured powders and Bunsen burners. I find Sanders, dressed in a white lab coat, bent over the hob. It isn’t a hob of course, but to my untrained eye, this is the closest I can come to describing the black heated pad where she is carefully melting a blood red waxy chunk. [caption id="attachment_765" align="alignright" width="190"] In her 60s, the founder still works in the lab[/caption] Now the sole proprietor since Stewart retired in 2009, Sanders is still in the laboratory although she is in her 60s. Her lab coat flaps around her neat skirt as she swirls across the room and I am surprised to notice only a touch of makeup, a slight line of carefully applied blue eyeliner over her wide eyes. She greets me with a broad smile and a brisk, perfect Received Pronounciation ‘hello’ before energetically enlightening me on the contents of the bottles on her worktop. She is currently melting me a lipstick, a mixture of ‘Santa’ (“we used to call it ‘blood’ but that proved an unpopular name”) and ‘Tulip’, combined together to make the colour of a red hat I brought into the shop a few days before. My eyes wander along the surface to the small glass beakers, filled with varying shades of beige to brown liquid and marked in black pen with household names; foundations in progress for famous faces. “She requires a thick layer to cover the marks on her skin,” says Sanders, pointing to one such pot. “You would never know though.” She is right, you wouldn’t. Cosmetics à La Carte did not meet with immediate success. When the revolution proved rather slow to pick up, Stewart and Sanders found themselves without much income and without a team. Undeterred, Sanders found a job in a wine bar to pay for the bills and keep the business afloat. “Can you imagine?” she says. “Well, it all seemed rather jolly at the time.” Bizarrely, it does sound it, although perhaps because Sanders’ bright, matter-of-fact manner, not dissimilar to a retired old-school Montessori teacher, means most things sound enjoyable. The grand tour continues into the other laboratory where she pops open tubs of brightly coloured pastes and gels, rubbing them on the back of her hand to show the colour and the consistency before explaining the science. She speaks about polymers with much the same interest and passion as a new parent talks about their child. Jumping from science to backstage anecdotes at fashion week and film sets, Sanders’ enthusiasm for her profession is infectious if occasionally over my head. Cosmetics à La Carte’s luck started to change and gradually the pair began to gain recognition. Make-up artists hunting for an exact historical shade, ravaged screen sirens looking to replicate the dewy complexion of their youth, trendsetters pushing beyond the palette; the drip feed of visitors to the little shop grew. Sanders still remembers the late afternoon in the 80s when Princess Diana dropped by. “She wanted a nude lipstick, a very particular colour that would suit her,” she says. “We tried out a few selections, made them up and put it together. We still sell her shade today.” Picking up on the popularity of bespoke make-up, other companies began to try to mimic Cosmetic à La Carte’s model, but none of the large make-up brands have sustained it. The company’s size has fuelled its success — small, but precise. While most tailored services rely on remixing pre-existing colours, chopping a little more crimson with peach to roughly suit, Cosmetics à La Carte goes a step further. Arrive in store with the remnants of an old lipstick, blusher, foundation or eye powder and they will remake it, from scratch, to suit. Allergies, sensitive skin, thicker consistency; they can accommodate it. Perhaps this is why they are such a success with pedantic period dramas; I am told the Downton Abbey girls adore it. As she rummages into another corner, Sanders suddenly stops. A look of horror creeps across her face and with a small gasp, she runs from the room. “Oh no, no, stupid.” Bemused, I follow to find her sighing over the hob. “Singed. That was not the shade we were going for.” Apparently, the bloody red wax has now gone past the point of return. She throws it away with an air of sadness. Despite spending over 40 years in the laboratory, Sanders’ attachment to her work and her creations is touching. I watch her carefully dissect the wax again, keeping a suspicious eye on it as it melts into a dark red liquid. She pours it into a mould, cuts it out and fastens it into a gleaming new case, complete with a hand written label. “I’ll keep this with the others,” Sanders says, slicing away a small section of the remainder of the lipstick still in the mould and sealing it in a bag marked with my name. “For when you come back.” She opens a drawer under the cabinet and I glimpse a host of names and titles that would rival a royal wedding party guest list, all written in the same handwriting with fresh waxy off-cuts. It seems I’m not the only one expected to return to the little cream shop in Knightsbridge. alacartelondon.com

The Asian Connection

dariussanai — Thu, 07 Nov 2013 23:51:48 +0000

[caption id="attachment_774" align="alignright" width="800"] Thomas Wong - ‘Shi Fu” has been in the tailoring business for 56 years[/caption] Master tailors are not confined to the town houses of Savile Row or the ateliers of Italy; with the boom in Asian prosperity has come a boom in Asian style. Erica Wong speaks to a Singapore-based tailoring maestro about his unique style Shi Fu, or master, as Thomas Wong is commonly referred to, asks if I’d like a cup of tea as I take a seat next to him at a quaint coffee shop along Orchard Road. His tone is calm and certain, almost Mr. Miyagi-like. Chairman of the Master Tailor Association Singapore for the last two terms, lecturer at the LASALLE College of the Arts, and owner of one of the oldest tailor shops on the island, Wong has been making suits for the regions’ elite for well over four decades. The industry has changed much but the fundamentals remain the same, as Wong explains… EW You’ve seen the industry through thick and thin… TW I started in this line of work when I was 16. I was an apprentice and at that time shops in Singapore were in shophouses. Each shop housed their entire ‘production line’ from start to finish. Tailors trained their teams to do everything from scratch in their own character using their unique methods. As a result every shop has their own style, their own ideas about how to make a suit. The team would discuss the orders or any problems that arose, work out solutions together, which would reflect the philosophies of the brand. If a customer finds that ‘chemistry’ with Tailor A or B or C, they would consistently return to them. There was no competition between A, B or C because they each had their unique cut, style, quality and fit which was very different from one another. Without intentionally doing so, each tailor was a ‘brand’. Today, the shophouse ‘all under one roof’ concept is gone. Tailors outsource the different parts of the job to independent workers who at times sub-outsource out, since there are only a handful of craftsmen who know how to do each job. Most of these independent workers accept jobs from a number of tailors so you can imagine how the original set up of the tailor ‘brand’ has been lost, the traditional collaborative production lines severed and the uniqueness of each brand has been diluted. The tailor’s role has become that of a coordinator who charges a middle-man fee. In my mind, that’s not a tailor. To be a bespoke tailor, you need to make a particular garment per a customer’s particular request. Instead, tailors are now middle-men who take the request and pass the garment around to various parties who make it in whichever way they know best. This isn’t a very responsible way of offering the bespoke tailoring service. EW What is at the core of your design ethos? TW I’ve always been interested in illustration and so naturally in [Chinese] calligraphy. I believe that when people are interested in the visual arts they have sensitivities towards the minute details. Whether that dark green is the right tone or the stripe is slightly too wide, the demand for perfection is innate. When it comes to designing or making patterns or cutting fabric, I apply that same temperament and attitude. Throughout every step of the process I keep thinking about how the suit will fit on the client. Should this cut, length or even shadow appear on his frame? Will the suit look forced or natural on him? Wearing clothes need to be a comfortable affair. If the suit isn’t comfortable or doesn’t make its owner feel better about himself, he winds up as a hangar for the clothes. Then he might as well not wear it at all. The person cannot be a mannequin for the suit, the suit must highlight the man’s strongest features. Of course as a bespoke tailor I need to adhere to the client’s requests so I also need to fit my design into the parameters of his request. This is the challenge. For example if a larger man wants a double-breasted suit even though most tailors might think it a bad idea, I try to figure out how to not only defy the theories against it but to make him look slim in the cutting of his choice. How should I do the cutting? What kind of fabric should I recommend? What fabric patterns will be the better option? The quality of the fabric also makes a difference. So, in-depth knowledge about all these factors is imperative for a bespoke tailor. Even before you take the job, you need to offer your professional opinions. If you don’t have the fundamental basis and you deliver exactly what the client asks for, then you’ve escaped your responsibilities. [caption id="attachment_773" align="aligncenter" width="600"] Every aspect — the cut, darts, seams, fabric and accents — plays an important role in the final product[/caption] EW With 40 years of accumulated knowledge, what are the main lessons that you relay to your students? TW Firstly, never take short cuts. Not in any step of the process. Equally important is to work with integrity. Other players in the field have asked why suppliers provide me with top quality work and lesser quality to them. The answer is very simple. An analogy I often give is a woman who sees her friend’s perfect glowing skin after leaving the spa and requests to achieve the same results. But if she’s not willing to pay for the same top quality skin care products or use the same top aesthetician, how can she expect the same results? It’s just not possible. The same applies for my craftsmen. Everyone may share the same pool of talent but if I pay top prices for top quality and others aren’t willing to do the same, who do you think will be given priority? It’s a simple formula. I always tell my students that we can’t deliver anything sub-par because the dollar notes customers give us are not partial dollars. The $1,000 they give us is $1,000, no less. So if you charge $1,000 you can’t provide a $100 product. EW There seems to be less and less people who fit into your traditional sense of a tailor. Where do you see the industry heading? TW Last year, the Asia Tailor’s Congress was held in Singapore and it was Loro Piana who noted that Singapore’s tailors aren’t charging enough. Times have changed and yet we continue to charge low prices so our pricing strategy benefits the end customer, and we don’t pay our workers enough. That’s why less and less people are entering the field and those who are skilled have turned to other lines of work such as driving taxis, which is more lucrative. What’s more, there’s an interesting phenomenon at play today. Technically the more affluent the country, the better their know-how ought to be and the more demanding the customer, and yet they try to take shortcuts. On the flip side, the poorer the country, the more traditionally trained craftsmen they have, and yet the market generally can’t afford the good fabrics and infrastructure to produce the suits. Over the long run, I hope to see a revival of the traditional crafts and skills, applied in modern contexts. That’s why I teach, in hope that my students will pick up some of the things I learnt many years ago, and apply them in their future careers.

The Shape of Light

dariussanai — Thu, 14 Nov 2013 08:00:47 +0000

[caption id="attachment_796" align="aligncenter" width="719"] Glassblower - Meticulously shapes glass using heat and air[/caption] How do you lend form to light? With glass, as glassmakers and bespoke light fittings expert Lasvit demonstrates. Yuen Lin Koh investigates The gentle vibrancy of the day’s first light, seen on the sparkle of a morning dew. The liveliness of sunrays scattered into a dance by the ripples of a stream. The calm of a shaft of luminosity, soundlessly pouring through the oculus of the Pantheon. For what is essentially electromagnetic radiation — if we are to break it down by physical science — light possesses magic. It’s magic that can be seen, and certainly can be felt, yet has no form. Or does it have to be that way? Translating to “Love and Light” in Czech, Czech Republic-based glassmaker the Lasvit Group lends physical form to light with every piece created. The medium is perfect in the dualities it presents. Crystalline clear, it is visible — yet invisible in its see-through quality. An amorphous substance, its atomic structure resembles that of supercooled liquid, yet displays all the mechanical properties of a solid — like fluidity frozen in time. The company founded in 2007 might be young, but the craft is one that has been perfected through centuries. By combining the traditional artistry of North Bohemian glassmaking with the innovative creativity of world class designers, architects, engineers and lighting technology, Lasvit brings Bohemian glassmaking and designing to a new level. Well-known for its high profile collaborations with cutting-edge design leaders including the likes of Ross Lovegrove, Oki Sato of Nendo and Michael Young, and well-loved by consumers for their iconic collections such as ‘Bubbles in Space’, Lasvit is also revered for its bespoke services that have lit many private and public spaces around the world with their magic. The shimmering lattice of 250,000 crystal pieces and 12,800 artistic hand-blown glass components, stretching like a web across a diameter of 16 metres on the ceilings of the Jumeirah hotel at Etihad Towers in Abu Dhabi. Giant textured bent glass structures connected to a cascade of hand-blown, hollow glass drops, lit by LED and optical fibre to become whimsical “jelly fish” that float atop the futuristic Dubai Metro Stations. The “Diamond Sea” of handblown glass — some dazzling clear, some in amber tones, some twisted, some curved — creating waves that shimmer above the patrons of The Ritz-Carlton, Hong Kong. [caption id="attachment_798" align="aligncenter" width="413"] The Ritz-Carlton, Hong Kong
Lasvit created six pieces for the hotel, including the ‘Diamond Sea’[/caption] Majestic in proportions and intricate in detail, each is a shining example of excellence in craftsmanship. Yet each is also an artistic expression — not just of Lasvit’s designers, but also their patrons. Certainly, given carte blanche, their stable of 14 in-house designers can dream up the perfect piece for any space — be it the lobby of a hotel or the dining room of a private home; but more importantly, they have the ability to translate your desires into designs that articulate your message. [caption id="attachment_800" align="aligncenter" width="288"] ‘liquidkristal’ - Developed in collaboration with Ross Lovegrove, the panels explore the innovative use of the material.[/caption] Fine-tuned through rounds of revisions with the client, the designs are then detailed through construction drawings and crafting. Each piece of handmade glass is created at the Lasvit facilities in Novy Bor at the Northern part of the Czech Republic — a pine-forested region steeped in glassmaking traditions since the 13th century. There, master glassblowers from families who have been making glass for generations, and who have honed their personal skills over decades, create what is known as Bohemian glass, known best for its inimitable sparkle. The creation of every handmade piece remains a very basic process. The glass is made as how grandmothers cook: by feel, rather than by following recipes or formulas. In six ovens roaring at 1600°C almost 365 days of the year, glass is kept at a molten state, waiting to be blown, fused, flameworked, sandblasted, engraved or even hand-painted on — waiting to be transformed into wondrous forms. The craftsmen labour in the glass studios, sipping on beer — it is the supplied drink preferred for its nutritional value and cooling abilities given that the studios burn at about 40°C all the time. They might look a little rough on the edges, and seem a little brusque in their mannerisms, but they work with glass with the tenderness of fathers cradling their newborn. The organic nature of the medium gives it a temperament that is not to be learnt from books, but to be understood from interaction — just as a child is to be known. Yet this human element is apparent even in technical glass — machine-made pieces ranging from dainty crystal-cut glass beads to Liquidkristal from Lasvit’s Glass Architecture Division — transparent, undulating crystal walls that lend a mesmerisingly dynamic dimension to still structures. The human expression manifests itself in the creativity and artistry of applying these pieces, of transforming cold, hard components into works of art. “Glass is one of the most interesting materials that a designer can work with,” shares Táňa Dvořáková — a veteran designer who has been with Lasvit for six years, and also the creative mind behind masterpieces showcased at the likes of The Ritz Carlton DIFC Dubai, Shangri-La Tokyo, and now The Ritz-Carlton Residences, Singapore. Even for the seasoned designer, every piece holds a new surprise. “There is always a certain excitement — because when I finally illuminate the sculpture and see it installed, a new and more beautiful surprise is always revealed to me, often one I didn’t even expect,” she enthuses. For the piece at The Ritz-Carlton Residences, she took her inspiration from flowers, “particularly poppies and wild flowers: their freely growing petals have always fascinated me”. With childlike wonder, she expressed the delicateness of the subject in the form of a light sculpture composed of petals formed from a lattice of crystal-cut glass beads — “as if, unable to deal with the ephemeral beauty of this wild flower, someone had transformed it into an eternal diamond”. [caption id="attachment_797" align="aligncenter" width="597"] The Ritz-Carlton Residences, Singapore, Cairnhill
A Lasvit piece hangs as the centrepiece in the dining area[/caption] Indeed the process is really as artistic as it is technical. The designers are often at the factories during the crafting of a piece, because it is one thing to follow technical specifications, and another to realise an artistic expression. Lasvit’s expertise is not just in the production of glass pieces — they also know exactly what it takes to mount an installation for safety and your peace of mind, and they even produce all the components, from metal structures to hanging materials. They also know just how to light a piece to bring it to life. Because when you love light as much as they do, you don’t just produce light — you capture the soul of it.

LUX Issue 4 /2013 – The Family Issue

dariussanai — Mon, 23 Dec 2013 07:10:31 +0000

Diamond In The Rough

dariussanai — Mon, 23 Dec 2013 07:36:33 +0000

[gallery type="slideshow" ids="808,814,813,812,810,811,815"] They may have begun by bejewelling Bavarian royalty, but Hemmerle is far from being a throwback. CAROLINE DAVIES speaks to the family-owned German jeweller about breaking the rules It is October in Munich. I am nestled in a wooden booth in a “traditional” Bavarian inn, erected 15 days previously. Oktoberfest songs blare from painted speakers, echoed by the swaying crowd. Our table is laden with sausages, roasts, apple sauce and several half-finished litre glasses of fine German beer. “First time at Oktoberfest?” Seated to my right is my host, Christian Hemmerle. He also happens to be the next generation of fine jewellers. Hemmerle jewellers is a Munich dynasty. Founded in 1893 by Joseph Hemmerle, Christian’s great-grandfather, the company has been decorating Europe since they won the warrant to produce medals for the Royal Bavarian court. They even occupy the same spot on Munich’s Maximilianstrasse as they did in 1904. Yet there is nothing staid about Hemmerle. Today the company is renowned as one of the most innovative jewellery houses in the world, setting rare precious stones into copper, iron, steel, bronze and even wood. The end result is elegant, but minimal. The textures and colours, simply but smoothly arranged, make for tactile and unique pieces. Their one store, an understated glass façade on a street crammed with designer labels, is a favourite for art world impresarios including New Yorker Beth Dewoody. “We definitely have a tendency towards art more than other manufacturers,” says Christian, shouting over the trombone. “We are just not afraid of doing something unusual. “My father realised that there was a strong need for understatement. People in the 1980s had very grand jewels. They were getting them out once a year for a gala event, but the jewels were not incorporated in their daily lives.” In 1995, Christian’s father, Stefan, tried something that would send a shiver down some fine jewellers’ spines. He set a diamond in iron. “My father realised that with these new materials and new possibilities you can make something much more wearable,” says Christian. [caption id="attachment_809" align="aligncenter" width="800"] Christian Hemmerle and his wife Yasmin[/caption] Hemmerle remains a family company. Stefan and wife, Sylveli, continue to manage the business alongside the dapper couple, Christian and his wife Yasmin. Perched neatly at the table, dressed in a traditional Bavarian dress, white blouse and green corseted top, Yasmin has been fully enveloped in the fold. Originally from Egypt, she once worked at a diamond dealer in Paris, long before she met Christian. “I always knew I had a passion for jewellery,” she says. “But I never knew why. I think it was meant to be.” The creative process is a collaboration. “We start with a stone,” says Christian. “There is a momentum, having these two generations together. We bring out the maximum creativity in one another. We sit around a table and criticise it until, by the end, it is a perfect thing.” It wasn’t always destined to be like this. Raised surrounded by jewels, Christian was uninterested. “After school I wanted to get involved with real estate,” he says. “I couldn’t have imagined starting to work for the family business at that time. “It was a very sudden change. I wanted to go to New York and my studies required me to find a work place for six months. I called my father, because it was short notice. He said, ‘I can help, but the bitter pill is that it has to be in my industry because those are the people I can call on.’ “I worked for a very small diamond dealer’s firm and I really fell in love with it on the first day. It was doing something natural. Working with precious jewels felt so normal.” None of the Hemmerle team are nervous around priceless stones. It is unlikely many of their designs would have made it past the first sketch if they were. “I like to think of myself as someone who pushes boundaries,” says Christian. “A lot of people only do things that have been done before because that is the way it has always been. I like to be innovative and try something new, to try to optimise.” Creating something new requires an understanding of the old. Hemmerle’s workshop is particularly unusual for its glass beading technique, the 200-year-old skill of ‘sorting and knitting’. The work is so detailed, stones appear as though they are woven together, without a visible binding “ I want you to realise there is engineering behind it but you don’t need to see it,” says Christian. “I want to see the beauty of the piece. It should be beautiful at first sight. Love at first sight.” Particularly popular with the art world, Hemmerle’s understated pieces are a collector cult. “I’ve heard stories of people bonding over it at dinner parties,” says Yasmin. “They recognise a brooch or a bracelet from across the room. It’s a good conversation point because many of our clients are very passionate about it.” “Some people would call it daring,” says Christian. “Others would say we are crazy. “But there are other people who think the same way as we do and are very supportive of our work. We make so few pieces that we want to attract people that feel the same way about beauty as we do.” hemmerle.com

Tower of Song

dariussanai — Mon, 23 Dec 2013 08:01:48 +0000

[caption id="attachment_824" align="aligncenter" width="500"] Roof Terrace - A state-of-the-art stage boasts elaborate pyrotechnics and laser shows[/caption] The new Ushuaia Tower brings a whole new dimension of rave to Ibiza’s party scene, observes DARIUS SANAI on a flying visit to his favourite summertime island It’s midnight on a July Friday night in Ibiza – the night is just getting going – and a thousand people are waving their arms and tanned bodies in front of uber-DJ David Guetta, who is on stage playing Swedish House Mafia’s “Don’t You Worry Child”. The crowd has shaped itself around an enormous swimming pool, which is cordoned off for the night; beyond them, another crowd of onlookers is swarming on the beach; in the distance are the lights of Ibiza Town. I can see all this because I am at a party of my own, on the roof terrace of the just-opened Ushuaia Tower Beach Hotel, where a competing DJ plays equally vibrant music. The crowd downstairs, where I have just come up from, is young, Hoxton-chic boys and girls delighted to get into the pool party, dressed in a mix of designer and carefully picked fast fashion: it feels like being in the moving heart of a particularly snappy Instagram feed: #gowildbaby. Upstairs on the roof, it’s a little cooler, in every way. Brands have been pushed together with foresight. Partiers are a little older, a little more restrained: their wild days, you feel, are either behind them, or a couple of hours ahead. The moon reflected in the smooth Mediterranean would be almost romantic, if the DJ weren’t pumping out Avicii at the highest octane. Welcome to the Ushuaia Tower. I have been invited as a guest to see the opening of the party island’s coolest new club, which sits atop a new luxury hotel tower between Ibiza Town and the airport, built for a new generation of highenergy, high-tolerance, new-gen guests-cum-ravers. [caption id="attachment_826" align="aligncenter" width="500"] Pool Party - The Tower hosts renowned, exclusive daytime parties featuring top-notch live performances[/caption] Room categories sum it up: there’s the Anything Can Happen Suite, the Anything Can Happen Suite with Stage View (offering the same view I was catching), the Fashion Victim Suite, and the I’m on Top of the World Suite. I was slumming it in a mere luxury double, with views of sea, beach, and mountains, a suggestive minibar, and a minimal-chic bathroom. Unlike some hotels, the room is just an accessory to your experience: a place to spend the morning and early afternoon recovering from everything you have come to Ibiza to do. You don’t necessarily need to venture outside the hotel’s boundaries to do so, either. The amorphous giant pool which is a backdrop to the likes of David Guetta at night is the pool terrace of the Ushuaia Beach Hotel – part of the same complex, and already in existence before last summer. The brand new Tower next door has a pool of its own; step onto the beach from either and you are greeted with an array of sun loungers and a beach bar belonging to the hotels. Here they serve an excellent club sandwich made with Jamon Iberico, as I discovered the next morning when indulging in my recovery brunch. It would, however, have been a little coarse not to drop in on other favourite spots in Ibiza, and here the hotel also came into its own. The cool will tour Ibiza on a 1960s Moto Guzzi motorbike, raven-haired brunette hanging on, vintage Hermès headscarf pulled tight over vintage Cartier, shouting directions and admonishments from behind. I had no such option and opted for what must be the next best thing: a two-seater micro-Smart car, dressed in the hotel’s colours. I headed off for lunch to Cala Jondal, a hidden beach only accessible by a more or less unmarked side road, just two cliffsides away from the nearby airport but a different, secluded world of Ibiza. [caption id="attachment_825" align="aligncenter" width="500"] The Ushuaia Tower Hotel with its poolside stage is a new concept on Ibiza’s Playa d’en Bossa beach[/caption] At Blue Marlin on Cala Jondal, I ate grilled local sea bream with a glass of Ibizan rosé. A supermodel I can’t name was having a discreet birthday lunch with some mutual friends at the next table, and I spent a relaxing afternoon with them before tearing myself away back to the hotel, where a symphony of DJs was warming up for the evening. I slipped into some light Margiela and Lanvin for the evening and made my way over to Lio across town – now an established joint but, with its live Cirque du Soleil shows, still the most glamorous restaurant on the island. The friend I dined with had a family engagement afterwards – only in Ibiza can someone go to their aristo mother’s 60th birthday party in a club, something I just didn’t have the mental range for – and I headed back to the Ushuaia. Hotels as self-consciously cool as the Ushuaia Tower need to employ striking looking staff to keep themselves on brand. And it’s no secret that striking staff tend not to be excellent staff, as they are naturally en route to a career in modeling, acting, or headlining at the O2 in London, and have limited patience for the day job. It’s been a problem since Ian Schrager and Steve Rubell first opened the Morgans in New York and eye-candy staff of both sexes became the equivalent of contemporary art for a hotel. Maybe I just caught them on a good day, but the Ushuaia Tower’s staff had plainly been drawn from a different modeling agency. The ravishing (male) concierge had almost burst out of his designer uniform in trying to get me a good table for two at almost no notice at Lio; the (female) receptionist was patience and efficiency personified in dealing with various airline bookings and IT tasks; even the housekeeping staff were fluent and efficient. There is one proviso for anyone wishing to have the ultimate urban-Ibiza-clubbing experience at the thrilling Ushuaia Tower; no, two. First, while the views are striking, don’t expect gentle romance or trad luxury: this is the hotel equivalent of a Shoreditch superclub. And, if you expect peace and quiet after midnight, or indeed, more or less anytime, then you should probably be getting yourself to another part of the island: or, better, to another island altogether. Otherwise, get there while it’s hot – and while you are, honey. ushuaiabeachhotel.com/en/thetower

Future Emperors

dariussanai — Mon, 23 Dec 2013 08:25:06 +0000

[gallery type="rectangular" ids="829,833,830,831,832"] When the photographer ANNA SKLADMANN returned to her parents’ homeland, Russia, she discovered a generation of privileged, sophisticated children. She thought of them as little adults, and has devoted a book to shooting what will become the next generation of Russia’s economic rulers. We publish some of her images from “Little Adults” on these pages, and Skladmann speaks about her experiences to LUX below LUX Why did you decide to shoot these very privileged children? AS I was born in Germany to Russian parents. The first time I came to Russia was for the millennium where I accompanied my parents to a masquerade ball. At that event there was a table with children who held themselves, talked and behaved in the manner of Little Adults. Even though I was very young, these images never left my memory. LUX Did anything strike you about them in general? AS I started working on the project while graduating from university (Parsons School Of Design in New York) and finished the project two years later. I, as a visual artist and photographer, grew up and shaped myself with these children. They taught me many things and motivated me. My plan is to rephotograph them 10 years from the time the project was finished. LUX Who was the most interesting? AS All of them had their interesting facets and stories but there were a couple of striking surprises. For example with Jakob (‘Jakob Shooting at Ballerinas’, Moscow, 2009) I had a planned photoshoot with his sister who was fourteen at that time. She was very ahead of her age and I started to realise that she was actually “too mature” for my project. After the shoot we sat down for tea and she started to show me around the house and in one of the rooms sat Jakob, her younger brother. He was sitting on his bed casually shooting at ballerinas on the TV screen with a Kalashnikov. The Cultural Channel was playing on TV because his grandmother turned it on a few minutes before. What was the most compelling part of this project? AS Again, every part of the project had its own appeal. Starting from the simple act of photographing Nastia, my muse for this project, to generating the idea and up to its realisation. Every single chapter and story has shaped my critical and creative thinking. It was the nature of these children which evoked such a desire to create, perfect, and bring this project to life. annaskladmann.com

The Cool Season

dariussanai — Tue, 31 Dec 2013 03:53:32 +0000

[caption id="attachment_841" align="aligncenter" width="800"] Heir to the tailoring dynasty, Luca Rubinacci is a regular on blogs around the world[/caption] Our columnist is renowned as one of the world’s most inspiring dandies; and he says wintertime can combine flair with practicality, whether your February is spent in Mayfair, Moscow or Manila LUCA RUBINACCI To be unique, you don’t have to be fashionable; you just have to build your own style. It is your profile, your message to the world. It isn’t about wearing the most glamorous clothing, it is about making your own mark and you shouldn’t be afraid of asking for inspiration if you need it. In winter, heavy cloths, unlined, are always a good bet. Colours appear much warmer because the materials – cashmere, wool and heavy tweeds – give a deeper tone. Pick your colour palette carefully. Black and brown are a very gentlemanly combination. Red, green and mustard yellow worn during the day give a rural impression. Colour will almost always make you feel a little happier. I tend to prefer darker colours in the winter for the city, but lighter colours do look good when skiing. It brings a countryside ambience to the slopes. [caption id="attachment_839" align="aligncenter" width="730"] With 45 tailors in the studio, Rubinacci is arguably the largest handmade tailor company in Europe[/caption] I have recently created ‘Dandy Pashminas’. Closed, you just see a dash of colour, but when you open them up you see a cartoon of ‘La Toilette du Dandy’, an image I discovered in a vintage book of my father’s from the thirties. It captures the dandies as they are primping and preparing. Only you know what’s inside your scarf, it’s your secret. I like to parody fashion, which is why I created the ‘Happy Skull’ pashminas, a play on the reams of skull motifs that emerge from designers’ studios. We don’t use characters like Superman; we are tailors, not a fashion brand. Winter shoes can be difficult. This season, I was inspired by Knickerbocker shoes, but tried to create something warm. The shoes have a formal shape, so I used tweeds in grey, green and brown, with a splash of colour on the inside. They have a thicker sole than our winter shoes and double canvas to protect from the rain. They are not boots. They are the sort of shoe worn by a gentleman who walks a few paces from the car to the restaurant, or from the hotel to the meeting room. [caption id="attachment_840" align="aligncenter" width="800"] An image taken from a vintage book, ‘La Toilette du Dandy’ is a secret known only to its owner[/caption] I personally don’t like carrying an umbrella, so I replace it with a flannel hat. People have a tendency to think they are oldfashioned, but with a little colour they can be made more modern. Forest green, tobacco or blue are popular with younger customers and it’s better than a baseball cap. There’s something quintessentially English about it. I noticed that whenever men arrive at a dinner or at their friend’s home, the first thing they do is remove their coat. They feel constrained by it. It is stiff, you can’t stretch your arms – it isn’t comfortable. If they are wearing a jumper, they keep it on. However, if you remove the lining from the coat and use softer materials, it changes how you behave in the coat. It won’t only be the man that notices; any woman he is accompanying will also feel the difference when she touches his arm. There is a misconception that work clothes mean you must be conventional. I created a Korean style jacket pullover in cashmere for my friend with a painted silk Thai lining. You can be smart and retain your individuality and humour. I’m always wary of a customer who arrives in the store and asks for the most fashionable item. It may well be a red jacket, but there’s no guarantee that it will suit them. They might look like a clown. If it doesn’t look good, I won’t sell it to them. They may not like, or be used to hearing no but it shouldn’t be about fashion. It needs to be about you, what you feel comfortable in. That’s when you receive admiring looks, in summer or winter. marianorubinacci.net

Parisian Rebel

dariussanai — Thu, 02 Jan 2014 10:00:07 +0000

[caption id="attachment_848" align="aligncenter" width="800"] Mother and Daughter Olivia (left) and Andrée shared similar design sensibilities[/caption] Head to central Paris and you might just catch a glimpse of Olivia Putman. CAROLINE DAVIES speaks to the designer who left her partying past behind her and became a highly respected interiors guru “I was very wild,” Putman says. We are sitting in the French designer’s apartment and show studio overlooking Place de la Madeleine, the thrum of traffic muffled to a distant hum by the heavy cream drapes and no doubt rocket proof window. In here, amongst the elegant, clean-cut furniture, the Lalique chandelier and in the company of the composed Putman, the hectic streets of Paris seem another world. Putman is the head of Putman studios, considered to be the epitome of clean, French product and interior design. The studio was established in 1984 by Putman’s mother Andrée Putman, a fiercely glamorous designer, known for her straight posture – she was said to have appeared as though she were always walking a tightrope, the result of a bike accident at 20 – and her flawless taste. Images of Putman (junior) in her early 20s show a bright young thing of the Parisian artist set; A Bardot-style sweep of brunette hair, a careful flick of black eyeliner and immaculately worn Breton striped tops. Today, she is dressed sharply in a black pencil skirt, white shirt and a well-chosen lipstick that compliments the splash of her red sole Louboutin shoes. It is an unsurprising choice of accessory. Christian has been her partner in crime for over three decades. “We were bad little boys and girls,” says Olivia. “We went out a lot. I met Christian at La Palace, a night club in Paris. It was an incredible place where you could bump into Yves Saint Laurent and Andy Warhol. At that time, there was no VIP area, it was just a melting pot. There were no rules about whether you should dare speak to anyone. True, we were very young, which makes things easier because you aren’t shy about anything. “We used to go shopping in the flea markets in Paris for old shoes; he wouldn’t care if there was only one shoe, which I always thought was stupid. We went to Morocco when we were 15 with no money. I was so wild that I was put in boarding school for a year and a half on Bexhill-on-Sea. I learnt to appreciate authority there, it gave me some security.” Today Putman’s mane may be tamed, but she still has a gleeful twinkle about her. On returning to Paris, a reformed 16-yearold, she finished school and studied History of Art at the Sorbonne. She spent a few years transforming old buildings into artist studios before she decided to follow her passion for horticulture and trained as a landscape gardener, a pursuit she owes to Christian. “I was Parisian; I didn’t realise you could plant a little thing in the ground and it would become big,” she says. “Christian showed me that. He and I toured England looking at the wonderful gardens there.” Putman’s skill took her around the globe, but she eventually returned to Paris in 2007 to become the Art Director of Putman Studios. “I have no interest in going back to landscape gardens,” she says. “Today, I am more impatient. Even now, about 20 years after I designed my first garden, I still don’t think I have seen a garden as I hoped it could be. It takes time. It did teach me some patience. You can’t have a garden within an hour.” Putman continued to work alongside her mother for a couple of years. Andrée died in January 2013, aged 87. “She wasn’t the cold woman you believe she might have been if you look at photos. She was warm and funny. We had a wonderful relationship. She left me to be free. Even at the age when you rebel in a dramatic way, she was free enough to think it was great to have someone expressing themselves as they wanted.” Anything Putman did could hardly have surprised or shocked her mother. In her 20s – in an act of self-discovery – Andrée stripped her room bare, furnishing it with an iron bed, a chair, white walls and a Miro poster on the wall. Possibly one of the few minimalist acts of youth rebellion. [caption id="attachment_847" align="aligncenter" width="385"] Elegant Lines Nina Ricci’s L’Air du Temps perfume is an example of Putman’s inclination for timeless design[/caption] “We used to think we had very similar sensibilities,” Putman says. “I prefer timeless design, not creating something that no one has ever seen before. That was something that my mother believed. She didn’t think you should be revolutionary. She thought that people who wanted to invent something entirely new were daydreaming because everything is almost nearly discovered. You have a wonderful vocabulary of forms and things that are already available and you can express yourself through that rather than think you can create an entirely new way.” Putman’s work with Nina Ricci for the L’Air du Temps limited edition bottle is a good example. The swirling edges have been striped with blue, as have the entwined doves on the bottle top. It is clean, elegant and unobvious. “It is a very simple addition, very subtle,” she says. “But it makes a difference. I tried other more complicated designs, but ultimately it was the simple one that worked the best.” Rather sweetly, this perfume is also the first Putman was given by her husband and the one she wears today. “I like perfumes that have a floral smell. I was always aware of making scented gardens. You have 200 roses but only a few that smell incredible. Why bother with ones that don’t smell at all? I think flowers are the most magic, most natural perfume. “In France this is the first perfume for a lot of girls. It’s important for many people, although it smells different on everyone. I kept it because I like the idea of scent being part of your identity; I like the idea of having this as my personal smell. You can leave a room and your perfume follows you. The people in my office say that they know whether or not I am already in as they say they can smell me in the elevator. I remember my mother by her perfume too.” You can hardly forget the presence of Putman senior. Her studio, her taste and her creations surround Olivia, down to the chairs we are sitting in. “An armchair is an armchair,” says Putman. “You can find nice details and nice wood, you don’t change the essential purpose. But I love these chairs, I always have. They are half round, partially protective, but you can’t slouch.” She smiles. Perhaps among the many gifts Putman left her daughter, the teenage rebel, a chair where you have to sit straight, is the most maternal reminder of all. studioputman.com Stocked at www.harrods.com

Living Like a Londoner

dariussanai — Thu, 09 Jan 2014 11:35:17 +0000

It’s the combination of history, hospitality and a superb location in the heart of South Kensington that makes Cranley Hotel the ideal home away from home in London. Explore the neighbourhood with ANDREA SEIFERT There are few hotels that make you feel instantly at home from the moment you set foot through the door, but The Cranley is one such place. Tucked away on Bina Gardens, a quiet side street in elegant, historic South Kensington, it is an intimate hotel more akin to a friend’s grand home. It is perfectly placed for exploring the myriad of charming shops, legendary auction houses and world-class museums that the area has to offer. Distinctly British, with the nostalgia of yesteryear evident in the classic fit-out of antiques, grand oil paintings and gilded mirrors, The Cranley is comprised of three intimate Victorian townhouses that date back to 1869. Each of the 39 well-appointed bedrooms is comfortable. The focal point of mine? A Beaudesert four poster canopied bed with handstitched Irish linen – certainly a decadent cocoon to slip into at night. Modern amenities are not forgotten – a contemporary limestone bathroom houses Penhaligon’s toiletries and all rooms boast LCD flat screens and complimentary WiFi. The inviting sitting room with its Regency blue palette is a relaxed setting to indulge in the champagne and canapés that the hotel serves each evening. During winter, sink into an armchair and enjoy the roaring fire. The terrace is heated, but I had the luxury of languorous mornings in the sunshine with numerous cups of tea and freshly baked pastries. The Cranley is well-served by Gloucester Road station just a few blocks away, and the shopping areas of Knightsbridge and Kings Road are also close by. But for those who would like to really feel like a local resident, the staff can let you in on the gems that are but a few steps away. You really don’t have to venture far to enjoy the riches of London; you’ll find a vibrant neighbourhood teeming with things to do, right on your doorstep. Read on to explore some of the highlights EVOLVE WELLNESS CENTRE Holistic Healing I try to maintain a consistent yoga practice whilst on the road, and a brisk eight-minute walk to a dear little leafy mews off Old Brompton Road brought me to Evolve Wellness Centre. A vine-clad façade opens up into a tranquil haven from the busy London streets. Evolve offers not only superlative walk-in yoga classes and Pilates instruction, but also integrative holistic medical therapies. Acupuncture, massage, craniosacral therapy and osteopathy by well-regarded practitioners are heaven-sent for weary travellers. evolvewellnesscentre.com NATURAL HISTORY MUSEUM Science and Nature Take in nature’s wonders at this impressive free museum: there are over 70 million specimens to view from botany, entomology, mineralogy, paleontology and zoology. The Diplodocus dinosaur model and colossal 1,300-year-old sequoia tree are worth the visit alone, but one should also explore The Vault, home to extraordinary treasures, gemstones and meteorites. nhm.ac.uk [caption id="attachment_857" align="aligncenter" width="330"] © Trustees of the Natural History Museum, London[/caption] HEXAGON CLASSICS Motoring Marvels Car buffs will enjoy a visit to this fine showroom, exhibiting vintage racers and roadsters. Established in 1963, Hexagon has a storied 50-year history in car dealership, having traded just about every type of fine motor. They also deal in historic racecars and truly exotic models such as the Aston Martin DB4 Zagato, DB3S Coupé and the Ogle-designed Aston Martin DBS V8. Hexagon can source rare models, restore them and ship internationally. hexagonclassics.com AUX MERVEILLEUX DE FRED Pastry Perfection Frédéric Vaucamps’ London outpost of this decadent homage to the meringue is a veritable parlour of sugary sin. His creations come in six flavours and three sizes, beautifully displayed underneath a gleaming counter. The eponymously named Merveilleux consists of a marvelously more-ish meringue base, encapsulated in lightas- air chocolate whipped cream and hand-rolled in shavings of dark chocolate. Enjoy your treats alongside a cup of coffee or tea. So simple and yet so divine. auxmerveilleux.com THE LIBRARY Menswear Chic Peter Sidell is the owner of this luxury multilabel menswear boutique. He has an exacting eye for selecting edgy threads, and this is a good thing for the fashion-forward gentleman customer. Expect heavy weights like Alexander McQueen, Saint Laurent Paris and Lanvin alongside cult labels Carol Christian Poell, LGB, The Label Under Construction, Lost and Found, Lumen et Umbra and many others. They also carry a selection of accessories, shoes and books, and a small women’s range. thelibrary1994.com STAR OF INDIA Upscale Indian Feast like a Maharaja at this world-renowned Indian stalwart. The family-owned restaurant has been going strong since 1954, attracting a loyal following of locals and visitors alike who come for their favourite dishes from all around India. Light and crispy poppadums, tangy chutneys, fiery curries and sizzling tandooris are on the menu alongside a good wine list. The ambience is cosy with an Italian-style frescoed ceiling complementing an otherwise simple décor in slate grey and earthy, muted beige. starofindia.eu BUMPKIN Brit Bites The rustic environs of Bumpkin channel country-chic, with the open-plan kitchen adding a convivial and relaxed atmosphere to the Brit-centric eatery. Their seasonal menus use only the freshest of UK produce sourced directly from farmers to ensure sustainability and quality. Enjoy quintessentially British dishes like lightly spiced cured Highland venison with beetroot relish and foraged leaves, british beef pie, award winning English cheeses and sticky toffee pudding. Beverages are similarly patriotic – try Bumpkin’s house ale brewed in Kent. bumpkinuk.com SLIGHTLY FOXED Rollicking Reads With the advent of the digital age, bookshops large and small have been under pressure. That makes a place like the Slightly Foxed bookstore even more special. Luckily there are enough bibliophiles that agree. What could be better than browsing the shelves of antiquarian, out-of-print and secondhand tomes for hours on end? There is also a curated selection of new reads, and “The Sly Fox”, their resident bookworm and literary advisor is available to answer all your bookish questions. Email him at slyfox@foxedbooks.com. foxedbooks.com CHRISTIES Arty Endeavours Founded in 1766 by James Christie, the world renowned private sales and auction house has enjoyed an illustrious reputation for dealing in all areas of fine and decorative arts, jewellery, photographs, collectibles and wine. Over 450 auctions in more than 80 categories are held here annually. Prices range from a prosaic $200 to a cool $100 million. Don’t let that put you off though. Browse the lovely South Kensington showroom for a slice of history and you just might see a thing or two you’d like to bid on… christies.com ECLIPSE Lounge Lover This mainstay of the South Kensington bar scene is not the newest kid on the block – far from it – but it has maintained its reputation as a happening spot. The bijou, dimly lit art deco setting is perfect for pre- or post-dinner sips from a stellar cocktail list. Later, adjourn to their subterranean club for a gander on the dance floor. It also happens to be right opposite The Cranley; very handy for stumbling home. eclipsebars.com

Kitchen Visionary

dariussanai — Mon, 30 Dec 2013 04:55:59 +0000

[caption id="attachment_869" align="aligncenter" width="800"] Robert De Niro and Nobu Matsuhisa[/caption] It is a quarter of a century since Nobu Matsuhisa first teamed up with Robert De Niro to open a restaurant in LA that would change the way the A-list eats. DARIUS SANAI sat down with Nobu recently to talk taste, celebrity, and hotels Everyone remembers their first visit to a Nobu. Mine was quite a few years back, in London, accompanied by a number of hard-worn journalists determined not to be star-struck either by the other guests or the food. After chatting to Queen Rania of Jordan, exchanging hellos with Uma Thurman and tasting the original black cod that made Nobu famous around the world, it was hard to remain skeptical. Nobu himself is an intense, modest man, with huge presence but little noise. As his empire, still owned in partnership with De Niro, has expanded, to 22 restaurants around the world and now hotels in Las Vegas and Riyadh, with others coming soon in London and Bahrain, he is no longer spending his days in the kitchen but remains very involved with the creation of the dishes. Nobu-style food, while Japanese influenced, with hints of South America, is as distinctive and original as the highoctane, dazzling service and venues. As a brand, Nobu envelops a highly contemporary concept of healthy, expensive, minimalist dining and socialising that is the polar opposite of the traditional Escoffier-influenced fine dining experience; it speaks of the casual yet highly stylised living experience of today’s image-conscious high net worths. Which is why celebrities from Kate Moss, Elton John and Brad Pitt to Naomi Campbell, Tom Cruise and various royals remain regulars. And every slick Asian-fusion restaurant in the world, from Zuma to Sushisamba Las Vegas, owes a debt to Nobu, the man, and his restaurants. What are the most exciting things you are doing at the moment? You know, I’m a chef, and I now travel every three or four days, seeing the different restaurants in different cities. I see the chefs, I see the managers, and then I talk to the chefs about creating something; about creating new dishes; about cooking. That’s exciting. It used to be that I was much more involved with training, but now we have four teams around the world – two in America, one for the European restaurants, one for the Asian restaurants, and we’re opening the Nobu hotels, so everyone’s excited about getting involved in the new projects. When you started out did you ever think it would come to this? No, no, no. My first restaurant opened in 1987, I was so happy and it was only a 38-seat restaurant. I didn’t think at all about the future, I just like to try my best day to day. And then here I am, opening restaurants all over the world… [caption id="attachment_867" align="aligncenter" width="275"] Nobu Berkeley ST - Located in the heart of Mayfair, the lounge is located within the twostorey restaurant[/caption] Do you still work in the kitchen? The first time I create something I have to show to them how to do it, so then I teach one chef, so this chef can teach all over the restaurant. Recently I went to Dubai, we created one dish, so this Dubai chef then taught this recipe [to his colleagues]. Then we went to Moscow, and did the same, and London. These days I teach them how to do things. I don’t stay in the kitchen all day any more. When you started in 1987 the world was very different to now… It’s good because I appreciate it when people understand my food and also when they appreciate quality. When I first opened in LA, we were using frozen fish: yellowtail, eel, shrimp, mackerel, a lot of frozen produce. Now it’s all fresh produce, and that means I know that people now appreciate what fresh fish tastes like. But you have a lot of competition now. The competition is very good because it means people understand. We have a lot of new restaurant openings, but each restaurant has its own character. I don’t want to say we are the best, because each restaurant has its own character. I try to do my best, make new creations, and customers come because it makes them happy. When new restaurants open they can compare, they can think, I love this restaurant but Nobu is better. The competition means, we always have to try our best. Restaurants come and go – how have yours stayed up there for so long? It’s a passion, I think any kind of job requires this: writing, movies, music. If you try your best, at least you’ll make one plus one equals two. But my way, I like to make it one plus one equals plus one hundred. Without passion, that is impossible. How important is everything apart from the food? Service, ambience, décor? It’s all about food and service, because the restaurant business is hospitality, people are spending money not just for the food, they have to enjoy the experience from the beginning to the end. Interior design? Number three for me. Is your celebrity clientele important? I’m very happy celebrities come, and regular customers also. Regular customers come and spot celebrities. But celebrity people are very sensitive about what they eat. People like Victoria Beckham and David Beckham come because they trust our food, which is very important. How much has the food changed over the last 25 years? I create sushi and fish dishes. It used to be that people were wary of fish; they thought the smell was off-putting. But fresh fish does not have any smell, or “fishy” taste, it has clean flavours. More people have understood this over the past 25 years. And a lot of people like fish now because it is healthy. Does cooking come from the heart? Yes. If I see a beautiful girl I want to approach her with my cooking. To show off what I can do. Is your food becoming technically more complex? Everything in Nobu has a Japanese background. Best example: the burger uses bread, but you know in Japanese cooking we never use bread. So we made a tofu bun, very good and very healthy. So this is like a Nobu style: I like to keep the Japanese concept of food. It would be easy to make pastas or sausage or ham, but the Nobu restaurants have a background in Japanese cooking. Do you overrule your chefs in your restaurants? Yes. Yesterday a chef showed us one of his new dishes. It was with turbot, which has a very nice white meat. He did a smoke, but too strong a smoke so you couldn’t taste any other flavours. So the chef asked how was it, and I said, “I didn’t like it, please remove it.” Sometimes, when you work too hard on something it doesn’t work. My way is simple, but with heart and detail. How important is being on TV to a chef like you? Actually, I don’t like being on TV. Is it necessary? To do interviews about the cuisine, yes, because a lot of people watch it. You are starting hotels now. Tell me about that. We had a lot of restaurants in hotels, all over the world. My partner, Robert De Niro, has his own hotel, the Greenwich in New York City. Then one day he said, “Wait a minute, we do restaurants in hotels, why don’t we do hotels ourselves?” How important is the Nobu food element in the hotels? In the Las Vegas hotel, you can have 24- hour room service of anything from the Nobu menu. Anytime you like. [caption id="attachment_868" align="aligncenter" width="272"] Will Smith and son, Jaden The restaurant regularly attracts an A-list clientele, including celebrities such as Smith[/caption] What irks you when travelling? When you go to a restaurant you are excited about, and the food is good, but the service is so slow, or they don’t pay much attention, it is so disappointing. Training staff for watching tables is so important. What is your service philosophy – Nobu is not formal like traditional fine dining restaurants? We are not looking to be a Michelin-star restaurant. I like to show energy, and also, not too much service. Too much service means that the customer gets tired. But if the customer is looking for something then the waiter is immediately there, then that is my perfect service. Any new types of dish you are creating? I like to stick to my Japanese concept. We don’t use creams, we don’t use butter much, and no cheese. Food has fashions, but I want to keep my concept, my ingredients. [caption id="attachment_870" align="aligncenter" width="800"] Black Cod with Miso[/caption] What do you think of all the imitators? I opened in 1987 and a lot of chefs said it’s not a Japanese restaurant. Now after 27 years, there are a lot of restaurants with a ‘Nobu influence’, with the black cod; a lot of people have copied us. Some restaurants even call it “Nobu-style black cod”, and we complain. People want to use our name, and I don’t like this. There is a cookbook, they can copy my food, but no one can copy my heart. Nobu is cooking with a heart. Now black cod is all over the world, the price of black cod used to be 70 cents per pound, now it is US$8 dollars per pound, the price has gone up but I support this: Japanese produce is growing in popularity all over the world, which is very good. What’s your latest creation? I have created soya salt. Try some. Wow. It’s... like nothing else. Does it come from Japan? No. I created it a couple of years ago. I’ll be selling it. How do you define your food? What would you call it? Japanese? Japanese-influenced? Nobu-style food. Where do you experiment to make this? Do you have a laboratory? We talk to customers and they give me homework to do! [caption id="attachment_871" align="aligncenter" width="800"] Nobu London[/caption] Umami is very important to you? Yes. In everything? Are there different types of umami? Japanese umami has no calories, so that is why Japanese food is very healthy. So the basics are umami, then you work out how much salt, how much sugar, how much sour, all the different combinations, then comes the perfect balance and it automatically tastes good. Is umami one taste, like salt? Or is it a range of flavours? Soya sauce has umami because of the glutamate, miso too. It is a balance, it’s about deliciousness. It is a balance in the whole flavour. Spain has ham, Italy has cheese and tomatoes, China has dry seafood, you know, each country has its own umami. Japanese umami has no calories. You know the mother’s milk for the baby after it is born, this is also umami. All over the world, the kids have the taste of umami, it is the mother’s milk, no salt, no sour, no bitter, no sweet, just umami. noburestaurants.com, nobuhotels.com

Maven Central

dariussanai — Wed, 15 Jan 2014 08:32:53 +0000

[gallery type="slideshow" ids="880,881,882,883,879,878,877"] London Fashion Week is an increasingly unmissable item on the global style calendar. With the help of Tom Ford and friends, DARIUS SANAI celebrates its unstoppable rise For decades, it was a curious anomaly. London, the creative hub of the globe, the capital of the country that gave the world Alexander McQueen, Dizzee Rascal, The Clash, Damien Hirst, Jonathan Ive, Michael Caine, Vivienne Westwood, Anna Wintour, The Beatles, Corinne Day and Jessie J, had no fashion industry to speak of. There were plenty of brilliant designers – who, like McQueen, were snapped up by big houses from Paris or Milan or New York, because that’s where the industry and the money was, and where the shows were. London was somewhere you went when the fashion shows were over. Wander through the shows and the parties at London Fashion Week this February and you would be forgiven for wondering if London, not Paris or Milan, is now the engine of the global fashion industry. The shows – scattered around the centre of a city so bursting with creativity that Fashion Week is always just one of lots of things going on simultaneously – have an energy, panache and confidence that looks sharply to the future. Parties are not just attended by the requisite beautiful, glamorous and wealthy, and the nowmandatory celebs (from A to G list, depending on the party) but by an-everrotating phalanx of creative types who make their own fashion, sometimes literally. London has the buzz: Paris, immediately afterwards last September, felt a little sedate by comparison. The numbers don’t lie and despite the tide of brands showing in London, Paris and Milan are still the fashion industry powerhouses: London is still dwarfed in terms of its commercial clout. But for creative buzz allied with a rising commercial significance, London, once ignored, is now a destination. What catalysed the change? Alexandra Shulman, Editor-in-Chief of Vogue in the UK, tells me, “London Fashion Week is an example of how successful something can become when you can combine great talent with first rate organisation and support. British designers are currently playing a major part in the international fashion world and the collections they are showing are both inspiring and successful on a commercial level.” Meanwhile Tom Ford, the thinking man’s style guru, and a designer who made significant waves when he decided to show in London, says, “I am so happy to be showing my menswear and womenswear collections in London. It is one of the most influential cities in the world for fashion. The design schools are exceptional, and the street style and youth culture have started some of the most important global trends ever. My design studio is based in the UK and I am pleased to help support the British fashion industry.” But you don’t need to take their word for it: just wear it instead. London doesn’t have a constricting style; Erdem, Simone Rocha, Nicholas Kirkwood, Burberry or Tom Ford? All of them? Or get a ticket to a show or a party: at the last LFW in September, I bumped into Erin O’Connor, Poppy Delevingne, Roland Mouret, Antonio Berardi and Philip Treacy at the Claridge’s ‘preparty’, amid a buzz of anticipation rarely seen anywhere else in the world. Meanwhile at the Browns Focus party the next day, where the high-octane mood was fuelled by high-octane tequila cocktails, the guests were not famous, just brilliantly and creatively put together, a perfect walking, dancing uber-street-style Instagram. A hop and a skip away at Longchamp’s dazzling opening party, Kate Moss, Georgia May Jagger, Lily Cole, Mick Jagger and Otis Ferry created a kind of pop-up Studio 54 on Regent Street. London has always known how to party. Now, everyone’s paying attention. londonfashionweek.co.uk

Bollywood Bubbling

dariussanai — Tue, 14 Jan 2014 09:20:09 +0000

[gallery type="rectangular" ids="976,975,974,973,972" orderby="rand"] While Hollywood stagnates, Bollywood is thriving. CAROLINE DAVIES charts the exciting progression of an Indian film industry that is going global In India, cinema is more than just weekend entertainment. Producing roughly 1,000 films a year, the industry is projected to be worth US$4.5 billion by 2016. Its stars are filtering into LA; Amitabh Bachchan appeared in The Great Gatsby, Irrfan Khan as the baddie in The Amazing Spider-Man and Priyanka Chopra, or rather her voice, appeared in Disney animation Planes. Other names and faces are also seeping into the international consciousness: Aamir Khan, Anil Kapoor, Freida Pinto and Aishwarya Rai Bachchan are but a few. Hollywood may still have the lion’s share of the global film market, but Indian film makers are snapping at their heels. Slumdog Millionaire, Laagan and most recently, Three Idiots, the highest grossing Bollywood film to date, drew big audiences at home and abroad, and with it, new international investors. But Bollywood is more than a business. It has, after all, been bringing a sub-continent together for decades. Its all-singing, all-dancing and mostly Hindi language films captivate billions, watched everywhere from rural village screens erected on cricket pitches to massive urban cinemas crammed with city workers on a Friday night – not to mention among expatriates the world over. In India, the songs are hummed in fruit markets and blasted out in nightclubs. Bollywood is taking risks. The stars, the structure, the stories and even the songs are starting to stray from the tried and tested formula of the past. This is a brave new India and it is demanding more. “Eight or 10 years ago we thought that cinemas would close down,” says Rakesh Roshan, a Bollywood actor, director and producer. “They were very bad; the sound system, the seating, the toilets.” “The upper middle class had stopped going to the cinema. They watched films on DVD,” says director and composer Vishal Bhardwaj. “Until the multiplexes arrived.” India’s huge economic growth over the past decade has nurtured the middle and upper middle classes, predominantly based in the major cities. In the early 2000s, multiplex cinemas sprang up in the urban hubs of India. Unlike the pre-existing single screen cinema audiences, the new, airconditioned, well-maintained complexes offered multiple smaller screens. “Previously, if you couldn’t make a film that filled a hall of 1,000, then it wouldn’t get made,” says writer and director Sriram Raghavan. “But multiplex screens have 200 seats. People will come and fill that.” The audience packing out these smaller screens does not necessarily have the same taste as the masses in the halls. “I think cinema audiences have matured,” says Vikas Gulati, a film and music director. “They are looking at films with a little more meaning. They have seen international ideas and storylines.” But director and producer, Rohan Sippy begs to differ. “I think that audience was always there. They were always open to good content,” he says. “But still, certain types of film are still not going to have more than a 30 million audience, which is pretty small when you consider the population density.” Thirty million may be a small percentage, but it is still a sizable demographic. Targeting different audiences has given film makers a new freedom to experiment. “Indian cinema used to be split into commercial and art house,” says Bhardwaj. “Art house was dying, almost dead. Before, being ‘art house cinema’ meant that no one would watch your film. Since then the line has been blurred.” As concepts have developed, songs have been squeezed. “Every film used to have eight songs,” says Roshan. “Then it came down to six, then five, now three. Now you have songs playing in the background without lip sync. Now people have less time so we have to make shorter films.” “Songs used to be patches in the narrative,” says Bhardwaj. “Seventeen years back, if the song was not good, people used to go out and smoke. That doesn’t happen now, because directors are trying to incorporate it in the narrative.” A new generation might also not have as much need for a musical interlude to help the story along. “In Hollywood, they express love by having an intimate scene,” says Roshan. “Because of the sensitivities, we used to have a song. All that can be explained in Hollywood in 30 seconds, we have to show in five minutes. Now the censors are becoming more liberal and we can convey it in a shorter way too.” But songs are in no danger of disappearing altogether. “When they are badly done, they are a detour,” says Dr Rajinder Dudrah, Bollywood academic and Head of Drama at Manchester University. “But Bollywood song and dance sequences are crucial. When done well they act as narrative accelerators. If you cut out a particular song you would miss a crucial element of the plot.” “It is the way the audience has been conditioned for more than 100 years,” says Bhardwaj. “There is a song for every occasion in our life and every region has their own in a different language. Marriage, coming of age, death; when we laugh we sing, when we cry we sing, so it becomes a part of our culture.” It is also a part of the commercial culture. “Songs in Bollywood music are a very big promotional tool,” says Gulati. “It gives you free play on music channels. From the producer’s point of view it makes a lot of sense, because you play a video for three minutes for free rather than for a 30-second advert.” “I think that the need for songs in Bollywood films is slightly a self-fulfilling prophesy,” says Sippy. “Conventional wisdom says you need a song and the films don’t get made or promoted without, therefore you don’t know how to do without the song. It seems unlikely to completely change; music is still a big reason why people come into movies.” [gallery type="rectangular" ids="980,979,978,977" orderby="rand"] Storytelling has also changed. “Previously when you were writing a film that you wanted to do well across India, you wouldn’t root it in one city,” says Raghavan. “We often wouldn’t have surnames so you couldn’t tell which part of India they were from. That is changing. Last year there was a film set entirely in Calcutta which used local language and actors. Rootedness is being accepted.” Not all stories were easy to introduce to India. While casting his Bollywood version of Macbeth – Maqbool – Bhardwaj approached a big Bollywood star. “He read the script and said he enjoyed it,” he says. “But then said ‘he is a loser’. I laughed and told him ‘that’s Shakespeare’s fault not mine’. He couldn’t get what I was trying to do.” Some contend that the stories themselves are not that new. “It is more the treatment, not so much the story that has changed,” says Sippy. “Maybe some ways of storytelling have changed.” The huge success of the 2012 film Vicky Donor, a romantic comedy about a sperm donor, was seen by some as a sign of India’s growing acceptance of new lifestyles. “Ideas are global,” says Kishore Lulla, Executive Chairman of the film studio Eros International that created the film. “There is no such thing as ‘just for Bollywood’. It depends how you package it. We are in talks with an American studio who would like to remake Vicky Donor in the US.” Hollywood may be borrowing from Bollywood, but it is a symbiotic relationship. “From 1997 to 1998, India begun to be liberalised,” says Dudrah. “The government opened the borders and allowed foreign investment. The opening up led to Bollywood partnering up. There were new forms of business and filmmaking opportunities.” Eros are also due to partner with HBO to create a Bollywood-based version of Entourage, the popular US TV series following a Hollywood film star and his friends. Scripts are not the only thing India has adapted and adopted from the States. Studios, rather than individual producers, are now funding the projects. “Bollywood today is where Hollywood was in ’40s and ’50s,” says Lulla. “Studios have the financial muscle and distribution. What Hollywood achieved in 50 years, Bollywood will do in 10.” “The corporates mean that the industry has become more organised,” says Bhardwaj. “When it was just independent producers, it was a mess.” While Hollywood studios are now notorious for pushing re-runs and re-makes, Indian studios seem to be more open-minded, able to spread the risk. “Many smaller films with young actors are being made because the corporates support it,” says Roshan. “It is easier now that the corporates have come. The new directors, writers, actors get breaks and a chance to work. “On the flipside it has become so easy that people are not working hard. That’s why you see short films that come around for a few weeks then disappear. If I’m putting my own money in the film, I will see to it that I get my returns back. But if I am making a film for someone else then I don’t have that pain. I just think ‘let’s do it, we’ll see what luck has got’.” While the West is playing it safe, Bollywood is testing its boundaries. With thanks to Eros, Reliance, Sobo Films and Media and Entertainment at The Confederation of Indian Industry

The World, Their Family

dariussanai — Thu, 30 Jan 2014 09:13:42 +0000

[caption id="attachment_907" align="aligncenter" width="600"] The business model proves how important close bonds are to achieving success[/caption] For family-run objet d’art purveyor and producer Lotus Arts de Vivre, it is all about relationships – and not just within the family. YUEN LIN KOH catches up with the von Buerens Their sprawling family home, hidden in the high-rise jungle of Sukhumvit 23 district of Bangkok, has for decades been a sanctuary for travellers from near and far. Rolf von Bueren, now 73, a prominent industrialist who arrived in Thailand from Germany in 1962, and his wife Helen – also of the same age and of Thai and Scottish parentage, are the hospitable couple who lavished dinners and parties on friends visiting Thailand from around the world. Witnessing and interacting with a cosmopolitan mix of guests passing through their doors as young children, elder son Sri and younger son Niklas von Bueren – the second generation of the family – perhaps understand better than anyone else that the world, huge with different and divergent cultures, can also be very small. After all, the von Buerens were as cosmopolitan as it gets for a family living in Thailand during the sixties. Despite being seen as foreigners, given their European blood, they embraced traditional Thai culture with fervent passion. Their home, sitting on grounds purchased by Helen’s family close to a century ago, is a vision of classicism. Nine hardwood houses with soaring peaked roofs and generous wooden decks rise from the verdant 1.5 acre plot, and are connected by a maze of wood and stone paths meandering across a garden lush with tropical flora. When locals were looking to shed that heritage while they were moving forward with times, Rolf embraced it as someone enthralled with this new culture he was experiencing. The Catholic later even converted to Buddhism. His passion for Thai culture – which is passed on to his children and distinctly showcased in Lotus Arts de Vivre pieces – makes the von Buerens perfect ambassadors of the graces of the Thai culture. Yet at the same time, they are also familiar with the fashions and aesthetics of the European culture. Sri and Niklas’ cosmopolitan views and tastes were also nurtured through their many journeys around the region. “We were always travelling to Indonesia, India and other destinations all around the Asian region even before they were fashionable,” recalls Niklas, now 41 years of age. “Father of course, was the disciplinarian. But the most valuable thing he taught us was curiosity. He has a curious mind and is always interested in art and culture, and would constantly be making us learn and enjoy other cultures, be it trying new things, eating new foods, visiting temples… All that learning was quite boring when we were young, you know, but today we know that this curiosity is the root of all of Lotus Arts de Vivre’s new developments.” [caption id="attachment_905" align="aligncenter" width="600"] This galuchat (stingray leather) elephant stool has a touch of silver sterling to make it shine[/caption] For the benefit of the uninitiated, Lotus Arts de Vivre – though with a history of just 30 years – is one of the most revered names in the niche jewellery business of producing one-off pieces. In fact, it is one of the largest producers of single-piece jewellery in the world. Their statement pieces, adorned by members of high society and royalty alike stretching from Palm Beach and New York to London and Cannes to Beijing and back to Bangkok, are sought after worldwide. Elizabeth Taylor, Gore Vidal and even Gianni Versace are just some personalities who have fallen under its spell. Each unique piece is inspired by nature and crafted from a fantastical combination of wonderous materials – from humble coconut shell to innovations of gold-fused glass, from sparkling diamonds, rubies and emeralds to iridescent scarab wings. Sumptuously textured, riotously colourful, outrageously glamorous and exquisitely graceful, they are pieces not to be carelessly worn by all and sundry. With the pieces from Lotus Arts de Vivre, you have to carry it with all your personality, lest it outshines you. They are also producers of fantastical homeware – ranging from gold-leaf and lacquer-lined ostrich egg containers and black onyx and silver toothpick holders in the form of a miniature porcupine, to stools clad in stingray skin and a magnificent mahogany eagle that took 17 artisans and more than a year to carve and cast with 99 pounds of sterling silver. For all its sophistication, Lotus Arts de Vivre has amateurish beginnings. It was set up as a mother’s way of keeping herself busy when her children had left the country to study abroad. Though of course, the von Buerens didn’t just set up a shop at any place; they placed themselves strategically at what is now the Four Seasons Bangkok. It was 1983 and the hotel, then the Bangkok Peninsula, was the place for anybody who is anybody to see and be seen. “My father encouraged my mother to start the first shop through selling pieces that have been purveyed and collected through their travels. But my mother is not a businesswoman – if anything, she didn’t want to carry on with this!” reveals Niklas. [caption id="attachment_908" align="aligncenter" width="600"] Abalone Shell Bowl - The sterling silver grasshopper features onyx stones for eyes[/caption] Even though he and his brother were sent to boarding school in the United Kingdom when they were about 10-years-old, it is clear that unbreakable bonds with the family have been fostered even in their tender ages. Without the slightest bit of pressure from their parents, both Sri and Niklas eventually joined the company, in their own time. Sri, now 45, went on to study gold and silversmithing after his studies in the United Kingdom. “It was after I returned that we started our own jewellery workship; it then slowly morphed into a retail business. It was really run very much as a hobby until about 10 years ago, but a lot of the philosophy still stands, in that it is inspired by travel around the region, by places such as China, India, Japan, Indonesia and of course, Thailand.” Niklas himself went to business school and entered the banking industry upon graduation. Spending four years in the finance industry, he saw the family operation very differently. Where others saw exoticism, he saw Unique Selling Points. Joining the company in 1998, after the economic crisis, he made it his mission to market the brand globally in a time when Asian aesthetics were not widely appreciated. Together, the brothers injected new vigour into the company and created a brand – a name known today for its inimitable style that applies delicate, time-honed traditional craftsmanship to bold, innovative designs from a distinctly young spirit. Through exhibitions, events, dinners – each month sees an average of two events, one held in Bangkok and another internationally – and naturally, their personal connections, the von Buerens keep their global audience enthralled with their unique sense of style. It’s a work that sends the entire family to different parts of the world: as Niklas speaks to us from their home office in Bangkok, Sri is at Mozaic Beach Club, one of the two boutiques in Bali where their pieces are sold – and attending Jeremy Irons’ Indonesian screening of his environmental documentary, “Trashed”. In the meantime, Rolf and Helen are in Europe talking to a carpet purveyor for their other retail business, Theatre of Indulgence, before moving off to London for an exhibition with Couture Lab, an impossibly chic retailer of exquisite luxuries, founded by Carmen Busquets, previously a major investor and board member of Net-à-Porter. [caption id="attachment_906" align="aligncenter" width="600"] Dragon Ring - A key symbol of Chinese mythology, this dragon features diamonds, citrine and pink tourmaline[/caption] But their work is not just about spreading the word. It is really all about the pieces they produce. “Over the last 30 years, we have probably created some 10,000 pieces,” shares Niklas. “We are in the midst of doing a large format coffee table book, and in the process have spoken about our favourite pieces – as it turns out, some of the pieces dearest to each of us are custom orders for our clients. These pieces are special to us because there is a sentimental story behind each commission, and each piece holds a profound meaning for them. To us, the profound meaning comes from the fact that these people have entrusted us to create this for them. “Our pieces are predominantly one-offs, 50 to us is a big number. Each piece – even those that are not bespoke – has a story behind it.” And it’s not just a story of the wearer that it tells. Working with Her Majesty Queen Sirikit’s SUPPORT Foundation, Lotus Arts de Vivre collaborates with silk embroiderers of Thailand. The von Buerens family also takes years to cultivate relationships with master craftsmen such as a Chinese cinnabar lacquer artist based in a place five hours outside of Beijing; maki-e painters in Noto, Japan; and even Indonesian ivory carvers, now preserving their skills through carving coconut shells. Each meticulously crafted piece is a many-fold story of traditional craftsmen from Asia, each lending his unique touch to the piece, and in turn, leaving a little piece of his own story in it. Each piece also tells very much a story of the von Buerens – their taste for Old World charms, their rich globetrotting life, their all-embracing spirit, their sense of wonderment. Their principle of being true to themselves extends to beyond the immediate family, now expanded with Niklas and Sri becoming fathers themselves. This is because every patron, every craftsman and everyone from the team of over 200 is considered family. Niklas for one is quick to declare that theirs is not a closed operation limited by blood ties – kindred spirits who hold the same values are also welcome to join them in Lotus Arts de Vivre’s journey into the future. “It is the network that we created over the 30 years which has opened us to business opportunities – it’s an interesting way to move forward. We never really plan to go into something, we just naturally go into it because our customers were looking for these services or products.” And perhaps therein lies the beauty of keeping things in the family. The brand isn’t developed – it is nurtured; the company isn’t developed, it grows organically. Certainly there are challenges to working with family members – even staying under the same roof can be a trial for some of us – but for the von Buerens, the pros outweigh the cons. “And it allows me to spend more time with my kids!” beams the usually-stern Niklas. And that alone, for anybody who understands the joy of a family, is priceless. lotusartsdevivre.com

Bar Hopping in Bali

dariussanai — Thu, 06 Feb 2014 11:27:13 +0000

There’s a whole lot more to Bali than makeshift beach bars and hippy zone-outs. Make like a dude with ANDREA SEIFERT’s guide to the island’s spectacular cocktail hotspots 1. KAKILIMA BY THE SEA, CANGGU This charming, family-friendly seaside spot in Canggu sits on an expansive grassy lawn that gently slopes down to meet the sparkling water. Fast becoming known as the hotspot for sundowners, the postcard-perfect sunsets have to be seen to be believed and are best enjoyed with a pitcher of Kakilima’s signature sangria. The extensive menu of Mediterranean-inspired fare offers beautifully presented tapas, fresh seafood, an excellent mahi-mahi burger and the best pork ribs in town. On weekends, you’ll find acoustic live music and a crackling bonfire to add to the atmosphere. 2. TOWNHOUSE, SEMINYAK Renowned New York nightlife impresario Mark Baker has brought a hip, new multi-concept five-story space that is drawing Bali’s in crowd day and night. Raw food enthusiasts and art lovers can peruse the ground floor photo gallery and organic juice bar and then slip up to the roof garden terrace to take in the 360 degree panoramic views. Dinner is served at Bistro, a welcome precursor to bespoke cocktails and dancing in the sleek, opulent third and fourth floor lounge. thetownhousebali.com 3. OLD MAN’S, CANGGU Old Man’s is a barefoot beach bar with a view of one of the busiest surf breaks in Bali, which just happens to be called Old Man’s. Bamboo, surfboards, Lucas Grogan murals, dogs and kids make this quite the interesting scene. Pop in any time for an easy menu of staples for the beach – baby coconut juices with bircher muesli in the morning, and a mixture of Balinese and Western favourites to fill you up once out of the surf. Live music, sunset DJs and a relaxed vibe will have you dancing here for hours. facebook.com/oldmansbali 4. MOTEL MEXICOLA, SEMINYAK Head south of the border to a quirky, rainbow-hued riot of Latin tunes and tasty tacos. Every night at Motel Mexicola is a fiesta in the retro tropical surrounds, filled with candle shrines, floral table clothes, bright artworks, rosaries, knickknacks, and twinkly lanterns. Food is as flavourful as the decor, and it doesn’t get any more authentic than the pork rib, a special recipe handed down to Chef Silverio by his Mexican granny. This is a place for merriment and margaritas. motelmexicolabali.com 5. BARBACOA, SEMINYAK Hungry carnivores come to South American fusion bar/restaurant Barbacoa to feast on whole lamb and suckling pig, slow-roasted for eight hours over an open fire. The menu also features lighter options like Peruvian snapper ceviche and grilled octopus, which can be washed down with a cold bottle of white from their wine cellar. The grand, airy fit-out marries urban exposed brick with colourful floor tiling, and the mezzanine level is home to a tequila bar with low Chesterfields overlooking the serenity of a rice paddy field, a rare sight in urbanised Seminyak. barbacoabali.com

Fairy Tale Beginning

dariussanai — Tue, 14 Jan 2014 09:49:22 +0000

[caption id="attachment_930" align="aligncenter" width="600"] Christa Dichgans - Peru, Lithograph[/caption] Art is becoming a luxury good for the elite: but if it does so, it will die. R.J. MALONE takes the view that we need more ventures like the House of Fairy Tales, aimed at redressing the balance [caption id="attachment_931" align="alignright" width="252"] Gavin Turk[/caption] Art is expensive these days. And that’s a problem if you’re young, or not one of the global hyper-wealthy, or both. Cue a tide of initiatives by philanthropists, collectors, and sometimes artists themselves, aimed at getting art to a wider audience. But what about participating, rather than just appreciating? Few do it better than the London-based House of Fairy Tales, which has the active backing of blue-chip names like Gavin Turk, one of the enfants terribles of the Britart movement, Sir Peter Blake, and Jarvis Cocker, lead singer of 1990s cult arthouse band Pulp, among many others. Based in a part of East London that was once ‘gritty’ and is now ‘edgy’, House of Fairy Tales, run by Turk and his wife Deborah Curtis, uses the money it raises by selling fabulous artworks to fund activities from circuses to workshops. Turk tells LUX, “Working with the House of Fairy Tales gets me collaborating with ‘young unknowns’ from an array of different backgrounds in many diverse ways; I’m able to share my experiences and at the same time learn a lot about myself. I’ve travelled all over the country from Shakespeare’s Theatre in Stratford to Newlyn Art Gallery in Cornwall via numerous festivals including Glastonbury and Edinburgh. In the future, I’m looking forward to seeing the Art Circus in Canning Town and working on influencing various public housing and social developments.” Cornelia Parker, one of Europe’s leading sculptors and another key figure in House of Fairy Tales, tells us, “Since I have had my daughter, I realise how important it is to invest in the future of her generation’s creativity. Cultural capital, after all, is our biggest export.” While Cocker, of ‘Let’s All Meet Up in the Year 2000’ fame, says simply, “The House Of Fairy Tales is the most magical place. I wish I had been able to go there when I was a lad.” Perhaps the last word should go to Matthew Slotover, co-founder and director of the Frieze Art Fair, who has done more than anyone to raise the profile of contemporary art while simultaneously maintaining its credibility. Taking a break after the latest Frieze, Matthew tells us, “The House of Fairy Tales is an extraordinary project. It engages young people in the arts with a level of imagination that could only have come from artists. It is truly exceptional and I fully endorse their work.” houseoffairytales.org [caption id="attachment_932" align="aligncenter" width="600"] Stephen Walter - A Night on the Isle of Everyday Nightmares, Lithograph[/caption] [caption id="attachment_925" align="aligncenter" width="600"] Nigel Peake - The Night the Wanderer was Misled, Lithograph[/caption] [caption id="attachment_929" align="aligncenter" width="449"] Susan Stockwell - Red Road Butterfly, Screenprint[/caption] [caption id="attachment_928" align="aligncenter" width="449"] Heidi Whitman - Tink’s Night, Lithograph[/caption] [caption id="attachment_927" align="aligncenter" width="600"] Josh Knowles - (Sketch for) Industrial Dream Mandala, Lithograph with hand finish[/caption] [caption id="attachment_926" align="aligncenter" width="600"] Andrew Rae - Map of the Inner World, Lithograph[/caption]

Go Wild, Child!

dariussanai — Tue, 24 Dec 2013 10:30:19 +0000

Planning a holiday en famille? Kids and parents, know now that kids’ clubs are very 2013. Caroline Davies outlines eight proper children’s activities for the imaginative and adventurous 1. RUN OVER ROOFTOPS The practical way to teach look before you leap. Sign your child up to learn parkour, the art of ‘overcoming’ obstacles, progressing from a frog leap to full blown urban exploring. You can tell your child it’s good exercise and great for their balance, but they’ll be doing it to look like Spider-man. Where to do it: Baltimore, USA Age range: 6-14 years Top tip: The phrase bouncing off the walls might take on a new meaning. urbanevo.com/kidsparkour 2. BUNGY JUMP Fresh air, great views, a heartstopping plunge... Even the thought of watching your child jump from a great height, tied only to a piece of elastic, can cause sweaty palms. No longer the preserve of the gap year student, bungy jumps are available even before they hit the tweens in New Zealand. Where to do it: New Zealand, find a good gorge Age range: Certain bungy jumps are possible from 10+ Top tip: Buy the video. You might not want to watch it live. bungy.co.nz 3. LEARN TAXIDERMY Some children love animals. Some love gore. There’s something for everybody at a taxidermy class. Death Warmed Up specialises in anthropomorphic taxidermy: animals engaged in human activities. Starting with baby rats and progressing to the advanced stage of foxes, you may end up with an entire menagerie. Try to find an iPad app which teaches anatomy and creativity in the same hands-on way. Where to do it: Death Warmed Up, Stockport Age range: 9-17 years (under 16 needs adult permission) Top tip: Don’t bring your own pet. deathwarmedup.co.uk 4. RIDE AN OSTRICH Camel rides are so 2010. To guarantee that your child comes back with the best holiday diary, let them ride an ostrich. For those of you who haven’t read National Geographic in a while, ostriches can’t fly, but they can sprint. Up to 43 miles an hour. Just watch out for their legs; a single swipe can kill a lion. Where to do it: Cango Ostrich Farm in Oudtshoorn, not far from Cape Town, South Africa Age range: 6+ Top tip: Don’t grab their neck. It’s their throat, not a joystick. cangoostrich.co.za 5. SWIM WITH SHARKS You’ve made the mistake of showing your 8-year-old ’Jaws’. Perhaps the only way to confront the fear you have instilled in your child is to face it head on. Deep Sea World in Scotland offers scuba diving with sand tiger sharks. Around 3 metres long with rows of ragged teeth, they look vicious but are known to be docile “unless bothered”. Where to do it: Deep Sea World, Scotland Age range: 8+ Top tip: Keep your hands inside the cage. deepseaworld.com 6. DO A BOBSLEIGH RUN One of the most risky of the Winter Olympic sports, groups of four squeeze into a fibreglass sleigh and set off on their steel runners down an icy track for over a kilometre, reaching up to 100km/h. A step up from sliding down the stairs on a cushion. Where to do it: Innsbruck, Austria Age range: 12+ Top tip: Hold on tight. innsbruck.info/en 7. RECORD AN ALBUM Is your child a mini Mariah or a budding Kanye? Set your small songbird’s sights high and rent out an entire studio for them to “find their sound”. Villa RockStar at Eden Rock has an inbuilt slick studio, Grammy award winning producers and the console used to record John Lennon’s ‘Imagine’ to tease out a hit. Beware; once you let your child near a mic, you’ve no idea where it might end. Where to do it: Rock Star Villa, Eden Rock, St Barths, Caribbean Age range: If they can hold a note… Top tip: Think twice before putting it online. Remember Rebecca Black? edenrockhotel.com 8. BECOME A HORSE WHISPERER Life isn’t all about digging in your spurs and cracking the whip. Teach your child the art of equine deliberation. Horses are pretty picky about who they listen to; highly strung conversation causes them to panic, too quiet and they don’t consider you a leader. Lessons for life… Where to do it: Monty Roberts, California Age range: You can start learning a language at any age. Top tip: Horses’ ears are their tell. Not all lessons translate to the boardroom. montyroberts.com

Riding on the Storm

dariussanai — Mon, 30 Nov -0001 00:00:00 +0000

[caption id="attachment_1303" align="aligncenter" width="650"] Clos de Chacras winery[/caption] Dramatic scenery, fabulous horses, divine food and handsome Gauchos: the Pampas of Argentina has it all, as Caroline Davies discovers on a horseback tour at La Bamba Murmuring down the smooth tarmacked road between evenly planted rows of soybean, the insect speckled 4 x 4 takes a sudden turn right and pauses. “There was some rain last week,” says Guillermo by way of explanation for the track ahead. Baked earth, rust orange, is crusted into deep furrows stretching straight. In the distance, two motorbikes pick their way gingerly over the dips, dust clouds in their wake. The engine revs and we bump our way on. An hour and a half out of the traffic of Buenos Aires is the small town of San Antonio de Areco. Grey cobbled streets and dusty red tiles frame the grassy main square, dominated by a wide, sand-coloured church with a yellow bulb cross. Founded on cattle wealth, the area has the imprint of the families that sought their fortune. Spanish and French inspired homes are dotted around the countryside and the local symbol for the region is the thistle, first introduced, so the story goes, from the spores imbedded in the pillows of the Scottish settlers. Today the area is famed for its equestrian skills; horse racing, and for a few ranches, polo. [gallery type="square" ids="1298,1294,1296,1297,1300"] We curve off the dirt track through black iron gates and down a parade of trees, the driveway to La Bamba ranch. The flat green of a pristine polo field lies to our left and we are met by our first sight of a Gaucho. He gallops past our window, waving, dressed in a loose white shirt and Gaucho pants decorated with a red triangle scarf around his neck and an ornately spun, faded coloured belt with large silver button buckle jangling around his waist. At the pink clay coloured master house, I am greeted by the entire team who are all neatly decked out in the same style white Gaucho pants and crisp white shirts. Set in 150 hectares on the flat plains in the Pampas region, La Bamba dates from the cattle boom in the 1830s. Built around a terracotta coloured courtyard and ancient water-well, the main house is centred around a watch tower, now converted into a library. Constructed along the main route to the north of the country, the original owners kept watch on unfriendly intruders approaching across the miles of uncovered land, although today the tower provides a vast green view of ranches, rivers and polo fields. The rooms are plain with colonial accents. White walls are offset by a dark wood bed, so high that clambering in almost feels like mounting your stead. The touches throughout should seem at odds, collected from around the world, but the woven chairs, small fireplace and light horse related touches – carved stirrups from San Antonio, line paintings of a polo player mid swing – give the rooms the feel of a private house. Despite not having set foot in a stirrup since Gaucho ponchos were last in fashion, I find myself planted firmly on top of retired polo stallion, Tero, within a few hours of arriving in La Bamba. The two of us amble out of the manicured gardens of the house, down a pale dusty road towards the river. Most Gaucho-led hacks are social affairs, and morning and afternoon rides are joined by a mixture of the few resident guests and the couple of day trippers who pass through on their way from the capital. The flat paths may be potentially frustrating to more experienced horsemen and women searching for an intrepid ride, but for beginner or occasional riders, the hour long walks are a good introduction. [caption id="attachment_1302" align="aligncenter" width="650"] Catena Zapata’s winery looks much like a modern day Mayan Temple[/caption] Tero seems to know the route even better than the Gauchos and we trace the river along the patchy path, through a wood, and back over waist-high, thin grasses that conceal marshy earth, still wet from the rains two days before, sending up spray as we trot through. As we approach the house through the dappled parade of trees and the sun begins to set, I summon the courage and all my riding school knowledge to try a rising trot. The Gauchos, sitting firmly in their saddles, look at me quizzically. Riding school formality is not the Gaucho way. Despite most guests staying for only a couple of nights, La Bamba has an unusual sense of community, perhaps because all meals are served together. Dinner, a three course affair of local produce prepared by chef Frederico, is served for all resident guests at the polished wood table in the main dining room. For lunch, cold meats, lamb and chicken from the open fire are paired with salads, potatoes and salsas and constantly refilled goblets of red wine, although the highlight of each meal is the dessert; sticky Dulce de Leche-filled crêpes, brandied and caramelised on the hard wood bar top. Served outside on long wood tables, sheltered by small trees and protected by a sturdy roof, you can see across the polo fields to the open plains, high grasses and dark lines of trees. After two days of soaring temperatures, I spot an ominous fine purple line behind the trees, slowly rolling in. Yet even the weather seemed to stop for lunch, the first few drops landing moments before we retire for lazy afternoons. [caption id="attachment_1295" align="aligncenter" width="650"] Preparing for the morning ride at La Bamba[/caption] While some keen riders are happy to stay out most of the day, I found myself hunting out other spots to take up residence. The pool, framed with neat decking and light grey cushioned loungers, is a suntrap set in the centre of the gardens where hot pre-lunch enchiladas and afternoon tea are brought to your side. The massage room certainly helps to ease the slight aches of the first time back in the saddle and I found myself a far looser rider after an hour of kneading and a hot stone massage. For those who like the idea of horses, but would rather not ride, a rumbling journey on the dark green open top carriages or a visit to the regularly held horse show can be organised. With echoes of medieval jousting, the Gauchos compete to show their horsemanship, lassoing a replica lama, knocking off metal rings and throwing themselves on, off and around the horse at breath-taking speeds to the musical strains of an accordion and an acoustic guitar. On my final day in La Bamba, I am taken for a tour of the town by Magda, a history teacher in San Antonio. Wavy salt and pepper hair bounces animatedly as we jumble over the cobbles in her 12 year old “tank”, a white Lada Niva 4 x 4. She explains that most of the city has been untouched. “Churchill sat like this,” she says, chewing on an imaginary cigar and affecting a deep voice. “Don’t bomb Argentina, I need their meat.” On a quick circle of the centre, she points out an ancient sun bleached building, its clay red paint stripped to the cream plaster from the roof downwards, its dark green shutters bolted shut. It resembles a wild-west film set. “That is the Gauchos’ pub,” she says “Is it still open?” “Yes of course,” she says, incredulously, then corrects herself. “But not until late.” We wander into one of the many local silversmiths. First established to provide visible and essentially portable wealth and prestige for the nomadic Gauchos, I am told the silversmiths in the area have turned their experience in delicate silver craftsmanship to bespoke items. One smith is currently working on crafting an exact replica of two sea turtles, their legs and head all inscribed with individual scales in silver. [caption id="attachment_1301" align="aligncenter" width="400"] Horses are an ever-present part of life at La Bamba[/caption] The young smith greets us, his hair curly, his beard unruly and wearing a lightly dusted t-shirt and jeans. An old pupil of Magda’s, he ushers us into his workshop and hands me a piece of his latest work, a silver relief. High cheek-boned, delicately fashioned faces of the holy family stare out peacefully. “This is the thing about Argentines,” says Magda. “We can be rough, but also very sophisticated.” I take a car the next morning for a whistle stop tour of Buenos Aires. I am met by Sylvia, a native Argentinian with a German slant to her accent. “I spent eight years there, but I missed the warmth,” she says, “although time keeping here isn’t as good as in Germany.” If anyone is well placed to cover the city in 3 hours it is the efficient Sylvia. As we filter through the lanes of traffic, she points out the stately Parisian and Spanish inspired homes standing proudly, if a little worn, amongst the newer builds, hustling for space. We pause for a wander around the cemetery where 5000 Argentine families have mausoleums. A small city for the dead, the narrow lanes take you past dilapidated stone, where caskets lie rusting, and polished marble, where giant angels weep over serene stone loved ones. If you follow the tourists, you will find the heavily photographed resting place of Evita, but the back streets, provided you keep your bearings, are far more intriguing. Palermo Soho and Palermo Hollywood (shamelessly renamed to help foreign tourists) boast small boutique hotels, independent shops and restaurants that spill out into the evening sunshine. We charge on to the east of the city, past the shantytowns to the surreal recreation of immigrant life in La Boca. Brightly coloured corrugated tin runs in blocks like patchwork around the streets, marking the houses first built by Italian immigrants who had no money for bricks. I take a two-hour flight to the city of Mendoza. The city itself lively and noisy, hardly an agricultural idyll, yet is surrounded by Argentina’s wine gardens. Particularly celebrated for its Mulbecs, the region boasts over 1000 wineries although many of them consist of no more than a small barn in the back of a farmer’s plot. Although you can take your pick from bikes, horseback or even trekking, taking a car is the best way to see the widest variety of wineries. Pulling away from the city, local vineyards give way to the vast estates of neighbouring valleys. Small empires under names like Salentine, Norton and Trapiche boast impressive multi-storey fermentation tanks, fairly informative tours and brutally large-scale architecture; Bond villain buildings loom out from different corners of the green branches of fields. I find myself at the steps of a modern day Mayan temple, the recently finished home to the Catena Zapata winery. Cream sand coloured brick slopes upwards to a glass point, while the internal corridors and caves are lit in a golden opulent glow. Grand, imposing and quite bizarre, the winery represents the success of Nicholás Catena, whose microclimate work and glamorous wife helped push Mendoza Mulbec into New World wines. It is a curious mixture of science, art, the old and the startling modern. In search of a smaller scale tasting, I visit the boutique vineyard of Clos de Chacras. A faded Flamenco rose pink winery with lavender growing in the carefully kept gardens and a roaring fire for the winter, the outdoor decking overlooking the carp pond is so inviting that I am loath to leave it for the tour. I am led downstairs to what were once the old fermenting tanks, now transformed into a cavernous wine archive. As I tread slowly through the silent rows of bottles, I am reminded of a chapel. The light grey concrete curves are illuminated by a few shafts of natural sunlight catching the edge of the green bottles, a small shrine to Mendoza’s lifeblood, praised by rural skyscrapers and rustic farmhouses. In my own sign of thanks, I finish my wine on the sundrenched terrace, looking out over the gentle fields of vines. labambadeareco.com Special thanks to Mendoza Wine Camp for their excellent recommendations.

The Hedonism Issue 01/2014

dariussanai — Fri, 21 Mar 2014 03:37:06 +0000

Footwear from Mary Ching's Chinese Whispers collection

Chasing Time

dariussanai — Thu, 24 Apr 2014 08:13:59 +0000

Ahead of the new Formula 1 season, CAROLINE DAVIES caught up with two of its stars, Mercedes AMG Petronas driver Lewis Hamilton and team boss Ross Brawn, at an IWC exhibit. Brawn has since announced his retirement, but we’re running the interview anyway LUX Regarding the tyre controversies, why would a company produce tyres that don’t grip? Isn’t that like producing watches that aren’t on time? Ross Brawn That is a delicate topic. When you only have one supplier as we do in Formula 1 then the tyre supplier can work on one end of the scale or the other. If they only supply tyres that don’t deteriorate then they run the risk of the tyres becoming too predictable. It’s about finding the balance between a tyre that is extremely durable and never wears out and the other end, which is very soft, very fast but only has a limited life. Just finding that right point is quite a challenge for Pirelli as they have some elements of Formula 1 pushing them in one direction and some pushing them in the other. They will never do a tyre that suits every team because each team looks for a particular thing. I think Pirelli can do whatever is required and Formula 1 needs to decide which they need. Perhaps we have gone a little too much towards the entertainment with all the pit stops, which can confuse the fans, and it needs to come back a little bit, but not go all the way. LUX Lewis, you’ve recently joined IWC. How’s the watch collection coming? Lewis Hamilton I’ve collected watches for a while, but I’m only just beginning my IWC watches collection… LUX Are there any similarities in the details of watchmaking and a Formula 1 driver? LH Timing is everything for a Formula 1 driver. We are constantly developing and improving, chasing time throughout the year. Time means points so that’s what we are working towards. All the different materials we use – carbon fibre, aluminium, titanium – and the processes we use are now used to make brilliant watches. LUX Engines are changing in the coming season. How’s this going to affect Formula 1? RB I think for a number of years the engine has not been a strong factor. Sometime ago the engines were frozen so there hasn’t been any development on them. Formula 1 tends to be thought of as a competition between the cars and not so much between the engines. This year we have a fresh start. It is a very important change. At the moment we have V8 engines, but next season we are having some small capacity turbocharged hybrid engines. These are becoming more common in the automotive industry and we get a lot of ‘energy recovering’ from them. We will have the same power and performance for 100 kilos of fuel as we had for 150 kilos before. The efficiency improvement is enormous and that is going to feed back into our daily lives in terms of the types of cars we drive and the sort of engines we have. Formula 1 is getting relevant again. I think we are going to see a discussion about the drivers, the cars and the engines, which is a good thing. It is also bringing in new companies as they see that relevance. In 2015, Honda will be returning to Formula 1 and certainly they wouldn’t have done that before with the previous engines. It is a good step. LUX We have seen materials used in car manufacturing cross into watchmaking. Which materials will move next and why do they work well in watches? RB I think it is an interesting area of synergy. We are using them because of physical properties, which may not be totally relevant for a watch, but are very interesting in terms of the technology and the aesthetics. One of the obvious areas is carbon fibre. A huge percentage of cars are carbon fibre and that is now becoming similar in watches. I think that the synergy is developing. It is at an early stage presently, but there are a lot of interesting materials. It adds another aspect to the watch as well as pure design. LUX How do you know when the chemistry is right in a dream team? RB I think sharing the same goals, when everybody works together. At Mercedes we had a very strong principle in our team that we didn’t have a blame culture. If something went wrong it went wrong for everybody and when things went well they went well for everybody. We worked together as a team. It is a combination of everyone working with attention to detail at every level of the company. It is a reason it succeeds. We had two fantastic drivers who worked well together with the right spirit, which translated through the whole team. LUX Lewis, would you rather have a vintage IWC or a vintage Mercedes? LH I like driving, but I would rather both. A vintage Mercedes would be a Gullwing. I’ll have to wait and see which vintage classic IWC watch I should get.

Wild Wood

dariussanai — Fri, 25 Apr 2014 09:30:52 +0000

[gallery columns="2" type="rectangular" ids="1340,1345,1344,1343,1342,1341"] It may be the most ancient of all building materials but it’s holding its own in the modern world. go back to basics with these stunning pieces that prove you just can’t beat the power and beauty of nature.

Chagall: Climbing the Art Chart

dariussanai — Mon, 28 Apr 2014 09:00:17 +0000

[caption id="attachment_1354" align="alignnone" width="600"] Marc Chagall, Dos à dos, 1984[/caption] Marc Chagall’s star still shines bright today: the Russian-French Modernist is coveted by collectors and connoisseurs alike. Our columnist explains why JEAN-DAVID MALAT Personally, Marc Chagall is by far my favourite Modern artist. His paintings are somewhat like dreams and they remind me of my childhood: indeed, my grandfather was Polish and my grandmother’s family originally from Russia. Growing up, I listened to their stories and traditional tales and, in my mind, these resembled the colourful and oneiric scenes depicted by Chagall. I think that up to today, he has influenced a lot of Israeli and Russian contemporary artist. He stayed true to his own style all his life. And even Picasso – who is known for being very critical of fellow artists – was a lover of Chagall’s works. I believe it is all down to the combination of colours, and the love and family values he put into his paintings. These are unique. And the market seems to have picked up on this too. The presence of artworks by the late Master Painter in every major Modern Art auction around the world since the mid-2000s illustrates the recognition that his art has gained on the art market and with art collectors alike. An example of how this artist’s value on the art market has been reinforced since 2005 can be observed in the results of “La Femme du Peintre” (1970). In 1996, this 100 x 65 cm oil on canvas was auctioned at Sotheby’s New York for USD 650,000 (within the estimated USD 600,000 - 800,000). In 2012, the exact same painting was auctioned again at Sotheby’s New York. It was then sold for a hammer price of USD 1,800,000. That’s almost three times more than in 1996, the kind of trend more usually seen by living artists these days. This tendency is due to the fact that the demand for quality paintings by the Master Chagall keeps getting higher, while fewer and fewer pieces are available on the market. [caption id="attachment_1353" align="alignright" width="244"] Marc Chagall,Le coq sur fond Noir, 1968[/caption] To this day, the record price for a Chagall artwork to sell at an auction was at the August 2013 Christie’s New York sale, when “Les trois acrobates” (1926) sold for USD 11,500,000; well above the estimate between USD 6,000,000 - 9,000,000. Considering all of the above, it is no surprise that the art market statistics website artprice.com has evaluated that USD 100 invested in 1999 in a Marc Chagall work will have an average value of 178 USD in September 2013. But beyond that, the world’s most respected art institutions are constantly paying tribute to his great heritage: In 2013, two major UK institutions hosted Chagall exhibitions – Tate Liverpool and Manchester Jewish Museum – that looked into the Jewish heritage and modernist influences that shaped his career; while the Grand Palais in Paris hosted an exhibition of self-portraits at the Musée National Marc Chagall in Nice. As for 2014, the first major retrospective in Spain devoted to Chagall will take place at the Museo Thyssen-Bornemisza in Madrid, curated by President of the Comité Chagall, Jean-Louis Prat. At Opera Gallery, we have been sourcing artworks by Chagall for our collectors since around 2003-2004. And thanks to our international network, we have access to numerous Chagalls, via international collectors. [caption id="attachment_1352" align="alignleft" width="285"] Marc Chagall,Maries au village,1969[/caption] In 2006, we hosted our first Chagall solo exhibition in London, which was extremely well-received by our public and collectors. Later, in 2011, we had a Chagall exhibition in Opera Gallery Monaco, then in Geneva. And in May 2013, we decided to bring our collection to Asia and hosted a large retrospective exhibition in Opera Gallery Hong Kong. It is with great pride that we will also be hosting a retrospective in London, opening on the 15 May 2014 and with which we aim to highlight the prominent role the Russian painter played within the history of art; and also to reinforce even further his value and recognition on the current art market. Jean-David Malat is Director of the international Opera Gallery group. The Opera Gallery’s Chagall retrospective shows in London in May 2014 and in Singapore in autumn 2014.

Caledonian Cityscapes

dariussanai — Tue, 06 May 2014 01:00:45 +0000

[caption id="attachment_1364" align="aligncenter" width="600"] Clyde Auditorium - Seating 3,000, it is also referred to as “The Armadillo” by Glaswegians[/caption] Edinburgh is Scotland’s capital, Glasgow is its biggest city. Ahead of this year’s vote on independence, RJ MALONE explores what each has to offer in terms of hospitality and soul Glasgow, Scotland’s biggest city and Britain’s second city after London (at least, until the Scots decide whether or not they wish to remain part of Britain later this year), is often gifted with slightly backhanded epithets. “Gritty”, “real”, “friendly” and, worst of all, “down-to-earth”, for example, compared with Edinburgh, Scotland’s capital 40 miles down the M8 motorway, which is “beautiful”, “historic” or “traditional”. I rather like spending time in Glasgow. It doesn’t have the visual drama of Edinburgh’s Castle as viewed from Prince’s Street, or the tourist-postcard dream come true of the Royal Mile. But it does have plenty of striking architecture around its university, West End and central areas, a fizzing cultural program, and some fantastic, and well-priced, restaurants if you like seafood, simply rendered. To experience the city properly, you either need to stay in a place where you can escape from its very real harshness – no creative cultural program can obliterate the bands of rain sweeping on crystal clear air from the Atlantic, whatever the month – or revel in it. The first of these is the Hotel du Vin, One Devonshire Gardens. Fans of the boutique town hotel group will be familiar with its cleverly designed, gourmand-friendly, contemporary-cosy properties around the UK; but this is another level altogether. The group’s only effectively five-star outpost (only the vagaries of staircase connections between the grand townhouses that comprise the hotel rob it of an official five-star rating), it is on the edge of the city’s restaurant-and-bar-packed West End. Step inside and you shut the wind, rain and streetscape out, both visually and physically. [caption id="attachment_1366" align="aligncenter" width="600"] Hotel du Vin - The iconic hotel is known for both its service and style[/caption] It’s all about a series of grand drawing rooms, created with a very contemporary blend of pared-back chic and ornate swank. My bedroom, facing an internal courtyard, was all about swoothing swathes of drape and fabric, and a bedroom that felt like you had been whisked into a 19th-century boudoir (but with no mustiness or dustiness; everything was perfectly up-to-date). The best part of the stay, though, was an evening spent in the bar: this was another ornate drawing room, with sofas and chaises longues and coffee tables, with a bar along one side. The lighting, so often the killer in bars in drawing rooms (there’s usually too much of it and you expect your maiden aunt to drop in for tea and biscuits, not very seductive), was just dark enough. The array of single-malt Scotches would have kept a whiskiphile going for weeks; the wine list was peppered with interesting red Burgundies and new-wave new-world points; I enjoyed some local Scottish craft beer, while picking at a very pleasant board of charcuterie. Glasgow’s heyday was at the height of the industrial revolution, when it was a port, centre of commerce and ideas, and shipbuilding centre: a sort of 19th century version of contemporary Shanghai. Its more recent reinvention involves some interesting architecture also, and a way to both see and experience it is at another of my favoured hotels in the city, the Crowne Plaza Glasgow. This sits in the middle of a new cultural and conference area, a former industrial zone across the curiously quiet Clyde river (the great shipyards were further downstream, where the waterway is mightier) from the BBC’s new Scottish headquarters, and next to a mini-Sydney Opera House known as the Clyde Auditoriam, designed by awardwinning architect Sir Norman Foster. At night, the area has a kind of Twilight Zone beauty about it, and I enjoyed sitting in the silent efficiency of my corner suite, which had a double outlook, drinking a Schiehallion beer, looking out across the river and over to the outline of the Southern uplands beyond, feeling like we are on the edge of Europe. The bar, downstairs, is pretty lively too, in a very Glasgow way. Edinburgh has a much more formal way about it, and a far more formal beauty. I prefer the cheerful gruffness of a semicomprehensible Glaswegian taxi driver to the clipped and chipped service of an Edinburgh driver, but that’s personal. And if you are going to see Edinburgh, there is one place to see it from: its grandest hotel, the Balmoral, which sits directly adjacent to Waverley Station, diagonally facing the Castle, and at one end of Prince’s Street. Prince’s Street itself is a shopping boulevard flanked by unremarkable retail in grand stone buildings on one side, but the gardens on the other side, dropping into a dip, and then rising up to the great rock hill on which the Castle is perched, give the impression of being on the edge of the sea, the Castle a fortress rising beyond. [caption id="attachment_1365" align="aligncenter" width="480"] View From The Balmoral with views of the Edinburgh Castle by night[/caption] My room had a view of all this, and an enormous amount of space besides, a mark of this grand edifice of a hotel. A small measure of Highland Park 12-year-old whisky with a single cube of ice made from Highland Spring water (why put chlorinated tap water in your whisky, in the form of a melting ice cube?) enhanced the view. The public areas of the Balmoral are a tourist attraction in themselves; the domed Palm Court a place where locals and tourists congregate for afternoon tea, Ritz-style (be sure to book in advance) and no doubt talk of places where palm trees don’t need central heating in order to grow properly. More my style was the spa, where a chatty therapist gave me a very effective scrub and massage, amid generously proportioned surroundings.

Eastern Challenge

dariussanai — Fri, 02 May 2014 02:10:04 +0000

Art Basel Hong Kong is trying to create the same buzz for Asia’s burgeoning collector scene as its parent fair, Art Basel, does in Europe. MAGNUS RENFREW, director of Asia for Art Basel, explains the challenges involved in a fluctuating Asian art market Over the past six or seven years, the Asian art market has developed considerably. Historically, the market had been quite auction driven, particularly between 2006 and 2008 when there was a sudden big increase in interest for Chinese art. There had also been a lack of curatorial and critical frameworks, which the market had moved to replace. The perception was that an expensive work must be important, which is somewhat back to front. [caption id="attachment_1378" align="aligncenter" width="450"] Marnie Weber - Log Lady & Dirty Bunny, 2009
Simon Lee Gallery[/caption] However, in the last few years, things have changed. The turning point came after 2009 when the prices dropped for some of the artists that had been doing well at auctions. Those artists had adopted the attitude of “make hay while the sun shines” and worked with many different galleries, sometimes consigning works directly to auction. Artists and collectors have grown to appreciate the importance of the gallery system and its role in promoting the practice of artists, not just selling objects. The galleries we are interested in build the career of the artist for the long term, not just to make a quick buck. They have an agency role to protect the interest of artists for the long term, ensuring there are not too many works going out into the market, that the quality of the work is consistent, try to help put their work in major institutions and institutional shows like biennales and finally try to sell the work to genuine collectors, not speculators. I think that the art market is far more sophisticated now. It isn’t just about buying a big name artist, but the right period, the right subject matter and purchasing an artist that is growing in critical and curatorial stature. Asia is a very dynamic environment and it is an audience that learns extraordinarily quickly. There is a new generation of collectors who really want to collect from galleries and are passionate about collecting, rather than investing. artbasel.com/hongkong [caption id="attachment_1377" align="aligncenter" width="600"] One and J. Gallery - One of the first galleries to focus primarily on young contemporary Korean artists[/caption] [caption id="attachment_1376" align="aligncenter" width="600"] Laurent Grasso
Visibility is a trap, 2012
Edouard Malingue Gallery[/caption] [caption id="attachment_1375" align="aligncenter" width="600"] Susumu Koshimizu - Paper, 2013
Gallery Yamaki[/caption] [caption id="attachment_1374" align="aligncenter" width="600"] ‘Paper Rain Parade’
Hong Kong artist Angela Su performs during Art Basel
Hong Kong in 2013[/caption] [caption id="attachment_1373" align="aligncenter" width="600"] Doug Aitken - You/You, 2012
303 Gallery[/caption] [caption id="attachment_1372" align="aligncenter" width="450"] Melora Kuhn - Her permanent mark on him, 2014
Galerie Eigen+Art[/caption] [caption id="attachment_1371" align="aligncenter" width="450"] Antony Gormley - Feeling Material XXXV, 2008, White Cube[/caption]

Big Spenders

dariussanai — Thu, 08 May 2014 09:37:18 +0000

[caption id="attachment_1388" align="aligncenter" width="600"] China’s cities have come a long way from its heydays of bicycles, spittoons and Mao[/caption] A government crackdown on conspicuous consumption may have slowed China’s luxury market, but opportunities still abound at the top end of the market. CASEY HALL investigates where China’s most wealthy will be spending their money in 2014 There’s little doubt that China’s luxury goods market has slowed from its boom years of double-digit growth, in fact, growth has slowed to a crawl. According to data from Bain & Company, Mainland China’s luxury goods market has slowed from seven per cent growth in 2012 to around two per cent in 2013, with expectations of similarly slow growth in 2014. The Chinese government’s recent crackdown on corruption and conspicuous consumption, led by President Xi Jinping, has been one highly publicised reason for this slowdown, but it’s not the only factor. In recent years, the number of wealthy Chinese travelling overseas has grown exponentially, as international travel increasingly becomes a symbol of status and visa restrictions for Chinese travellers are eased. Worldwide, Chinese nationals remain the biggest luxury buyers, with purchases that make up 29 per cent of the global market, a four percentage point increase versus last year. Not only are luxury goods more affordable overseas (in many cases around 40 per cent cheaper, thanks to China’s VAT tariffs for imported luxury goods sold on the mainland), they also come with the added cache of being purchased in exotic locales. According to China watchers, if there is a single desire that unites wealthy Chinese consumers desire, it is a need for newness – the next big thing, whether it be a product or experience, which will impress their friends. It’s all very well to hit up European capitals and American centers of commerce, but increasingly, just seeing the sights on a generic guided tour is not enough for Chinese travellers. Filling the gap for a niche market at the pointy end of the pyramid are a number of experiential travel agencies organising ever more elaborate experiences for Chinese travellers. Whether they desire a round of golf with Tiger Woods, or even a trip into space, it seems the sky is the limit for big spending Chinese travellers. [caption id="attachment_1391" align="aligncenter" width="600"] The fashion-forward Shanghai label has enjoyed the boom years and envisions even better growth[/caption] Michael MacRitchie is the founder of MGI Entertainment, an agency that specialises in bringing celebrities from the East and the West together with brands from both sides of the Western/Chinese divide. They have recently launched an ‘Ultimate Experiences’ division, which organises all-encompassing travel experiences, often involving the opportunity to rub shoulders with celebrities. “This is a niche market, the reason we came up with this is that we saw more and more Chinese people who were interested in this niche travel market and we have some key relationships in place which allow us to do these types of things, and it sort of complements our main business, which is working with celebs,” MacRitchie explained. For example, Ultimate Experiences organises trips to the Cannes Film Festival (available to a maximum of 10 travellers), which include a private concierge, tickets to premieres, entry to after-parties and an invitation to an event on Hollywood über-producer Harvey Weinstein’s yacht, followed by a helicopter ride to the Monaco Grand Prix – all for the bargain price of USD 30,000 per person. “Chinese people want the best of everything around. They want to drink Château Lafite Rothschild; they want to go to the most prestigious events around the world. They have money to burn and want to do stuff they weren’t able to do previously. Part of it is face, part of it is showing off, and part of it is about experiencing something different,” MacRitchie said. As international travel becomes the norm for wealthy Chinese, they are increasingly acquiring the habits of the wealthy worldwide, including sunning themselves by beautiful beaches and carving up powdery white slopes. [caption id="attachment_1392" align="aligncenter" width="600"] The new lifestyle development by KOP Properties will offer year round winter activities, including the world’s longest indoor ski trail[/caption] A reflection of this latter desire is a new development from Singaporean real estate company, KOP Properties. Winterland Shanghai will be housed within an 18-hectare development that will include the world’s longest indoor ski trail. A new generation of ski bunnies from Shanghai and around China will have year-round access to winter sports activities, ice sculpture competitions and more, including a ski-in / ski-out hotel, gardens, retail, food and beverage, as well as an entertainment center with a 4-D theatre offering movies, theatrical shows and concerts. “Our Winterland Shanghai project represents the next landmark in lifestyle-focused developments and furthers our mission of spearheading breakthrough ideas from conceptualisation through building and management,” said KOP Properties Chairman Chih Ching. “We believe Winterland Shanghai can serve as a magnet for Shanghai tourism and Shanghai itself is a perfect city in terms of size, scale and its level of development. We are excited to bring this to the city of Shanghai.” Real estate developers looking to capitalise on the developing leisure pursuits of wealthy Chinese are not the only ones being lured to the Mainland. Thanks to big spending Chinese collectors who have been making their presence felt in the international art highworld for the better part of a decade, big auction houses are now heading to mainland China. In 2011, China overtook the US as the world’s largest art market as wealthy new buyers paid top prices for works from Ming vases to contemporary Chinese paintings. Michael Plummer, a New York-based art market financial analyst, told Chinese media early in 2013 that new collectors in China were buying “recklessly”, to snap up objects – not only for investment purposes, but also for the image of wealth these artistic objects conferred. By the middle of last year, the steam had begun to go out of the buying spree, though experts stress the market in China remains hot. As Bruce MacLaren, a Chinese art specialist with Bonhams auction house in New York, said, “Things are not going for 50 or 100 times the estimate, but they are still selling very well.” Well enough to lure big guns, such as Christie’s, the world’s largest auction house, which netted $25 million as collectors snapped up bottles of Château Latour, a ruby necklace and a painting by Pablo Picasso at their first Mainland China auction in Shanghai last September. Art isn’t the only object of beauty wealthy Chinese consumers are investing in, especially for the women who have been evolving their stylish sensibilities at a rate which has come as a surprise to many international brands and fashion mavens. Even as the growth of the luxury market has slowed over the past 12 months, women’s wear and luxury accessories have continued to surge ahead comparatively strongly. Long overshadowed by luxury menswear in the Middle Kingdom, women’s wear grew at a rate of between 8 and 10 per cent last year, according to Bain & Company. Men’s and women’s share of luxury spending in China reached equal levels in 2013, a rapid evolution from a starting point of over 90 per cent spending by men in 1995. “The mindset among global brands here is changing from men’s categories and accessories to women’s categories and fashion. Brands are preparing for this major shift,” said Bruno Lannes, a Bain partner in Greater China and lead author of the Chinese edition of the study. Alison Yeung, the woman behind Shanghai-based luxury shoe and accessory brand, Mary Ching, has seen first-hand the evolution in taste of Chinese women with means. “There is a move away from that branded, inyour- face bling. The people coming into new money will still be at that bling level, but the wealthier China becomes, the larger the number of discerning customers who will be moving away from that kind of ultra-bling,” she said. The next big thing in fashion for Chinese consumers, according to Yeung, will be customisation, as wealthy women want something special they can show off to their friends, who now all have Louis Vuitton bags, Burberry trench coats and well-tailored Gucci pants suits. “I absolutely believe that personalisation is something that is interesting and liked here. Chinese love that tailor-made and handcrafted element,” she said. “Recently at our events, I have been autographing by hand, each pair of shoes purchased, which has been very popular; it makes the purchase a little bit more special. Beyond the service of welcoming someone to your retail space, you have to go the extra mile to make customers feel valued.” Service is also becoming increasingly important to winning customers in the sphere of high-end entertainment. Traditionally the domain of China’s clear spirit, Maotai, long beloved by official banqueters, the high end spirits market has taken a significant hit from President Xi Jinping’s mission to curb conspicuous consumption. According to the Hurun Report, which annually surveys Chinese High Net Worth Individuals (HNWIs) with a personal wealth over 10 million yuan, there are still expensive alcoholic gifts doing the rounds in China, with red wine rating among the most popular gifts for men priced at under RMB 20,000. Imported spirits such as whisky and cognac are also on the up. [caption id="attachment_1390" align="aligncenter" width="600"] Reminiscent of elaborate jewellery from the 1920s, the marble bar at CICADA UltraLounge is the longest in town[/caption] Beyond the official crackdown, the increasingly international focus of Chinese drinkers is another main reason for this shift in high-end alcohol consumption. It’s also the reason a couple of long-term expats in China with past success in Beijing’s F&B scene, decided now was the time to open a high-end ‘ultra lounge’ in the nation’s capital. Catalin Ichim is one of the co-founders of CICADA UltraLounge, with its 20-foot marble bar and a focus on the very best in food and mixology. The 2,700-square-foot venue caters to a wealthy Chinese clientele looking to recreate the luxury nightlife they may have experienced on their travels to Milan or Paris. [caption id="attachment_1389" align="aligncenter" width="600"] Jeffrey, editor at Beijing-based Lifestyle Magazine and Juli of Mario Testino’s studio, regularly frequent CICADA[/caption] “There was a gap in the market where nothing similar to what is happening overseas was happening in Beijing; this is what got us started,” Ichim said. Although Ichim says they have been somewhat insulated from the crackdown because their focus has been less on politically powerful, wealthy consumers, those that have come through the doors thus far have shown an incredibly developed sense of what they want in terms of service. “The pattern of consumption has changed a lot from being focused on the product itself to now being more focused on the service and experience that you get,” he said. Across the luxury spectrum, it seems, it is the experience that counts for wealthy Chinese consumers in 2014. “It’s a little bit of soul-searching, or enlightenment happening. People are looking to and discovering new things in all aspects of their life, including art, design, drinks, food and anything that would make their life richer, that would enrich their life experience,” Ichim said. kopproperties.com; mary-ching.com; cicadaultralounge.com

Is Bali’s High Going Low?

dariussanai — Wed, 21 May 2014 08:30:59 +0000

Where is the best place to combine a proper luxury holiday, ancient, unknown temples and one of the most unique dining experiences? Bali resident MARY JUSTICE THOMASSON would tell you it’s right at her doorstep. Naysayers that say the ol’Bali charm has left the island are, quite frankly, full of it. As a 10-year resident of Bali, I can testify Bali’s never been better. Our culture remains beautifully intact and the Balinese thrive in the luxury of knowing that they are living in a form or paradise where, if they play their cards right, balancing good with evil in their Hindu ceremonies (translate, parties), things generally work out. Sashaying palms, stunning girls and smiling, happy people abound and while pretikins line the beaches, in the distance are verdant mountains of terraced rice fields and varied volcanic landscapes that dot the island, lending well to multitudes of choices for surf and turf activities. Bali continues to win travel awards like ‘world’s best island destination’ and ‘best island getaway’ and when you consider that 20 years ago the options for food were nasi goreng or nasi campur (noodles or rice with a little meat and veg thrown in), it’s nice to know that our international restaurants, including top new players like Bambu, now compete on the stage for culinary excellence. It’s true the south of Seminyak is teaming with faddish bars, boutiques, night clubs and parties that pop all day and night so if you want to see more of the ‘ye olde’ Bali, put those pretty little pedicures to the metal and explore. In the main areas of town there are several new delights that await you but many an enlightened visitor will head for the hills of Ubud and the coasts of the North to further explore the island. A good start is in the northwest where English-born, Cordon Bleu chef and interior designer Diana Von Cranach cranks it up a notch or two at our perennial favorite resort, Puri Ganesha. Here, Diana has opened what must be one of the smallest and most unique restaurants on the island. Liperu (which in Bali slang literally means ‘where the hell is Peru?’) seats only 10 and has a small daily menu that tantalises diners with amazing combinations of Balinese-cum-Peruvian flavours, using purely local ingredients served on small bamboo baskets that reflect the seasons. True to her favourite vegan words, it’s all “rawfully good”. Heading for the hills of Ubud, Von Cranach also teamed up with a friend and colleague, Dutch-born Anneke Van Waisberghe, whose colonial tents à la ‘Out of Africa’ overlook the river south of Ubud and where you can dine on the edge of the world. This is a romantic and ideal setting for Diana to showcase her culinary skills and reach a larger audience, far from her tiny laid-back luxury up north. They call it Dining Within Tent and it is splendidly theatrical with a natural grandeur that sets the tone for the evening. Here, the noises of the rainforest co-exist happily with the sentimental sounds of Waisberghe’s collection of prewar songs played on an old record player that wafts out into the night, mixing with the cackles of the guests’ laughter and the katydids outside. The lucky night I went, the dinner party theme was the ‘Happy Valley Set’, aka ‘White Mischief’, a largely hedonistic British and Irish group of aristocrats and adventurers who settled in Kenya between the 1920- 40s. My character given in advance was party girl and socialite Lady Idina Sackville and my date was given the title Josslyn Hay, 22nd Earl of Erroll. Hedonistic and hilarious it was indeed, and our linens and silks from the evening had to be sent out for cleaning post haste in the morning. This evening should be pre-booked before your arrival and it will go down in the memoirs as memorable. We certainly enjoyed ourselves, from what we can remember. And why not continue the theme of tented extravagance and check out Glamping Sandat where two stylish Italians have created glamping tents on the outskirts of Ubud. Our tent was complete with our own infinity pool perched on the forest edge and a private deck for sunbathing ‘au naturel’ in total privacy – perfect for those keen to reconnect with nature while not necessarily chipping a nail. We enjoyed our chandelier-lit tent and all the mod-cons which we didn’t end up using as the open air was far more refreshing. There are five tents and two traditional Balinese Lumbung villas laid out like a rabbit’s warren, with plenty of room for roaming. It has perhaps one of the prettiest gardens I’ve seen in Bali – more English in style than Balinese – with a wonderful assortment of flora and fauna that had been carefully thought out while remaining charmingly chaotic. Bali continues to surprise me and I recently toured the ‘7 Temples of Enlightenment’ with the charming Professor and Curator of The Sukarno Centre, Enong Ismail, who has partnered up with one of the most exclusive and professional tour organisations on the island, My Private Concierge. To say we were gobsmacked is a gross under exaggeration. On this tour we visited seven world heritage temples and monuments that have recently received their UNESCO certification and for the first time, fully understood the origins of Balinese Hindu religion ‘Hindu Darma’. Our journey took us through the temples as we traced the evolution of this fascinating culture. Many of the temples and meditation places we visited are not even known to locals, let alone visitors and it was a rare opportunity to be one of the first visitors to these sites which are all part of the Pakerisan world heritage listed area. Our day began with tea and smart talk with Pak Ismail at his charming home amongst rice fields on a ridge just off the sacred river of Pakerisan. Pak Ismail’s passion is infectious and he has been documenting Balinese culture since 1979. He sees his rare tours as a way to give back to the society he loves and to share his wealth of information. Most of the temples have been untouched other than the weather playing a role in their appearance. After a few sights, a lovely picnic lunch was laid out in the fields, and just when I thought I couldn’t be more blown away, we went into a 10th century meditation temple that is carved into the side of a stone hill and hidden amongst the rainforest. I wondered whether Indiana Jones might make a quick appearance just to add to the unreality of it all. While there, we were met by a local priest who conducted a blessing for us, wishing us well on our onward journeys in life. His appearance, as Pak Ismail wisely told us, belied his Balinese heritage as there was a distinct Indian flair to his features. Our priest was a sixth generation priest, and indeed I felt blessed. The day finished in a large temple that, in the 12th century, leaders of the Buddhist, Hindu Shiva and ‘respect your ancestor’ religions met and agreed to create one religion for all Hindu Darma, or Balinese Hindu, as it is known today. Bali continues to be blessed with hidden treasures that can be explored for generations to come and that is what makes this island, in my opinion, one of the best destinations in the world. puriganesha.com; glampingsandat.com; privateconciergebali.com

Fortifying the Soul

dariussanai — Wed, 14 May 2014 10:04:17 +0000

Port, the great fortified wine created by the English in Portugal, was once an essential indulgence in every self-respecting home. Now, after decades of being as unfashionable as acrylic slacks, it is showing signs of a comeback. Leading wine commentators extol its high standards and fantastic value for money, and a new generation of mixologists is creating port-based cocktails from the beaches of Ibiza to the underground bars of Manhattan. Photographer COLIN HAMPDEN WHITE recently toured the Douro region of Portugal, home to the ancient port houses, and we showcase his images on this page [caption id="attachment_1412" align="aligncenter" width="600"] Down The River - Viewing the scenic and culturally-rich upper Douro Valley by boat[/caption] [caption id="attachment_1417" align="aligncenter" width="600"] Douro Valley - Six villages are located on the slopes of the valley, each contributing to the region’s wine-producing industry[/caption] [caption id="attachment_1414" align="aligncenter" width="600"] Respected as a producer of wood aged ports, Taylor’s holds one of the largest reserves of rare cask aged wines[/caption] [caption id="attachment_1416" align="aligncenter" width="400"] Quinta do Noval - One of the major historic Port houses, renowned for its great Vintage Ports, old Tawnies and since 2006, for its Douro wines[/caption] [caption id="attachment_1415" align="aligncenter" width="400"] Grapes at Quinta do Noval are picked exclusively by hand[/caption] [caption id="attachment_1413" align="aligncenter" width="421"] Taylor’s is regarded as the benchmark for Vintage Port[/caption]

Get Your Hedonism Hit

dariussanai — Mon, 26 May 2014 10:37:40 +0000

Online shopping may be thriving, but the world is awash with swanky boutiques offering indulgent fantasies of every type to the wellheeled and the dreamer. KARYS WEBBER picks some of the best Chanel, Paris For fashion lovers, no one tops Chanel of course, and while a visit to any of the iconic fashion house’s worldwide boutiques is a treat, for the most hedonistic experience it must be the Avenue Montaigne store in Chanel’s home city, Paris. A stone’s throw away from the legendary Coco Chanel’s old living quarters at Rue Cambon, the 600 square metre store, designed by Chanel’s resident architect and interior designer Peter Marino, is in fact partly inspired by Mademoiselle Chanel’s apartment, echoing the timeless modernity and elegance which epitomises the brand. Tweed wall panels, rock crystal chandeliers by Goossens, pearl embroidered curtains and Ingrid Donat coffee tables come together inside the store which centres around a theatrical double height space devoted to the most precious of accessories and exceptional pieces from the Métiers d’Art collections. Adjoining rooms offer up two spaces dedicated to watches, two to accessories, one showcasing shoes and a VIP salon, whilst the first floor houses the ready-to-wear collection. The classic Chanel colour scheme of pearly whites, glossy blacks, beiges and gold is as evident as ever with contemporary works of art from the likes of Idris Khan, Jean-Michael Othoniel and Mark Swanson thrown in for good measure. chanel.com Harry Winston, Paris Arguably the most hedonistic item to purchase, diamonds are of course a girl’s best friend and nowhere more so than at Harry Winston’s Shanghai Pavilion. The 80-year-old luxury brand, renowned for being the jeweller to the stars, opened the unique store in the prestigious XinTianDi district in 2012, designed with the aim of creating “an experience that was both intimate and monumental”, according to New York-based architect William Sofield. The freestanding boutique aptly shimmers like a jewel from the outside with much of the façade clad in zigzagging panels of clear and misted gold glass, and features a carved stone gateway (a reinterpretation of Shanghai’s historic Shikumen style). Inside, shoppers are greeted by a soaring two-storey oval atrium with a black and white marble floor that references the brand’s Fifth Avenue store. Chinese architecture and its shape-shifting approach to space is cited as part of the design inspiration and as a result few of the shop’s walls are set at right angles and no room is perfectly square, meaning the store appears to evolve before your eyes. Dedicated areas for the brand’s signature collections (such as Sunflower and Cluster) and the High Jewellery collections are each designed with individual materials and colour palettes to compliment the pieces. The store also features a custom-designed Bridal Bar and, for the first time, a designated Timepiece Salon complete with LED screens which display behind-the-scenes footage of the watch development. harrywinston.com Gastón y Daniela, Madrid Founded in Bilbao in 1876 and still owned by the same family, Gastón y Daniela is a treasure trove of textiles housed in a grand former mansion in Madrid. The store offers over 40,000 fabrics ranging from contemporary designs (like the new Uptown collection inspired by the use of geometric patterns between the 1930s and 1960s) to unique heritage fabrics from their extensive archives. You can peruse luscious silks, intricate brocades and rich damasks at your leisure whilst enjoying a cup of coffee or a glass of sherry (depending on the hour), which the staff will whip up for you. Alongside the swathes of tactile fabrics, the store also impeccably displays their own wallpaper designs, upholstered furniture and Persian carpets, making it a haven for interior design lovers. Plus, with plush sofas sat in front of fireplaces and a beautiful private garden accessible via the sitting room, you’d be hard pushed to find a more pleasurable retail experience. gastonydaniela.com Fortnum & Mason, London One of London’s most iconic and oldest emporiums (and not to mention grocer to the Queen), Fortnum & Mason has been a foodie favourite since it was established over 300 years ago, when it was famous for offering up exotic delicacies from around the world. The quintessentially English store (it stocks over 200 varieties of tea if you were in any doubt about its British heritage) sells everything from cheeses and preserves to macaroons and fudge in its vast food hall, which spans two floors connected by a grand spiral staircase. Gourmet gift hampers are Fortnum & Mason’s forte with signature hampers including the ‘Mayfair’ and ‘West Country’ although bespoke versions can also be stashed with an array of sweet or savoury treats like champagne truffles and beluga caviar. The store also houses five restaurants across its seven floors including the 1707 Wine Bar (named after the store’s foundation year), designed by David Collins, where you can order any bottle of wine from the extensive collection in the adjacent wine department for just a £10 corkage fee. Alternatively, head to The Parlour on the first floor for a naughty Knickerbocker Glory. fortnumandmason.com Alfred Dunhill, London Alfred Dunhill’s flagship store (or ‘home’ as the brand likes to call it) is a former Georgian mansion in the heart of swanky Mayfair, which was previously the residence of the Duke of Westminster. The British luxury label has been dressing the most discerning gentlemen with their exquisitely crafted goods for over 100 years and everything from leather brogues to silk pocket squares are available over three spacious floors, alongside a bespoke tailoring room for custom-made garments. Not just an impeccable shopping experience however, the grade II listed building also doubles up as an exclusive members club with other on-site offerings including a marble-clad spa and an intimate, traditional barbers where men can treat themselves to a classic wet shave. The Cellar Bar meanwhile serves up a perfectly spicy Bloody Mary as well as providing the food for the charming courtyard restaurant. Plus, for film buffs bored of the generic multiplex experience, there’s a luxurious subterranean private cinema room, equipped with the finest visual and audio equipment from Meridian, which is available for hire. dunhill.co.uk Bijan, Beverly Hills Unashamedly billed as “the world’s most expensive store”, Bijan is an exclusive appointment-only boutique housed in an extravagant Mediterraneanstyle palazzo on Beverly Hills’ famous Rodeo Drive. Founded by Iranian designer Bijan Pakzad in 1976 (though now run by his business partner Dar Mahboubi since Pakzad’s passing in 2011), Bijan is predominantly a menswear store offering ‘one of one creations’ of the utmost opulence and finest quality (a coat made out of vicuña wool for example, the rarest and most expensive material in the world, for an eye-watering USD 15,000). The store counts the most powerful men of politics and fashion as clients, including Presidents Ronald Reagan, Barack Obama and Vladimir Putin and designers Oscar de la Renta and Tom Ford. Alongside fashion, Bijan is also known for its perfume range (currently consisting of 14 unique scents for both men and women, all contained in elegant Baccarat crystal flaçons) and custom-designed accessories with past requests including bulletproof lined jackets, chinchilla bedspreads and, naturally, bespoke yacht and private jet accessories. The last and most lavish string to Bijan’s bow however is luxury supercars, born out of Pakzad’s personal passion for them, which has culminated in a series of limited edition and highly bespoke Rolls-Royce and Bugatti Veyron cars being designed exclusively for the store. bijan.com Lane Crawford, Greater China Originally a provisions trading post for the navy in 1850, Lane Crawford is today a benchmark for innovation due to its retail concepts and design. Spearheading retail indulgence across the region since the 70s, the retail mogul brings the world’s most luxurious and coolest brands to Hong Kong, Beijing, Shanghai, and soon to Chengdu. With more than 602,000 square feet of prime real estate across five stores in three of the world’s most expensive cities, Lane Crawford doesn’t have branded shopin- shops like many other department stores but instead whisks its Louboutin-clad customers across its meticulously curated displays – much like reading a magazine from cover to cover. Clean-cut, contemporary and sleek, the stores house menswear, women’s wear, beauty, homewear and even a dedicated music bar where patrons can order complimentary coffee while sampling the world’s newest tunes on iPods. Oh, and the next time you’re looking for that perfect gown or clutch, you might want to check in and ask for the collection that won’t be shown on the racks. lanecrawford.com Roja Dove, Harrods, London Offering a welcome respite from the never-ending stream of mass-market fragrances, esteemed master perfumer Roja Dove (regarded as the ‘connoisseur’s connoisseur’) creates scents that are full of emotion, sophistication and ‘grounded in memories of love’. At the Roja Dove Haute Parfumerie, nestled in a hard-tofind enclave of iconic department store Harrods, scent is regarded as powerfully evocative and incredibly personal. Customers seeking true fragrance fulfillment can embark upon a unique journey to ‘unlock their perfume personality’ in the intimate space which is lavishly decorated with mirrors and black lacquer furniture. If you don’t fancy the completely bespoke service however, elaborate crystal decanters containing pre-made Roja Dove fragrances are still created using the finest and rarest raw materials in the world including Jasmine de Grasse and Rose de Mai (both from the South of France and more expensive than a gold bullion). The store also offers Mr Dove’s own personal edit of the most luxurious fragrances from other renowned perfume houses including Guerlain and Clive Christian (the latter famous for producing the world’s most expensive perfume, the Clive Christian No. 1, the bottle of which was decorated with diamonds and cost a whopping £115,000). rojadove.com Level Shoe District, Dubai Mall, Dubai Dubai doesn’t often do things by halves so it’s no surprise that the cosmopolitan city boasts the world’s largest shoe store, within the world’s largest shopping centre. The Level Shoe District is 96,000 square feet dedicated purely to luxury footwear and is home to over 250 brands, of which, over 100 are exclusive to the region and 40 are stand-alone designer boutiques. To avoid overwhelming shoppers with such a vast shoe metropolis, the store is divided into four more digestible sections: Women’s Designer, Women’s Contemporary, Men’s and Trends, with each quarter designed with its own distinct aesthetic and ambience. Among Women’s Designer – a chic boudoir-esque space with gilt birdcages and a powder pink colour scheme – you’d be hard pushed to find an international designer brand missing with everything from Valentino and Louis Vuitton to Miu Miu and Alexander Wang elegantly displayed. Women’s Contemporary meanwhile features the more cutting edge, up-and-coming luxury designers like British exports Nicholas Kirkwood and Sophia Webster. Men have everything from Berluti to Oliver Sweeney at their fingertips as well as concept store The Cobbler, which is designed like a gentleman’s club and offers traditional shoe repair and a bespoke service workshop. On top of this, visitors who are exhausted after a hard day’s retail therapy can indulge in a treatment at the Sole Lounge by Margaret Dabbs (the renowned celebrity podiatrist’s only foot spa outside the UK) or treat themselves to high tea at the region’s first Vogue Café, which is decorated with iconic photography from the fashion magazine’s archives. levelshoedistrict.com Hajenius, Amsterdam Housed in a historic Art Deco building on Amsterdam’s Rokin boulevard since 1915 (though the company dates back to as early as 1826), the renowned House of Hajenius is widely regarded as one of Europe’s leading cigar houses. With the interior remaining virtually unchanged since Hajenius’ inception, cigar aficionados are greeted with a remarkable backdrop of fine Italian marble, oak panelling and colossal chandeliers that date back to a time when Amsterdam was still lit by gas, before so much as a whiff of a tobacco. Venture further in and the finest selection of cigars are available, from Hajenius’ own brand to an entire room dedicated to Havanas as well as cigars from Sumatra and Brazil, plus smoking accessories ranging from lighters and cigarette holders to handmade clay and ceramic pipes. In addition to the retail aspect, the grand building also houses an exceptional walk in humidor that features a richly decorated vaulted ceiling – the doors are activated by a key fob held by staff members who screen entrants - and regular cigar and whisky tasting evenings are held at the venue. hajenius.com

The Earth Issue

dariussanai — Mon, 30 Mar 2015 13:56:00 +0000

Eco Drive

dariussanai — Mon, 21 Jul 2014 10:15:41 +0000

The head of future mobility at the world’s leading luxury car manufacturer predicts that the transformation of the auto market will come slowly, but surely. Herbert Kohler As a company, as announced a few years ago, we are preparing the platforms of our cars to adapt to hybridisation [the use of electric and combustion engines in the same car]. We have done this with very good results in the [mid-sized] E-Class, but we have to admit that the market has changed a little since: hybrids are not the only way to dramatically reduce CO₂ emissions anymore. Look at the [big SUV] M-Class and you can see that a [diesel] combustion engine by itself can reach emission rates lower than 160g CO₂/km, which is outstandingly good. Nobody would have imagined that three or four years ago. Still, the latest development is plug-in hybrid technology [where the electric engine is powered by batteries charged by mains electricity] with the S-Class, with preparations taking place to use the technology in other cars in the future. However, that depends on market acceptance, and nobody can realistically claim to predict that. The technology is fantastic and outstanding in terms of the technical challenge and solution; there is no question about that. But the question is: how does this technology fit in and work from the market side, from the consumers’ side? And there is not only one market. There are different markets – China, the rest of Asia, Europe, the US and the rest of the world. It will come step by step and we are all feeling our way. There are different opinions in the market. On the one side, you have the consumers who love such developments and are more passionate and committed to sustainability. Others do not care about that sort of thing, or not that extensively. And most people have no clear idea of the technology involved. In itself, this is not a disaster. But there is a tendency to associate with the word ‘hybrid’ – that this means the car has less emissions, that it is cheap but with as good a performance as before, and that there are no restrictions in the package. Most people would like to have all that without the additional costs – it’s a very attractive idea. An important point to make is that [car manufacturers] cannot survive solely on the purchases of those who are really committed, on the consumers who say, “I really want to have that technology, and I will bear the extra costs because I know it is a positive thing to do”. I would say that they are less than five per cent of the market. You cannot build a business on less than five per cent. There is a global move towards reducing emissions. China and Japan are in the same situation as Europe and the US. If you sum up the volumes of these countries, it adds up to more than 50 per cent of the world market, so it is clear we have to be guided by that. And then there’s the requirement for high technology and specification, from the Middle East, for instance, and such markets might not be as interested in the consumption side. It is not possible to predict the future with certainty, as we all know. But we think there is strong movement behind plug-in hybrid motoring technology. I remember seven or eight years ago, when the first realistic ideas were being aired about plug-in hybrids. The initiative actually came from our Van department. Due to some requirements in the US, they asked if we were planning to do a plug-in hybrid. Our response at that time was, “Is this really necessary?” My reason for recounting this is that there is a lot of development going on and there are a lot of new ideas, so it’s very difficult to say today what will happen in the next 10 years. I do think we will have more plug-ins in the future, because we’ve got good technical solutions without the compromise of additional costs or the lack of driveability. Nobody would want a luxury hybrid car with an electric mode that drives very slowly; nobody would pay for that. We are convinced that the time will come for [hydrogen] fuel cell and hybrid cars and that will bring us additional momentum, not being appropriate at the moment for the entire portfolio. But certainly [compact cars] will go in that direction for the next generation, and it will conquer other segments step by step. The technology is a given, we can do it, but it is also important not to swallow too much from the beginning. We need to do it step by step. Our biggest challenge in all this is infrastructure [the network of electrical charging points for plug-in cars, which is mostly incomplete or non-existent around the world]. We will not get involved with it because it is not our core business and we are not willing to compete against energy suppliers – that would not make sense for us. We therefore have to rely on those who are more interested in it to grow in that direction. And sometimes there aren’t enough companies who wish to develop in that direction, so there is always an intensive struggle behind the curtain about that. This is one of the biggest challenges, but of course we also have a lot of technical challenges, as with any new technology. On the engineering side we have developed a very good cooperation with Nissan and Ford. To showcase our technologies on this front is the S-Class [the new large saloon launched at the end of last year] for several reasons: it has autonomous and semi-autonomous driving modes, the most advanced safety features, and a plug-in hybrid solution. It shows everything we can do right now. Professor Herbert Kohler is Chief Environmental Officer of Daimler AG, parent company of Mercedes-Benz; mercedes-benz.com

Singapore Stories

dariussanai — Sat, 02 Aug 2014 08:50:24 +0000

In a few months, Fort Canning in the heart of Singapore will be transformed into the first Asian outpost of the Pinacothèque de Paris. But the heritage site has been a cultural hotspot before, discovers Koh Yuen Lin [caption id="attachment_1459" align="aligncenter" width="500"] Vantage Point - Sir Stamford Raffles saw a safe and strategic location in Fort Canning Hill - Courtesy of the National Museum of Singapore,National Heritage Board[/caption] It can hardly be called majestic, with an elevation of a meagre 60 metres. Yet it has been the favoured seat of power for sultans and governors alike. When prince of Palembang Sang Nila Utama sailed across the stormy seas in the 1300s, he chose the hill – with its freshwater spring and view of the river mouth – as a safe place to house his entourage as he built the new Kingdom of Singapura. And though Bukit Larangan – or the Forbidden Mountain – would be a deserted place covered in dense hardwood jungle and shrouded in myths about ghosts of sultans past, Sir Stamford Raffles arriving in 1819 saw in the hill what previous rulers had recognised: a safe haven, a strategic vantage point, and the nucleus of a city’s growth in more ways than one. With 11 mature trees on its premises protected under National Park’s Heritage Tree Scheme, and a forest of flora and fauna, Fort Canning is home to a rich ecosystem. Yet few realise that what we see within this city-centre green lung is not just a product of nature, but also human nurturing. [caption id="attachment_1460" align="alignright" width="250"] Singapore Pinacothèque de Paris - The upcoming museum will be housed within the historic Fort Canning Centre[/caption] Cleared extensively in the 1800s for development, the hill was given back its green coat when Raffles – a passionate botanist and also founder of the London Zoo – set out to create a modern botanic gardens on its ground. This would become a 19-hectare Botanic & Experimental Garden established in 1822. Mimicking styles of Europe’s most important botanic gardens, it was a medicinal plant gardens first, then a showcase for the exotic plants introduced during the age of exploration, and a nursery for potential cash crop – a place where the relationship between nature and culture was explored. Though all that remains of it today is a 2,300 sqm Spice Garden created in 1994 and planted with some of the plant species in the original garden, together with many plants featured prominently in local cuisine, it remains a reflection of Singapore’s blend of East and West cultures. Another major tree-planting effort the hill witnessed was the development of the southwestern section of the hill, bounded by Clemenceau Avenue and River Valley Road, into King George V Jubilee Park. This would later be expanded and rechristened Central Park in the 1970s, and then enlarged once again and renamed Fort Canning Hill in 1981, officiated with the planting of a fruit tree by then prime minister Lee Kuan Yew – whose vision of Singapore as a garden city has shaped not just the country’s landscape, but also contributed to the economy in intrinsic ways. Indeed, Fort Canning is more than just a green space. It is a historical site that has stood witness to the changing face of Singapore over the course of centuries. Yet it doesn’t stand still in history – it adapts along with it. Archaeological finds from excavation sites on the hill continue to fascinate historians with artefacts from when the place was palace grounds for Malay royalty. From delicate Jing De Zhen ceramic dating back to the Yuan dynasty (1271–1368) to 14th century gold jewellery carved with intricate Hindu motifs, each is a clue to the island’s ancient past as a prosperous ancient kingdom. [caption id="attachment_1461" align="aligncenter" width="600"] Fort Canning Gate - Constructed in 1846, the Gothic Gates still stand today as the entrance - Credit: Liisa Wihman[/caption] Historical landmarks oft overlooked by visitors whisper of a time when the site played the role of a strategic communications centre for the port city. On Raffles Terrace stands a replica of the original Time Ball: a device that was raised at exactly 1255hr and dropped at precisely 1300hr as a means for businesses, government offices and the larger community of the downtown area to set their clocks to a common time during the early colonial days. In front of the humble Raffles House, a flagstaff stands where a taller wood flagstaff was erected in the mid 1800s. Different ensigns raised communicated to the township the identity, location and status of the ships entering and leaving the harbour, and even the type of cargo being carried and the ship’s last port of call. This told the people when to post their mail and packages sailing for Australia, China, India and Europe, and also indicated to merchants when to head down to the docks for some early bird bargaining. For this reason, the hill was also known locally as Bukit Bendera (Flag Hill) in the latter part of the 19th century. The many colonial structures – from the Fort Canning Gothic Gates designed in 1846 by superintendent engineer captain Charles Edward Faber, the three-storey neoclassical style building previously used as a military administration building in 1926 and now repurposed as Fort Canning Hotel, to the British Army Barracks that have been restored as Fort Canning Centre – further speak volumes of its past as a fort and military base during times of uncertainty. In the words of Melissa Diagana and Jyoti Angresh, authors of Fort Canning Hill: Exploring Singapore’s Heritage and Nature: “Fort Canning Hill has always played a central role in all aspects of Singapore’s heritage. Whether one is looking for Singapore’s tangible cultural elements (such as buildings, ruins, art works, or landscape) or its intangible elements (such as folklore, historical knowledge, fleeting biodiversity, or inspirations), one’s path inevitably leads to this hill.” [caption id="attachment_1458" align="aligncenter" width="500"] National Theatre@50 - The Singapore Biennale 2013 artwork sits at the foot of the hill, as an homage to the original site[/caption] Today, Fort Canning Hill stands in the heart of the Museum Planning Area. Surrounded by the National Museum Of Singapore, Singapore Philatelic Museum and The Peranakan Museum, it is a city-centre location with a heart – and art – beat of its own. Its grounds play host to a full calendar of cultural events ranging from WOMAD, which has been bringing world music, arts and dance to Singapore since 1998, perennial favourites such as Shakespeare in the Park and Ballet Under the Stars staged by the Singapore Dance Theatre since the early 1990s as a means of reaching out to families, to the multitude of musical performances ranging from punk to pop. What most do not realise is that the hill was a venue for the arts as early as the 19th century. When hotelier, entrepreneur, photographer, treasure hunter, and larger-than-life man about town Gaston Dutronquoy took over George Coleman’s two-storey residence sited at the foot of the hill, he also set up a private dinner theatre of sorts. The dining room was transformed into what was quite ostentatiously named Theatre Royal, and it was the stage for the settlement’s amateur actors, including some very high profile members of society such as Singapore’s first lawyer William Napier, prominent merchant Charles Spottiswoode and businessman and magistrate William Read who was, in certain circles, known for his cross-dressing roles. In 1845, Theatre Royal, this time complete with an orchestra pit, found a new home in the Assembly Rooms built at the foot of the hill where the Old Hill Street Police Station now stands. The building however fell into a dilapidated state within a decade. Post-demolition after 1856, a temporary theatre was erected at the same spot, where fundraising performances for what would later become the Victoria Theatre continued until 1861. In more recent history, the hill was home to the Drama Centre on Canning Rise, inaugurated as the Cultural Centre in 1955. It was in this 326-seat theatre that many landmark local stage productions – such as Lao Jiu and Army Daze – made its debut until its demolition in 2002 to make way for the rear extension of the National Museum of Singapore. Then there was the iconic National Theatre with its fivepointed façade, 150-tonne cantilevered steel roof stretching up the slopes of the hill, and no side or rear walls. For the 23 years that it stood, the multi-million structure – opened on 8 August 1963 to commemorate Singapore’s self-government – with its 3420-seat hall complete with a revolving stage, was the venue for international performances ranging from the Bolshoi Ballet to the Bee Gees. Its lush environment a source of artistic inspiration, Fort Canning Hill has also become a natural venue of choice for exhibiting tangible art. At the inaugural 1981 ASEAN Sculptural Symposium, six art installations were donated by member countries and are now displayed throughout the hill’s green spaces. Today, the park remains a creative space spruced with public art installations, such as site-specific works by The Sculpture Society of Singapore. And just as its role has changed through the centuries with the country, the evolution of Fort Canning Hill as a venue for the arts continues. In 2015 it will welcome a new crowning jewel in the form of the Singapore Pinacothèque de Paris housed within the Fort Canning Centre – the first sign of its metamorphosis into an arts venue of international standards as the Singaporean art scene matures. So even though it is indeed as Raffles once wrote of Fort Canning Hill, that “nothing can be more interesting and beautiful than the view from this spot,” those who look close enough, and allow the hill to whisper its story, will discover that true wonderment lies right here within this green sanctuary, on the grounds of the living hill itself. pinacotheque.com.sg

The Midas Touch

dariussanai — Fri, 15 Aug 2014 10:01:38 +0000

[caption id="attachment_1468" align="aligncenter" width="500"] Oliver Waddington-Ball - The 29-year old ‘eco-preneur’ founded the Goldfinger Factory[/caption] Caroline Davies speaks to the London entrepreneur turning junk into art, and supporting his local community and numerous charities in the process At the foot of the Trellick Tower, a Brutalist west London landmark tower block that has now become a part-ironic icon of the postwar era, lies a café, community centre and factory workshop. Venture inside the workshop and you will see an eclectic mixture of raw wooden benches and tables, repurposed conference chairs and unique art works including an elongated motorbike and copper piping chandelier. The centre, called the Goldfinger Factory after the tower’s notorious architect, Ernö Goldfinger, transforms old furniture, bric a brac and other unwanted goods from charities and second hand stores. It then trains and employs local residents from socially disadvantaged groups to turn them into products that are sold in the shop, be that jewellery, art work, metal work or furniture. Artists and craftsmen with no other workspace use the factory’s workshop, located in the basement, giving part of the profits from sales to Goldfinger to carry on its activities, and teaching others the basic skills to get started themselves. [caption id="attachment_1467" align="alignright" width="250"] Located on-site, alcohol-free gastrobar Redemption is run by fellow entrepreneur, Catherine Salway[/caption] The factory was set up by Oliver Waddington-Ball, a young social entrepreneur with the boundless energy of a puppy. “There’s a phrase that I love,” he says. “Every pound you spend is a vote about how you want the world to be. I think that there is a way of making money that doesn’t mean anyone is screwed over. If one person loses then ultimately we all will.” Waddington-Ball first had the idea for the centre while working as a management consultant, advising companies on how to become more community friendly. He thought it was such a great idea that when the company didn’t take it on, he quit his job and started it himself. He persuaded the council to give him the space, which had lain empty for two years and began building up a business plan. “The ethos of the factory was there from the beginning,” Waddington-Ball explains. “But the elements developed pretty organically. We found that a lovely lady living nearby does upholstery and needed a space. Someone else was an electrician, another made necklaces. It all just grew from working with the people we have.”

Every pound you spend is a vote about how you want the world to be. I think that there is a way of making money that doesn’t mean anyone is screwed over.”

[caption id="attachment_1469" align="alignleft" width="223"] Old, donated furniture are refurbished by trained hands and then put up for sale[/caption] Upcycling, the process of taking other people’s junk and turning them into a thing of beauty, has become the centre’s lifeblood. 1960s sideboards, modish armchairs and art deco inlaid tables are carefully restored and resold, vintage posters are given a new lease of life and old bicycles revived. The workshop has bigger projects too. After creating a bar for London Fashion Week made up entirely of OSB board, the team began reeling in commissions for pop-ups and more recently, outfitting homes for some high-profile clients. The successful musicians, actors, designers and authors from the area – a stone’s throw from chic Notting Hill and cool Queen’s Park – have taken to Goldfinger, buying into the unique stories and objects. It might be being charitable, but Waddington-Ball argues it isn’t just about accruing social brownie points. “Obviously people like the story behind the objects they buy, but you can’t run a business by making someone feel guilty. They need to want what they are buying, otherwise the idea isn’t sustainable either.” Part of Goldfinger’s appeal is the atmosphere. The sales room may not be polished, but it is seductive, playing off a sense of discovery. The merchandise comes from across London, Waddington-Ball explains; charities send the factory photographs of new deliveries and Goldfinger take their pick, giving the charity the total they were asking for plus a third of any additional profit they make. [caption id="attachment_1470" align="alignright" width="250"] Creative mentors train apprentices from socially disadvantaged groups to equip them with lifelong skills[/caption] “We make charity sexy,” he says. “Selling pieces with a social story doesn’t need to be done somewhere with a charity shop feel.” Waddington-Ball is not only the force behind the factory, but he is also fast becoming a media lightning rod for the movement. In its short life, the factory has won some of the biggest funding awards and there is even talk of a television series. “I want to spread the word,” he says. “The project is my baby, but it is taking on its own life now. I want to help people take this concept and use it across London and around the world.” goldfingerfactory.com

Glamour Warrior

dariussanai — Sat, 23 Aug 2014 08:11:03 +0000

[caption id="attachment_1483" align="aligncenter" width="600"] Green Carpet Challenge - The brainchild of Firth has seen strong support from high-profile actresses[/caption] What are the greatest challenges Eco-Age faces moving forward? Each business we work with involves a different challenge. But this is what we do – we help companies undertake what could seem like a huge challenge and make it easy for them! Until last year no one would have thought it possible to connect a Gucci handbag with the cows in the Amazonian forest, and yet we made it happen. Or Chopard’s stunning earrings with the miners who dig out the gold in Colombia. These are processes which take time, but as Caroline Scheufele of Chopard always says, “Rome was not built in a day”! [caption id="attachment_1482" align="alignright" width="239"] Rodriguez & Bottletop - The bags are made from deforestation-free leather and recycled aluminium pull tabs[/caption] What are the rewards? Huge. Both economic rewards (to be a sustainable business means precisely this – to save money and become more agile) and social rewards – we all need to reconnect with the people at the beginning of the supply chain. This is what we strive to do at Eco-Age: help brands and businesses to establish this powerful connection. How are businesses responding and adapting to sustainability challenges? They are all trying to figure it out, but most importantly they all acknowledge we need to change. This is the first step to change. It is about future proofing a business, securing long term supply of consistent resources, both natural and human, and continually ensuring consumers that when they buy what you are selling, they are making a positive impact. When clients come to us, we try to help them meet their sustainability challenges and then benefit from those improvements through business efficiency, secure supply chains, reputational benefits and ultimately, increased sales.” eco-age.com [caption id="attachment_1484" align="alignright" width="300"] Campaign Ambassador - Supermodel Candice Swanepoel (left) is the face of the Rodriguez collaboration[/caption] [caption id="attachment_1485" align="alignright" width="300"] GCC Brandmark - Narciso Rodriguez worked with Bottletop Foundation on an eco-friendly range of bags[/caption] [caption id="attachment_1486" align="alignright" width="300"] Industry Support - Firth’s work is backed by industry heavyweights such as US Vogue Editor-in-Chief
Anna Wintour[/caption]

The Great American Wilderness

dariussanai — Fri, 05 Sep 2014 09:06:33 +0000

[caption id="attachment_1494" align="aligncenter" width="600"] Land Acquisition - Once the fragmented lands are connected, APR will provide overall wildlife management focus[/caption] Sean Gerrity has a vision, which he is rapidly turning into reality. Through the American Prairie Reserve, of which he is president, he is creating a wilderness reserve in North America to rival the Serengeti. Darius Sanai tells the story; and over the next pages, the images of the reserve in Montana tell their own “In 10 to 15 years, you should see a slice of land extending 13,000 square kilometres here, the vast majority of that with no fences. There will be stunning variety of wildlife that has not been seen here for 150 years, but which was here for 1,000 years or more: thousands of bison, like the wildebeest in the Serengeti; cougars, wolves, grizzly bears in sustainable numbers. There will be all species of prey like elk and deer. It will be very easy to engage with this space: it will be a very wild place but with planned, controlled public access.” [caption id="attachment_1497" align="alignright" width="244"] Sean Gerrity - An ex-entrepreneur, Gerrity now commits himself to wildlife preservation[/caption] Sean Gerrity is mapping out his vision for the American Prairie Reserve (APR) on the high plateau of Montana. The idea of a kind of vast safari reserve in what has, in recent times, been farmland may sound far-fetched, but Gerrity is no empty dreamer. In his role at the APR, he has already been building the project for 15 years, purchasing and piecing together ranches and farms from owners who are giving up on farming. “Their kids want to go live in the cities and become web designers,” he says, commenting on the decline of the ranching tradition. Rather than let the area become forgotten, he and the APR are building America’s largest wilderness reserve and restocking it with species, many now endangered, that used to roam freely. Gerrity and the APR work closely with conservation bodies like the International Union for the Conservation of Nature (IUCN) and Worldwide Fund for Nature (WWF). The most compelling part of his vision is that he wants to build facilities for humans to come and interact and experience and enjoy the wilderness, without destroying it. “It’s a life-producing experience being out there, quite overwhelming,” he says. “All five senses are just roaring. We are building a way for people to access it, for kids to come out and just sit and listen to the sounds and forget about their electronic toys.” Gerrity knows about the latter: in his previous life, he was a Silicon Valley entrepreneur, founder of a consulting company. He has now returned to his childhood home of Montana and is bringing nature back where it belongs, as the photography on these pages shows. americanprairie.org [caption id="attachment_1495" align="aligncenter" width="600"] Prairie Heritage - Reintroduced to the prairie in 2005, the bison herd has since grown in numbers[/caption] [caption id="attachment_1496" align="aligncenter" width="600"] Buffalo Watch - An American West icon, APR seeks to restore the majestic bisons in their natural habitat[/caption] [caption id="attachment_1500" align="aligncenter" width="600"] The Great Outdoors - Visitors can explore the vastness of the landscape by hiking or even biking[/caption] [caption id="attachment_1499" align="aligncenter" width="900"] Kestrel Camp - Located on-site, the climatecontrolled tent suites offer an intimate nature experience 5. Western Meadowlark The reserve[/caption] [caption id="attachment_1502" align="aligncenter" width="600"] Pronghorn Antelopes - One of the few remaining native animals, the migration studies contribute to meaningful research[/caption] [caption id="attachment_1501" align="aligncenter" width="500"] Nurturing Offspring - Numerous bison calves have been born on-site since the reintroduction of the species[/caption]

Tierney Gearon: Life Through A Lens

dariussanai — Mon, 30 Mar 2015 13:56:37 +0000

Controversy and chaos collide in the photography of Tierney Gearon, discovers Millie Walton. No wonder Charles Saatchi is a fan.

Tierney Gearon is hard to pin down. It takes a couple of weeks for me to catch her on the phone from her home in Los Angeles, and even then it’s only for a few minutes, as she’s “arrived at a friend’s house and doesn’t want to look rude”. I shouldn’t be surprised; she is one of the world’s most sought-after photographers. Yet despite the fact that she’s balancing two jobs as an artist and mother, she’s more than willing to talk and welcome me into her world. There’s a familiarity to her, even though we’ve never spoken before, and her answers feel genuine and unrehearsed. The way she puts it, she sort of stumbled into photography. Born in Georgia, initially she was a ballet dancer “and then I cut my hair and became a model. While I was modelling and travelling around the world, I kept a Polaroid diary of everything I did. One of my agents saw the Polaroids I’d taken of the other models and said, ‘Oh my god, you’re an incredible photographer!’ That’s basically how I broke into fashion photography.” There’s a pause as she’s seen something she needs to take a photo of – a little girl playing with her mum. “Give me two seconds.” Despite this little interlude, Tierney doesn’t usually carry her camera around with her. She finds it “far too intense”, preferring instead to allocate dedicated work trips. [caption id="attachment_1546" align="alignnone" width="660"] Pushing the Boundaries
Gearon's 'Colorshape' series explores the idea of putting someone in a box, literally and metaphorically[/caption] She’s back, slightly out of breath and laughing. “Sorry about that! Where was I? When I got married I put my photography aside for a while to concentrate on having children and being a mum,” she continues. “When I started having marital problems aged 38 I needed to find myself again, so I started photographing my family in a new, artistic way. I’m one of those people who believe that you should just follow things in your path. You never know what’s going to happen.” In 2001 Gearon’s photographs were showcased in the Saatchi Gallery in London – a huge achievement for a virtually unknown artist. However, the exhibition (‘I Am A Camera’), which included two photographs of her nude children (then aged four and six) caused public outrage, resulting in the near-seizure of her work under indecency laws. The abuse propelled at her by the media was particularly vicious – a News of the World review labelled the show “perversion under the guise of art”. She was, she says, “an innocent person who was simply trying to document” her life, but looking back on the controversy now Tierney appreciates how naïve she was to the art world. “When Charles Saatchi saw my work he knew that something would happen because of it,” she says. “Those were intended as light, funny images. To me, the darkness is in the eye of the beholder. If you see something dark that’s your issue, not mine.” Did the incident cause her to reconsider her artwork? “It made me lose interest in the business of the art world itself,” she says. “I feel like a lot of galleries and people are just looking for sensation. Charles Saatchi is a master at advertising, creating sensation. Being a successful art director is an incredible gift and he is very talented. It’s great to have people like that appreciate your work, but at the same time one needs to be careful not to get caught up in the art world game.” [caption id="attachment_1549" align="alignright" width="476"] Site Specific The Plexiglas structures are built on site wherever Gearon is shooting[/caption] Perhaps that’s why Gearon’s images are so rooted within the domestic world. She works through an organic creative process, which naturally encourages people to use their imaginations. “Usually I direct organised chaos and interesting things happen within it,” she explains. “A lot of the time people don’t even know I’m taking their photograph.” It’s that combination of reality paired with fantasy that makes her photographs so mesmerising. The worlds she depicts often have a way of inviting the viewer in while also evoking an atmosphere that’s punctuated by sadness or uncertainty. This is most obvious in ‘The Mother Project’, a series of photographs that explores Gearon’s relationship with her mentally ill mother. Despite the hardship that must have entailed, the artist looks back on her childhood fondly. “Both my parents gave me an enormous amount of love and allowed me to be an individual,” she recalls. “They gave me the space to be creative and to appreciate creativity.” It’s something she aims to allow her own children by encouraging them to collaborate with her on projects. Her most recent release, ‘Alphabet Book’ – “an art book for children and a children’s book for adults” – is the result of that collaboration and an enchanting example of what combined imaginations can produce. Aside from being an outlet for creativity, I wonder why Gearon feels so compelled to photograph and what it is that she’s hoping to capture in her images. “My photography is like a diary of my soul,” she says. “Every single project I’ve done is a way of working through different issues in my life. My images tell a story, they provoke emotion and feelings.” What’s the story behind her current series, ‘Colorshape’, I ask. “It’s about putting someone in a box. I wasn’t raised with a lot of boundaries, so by putting someone in a box I was also learning to contain myself.” One can’t help feeling that the project, like all of Gearon’s work, will keep going until she discovers exactly what it is she’s looking for. She admits to be being “a perfectionist” and says that “I may appear disorganised from the outside, but anyone that really knows me understands that even the chaos that sometimes surrounds me is an organised chaos.” Organisation, it would seem, is the key to Gearon’s sense of stability. It’s a way of grounding herself and her children. “I have a very distracted personality and I create structure by creating a strong family home that feels safe for us,” she explains. “I don’t drink, smoke or do any drugs. We go on a lot of family trips and I have a huge support team, which includes my close friends and family.” I wonder how her work has developed since becoming a mother. “All of my projects are from my heart and soul. I feel I have become more focused and more confident over the years. I live in the present, which keeps my work very current, but I don’t work every day so my work doesn’t consume me. My children consume me.” We move on to talking about her relationship with her audience. With 54,000 followers on Instagram, it’s safe to say Gearon has a significant following who enjoy viewing her professional work as much as the “visually inspiring images” of her everyday life. “I’m not even sure who my audience is because I’ve never met them,” she muses. “But I feel that people who appreciate my work are people looking for something raw and individual, something very authentic. Because I share myself with people in my work, people reach out to me, they feel understood by me. Instagram has been very interesting because I am able to communicate directly with my audience and people can share with me, too.” It’s a refreshing take on the social media craze that’s consuming our lives and expresses Gearon’s genuine lust for life. “As long as I love what I do I will continue to do what I do,” she says. “As soon as I lose interest or inspiration then I will move on to a different medium so my goal is to never stop finding inspirations and discovering new things.” It seems a simple philosophy, but one that most of us could do with adopting ourselves. Our conversation ends, leaving me feeling uplifted and impassioned. In the world of Tierney Gearon, nothing is impossible. tierneygearon.com

Haute Stuff

luxlegion — Sat, 28 Mar 2015 18:52:23 +0000

A ski-in, ski-out residence complete with Martini bar and pool sounds very Rocky Mountains, yet L'Amara is a spectacular addition to one of the most traditional skiing regions of France, as DARIUS SANAI discovers

[caption id="attachment_1561" align="alignnone" width="970"] On Top of the World
The Alps are the home of skiing[/caption] How do you like to take your Alpine winter holiday? I suspect that cosmopolitan readers of LUX like to ski in the Alps, as well as put carbon fibre on snow in Colorado, Idaho and Hokkaido. There is something about the home of skiing, the crescent of mountains that rises out of the Mediterranean above Nice and sweeps through France, Switzerland, northern Italy and Austria before petering out, like the Turks, at the gates of Vienna, that is more concentrated, more alive with possibility and atmosphere, than anywhere else. The powder may be deeper in Niseko, the back country bigger in British Columbia, the whole experience more effortless in Aspen: but the Alps are where the story started, and where it evolved and continues to evolve. (Snowboarders have a different tale to tell, but not that many of you are boarders.) If you are of one generation of wealth, you may stay in a hotel in St Moritz, Lech or Gstaad. Another, and you will be pounding the new hotels of Courchevel (see our helpful tongue- in-cheek guide at the end of this article). Or you may instead take over a whole chalet in Zermatt or Verbier. One rung down from the gourmet-catered chalets are the traditional French ski holiday chalets, cheerfully run by a chalet girl fresh out of British boarding school, happily burning the scrambled eggs and fighting off the advances of a soon-to-be-retired chartered surveyor from Surrey while his family occupies the Jacuzzi. While there is no shortage of grand hotels, old and new, and chalets of every style, what the Alps have largely lacked is sophisticated, concierge-led residences in the American style, where you have a kitchen and living room, an in-residence pool, and a proper reception/bar/ restaurant downstairs, hotel-style. Until recently. L’Amara, one such development, opened last year to a considerable buzz in the French resort of Avoriaz. Avoriaz itself, located at a very high 1,800m on a mountainside above a deep valley, in which lies its mother resort of Morzine, has undergone something of a rebranding in recent years, shedding its 1960s middle-middle-class French bourgeoisie image and turning more contemporary and upmarket. L’Amara is in an extension of the main village, on a ledge overlooking Morzine (rather satisfying, if, as during our stay, there is deep snow all around but the grey of rain far down below). When booking we did wonder whether being a) high on a ledge, and b) 500m from the main part of Avoriaz would be an issue, and this is a good demonstration of how even an enormous amount of online research can draw you to the wrong conclusion. L’Amara’s location, bordering the thick forest that plunged down the valley, was spectacular and felt exclusive. The walk to the village centre was panoramic, flat, and thrilling; even more so when my younger daughter decided that the wheelbarrows-on-skis that you can pick up and deposit back anywhere in the village would be an ideal mode of transportation: one daughter thus transported the other throughout the trip. (This would not work in a resort thick with teenage British partygoers, who would inevitably shove each other down the run leading down the ledge in an alcohol-fuelled daze, with predictably alarming consequences. Fortunately, Avoriaz is very upper-middle-class family, or was when we were there.) L’Amara itself is genuinely ski-in, ski- out (unlike some places that dub themselves so): unless you execute a perfect stop, you will find yourself skiing into the ski room, and conversely you can launch yourself out in the morning like a racer from a downhill starting gate. The ski school assembly area, where I left the family every morning, is above the main village. On day one we walked, and felt rather laden down with skis, poles and rucksacks (the altitude doesn’t help). Day two saw us ski down out of the hotel to the bottom of the (easy) blue run, with the aim of taking the chairlift that would deposit us just above the ski school area; we were just patting ourselves on the back for working out this ruse when we were confronted by a 20-minute queue of several hundred other people who had the same idea. (In the resort’s defence, we were travelling on the busiest week of the year and this was the only lift with any kind of significant queue.) On day three we found the solution that we used for the rest of the week with joy: a horse-drawn sleigh taxi, which whooshed us up to the ski school in a cloud of hooves, powder and sleigh bells (to the children’s delight) in three short minutes, for a mere €10. Worth the money for the ride alone. The skiing in Avoriaz is extensive but not very tall: there are no ultra-high lifts of the type you get in Zermatt or Chamonix. Double- diamond and power-hound experts would run out of thrills quite soon, I think, but for a skier like me (and I am possibly the most common type of lifelong skier) the selection of interesting reds and proper but not kamikaze blacks was varied enough to hold the attention for a week without getting too much déjà vu. Avoriaz is in the middle of an interlinked region called the Portes du Soleil. It is not as logically and broadly linked as the Trois Vallées of Courchevel, Meribel and Val Thorens: you can choose to ski to Champéry in Switzerland or, in the other direction, to Châtel in France. The Châtel trip was a ski journey of the type I enjoy, but it took a bit of navigation with the map. A lift up, then down to a collation of restaurants in the next valley called Ardent; up another lift and down a pleasant red to another, bigger collation of restaurants called Les Lindarets in a confusingly similar-looking valley; then up two lifts to a high-ish station called Chesery, from which it would be easy to take the wrong piste and end up back in Les Lindarets. From Chesery there was a long view down a new valley all the way to Lake Geneva. The most interesting run of all, a steep, straight and mogulled red through the trees (really a black), led down to the pretty, traditional village of Châtel. It felt strangely satisfying to know that to drive back to Avoriaz from here would take up to two hours, around the mountains, and I was planning to have a hot chocolate (laced with a little something) and admire my last run, when I realised that I would need to turn straight round and return if I weren’t to miss the last in the fiddly series of lifts to get back home. I had to positively will the chairlifts to go faster and ski like an impatient Italian instructor eager to get down to his first date with a blonde Swedish student. I still had my heart in my mouth as I did my last racing turn (or what I hoped was a racing turn) to meet the final lift: it closed at 4.15pm, my watch said 4.17pm and... it was still moving. I shot through the gate without slowing down and was whisked back up to safety. The rest of the family had just as enjoyable, if rather less eventful, times and after years of staying at luxury hotels it was a curious relief to be back into our extensive den at L’Amara. I enjoyed cooking (shopping in French supermarkets is always a pleasure) and opening wine purchased from a wine shop, not a marked-up hotel restaurant (it’s the principle, not the price). And after a day of ski school/private lessons, nobody felt much like talking to more strangers in the form of waiters and the like. L’Amara has been designed with great attention to detail: we liked the porthole window by the floor-to-ceiling balcony door, the wraparound balcony itself, and the extremely well-equipped kitchen (complete with oyster shuckers and other signs of entitled bourgeoisie). On two nights we ventured across the snowy courtyard to Le Grand Café, part of the same complex, a new-but-trad restaurant serving steak on hot stones, various fondues, and high-class thin, misshapen pizzas of the best kind. Neither hotel nor chalet, and rather better than both, residences like L’Amara have a bright future in the Alps – the best type of American import. Crystal Holidays offer comprehensive luxury packages to L’Amara in Avoriaz. crystalski.co.uk

Prada's newest campaign star: Léa Seydoux

dariussanai — Mon, 30 Mar 2015 14:14:35 +0000

Léa Seydoux, the French star who's conquered Hollywood and is the new face of Prada Candy, speaks to Caroline Davies about childhood, perfume and Nietzsche

Serious yet joyful, sleek yet dishevelled, Léa Seydoux is an elegant enigma. The actor is one of only three women to have won a Palme d’Or, has just been announced as the next Bond girl and is also the face of Prada Candy perfumes. Following the recent launch of the third fragrance in the series, Prada Candy Florale, and ahead of her role in 2015’s dystopian love story The Lobster, alongside Colin Farrell and Rachel Weisz, Seydoux spoke to us about her journey to the silver screen. LUX: Were you a quiet child? Was acting an obvious path? Léa Seydoux: Absolutely! I was a quiet child, but that is precisely why I decided to be an actress. I wanted to counter my shyness. As a child, I dreamed that I would become an opera singer; I don’t think I was predestined to have a quiet life. LUX: Do you put your past experiences into your performances? LS: I’m convinced there are no rules to follow when becoming an actress. Every path is personal. Learning from our own story is quite logical, as we have to put a bit of our life into the character played. However, it’s not always enough. Role- playing also involves being able to imitate reality. LUX: How has your character in the Candy adverts evolved? LS: Candy’s evolution is linked to the evolution of the fragrance. She has always been a very colourful and original character; she’s a very impulsive young woman who does what she wants, when she wants. I think that in the first film, directed by Jean-Paul Goude, Candy was more spoilt and rebellious, but now she’s grown up a bit and is more rounded as a character. With Prada Candy Florale, there’s a greater sense of freedom, lightness and sensuality that comes across in a sophisticated manner. LUX: You’ve said that you find it difficult to be light on screen. How do you find the lightness to play less tightly wound characters like Candy? LS: Candy is bold and light at the same time. It’s the contradiction that I find deeply interesting. That is what I drew upon when embodying that character. LUX: Why did you want to work with Prada on this campaign? LS: Prada is a brand that I’m particularly fond of; I feel very close to the spirit of the House. It’s a very singular brand, and very audacious. LUX: What is your current fragrance? LS: Prada Candy, of course! I love wearing fragrances. I use many of them. In general, I look for perfumes with a strong personality and lots of originality. LUX: Does the perfume remind you of anything? LS: The first time I experienced Prada Candy Florale I was pleasantly surprised. You feel like you’re being taken on a voyage into a world of flowers, a world that is in full bloom in spring. LUX: How do you prepare for a role? Do you prefer directors who take control or leave you to find your own path? LS: I really appreciate stage directors who are always attentive to characters but, more broadly, I can’t say that there is one better way to guide actors. Generally, I prepare myself in different ways; it depends on the role I am playing. LUX: How do you view Hollywood in comparison to French cinema? LS: There is a real and deep cultural difference between Hollywood and French cinema. Hollywood cinema makes me think of great epic stories and entertainment, while French cinema is based much more on realistic and intimate stories. French people are at the origin of the auteur film industry. "ose very peculiar specificities make both Hollywood and French films unique and complementary. LUX: How do you choose a script? LS: For me, the director choice is crucial as he is going to lead everything. LUX: What is the best piece of advice you have ever heard about life and about acting? LS: “Become what you are” – Nietzsche. It is the best piece of advice for both life and acting. It means that you have to look for your talent and then continually improve it. We are constantly evolving and changes in our life have a real impact on how we are going to play a role and vice versa. Today, I’m not the same actress or woman that I was yesterday. prada.com/candy-florale

Powder white paradise: L'Amara

dariussanai — Mon, 30 Mar 2015 14:12:35 +0000

A ski-in, ski-out residence complete with Martini bar and pool sounds very Rocky Mountains, yet L'Amara is a spectacular addition to one of the most traditional skiing regions of France, as Darius Sanai discovers

[caption id="attachment_1618" align="alignnone" width="660"] Powder White: Avoriaz's high elevation ensures a fine supply of deep snow[/caption] How do you like to take your Alpine winter holiday? I suspect that cosmopolitan readers of LUX like to ski in the Alps, as well as put carbon fibre on snow in Colorado, Idaho and Hokkaido. There is something about the home of skiing, the crescent of mountains that rises out of the Mediterranean above Nice and sweeps through France, Switzerland, northern Italy and Austria before petering out, like the Turks, at the gates of Vienna, that is more concentrated, more alive with possibility and atmosphere, than anywhere else. The powder may be deeper in Niseko, the back country bigger in British Columbia, the whole experience more effortless in Aspen: but the Alps are where the story started, and where it evolved and continues to evolve. (Snowboarders have a different tale to tell, but not that many of you are boarders.) If you are of one generation of wealth, you may stay in a hotel in St Moritz, Lech or Gstaad. Another, and you will be pounding the new hotels of Courchevel (see our helpful tongue- in-cheek guide at the end of this article). Or you may instead take over a whole chalet in Zermatt or Verbier. One rung down from the gourmet-catered chalets are the traditional French ski holiday chalets, cheerfully run by a chalet girl fresh out of British boarding school, happily burning the scrambled eggs and fighting off the advances of a soon-to-be-retired chartered surveyor from Surrey while his family occupies the Jacuzzi. While there is no shortage of grand hotels, old and new, and chalets of every style, what the Alps have largely lacked is sophisticated, concierge-led residences in the American style, where you have a kitchen and living room, an in-residence pool, and a proper reception/bar/ restaurant downstairs, hotel-style. Until recently. L’Amara, one such development, opened last year to a considerable buzz in the French resort of Avoriaz. Avoriaz itself, located at a very high 1,800m on a mountainside above a deep valley, in which lies its mother resort of Morzine, has undergone something of a rebranding in recent years, shedding its 1960s middle-middle-class French bourgeoisie image and turning more contemporary and upmarket. L’Amara is in an extension of the main village, on a ledge overlooking Morzine (rather satisfying, if, as during our stay, there is deep snow all around but the grey of rain far down below). When booking we did wonder whether being a) high on a ledge, and b) 500m from the main part of Avoriaz would be an issue, and this is a good demonstration of how even an enormous amount of online research can draw you to the wrong conclusion. L’Amara’s location, bordering the thick forest that plunged down the valley, was spectacular and felt exclusive. The walk to the village centre was panoramic, flat, and thrilling; even more so when my younger daughter decided that the wheelbarrows-on-skis that you can pick up and deposit back anywhere in the village would be an ideal mode of transportation: one daughter thus transported the other throughout the trip. (This would not work in a resort thick with teenage British partygoers, who would inevitably shove each other down the run leading down the ledge in an alcohol-fuelled daze, with predictably alarming consequences. Fortunately, Avoriaz is very upper-middle-class family, or was when we were there.) L’Amara itself is genuinely ski-in, ski- out (unlike some places that dub themselves so): unless you execute a perfect stop, you will find yourself skiing into the ski room, and conversely you can launch yourself out in the morning like a racer from a downhill starting gate. The ski school assembly area, where I left the family every morning, is above the main village. On day one we walked, and felt rather laden down with skis, poles and rucksacks (the altitude doesn’t help). Day two saw us ski down out of the hotel to the bottom of the (easy) blue run, with the aim of taking the chairlift that would deposit us just above the ski school area; we were just patting ourselves on the back for working out this ruse when we were confronted by a 20-minute queue of several hundred other people who had the same idea. (In the resort’s defence, we were travelling on the busiest week of the year and this was the only lift with any kind of significant queue.) On day three we found the solution that we used for the rest of the week with joy: a horse-drawn sleigh taxi, which whooshed us up to the ski school in a cloud of hooves, powder and sleigh bells (to the children’s delight) in three short minutes, for a mere €10. Worth the money for the ride alone. The skiing in Avoriaz is extensive but not very tall: there are no ultra-high lifts of the type you get in Zermatt or Chamonix. Double- diamond and power-hound experts would run out of thrills quite soon, I think, but for a skier like me (and I am possibly the most common type of lifelong skier) the selection of interesting reds and proper but not kamikaze blacks was varied enough to hold the attention for a week without getting too much déjà vu. Avoriaz is in the middle of an interlinked region called the Portes du Soleil. It is not as logically and broadly linked as the Trois Vallées of Courchevel, Meribel and Val Thorens: you can choose to ski to Champéry in Switzerland or, in the other direction, to Châtel in France. The Châtel trip was a ski journey of the type I enjoy, but it took a bit of navigation with the map. A lift up, then down to a collation of restaurants in the next valley called Ardent; up another lift and down a pleasant red to another, bigger collation of restaurants called Les Lindarets in a confusingly similar-looking valley; then up two lifts to a high-ish station called Chesery, from which it would be easy to take the wrong piste and end up back in Les Lindarets. From Chesery there was a long view down a new valley all the way to Lake Geneva. The most interesting run of all, a steep, straight and mogulled red through the trees (really a black), led down to the pretty, traditional village of Châtel. It felt strangely satisfying to know that to drive back to Avoriaz from here would take up to two hours, around the mountains, and I was planning to have a hot chocolate (laced with a little something) and admire my last run, when I realised that I would need to turn straight round and return if I weren’t to miss the last in the fiddly series of lifts to get back home. I had to positively will the chairlifts to go faster and ski like an impatient Italian instructor eager to get down to his first date with a blonde Swedish student. I still had my heart in my mouth as I did my last racing turn (or what I hoped was a racing turn) to meet the final lift: it closed at 4.15pm, my watch said 4.17pm and... it was still moving. I shot through the gate without slowing down and was whisked back up to safety. The rest of the family had just as enjoyable, if rather less eventful, times and after years of staying at luxury hotels it was a curious relief to be back into our extensive den at L’Amara. I enjoyed cooking (shopping in French supermarkets is always a pleasure) and opening wine purchased from a wine shop, not a marked-up hotel restaurant (it’s the principle, not the price). And after a day of ski school/private lessons, nobody felt much like talking to more strangers in the form of waiters and the like. L’Amara has been designed with great attention to detail: we liked the porthole window by the floor-to-ceiling balcony door, the wraparound balcony itself, and the extremely well-equipped kitchen (complete with oyster shuckers and other signs of entitled bourgeoisie). On two nights we ventured across the snowy courtyard to Le Grand Café, part of the same complex, a new-but-trad restaurant serving steak on hot stones, various fondues, and high-class thin, misshapen pizzas of the best kind. Neither hotel nor chalet, and rather better than both, residences like L’Amara have a bright future in the Alps – the best type of American import. Crystal Holidays offer comprehensive luxury packages to L’Amara in Avoriaz. crystalski.co.uk

MC1

dariussanai — Mon, 25 Feb 2013 09:56:35 +0000

MC2

dariussanai — Mon, 25 Feb 2013 09:56:41 +0000

MC3

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MC4

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MC5

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Misonni1

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Misonni2

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Missoni3

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Missoni4

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Missoni5

dariussanai — Fri, 01 Mar 2013 06:50:35 +0000

Missoni6

dariussanai — Fri, 01 Mar 2013 06:50:37 +0000

The Art Pioneer

dariussanai — Fri, 01 Mar 2013 09:26:33 +0000

The Art Pioneer 3

dariussanai — Fri, 01 Mar 2013 09:31:26 +0000

Swiss1

dariussanai — Mon, 04 Mar 2013 06:15:44 +0000

Swiss2

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Swiss3

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dariussanai — Mon, 04 Mar 2013 06:16:19 +0000

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Swiss11

dariussanai — Mon, 04 Mar 2013 06:16:57 +0000

Chapman1

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Chapman2

dariussanai — Mon, 04 Mar 2013 07:56:43 +0000

Stacey 1

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Stacey 2

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Stacey 3

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Stacey 4

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Stacey 5

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Stacey 6

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Stacey 7

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Stacey 8

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space2

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space3

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space6

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space10

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space11

dariussanai — Mon, 04 Mar 2013 08:48:50 +0000

conran2

dariussanai — Mon, 04 Mar 2013 09:06:49 +0000

conran3

dariussanai — Mon, 04 Mar 2013 09:06:53 +0000

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conran1

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Design roundup1

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Design roundup2

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Design roundup3

dariussanai — Mon, 04 Mar 2013 10:12:04 +0000

Design roundup4

dariussanai — Mon, 04 Mar 2013 10:12:11 +0000

Design roundup5

dariussanai — Mon, 04 Mar 2013 10:12:17 +0000

Design roundup6

dariussanai — Mon, 04 Mar 2013 10:27:04 +0000

Design roundup7

dariussanai — Mon, 04 Mar 2013 10:27:13 +0000

Design roundup9

dariussanai — Mon, 04 Mar 2013 10:27:23 +0000

sermoneta1

dariussanai — Wed, 10 Apr 2013 07:35:50 +0000

dariussanai — Wed, 10 Apr 2013 07:35:55 +0000

sermoneta3

dariussanai — Wed, 10 Apr 2013 07:36:00 +0000

title

dariussanai — Wed, 10 Apr 2013 08:08:49 +0000

wineart1

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wineart2

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wineart3

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wineart4

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wineart5

dariussanai — Wed, 10 Apr 2013 08:14:30 +0000

wineart6

dariussanai — Wed, 10 Apr 2013 08:14:34 +0000

wineart7

dariussanai — Wed, 10 Apr 2013 08:14:42 +0000

wineart8

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wineart9

dariussanai — Wed, 10 Apr 2013 08:14:54 +0000

wineart10

dariussanai — Wed, 10 Apr 2013 08:14:58 +0000

title

dariussanai — Wed, 10 Apr 2013 08:50:36 +0000

title

dariussanai — Wed, 10 Apr 2013 08:52:39 +0000

ltv1

dariussanai — Wed, 10 Apr 2013 08:57:45 +0000

ltv2

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ltv3

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ltv4

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ltv5

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ltv6

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ltv7

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ltv8

dariussanai — Wed, 10 Apr 2013 08:58:35 +0000

unusualrestaurants1

dariussanai — Wed, 10 Apr 2013 09:14:13 +0000

unusualrestaurants2

dariussanai — Wed, 10 Apr 2013 09:14:17 +0000

unusualrestaurants3

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unusualrestaurants4

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unusualrestaurants5

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unusualrestaurants6

dariussanai — Wed, 10 Apr 2013 09:14:45 +0000

unusualrestaurants7

dariussanai — Wed, 10 Apr 2013 09:14:51 +0000

Layout 1

dariussanai — Wed, 10 Apr 2013 09:20:35 +0000

AMG2

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AMG4

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AMG5

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Layout 1

dariussanai — Wed, 10 Apr 2013 10:07:22 +0000

title

dariussanai — Wed, 10 Apr 2013 10:07:54 +0000

boffoli1

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boffoli2

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boffoli3

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Layout 1

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Layout 1

dariussanai — Wed, 10 Apr 2013 10:25:50 +0000

idaho1

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idaho4

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idaho5

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idaho6

dariussanai — Wed, 10 Apr 2013 10:34:30 +0000

idaho7

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dariussanai — Wed, 10 Apr 2013 10:34:52 +0000

rojadove1

dariussanai — Fri, 19 Apr 2013 10:05:29 +0000

rojadove2

dariussanai — Fri, 19 Apr 2013 10:05:33 +0000

rojadove3

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treacy1

dariussanai — Fri, 19 Apr 2013 14:41:19 +0000

treacy2

dariussanai — Fri, 19 Apr 2013 14:41:27 +0000

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dariussanai — Fri, 19 Apr 2013 14:41:38 +0000

Layout 1

dariussanai — Fri, 19 Apr 2013 14:41:46 +0000

Layout 1

dariussanai — Fri, 19 Apr 2013 14:41:55 +0000

krug1

dariussanai — Fri, 19 Apr 2013 14:59:53 +0000

krug2

dariussanai — Fri, 19 Apr 2013 14:59:59 +0000

stockholm1

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stockholm2

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stockholm3

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stockholm4

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gourmand2

dariussanai — Fri, 19 Apr 2013 15:40:30 +0000

gourmand3

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cover issue

dariussanai — Sun, 11 Aug 2013 15:55:44 +0000

Zowie Mr Bowie

dariussanai — Wed, 14 Aug 2013 07:35:48 +0000

zowiemrbowie2

dariussanai — Wed, 14 Aug 2013 07:36:00 +0000

zowiemrbowie3

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Ronald Ventura

dariussanai — Wed, 14 Aug 2013 08:36:38 +0000

Ronald Ventura

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thrillerfrommanila2

dariussanai — Wed, 14 Aug 2013 08:36:48 +0000

Ronald Ventura

dariussanai — Wed, 14 Aug 2013 08:36:49 +0000

A young model shows off Kenzo’s SS13 designs

dariussanai — Wed, 14 Aug 2013 09:13:39 +0000

Tommy Hilfiger childrenswear for SS13

dariussanai — Wed, 14 Aug 2013 09:13:47 +0000

The grand finale

dariussanai — Wed, 14 Aug 2013 09:13:50 +0000

techchic4Barcelona’s OFFF Festival highlights film, art, design and music

dariussanai — Wed, 14 Aug 2013 09:25:43 +0000

Kinetica Art Fair, Titia Ex The Walk 2

dariussanai — Wed, 14 Aug 2013 09:25:45 +0000

Ars Electronica’s exhibition centre

dariussanai — Wed, 14 Aug 2013 09:25:46 +0000

Paul Friedlander, The Enigma of Light

dariussanai — Wed, 14 Aug 2013 09:25:47 +0000

licensetoprint6

dariussanai — Wed, 14 Aug 2013 09:37:39 +0000

Thierry Lasry

dariussanai — Wed, 14 Aug 2013 09:37:41 +0000

licensetoprint2

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goeastyoungman1

dariussanai — Thu, 22 Aug 2013 03:00:51 +0000

goeastyoungman2

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goeastyoungman3

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goeastyoungman4

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goeastyoungman5

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goeastyoungman6

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goeastyoungman7

dariussanai — Thu, 22 Aug 2013 03:00:57 +0000

goeastyoungman8

dariussanai — Thu, 22 Aug 2013 03:00:58 +0000

goeastyoungman9

dariussanai — Thu, 22 Aug 2013 03:00:59 +0000

goeastyoungman10

dariussanai — Thu, 22 Aug 2013 03:01:00 +0000

techchic2

dariussanai — Thu, 22 Aug 2013 03:24:14 +0000

techchic3

dariussanai — Thu, 22 Aug 2013 03:24:15 +0000

techchic4

dariussanai — Thu, 22 Aug 2013 03:24:16 +0000

techchic1

dariussanai — Thu, 22 Aug 2013 03:24:17 +0000

fashionfutureperfect2

dariussanai — Thu, 22 Aug 2013 03:41:06 +0000

fashionfutureperfect3

dariussanai — Thu, 22 Aug 2013 03:41:07 +0000

fashionfutureperfect4

dariussanai — Thu, 22 Aug 2013 03:41:08 +0000

fashionfutureperfect1

dariussanai — Thu, 22 Aug 2013 03:41:09 +0000

toboldlygo1

dariussanai — Thu, 22 Aug 2013 03:50:18 +0000

toboldlygo2

dariussanai — Thu, 22 Aug 2013 03:50:19 +0000

toboldlygo3

dariussanai — Thu, 22 Aug 2013 03:50:20 +0000

toboldlygo4

dariussanai — Thu, 22 Aug 2013 03:50:22 +0000

toboldlygo5

dariussanai — Thu, 22 Aug 2013 03:50:23 +0000

thenewcantonese1

dariussanai — Thu, 22 Aug 2013 04:06:28 +0000

av3

dariussanai — Wed, 25 Sep 2013 03:03:29 +0000

av1

dariussanai — Wed, 25 Sep 2013 03:03:30 +0000

Nautical Celebrations on Aqua Voyage

dariussanai — Wed, 25 Sep 2013 03:03:32 +0000

av1

dariussanai — Wed, 25 Sep 2013 06:31:38 +0000

Every ruche, fold and drape is drafted on real women

dariussanai — Wed, 25 Sep 2013 07:03:34 +0000

Some staff at the atelier have been with the French fashion house since its Haute Couture days

dariussanai — Wed, 25 Sep 2013 07:03:35 +0000

For Winter 2013, Elbaz introduced the spirit of couture

dariussanai — Wed, 25 Sep 2013 07:03:36 +0000

At Lanvin, drafters and pattern cutters work their magic

dariussanai — Wed, 25 Sep 2013 07:03:37 +0000

Elbaz still sketches his ideas and pens down notes

dariussanai — Wed, 25 Sep 2013 07:03:38 +0000

Every design has its own story to tell

dariussanai — Wed, 25 Sep 2013 07:03:40 +0000

Elbaz works closely with the pattern makers to discuss every decision

dariussanai — Wed, 25 Sep 2013 07:12:30 +0000

Elbaz observes the fit of a design

dariussanai — Wed, 25 Sep 2013 07:12:31 +0000

Spa Facilities

dariussanai — Wed, 25 Sep 2013 08:01:48 +0000

Stubai Valley

dariussanai — Wed, 25 Sep 2013 08:01:49 +0000

Hotel Jagdhof

dariussanai — Wed, 25 Sep 2013 08:01:50 +0000

The Stuben

dariussanai — Wed, 25 Sep 2013 08:01:51 +0000

Pablo Picasso

dariussanai — Wed, 25 Sep 2013 09:09:11 +0000

Marc Restellini

dariussanai — Wed, 25 Sep 2013 09:09:12 +0000

Chaim Soutine The Bellboy, 1927-1928

dariussanai — Wed, 25 Sep 2013 09:09:14 +0000

Former Exhibitions ‘Van Gogh, Dreaming of Japan’ and ‘Jackson Pollock and Shamanism’ were about transversality

dariussanai — Wed, 25 Sep 2013 09:09:16 +0000

Pinacothèque de Paris

dariussanai — Wed, 25 Sep 2013 09:09:17 +0000

moynat-6

dariussanai — Thu, 26 Sep 2013 06:42:33 +0000

moynat-1

dariussanai — Thu, 26 Sep 2013 06:42:35 +0000

Moynat

dariussanai — Thu, 26 Sep 2013 06:42:37 +0000

Moynat re-opens its doors at 348 rue Saint Honoré

dariussanai — Thu, 26 Sep 2013 06:42:39 +0000

The heritage archive trunks are displayed alongside the modern-day creations

dariussanai — Thu, 26 Sep 2013 06:42:40 +0000

moynat-5

dariussanai — Thu, 26 Sep 2013 06:42:42 +0000

moynat-1

dariussanai — Thu, 26 Sep 2013 06:54:12 +0000

Solange Azagury-Partridge

dariussanai — Thu, 26 Sep 2013 07:11:02 +0000

House of Hackney

dariussanai — Thu, 26 Sep 2013 07:11:03 +0000

Asprey

dariussanai — Thu, 26 Sep 2013 07:11:04 +0000

Globe-Trotter

dariussanai — Thu, 26 Sep 2013 07:11:05 +0000

Hermès’ red suede calfskin boots

dariussanai — Thu, 26 Sep 2013 07:11:06 +0000

RS Life Football Table

dariussanai — Thu, 26 Sep 2013 07:11:07 +0000

gourmand-2

dariussanai — Thu, 26 Sep 2013 07:36:44 +0000

gourmand-1

dariussanai — Thu, 26 Sep 2013 07:36:45 +0000

theaster-gates-6

dariussanai — Thu, 26 Sep 2013 08:03:41 +0000

theaster-gates-1

dariussanai — Thu, 26 Sep 2013 08:03:43 +0000

theaster-gates-2

dariussanai — Thu, 26 Sep 2013 08:03:44 +0000

theaster-gates-3

dariussanai — Thu, 26 Sep 2013 08:03:46 +0000

theaster-gates-4

dariussanai — Thu, 26 Sep 2013 08:03:48 +0000

theaster-gates-5

dariussanai — Thu, 26 Sep 2013 08:03:50 +0000

Aston Martin DB9 Volante

dariussanai — Wed, 02 Oct 2013 06:46:15 +0000

Porsche 911 C4S Convertible

dariussanai — Wed, 02 Oct 2013 06:46:17 +0000

Porsche 911 C4S Convertible

dariussanai — Wed, 02 Oct 2013 06:46:18 +0000

Aston Martin DB9 Volante

dariussanai — Wed, 02 Oct 2013 06:46:19 +0000

Front Of House

dariussanai — Wed, 02 Oct 2013 07:04:07 +0000

Close Up

dariussanai — Wed, 02 Oct 2013 07:04:08 +0000

dieForm Exhibition

dariussanai — Wed, 02 Oct 2013 07:04:09 +0000

Educationalist

dariussanai — Wed, 02 Oct 2013 07:13:44 +0000

a la carte London

dariussanai — Wed, 02 Oct 2013 07:32:23 +0000

Lynne Sanders

dariussanai — Wed, 02 Oct 2013 07:32:24 +0000

a la carte London

dariussanai — Wed, 02 Oct 2013 07:37:06 +0000

Attention to Details

dariussanai — Wed, 02 Oct 2013 07:50:27 +0000

Thomas Wong - ‘Shi Fu” has been in the tailoring business for 56 years

dariussanai — Wed, 02 Oct 2013 07:50:29 +0000

glassmakers-1

dariussanai — Tue, 12 Nov 2013 08:49:06 +0000

The Ritz-Carlton Residences, Singapore, Cairnhill

dariussanai — Tue, 12 Nov 2013 08:49:08 +0000

The Ritz-Carlton, Hong Kong

dariussanai — Tue, 12 Nov 2013 08:49:10 +0000

The Ritz-Carlton, Hong Kong

dariussanai — Tue, 12 Nov 2013 08:49:11 +0000

glassmakers-5

dariussanai — Tue, 12 Nov 2013 08:49:13 +0000

cover

dariussanai — Mon, 23 Dec 2013 07:09:48 +0000

diamond1

dariussanai — Mon, 23 Dec 2013 07:24:37 +0000

In The Atelier - Hemmerle innovates by using materials such as copper, iron and even wood

diamond2

dariussanai — Mon, 23 Dec 2013 07:24:39 +0000

Christian Hemmerle and his wife Yasmin

diamond3

dariussanai — Mon, 23 Dec 2013 07:24:40 +0000

Nature Inspired - This ring features a carved band resembling the pattern of an acorn cap

diamond4

dariussanai — Mon, 23 Dec 2013 07:24:41 +0000

New Era - Hemmerle embraced the minimalist movement of the ’90s by adopting a modernist aesthetic

diamond5

dariussanai — Mon, 23 Dec 2013 07:24:42 +0000

Beautifully carved antique cameos feature regularly in the brand’s collections

diamond6

dariussanai — Mon, 23 Dec 2013 07:24:43 +0000

Never boring, expect subtle surprises such as mismatched earrings

diamond7

dariussanai — Mon, 23 Dec 2013 07:24:44 +0000

Hemmerle incorporates contemporary materials, such as copper in this piece

diamond8

dariussanai — Mon, 23 Dec 2013 07:24:45 +0000

Every piece is handcrafted and can take over 500 hours to complete

son1

dariussanai — Mon, 23 Dec 2013 07:57:01 +0000

Roof Terrace - A state-of-the-art stage boasts elaborate pyrotechnics and laser shows

son2

dariussanai — Mon, 23 Dec 2013 07:57:02 +0000

The Ushuaia Tower Hotel with its poolside stage is a new concept on Ibiza’s Playa d’en Bossa beach

son3

dariussanai — Mon, 23 Dec 2013 07:57:03 +0000

Pool Party - The Tower hosts renowned, exclusive daytime parties featuring top-notch live performances

emperor1

dariussanai — Mon, 23 Dec 2013 08:18:50 +0000

emperor2

dariussanai — Mon, 23 Dec 2013 08:18:51 +0000

emperor3

dariussanai — Mon, 23 Dec 2013 08:18:53 +0000

emperor4

dariussanai — Mon, 23 Dec 2013 08:18:54 +0000

emperor5

dariussanai — Mon, 23 Dec 2013 08:18:56 +0000

satorialist3

dariussanai — Mon, 30 Dec 2013 03:54:18 +0000

satorialist4

dariussanai — Mon, 30 Dec 2013 03:54:20 +0000

satorialist1

dariussanai — Mon, 30 Dec 2013 03:54:23 +0000

satorialist2

dariussanai — Mon, 30 Dec 2013 03:54:24 +0000

putman2

dariussanai — Mon, 30 Dec 2013 04:08:53 +0000

putman1

dariussanai — Mon, 30 Dec 2013 04:08:55 +0000

london6

dariussanai — Mon, 30 Dec 2013 04:27:15 +0000

london7

dariussanai — Mon, 30 Dec 2013 04:27:16 +0000

london8

dariussanai — Mon, 30 Dec 2013 04:27:18 +0000

london1

dariussanai — Mon, 30 Dec 2013 04:27:19 +0000

london2

dariussanai — Mon, 30 Dec 2013 04:27:20 +0000

london3

dariussanai — Mon, 30 Dec 2013 04:27:21 +0000

london4

dariussanai — Mon, 30 Dec 2013 04:27:22 +0000

london5

dariussanai — Mon, 30 Dec 2013 04:27:24 +0000

nobu4

dariussanai — Mon, 30 Dec 2013 04:49:10 +0000

nobu5

dariussanai — Mon, 30 Dec 2013 04:49:12 +0000

nobu1

dariussanai — Mon, 30 Dec 2013 04:49:14 +0000

nobu2

dariussanai — Mon, 30 Dec 2013 04:49:15 +0000

nobu3

dariussanai — Mon, 30 Dec 2013 04:49:17 +0000

fashion5

dariussanai — Tue, 31 Dec 2013 06:27:33 +0000

fashion6

dariussanai — Tue, 31 Dec 2013 06:27:34 +0000

fashion7

dariussanai — Tue, 31 Dec 2013 06:27:35 +0000

fashion1

dariussanai — Tue, 31 Dec 2013 06:27:36 +0000

fashion2

dariussanai — Tue, 31 Dec 2013 06:27:37 +0000

Front Row

dariussanai — Tue, 31 Dec 2013 06:27:38 +0000

fashion4

dariussanai — Tue, 31 Dec 2013 06:27:39 +0000

bollywood6

dariussanai — Tue, 31 Dec 2013 06:46:55 +0000

bollywood7

dariussanai — Tue, 31 Dec 2013 06:46:56 +0000

bollywood8

dariussanai — Tue, 31 Dec 2013 06:46:57 +0000

bollywood1

dariussanai — Tue, 31 Dec 2013 06:46:58 +0000

bollywood2

dariussanai — Tue, 31 Dec 2013 06:46:59 +0000

bollywood3

dariussanai — Tue, 31 Dec 2013 06:47:00 +0000

bollywood4

dariussanai — Tue, 31 Dec 2013 06:47:01 +0000

bollywood5

dariussanai — Tue, 31 Dec 2013 06:47:02 +0000

lotus3

dariussanai — Tue, 31 Dec 2013 07:08:25 +0000

lotus4

dariussanai — Tue, 31 Dec 2013 07:08:26 +0000

lotus1

dariussanai — Tue, 31 Dec 2013 07:08:27 +0000

lotus2

dariussanai — Tue, 31 Dec 2013 07:08:28 +0000

bali56

dariussanai — Tue, 31 Dec 2013 07:23:39 +0000

bali7

dariussanai — Tue, 31 Dec 2013 07:23:40 +0000

bali1

dariussanai — Tue, 31 Dec 2013 07:23:41 +0000

bali2

dariussanai — Tue, 31 Dec 2013 07:23:42 +0000

bali3

dariussanai — Tue, 31 Dec 2013 07:23:43 +0000

bali4

dariussanai — Tue, 31 Dec 2013 07:23:44 +0000

bali5

dariussanai — Tue, 31 Dec 2013 07:23:45 +0000

Nigel Peake - The Night the Wanderer was Misled, Lithograph

dariussanai — Tue, 31 Dec 2013 07:37:37 +0000

Andrew Rae - Map of the Inner World, Lithograph

dariussanai — Tue, 31 Dec 2013 07:37:38 +0000

Josh Knowles - (Sketch for) Industrial Dream Mandala, Lithograph with hand finish

dariussanai — Tue, 31 Dec 2013 07:37:39 +0000

Heidi Whitman - Tink’s Night, Lithograph

dariussanai — Tue, 31 Dec 2013 07:37:40 +0000

Susan Stockwell - Red Road Butterfly, Screenprint

dariussanai — Tue, 31 Dec 2013 07:37:41 +0000

Christa Dichgans - Peru, Lithograph

dariussanai — Tue, 31 Dec 2013 07:37:42 +0000

Gavin Turk - The celebrated British artist runs House of Fairy Tales together with his wife Deborah Curtis

dariussanai — Tue, 31 Dec 2013 07:37:43 +0000

Stephen Walter - A Night on the Isle of Everyday Nightmares, Lithograph

dariussanai — Tue, 31 Dec 2013 07:37:45 +0000

putman 1

dariussanai — Tue, 14 Jan 2014 09:57:56 +0000

Wild Child 1

dariussanai — Wed, 22 Jan 2014 11:44:52 +0000

Wild Child 2

dariussanai — Wed, 22 Jan 2014 11:44:53 +0000

Wild Child 3

dariussanai — Wed, 22 Jan 2014 11:44:54 +0000

Wild Child 4

dariussanai — Wed, 22 Jan 2014 11:44:55 +0000

Wild Child 5

dariussanai — Wed, 22 Jan 2014 11:44:55 +0000

Wild Child 6

dariussanai — Wed, 22 Jan 2014 11:44:56 +0000

Wild Child 7

dariussanai — Wed, 22 Jan 2014 11:44:57 +0000

olivo-barbieri-5

dariussanai — Fri, 21 Feb 2014 07:29:24 +0000

olivo-barbieri-6

dariussanai — Fri, 21 Feb 2014 07:29:27 +0000

olivo-barbieri-2

dariussanai — Fri, 21 Feb 2014 07:29:29 +0000

olivo-barbieri-3

dariussanai — Fri, 21 Feb 2014 07:29:31 +0000

olivo-barbieri-4

dariussanai — Fri, 21 Feb 2014 07:29:34 +0000

Tracey Emin

dariussanai — Wed, 26 Feb 2014 03:34:22 +0000

Tracey Emin

dariussanai — Wed, 26 Feb 2014 03:34:23 +0000

Tracey Emin

dariussanai — Wed, 26 Feb 2014 03:34:24 +0000

Tracey Emin

dariussanai — Wed, 26 Feb 2014 03:34:25 +0000

Tracey Emin

dariussanai — Wed, 26 Feb 2014 03:34:26 +0000

Tracey Emin

dariussanai — Wed, 26 Feb 2014 03:34:27 +0000

Thanyamundra

dariussanai — Wed, 26 Feb 2014 07:01:17 +0000

Thanyamundra

dariussanai — Wed, 26 Feb 2014 07:01:18 +0000

Thanyamundra

dariussanai — Wed, 26 Feb 2014 07:01:19 +0000

food1

dariussanai — Wed, 26 Feb 2014 07:17:28 +0000

food2

dariussanai — Wed, 26 Feb 2014 07:17:30 +0000

food3

dariussanai — Wed, 26 Feb 2014 07:17:31 +0000

food4

dariussanai — Wed, 26 Feb 2014 07:18:48 +0000

bei4

dariussanai — Wed, 26 Feb 2014 07:38:41 +0000

bei1

dariussanai — Wed, 26 Feb 2014 07:38:42 +0000

bei2

dariussanai — Wed, 26 Feb 2014 07:38:43 +0000

bei3

dariussanai — Wed, 26 Feb 2014 07:38:45 +0000

art3

dariussanai — Wed, 26 Feb 2014 08:00:01 +0000

art1

dariussanai — Wed, 26 Feb 2014 08:00:02 +0000

art2

dariussanai — Wed, 26 Feb 2014 08:00:03 +0000

curator3

dariussanai — Wed, 26 Feb 2014 08:15:35 +0000

curator2

dariussanai — Wed, 26 Feb 2014 08:15:37 +0000

curator1

dariussanai — Wed, 26 Feb 2014 08:15:38 +0000

interior5

dariussanai — Fri, 28 Feb 2014 09:11:40 +0000

interior1

dariussanai — Fri, 28 Feb 2014 09:11:41 +0000

interior2

dariussanai — Fri, 28 Feb 2014 09:11:43 +0000

interior3

dariussanai — Fri, 28 Feb 2014 09:11:45 +0000

interior4

dariussanai — Fri, 28 Feb 2014 09:11:47 +0000

interior11

dariussanai — Fri, 28 Feb 2014 09:27:01 +0000

interior1

dariussanai — Fri, 28 Feb 2014 09:27:03 +0000

interior2

dariussanai — Fri, 28 Feb 2014 09:27:05 +0000

interior3

dariussanai — Fri, 28 Feb 2014 09:27:07 +0000

interior4

dariussanai — Fri, 28 Feb 2014 09:27:09 +0000

interior5

dariussanai — Fri, 28 Feb 2014 09:27:11 +0000

interior6

dariussanai — Fri, 28 Feb 2014 09:27:13 +0000

interior7

dariussanai — Fri, 28 Feb 2014 09:27:14 +0000

interior8

dariussanai — Fri, 28 Feb 2014 09:27:16 +0000

interior9

dariussanai — Fri, 28 Feb 2014 09:27:18 +0000

interior10

dariussanai — Fri, 28 Feb 2014 09:27:20 +0000

Hotel Arts, Barcelona

dariussanai — Wed, 05 Mar 2014 06:41:04 +0000

Hutong Hong Kong

dariussanai — Wed, 05 Mar 2014 06:41:05 +0000

travel2

dariussanai — Wed, 05 Mar 2014 06:41:06 +0000

Barnsley House

dariussanai — Wed, 05 Mar 2014 06:41:06 +0000

Norton Park in Hampshire

dariussanai — Wed, 05 Mar 2014 06:41:08 +0000

travel5

dariussanai — Wed, 05 Mar 2014 06:41:09 +0000

The Feathers in Woodstock, Oxfordshire

dariussanai — Wed, 05 Mar 2014 06:41:10 +0000

jewel-3

dariussanai — Wed, 05 Mar 2014 07:24:54 +0000

jewel-1

dariussanai — Wed, 05 Mar 2014 07:24:55 +0000

jewel-2

dariussanai — Wed, 05 Mar 2014 07:24:56 +0000

Alladale Wilderness Lodge

dariussanai — Thu, 06 Mar 2014 09:30:02 +0000

highlands1

dariussanai — Thu, 06 Mar 2014 09:30:04 +0000

highlands2

dariussanai — Thu, 06 Mar 2014 09:30:06 +0000

The Atholl, Edinburgh

dariussanai — Thu, 06 Mar 2014 09:30:08 +0000

First growths and fine cheeses await in-room at the Atholl

dariussanai — Thu, 06 Mar 2014 09:30:09 +0000

The Highlands

dariussanai — Thu, 06 Mar 2014 09:30:12 +0000

The Mercedes-Benz SLS AMG roadster

dariussanai — Thu, 06 Mar 2014 09:30:13 +0000

Tavares Strachan: 01 02 Already Home, 2010

dariussanai — Fri, 07 Mar 2014 06:03:09 +0000

Tal R: Night Awning, 2012

dariussanai — Fri, 07 Mar 2014 06:03:10 +0000

Sterling Ruby’s Installation at Sprüth Magers Berlin

dariussanai — Fri, 07 Mar 2014 06:03:12 +0000

Sterling Ruby

dariussanai — Fri, 07 Mar 2014 06:03:13 +0000

Charline Von Heyl

dariussanai — Fri, 07 Mar 2014 06:03:14 +0000

Charline Von Heyl: Spanish Fly, 2007

dariussanai — Fri, 07 Mar 2014 06:03:15 +0000

Roe Ethridge. Self-portrait (Polaroid)

dariussanai — Fri, 07 Mar 2014 06:03:16 +0000

Roe Ethridge: Louise with red bag, 2011

dariussanai — Fri, 07 Mar 2014 06:03:17 +0000

Alex Israel

dariussanai — Fri, 07 Mar 2014 06:03:18 +0000

Alex Israel: Sky Backdrop, 2012

dariussanai — Fri, 07 Mar 2014 06:03:19 +0000

Agus Suwage

dariussanai — Fri, 07 Mar 2014 08:08:08 +0000

Nyoman Masriadi

dariussanai — Fri, 07 Mar 2014 08:08:10 +0000

Ariadhitya Pramuhendra

dariussanai — Fri, 07 Mar 2014 08:08:12 +0000

Eko Nugroho

dariussanai — Fri, 07 Mar 2014 08:08:14 +0000

education6

dariussanai — Tue, 11 Mar 2014 06:59:58 +0000

education1

dariussanai — Tue, 11 Mar 2014 07:00:00 +0000

education2

dariussanai — Tue, 11 Mar 2014 07:00:01 +0000

David Garcia, General Manager of London’s Cranley Hotel

dariussanai — Tue, 11 Mar 2014 07:00:03 +0000

education4

dariussanai — Tue, 11 Mar 2014 07:00:05 +0000

education5

dariussanai — Tue, 11 Mar 2014 07:00:07 +0000

Spicey chorizo sandwich from Brindisa

dariussanai — Tue, 11 Mar 2014 07:19:09 +0000

Brindisa in London’s Borough Market

dariussanai — Tue, 11 Mar 2014 07:19:09 +0000

living4

dariussanai — Tue, 11 Mar 2014 07:35:00 +0000

living1

dariussanai — Tue, 11 Mar 2014 07:35:01 +0000

living2

dariussanai — Tue, 11 Mar 2014 07:35:01 +0000

living3

dariussanai — Tue, 11 Mar 2014 07:35:02 +0000

The Corten stairwell

dariussanai — Tue, 11 Mar 2014 07:48:07 +0000

MONA: Museum of Old and New Art

dariussanai — Tue, 11 Mar 2014 07:48:09 +0000

MONA seen from Little Frying Pan Island

dariussanai — Tue, 11 Mar 2014 07:48:11 +0000

The Void

dariussanai — Tue, 11 Mar 2014 07:48:12 +0000

Walkway overlooking the Void

dariussanai — Tue, 11 Mar 2014 07:48:14 +0000

The Museum Plaza and surrounding gardens

dariussanai — Tue, 11 Mar 2014 07:48:16 +0000

Zebras crossing the plains of Ngorongoro Crater, Tanzania

dariussanai — Tue, 11 Mar 2014 07:58:03 +0000

dariussanai — Tue, 11 Mar 2014 07:58:05 +0000

Hippos in Lake Manyara, Tanzania

dariussanai — Tue, 11 Mar 2014 07:58:06 +0000

A Masai warrior at Majimoto Camp at Masai Mara, Kenya

dariussanai — Tue, 11 Mar 2014 07:58:08 +0000

Wildebeest crossing the Mara River, Kenya

dariussanai — Tue, 11 Mar 2014 07:58:10 +0000

Flamingos at Lake Manyara, Tanzania

dariussanai — Tue, 11 Mar 2014 07:58:11 +0000

A lion in the early morning light of the Ngorongoro Crater, Tanzania

dariussanai — Tue, 11 Mar 2014 07:58:13 +0000

Silvery-cheeked Hornbills in Amboseli National Park, Kenya

dariussanai — Tue, 11 Mar 2014 07:58:14 +0000

Elephants on the Serengeti, Tanzania

dariussanai — Tue, 11 Mar 2014 07:58:16 +0000

argentina10

dariussanai — Tue, 11 Mar 2014 08:28:11 +0000

Preparing for the morning ride at La Bamba

dariussanai — Tue, 11 Mar 2014 08:28:13 +0000

Clos de Chacras cellar

dariussanai — Tue, 11 Mar 2014 08:28:13 +0000

Meals at La Bamba are a communal affair

dariussanai — Tue, 11 Mar 2014 08:28:15 +0000

The tastings were a highlight of the trip

dariussanai — Tue, 11 Mar 2014 08:28:16 +0000

A stable-hand readies a horse for the day

dariussanai — Tue, 11 Mar 2014 08:28:17 +0000

The region of Mendoza boasts over 1,000 wineries

dariussanai — Tue, 11 Mar 2014 08:28:18 +0000

Horses are an ever-present part of life at La Bamba

dariussanai — Tue, 11 Mar 2014 08:28:19 +0000

Catena Zapata’s winery looks much like a modern day Mayan Temple

dariussanai — Tue, 11 Mar 2014 08:28:20 +0000

Clos de Chacras winery

dariussanai — Tue, 11 Mar 2014 08:28:21 +0000

formula-one1

dariussanai — Thu, 24 Apr 2014 03:11:00 +0000

formula-one3

dariussanai — Thu, 24 Apr 2014 03:11:01 +0000

formula-one2

dariussanai — Thu, 24 Apr 2014 03:11:02 +0000

wild-wood1

dariussanai — Thu, 24 Apr 2014 03:29:44 +0000

wild-wood6

dariussanai — Thu, 24 Apr 2014 03:29:45 +0000

wild-wood5

dariussanai — Thu, 24 Apr 2014 03:29:45 +0000

wild-wood4

dariussanai — Thu, 24 Apr 2014 03:29:46 +0000

wild-wood3

dariussanai — Thu, 24 Apr 2014 03:29:47 +0000

wild-wood2

dariussanai — Thu, 24 Apr 2014 03:29:47 +0000

opera1

dariussanai — Thu, 24 Apr 2014 03:50:35 +0000

opera4

dariussanai — Thu, 24 Apr 2014 03:50:37 +0000

opera3

dariussanai — Thu, 24 Apr 2014 03:50:37 +0000

opera2

dariussanai — Thu, 24 Apr 2014 03:50:39 +0000

glasgow-clyde-auditorium

dariussanai — Tue, 29 Apr 2014 03:49:18 +0000

balmoral-edinburgh-castle

dariussanai — Tue, 29 Apr 2014 03:49:19 +0000

glasgow-hotel

dariussanai — Tue, 29 Apr 2014 03:49:19 +0000

art-basel-1

dariussanai — Tue, 29 Apr 2014 04:17:18 +0000

art-basel-8

dariussanai — Tue, 29 Apr 2014 04:17:19 +0000

art-basel-7

dariussanai — Tue, 29 Apr 2014 04:17:20 +0000

art-basel-6

dariussanai — Tue, 29 Apr 2014 04:17:20 +0000

art-basel-5

dariussanai — Tue, 29 Apr 2014 04:17:21 +0000

art-basel-4

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China

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cicada

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Mary Ching Shanghai

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Douro-Valley

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taylor

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grapes

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chanel

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cars-1

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National Theatre@50

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Vantage Point

dariussanai — Mon, 21 Jul 2014 09:35:51 +0000

Singapore Pinacothèque de Paris

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Fort Canning Gate

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Golden Finger Factory

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Oliver Waddington Ball

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Golden Finger Factory

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Golden Finger Factory

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Green Carpet Challenge

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glamour1

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Green Carpet Challenge

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Green Carpet Challenge

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Green Carpet Challenge

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dariussanai — Fri, 27 Mar 2015 12:05:02 +0000

The Water Issue

dariussanai — Mon, 30 Mar 2015 14:14:50 +0000

The Water Issue, Winter 2015

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Powder White Avoriaz's high elevation ensures a fine supply of deep snow

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Powder White: Avoriaz's high elevation ensures a fine supply of deep snow

Wolfgang Puck on food, family and fashion

dariussanai — Wed, 27 May 2015 15:03:26 +0000

Presiding over a global restaurant empire, spanning Bahrain to Boston, Wolfgang Puck is one of the world's most celebrated chefs. He speaks to Alice Clarke about food, family, canned pineapple and Coco Chanel

[caption id="attachment_1628" align="aligncenter" width="763"] Top Tables
Wolfgang Puck's restaurants include Hotel Bel-Air in Los Angeles (above), and CUT at 45 Park Lane, London[/caption]

Alice Clarke: Did you love cooking as a child? Wolfgang Puck: My mother was a chef and I helped her to cook at home. I loved pastries and sweets more than anything back then. When I was 14 I left home to start an apprenticeship with a chef 50 miles away. That was a long way and it was hard when you had to work on the weekend and all your friends were playing or going skiing. It was only when I went to France that I realized that this is what I wanted to do. I was working in a restaurant in Provence called L’Oustau de Baumanière, which had three Michelin stars and was run by the legendary Raymond Thuilier. AC: Do you look back and think of Thuilier as your mentor? WP: Yes, he was in a way. I remember when I came to Los Angeles with a friend who’d also worked there and we said, ‘OK, we’re going to open a restaurant like Baumanière’. AC: It’s interesting to see how some chefs have been so influenced by those who they trained under. WP: Well, I think you get into a certain style and if you’re happy with it, you don’t change. For me it was different – I always tried to experiment and do new things. That’s why I’ve been married three times! Just kidding... But with regards to restaurants, I was interested in so many different things. After I’d opened Spago [in West Hollywood in 1982] I didn’t want to open another branch next, that would be too boring. Instead, I wanted to have a Chinese restaurant, so I launched Chinois [in Santa Monica, 1983], which was the first Asian-American fusion restaurant. I didn’t even know how to make fried rice at the time but I said, ‘I’m going to learn my own way’. [caption id="attachment_1629" align="aligncenter" width="508"] Head Chef: Austrian born, Los Angeles-based Puck oversees almost 30 restaurants worldwide[/caption] AC: Is there one particular cuisine that you enjoy the most? WP: I love spices, but I also love the simplicity of a restaurant like CUT [with branches in Beverly Hills, Las Vegas, London, Bahrain, Dubai and Singapore], where you know exactly what you’re getting and it’s the best quality. It’s almost like if you get a great dress and it fits perfectly, you don’t need too much jewellery. Or if you have great earrings, you don’t need a necklace or rings. Coco Chanel said that before you leave the house, you should take two things off; that way you’re going to look better. I think it’s the same with food. If we pair it down, make it more minimalistic, it’s often better.

AC: There seems to be a real movement towards organic, fresh, sustainable food at the moment. Are you on board with that? WP: Well, I grew up on a farm in Austria, so when we had salad we got it from the garden, and if we had vegetable soup we picked some carrots, cauliflower, beans or whatever, cut them up and made soup. So for me, there has never been anything so new about that. What was exotic and interesting was canned pineapple. I remember the first time somebody bought me canned pineapple from Hawaii, I thought: ‘Wow that’s exotic, that’s amazing’. I opened it and ate it really slowly. When I was younger we went to the forest and picked raspberries, blueberries, blackberries and white strawberries. In early spring my mother planted radishes and things like that, so by Easter we had the first fresh salad. Now all of a sudden in America everyone talks about ‘from farm to table’. I’ve never known anything different! [caption id="attachment_1627" align="alignnone" width="660"] Fresh Start: Proving breakfast is the most important meal of the day, CUT is also a top spot for brunch[/caption] AC: Do you cook to relax? WP: Oh yes. When I tell people I cook at home they say, ‘What do you mean? Don’t you already do enough?’ But I really like it. My children love it, too. My nine-year-old loves food. If he doesn’t get out of bed, I tell him I’m going to make scrambled eggs without him. He jumps up, comes downstairs, breaks the eggs, and has to cook it with me. AC: Are there any chefs at the moment who you are particularly impressed by? WP: I think Grant Achatz is one of the most talented chefs in America. He makes his own thing, a little bit out there, but very interesting– like Heston [Blumenthal] with The Fat Duck. AC: What is your latest cookbook about? WP: Wolfgang Puck Makes it Healthy is about eating better and exercising. I go skiing with the likes of [downhill champion] Franz Klammer but for about nine years, even if we weren’t going fast, I had to keep stopping to breathe. Similarly, I was playing tennis in Maui, where it is quite hot and humid, and after about 10 minutes I had to sit down as I couldn’t breathe anymore. I thought to myself, ‘I have to change my lifestyle and also start to exercise and eat better’. This book is really a result of that. AC: How do you get people to eat more healthily? WP Even if you go to a cheap grocery store, that’s still better than buying canned or frozen food. We should say to ourselves, ‘Okay, I like rice, why don’t I buy brown rice’, which has more flavour and is better for you. And the same with pasta. Once you get used to eating wholewheat pasta, you realize it’s really tasty and all of a sudden you think regular pasta is bland. So little by little you can try things out and begin to understand what is good and not so good for you. I also think that, in America especially, the portion sizes are too big. People think they have to eat a lot, but they don’t. In fact, they say you actually live longer if you eat less. AC: You do a lot of charity work. Can you tell us about your philanthropic endeavours? WP:In 1982 we started to do events with some chefs and wineries, so we called it The American Food and Wine Festival. We donated the money raised to ‘meals on wheels’, which provides food for old people, for people who don’t have any money and so on. We then started a cancer benefit for people who can’t go to hospital for treatment. We do a big event in Las Vegas for Alzheimer’s sufferers, because my mother had Alzheimer’s. We also do a big event in Cleveland for children at a cancer clinic there, too. We do a lot of work with schools, plus my wife has an orphanage accommodating 700 children in Ethiopia. So that alone is quite a lot of work! [caption id="attachment_1626" align="alignnone" width="660"] Shooting Stars: Spago in Beverley Hills is one of only three restaurants in LA to hold two Michelin stars[/caption] AC:Do you find it hard to juggle everything? WP:Sometimes, yes, it’s complicated and difficult. I have very good people who have worked with me for a long time though, so that helps. AC: What has been your favourite meal recently? WP: I had dinner last night at Alain Ducasse’s latest restaurant at the Plaza Athénée in Paris. I liked it a lot because it was so different; it was a really interesting experience. Sometimes the whole experience is better than each dish. I told them I only had one hour and they served me 10 different dishes. Three-star fast food! AC: Your first restaurant, Spago, opened in 1982. Do you still feel as inspired by food today as you were back then? WP Oh yes, I still love it just as much. If not, I wouldn’t be here. wolfgangpuck.com

Shoot to thrill: photography is booming

dariussanai — Wed, 27 May 2015 15:19:36 +0000

Strike a pose, there's nothing to it - the market in photography is booming like never before, and even major museums, art institutions and auction houses want to get in on the action. Collectors take heed, says our columnist Jean-David Malat

[caption id="attachment_1634" align="alignnone" width="660"] Tony Kelly: 'Body Builders' for 'L'Officiel Hommes', Germany (September 2014)[/caption]

The art market used to be very cautious about photography, but the tendency is now shifting – The Telegraph reported a 36 per cent increase of auction sales of photography in 2014. Slowly but steadily, the market and its collectors are opening up to fine art photography. On the one hand, this means that prices for artworks of this genre are going up and that we are witnessing auction records more and more regularly – how to forget Andreas Gursky’s Rhein II (1999), which became the most expensive photograph ever sold at auction when it reached $4.3 million at Christie’s New York in 2011? On the other hand, however, one notices that this young market is still relatively much more affordable than the market for fine art painting or sculpture, for example. This makes it a very attractive field, therefore, for the new collectors and art professionals, who observe a real desire for fine art photography internationally. Reaffirming the market’s observations, major museums and trusted institutions have also been giving much more attention to the photographic genre, with large-scale exhibitions of historical and contemporary fine art photography. Founded in 1971 The Photographers’ Gallery underwent a major expansion in 2012, which made it the largest public gallery in London dedicated to photography. It focuses its activity on promoting emerging talents, conserving historical archives and exhibiting established photography artists. This summer another landmark of the UK’s art and culture scene, London’s National Portrait Gallery, will launch an exhibition entirely devoted to photography of Audrey Hepburn. ‘Audrey Hepburn: Portraits of an Icon’ will feature a selection of more than 60 photographs, including classic and rarely seen prints by leading photographers such as Richard Avedon, Cecil Beaton, Terry O’Neill, Norman Parkinson and Irving Penn. Responding to this tangible – even pressing – demand from collectors, Opera Gallery has historically supported contemporary photographers: Gérard Rancinan, Olivier Dassault, Fani Alireza and Zoé Flore among others. More recently, the gallery started working with major figures of the genre. In Monaco in 2013 we held an exhibition by Terry O’Neill, one of the world’s most collected photographers whose work hangs in national art galleries and private collections worldwide. Since 2014 we are also delighted to be able to offer works by David LaChapelle to our clients. Probably one of the most famous living photographers, LaChapelle has exceptional talent combining a unique hyper-realistic aesthetic with profound social messages. He is also very prominent for his striking and stylish portraits of celebrities, of course! [caption id="attachment_1635" align="alignnone" width="380"] Gavin Bond: Shot for 'GQ' Mexico (February 2015)[/caption]

Alongside what one could call ‘traditional’ art photography, fashion photography has made an entrance and is demanding its letters of nobility. And collectors across the world are responding with eagerness and enthusiasm! It is this realization that made us at Opera Gallery London decide to curate an exhibition of contemporary photography, shining a light on some of the most sought-after artists of the field. Titled ‘Raw Footage’, the exhibition focuses on fashion-turned-art photography as well as on celebrity portraiture, both of which are fascinating evidence of the evolution of our cultural history. We have sourced works by some of the hottest fashion photographers of the moment, such as Vincent Peters, Tony Kelly, Mario Testino, David LaChapelle, Gavin Bond, Greg Williams, Simon Emmett, Douglas Kirkland and, of course, UK sweetheart Rankin. Through the selected works, we interrogate how fashion photographers and their collaborators – designers, stylists, models and viewers – participate in disseminating our culture and defining our aesthetics. Alongside them, we will feature other photography geniuses: Nicolas Guérin and his mesmerizing ‘Polaroid Dreams’ series; Paul Solomons who, although he comes from the fashion world, takes a very different approach to photography, working with repetition and pattern-making; and Gérard Rancinan, self-described “active witness” to humanity, who states he works against the obliteration of our collective memory. All of these fascinating and inspiring image- makers are being brought together to capture an image of our times and to shine a light on beauty and its unattainable status. Beyond that, the exhibition will reaffirm our strong confidence in the burgeoning market of photography, as an art that is both affordable – an aspect that is especially attractive to new collectors – and also a rather safe and sound investment: ArtTactic reported in June 2014 that “the confidence in the Contemporary Photography market continues to improve with an increase of 10 per cent since December 2013, reaching the highest reading since March 2011”. And if a photograph is also depicting a scene, celebrity or subject you admire and can lose yourself in, then the investment is doubly positive: a financial placement as well as an emotional commitment. Jean-David Malat is an art dealer and curator, and the director of London’s Opera Gallery. operagallery.com

Trident power: sailing with Maserati

dariussanai — Wed, 27 May 2015 15:25:13 +0000

Monaco is the place where yachtsmanship and money combine in an intoxicating and irresistible blend. Millie Walton is charmed by the sailors and owner of Maserati's record-breaking yacht

[caption id="attachment_1642" align="alignnone" width="660"] Siren of the Seas: The VOR70 shows all the hallmarks of Maserati's design prowess[/caption] The crew of the 70ft Maserati Yacht VOR70 are sitting around a table at Bistrot Le Bouchon, one of Monaco’s more understated restaurants. They have just sailed in from Barcelona and are sporting bodily evidence of the journey – a torn-off fingernail here, a badly swollen wrist there. But they speak with excitement about the boat’s ambitious 2015 racing programme, which culminates in the infamously challenging Rolex Sydney–Hobart Yacht Race, between mainland Australia and Tasmania.

Our dinner is an intimate introduction to the team before the main celebratory event, an uber-powerful affair featuring the crew of the yacht, the owner of Fiat, Maserati and Ferrari (the companies that is, not just single cars: that would be unexceptional in Monte Carlo), and one of Monaco’s royals – but more on that in a moment. The crew are a fresh-faced gang from all across the globe: Andreas Axelsson (Sweden), Guido Broggi (Italy), Andrea Fantini (Italy), Oliver Herrera Perez (Canary Islands), Boris Herrman (Germany), Francesco Malingri (Italy), Gwen Riou (France), Corrado Rossignoli (Italy) – all picked for their expertise by Milan-born skipper Giovanni Soldini. The next 12 months will be a series of record attempts, including the San Francisco–Shanghai sprint in May, which retraces the 7,000-mile route across the Pacific Ocean used by the legendary clippers in the mid-19th century – there’s no room for error. Soldini himself sits quietly in the midst, his salted black hair and sun-burnished skin betraying his extensive experience at sea, which includes two single-handed round-the-world races, one of which he won in remarkable fashion after making a diversion to save fellow competitor, Isabelle Autissier, who had capsized in the dangerously freezing waters. He was later awarded the Legion d’Honneur in Paris and the Medal of Honour in Rome. In total, he boasts more than 40 ocean crossings and is one of the few allowed to wear a gold ring in his left ear – a privilege granted only to sailors who have rounded Cape Horn, the southern-most tip of America. At the event the next day, Pierre Casiraghi, the youngest son of Caroline, the daughter of Monaco’s late long-time ruler Prince Rainer and his wife Princess Grace, holds forth. Pierre’s father is the late Stefano Casiraghi, who was tragically killed, aged just 30, when his powerboat overturned during a race on the French Riviera in 1990. Despite this, Pierre is clearly unfazed about taking to high-level water sport, having already had a successful on-board experience in the Cape2Rio race last year. He marvels at his captain’s ability to maximize each of his crew’s individual talents: “He’s a very kind and generous man. He makes everything seem so fluid”.

The boat’s owner is John Elkann, chairman of Fiat Chrysler Automobiles, an empire which also encompasses Maserati and Ferrari. Elkann, who has just arrived from London, is smartly dressed in a blue suit with an eccentric bright orange waistcoat revealing his youthful approach to all things in life, not only business. He’s quietly spoken, giving an impression of humility, as he recounts the “unforgettable experience” of crossing the Atlantic from the Canaries to the Caribbean in 2009 with Soldini. He speaks of an irreplaceable bond with the crew, the type of which can only be formed through shared struggle and perseverance. Together, they have come to be recognized as one of the world’s most successful and impassioned racing teams, extending Maserati’s market quite literally to further seas. “It’s an exciting and challenging year for the VOR70 and for Maserati,” explains Elkann. “After growing sixfold in terms of volume and luxury market coverage in the last two years, we will be looking to keep that momentum going, especially in the US and Asia.” In keeping with its trident logo, most commonly associated with Neptune, the god of the sea, the Maserati yacht aesthetically evokes a sense of power and awe, fitting with Maserati’s reputation for exceptionally beautiful designs. The interiors of the monohull, however, tell a different story – one of hard work and competitive sportsmanship, with basic bunk beds, little to no lighting (it takes a sure-footed sailor indeed to navigate through the cubbyholes) and a very simplistic kitchen. No bathroom, no luxuries – a giant leap from the plush extravagance of the shining new Yacht Club de Monaco, where Maserati has an exclusive lounge space as the club’s official car. The challenging aspect of sailing though, Elkann explains, “perfectly expresses the values of passion, emotion and innovation that are intrinsic to Maserati”. Select customers can see this themselves on the unique Drive&Sail experience: sailing on the Maserati VOR70 with Soldini, and then driving the latest models in the Maserati range. Surf and turf indeed. maserati.soldini.it

The Luxury Travel Issue

dariussanai — Wed, 27 May 2015 15:29:33 +0000

The Luxury Travel Issue, Summer 2015

Look, no hands: the Mercedes F 015 driverless car

luxlegion — Wed, 10 Jun 2015 21:22:14 +0000

Driverless cars – this year’s big thing in automobiles – trade emotion for efficiency. Can the company that invented the motor car combine both? Caroline Davies speaks to Mercedes- Benz’s Dr Thomas Weber to find out

[caption id="attachment_1655" align="alignnone" width="660"] Tomorrow’s World:
The driverless Mercedes F 015 takes to the road[/caption]

The world of autonomous – or, in lay parlance, self-driving – cars, which has been on the horizon for a few years, is finally threatening to become reality very soon. Self-accelerating, self-braking, self-navigating models will soon follow today’s self-parking models in to the marketplace. But motoring is, for a significant minority, more than just the least painful way to get from A to B: in the world of luxury, a car is an end in itself, not a utensil. And for them, Mercedes-Benz has created a striking concept car, snappily named the ‘F 015 Luxury in Motion’. Not available in a showroom near you ever – its purpose is as a debating point and research showcase – the F 015 re-conceptualizes the purpose of a car. Tellingly, rather than reveal it at a motor show, Mercedes-Benz selected the Consumer Electronics Show (CES) in Las Vegas, the world’s biggest tech fest: a signal that this is not just a car. It is also the company’s riposte to latent threats by Apple, Google and other tech firms that they will disrupt the world of cars like they disrupted the world of the PC. At the CES I spoke to Thomas Weber, effectively the global number two at Daimler, the parent company of Mercedes-Benz, about why they had developed it. “We asked ourselves, ‘What is luxury [motoring] in the future?’” he said. “It is time, space and access to information.” That was the driving force behind the future driving concept. [caption id="attachment_1656" align="alignnone" width="660"] Meet the Mercedes: Dieter Zetsche, head of Mercedes- Benz and chairman of Daimler, unveiled the F 015 in Las Vegas[/caption]

As the executive board member in charge of research and development for the world’s leading luxury car company, Weber’s view is carefully observed by industry watchers. The monolithic design of the car gives passengers the largest possible space, he says. The inside, upholstered in white leather and open-pore walnut wood, has four rotating chairs, allowing guests to look at the road or each other. The door panels are touch screen, allowing passengers to call up contacts, information, the route, music or points of interest along the way. Unlike the original cars Google produced, there’s a steering wheel, should you feel the need to take over. Also unlike Google’s cars, it feels like a car, not a disposable electronic device. The car is, in part, a response to what Mercedes-Benz feels will be one of the major issues of the future: a burgeoning urban population. As the world moves to live in the city, roads will become increasingly congested. An automated car provides two solutions to the problem. Firstly, it gives the passenger time back, free to do what they want instead of driving. Secondly, it allows for cars to be shared; once a car has dropped off one passenger, it is free to collect another rather than sit in a car park.

“If you want to create more than only a car, then you have to do more than only look at the car,” says Weber. “You have to ask what a city in 2030 will look like. We know that more than 50 per cent of all people will live in crowded urban areas. Then what happens? What will the customer do in their car? You have to understand their lifestyle. The car is part of your daily life, your digital companion.” Weber believes that while a self-driving car from Mercedes may be an efficient space when it is driving itself, it will still provide pleasure when you want it to, unlike other modes of transport. He does not believe that driving will become obsolete. “[Transport autonomy] will happen in taxis and trains but not in the car,” he says. “It is comparable to skiing. Everyone takes the lift to the top, but the enjoyable part – downhill – you want to do yourself.” [caption id="attachment_1656" align="alignnone" width="660"] City Slicker:
The Mercedes F 015 could revolutionize urban life[/caption] Admittedly, a machine would in most circumstances be a better driver than any human; they don’t get tired, distracted or forget which side of the road they should be on. Accidents could reduce to near zero; insurance, too. “We need autonomous driving to realize our vision of accident-free driving,” says Weber. “With sensors and these machines we can mitigate most of the critical situations where accidents happen.”

There are still issues – technological and legal – to iron out before these cars will be on the road. “There is a concern that some of our colleagues will do certain steps too early and terrible accidents could happen based on poorly realized autonomous cars,” says Weber. “If that happens then we could be forbidden from developing these cars. We need to do everything possible to mitigate these early failures.” One such issue is strong internet signal; creating a bandwidth strong enough to control a full highway requires creating this digital infrastructure. Manufacturers will also have to wait until the legal framework is in place. Who is to blame if an autonomous car hits a pedestrian? What if a car was faced with a moral dilemma: for example, a mother pushes a baby in a pram into the path of an autonomous car on one side, as a cyclist is overtaking it on the other. Which way should it be pre-programmed to go? An autonomous car, for all its computing power, will not make decisions of its own: it will do what it has been told to do. Weber is keen to have these discussions early. “Legal discussion, social discussion, acceptance discussion – these things take time,” he says. “But we have cars on sale with first situations of this technology. We have a road map.” The first autonomous cars will probably be developments of today’s self-parking cars, with drivers taking control at times.

Legislators have already started thrashing out these details and manufacturers have begun to steadily introduce autonomous elements, easing the population into the idea with the expectation that fully autonomous cars will be on the road as early as 2025. For many, that remains a frightening thought, but we have been entrusting our lives to aeroplane autopilots for years. At least style needn’t be a worry; with Weber in charge, autonomous cars will have plenty of panache.

The Green Season in the Alps

dariussanai — Wed, 10 Jun 2015 22:03:23 +0000

The Alps are at their most sublime when the sun is warm, the snow has given way to meadows, and the crowds are far away, says Darius Sanai. Here we focus on two legendary resorts which really come alive in the summer

[caption id="attachment_1662" align="alignnone" width="660"] Postcard Perfect: The Matterhorn towers over Zermatt’s green summer slopes[/caption] Zermatt: The high peak paradise

Mention a luxury chalet in Zermatt to anyone with an ounce of snow in their blood, and they will immediately start to fantasize about the glorious off-piste of the Hohtälli, the vertiginous black runs down from Schwarzsee, the myriad routes down the back of the Rothorn. For chalets and Zermatt mean the ultimate in he-man (and she-woman) ski holidays on the highest runs in the Alps, for groups who can then relax in a super- luxe communal chalet and share stories. There is, however, another and very different experience to be had in a chalet in Zermatt. Mine started with sitting outside on a broad balcony in a polo shirt, gazing up at the green foothills and rocky high peaks, birds and butterflies drifting past. The summer sun is strong here, but in the mountains the air is dry and there is always a hint of the glaciers in the breeze, so you never feel like you are sweltering. Zermatt is a glorious place in the summer, as its soaring peaks – it is surrounded by 30 mountains of over 4,000m in height, more than any other village in the Alps – are less frozen, less forbidding, more open to being explored than in the ski season. And while the village is the number one Alpine destination for summer holidays, it is still less crowded than in winter, when the entire populations of Moscow and Mayfair flock to the village under the Matterhorn. [caption id="attachment_1668" align="alignnone" width="660"] Peak Season:
The village of Zermatt wears a cloak of green throughout the summer months, but the jagged Matterhorn retains its mantle of snow and ice[/caption] Chalet Helion, run by uber-swish chalet company Mountain Exposure, is one of the ultimate incarnations of its breed. Technically, although it’s a wood-panelled, chalet-style building, it’s not actually a chalet; rather it is an extensive lateral apartment running across the breadth and length of the construction. You get there via a three-minute taxi ride or five-minute walk from the main train station. Cross the rushing green Zermatt river, walk past the art nouveau-style Parkhotel Beau Site on a little knoll, and there it is. On walking into the apartment, turn left into a vast, open-plan living room/dining room/kitchen area, with space to seat a party of 20. It sleeps eight people and is well organized for entertaining, as the living quarters can be closed off from the dining and chilling space, where there is also a cosy study. Draw back the curtains and, beyond the broad balcony terrace, is the most magnificent view in Europe: an uninterrupted vista of the Matterhorn. It rises above the end of the valley like some supernatural thing, a giant, quasi- pyramidical, almost vertical rock formation, covered in thick snow and ice, surrounded by glaciers, standing above other mountains that are green with friendly summer pasture. It looks down with disdain, mocking us mere humans with our pathetic summer activities. It is also mesmerizing. From the balcony at dawn, it glows rose like a Laurent-Perrier champagne; in the middle of the day, its least forbidding time, it is all silvers and whites; at dusk, it takes on its most frightening aspect, its darkness making you think of all the climbers who have fallen thousands of metres to their deaths on it. My father climbed the Matterhorn when he was young and made me promise I would not do it; he can rest assured from his own place in the skies that there is no danger of that.

The Matterhorn is Zermatt’s brand, adorning every poster, postcard, sticker and banner. But development means it has become harder and harder to find a room with a view of the mountain itself rather than a view of the newest building. And this is what makes Chalet Helion so special, as its vista, from a gentle slope above the village centre, is uninterrupted. But the mountain isn’t the sole reason to go to Zermatt. There’s only a certain amount of time you can stare at the almighty, after all. Just down from Chalet Helion is the lift system that takes you up to the Sunnegga-Rothorn mountain. A train tunnel bores through the bare granite and, three minutes later, you emerge into a wonderland. Sunnegga, the first stop, is above the treeline and at the top of the steep foothills that border one side of the village. From here, unlike down in the valley, you see that the Matterhorn is just one of dozens of massive, icy, knife-edged peaks above the resort. Directly in front of you rise four 4,000m-peaks, culminating in the Weisshorn, shaped like a gigantic shark’s fin and, at 4,512 metres, even higher than the Matterhorn. To the left, snowy pinnacles hint at even higher summits. To see those, we climbed into the cable car to the very top of this lift system, the 3,100-metre high Unter Rothorn (recently rebranded as just Rothorn, but as there are three variations on Rothorn around here, I prefer to stick to its original name). We stepped out into eye-watering sunshine and crunched onto a patch of snow left over from winter: 3,100 metres is high indeed. The peeking peaks from the previous stop now revealed themselves as six huge mountains layered in unimaginably thick snow and ice, rising above the Gornergrat ridge in between us.

The highest of these, Monte Rosa, looked like a giant’s meringue, massive but without the character or shape of the others. At 4,634 metres, it makes up in heft what it lacks in shapeliness: you can make out the other face of Monte Rosa quite clearly when standing on the roof of Milan’s cathedral, more than 100 miles away. (As a comparison, Britain’s highest mountain, Ben Nevis, is 1,343 metres, and Germany’s highest, the Zugspitze, is 2,963 metres.) Zermatt is famed for its mountain restaurants, but that morning I had gone shopping at the local Coop (which in Switzerland means amazing fresh, local ingredients, from radishes to mountain cheese), and we picnicked instead, sat on a rock by the side of a pewter-coloured lake, in which the Matterhorn was perfectly reflected. Here, at Stelisee, you are at peace with the mountains above and the valleys below. The sun bakes you, apart from an occasional wisp of wind which wafts down from the glacier like nature’s own cooling mist spray. Butterflies, bees and millions of grasshoppers play among the fields of wildflowers all around. Even the Matterhorn from here looks less dark, more pretty. Never has an air-dried beef sandwich with freshly grated horseradish tasted more perfect. [caption id="attachment_1666" align="alignnone" width="660"] Chalet Chic:
Chalet Helion occupies the entire top floor of this traditional, pretty chalet building[/caption]

Walking down, we came across another lake, Leisee, deep green in colour. Fittingly, amid the sea of wildflowers surrounding this one, was a confederacy of tiny green frogs. Not much bigger than an adult fingernail, you had to be careful not to tread on them as you walked along the path. Dinner in Zermatt comes with reservations in both sense of the word: you need to book, as the place is heaving in season; and you always feel slightly annoyed that the restaurants, however well deserved their culinary reputation, have no Matterhorn view, as they are clustered in the village centre. This was a further joy of Chalet Helion. On most nights we cooked, and ate and drank local Valais wine (vibrant Fendant whites, deep Cornalin reds) on our balcony or at the dining table with our private, picture window view of the mountain fading to grey. After which, a Havana on the balcony: one clear night we could make out the helmet lights of the night climbers on the sheer rockface of the mountain. On one evening, Mountain Exposure’s charismatic owner, Donald Scott, a British snow- phile who came to Zermatt and never left, brought one of the company’s chefs to create us a fabulous, complex Swiss mountain meal. Our dining area was transformed into a restaurant, an option open to any guest who pays. We will certainly be back, for the view from Chalet Helion, and its entire experience, is as eternal as it is wondrous. Chalet Helion is available summer and winter from Mountain Exposure, mountainexposure.com. For general information, see zermatt.ch

SPA AT MONT CERVIN PALACE

For decades Mont Cervin Palace has been the byword for glamour for all visitors to Zermatt. A well-kept secret is that this five-star hotel in the heart of the village has a beautiful, 25-metre indoor pool, and an outdoor spa pool and garden as part of its hidden annexe. The garden and outdoor pool (which is open year-round) have a dramatic view of the mountains from the village centre, and the indoor pool and hydrotherapy area are the best places in the valley to retreat to when the weather closes in – or if you want some cross-training exercise after a day’s skiing and hiking. The best news? They are open to non-residents, for a fee. montcervinpalace.ch

Gstaad: Alpine chic with a twist

Gstaad has a reputation as a gentle place, perhaps more suited to high net worth retirees wanting a peaceful and safe place close to their money (in Swiss bank accounts) in which to holiday. But that reputation vanished before my eyes as soon as I set foot into the garden of The Alpina hotel. [caption id="attachment_1661" align="alignnone" width="660"] The Hills are Alive:
Wildflowers fill the alpine meadows around Gstaad during the summer months[/caption] Before me, a long outdoor pool, lined by teak decking and a few (not too many – this is Gstaad) sunloungers. Around it was a garden in full bloom; beyond that the rooves of this traditional village (The Alpina is on a small plateau above the centre), all framed by an amphitheatre of forest, meadow and mountain. Far away were high rocky peaks and glaciers. It was hot in the sun, and a first morning spent in and by the pool, accompanied by the occasional cocktail, was bliss due to true exclusivity. At that moment, in any number of luxury Mediterranean hotels, super- wealthy guests would be jostling for space by the poolside in neat rows, trying to attract the attention of overstressed serving staff, waiting far too long for their drinks to arrive. We, on the other hand, had the attention of numerous waiters (there were a few other guests, but more than enough staff to deal with them) and sufficient space to have a conversation about my tax affairs on my phone with no danger of anyone overhearing (not that I would be so vulgar). [caption id="attachment_1664" align="alignnone" width="660"] Mountain Highs: Gstaad rewards summertime
visitors with verdant valleys framed by snow-capped peaks[/caption] [caption id="attachment_1669" align="alignnone" width="660"] Suite Dreams:
Swiss artisans have created the interiors at The Alpina, using local stone and period woodwork[/caption] Wandering inside a neat little chalet, we found stairs to take us down to a cavernous and exquisitely finished spa area. One corridor led to a salt room, where even the walls were seemingly made of salt, another to the treatment rooms, and another to a quiet cafe area lined with photographic books and jugs containing various herb-flavoured waters. Beyond that, another pool, inside the cavern, some 25 metres long, bookended by spa pools and crowned by a glass cupola looking into the garden above. If the weather ever failed, this would be the place to spend the day, as we discovered the next day when a thunderstorm swept in. The Alps form the border of the hot Mediterranean climate zone and rainy northern Europe, and you can feel the battle between one and the other, day by day. When the sun reappeared we headed up the round, green mountain facing us – more a fairytale hill than a dramatic Alp – in a gondola and found a large chalet restaurant, Wispile, serving fondues made with cheese from the chalet’s own cows, clearly visible in the pasture above. The view was over the village and the wooded foothills and forests beyond, out towards Lake Geneva. Wispile also has a menagerie of animals, from llamas to pigs and goats, which families can help to feed. If Wispile is all that you expect from a Swiss Alpine hut, the evening offering at The Alpina is something else entirely. The owners of this new uber-luxe hotel, which was clearly built to compete with, if not actually outdo, the celebrated Palace hotel down the road, wanted the best of world cuisine in a village not renowned for its cosmopolitan food offerings.

For MEGU, a Japanese restaurant in the heart of the hotel that is an outpost of the celebrated New York establishment of the same name, they enticed and employed master chefs from Japan. It shows: the sushi was magnificent. A taste that I will try and remember for the rest of my life is the signature crispy asparagus with crumbed Japanese rice crackers, chilli and lemon. The Oriental salad (various Chinese vegetables, nuts, seeds, sashimi of Dover sole and sesame oil) was also unique and memorable. Stone-grilled wagyu chateaubriand with a fresh (not powdered) wasabi soy reduction was also fabulously vibrant. I’d take MEGU over Nobu and Zuma, if only it were in London.

There was also Sommet, the hotel’s other signature restaurant, which holds two Michelin stars. It is hard to tell which is more important. Sommet has the better location, a big contemporary dining room with a view of pool and mountains, and seating on the broad terrace; MEGU is the cosy space behind the bar at the heart of the hotel. Sommet has 18/20 from the Gault et Millau guide and is refreshingly fuss- free. The seabass with artichokes, hazelnuts and spinach had simple, highly defined flavours, and the organic salmon steak with tomato and olive risotto was cooked with great attention to detail. Sommet’s chef has the confidence to let his quality ingredients, combinations and technique speak for themselves, and this is contemporary fine dining of the most appealing kind. These were two of my most notable meals of the year, anywhere in the world, to the extent that I would make a journey to the hotel just to eat there, even if I couldn’t stay there. But for overall experience, they can’t quite match that of sitting by the outdoor pool, looking at the glowing green of the Alps, under the deep blue of the mountain sky, in utter peace, while sipping a perfectly made margarita, served by an unhassled staff member who knows exactly when to ask whether I’d like another one. That may not have been the first line of the owners’ business plan when they opened The Alpina, but they have succeeded in making Gstaad a true summer holiday destination beyond, I suspect, even their wildest dreams.

thealpinagstaad.ch

Buying a Ferrari Testarossa F512M

dariussanai — Wed, 02 Sep 2015 11:06:42 +0000

One of the truisms of collecting, whether you are Imelda Marcos hoarding shoes or a 21^st century gentleman acquiring classic cars, is that enlightenment comes with possession. You research your subject, speak to fellow collectors, make an acquisition, and, through the circle of friendship and contact endowed by possession, acquire more and better knowledge.

Thus it was with my Ferrari Testarossa. The fabulous looking 1980s supercar is still being fettled to perfection by Joe Macari Ferrari, the celebrated London dealership. Joe Macari has the reputation as one of the most exacting, and most expensive, places to set your classic right. In the course of my conversations with their chief guru (gurus are essential in this game), Andrew Gill, head of aftersales and a man long-term Ferrari aficionados regard with awe, a new dream came into view.

It started when I told him , slightly playfully, that having acquired a Testarossa I was now interested in its successor, the 512 TR, a car that was basically an improved version of the Testarossa: looking just as beautiful (and almost identical), but better to drive. It is also, and this is important for a classic car’s value, rarer. There were 7177 Testarossas made (though mine is one of the 438 UK, right hand drive models), and just 2280 512TRs.

Forget the 512 TR, Andrew said: the 1995-1996 512M was the car to have. “Amazing car. They ironed out all the faults and they drive like nothing else.” Another friend, a very big and respected collector, gave it the nod also and said he’d even go halves with me if I found one.

The 512M was the final iteration of the Testarossa series, and one of the most outrageous looking Ferraris ever. It was given a dramatic aerodynamic makeover which divided opinion at the time (I remember thinking at the time it looked cool and fast, but no longer like a Testarossa) but now looks slick and modern, 20 years on. And its mechanical credentials were legendary. Essentially, the 512M was a racier, lighter, faster and more hi-tech version of the 512TR, down to the engine’s titanium alloy connecting rods and variable pitch valve springs.

It was Ferrari’s flagship. When it came out, it was the fastest Ferrari and for a while the fastest car in the world. It was also a beast, the last mid-engined production 12-cylinder Ferrari, the end of a line that started with the 365 GT/4 Berlinetta Boxer in 1973, with all the flamboyance that implies. Its successors, from the 550 Maranello to today’s F12, all have engines in front and are far more sober looking.

And there were only 501 made, in the world. I really wanted one.

But where to find one? Calls to friends in the Ferrari universe saying I wanted one received replies of the “so does everyone else” variety. Someone knew of one coming from Japan; no, already been sold. A classic dealer had one advertised in southern Germany, but he wasn’t getting back to me and, no, sold weeks ago. A friend in Switzerland knew of a friend who had one, but values were going up and he wasn’t selling. One in Holland: but lots of miles and looked a bit tired. One at auction in London, but it was missing a lot of history. If you don't have history, you have to take the mileage and the fact that it has been maintained properly on trust. One evening, an ad popped up on an alert from an Italian website I subscribe to. Yellow 512M, great history and condition, low miles. I rang the number. “So sorry,” said the owner, a gentleman I would guess in his 70s. A dealer had seen the ad hours earlier, come over with cash (more than 200,000 euros in cash!) and taken the car. When dealers rush for cars, you know they’re hot. Two days later, on a Friday, another alert, this time from a Spanish specialist site, a car in Barcelona. Pictures, obviously taken by an amateur, of a car on a sunny hillside. Ferrari Red (rosso corsa) with red and black carbon fibre racing bucket seats, a rare option. Only 12,000 miles, a 1995 car, always serviced at a main dealer. An even better car. I dropped the iPad and rang. “Yes, there are lots of people calling,” said a distinguished voice in Spanish. “Dealers, who don’t even speak Spanish!” (a disgusted tone). “I am going away until Tuesday night”. The ad only stated a landline, which meant nobody would get through to him until then. I’ll meet you on Wednesday at 9am at the Ferrari dealership in Barcelona, I said, to get the car inspected and seal the deal. He agreed. Nobody would be able to get there before me, or would they?

On the Tuesday evening, I flew out to Barcelona and settled in at the Majestic. I had to finish some work, and then drank a couple of cocktails by the (closed) rooftop pool. What if he didn’t show up? What if someone else had managed to get hold of him and put a deposit down sight unseen on the phone, common with such desirable cars? What if the car was not as good as advertised? Did I really want to spend this money on a car which, until last year, had just been another old money pit? Was I ahead of the market or a sucker? A. wasn't answering his phone.

At 9 the next day, A. (as I will call him) was there, besuited, with his 512M already up on a ramp at Ferrari Barcelona. It looked so clean and barely used, underneath and above. “We service all his Ferraris,” the mechanic told me. All? What others does he have? “A F50 and a 550 Maranello,” he said, naming more than a million euros worth of car. “And then there are all the Porsches and the Aston DB6 and the Rolls…” A., a scion of Barcelona society in his late-sixties, was delightful. I looked over the car in detail, a list of tips in my hand from both Andrew Gill and the experts on the Ferrarichat online forum. We agreed a price, subject to a full formal inspection by the dealership. I gave him a copy of one of my magazines containing a feature I had written about Ferraris. He zoomed off and came back with a full set of bespoke Schedoni luggage for the car, which hadn’t been mentioned before (market value, more than £10,000). He threw it in for free. We left the 512M with the dealership and he took me for the finest paella I have had, and then a tour of his cars at his stunning modern hillside home (next to Neymar's house) and in his storage garage. The 512M was neither the fastest or finest of his possessions. We spoke in a blend of French and Spanish, and I pondered that any English or German dealer who had rung A. would not have been able to communicate. He received several messages about enquiries about the car. The dealership rang me. “We’re emailing the results through,” they said. These included a compression test, which doesn’t lie. It was perfect; as beautiful an example as you could dream of. We shook hands, I transferred the money and boarded a flight to Switzerland for a business meeting the next day, with the elegant gentlemen of Ferrari Barcelona looking after the car for us. A couple of weeks later, my 512M arrived in Britain. I entrusted it to Roger Collingwood of The Ferrari Centre in Kent, a former racing mechanic so honest he needs to be reminded by customers to send his invoices. It passed its UK inspections with flying colours and received a number plate.

I took the train out to Kent to drive it back to its London garage home. The flat-12 engine rumbled behind my ears like a pair of growling hunting dogs. The steering told you everything about the road and more - it has no power assistance and is heavy and astonishingly direct and real compared to today's cars. The gearlever is grumpy and obstructive when cold but slashing it through the bare metal gate is a joy in itself on the go. The carbon fibre seats are amazingly comfortable. At speed, around corners, it feels on edge (with a big 12 cylinder engine behind you) alive like no modern car and just a little bit dangerous - it has no traction control of any kind, apart from the driver. And the howl when you take those lightweight pistons towards the top of the rev range is properly frightening – you feel this is why they made the car. Even idling, you are always aware of those two angry mastiffs behind you – I keep wondering if a superbike is dawdling by the rear three quarter flank of my car, only to realise it’s my own engine.

While it is now 20 years old and not as fast as any of today’s Ferraris, it feels very fast because it’s so raw, and it is still a properly quick supercar (200 mph, 0-60 in 4.1 seconds).

Its value has also risen 50% in the six months since I bought it. A is happy, as I paid a strong price at the time; we went to his wedding last month. I don't intend to sell it anytime soon; it is one of the greatest Ferraris ever made, and I recommend tracking down one of the remaining 500 or so in the world before the prices hit the moon.

Meanwhile, the bug hit again. The 512M’s successor, the 550 Maranello of 1997, was as different as it is possible to be: front engined, understated, wearing a Milanese suit rather than a Versace shirt and Gucci loafers. But a magnificent car, even more powerful, and apparently much easier to handle. Prices seemed very low. With two outrageous Ferraris for those Versace moments, I needed something sober suited and sleek: bespoke Zegna. Time to start looking for one.

(to be continued…)

Darius Sanai

Masseto: a taste of an uber-luxe wine brand

dariussanai — Thu, 03 Sep 2015 13:21:50 +0000

On business in Italy, my route takes me along the coast of the Maremma, the beautiful and curiously unspoiled Tuscan coastlands. Combine the words Tuscany and Mediterranean and images of overcrowded beaches and packed rows of villas interspersed with batallions of ice-cream wielding middle-class children come to mind. But in reality, the Maremma, which stretches down from Pisa towards Rome, is one of the least-populated and least-touristed parts of Italy. Partly, this is because it used to be dominated by marshlands (and was once a malarial zone) and has little of the community history of the rest of Tuscany. But that changed 100 years ago, and the lack of tourism now is a mystery: there are beaches, the pineta (the long stone pine forest that wraps along the entire Mediterranean coast, when it is allowed to), picturesque hills, and now, no malaria. What the Maremma does have, famously, if you are a wine lover, is some of the most interesting wines in the world. A few decades ago, Mario Incisa della Rocchetta, a member of the Tuscan wine aristocracy, planted vines here and created a wine called Sassicaia, which shocked the then conservative and inward-gazing world of wine. This was a wine from nowhere, which was of the quality of the Bordeaux first growths (the likes of Lafite and Latour). Was it a freak? Sassicaia came from a sloping benchland called Bolgheri, between the sea and the wonderfully-named Colline Metallifere, the Metallic Hills, that border the area. To prove it wasn’t a freak, Incisa della Rochetta’s cousin, Ludovico Antinori (from a branch of the famed wine family, but not the main branch) planted his own wines nearby and in the early 1980s created another Bordeaux-style wine called Ornellaia. While not quite as celebrated as Sassicaia, it also make its mark at the top (or rather bottom) of the world’s wine lists. There was a patch of land just outside the original domain of Ornellaia that Antinori planted to Merlot, one of the grapes of Bordeaux, and the dominant grape of two of Bordeaux’s legends, Chateau Petrus and Le Pin. Like a great patch of land in Burgundy, it was planted on a slope, slightly concave, with different soils and bordered by wild forests at the top. Like the land of Chateau Petrus, the soil was mainly clay. One day, Ornellaia’s owners decided to make a separate wine just out of grapes from this new vineyard, which was called Masseto, just for fun. The wine was so good, they have told me, that they decided to continue making it formally, in 1986. And a legend was born, because Masseto is now the single wine of Italy that can take its place in the world’s private jets with the luxury brands of Bordeaux (Lafite, Petrus, etc) and California (Screaming Eagle, Harlan Estate, etc). There may be other wines of Italy which the professional wine tasters find equally good in some years, but they are obscure. Step into a restaurant in Moscow, Dubai or London and order a Masseto, and your companions, whether or not they are wine buffs, will know the card you have played. “That is the middle part of the vineyard”, Axel Heinz tells me, inching along a sloped dirt track in his Audi. Heinz, handsome, articulate in several languages, and from some theoretical geographical combination of Germany and Bordeaux, is the winemaker for Masseto and Ornellaia, and has been for the past 10 years. “It is the grand cru of Masseto.” He is pointing to a slight hollow in the gentle slope, where grapes of a deep red hang from rows of green leaves. It’s just a vineyard, but I feel the same frisson as when walking the soils of Chambertin or La Landonne in France. The Mediterranean glistens in the middle distance, at its edge the delightfully empty beach by Bolgheri. Brooding forests rise towards the deep blue sky behind. In the winery, a modernist building constructed in 1989 to blend into the earth, in a tasting room looking out over vines and hills and swathed in late summer sun, we taste some Massetos. The 2012, very young, remember, is deliciously, surprisingly open, broad, layered with bright fruit and cedar. It will be released to the world this autumn. The 2010 is older but tastes younger, more tannic, more closed, proud, just revealing hints of its couture gown from underneath a gabardine Burberry trenchcoat. I make a mental note not to drink the cases I have at home until 2020. There are others, but the memorable wine, an astonishing wine, is the 2006. It has the breadth and openness of the 2012 but also a tunnel of depth, you can taste all kinds of bosky, subtle, sexy, bedroom-parlour touches and tones. These can only intensify over time. I make another mental note, to buy a case of the 2006 and drink a bottle a year over the next 12 years. Or to use it as perfume. As I leave, I ask Heinz about the abandoned farm building next to the Masseto vineyard itself. It had been sealed off with fencing; a suggestion that there were plans afoot. “Yes, we are building Masseto’s own winery there,” he says. “Work starts this year and will be finished by the time we harvest the 2017 vintage”. So, Masseto is going it alone within the portfolio? “Yes,” he smiles. I see the flowering of a new, solo, luxury brand. Darius Sanai

Take in the view: Ozone and Aqua, Hong Kong

dariussanai — Tue, 15 Sep 2015 10:36:17 +0000

Darius Sanai admires the spectacular Hong Kong skyline from two of the city's most exclusive bars

Ozone at the Ritz Carlton in Hong Kong, the highest bar in the world, has a long row of bar stools along its floor to ceiling picture window. You settle on a stool, place your Mojito on the counter in front of you, and stare out at a view of… nothing much. Where is Hong Kong? You lower your sights and, far below you, is a meandering stretch of water lined by buildings. The city that takes your breath away with its architectural glamour from the ground is now so far beneath you, from the 118th floor, that it almost loses impact; I was reminded of looking at Paris from a helicopter once, and pondering that human achievement needs to be appreciated at the scale it was created on. Why do we so love views, and in particular, bars with views? From London’s Shard, you can gaze down from any of three lively and extensive bars at sweeping views of the city, from floors in the mid-30s: a perfect height for admiring a low-rise city like London. In Dubai, you can head to the Burj-al-Arab’s top-floor bar, and perhaps you will be as disappointed as I was at the tawdry collection of plump men and sad Russian hookers desecrating a surreal vista over the inky Gulf. The Rainbow Room in New York is still the most atmospheric bar with a view in the world, wearing its Jazz Age history on its sleeve (and try drinking Martinis there during an electrical storm for a genuine out of body experience). Read next: Colombia's quiet renaissance And perhaps that – slipping out of reality – is why views and bars are so intimately attached. For these watering holes are all in the middle of man-made firmaments, cities aching with crowds and claustrophobia and high anxiety; just as a Beluga vodka Martini provides an escape from the everyday, so does a vista stretching along, above and away. Together, they are an irresistible combination. And so it was at Ozone. Slowly, the eyes adjusted to the relief map of Hong Kong spread out far below. Even in the gallery facing oblivion, the lighting was (correctly) kept low, so you could start to pick out ships and landmark buildings. The crowd was lively: low on suffocating young gents in finance talking about money markets, high on a blend of skin colours and nationalities, out for fun, not for expenses. And, as a slightly disingenuous counterpoint, Ritz Carlton levels of service, which you somehow don’t associate with somewhere so…groovy. Cocktails and champagne whizzed through the crowds with old-fashioned efficiency and deference. My Moscow Mule was refreshing and long, made even more revitalising by a cool breeze blowing in from the open roof. At 490m altitude, it was a discernible couple of degrees less hot than Hong Kong below. Read next: Investing in a Porsche 911 Turbo You exit Ozone via the lobby of the Ritz, a surreal interlude of calm elegance, and outside, suddenly, Hong Kong towers over you again. If Ozone looks down at the view, Aqua is the view. This spot, a kilometre or so from the Ritz, is on the 30th floor, some 88 floors below Ozone. Also in Kowloon, the fast-emerging half of the city across the water from the historic centre, the city centre of Hong Kong – known to locals as Central – is a bristling wall of multi-coloured towers. In the foreground, fishing boats, ferries and old Chinese junks chunter through the water, which is multi-coloured, from the reflections of the buildings facing. It is the urban equivalent of being in the heart of the Alps, except instead of glacier whites and granite greys, green, pink and silver neon light up the cityscape facing you and the water below. If you can take your eyes off the view, you will note that Aqua takes its cocktails and food quite seriously. Less of a party spot than Ozone; more of a place for an aperitif that turns into a thoughtful dinner, with good friends. The Moscow Mule here packed a punch, with real ginger and a dab of mint, and one of my favourite vodkas, Ketel One, still made in an old gin pot still. It adds texture and class. The chef’s selection of sushi came with an instruction not to ask for wasabi as it mars the flavour; the lobster, wagyu beef and toro nigiri were indeed delicate, buttery, nutty, gentle. For all the correct international conversation about human beings desecrating the planet, and the follies of modern urbanity, an evening at Aqua may lead you to conclude that humans are still capable of adding beauty, soul, and delight to the world. And that this bar high in the heart of Hong Kong is one of the very best places to appreciate that. Meanwhile, a good friend tells me that the bars on the other side of the expanse of water are less spectacular, but more edgy. To be continued.. Ozone, Ritz Carlton, Hong Kong ritzcarlton.com; Aqua Spirit, Hong Kong aqua.com.hk

Investing in a Porsche 911 Turbo

dariussanai — Fri, 13 Nov 2015 10:56:55 +0000

LUX Editor-in-Chief Darius Sanai speaks to Russ Rosenthal, director of JZM about turning a boyhood dream into a profitable reality

Like art, fine wine and limited-edition watches, classic cars fall into the category of what luxury analysts call “Investments of Passion” – stuff you can enjoy while its value rises. But, leaving aside the question of potential returns, what motivates investors to buy particular assets? One reason widely cited for the first boom in contemporary art prices, back in the 1980s, was that the new wealthy wanted to show they had earned their money themselves, and not inherited works, or tastes, from their parents. A generation later, watch guru Jean-Claude Biver cited the same reasoning to me for the taste for contemporary and uber-complicated mechanical watches. Fashions in fine wine wax and wane: Bordeaux, the materiel du jour just five years ago, is now as out of style as a hipster moustache. Classic car dealers are fond of telling you that people collect the cars that featured in their bedroom wall posters when they were kids; thus the recent price rises in the likes of Ferrari Testarossas and Lamborghini Countaches, as Thatcher’s children come into serious money. That’s true up to a point; the advertising creative directors pootling around in 1960s Porsches 911s were surely not born when their cars were. As to my own Ferrari Testarossa, this was released to the world in a year (1984) when my bedroom posters featured The Clash and the only redhead I was interested in went to the girl’s school next to mine. Still, one has to abide by cliché, and having acquired three fantastic Ferraris, it was time to target the dream car from earlier in my boyhood. The Porsche 911 Turbo seemed wonderfully glamorous to a small kid in drab 1979 London: a much-faster version of a car that was then a sports car for aficionados, not the daily transport it has now become. 911 Turbos have been made since 1973, and the challenge for anyone wanting to acquire an old, or rather, classic, one, is the slow discovery they are either very expensive, or slightly rubbish, or both. In my search earlier this year I sat inside numerous slightly musty 30-year-old cars, wondering what I was missing. The test drives were no better: old 911 Turbos had no performance at all til the boost arrived, and then what in 1983 was a warp-speed thump, is, in 2015, the acceleration of a fruitily-driven post-nightclub diesel cab which has been chipped. And for a price tag approaching six figures. Hmm. So, logic led me to a much newer Porsche 911 Turbo which I knew was brilliant, because I had reviewed it when it came out, and was also, by the perverse logic of the classic car market, much cheaper. If you imagine the value curve of classic cars over time describing a V-shape, the 996 model range of the 911, produced between 1998 and 2004, is currently near the bottom of the V. The “996” model was tainted as a whole by the fact that it was the first 911 with a water-cooled (as opposed to air-cooled) engine, an engine which moreover, proved quite fragile. But a growing clique of aficionados recently started noting publicly that the engine in the 996 Turbo was unrelated to that in its lesser siblings, and was both hugely reliable and had a racing pedigree. Known as the “Mezger” engine after its original designer, Hans Mezger, it was derived from a design for a Porsche Le Mans car, and is starting to become something of a motoring legend. So – a brilliant Porsche 911 Turbo, at the bottom of its depreciation curve, with a Le Mans engine. A slam dunk. The next challenge: finding a good one. Unlike Ferraris, Porsches tend to get driven, so Pistonheads was full of ads for cars with 80,000 miles, or “low mileage” ones with 50,000 miles. “Miles are important” was a mantra taught me by one of my car gurus (a man who has made more out of his car collection than most of us will make in several lifetimes). Low mileage on a Ferrari means less than 10,000 miles; on a Porsche, I decided, it means less than 20,000. And it had to be a manual, not a semi-automatic: I am convinced that as manuals are phased out, they will become ever more desirable. One day my eye was caught by a very striking newly-advertised car in Basalt Black, with only 17,000 miles, and a host of rather nice factory extras including a carbon-fibre driver zone and Porsche “ruffled leather” seats. It was being sold at a price higher than any other 996 Turbo, by JZM, a renowned specialist in Hertfordshire. A quick sortie, inspection and drive indicated this was the car. It felt quasi-new, had a full wallet of Official Porsche history, and had plainly lived a pampered life in a garage – even the headlights showed no sign of cloudiness, a hazard of cars living outside. There was a little wriggle room on the price, and Russ Rosenthal, director of JZM, agreed to throw in various bits to make the car absolutely sublime. One sunny Saturday morning I took the train up to King’s Langley – less glamorous than Barcelona and Rome, where I had bought my previous two Ferraris, but pleasant nonetheless – signed bits of paperwork in JZM’s pristine showroom, and was presented with a very shiny black 2004 Porsche 911 Turbo. I have driven every recent incarnation of the 911 Turbo extensively, and going back to this model was both a shock and a revelation. What seemed at the time (just over a decade ago) to be an ultra-modern, slick 911 now seems pleasingly old-fashioned. Push it around a fast corner with a bump in the middle, and you are suddenly aware, despite the four-wheel drive, of being in a car for so long known as a ‘widowmaker’ due to its rear-engine exerting extreme centrifugal forces (and spinning the car around). It’s fast, too – scarily fast at full throttle, full boost acceleration – and unlike the latest models, you can actually feel the road through the steering. It’s an exciting car but with comforts like heated seats, air conditioning and even sat nav. With perfect timing, 996 Turbo prices have started to rise since I bought mine. I went back to Russ, told him I was writing this for LUX, and asked him for his thoughts. He, in turn, told me that the interest in high-end modern classic Porsches has been a boon for companies like his – they are building new showroom to double the size of their facility – as people invest more money into the best cars. (It’s an old, and true, adage that it’s worth buying the best you can find.) “There’s a realization that with the latest incarnation of the 911, there’s something that’s basically missing with the more recent cars. There’s a rawness from the 996 Turbo, and as the cars have gotten newer they’ve lost that edge a little bit, they’ve become a little bit softer, a little more refined, they’re not quite as raw and personally, when I jump in a nice manual 996 Turbo now, it just feels edgy and it’s something that’s lost on the later cars. I think there’s a realization, people are starting to understand that. It applies to the Turbos but also to 911s across the board – with the latest incarnation, there is no low speed fun. I think there’s less feedback, there’s less feeling.” Couldn’t have put it better myself. Russ says I could already sell my car for 20% more than I bought it; but with both newer and older 911 Turbos costing more, and offering less joy, I am hanging on to it. The 11-year-old me would be delighted. jzmporsche.com

Colombia Diaries

dariussanai — Fri, 13 Nov 2015 10:55:56 +0000

Once one of the most dangerous destinations on the globe, Colombia is in the midst of a renaissance. Millie Walton discovers the unique charms of the country's most beautiful city, Cartagena

The sky is a dramatic swirl of pinks and oranges, as we sail into Cartagena, shimmering off the surface of the sea and melting into the blackness beneath. It’s quiet and still, the water looks velvety and bare. Ahead the city glows. It’s not quite what I imagined. I’d seen pictures of homely looking, colourful streets and had expected a seaside shanty, rather than skyscrapers - naïvely, perhaps for Cartagena, I soon learn, is fiercely fashionable and contemporary, bursting with the old world culture I’d hoped for, but with glossy restaurants and luxurious hotels too.

Read next: The green season in the Alps

Until recently, Colombia was a no-go zone, riddled with stories of violence, drugs and tourist kid-nappings and for many, that image still remains. I was met with wide eyes and warnings when I first unveiled the plans for my trip. As a result, the country has managed to maintain a secret allure and a feeling of wilderness that’s as liberating as it could be slightly bewildering. If you don’t speak Spanish, you’ll find yourself resorting to gestures and broken phrases. Smiling gets you a long way too. Colombians are, in general, the happiest and most helpful nationality I’ve come across; the most endeared to fresh faces and foreign tongues. Fortunately, I spoke sufficient Spanish to find my way to the old town, a Unesco World Heritage site – the place of the cobbled streets, bright blue walls, and balconies overflowing with bougainvillea. It’s particularly beautiful to wander at night when the heat is more subdued and the squares are filled with music and food stands, people dancing and children playing. Or to just sit and watch the night unfold.

This evening, we wind up in Getsemani, an up-and-coming neighbourhood with a rather sketchy past. Now luxury brands are tiptoeing in with Four Seasons reportedly looking at a property and smart dining options opening their doors. It’s a warren to navigate, but that hardly matters if you don't mind getting lost. We sip sangria on the tiled rooftop of Malagana Café and Bar to cool down, before heading back to our hotel, Casa San Augstin for dinner at Alma, reportedly one of the city’s best places to enjoy costal Colombian cuisine infused with the head chef, Heberto Eljach’s originality.

We ask for a selection of appetisers, too tempted by the menu to be decisive and find ourselves with plates of prawn tempura, hummus – easily the best I’ve ever tasted-, olives and hams. The service is relaxed, perhaps not quite up to fierce and impatient European expectations, but you have to remember you’re in South America. Life has a different pace. I choose fish for my main; plain, steamed with fresh vegetables. It’s not actually on the menu, or something I would necessarily pick as my favourite, but the dynamic chief operating manager at the hotels’ management company, Nicolas Dominguez, insists, telling me I won’t regret it and I don’t. It’s perfect; fresh, light and subtle in flavour, better, as so many things are, without embellishment.

Unsurprisingly, the night leads us to Café Havana, the undisputed favourite spot post 11pm in the city - when the Latin jazz bands start to play and hips sway. Unless you’re British, of course, then the only thing swaying is likely to be your head slightly reeling from one too many shots of the local liquor Aguardiente. It’s a fun place to be, understated and packed with salseros. We find ourselves coerced into an impromptu dance lesson, which leaves us a little flush faced, and exhilarated.

Outside, the streets throb with heat, music and people. We mingle for a while, stretching our Spanish to its limits before slinking back to the calm oasis of Casa San Agustin.

hotelcasasanagustin.com

The Future of Luxury Issue

dariussanai — Fri, 26 Feb 2016 16:31:08 +0000

Winter 2016

ON SALE NOW

The Electric Recording Company: Nuanced Sounds

dariussanai — Fri, 26 Feb 2016 16:35:07 +0000

For many, the 1950s and early 60s was the golden age for music, an era of artistic experimentation and precise analogue audio reproduction, but mint condition vinyl albums from this time are increasingly rare to find and ludicrously expensive to buy. Fortunately, this is where the Electric Recording Company steps in. Millie Walton sits down with founder, Pete Hutchinson in his premier recording suite to listen to jazz and talk about the re-mastering of the key catalogue titles, bringing back the super sounds of the seventies. Audiophiles everywhere rejoice.

Millie Walton: You have a lot of very beautiful, vintage machinery here. Where did it all come from? Pete Hutchinson: Originally it came from Romania, but we found it rusting in a damp garage. It took us three years to restore all of the equipment, but it was completely necessary to help us achieve the sound quality we wanted. When you get a normal remake or reissue of a record from a shop, its cut on contemporary equipment with different technology. This is all valve machinery from 1950s, ’60s and ‘70s. Most studios threw all this stuff into skips and then the sound changed forever. We want to bring back that lost sound by taking the original mask tapes, playing them through these machines and re-cutting the vinyl. That’s the concept.

MW: How would you say the sound differs? PH: Well I think that transistor sound is a bit harder and glassier than valve sound, which tends to be more open and dynamic, but obviously its completely subjective. We cut in what’s called true mono, which no one else does anymore. Up until early 1950s everything was recorded in mono, which means that the music is played into one microphone. When stereo came into effect the signal was split to the left and right. The idea is that you hear the guitar for example on one side and the drums on the other. Read next: Inside the colourful world of Tierney Gearon MW: Do you think mono is better? PH: It’s better for some things. For an orchestra stereo is probably better because you get a wider sound image. Mono is much more direct, in your face. To us it was very important that we cut in mono and had the machinery to make that happen. Other studios press a button on the desk to make a mono channel but its not pure mono, we use a mono tape machine head and from there it goes into a mono recording amplifier into the lase and its then cut on a mono cutting edge so that the signal stays absolutely pure all the way through. This project is all about nuance. You have to be a bit of a geek to care about this stuff…

MW: How did you approach the artwork of these original records?

PH: What most people do is digitally scan the artwork and use a generic card for every release, but I didn't want to do that. I really wanted to have holistic approach to the whole aesthetic. We found a guy here in London who uses the technology of the late 50s to letterpress. It's a very involved and slow process and incredibly expensive.

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MW: It sounds like a true labour of love.

PH: Completely. We only make a limited edition of about 300 copies of each reissue. Our first releases took a year or two to make, but we wanted the whole look to be right, using rice paper sleeves as they did in the 50s for the vinyls and even letter pressing the labels. Each vinyl also comes with a book, which explains the process. We normally sell directly to consumer and have a huge market in Asia, Hong Kong where people where buying multiple copies in order to keep and then presumably sell on which I tried to encourage not to happen because these records shouldn't be like an asset class, they should be consumed for the art and for the music.

electricrecordingco.com

An unexpected paradise off the coast of Africa

dariussanai — Fri, 26 Feb 2016 17:16:27 +0000

On the south side of an island off the coast of Africa, yet pleasingly accessible, the Ritz-Carlton Abama is one of the most dramatic resorts in the world, as DARIUS SANAI discovers

A perfect storm in the luxury travel world has meant the world is unrecognisably smaller than just 30 years ago. We have seen a combination of escalating numbers of high net worth individuals, a global burgeoning of high-quality airlines and operators (and private jet-friendly airports), rapidly developing destination countries and destination management organisations, spectacular new hotels and the internet to make it all transparent. And it means that what was unspeakably exotic a generation ago – Thai beaches, or hotels on stilts in the Indian Ocean – is mainstream now, and what was unimaginable – bareback riding to the Angel Falls, hikes to meet isolated villagers in Papua New Guinea – is quite feasible.

There is one destination I visited recently that could belong to both the ‘hot discovery’ category and the mainstream category simultaneously. I could write that I spent a week on an island mountainside, on a cliff above the ocean, facing a volcano across the sea on a quasi-uninhabited island off the west coast of Africa. That Charles Darwin took inspiration from, and wrote about, the natural wonders of the volcanic island I stayed on; that its climate is preternaturally sublime, never too hot, cold, or wet; and that stargazers congregate here for its clear, pollution-free skies. Read next: VIP tour of the Monaco Grand Prix with Rolex I could also write that I spent a week in a luxury resort with seven swimming pools, three highly acclaimed restaurants (with a total of three Michelin stars), a golf course and a private beach – in the Canaries, one of the prime mass-market destinations for the people of industrialised northern Europe. Both stories are true and are, in fact, the same story. As a child, I missed out on the Canary Islands boom, my parents preferring to take me to mainland Europe for our holidays. They became synonymous with a certain type of package holiday, so it is with some skepticism that one arrives in Tenerife. Then, in the rental car from the airport, you notice that the whole island is in fact one vast volcano rising from the sea bed. The height of the peak, far above, is 3,718m – high enough – but the whole mountain, from ocean floor to top, must be vast: it would dwarf Mont Blanc, western Europe’s highest mountain. That means you are always at some point on its flanks, whether driving along the motorway or sitting on a beach.

The Ritz-Carlton Abama is a cacophony of pink stone on the edge of this mountainside. It sits alone, and from the moment you enter the gates of the resort, the broad view in every direction lacks any of the overdevelopment of other parts of the island. Read next: Charmed by Colombia's most beautiful city, Cartagena The balcony of our suite faced out over some gardens planted with subtropical flora; the gardens stopped at a cliff edge, underneath which was the hotel’s private white-sand beach (most beaches on the island have volcanic black sand). At night, sitting back on a lounger, sipping local Malvasia wine and dipping papas (tiny black potatoes, intensely flavoured, grown in volcanic soil), the sky was a ceiling, not a void. A hemisphere of stars rotated slowly, noticeably: constellations would move across the ceiling at set times every evening. Occasionally a marine bird, flying through the banana plantations that flanked the resort, would break the silence. To get to the beach at Abama, you walk down through the gardens to the edge of the cliff, where you have two choices: a funicular lift with glass walls descending the mountainside, or a zigzag path through cacti and tropical flowers. Once at the bottom you are presented with a perfect semi-circle of beach, within the embrace of a sheltered bay. Directly in front of you is the volcanic island of Gomera, a national park, protected and wild. It is a big, green, upside-down cone rising out of the ocean. There is no fighting for sun loungers here(we were there at peak season); you take your pick along the extensive sandy crescent and then swim in the sea (quite chilly, very clear, plenty of small fish for company) or go jogging along the beach, a few hundred metres from cliff wall to cliff wall.

Abama is dotted with very classy cafes and restaurants, the beach area being no exception. They all have the distinction of feeling like stand- alone, individual places with their own identity, destinations in themselves rather than outlets in a resort. The bartender at the beach cafe said he would never work elsewhere in the resort. “Here we can just see the sea, the sun, the island,” he smiled, laying down a mojito and a bowl of green olives. We sheltered from the sun under the palm trees planted along its terrace (it’s only a terrace – no indoor tables at all), sipped our drinks, watched people strolling on the beach immediately below, and then went for a stroll of our own. Read next: Flight of the billionaire Flight of the billionaire Adjacent to the beach to our left, we had seen children and adults diving off a rocky outcrop. Wandering over, we noticed that the other side of the outcrop featured several rockpools, perfect for wading through, and then turned into an extraordinary ancient lava field: smooth, black rock, almost soft to the touch, slipping into the ocean and home to hundreds of blue crabs of various sizes. Typically they were the size of an adult hand, but some monsters were twice that size; they would cling to the rock as a wave washed over them, oblivious, and then scuttle along at alarming speeds. Dining that evening, we visited a restaurant called El Mirador, situated by the little funicular at the top of the cliff, surrounded by gardens and a long pool, and with even more dramatic views over to the island of Gomera. El Mirador’s speciality is local seafood and paella, something frequent visitors to Spain may be wary of, as it is the mantra of many a mediocre establishment. Our interest was piqued, though, by the fact that the restaurant runs its own paella- making school, replete with lessons on types of rice, and that the chef has been acclaimed in the media all over the country. On the terrace of El Mirador, under the ceiling of stars, unidentifiable fledgling birds chirping in a nest to our side, we were given a lesson in paella; not how to make it, but how it can taste. During a fairly lengthy wait (which we were warned about: “a great paella cannot be rushed”), we enjoyed some starters of langoustines and some Azuarga red from the Ribera del Duero – red wine with a seafood dish may seem a curious choice, but a fruity, fresh, powerful red matches well with highly flavoured fish and rice. The paella came in a big black pan, its rice brown, long-grained and al dente. Atop were mussels, lobster, a local white fish called, strangely, bluefish, and clams. There was a slash of umami about everything, hints of parsley, white wine and a kind of bouillon of fishy herbaceousness, and no sign of the oiliness that blights so many examples of this dish.

Food is more than an incidental part of the Abama experience; it is one of its showcases. Apparently the owners (one of Spain’s leading media owners) wanted, when they built the hotel, to show that their favourite island could host restaurants on a level with anywhere else in the world. The next evening we went to Kabuki, the Abama outpost of the celebrated Michelin-starred, Madrid-based Japanese restaurant. The restaurant is within the main part of the hotel, its view out to the gardens behind. Decor is cleverly done so you step into Japan – Kyoto, perhaps? – as you walk in along the long sushi bar. The cuisine integrates local fish and other touches of the area in its menu: nigiri of locally caught bluefish and local tuna caramelized with a blowtorch were memorable and delightful; wagyu beef sashimi wonderful. This was Japanese fusion cuisine at its most powerful: giving you a sense of place in terms of where you were eating, while still evidently very strongly rooted in Japanese tradition. We chose a blanc de blancs small grower champagne from the excellent wine list – evidently the pride in sourcing extends to more than just the food. It was only halfway through the meal that we learned from our waiter that the Kabuki at Abama has also been awarded a Michelin star. Such an accolade, for a restaurant on the far side of an island a long way from the mainland of Europe, and a Japanese restaurant to boot, is quite an achievement and more than deserved. The ambience was relaxing but correctly Japanese and ordered; you felt you were somewhere else entirely, so much so that walking out towards the suite through the hotel lobby was quite a surprise. The architecture of Abama means you get lost, deliberately. The sweeping, organically shaped reception area looks out over a labyrinth of carp ponds, out to the island of Gomera, and to an amorphous cluster of shapes that turn out to house rooms or front pools. There are no straight lines at this Ritz-Carlton. The main pool, beyond the carp ponds, must be 50 metres long and twists and turns under bridges and rock formations, surrounded by children enjoying ice cream and looking for butterflies, and parents on sun loungers facing the ocean and the omnipresent island.

There’s another pool beyond a cool wooden hut housing yet another restaurant and another one on the roof of the main building, with a dramatic view of Mount Teide, Tenerife’s volcano – this is a part of the resort it could take you weeks to discover. Within the gardens are a couple of rows of nicely integrated villas, each with its own snake-shaped pool. There’s another beautiful, precipitous, panoramic pool by El Mirador, this one for adults only.

Above one of these pools is the hotel’s spa, which as you would expect of a Ritz-Carlton spa, allows you to luxuriate amid an entire ecosystem of treatments. One morning we ventured up the steep mountainside above the hotel – still part of the property – to discover a dozen clay tennis courts and a tennis centre staffed with several pros; you could spend a week here doing nothing but taking instruction from different pros. And around and above that, a championship golf course. With its slopes, views, challenges and properly panoramic clubhouse – at the very top of the property, several hundred metres above the beach – it is, apparently, one of the best reputed in Europe. Seven days at the Ritz-Carlton Abama and we had not even discovered half of it, it seems. From the exotic to the haute cuisine to the stellar, it’s a place that seems to have it all. And it’s just a short hop from western Europe. ritzcarlton.com

Rural Focus: Lucknam Park & Lords of the Manor

dariussanai — Tue, 01 Mar 2016 11:13:10 +0000

Two typical English country house hotels at the very top of their game can lead to two superb, yet quite different, experiences, as LUX discovers

LUCKNAM PARK

The arrival To arrive at Lucknam Park is to enter into a dream of a 19th-century English romantic novel. We arrived just before dusk on a breezy evening when dark clouds were shooting across the remaining patches of blue sky. As we pulled up the drive, the setting sun turned the parkland on either side of the mile-long avenue of trees a golden green. The drive is so long you can’t even see the hotel, your final destination. After parkland and woodland, a big paddock appeared on the right, horses strolling around on the damp green turf. Finally the hotel appeared in view, looking as welcoming as it would have to arrivals in a carriage a century or more ago. Living quarters and view A very generous suite, comprised of two spacious rooms (extremely large by the standards of English country house hotels; it would satisfy even those used to American hotel dimensions). Both living room and bedroom looked out to parkland stretching to a short horizon: a hilltop, it turned out. No cars or buildings in sight. The bathroom was, thank goodness, of the new generation of UK country house bathrooms, with a full, separate shower, extensive marble and proper lighting, and enough room for pre-dinner pampering. [gallery ids="1801,1802,1803,1804" type="rectangular"] Cuisine Lucknam Park has a Michelin star and a celebrated wine list. Bare table, staccato-menu dining has not invaded this traditional country hotel: full service, tablecloths and serious napkins await. The style of cuisine may best be described as traditional Anglo-French. Vagaries of season mean that you, the reader, will not have what we, LUX, had, but examples include roast line-caught sea bass with maple-glazed chicken wing, celeriac risotto, wild mushrooms and confit baby onions. It’s ambitious and it works beautifully. Read next: Colombia Diaries

And the rest The pool, in a separate and sympathetically built spa building, is a proper length for laps and the spa itself is a serious operation, with an array of treatments we found both soothing and effective. There’s also another, more casual, restaurant here and its quiet, sunny terrace is an excellent place for a grilled chicken salad lunch. The grounds are vast and it’s a horse rider’s paradise. The hotel accepts but does not encourage children, meaning you won’t be overwhelmed by offspring. Conclusion Lucknam Park is an extensive and effective luxury country spa resort beautifully melded with a traditional country house hotel in one of the prettiest parts of western England. We hail its thoroughness, beauty and professionalism. lucknampark.co.uk

LORDS OF THE MANOR

The arrival To arrive at Lords of the Manor was, in our case, to get hopelessly and rather delightfully lost. We knew the hotel was in the village of Upper Slaughter, which was a couple of miles from the village of Lower Slaughter; these are tiny, postcard villages. After driving back and forth from one to the other, we realized we had driven past Lords of the Manor each time. Despite its grand name, it is not a place that shouts about itself. But the building itself, and its setting, is breathtaking for its seclusion and its history. We parked the car and immediately strolled around the pond and the informal gardens in a sunny dell in front of the hotel, taking in the peace, the soul. This is a place to dream of when in inhospitable places around the world: a little jewel of perfect Cotswolds England, not manicured or overdone, just timeless. Living quarters and view The room had a four-poster bed, a bay window letting in plenty of light, and a view across fields and the pond to ancient hedgerows and a little river. A variety of songbirds were at large in the trees, which bent back and forth in a mild breeze. It was a view you could stare at for hours. Read next:Masseto: a taste of an uber-luxe wine brand Cuisine In the restaurant at Lords of the Manor you feel tucked away, cosy, safe, as if outside there are highwaymen and danger. The restaurant has a Michelin star, but is low on fuss and ceremony, and high on quality and warmth of service. The menu is relatively simple and well communicated. For example, braised lardo glazed turbot, celeriac, greens, ox-tail, roast turbot consommé was exactly as it sounds. The wine list should be lauded for the efforts successive sommeliers have made to go beyond the standard French, Italian and Spanish classics (which are nonetheless very much in evidence) and further around the world. [gallery ids="1814,1815" type="square" columns="2"]

And the rest

In the morning, after a breakfast of locally sourced, gently spiced sausages, limpid back bacon and local mushrooms, we walked out across the grass in front of the hotel, past the pond, in between a couple of hedgerows and into a field in a gentle 5 valley. The path wove alongside a little slow - moving stream so clear you could see fish zipping through the water; they were still, then would suddenly race forward, then be still again. There was no indication of where the hotel’s grounds ended. After 20 minutes the stream reached a couple of Cotswold stone houses marking the edge of the next village, Lower Slaughter.

Conclusion Lords of the Manor is discovery luxury of the very best kind. Unstyled, the opposite of slick, without an array of the usual add-on facilities, it is very much its own place and, because of that, it nears perfection. lordsofthemanor.com

Jacky Tsai: From China with Love

dariussanai — Tue, 01 Mar 2016 11:43:46 +0000

Jacky Tsai famously designed the iconic Alexander McQueen skull during an internship placement at the couture house, but the artist is now a name in his own right, as Millie Walton discovers

Millie Walton: What does it mean to be the first Chinese artist signed by the Fine Art Society?

Jacky Tsai: I feel extremely honoured because it’s a gallery with such a rich history. It’s also important for the Chinese art circle in London and Europe. For the past 25 years Cultural Revolution art has dominated the Chinese art market, but I represent a new generation of contemporary Chinese art, which is relaxed, funny and colourful. It’s art which can hopefully be enjoyed by both Western and Eastern people.

MW: How has your art evolved since moving to London?

JT: I trained in China as a graphic designer and I never thought I could actually be an artist. No one thought I was especially talented, but when I came here everything changed and I gained the confidence to enter the art world properly. I’m also influenced hugely by Western pop art, which isn’t a recognised art form in China.

MW: Is your work received differently in China now that you have gained reputation as an artist?

JT: I don’t really explore my name in the Chinese media. I’m just trying to build up my reputation in western countries and sooner or later people in China will accept this kind of commercial pop art, but I don’t think that will happen right now, probably in ten years time or so.

MW: What’s the most difficult thing about your career?

JT: I’m lucky that my career has been relatively smooth so far, but you have to always be hard working and trust in yourself. Never give up. It’s also important to be extremely clever with managing your time. You have to manage yourself like any other company. In the contemporary art world, I think that it’s the idea you have, which is now the most important thing. So many people have the skill, but different ideas make you stand out.

faslondon.com

Interview With Javad Marandi, British Investor: Secrets to Investing in Switzerland

dariussanai — Mon, 11 Apr 2016 12:55:16 +0000

Javad Marandi, international entrepreneur with investments in the UK and continental Europe, is the first to feature in our new Luxury Leaders series. Here Marandi describes his work in Switzerland, and how the nation retains investment appeal

[caption id="attachment_1917" align="alignnone" width="2721"] Switzerland: an effective place to do business, according to Javad Marandi[/caption] The first investor featured in this series is Javad Marandi, a Swiss-based entrepreneur with significant investments in the UK, continental Europe and Azerbaijan. Marandi focuses on hotels, commercial real estate, fast-growing retail companies, and blue chip companies in the manufacturing sector. A UK Chartered Accountant by training, Marandi is also known as a successful second-tier investor in fast-growing British fashion retailers. In the first part of our focus, he reveals the secrets of investing in Switzerland. [caption id="attachment_1866" align="alignright" width="286"] London-based entrepreneur, Javad Marandi[/caption] Key fact bio: Javad Marandi Born: February 1968, Tehran, Iran Education: Electrical and Electronics Engineering and Chartered Accountant Lives: Switzerland Nationality: British Married to: Narmina Marandi, nee Narmina Alizadeh, daughter of Ali Alizadeh, a prominent oncologist in Baku, Azerbaijan. Children: 3 Investment strategy: Looking for growth sectors within the more mature stable markets of Western Europe in the small to medium sized industries. Part One: Investing in Switzerland LUX: Which sectors did you choose to invest in, in Switzerland? Javad Marandi: I am a major investor in one of the country’s best-regarded manufacturing companies. I also co-own commercial warehouses. LUX: What attracts you about Switzerland as a place to invest? JM: The country is renowned for its highly qualified workforce, excellent education, apprenticeship and training schemes and high-quality infrastructure. Its location at the heart of Europe means it will always be a commercial crossroads, and the highly developed nature of its economy mitigates risk. All of this makes it an attractive environment for the investor. LUX: How closely correlated is the growth of your investments with the Swiss economy? JM: Annual GDP growth in the country since 2010 has been between 1 and 3 per cent, in line with my expectations. Growth has slowed a little in the last year, but Switzerland is a mature, low-risk market and there are plenty of opportunities to grow our investments there regardless of the macroeconomic situation. Having said that, the overall economic climate is very positive. LUX: Has the slowdown in other European countries affected your Swiss businesses? JM: The sectors we invest in are not highly exposed to economic developments in the rest of the EU. The construction manufacturing business is focused on the Swiss market. The commercial real estate is located in the north of the country on the transport infrastructure hub and yields are exactly as projected by the executives of the businesses. LUX: How has your construction manufacturing business performed over the past five years? JM: It has seen compound annual growth of over 5% in both our turnover and EBITDA. This is extremely satisfying performance given the backdrop of the appreciating Swiss currency and the Country’s GDP growth. There are plenty of opportunities to preserve and grow investments in the country. LUX: Has the recent appreciation of the Swiss Franc affected your investments? JM: The tourism sector has been affected, as have manufacturers that rely on exports. My investments have not been adversely affected. I think the independence of the Swiss Franc is a positive for the investment climate. LUX: Do you personally enjoy visiting the country? JM: I have visited Switzerland frequently over the past 20 years both for leisure and business. My first job was a multinational company near Geneva. I am first and foremost, a family man and the children, my wife and I love the mountains and the skiing! The investment climate down on the plateau, where my investments are based, is a contrast to the chocolate box image of the high mountains. The Swiss are sophisticated, cosmopolitan people who have been trading with their immediate neighbouring countries for centuries. They are multilingual and very adept at dealing with investors from all over the world. LUX: Do you have any further plans for investment in the country? JM: We are continually assessing potential investments in Switzerland and all over Europe, to complement our existing portfolio. However we base our decisions an analysis of potential return, rather than focussing on any specific country.

Chopard’s Caroline Scheufele on the Next Generation

dariussanai — Fri, 29 Apr 2016 07:34:23 +0000

As artistic director and co-president of Chopard, Caroline Scheufele sees it as her duty not only to keep the famed jewellery house’s A-list clientele happy, but also to have a vision of the consumer of the future. She tells LUX why provenance will be everything

[caption id="attachment_1957" align="alignleft" width="200"] Caroline Scheufele[/caption] The ultimate luxury is when you really know how your product was produced. I met Livia Firth (Colin Firth’s wife) in Los Angeles, where she was representing Eco-Age, and she asked me, ‘Where do you get your gold from?’ I said, ‘from the bank’, but the minute I answered, I knew what she was really getting at and I admitted that we don’t really know where the banks get the gold from. It is obviously from mines, but the set-up is not at all transparent or regulated, and it made me think. We started working with the Alliance for Responsible Mining (ARM), who certified the first mine in Colombia as fair-mined – not fair trade, there’s a big difference. From A to Z the process is transparent; there are no kids working; the workers have a fixed salary; they have insurance. The mine is secure, and although they are still using mercury, they are doing so in very small volumes, always following the guidance set out in the fair-mined standard, which ensures that they’re not putting it in rivers or the earth when separating the gold from the stones, which is the most important issue. As a result, the village where the mine is located is clean for people to live in. It’s a really beautiful project. Recently, a second mine has been certified in Bolivia and there will be another one in Colombia, so things are moving forward. For three years now Chopard has been engaged in what we call ‘the journey’ to reaching our ultimate aim of using only fair-mined gold, but it’s not something you can accomplish in one day. Read next: Interview with Javad Marandi, global investor [caption id="attachment_1965" align="alignright" width="225"] Palme Verte pendant and earrings[/caption] Clients like the story behind the gold. The first piece that we were able to produce was a cuff worn by Marion Cotillard on the red carpet in Cannes, and immediately it was a tremendous success with the media and clients. We sold it the next day. Of course, it is also a beautiful design – that has to come with it. We then made additional pieces, one of which was worn by Cate Blanchett when she won the Golden Globe for Blue Jasmine in 2014, and my brother has recently unveiled the first fair-mined gold mechanical watches. The whole company is behind the project and has to be because we cannot mix fair-mined gold with the other gold – I like to say it goes through the company like a VIP customer. The younger generation, in particular, seems to be more sensitive to where their products come from. It’s the same as food – when you buy a piece of beef you want to know that it’s really a piece of beef and nothing else. You want to know the whole story. This is a huge problem in fashion, of course, because workers are dying just so that a T-shirt costs five cents less. Fortunately, being more alert and aware of the planet, nature and saving energy seems to be on trend now – or, as we say in French, du temps. [gallery ids="1980,1981,1982,1984" type="rectangular"] Jewellery in general has become more democratic in the way you wear it and the way you mix colours and stones. Even men are wearing more jewellery now. The influence of social media definitely has a part to play in this – fashion bloggers and faster ways to communicate make it more of a movement. We’ve brought a lot of colour, for example, into the boutique collections like Happy Hearts, and there are lots of different shades and semi-precious stones set together. I think a lot of women like to have something colourful and light. It is so much more liberated than it used to be. That said, at the highest price level I think people are still looking for something purer. The diamond will always be at the core. The high-end jewellery market is less affected by social media trends in that way. It is more intimate, people want to go into the store and see the quality. Whereas at the lower level, lots of pieces are now getting sold through online boutiques. For real luxury, people still like to get a physical feeling of the brand and be consulted, but when you’re living in a city where you don’t have a boutique and you want to buy a present, for example, that’s when online shopping becomes really useful and practical. Take China: the cities are so huge and there’s so much traffic that online boutiques save a lot of time. Also, people often go to the internet to get information first, visiting different websites of different luxury brands before they choose where they really want to go in person. We’ve got an online boutique in the US now and have just started one in the UK. We are moving forward as fast as we can. My aim is ultimately to produce all the high jewellery pieces with fair-mined gold, and my brother wants to do the same with all the Luke Chopard watches. The ultimate goal would be for everything to be fair-mined gold. chopard.com

Interview with Guillaume Davin, CEO of LVMH Owner Bernard Arnault's Private Luxury Brand, Moynat

dariussanai — Tue, 03 May 2016 15:11:43 +0000

Guillaume Davin is CEO of Moynat, the uber-luxe leather goods brand established privately by Bernard Arnault as a rival to Hermes. Moynat is not part of Arnault’s LVMH group, and the brand is run as a boutique global atelier. In the second part of our series on luxury leaders, Davin, previously a Louis Vuitton veteran, speaks to LUX about conquering the East, and how to keep a brand’s mystique

[caption id="attachment_2014" align="alignnone" width="1277"] CEO of Moynat, Guillaume Davin[/caption] LUX: Is Moynat a new luxury brand or an old one reimagined? Guillaume Davin: Moynat is a House that is more than 160 years old, in which we have infused a new soul. We have been giving new life to a great name, staying focused and true to the essence and heritage of the Maison. This is not merely a renovation of what existed. The result is something that is true to our heritage but relevant to the present. LUX: What is your consumer craving, that you provide? GD: We create objects that contribute to fine living, objects which will become known for their craftsmanship, endurance, discretion, elegance and their innovative design rather than bowing to the trends of the day. A Moynat bag is of today and also timeless: always beautiful, always relevant. Moynat appeals to people who are independent in their tastes and choices and not influenced by fads, but looking for beautifully made objects. Read more in this series: Interview with Javad Marandi, global investor LUX: The luxury conversation has turned towards 'experiences'. How does a purveyor of goods provide luxury experiences? GD: When you enter a Moynat boutique, you discover a new world, you learn about natural leather and traditional techniques such as leather marquetry, angle stitching, wood sculpting, painting... We also feel that the purchase of a beautiful bag should be linked to a moment of your life, such as a memorable visit to Paris for example. Luxury is not just about the object you purchase but your personal connection to the brand and to the story that it tells. That is why we tell the story of our brand and of each product so that is becomes intimate and real for each of our clients. LUX: Are stores still essential to the luxury experience? GD: Our clients are looking for the human touch and are very attached to the service they receive. Our team is kind, friendly and passionate; they know our heritage, the leather, the craftsmen, our creative Director... they focus on building relationships and communicating our values. Our visitors can understand who we really are. You need to see our vintage trunks, touch the leather. The Moynat experience is very sensorial and cannot be fully transmitted in a virtual environment. Our products are quite sophisticated and one of our strengths is personalisation and customisation. LUX: Your personal journey involves a deep understanding of Japan. How does Japan fit in the luxury world now that China is so dominant? Guillaume Davin: Japan is a place where tradition meets innovation. The Japanese people respect tradition but love innovation: they actually hate change but love newness, a paradox! They protect their ancient crafts, ceramics, lacquer, textiles, woodwork, but expect the artisans to fuse modernity with ancient skills. It is a culture that has an eye for quality and a refined sensibility, which is a perfect fit for Moynat. China is often considered a newcomer to the luxury market, however our customers are just as discerning and sophisticated. We just opened our first boutique in Tokyo in March; it is as exciting to introduce Moynat to the Japanese as it is to bring Moynat to China. LUX: What does it take to be CEO of a brand owned by your proprietor? GD: Mr Arnault is a passionate explorer and a competitive entrepreneur. He decided to revive Moynat out of a "coup de coeur". Moynat is a personal project for Mr Arnault, not a part of LVMH, so we are very different from the group in every sense, from size to way of functioning. Mr Arnault gives Ramesh the creative freedom to express his vision and Ramesh in turn challenges the craftsmen to express their talents. LUX: Media and advertising has been so central to LVMH brands. Moynat stands apart - how do you do it and is it a challenge? GD: We have been lucky to have clients who are have been our ambassadors. Their word of mouth has been the best and most authentic marketing tool that we could imagine. We use the best of social media (such as Instagram and Twitter ) to share our stories and life as a way of direct contact with our clients and friends. [caption id="attachment_2015" align="alignnone" width="3600"] The recently opened Moynat boutique on Madison Avenue in Manhattan[/caption] LUX: How do you see the climate for your products developing? GD: We are seeing a return to the true meaning of luxury, where the product is invested with meaning and true rarity. Our clients are happy not to be just a cog in a machine, but to own something truly precious, authentic, timeless, historical, a product that requires time and patience. LUX: What excites you most about opportunities going forward? GD: We are growing in an organic way with total control on our manufacturing and quality. This is a challenge but also a great opportunity, to find new trends in social media to connect with people who share our vision of luxury and are looking for new, authentic experiences. We have to tailor the experience we offer to each market, and at the same time keep a common core that is constant and true to the spirit of Moynat. LUX: What does your travel schedule involve? Why do you love doing what you do? GD: Along with growth comes non-stop travel, which is exciting as well as exacting, because you can see the results of every decision on different markets. Each day brings its challenges, which is what keeps us passionate about our work. Being a marathon runner, I am in it for the long haul. moynat.com

Simon de Pury, auctioneer: Art is the ultimate luxury and greatest legacy

dariussanai — Tue, 10 May 2016 12:32:15 +0000

The investment potential of the best art will just keep on increasing, says Simon de Pury, one of the world’s most renowned auctioneers, as art becomes ever more aligned with high luxury. A continuation of our series on investment and business philosophy and strategy.

[caption id="attachment_2045" align="alignleft" width="216"] Simon de Pury[/caption] Art is the ultimate luxury. You don’t need it to live, which is a definition of a luxury. And in the past few years other similarities between the art market and the luxury market have emerged. Ten years ago you would go to different – not luxurious – parts of town to see art. In New York you would go downtown; in London you would go east for certain exhibitions and galleries, for example. Now, though, in the art business you need to be very central for the same reasons as you do in the luxury market: it’s all about location, location, location. Thus the concentration of top galleries that are installing themselves in Mayfair in London, while in New York there is a return to the Upper East Side. There’s a lot of artistic activity focusing on these areas because when the international traveller comes to town, he stays in the heart of the city, goes to the top hotel and wants to have everything in an immediate circle, and wants to not have to waste too much time pursuing these passions. So all of that has had an impact, changing the market quite fundamentally. Galleries are now seeking real estate in the same locations as the top luxury brands. Read next: Interview with Guillaume Davin, CEO of Moynat Art is also the ultimate luxury because you get emotionally involved, and if you go about it smartly it can be a very rewarding passion. Rewarding in every sense. [gallery ids="2048,2050,2049,2041" type="square"] In concurrence with these developments, the art market is changing also. The market has become global, so for the first time you now have people from all parts of the world buying art from all parts of the world. Compare this to the Cold War, when some artists in the east had no idea what was happening in the west: you had artists working in total isolation. Today there is much easier access to knowledge and information about what is happening in different places through the digital revolution. And this has fuelled further internationalisation. You have biennials in Havana, Sydney, Shanghai, Venice and Istanbul. There is a now a great exchange of information and knowledge, and with knowledge comes a greater interest in acquiring. Read next: How one of Azerbaijan’s richest men does business The information that used to be accessible to a small group of insiders is now much more easily and much more widely accessible. As a result, if you look at a list of the most affluent people in each country, 20 years ago there would have been a relatively small percentage of those who were collectors, whereas now if you look at the same lists, there’s a much bigger percentage collecting. And it’s also that which gives art the ultimate status. You can be a very successful businessman, yet it will never give you the same kind of kudos as you get when you are building a great collection. It’s your cultural achievements that leave your biggest mark and your imprint, and that is one reason why individual collectors in different parts of the world have become the main cultural movers and shakers – much more so than the main institutions. Read next: Manufacturing millionaire: Javad Marandi reveals his Swiss investment secrets Nonetheless, there are factors any collector should be aware of. Your collection is your self-portrait. Collecting is an artistic, creative pursuit in itself. By collecting you show who you are and give yourself an identity. For that reason your collection cannot be put together by a committee: it has to be one person who takes the decision of what to buy and (just as important!) what not to buy. Equally, having a professional adviser who is very familiar with the market can help you avoid making mistakes and can help you to navigate the market, so it makes sense for people who have built substantial collections to have either in-house or external specialists that they consult. But even so, it is important that the person who is building the collection follows their own instincts. I often see people who start collecting becoming as knowledgeable as anyone else in the market. There are questions of a market readjustment. Whenever the market becomes stronger and stronger there are always moments of readjustment. No market just goes vertically up without any fluctuations. And, of course, tastes evolve as well, so what is regarded today as the most desirable things may not be regarded as so in 50 years. Having said that, if you buy only the best quality you can only do well, because you can analyse it statistically from the 1850s onwards and see sufficient documentary evidence that the prices of major art transactions just keep going up. Still, there are some masters of the past – not just artists of our times – that we value much more highly today than 50 years ago. But be aware: there will always be artists who are like a fashion phenomenon – once the initial excitement dies down, so do the prices. Simon de Pury is an art auctioneer and collector and the founder of de Pury de Pury. depurydepury.com

Jean-Claude Biver, LVMH and Hublot watch guru: true luxury is unique and eternal

dariussanai — Tue, 17 May 2016 15:30:45 +0000

With a billion people about to become luxury consumers over the next decade, real luxury will become more personal, more individual and more secretive. So predicts our columnist, Jean-Claude Biver, continuing our series on business philosophy and strategy

[caption id="attachment_2103" align="alignleft" width="300"] Jean-Claude Biver[/caption] Luxury will always will be here. Growth will always be here. When people do better, they want to differentiate themselves, so the growth of luxury will always track economic growth. But in the future we will have two different levels of luxury: accessible luxury, items that have an incredible image but an affordable price, and inaccessible luxury. This is the extreme luxury of people wishing to have something made for themselves or being completely different, being unique, saying, “What I have, you will never have”. Accessible luxury will be huge: the middle class in China will develop to 500 million people, in India maybe 300 million, in Latin America around 200 million, so you will have a billion new customers in the next 20 years. This middle class will definitely go for the accessible luxury, but maybe 10 million out of this billion will want real luxury. That will comprise exclusivity, incredible quality, and uniqueness. And these two types of luxury will develop together. Luxury will be like a building with two floors – only a few people will go up to the second floor, while most people will remain on the first floor. Read next: Leading auctioneer, Simon de Pury on the eternity of art The upper tier of luxury will be defined through exclusivity and also through the fact that it will adapt to the facets of made-to-measure luxury. These people want individuality, something made just for themselves. They want something that other people’s money cannot buy, because that’s the ultimate. You get access to something that normally money cannot buy, but you can buy it because you have the relationship and the contacts. That will be the extreme level of luxury, only for you, and to enable you to stand out from the masses and their accessible luxury. The way this extreme luxury is communicated will also change. It will be word of mouth, very discreet and only for the few who know. Like a secret: “Ah, you know this brand, wow, you belong, because you wear this shirt or this special tie or these special socks made in Rome.” The ultimate individualization of your person. [caption id="attachment_2101" align="alignnone" width="2739"] Jean-Claude Biver with Cara Delevingne at the TAG Heuer Yacht party during the 2015 Monaco Grand Prix[/caption] People will still collect, will always collect, but the problem with today’s goods becoming collectible is linked to the concept of eternity. If I collect a Ferrari that is from the 1980s or 1970s, that is a car that will enter eternity because whatever the new industrial revolution brings us, this car will comfortably be repairable. But modern cars, because they are not mechanical any longer, will not be repairable in 100 years because the microchips that control everything from the gearbox to the windows will be useless. That is why a Ferrari Testarossa (from the 1980s ) or a 275 GTB (from the 1960s) will still be collectible. Why should people collect what is due to die when they can collect what is due to become eternal? That’s why you can have an old Lockheed Constellation plane (from the 1950s) and it still works – you can fly with it! An Airbus A380 will not still be capable of flying in 50 or 100 years. [caption id="attachment_2102" align="alignnone" width="4677"] (From left) Lapo Elkann, Jean-Claude Biver, Bar Refaeli, Esteban Gutiérrex, Pelé and Ricardo Gudalupe celebrate the opening of Hublot's second manufacture in Switzerland[/caption] Luxury should be marked by eternity. Great art is eternal and there is nothing else made by humans that doesn’t die, just art. So that means luxury is eternity and luxury is art; and if you can create the eternal, you have the business of the future in luxury. Read next: Chopard’s Caroline Scheufele on the young luxury consumer But accessible luxury is very different, a more competitive field where you have more marketing and illusions. But everywhere there is going to be a reaction to mass luxury. People will want more and more to be considered individuals. We all need to be treated like kings, to be treated differently, because we are surrounded by mass. Look at travel – that’s why people have a special area to check in when they fly first class, a special line for security, a special seat, special food and so on. People need to be treated differently because now everything is going mass. In the area of accessible luxury, the same brands are adapting, they are comfortably innovating and comfortably renewing their offering and positioning so they stay current. They will adapt and survive. In accessible luxury, it will be more difficult for newcomers to enter the market. But in the area of higher quality luxury, we may have new artists and creators coming. Because it will be very personal. Jean-Claude Biver is president of LVMH Watch Brands and chairman of Hublot. lvmh.com, hublot.com

Michael Wainwright, Boodles’ Managing Director and Co-Owner on taking British luxury overseas

dariussanai — Tue, 24 May 2016 17:15:56 +0000

Michael Wainwright is Managing Director and co-owner of Boodles, the British society jeweller, which has nine stores in London and its heartland of northwest England. Soon after the opening of the brand’s spectacular new flagship on London’s Old Bond Street, he spoke to LUX as part of our on-going Luxury Leaders series, about Britishness, the retail experience, and possibly going to America.

[caption id="attachment_2128" align="alignright" width="300"] Michael Wainwright[/caption] LUX: What is the state of play for the luxury industry? Michael Wainwright: Our business is less tied to the economy than you might think. We are more dependent on wealthier people who don’t lose their wealth overnight. My thinking these days, after years of economic crises, is fairly optimistic. The prognosis is pretty good for the luxury goods and jewellery sector. The world is a richer place than it has ever been and people will continue buying. LUX: Boodles is the only significant British jeweller and one of the only family-owned ones anywhere. How important is that? MW: Britishness is important to our business. British people like to deal with a British brand and our overseas clients love to deal with “Britishness”. British clients account for 75% of our business. Telling the British story is important for us, and also the family story: we are a family business, and maybe we don’t tell that story enough. Read next: LVMH and Hublot’s leading man, Jean-Claude Biver on personalising luxury [caption id="attachment_2129" align="alignnone" width="3351"] The Boodles boutique on Bond Street[/caption] [caption id="attachment_2130" align="alignnone" width="5017"] Inside the newly refurbished Boodles boutique[/caption] LUX: Are there disadvantages to being British? MW: There are disadvantages to not being overseas. Lots of brands have presence in Hong Kong, Dubai and Paris. Clients see their brand everywhere; it's a huge head start. But now there are quite a few Middle Easterners looking for more localized niche brands, which is an advantage for us. They don’t want a brand that is in every mall in the Middle East. Asians still are more about following the herd, but that will change. [caption id="attachment_2131" align="alignleft" width="136"] Raindance Ring[/caption] LUX: What are your views on e-commerce? MW: Only one percent of our sales are e-commerce at the moment, which is not high, but it is growing fast. I think it has potential to reach four to five percent. Most people will want to experience the story, to touch and see things. Online is a very cheap sale, which is very profitable. But in a shop, you have the chance of making an add-on sale, you build a relationship. If a customer buys online, you may never see them again. It doesn’t build the brand experience. Relationships are absolutely fundamental to business. Read next: British businessman, Javad Marandi talks investment philosophy and strategy LUX: What’s the greatest challenge you face? Michael Wainwright: The Walpole Group (the British luxury association) recently noted there are two hurdles to growing a business: one at £20m (annual turnover) and one at £80-100m. We are now at the second hurdle, we are a £80m turnover business. We don’t feel we can build to the next stage just by being in the UK. We are very involved in our business as a family and we have not yet really learned the art of delegation, which is what is required if you are overseas. We would need to pick the right partners for, for example, opening in New York or the Middle East. We would need to acquire those skills of delegation. It’s an interesting stage. These are big hurdles. boodles.com

Stefania Pramma: constructing timeless elegance

dariussanai — Wed, 01 Jun 2016 10:27:38 +0000

For the launch of UP COLLECTION, luxury accessory designer Stefania Pramma teamed up with artist Sara Berman to create a playful installation of handbags and paintings, displayed for one night only in the colourful interiors of 5 Hertford Street’s exclusive nightclub, Loulou’s. Millie Walton spoke to the designer about her inspiration, Italian heritage and obsession with dogs.

[caption id="attachment_2150" align="alignnone" width="1333"] Stefania Pramma[/caption] Millie Walton: How did your collaboration with Sara Berman come about? Stefania Pramma: I met Sara through my sister who is an art collector and we just clicked. I love the colours and the sense of the humour in her paintings - they’re so beautiful - and so I asked her almost immediately if she could create something that’s not too pretty and not too perfect that would work with Pramma's playful ethos. The paintings Sara produced are about gesture and moments, and are inspired, I think, by images I have of my sister and I with the bags in a cab in New York and also dogs… I love dogs! Pramma is really about the intimacy of the bag, the way you hold it, everything that it means to be a woman. That’s why I paid particularly close attention to the bags’ clasps - they’re more mechanisms than locks - you really have to think about how to open it so it feels secret and personal. Read next: Chopard's Caroline Scheufele on the consumer of the future MW: What are the inspirations behind this new collection? SP: I always want to create timeless pieces. The bags have a signature shape, and then the freshness comes from different textures. For example with this collection, I wanted to feature embroidery, but not classic, ladylike embroidery, something a bit cooler and unique, which is why I chose chain embroideries although its extremely difficult to do! I am also really inspired by architecture and geometry; the way the bag is constructed is very specific so it stands in a certain way and the handle has a certain shape so you feel elegant when you hold it. The bags need to be special, which is why I incorporate precious gemstones and jewellery, but not untouchable. These are sturdy, day bags, but feminine too, there’s a softness created through curves and smooth lines. Read next: Leading auctioneer Simon de Pury on the enduring legacy of art MW: How has your approach to design changed over the years and is that a reflection of the contemporary consumer? SP: I don’t design for any specific type of woman. I design into an idea or something that inspires me. It’s not that I think okay there is a hip-hop or Boho trend and design around that – I could do my own version of it, but the inspiration for this collection and all my collections is fundamentally about the timeless of an object. Women want something that they can keep and that’s out of the ordinary. Its not about a particular demographic; I want the bags to be versatile so they can be worn in different ways and by different people. [gallery ids="2153,2151,2152" type="slideshow"] MW: Is it important to you that your bags are constructed in Italy? SP: Yes and by craftsmen in particular, but its actually very difficult to find artisans nowadays because so many have closed down. It has changed so much in the past twenty years. When I started working in fine jewellery in Italy, there were lots of craftsmen but they were already old - sixty or seventy years old - and the young people didn’t want to work in a little artisan shop so many of them didn't have the support to keep going. There has been such an abuse of the “made in Italy” label with people just putting in the last stitch in Italy, but constructing the bulk of the product elsewhere. I really wanted all of my products to be truly, completely and honestly manufactured in Italy even if it is more of a struggle to find the hands. pramma.com

VIP tour of The Monaco Grand Prix with Rolex

dariussanai — Fri, 01 Jul 2016 10:25:09 +0000

Speed and posing in Monte Carlo: Francesca Peak revels in the most glamorous destination on the F1 calendar, courtesy of Rolex

When you think of Formula One, you don’t think of the gruelling driver training, the complex mechanics, or the global travel involved in an exhausting 10-month schedule. Instead, it’s the lavish parties, glamorous crowds, and beautiful surroundings. More than any other international competition, Formula One is a seductive combination of speed and charm, and nowhere is this more evident than at the Monaco GP.

Since the first race was run on the Circuit de Monaco in 1929, the event has remained one of the most competitive and desirable for drivers and fans alike. Along with the Indy 500 and Le Mans 24 Hour race, it forms the Triple Crown of Motorsport, lusted after by every driver that graces the tarmac. And this year, about 10 years into being a Formula One fan, it was my chance to see the sport’s most legendary race up close and personal.

For this year’s Monaco Grand Prix, I was hosted by Rolex, Formula One’s official timekeeper, and taken underground - literally - to see all sides of the race weekend. Driving into the city from Nice airport, the colours of the houses and Mediterranean nonchalance drew me in, definitely something I could get used to. Oddly, the track is opened to pedestrians and cars when races aren’t taking place which, while making it much easier to drive up to the hotel, meant walking to dinner was a little unnerving.

One question I always had about race weekends was what visitors do to amuse themselves on the mornings before qualifying and racing. The answer in Monaco is, of course, take a classic car for a spin along the Grande Corniche, the mountain road that connects Monaco and Nice. My ride for the morning was a navy blue Jaguar XK120, in perfect condition but seemingly produced in an age before seat-belts were compulsory. The almost dangerous lack of power steering and extremely low gearstick were certainly a glimpse into the world of Formula One before today’s technology kicked in - no wonder the drivers had to be thin and fit as marathon runners.

A rainy Sunday took us around The Paddock, otherwise known as the Beverly Hills of motorsport: this is where the teams park up their motorhomes for the weekend, worth tens of millions of pounds. The Red Bull motorhome is more of a floating disco - by day a modest bar, restaurant and press centre, by night a disco with live DJ and dancing until the early hours.

Read next: Constructing timeless elegance

Being shown around The Paddock by Sir Jackie Stewart (a Rolex Testimonee for nigh on 50 years) was an honour - this year celebrating the 50th anniversary of his first win in Monaco, Stewart spoke of the track and the sport with nostalgia, affection but a tone grounded in reality, as only a brutally honest Scot can. Walking through the teams’ homes with Stewart made one realise how revered and legendary a personality he is - the sport certainly couldn’t be blamed for forgetting those who made it what it is today.

The weekend ended with the race itself which, thanks to a dry qualifying session followed by a race in the pouring rain, made for a more interesting race than usual. We watched from the Norman Foster-designed yacht club, an impressive structure nestled next to the water on the edge of the track. While some braved the rain outdoors to watch the cars passing beneath, others stayed inside with a blanket and a glass of champagne to watch on television with live commentary by Jonathan Legard. Somehow everything’s more immediate when the commentator's standing right behind you.

rolex.com

Roland Herlory, CEO of Vilebrequin: real luxury strives for more

dariussanai — Thu, 07 Jul 2016 16:21:00 +0000

Roland Herlory, CEO of luxury swimwear brand Vilebrequin continues our Luxury Leaders series. He speaks to LUX about Saint Tropez’s 1970s rock’n’roll lifestyle, the influence of social media and working in St. Bart's

[caption id="attachment_2296" align="alignleft" width="185"] Roland Herlory[/caption] LUX: How would you describe the Vilebrequin lifestyle? Roland Herlory: When you think about Vilebrequin, you think about holidays and fantasy. About having a good time, relaxing, and sharing privileged moments with your loved ones. Vilebrequin wants to make this feeling of "lâcher prise" last all year long. Our style is elegant but casual and fun at the same time. LUX: In the fast expanding luxury market, is heritage still as significant? RH: Of course it is! We were born in St-Tropez in 1971. At that time it was just a little harbour where many artists and icons gathered. It was a time when carelessness was allowed and freedom was in the air. Brigitte Bardot , Gunter Sachs, Françoise Sagan ...They all met and had fun together. It was rock'n'roll at that time and Mick even married Bianca Jagger in St-Tropez in 1971. Now times are different, but Vilebrequin still claims its St-Tropez 1970's roots! It is very important because no other swimwear brand has this kind of heritage and expertise - apart from probably Eres created in 1969. Most of our clients work throughout the year in dark suits. Its only during their holidays that they allow themselves humour and freedom. Vilebrequin’s expertise is this delicate fine line between elegance and the joy to play. This is part of our heritage and we will keep working around this. The secret about men is that they embody strength when they feel comfortable with their bodies. Only then, they wear green elephants or pink crabs with an ultimate, male allure. For me, this is the St-Tropez spirit of the seventies for which Vilebrequin is still a symbol. [gallery ids="2298,2299,2300" type="slideshow"] Read next: LUX takes a VIP tour of the Monaco Grand Prix LUX: What makes a product truly luxurious? RH: Quality is restless. The characteristic of real luxury is to always strive for more. For our golden swimsuits, it was our Italian embroidering company that came up with the idea to work with threads of real gold. Now, there are 15 grams of pure gold embroidered onto these special editions, plus 2 sapphires for the ends of the cords. Half of the 80 pieces that were produced were sold out in a second. LUX: What are the most challenging issues you face as a CEO of an international business? Roland Herlory: We always need to evolve. We still have the same ocean vocabulary but we always need to reinvent our classic, with the iconic turtle becoming bubbly or 3D. We don’t follow fashion, instead we are guided by our technological advances. What makes the human hand also allows us to progress stylistically. Today, thanks to ink jet printing, we can reach qualities of unsurpassed delicacy on a fabric, which is nevertheless extremely difficult. Read next: LVMH’s Jean-Claude Biver on the singleness of real luxury LUX: How do you balance business with pleasure? RH: I live 10 days each month in St Bart's, but I'm not at the beach as often as one might expect me to be living in the Caribbean. Having lived in St Bart's for 15 years, you tend to look at the beach in a different way to tourists. If you’re were on holidays there, you would probably spend the whole day at the beach. But I work there, even if people don't believe me when they hear ocean waves in the background of a phone call. The rest of the time I live in Geneva and Paris, travelling from subsidiary to subsidiary. I am moving around a lot. LUX: How has the rise of social media affected or influenced your business decisions? RH: Under the #Poolside365 this year, and #SummerAllYearLong last year, fashion and lifestyle bloggers presented their favourite pools on the Vilebrequin blog and social networks. The whole digital Mise en Scène is a trend that is represented by these bloggers. Tradition stays alive if you inject modernity. It’s a skill I’m well accomplished in, having been at Hermès for 23 years. Tradition can become a part of the past very fast. We need these bloggers to add part of the modernity. Read next: Bringing back the sounds of the seventies LUX: You’re a pioneer facing increasing competition, how do you deal with that? RH: You have to keep on fighting to maintain the level or to improve something. For example, quick dry was a big challenge during the last two years. The new collection dries three times quicker - I don’t know if I should even be telling you this yet - but my dream is to make completely water-resistant swim shorts. We are working on it, with nano-technology . But I don’t want the competitors to know more. Fabrics that dry fast are easy to be found, but they are thin and technical. When you leave water in such a fabric it sticks to your legs. Bad for selfies…Our material is- thanks to an elaborate fabrication process and incredible expertise - the ultimate elegance. Wet or dry , the swim shorts keep their look. But still the easiest solution for the problem is a second pair of shorts: one for the water, one for the beach. [caption id="attachment_2297" align="alignnone" width="3543"] Vilebrequin menswear[/caption] LUX: What are the most important developments for Vilebrequin this year? RH: Vilebrequin was created 45 years ago so for us, this is an age of maturity. We will open more shops in Asia and Australia. We have been developing accessories, including shoes and soon sunglasses. We grow at our own rhythm, step by step. We will continue creating more products. LUX: How do you relax? RH: The best way to relax is yoga. Otherwise, when I am home in St Bart's, on a beach at sunset. vilebrequin.com

Why Knightsbridge is still London's hottest postcode

dariussanai — Wed, 20 Jul 2016 16:08:26 +0000

[caption id="attachment_2340" align="alignnone" width="7216"] Finchatton's exclusive residential development on Cheval Place in Knightsbridge (above: the penthouse reception room)[/caption]

Knightsbridge, Belgravia or Mayfair? That’s the choice that faces most high-rolling new residents or investors in London. The areas border each other (the boundary between Belgravia, Knightsbridge and neighbouring Chelsea is notoriously fluid), and while none is exactly shabby, each has a different vibe and soul.

Mayfair, the most historically significant, houses the best boutiques and brass-plaque fund headquarters, but until recently lagged behind on residential desirability – it’s catching up, though. Belgravia is home to the most significant real estate. Nowhere else in Europe has the abundance of truly palatial, architecturally significant houses in a super-prime historic area as found within the boundaries of Eaton Square. Read next: Vilbrequin’s CEO on the 1970s rock’n’roll lifestyle But for a blend of prestige, hauteur and vibe, nothing can quite match Knightsbridge, as evidenced by the fact that hotels and boutiques which are technically in Belgravia now claim to be in Knightsbridge. After all, it’s the home of Harrods, Harvey Nichols, the Bulgari hotel, it encompasses the better end of Sloane Street and shares a border with Hyde Park.

"I am always keen to invest in prime real estate where the values are secured by high worldwide demand and rarity of availability" - Javad Marandi

While Knightsbridge has never been anything other than exclusive, some trace its current status as the must-buy area for any self-respecting billionaire back to the 2011 launch of the Candy brothers’ Norman Foster-designed One Hyde Park development. Insiders go further back and point to the earlier creation of the Knightsbridge Apartments at 199 Knightsbridge by the Hong Kong-based Cheng family, back in 2002, to bringing world-class apartment amenities (proper hotel-style concierge, pool, gym) to London, once a city of houses rather than apartment towers. Read next: Jean-Claude Biver of LVMH on the eternal quality of true luxury Now, with the emphasis away from bling, the places to own in Knightsbridge are in less flashy developments. Enter Knights House on Cheval Place, a brand new development that has arrived under the radar. In the heart of Knightsbridge proper, in a quiet street opposite Harrods, the development by Finchatton, “the discerning man’s Candy & Candy”, has sold out rapidly even while we were creating this story. At the time of going to press, only the penthouse remained, a three-bedroom, two-terrace, 210 sq m lateral apartment with the peace of a village. [gallery ids="2360,2361,2347" type="slideshow"] Says Alex Michelin, MD of Finchatton : “It’s in a lovely part of Knightsbridge village, right by Harrods. It’s incredibly quiet, with no through roads: you hear no traffic or other noise. It has wonderful views over to the park and the dome of the Brompton Oratory.” Michelin says they were fortunate in that the previous building on the site had no historical value, so it could be knocked down and replaced with a new-build low-rise – a real rarity in the area. Read next: LUX takes a VIP tour of the Monaco Grand Prix Javad Marandi, a British-Iranian global property investor and one of the project’s financial backers, who himself has a house nearby, says: “London is considered worldwide as one of the safest, most liberal and most desirable places to invest. Knightsbridge, with its close vicinity to Harrods and all the premium shops of Sloane Street, is the most attractive area in London; and Cheval Place is an ultra-luxury development in the heart of Knightsbridge village. I am always keen to invest in prime real estate where the values are secured by high worldwide demand and rarity of availability.” A fabulous home and a watertight investment; what more could you need? Oh, it’s a two-minute stroll from Zuma, so you can fire the driver. search.knightfrank.co.uk/developments/KRD151391

THE AESTHETE ISSUE

dariussanai — Wed, 20 Jul 2016 10:37:35 +0000

ON SALE NOW

Emilia Wickstead: fashion fit for royalty

dariussanai — Thu, 21 Jul 2016 10:19:32 +0000

[caption id="attachment_2401" align="alignnone" width="4713"] Emilia Wickstead SS16 Collection, backstage at London Fashion Week[/caption]

Emilia Wickstead’s designs are attracting the attention of Hollywood royalty (and even the real thing) for their mix of the classic and the modern. LUX discovers what inspires her

Emilia Wickstead is hot, hot, hot. The 31-year-old, London-based fashion designer has become one of the biggest draws of London Fashion Week in the four years since she started showing. Her grown-up, dressy, classical yet contemporary style has attracted the likes of the Duchess of Cambridge (Kate Middleton), Gwyneth Paltrow and Diane Kruger; and the architectural cut and quality of her garments has earned the praise of fashion directors and drawn the attention of the industry’s big guns. What’s the secret of the New Zealand- born designer’s success? Is it her clever references to the 1950s Modernist design movement (not just Dior and Chanel, but the whole of design), creating pieces which look like they have been inspired by an architect’s pen? Her philosophy, which she describes as “classic with a twist”? Her smiling, outgoing, gregarious yet steely personality? Or her sheer hard work – the mother of two small children is known for her 18-hour days? Read next: Vilebrequin's CEO on the importance of heritage Alexandra Shulman, Editor-in-Chief of British Vogue, comments: “Emilia has a very strong vision for her label. She has a clear idea of the woman she is designing for and she is also an excellent brand ambassador.” Wickstead also has influential followers among the people she counts among her customers. Says Narmina Marandi, a friend, supporter and confidante of Wickstead: “Emilia is a rare person in fashion, a brilliant designer with a strong view on how the modern woman should dress up. She’s also fantastic company, with a great sense of humour, charm, and a very powerful philosophy and determination underneath.” These are views you will find echoed among her friends and admirers around the world. LUX sat down with Wickstead in a room with bare-brick walls, dark varnished wood floors, and four racks of her next season’s collection, in muted yet joyous colours we promised not to identify, to find out more. LUX: Is fashion is in your genes? Emilia Wickstead: My mother [Angela Wickstead] started studying fashion when I was born, and then began her business from home when I was a little girl. It was just my mother and I. Designing was instilled in me from a very young age. I didn’t know anything else. Her business went through different moments and growth then. She worked from home and went from designing and selling through word of mouth (similar to how we started our business) on to building her retail model. LUX: Do you have childhood memories of taking bits of fabric and creating pieces? EW: Absolutely! There are many memories of being in her workroom all the time – weekends, after school. I would sit in on her fittings, I still laugh about it with some of her existing clients who she still has today. Without even realising, I would just sit, watch and observe, and take in everything: fashion weeks, late nights... It was just the two of us. Her workroom and her store – that was where I had my upbringing. I didn’t go home after school, I went to her work to do my homework and just be there until we went home, which sometimes could be quite late at night. [gallery ids="2408,2409,2406" type="rectangular"] LUX: What do you think you picked up? EW: I learned from my mother that it was all about the cut and fit and the quality of fabric. The theory that the quality on the inside should be the same as on the quality of the outside of the garment. Those are things you don’t necessarily learn at university, as there is so much focus on design, experimentation and building your philosophy of who you are as a designer. So I do think I learned from her the majority of what I know in terms of those very important factors, without which you couldn’t have a successful line of business. Read next: Art is the greatest legacy, says renowned auctioneer Simon de Pury LUX: The architectural cut is something you’re renowned for. Do you think that’s something all designers should pay attention to? EW: I think that it’s something that’s very ‘old world’. It depends on who they are as a designer, their aesthetic and what their business model is. I always believe that, for me and my business, what I would hope for in years to come is that people will pull out an Emilia Wickstead piece as though it is a Chanel suit. You will still wear that Chanel suit because (a) the quality of the fabric is brilliant and because the quality of the garment is excellent and (b) it is just a beautiful cut. So when I look for inspiration, I will look at anything from old Christian Dior to Christian Lacroix to Chanel and look at the way they have constructed a garment. The design lines are incredible and I do feel that with fast fashion sometimes that’s a little bit lost. There is a little bit of a trend going on at the moment of not focusing necessarily on the fit or the cut of the garment, but when a designer does get it right, I think that’s when it plays a tremendous part in either becoming a brand or becoming a garment that’s going to stay in your wardrobe forever. LUX: How do you create something that is timeless yet fashion forward? EW: I’d like to think that we’re creating ‘the new modern’. I’ve always used the reference of old world design, which I find incredibly inspiring. But for me, it’s about modernising that, too. That’s something Raf Simons did when he entered into the world of Dior; he was playing on archive pieces and old-world silhouettes. He was creating clothing for a new modern woman in the way that he was designing clothes. In the same way, I think that by playing on the traditional while keeping myself very fashion forward, my clothing represents someone who’s confident and incredibly feminine. I showed that during London Fashion Week [in February 2016]. I am always pushing the boundaries, but at the same time it’s very important that I’m selling clothing that women want to purchase. [caption id="attachment_2421" align="alignnone" width="3930"] Emilia Wickstead's clients include royals and A-list celebrities[/caption] LUX: Is there an age group who buys your clothes? EW: I think that Emilia Wickstead is for all women. That can be a girl in her twenties and it can be a woman in her nineties. Up until three years ago, I worked in my store every single day and did every single fitting for the major side of the business. What was so wonderful about it was that you just got to understand that the collection was for every woman, which is such a nice touch for a business model to have – to be able to think that yes, it’s youthful because everyone wants to feel fresh, young, and modern, but at the same time it is really for everybody. Read next: Chopard’s Caroline Scheufele’s vision of the future LUX: You mention “business” a lot for a designer... EW: I’ve always had a business head on my shoulders, which has meant that I haven’t designed a collection and didn’t know who I was going to sell it to or what I was going to do with it. I built a client base; I showed to friends and family and through word of mouth, so I tested the product and market that way. I basically did everything backwards! Given the financial constraints, we couldn’t afford to create units or to sell through wholesale. We couldn’t afford to carry stock and we didn’t take on any investment either to do that. I guess people did genuinely like the clothes and that’s how the business grew. As we started making money, we started taking on stock, and then in the next chapter we started to build wholesale relationships and wholesale accounts. It’s been a very organic and natural process. Now we’re speeding things up. I always knew I wanted to have my own business and always knew that I wanted clothes that sell – to make money out of my business as much as love what I do. That was always very clear in my mind. LUX: At Central Saint Martins, what were the most valuable things you learned? EW: The most valuable things I learned were how to think outside of the box. I never picked up a fashion magazine. You would be in a library photocopying and looking through books. I didn’t Google images! It was a very raw education. For inspiration we went to galleries, watched old movies, old fashion shows that were all archived in the Central Saint Martins libraries. It was a really different way of researching compared to today... I Google everything now! What Central Saint Martins pushed you to do was, for example, to look at a window frame and see how that inspires you, see what’s beautiful about it, and to understand what you gain from that, where it leads you and what it does for you. You had to approach things in a different way. It was a creative process being educated there; it was very raw and very wonderful. LUX: Has your success and endorsements by prominent people taken you by surprise? EW: Yes, and they still do! LUX: What do you think made them come about? EW: From a modesty perspective, I don’t know! You really just count your lucky stars, I guess. Every time you make a collection, you put yourself out there. You do it because you want to change the way people dress, you want to say what people should be wearing for the season, as well as what you believe in and what you’re passionate about. It always catches me by surprise when people are shown [in the media, wearing my designs]. I believe that we have a niche in the market and that we have a point in difference. I am a real believer in what I am doing. I absolutely love it and I love my client base, which has some big supporters in it. It is always a nice surprise to see someone else really believing in your brand and wearing your clothes beautifully. LUX: How did you find that niche in the market? EW: I love anything nostalgic and old world, that’s really what gave me the drive to create my own business and to do something different. I loved the idea of playing on how women used to dress in shops, the women who love to dress up, who go somewhere and can sit down in a room and have something made for them, who can have a say in what they’re having made for them, choose the colour and fabric, and who want to be really fashion forward as well. That always inspired me. It was always going to be very important to meet the demands of today’s woman. She wants to buy it off the rails and wants to wear it that night or she wants to go on e-commerce and wants to have it in a few hours. We tap into that like every other designer, but our point of difference is that I wanted to keep a little bit of tradition. We have made-to-measure, which is a full service in which we have a fitter and fittings. That is very old school. But then it was also very important to have a modern version of that for today’s woman. For example, if you come into my store, see a dress and absolutely love it but want it in a different colour, you can order the garment in the preferred colour in your size and have it made in Italy in 20 working days. My business model offers those different services, which is very important. I never wanted it to feel too much like a normal retail experience, more a little bit of a salon when you walk into the store. On Sloane Street [in London’s Knightsbridge], I truly believe we have created just that. We sit alongside Chloé and Valentino and we are not a fuddy-duddy, old-fashioned, made-to- measure house but a modern version of it. What you are measured for is what you see during London Fashion Week and on the catwalk. Read next: Exclusive interview with photographer Tierney Gearon LUX: Is there pressure to constantly produce new collections? EW: A little bit. We used to design just two collections a year, for the fashion weeks in February and September. But this year, I have designed – I am the only designer, we don’t have a design team – six collections. [caption id="attachment_2410" align="alignnone" width="4715"] Wickstead is known for the architectural cut of her garments[/caption] LUX: You started up six years ago. In six years’ time, where do you see the business? EW: Everywhere! Stand-alone stores, stand-alone salon with made-to-measure areas, like we have on Sloane Street, and more variation within a collection. Since December we’ve had a slightly better infrastructure in our business model, whereby we have made key hires, and that’s been incredibly exciting, because it’s meant that we can build bigger collections. It also gives more scope in terms of accessories; also we worked with Matches and designed cotton dresses for them, which reached out to another group of clients; I had never done cotton dresses before. It was really different but still carried the Emilia Wickstead aesthetic, but it just meant that you could wear them in the south of France or Italy. LUX: How do you balance being a mother with everything else that you do? EW: I don’t really balance it very well [laughs]. I don’t think there’s any right answer to that. I think in what I am doing. I absolutely love it and I love my client base, which has some big supporters in it. It is always a nice surprise to see someone else really believing in your brand and wearing your clothes beautifully. LUX: And finally... your style is dressy and also everyday. How does that work? EW: What I always try to project is that an Emilia Wickstead piece, like a pair of trousers, shirt or a dress, dresses you up, but it’s a very effortless way of dressing. You put on that piece and you are dressed up, comfortably. It’s meeting the demands if you are a stay-at-home mother but if you want to look a little dressed up, or if you’re a workaholic and work five to seven days a week, it works as well. You can tap into anything in the collection, as there’s something for everybody. For example when we were styling our Spring/Summer fashion show last year the model had little gold hoop earrings, very little makeup, brushed back hair with little bits falling out at the sides and was wearing a piece with flat shoes. It goes to show that there is a way that you can make yourself look absolutely fantastic and feel great in your own skin with what you’re wearing. Emilia Wickstead can do that. emiliawickstead.com

Flight of the billionaire: my private jet to Monaco

dariussanai — Mon, 25 Jul 2016 12:01:07 +0000

[caption id="attachment_2471" align="alignnone" width="7000"] Bombardier's newest jet, the Global 6000[/caption]

Millie Walton takes to the skies in a Bombardier Global 6000, this season's jet of choice for the discerning billionaire

I’ve just boarded the Bombardier Global 6000, a new model which looks pared down from the outside: the hull looks so lightweight it feels like a solid tap from a bottle of Krug might crack it, though obviously that's an illusion. Inside, it's spacious and elegant with sturdy plush, arm chairs that, to my delight, swirl round on their base in all directions. I choose to take off facing the back of the plane - legs dangling, hands gripping the armrests - just because I can. These jets are build-your-own bespoke, from the interiors and sound system right down to finishing paint varnish. Pretty much anything is possible. From the window, I can spy Lewis Hamilton's (the racing driver is among a long line of celebrities with Bombardiers at their beck and call, including ACDC who we apparently just missed in the lounge this morning - shame) bullet-like black and red jet, which I’m told is similarly dark and foreboding on the inside. “It looks like a flying demon,” someone truthfully comments. Ours, thankfully, is delicate cool creams with polished mahogany touches.

After a few bumps on the steep incline, we’re above the clouds, way, way above the clouds (these jets make it to a much higher altitude than commercial airliners) sipping chilled glasses of Chateau D’Esclans and eating platters of fresh sushi, ordered in from London’s Nobu, naturally, both excellent ways to decompress. Although the stress levels of flying from Farnborough airport are pretty minimal anyway, involving sitting in a VIP lounge, walking onboard, and taking off. No unpleasant security queues or holiday crowds of the economy-flight masses (to which club I would, sadly, return after this trip).

Graciously accepting another glass of wine, I stare out of the window into a perfectly blue sky - I wouldn’t be surprised if it was simulated - and down at the French lakes we’re now soaring over. “Madam,” the air hostess stirs me gently from my daydream. “Would you like to sit in the jump seat for landing?” I would, of course, and with childish glee I strap myself into the seat in between the two captains for an exhilarating, but graceful descent onto Nice’s water edged runaway. Again it's the impeccable service and timing: the jet’s steps are down, bags dealt with and a chauffeur’s arm waiting to guide me into an air conditioned car for the three minute drive to the helipad – God forbid I should break a sweat. A helicopter transfer from Nice to Monaco takes roughly 15 minutes; the drive can take anywhere between 30 and an hour if it's peak season. Something I’m starting to realise is that if you’ve got enough cash the clock really can be turned back.

[caption id="attachment_2478" align="alignnone" width="5184"] The grand front of Hotel Hermitage, Monte Carlo[/caption]

My bag is already neatly positioned on a stool in my room at the decadent Hotel Hermitage, next to a huge bouquet of white roses. It’s slightly predictable, but a nice touch. I open the doors to the balcony and bask in the midday rays, whilst staring down at the world’s most famous yacht club. The phone rings: “Madam, it’s time for your facial.” It strikes me that this is the everyday for most of Monte Carlo’s residents and turn ever so slightly green.

I recall this realisation later to the CEO of Fraser Yachts, Raphael Sauleau over dinner on one of their most glamorous vessels Heliad II (that’s actually now for sale if anyone’s in the market for a new yacht). Smiling, he shrugs his shoulders, “This is Monaco, that’s just how it is.” Another day, another destination.

Hooves and history: behind Hermes' ancient ethos

dariussanai — Tue, 26 Jul 2016 14:16:16 +0000

[caption id="attachment_2509" align="alignnone" width="3071"] Sunlight streams through the glass domed roof of the Grand Palais[/caption]

Hermès, maker of handbags and scarves to the world’s celebrities and super-rich, still celebrates its roots as a saddle-maker in a very different world. Millie Walton goes behind the scenes at the annual Saut Hermès in Paris, with the beau-monde, and geese, for company

Standing at the ringside of the warm-up arena at Saut Hermès, the brand’s annual showjumping event held under the glass-domed roof of the Grand Palais in Paris, is quite unlike any other experience. While the smell of warm horsehair, oiled hooves and leather is immediate, and almost reassuring in the way it says that this is really happening, there’s also something a little otherworldly about it all. There are horses, glamorous spectators, the world’s best riders and, strangely, a flock of trained geese. An unusual mixture in an even more unlikely setting, yet anyone who is familiar with Hermès will know to expect the unexpected. A traditional brand still owned, despite the best efforts of the luxury industry, by members of the extended original family, it’s constantly innovating too. This multibillion-euro behemoth takes a playful approach to luxury; Hermès really wants to welcome you into its magical world. Hermès may be known for its Birkin bags (for which there is a waiting list, from a few weeks to five years, depending on who you are and how bespoke you want it) and handmade silk scarves, but at its heart it is what it says under its original logo: a sellier, or saddler. The only things made in its atelier above its world flagship store on the rue du Faubourg Saint-Honoré in Paris are saddles; the most desirable and expensive saddles made anywhere, in fact. They are a tiny part of the business, but at the heart of the brand. [caption id="attachment_2508" align="alignnone" width="1068"] Cavale saddle by Hermés[/caption] Read next: Watch guru, Jean-Claude Biver predicts the future of luxury “A customer once complained that the stitching had come undone on one of our saddles,” Marion La Rochette, Equestrian Métier Director, recalls. “Everyone in the workshop was so upset about it but when we pulled out the records, we found out the saddle was 100 years old. A 100 years old and only a little bit of stitching had come loose!” She smiles as she tells me the story. It may or may not be apocryphal (I’m sure it’s true), but it’s certainly true that Hermès products really are made to be enjoyed down the generations, not just years, which helps to explain their price tags. So why the horses, riders and geese? “For a whole century Hermès worked only with equestrian products such as harnesses and saddles,” La Rochette points out. “In 1837, when the company was founded, Paris was full of horses, but now, of course, they’ve disappeared from the city.” Over the years and under the leadership of various family members, Hermès has extended its repertoire to everything from the must-have Birkin bag to picnic hampers, jewellery and clothing to what can only be described as exquisite objets such as lamps and even a special edition Apple Watch with a Hermès strap. Read next: From London to Monaco on a private jet “With Saut Hermès, we wanted to reopen the doors of the Grand Palais to the horse,” La Rochette continues. The Grand Palais is the landmark Beaux-Arts exhibition hall located in the park next to the Champs-Elysées. “It was built for exhibitions including equestrian events. From 1901 to 1957 there were annual horse shows held here and below us, in the basement, are stables.” The geese are there for fun, along with an interactive Pegasus animation and daily performances by the acclaimed French horse trainer, Bartabas. Over the weekend at the 7th edition of Saut Hermès, there’s a huge sense of excitement. As well as marking the official launch of the latest Hermès jumping saddle, the Allegro, the main event involves 30 of the world’s best riders tackling a complex, though naturally elegant, Hermès-branded showjumping course. Heels and hooves are aligned. “We get really passionate horse lovers, of course, especially on the Friday,” La Rochette says, “but Parisians come here who would have never normally thought about going to a horse show. Because it’s so accessible and centrally located, they think why not and they love it.” Watching the horses effortlessly vaulting over the jumps with sunlight streaming through the glass, it’s hard to imagine a more majestic or fitting setting for such an impressive display of equestrian athleticism. La Rochette agrees, “It’s very special because you’re sitting so close to the ring, to the horses, that you can feel and hear the thud of the hooves.” A few cleverly placed microphones under poles, I suspect, help enhance the tense atmosphere. [caption id="attachment_2507" align="alignnone" width="3888"] Moroccan rider, Abdelkebir Ouaddar won the Grand Prix Hermés CSI 5* on Sunday afternoon riding Quickly de Kreisker[/caption] Read next: An unexpected paradise at Ritz-Carlton Abama Hermès works very closely with riders too, hand-picking international rising stars in equestrianism (including Simon Delestre, currently ranked number one in the world in showjumping), to represent the brand as partner riders, kitting them out in full Hermès gear and also inviting their input into the actual design process of the saddles. “What makes a good saddle, in my opinion,” comments Swiss rider and Hermès partner rider, Romain Duguet, “is one which brings you as close as possible to the horse so that you can really feel the movement. That’s exactly what makes the Hermès saddles so special.” Each saddle is made bespoke for horse and rider, and put together from beginning to end by a single, skilled craftsman who pulls and stitches the leather to create an extraordinarily beautiful object. La Rochette stresses, however, that beauty in appearance and construction is not the real aim: “Our master saddler’s only objective is to make it as functional as possible and when it’s finished, it’s beautiful. To me, that’s what Hermès is about.” [caption id="attachment_2511" align="alignnone" width="5184"] Presentation of prizes with (at right) Anne-Sarah Panhard, President of Saut Hermés, and Olivier Fournier of the Hermés executive committee[/caption] The inspirations for Hermès reside a mile or so down the road, past the Hôtel Matignon (official residence of the French president), in the private museum above the St-Honoré flagship store. It holds a unique collection made up of wonderful and eccentric objects from founder Emile Hermès’s travels round the world; huge spurs from Argentina, saddles from Tibet, sketches, paintings, books, cots, sculptures and luggage – the list goes on (including rather terrifying giant studded dog collars which were the inspiration for a line of jewellery). Read next: Why this billionaire loves investing in Switzerland Back at the Saut Hermès as the showjumping continues, the under 25s are taking to the ring for Les Talents Hermès class, a competition restricted to 20 up-and-coming riders from around the world. Though these youngsters, one just 15 years old, are the future stars of the equestrian world, the course is cleverly constructed to unnerve even the pluckiest of riders and it causes a few problems. One jump away from the fastest time, Ireland’s rider takes a fall and the crowd gasps. After a painful few seconds of total silence, he gets up and remounts to make a second, successful attempt to huge applause. We’re all relieved, almost panting with exhaustion after mentally making every enormous flying leap with horse and rider, regardless of their nationality. Though, naturally, it is an especially gleeful and patriotic moment when the British national anthem is played to a standing ovation as a young pair of English riders gallop round the ring, red rosettes flying, having triumphed in Sunday’s Les Talents class. This is a competition, after all – the applause is notably louder for the French, as you would expect – but it is decidedly less cut-throat and more sophisticated than most sporting events. When the bell rings to start the clock, it all comes down to just the rider and the horse and their partnership. [caption id="attachment_2524" align="alignnone" width="5184"] USA rider, Catherine Pasmore (aged 24) on Z Canta, 2nd in the Les Talents (the under-25s class)[/caption] Axel Dumas, the company’s CEO (and the sixth-generation scion of the family), is at the ringside, looking relaxed with his children. It would be easy to suggest that this is what any brand with Hermès’s history and status should do, a strategy straight out of business school: establish brand story, create experiences around it, invite media and VIPs, be in evidence. Read next: The hottest new residential development in London Yet Hermès isn’t just a brand. It’s also as far as it can be from being a business school creation – famously it doesn’t even have a marketing department. It is a maker of some of the most beautiful items in the world, a family company whose owners have so much pride in their name and history that they fought, and won, a bitter battle against luxury supremo Bernard Arnault, who wanted his company LVMH to acquire a majority stake in Hermès. To have given in to Arnault would have meant cashing out and acquiring wealth beyond the imaginations even of the most creative souls in the brand’s studios; but that just wasn’t what Hermès is all about. Somehow, geese and saddles at the Grand Palais kind of sums it all up. uk.hermes.com

Inside Maserati’s Pop Up Suite at Hotel de Paris

dariussanai — Mon, 01 Aug 2016 09:00:46 +0000

For a few months every year, a new luxury brand takes up residence in Suite 321 at Hotel de Paris. Most recently, Maserati has been handed the keys. Millie Walton takes the room for a test drive

[gallery ids="2567,2574,2560" type="slideshow"] There’s a slight moment of panic at Monte-Carlo beach club. My name is not on the list. Brows are furrowed and there’s a rustling of papers at the desk. “Does this help?” I pull out the black shiny credit card that I was given at check in to Hotel de Paris. There’s a torrent of apologies and I’m whisked to a prime sun-bed in a private cabana. All guests of the major hotels in the city are given the Cercle Monte-Carlo black card and apparently, it means everything in Monaco, namely: free entry to pretty much anywhere including the legendary casino and no bills. Well, there are bills, of course, but they come in one bulging envelope when you check out so you don't have to carry round cash. That would be vulgar. Read next: Flight of the billionaire I’m not actually here for the beach though, beaches aren’t what Monte Carlo’s about after all (there’s no actual sand at the beach club), but to experience the “true Maserati lifestyle”, which includes staying in the brand’s exclusive pop-up suite, driving round in a super slick Maserati GranCabrio (the keys come with the room) and waving around a black shiny credit card. [caption id="attachment_2575" align="alignnone" width="1200"] Guests are offered a helicopter transfer to Monte Carlo where they can pick up their GranCabrio[/caption] Read next: Investment secrets from London businessman Javad Marandi The room itself, or rooms (there’s the bedroom, large open plan reception area and bathroom) are geared, as you’d expect, to petrol heads with a wall time line tracking Maserati’s glorifying moments, glass encased models of sports cars and “car-friendly” coloured interiors, leathery greys, tarmac blacks, and muted blues. It’s by no means pretty in the Hotel de Paris lavish, decadent way, but its contemporary cool almost like an art gallery space rather than a room. Its decked out with top notch amenities – it's the kind of place you’d die to invite your friends back to after a rowdy spin round the roulette table – a sound system by Bang & Olufsen , Bulgari bath products, shelves stacked with design books, a wide screen TV and two tiny silver espresso cups. There are flowers on arrival, chocolates and a large bottle of Laurent Perrier Cuvée Rosé champagne that’s best served with a feast of exquisite canapés (concocted by Alain Ducasse especially for the Maserati suite) on the balcony. Admittedly the view’s not quite perfect yet as the neighbouring wing of the hotel is undergoing a serious revamp, which is worth remembering if you’re admiring the sea view first thing in the morning as you might catch eyes with a curious builder, but if you angle yourself to the left and turn up the music, you hardly notice. Read next: Sailing the seas with Maserati [gallery ids="2566,2561,2568" type="slideshow"] Read next: Horses and heels align at Saut Hermes Guests of the suite are also privilege to noticeably extra special treatment from the staff. The hotel’s Guest Relations Manager is on speed dial in case the mini bar runs dry and a housekeeper on stand by in case you feel faint half way through unpacking your suitcase. When you venture outside room 321, the hotel’s 3 Michelin star, Le Louis XV by Alain Ducasse restaurant is completely worth the indulgence. I still dream about the melt-in-the-mouth tender lobster and intensely delicious chocolate soufflé (the waiter assures me the Grand Marnier is even better – it's the house specialty). And if you hold back on the champagne, there’s no better time to drive round the twisting Grand Prix racetrack than at night. When you’re ready, your car’s waiting. The suite is open until 30^th September. Reservations: T +377 98 06 41 58.

How China changed the luxury world

dariussanai — Fri, 05 Aug 2016 11:00:19 +0000

Luxury is entering a new phase of uncharted territory as China matures, but at the heart of the consumer world, increasing income inequality will assume luxury brands still thrive, says our columnist Luca Solca

[caption id="attachment_2593" align="alignright" width="300"] Luca Solca: head of luxury goods at Exane BNP Paribas[/caption] China is no longer a market of very rich early adopters. Now, the most interesting part of the market is middle-class consumers. Discretionary spend per head is smaller than it was 10 or 15 years ago, and these consumers will benefit from price transparency levels which were unimaginable just a few years ago, because of digital luxury becoming mainstream. The other obvious factor for any luxury brand in China is that gifting has completely gone away ever since the new leadership came on board, and this has demanded a fundamental readjustment by brands. Meanwhile, the early adopters first moved on to products and brands that were perceived to be more exclusive, to differentiate themselves, and then moved on to different product categories altogether. If we look at what the rich Chinese have done in recent years, we can see that they have bought a lot of property abroad, have spent money to send their children to schools overseas and to have very expensive individual holidays and medical checkups abroad. Read next: Inside Knightsbridge’s newest luxury residence For the luxury brands, the best customers are the ones that have lots of money and empty wardrobes; then, as they spend their money on luxury goods and fill their wardrobes, they get to the point where they only buy replacements when needed. There are only so many Italian suits, so many Swiss watches, and so many branded handbags that you need. The rich early adopter Chinese went through that accumulation phase, and now are in a replacement mode, like many rich consumers in the west. In replacement mode, your wardrobes are full and you buy with significantly lower spend per capita in comparison to the past. Five years ago, the rich Chinese spent five to ten times more per capita than corresponding consumers in the US or Japan. As we move forwards and as the accumulation phase is finished, we find that spend per capita tends to converge in all these markets. [caption id="attachment_2595" align="alignnone" width="5758"] The bar at the Rivea restaurant in the Bulgari hotel, Knightsbridge in London[/caption] There is an element of luxury spending now being more on experiences like travel and food. Also, there are different product categories: there are products that are more immediate and easier to buy, like a watch or a handbag, for example, and there are products that are more complex to buy because they require you to develop your own taste, like fashion. With clothing you need to mix and match different pieces, to develop some kind of personal taste. Then there are products that need you to own other significant products already: if you buy certain types of furniture and lighting, you will have a significant home already, so you will have already been down the learning curve. Taking Fendi in China as an example, they communicated that they were a relevant brand in furniture, and they are solidly among the top three brands in China, while in the West, they are nowhere near as relevant. Read next: Horses, riders and geese at Saut Hermes And then at that stage, you shift your spend towards experiences which include travel, spending time with family and friends, good food and good wine. Luxury typically develops via nationality. The 1980s was the decade of the Japanese, when they represented between 40 and 50 per cent of the global luxury market. The 1990s was the decade of the Russians. Twelve years ago, the Chinese were accounting for two or three per cent of the global luxury market, last year they accounted for close to a third. What is happening with China is not so different from what happened in the past, and for luxury brands, the growth formula of adding more stores in China and increasing prices because you have queues in front of your stores is no longer working. [caption id="attachment_2594" align="alignnone" width="3543"] The restaurant at the Armani Hotel in Dubai[/caption] There is another element at play in the luxury world, and that is the continuing increase in income inequality. If we go back 40 or 50 years or so to the 1960s and 1970s, we find what triggered the very significant development of the luxury industry in the United States was income inequality. This is the industry’s best friend, because you have a group of people in society significantly richer than the rest of the population. If you have the same level of wealth across a nation, luxury goods are not very relevant because there a very significant function these products play is conveying your status. First of all you need the money to seek satisfaction for relatively sophisticated needs: the need for beauty and refinement. But you also find these products attractive because of what they say about you, and who you are. Read next: Real luxury strives for more, says Vilebrequin CEO Roland Herlory When we look back in history, income inequality peaked in 1929, it then went down and reached the bottom of a trough in the early 1970s, and then rose and went roughly back to where it was in 1929, by 2008. And as long as we have interest rates at approximately zero worldwide, inequality will continue to increase because asset prices will go up. So while we may have reached the peak of the Chinese wave, I do not see a return to a situation where luxury brands are irrelevant as they were in the 1960s. If you strip out China, luxury growth over the last decade has been around two per cent, and now we have other nationalities in Asia coming on board, and the potential of India. At the moment, though, they are totally irrelevant: Indian luxury spend is worth less than one per cent of global luxury spend. [caption id="attachment_2596" align="alignnone" width="3456"] Bag by Fendi from the AW16 women's collection[/caption] There is a debate within luxury about broadening the scope of your brand to get more consumers closer to it: the Bulgari diversification into hotels is an interesting one, the properties are very good and this is a positive for the brand. But this is not core: such diversification is more of a nice-to-have than really relevant. You can’t address the key issues at the heart of developing a brand via such diversification. Brands are most relevant and most desirable closest to their core, and the further you go from the core, the less relevant and less desirable they become. Luca Solca is head of luxury goods at Exane BNP Paribas and one of the world’s most respected luxury analysts

6 of the coolest places to drink and dine in East London

dariussanai — Wed, 14 Sep 2016 09:00:58 +0000

Czech beers, Bloody Marys, live jazz and padrón peppers, East London’s gastronomic scene is more vibrant than ever. Digital Editor, Millie Walton picks some of her favourite spots for drinking and dining in the city’s hottest neighbourhoods

Discount Suit Company

[gallery ids="2893,2895" type="slideshow"] This low-key little bar hides in the basement of an old suit tailor’s storeroom (hence the name), five minutes walk from Liverpool Street station so not so far off the beaten track that you start clutching your pockets, but still safely removed from the groups of city slickers swarming into every pub in sight come 5.30. Discount Suit Company attracts a genuinely cool crowd, the type who look like they’ve recently raided a thrift shop, matching the bar’s own ramshackle interiors and Motown soundtrack. The cocktail menu is impressive, but the bar tenders will also happily whip up something bespoke to suit your mood. There’s no kitchen as such, though you can order olives or a cheese platter courtesy of Neal’s Yard. discountsuitcompany.co.uk Read next: In the saddle with Hermés

Lounge Bohemia

[gallery ids="2959,2906,2907" type="slideshow"] Everything about Lounge Bohemia is cool. Firstly, there’s absolutely no way you’ll get in without an appointment, arranged in advance via text. Then there’s finding the unmarked door and being approved for entrance (there’s a very rigid no suits policy). It can be a little intimidating to say the least, but inside the atmosphere is relaxed and causal. Water is served in caravan style plastic jug and cups, whilst the menus are hidden in volumes of classic Czech literature, pages of which are also plastered over the walls. There’s a large selection of Czech beers on offer as well as shots served in test tubes and cocktails paired with tiny spoonfuls of canapés designed to enhance each alcohol’s flavour. loungebohemia.com

Nightjar

[gallery ids="2923,2920" type="slideshow"] Old Street’s once secret, underground watering hole is fast gaining reputation for London’s best cocktails. The menu is mind blowing with page after page of classic and experimental alcoholic concoctions divided into three historic periods and the bar’s signatures. Order something at random and it’s guaranteed to stun purely for its creative presentation. Hug a Wild Cat (a delicious mixture of tequila, juices and jam), for example, is served in a Peruvian puzzle jug. The bar’s interiors invoke a sense of old school glamour as does the almost nightly live performances of jazz. It’s about as close as you’ll get to Fitzgeraldian decadence without a time machine. barnightjar.com Read next: The art market has gone global, says Simon de Pury

Black Pig with White Pearls

[gallery ids="2957,2955,2956" type="slideshow"] This unassuming tapas bar started out life as a one-off pop-up before planting permanent roots in the increasingly trendy Stoke Newington neighbourhood. The menu specialises in Iberican ham sourced from farmers in Spain and served in generous portions on wooden boards, though there are also great seafood and vegetarian options for the less meaty minded, particularly the sauce drenched octopus and the classic favourite, padrón peppers. Partners and co-founders, David and Melvin are always welcoming and eager to recommend. blackpigwithwhitepearls.co.uk

Rotorino

[caption id="attachment_2928" align="alignnone" width="2953"] Clams & Mussels[/caption] The brainchild of talented trio chef Stevie Parle (Petersham Nurseries), Jonathan Downey (Street Vin Wine) and Ruth Spivey (Rotary bar and diner pop up) is a hugely welcome addition to the heaving Kingsland Road. Not only can you actually hear yourself talk (a rarity in these parts), but you can also relax in an elegant environment with hearty servings of really great Italian food and wine. The delicately flavoured gnocchi is undoubtedly the highlight of the menu, complimented by a chilli watermelon salad that freshens up the typically heavier dish. It attracts a more mature crowd to most of the usual Dalston haunts without feeling too pretentious or Mayfair smart. rotorino.com Read next: Adam Brett-Smith’s on the world’s thriving wine culture

Andaz, Eastway

[gallery ids="2900,2904" type="slideshow"] The more informal of Andaz Hotel’s five drinking and dining spots has become a weekend brunch favourite amongst hungover hipsters. Partly due to it’s inventive menu, which includes the Spitalditch Benedict (bbq pulled pork, Sriracha hot sauce, poached eggs and hollandaise sauce) alongside more timid options like bircher muesli and homemade granola, but mainly because of it’s DIY Bloody Mary bar. With bottles and bottles of infused vodkas, spicy sauces, juices and various pickled vegetables, it’s overwhelming even to the less blurry-eyed visitors. Thankfully there’s usually someone nearby to offer gentle advice without robbing you the satisfaction of ‘inventing’ your own bloody concoction. eastwaybrasserie.co.uk

Fine wine expert Adam Brett-Smith's investment advice: start drinking

dariussanai — Mon, 08 Aug 2016 09:00:56 +0000

Adam Brett-Smith is managing director at one of the world’s most prestigious wine merchants, Corney & Barrow. The firm has unique and exclusive relationships with the world’s greatest wine producers including Chateau Petrus, Domaine de la Romanee Conti, and Salon champagne. As part of our Luxury Leaders series, he speaks to LUX about the evolving market, wine investors, and the world’s thriving wine culture.

[caption id="attachment_2609" align="alignleft" width="200"] Adam Brett-Smith[/caption] LUX: You represent the most prestigious domaines in the world, including DRC, Petrus and Salon . What is your secret? Adam Brett-Smith: Belief. Belief in the producer and your ability to communicate that belief to the customer; truly, that is the heart of the matter. Read next: Behind Hermes’ ancient ethos LUX: How do you choose who else to represent - where does the balance of power lie, with the merchant or the distributor? ABS: We try to take a Chateau or Domaine out of the big basket of other Chateaux or Domaines and put it on a pedestal so that customers can focus with an intensity and purity that general distribution cannot offer. Therefore, it is vital that you try and work with the finest examples of whatever country/region/area you are focussing on. We would prefer to be an inch wide and five miles deep than five miles wide and an inch deep. As to where the balance of power lies, our best relationships – like the best deals – are equally good for all parties concerned, the customer, the Estate and Corney & Barrow. If that balance changes too radically, the relationship itself will be threatened. [caption id="attachment_2610" align="alignnone" width="5507"] Corney & Barrow head offices in London[/caption] LUX: Is London still a global wine hub? ABS: Unquestionably. The culture of trading, of restlessness, of expertise, of understanding is perhaps stronger now than ever before. Napoleon called us “une nation de boutiquiers," (a nation of shopkeepers) I suspect he felt this was an insult, we took and still take it as a compliment. Read next: The hottest new property in Knightsbridge LUX: How has the fine wine trade changed over the past five years? ABS: A combination of small and or difficult vintages and a market that has been depressed through (largely) Bordeaux led pricing initiatives has meant that we are in a buyer’s market. I cannot see this lasting for much longer. It is about as good a time to buy as any I can remember. LUX: How have consumers' habits changed at the top end? ABS: I was asked by a highly respected guide to top private investors what my best investment advice would be to potential customers. My answer was brief. Start drinking. There is a creeping malaise developing where customers are buying wine only if it increases in value. Drinking it is sometimes a secondary consideration or not even a consideration at all. Wine funds have sprouted like weeds as a result. I don’t think this is healthy and for this reason Corney & Barrow is one of the few companies to not have an investment vehicle. This, despite being lucky enough to list, a large number of them exclusively, some of the finest and most highly prized wines in the country. We do advise customers to buy a little more than they need to subsidise cellars. We call this justifying a pleasure on the grounds of practicality. Read next: Inside Maserati’s Monte-Carlo pop-up suite LUX: How has your company had to adapt? Adam Brett-Smith: By increasing the already large number of tutored tastings/masterclasses/dinners in which good and great wines are consumed for pleasure by keeping even closer to customers. It works. [caption id="attachment_2608" align="alignleft" width="320"] Corney & Barrow wine cellars in Ayr, Scotland[/caption] LUX: Your business comprised selling £30,000 cases of wine to collectors and running City wine bars packed with young guys drinking cheap drinks. How did you do both? ABS: We have just sold our bars business in a deal (see above) which was great for both parties. 25% of our business is to hotels and restaurants and the heart of our business – the private customer – spends a lot of money with us on everyday wines. “Everybody needs a house Claret” and it’s true. Even the super-rich are unlikely to share their Petrus’ and Montrachet’s with their teenage children on a regular basis at any rate so we sell a lot of our Corney & Barrow labels to customers who are sometimes a little defensive about their prized cellars. These are seriously good wines and great value. Read next: Fashion designer Emilia Wickstead on finding her niche in the market LUX: What is your greatest fear, for your business? ABS: Apart from War, Pestilence and Famine? In 1789, nine years after Corney & Barrow was founded the French Revolution began thus depriving this fledgling company of its biggest source of supply for a generation… History has therefore taught us a lot about survival. So apart from war, pestilence and famine my greatest fear is that the world of good and great wine will be smeared by well-meaning anti-alcohol lobbies who will turn us into an outlawed peddler of drugs… I am only half joking. LUX: How do you relax? ABS: I get bored easily so I have probably far too many interests. In no particular order, family, reading, motorcycles, opera, ballet, cars…most of which are followed by wine! LUX: What's your Sunday evening casual tipple at home? ABS: A Dry Martini. corneyandbarrow.com

LUX car review: Mercedes-AMG GT S

dariussanai — Fri, 12 Aug 2016 09:00:19 +0000

[caption id="attachment_2659" align="alignnone" width="5184"] If it's thrills you want, the Mercedes-AMG GT S will command your attention[/caption]

The first of LUX's car reviews tests the Mercedes-AMG GT S for speed and thrills

The view of many owners we speak to express the view that sports cars are becoming boring. Faster, better, more comfortable and more eco than ever maybe, but they are also too competent, making driving like playing a computer game. This meme must have been in the minds of the engineers at AMG, the former race tuning company that has turned into the high-performance division of Mercedes-Benz, when they designed the AMG GT S. While most Mercs wearing the AMG badge are normal models that have been taken and hot rodded (in the most high-tech, German engineering kind of way) by the division, this car was designed and built by AMG and is only available in high-speed GT or even higher speed GT S form. We took the GT S into the rural idyll of Devon, in southwest England, for a few days to find out whether speed equals fun. Read next: How China changed luxury The car sounds fast – people turn around and stare as you drive down urban streets, and cows look mildly surprised as you roar down country lanes. It looks fast, like an elongated Porsche 911, with a long, muscular bonnet. Like all sports cars these days, it’s easy to go very fast without much effort or skill, but the interesting part came on the manifold sharp bends of Devon’s roads. On a slightly damp, bumpy surface, you guide the front wheels (which seem a long way away, at the end of that long bonnet) through the apex of a bend, hit the throttle halfway through, and the car roars and writhes and generally demands you pay attention. Many of its rivals would do the same job equally quickly, but less enjoyably. The GT S is rather old-fashioned in this – it’s not a car you’d choose for a relaxed cruise. Thrills are the point of having a sports car (as generally it’s faster these days to take the train, plane, or self-driving car which doesn’t need to stop every two hours for coffee), and the AMG GT S fulfils that brief in a very definite way. Looks very cool, too, and the interior is high-end Merc chic. LUX rating: 18.5/20 mercedes-amg.com

LUX car review: Aston Martin V12 Vantage S

dariussanai — Mon, 15 Aug 2016 09:00:29 +0000

[caption id="attachment_2677" align="alignnone" width="5300"] Aston Martin V12 Vantage S[/caption]

Next in the LUX car review series, we review take the Aston Martin V12 Vantage S for a test drive through the scenic Cotswolds countryside

It is becoming received wisdom in automotive circles that high performance cars have never been better than they are now – or less emotionally involving. Powerful computer systems do everything from controlling your cornering pitch to measuring exactly how much you’re allowed to push the throttle on a bumpy road. The accusation is that fast cars are now extremely rapid quasi-spectator experiences, akin to piloting a fly-by-wire plane. From the moment you drive a few metres down the road, you suspect the Aston Martin V12 Vantage S is going to be an antidote to such electronically enhanced machinery. The car’s two-seater cabin, snugly fitting around you, is enrobed in leather and cool aluminium-look finishes, and feels just a little tight – just like sports cars of yore. Read next: Fine wine expert Adam Brett-Smith's fears, joys and surprising investment advice Press the start button and the scream from the engine and exhaust makes the 12-cylinder engine sound like a hot rod that has been to Eton and Oxford: brutal, but somehow sophisticated as well. By the time you take your first corner, you are holding on to the wheel in a way you just wouldn’t with any over-engineered machine which is more about numbers than emotions: this is a car you really drive. So much so that we were nervous about taking our first fast, damp corner for fear the car would slide around like cars did before computer systems stopped them. We needn’t have worried. The Vantage V12 S may sound and feel like a monster, but it’s still a 2016 car, with as many wires and engine control units as any other. It’s just that it manages to feel exciting even while crawling around at low speeds, something most supercars, even the very best of them, fail at. Read next: Maserati takes over Suite 321 at Monte Carlo’s Hotel de Paris Out in the open countryside of Britain’s Cotswolds, narrow lanes snaking through villages open out into long, sinuous tracts of road with delicious straights for overtaking, and well-cambered bends, all lined with steep green meadows and woodlands for an aesthetically pleasing backdrop. The Aston’s relative narrowness was a boon when passing through villages, and when the speed restrictions were lifted, a couple of flips of the left hand paddle whipped the V12 into second gear, the accelerator was crushed and the car yowled its way through the gears, feeling much faster than its bigger Aston sisters. It’s smaller, lighter and more powerful, so this should be no surprise, but what was a welcome surprise was the demeanour of the engine. V12s, beloved of driving purists but increasingly threatened these days by emissions restrictions, come in all types of character, and for me the Aston V12, ever since it was first created for the DB7 Vantage in the late 1990s, has always seemed at the more languid end of the spectrum: more Jaguar XJS than Ferrari. In the lighter Vantage V12 S, in highly tuned form, it is a monster, revving freely and willingly and eager to hurl you down the road. It still lacks the ultimate sophistication in character of Ferrari’s V12s, but it sounds even better. The Vantage also has handling that, while lacking the ultimate ability of the top Porsches and Ferraris – a bumpy wet corner is a less fluid experience in the Aston – makes you want to let out a rebel yell every time you go around a corner. Aston Martin, that most English gent of car manufacturers, has created something so joyously un-British and so emotive that it has to be one of the most enjoyable supercars out there. Bravo, old boys. LUX Rating: 18.5/20 astonmartin.com

LUX car review: Rolls-Royce Wraith

dariussanai — Fri, 19 Aug 2016 09:00:14 +0000

[caption id="attachment_2693" align="alignnone" width="5760"] Rolls Royce Wraith[/caption]

In the third part of our car reviews series, LUX experiences the silent joy of driving a Rolls-Royce Wraith

Give a small child a toy car to play with and, to accompany the motions, they will inevitably make roaring noises to imitate the engine. So what would said small child do when handed a toy Rolls-Royce Wraith ? They would have to make no noise at all, because you drive this car in complete silence. As we wafted out from the centre of Edinburgh towards the hills, there was no noise, from inside or out. A few people outside stopped, pointed and gawped. Perhaps the small child would need to line up some dolls to point at the toy car as it drove past with its plutocratic inhabitants. It’s worth pausing for a second to consider the type of gawping we are talking about here. The Rolls didn’t attract Lamborghini-style attention, where the whole street stops and smiles, small boys stare transfixed and larger boys (and girls) whip out their camera-phones. Read next: The high life with Bombardier private jets No, it was more like incredulity. Our Wraith was a huge car, in two-tone silver and black, with only two doors but the road presence of a truck. It demands attention, and the people who stopped to look at this road sculpture did so reactively, instinctively: this is the kind of car you have if you want to feel like senior royalty, or Beyoncé . Rolls-Royces have traditionally been cars to be driven in. The Wraith is the exception. A coupé, it is aimed at the driver, his regal passenger, and their children, or Hermès bags, on the back seat. Read next: Hot property in Knightsbridge To this end, it is not only silently fast, like other Rolls-Royces, it is also a little more agile. Shoot along a wide Highland road with sweeping curves, and your lips may even curve into the flickerings of a smile. The car shoots forward, and remains reasonably flat (given its size) around corners; it feels both swift and manageable. [caption id="attachment_2694" align="alignnone" width="2500"] Spacious interiors[/caption] It swallowed up the distances between towns effortlessly, and there is an assumption that the owner will share the car’s regal hauteur and sense of detachment from the world. There is also plainly an assumption that, for his car-racing needs, the owner will have available in his garage several Ferraris, McLarens and Lamborghinis. What the Wraith does is tell you, and those whom you pass, that you really are in a different class. You travel in sepulchral silence, surrounded by panels of hand-fitted wood whose burl fits together like the seams of a Birkin bag. You, and the watching crowds, are reassured: you have made it. There is no more opulent manifestation of the automotive dream. You’ll just need the Norland nanny to teach the children that some cars do actually make roaring noises. LUX rating: 17.5/20 rolls-roycemotorcars.com

LUX car review: Porsche Cayenne GTS

dariussanai — Mon, 22 Aug 2016 09:00:59 +0000

[caption id="attachment_2711" align="alignnone" width="4737"] Porsche Cayenne GTS[/caption]

For the final car review in our series, LUX sits behind the wheel of a metallic lime green Porsche Cayenne GTS

People who remember when Porsche was exclusively a maker of sports cars, rather than a purveyor of enormous white 4x4s for the elite school-run battleground, have particular fondness for the GTS badge. It was first applied to the final, glorious incarnation of the 928 grand touring car which was an object of lust for many car-maniacs in the 1980s and 1990s. Subsequently Porsche applied the GTS label to its new range which involves SUVs and saloons, as well as the 911 sports cars. Unlike the 928, however, it wasn’t given to the fastest incarnations of these (which are usually the Turbo or GT models), but to a model which is a little more driver-focussed than the standard ones. Read next: Secrets to investing in Switzerland Our Cayenne GTS came in a very psychedelic shade of metallic lime green. The Cayenne is the major school-run model (it also has a smaller sibling now, the Macan, perhaps for slightly less elite school runs). Having grown up with and owned ‘real’ Porsche sports cars, ones that don’t have you sitting ten feet above the ground, we slightly expected to hate it. Rumble up the engine, switch on Sport, put it in Drive, and, well, this thing’s quite fun. Around a few corners and you’re not leaning all over the place, and nor do you have the sense that the car’s doing everything for you. There’s a little feel from the alcantara (man-made suede, very nice to touch) steering wheel and the engine lets fly when you want it to, although the sound it makes is not as mellifluous as it should be (car geeks say this is because it is a V6 due to emissions regulations, not a V8). Read next: More from our car reviews series - the Mercedes-AMG GT S It’s spacious, stylish, feels tough, speeds around with a modicum of fun, cruises well over long distances, feels like a Porsche in its vigour, responses and handling (in SUV terms, given its size – it’s not going to win any races soon), and you sit as high above ordinary cars as you do in any SUV. We liked it a lot. But we’d still prefer the original 928 GTS, not in lime green, but in midnight blue, please. It’s even got small back seats to squeeze the kids into on the school run. They don’t make anything like it any more, and perhaps that’s why a pristine, 20-year-old original GTS now costs as much as a brand new Cayenne GTS. LUX rating: 18/20 porsche.com

Jean-Claude Biver: levels of luxury

dariussanai — Mon, 29 Aug 2016 09:00:06 +0000

The nature of luxury is evolving fast. Producers and consumers should wise up to the emerging multi-level landscape and never forget the power of the right kind of celebrity, says our columnist, Jean-Claude Biver

Luxury is changing, and we are now more and more aware that there are different levels of luxury emerging. At the highest level, there is luxury for the very few, which is (normally) at the top price level, and is the most exclusive and the most unattainable. In this category, you have all the watches that are made just for one customer. You have also the limited editions of two or five pieces of jewellery. [caption id="attachment_2728" align="alignnone" width="4500"] Jean-Claude Biver with Tag Heuer ambassador, actor Patrick Dempsey at the 2016 Monaco Grand Prix[/caption] Below this level, you have luxury for very wealthy people. This is not necessarily totally exclusive nor does it necessarily include unique pieces but certainly ones that are very special and not easy to find, and quite expensive. Then, you have the traditional luxury, which is now the luxury for people of what you could call average wealth. Read next: LUX tests drives the Rolls Royce Wraith And finally, there is now so-called affordable luxury, which is attainable by members of the upper middle class. This is the newest and most dynamic category because this is a very dynamic level of society and the one that is evolving the fastest. It has the biggest potential, especially in countries such as China, where they previously didn’t have this social class of affordable-luxury consumers. Previously, there were really just two categories in China: people who were very wealthy, and normal people. Now we see a very strong development in this affordable luxury segment. At a brand like Tag Heuer , we want to be at the front as the leader in the affordable Swiss luxury watch business . You can call it affordable or accessible, but in terms of luxury goods it’s the equivalent of a young person driving a Mini Cooper, a car that’s not as expensive as a Ferrari or even a Porsche, but it already means something when you are seen driving one. [caption id="attachment_2730" align="alignnone" width="2658"] Supermodel Bar Refaeli is announced as newest Brand Ambassador at Hublot Boutique in New York City[/caption] And people around the world now are becoming more brand conscious at a younger age than ever before. They are exposed to brands when they are as young as five or ten years old, and brands are becoming more and more important in evoking dreams in young people. With Tag Heuer, as with Hublot, I want to make young people dream when they are 15 or 18 years old. I want to get it into their heads that if they want to realise their dream, then they must please buy my brand. Read next: How China changed the luxury world But young people are now receiving so many messages from everywhere, it’s becoming difficult to communicate this distinctly. They have so many brands talking to them, and we are more aware than ever that we cannot tell them any lies, and getting through to them is becoming ever more difficult. Related to this is the fact that celebrities are becoming more influential than ever. But we have to distinguish between types. There are celebrities of whom there is a huge awareness, but who have very little influence. Then you have celebrities, for instance the Kardashians, or Kanye West, who are very influential: if Kanye West tells people to wear something, they will wear it. If he designs something, his influence is significant, and young people are going to dream about it. It’s the same with Jay Z’s shoes from Nike or Adidas – they have been an incredible influence. So as a luxury brand, you have to choose carefully between people who are widely known to endorse your product, and those who are influential. The most important part of my work today is reaching the young generation, and that means working with the people who can influence them. [caption id="attachment_2732" align="alignnone" width="1080"] Ricardo Guadalupe, CEO of Hublot, and Usain Bolt at the opening of Hublot's 5th Avenue boutique in New York[/caption] Even with the help of a celebrity to support you, it still requires far more work to get the message across these days than it did before. As an example, in 1982, if you came up with an innovative watch with a minute repeater, you didn’t have to communicate it, you would just show up at the Baselworld fair, and people would come to you and say “Wow!” You would then have more demand than you could supply because you were the first to create such a watch. Today, if you made the same innovation, you would never sell it if you didn’t have a strong promotional campaign and a credible brand. Without creating a brand awareness, you will not sell your product because it is simply not strong enough to be sold alone. For centuries, a product was strong enough to be sold just because it existed and it was exceptional. Nowadays, the market is so crowded. You need the promotion around a new product, you need marketing and publicity – and that has dramatically changed for everyone. Read next: Fine wine investment advice from Adam Brett-Smith Brand, now, will always be king. In the recent evolution of the smartwatch, there is intense competition between Apple, Samsung, LG, Sony and Motorola, all making essentially the same product for the same market. Yet how can Apple sell so many? Because of the brand. For the product alone, without the brand, you could have the same watch from LG or from Motorola or from Samsung, but for Apple the brand brings everything to the product. And it’s just the same for Tag Heuer: how can we sell a connected watch that does nothing more than the Apple, for $1,500? Because the brand is doing the business for us, the brand makes it okay to spend that much on it. When the competition hots up, the fight is won by not just the product, but by the brand. [caption id="attachment_2733" align="alignnone" width="5194"] River with the tattoo artist Maxime Buchi, a new ambassador for Hublot[/caption] Meanwhile, at the top end, word of mouth will sell products as it always has. The more you belong to the elite, the more you want to be different. The higher you climb, the more you want goods that are just made for you. Like the lady I know who has had seven Lamborghinis to match the outfits made for her in the seven colours that she always wears. Read next: Hermes and horses take over the Grand Palais At that end of the market, people are looking for uniqueness, individualisation: for them it’s not enough to buy a Ferrari, it must be a Ferrari in camouflage paint with denim seats. And with this desire for exclusivity driving it, it’s not surprising that the world of luxury is subject to a perpetual escalation. Jean-Claude Biver is president of LVMH Watch Brands and chairman of Hublot

Jude Law: Motoring with the world's most stylish actor

dariussanai — Fri, 02 Sep 2016 09:48:10 +0000

Is Jude Law the coolest actor alive? The star of ‘Sherlock Holmes’, ‘The Talented Mr Ripley’ and ‘Alfie’, among many others, chills out with LUX amid a plethora of classic cars to speak about beauty, gratitude, the importance of wearing hats – and how to serve the perfect whisky.

[caption id="attachment_2760" align="alignnone" width="3855"] Jude Law with the Delahaye 135S classic racing car he drives from Italy to Monaco in the film 'The Gentleman's Wager II'[/caption] Jude Law looks very much at home leaning on a 1930s racing car. The British actor, who is as comfortable playing Shakespeare on stage as he is in a Hollywood movie, has a nonchalance, a motoring raffishness, that hark back to the era of Steve McQueen and James Dean, to which he adds charm. This son of south London schoolteachers has never lost his head, his roots or his nerve. We spoke to him about his life and career in a break from filming the latest Johnnie Walker Blue Label short film, The Gentleman’s Wager II, which sees him return from his exploits in the first Wager film. This time he takes a fancy to a sky-blue 1930s Delahaye 135S (worth north of £1 million today). To win it from his old friend and rival, played by Giancarlo Giannini, he has to race it from southern Italy to Monaco by noon the following day. LUX: Have you ever taken part in a real-life wager? Jude Law: You know what, I don’t think I have. In real life I’m not really a betting person, and I don’t get a massive thrill from it. So in a way I’ve bet vicariously through this adventure with Giancarlo in the last two Johnnie Walker films. I’m probably a bit too cautious in real life if I’m honest. I seem to live out most things in the roles I play as opposed to doing so in my own life. Read next: China is changing the luxury world, says Luca Solca LUX: The film is in part about gratitude. Is there anyone in your life you think particularly owes you a debt of gratitude? JL: Who owes me?! Oh, all my children, I mean huge gratitude, every day... No, well... I suppose with gratitude you don’t keep an account of it. You do it and you move on and don’t necessarily expect anything back. So I can’t think of anyone as I don’t see it as a debt really. But I like to think of myself as generous, in trying to offer people my advice or ideas of favours. LUX: How important it is that you feel connected to the brand that you’re working with? JL: It’s really important. One of the things that struck me at the very beginning of my relationship with Johnnie Walker was that they really wanted my input. It wasn’t a case of turn up, do this, and do what you’re told. Secondly, they also have a really healthy overview; the idea of using a campaign like this to also spread a positive message is great, and in the past they’ve been involved in organisations that I’ve championed, like Peace One Day . If you’re going to forge a relationship with a company or with a brand, it’s got to be something that you can hold your head up high and feel a part of. On a personal level, the most important thing is the people you’re working with, and on set they’ve been great, both at the company and the people they employ to make the films. It’s been a really pleasurable experience. Read next: The only suite to stay in this summer LUX: What’s your greatest passion? JL: Well, the obvious one is movies, and that’s been true since I was a boy. I’ve always been obsessed with seeing films and have been fortunate enough to get involved in making them now. I like architecture, too. It’s not something in which I have any expertise, but I know what I like. I’m living and working in Rome at the moment, so I’ve become obsessed with the Baroque architect Francesco Borromini, and I’ve been hunting down all of his little gems around the city. Well, little and not so little, some of them are huge. Travel’s a passion as well. [caption id="attachment_2761" align="alignnone" width="3974"] A cavalcade of classic cars driving through the Italian countryside to launch the latest Johnnie Walker Blue Label short film[/caption] LUX: What does beauty mean to you? JL: When I was younger it was something that I felt almost apologetic about in a way, because it felt like an indulgence. But I think more and more now that it’s actually an integral part of your day, and funnily enough, it’s been more apparent since I’ve been living in Rome, because it’s such a beautiful city and you get so much from that just on a daily basis. Whether it’s inspiration or just feeling incredibly at peace. So I think it’s a really important part of my life actually. Natural beauty is also something that feeds the soul. I seem to be more moved by surroundings than objects. Read next: Emilia Wickstead’s royal designs LUX: Where would your ideal road trip be? JL: I think it would probably be in South America. I went to Bolivia earlier in the year and I would like to go back and explore more of South America as I don’t know it very well. Want to come? LUX: What is your favourite classic car? JL: I’m a bit of a Rolls Royce fan actually. I just like the scale of them. I like sports cars too, but really I would say that my favourite classic car has to be an early-sixties’ Rolls-Royce, preferably in chocolate brown. LUX: What has been the best thing about being involved in the Johnnie Walker films? JL: The people certainly – they’ve been really fun and there’s something very organic about a group of people who get on so well while creating something that they believe in. And then there’s the fantasy of driving a car, or spending the day on a boat and the challenge of learning to dance for the first Wager film, and particularly the environment of this one. We were in Monte Carlo a few days before the Grand Prix, so we had the whole of the finishing line to ourselves and driving down that straight in the car, with all the bleachers on either side and the crash barriers, was just a dream and fantastic fun, too. Read next: Flight of the billionaire LUX: In line with the Johnnie Walker ‘Joy Will Take You Further’ brand campaign which you are involved in, how has joy taken you further? JL: Some things you say to your children such as, “do things for others”, can become something of a cliché, but the truth is, I think, that when you do things for others, it gives you a warm feeling of personal well-being. A lot of the stuff I’ve done outside work, with charities and with other organisations, has been very uplifting and that’s certainly taken me further as a human. Experiences with friends and family, with whom you have the perfect Sunday or the perfect holiday or a good Christmas or anything like that, elevate your sense of well-being as well. It’s the simple pleasures. LUX: How would you serve the perfect whiskey? JL: I’m really straightforward. I like it large and without any ice, and that’s it. I like it a little bit warm, just as it comes. Only a straw required. It’s such a delicious drink. [caption id="attachment_2762" align="alignnone" width="3713"] The stars of the film, Giancarlo Giannini and Jude Law, at the Villa Mondragone in Frascati, outside Rome[/caption] LUX: The Gentleman’s Wager films are very stylish and you’re a very stylish guy. Do you have any style tips or guidelines you would like to share? JL: I’m quite old fashioned. I like dressing up for events as opposed to just turning up in whatever. I like making a bit of an effort, and I know I get that directly from my father because he was always a jacket-and-tie man. I love hats, too. Someone told me a story once that John F. Kennedy was the first public figure to stop wearing a hat because he thought they made his ears look big, and since then, men have stopped feeling the need to wear hats in public. Prior to that, every man wore a hat. I think there is something gentlemanly about men who wear hats, and that’s why I always wear one. I think being yourself, being comfortable, enjoying yourself with how you live and how you express yourself in your clothes or whatever it might be, is probably a good way forward. Read next: Roland Herlory of Vilbebrequin on striving for more LUX: How happy are you with your career so far? JL: I’m pretty happy. I’m always restless and looking out for new challenges though. I find the longer you work in film, the more you get to work out what it is you want to get out of it. And that can change, obviously, depending on where you are in your life, and how old you are and what stuff you’re being offered. When I turned forty I really felt like it was a new chapter starting because prior to that I leaned more towards playing romantic leads or the sort of hero-type roles that are often written for guys in their twenties and thirties. At forty, suddenly you start to get a little bit more opportunity to play character and that’s something I’ve always been keen to explore. So as long as work keeps coming I’m happy really, because I really love it. I’d like to maybe start trying other stuff as well, maybe a bit of directing. I’ve always been curious about how films are made, I’ve just never really found anything that I felt I could commit that amount of time to. But that might be something I do in the future... if they let me. LUX: You became Hollywood royalty at a young age. What has that meant to you? JL: I’ve never thought of myself as Hollywood royalty! It’s interesting because on the one hand, if you find a certain amount of success in films that come out of America, it opens a lot of doors, mainly to choice. It means that you can start to really think about the kind of films you want to make and the kind of people you want to work with, as opposed to just trying to get a job, so it makes the immediate future a little easier. On the other hand, though, there’s the down side, which is that you quickly become aware that you’re in a game and that your worth can rise and fall accordingly. That can get very confusing for a young actor who experiences a high early on. If that success can’t be maintained, the fall can throw you and you can become paranoid. But weathering that is part of the job, of course, and what I’ve realised over the years is that as long as you keep working and as long as you’re doing stuff you’re interested in with people that interest you, then you’re learning and it’s alright and is always pleasurable... well, it should be. So at the moment, I can’t complain. I’ve been blessed with a career that I’ve always dreamed of having. Interview by Alice Clarke

Luxury's timekeeper: Francois Paul Journe on high horology

dariussanai — Mon, 05 Sep 2016 15:54:46 +0000

Francois Paul Journe is the CEO of the eponymous Geneva-based watch company that is the ultimate object of desire for some of the world’s most discerning collectors. For our Luxury Leaders series, he talks to LUX about how F.P.Journe’s watch business has thrived as an independent, focused on scientific precision, in a world dominated by luxury groups.

[caption id="attachment_2797" align="alignnone" width="4126"] FP Journe watchmaker's atelier[/caption] LUX: Why have you succeeded where so many others have failed? Francois Paul Journe: I believe we have to go back in time to explain. Watchmaking schools do not teach to conceive a watch and being a watchmaker is not synonymous with changing a battery. I was lucky enough, after finishing my watchmaking school, to work with my uncle Michel, renowned antique horology restorer in Paris and learn “on the field” to repair complicated watches, benefit from his experience and discover a world of culture the school does not teach. My uncle was also the curator of the Musée des Arts et Métiers in Paris, I discovered the most astounding creations by the great French Masters and that obliged me to go further in my research, in order to create watches as beautiful as theirs. But I had to work tirelessly and acquire a real knowledge of the horological history. You do not acquire this kind of experience at school. I became totally passionate and horology became my life. At the time, there were maybe 15 collectors who were interested to buy authentic horology as the quartz was revolutionising the watch industry and haute horology was not any more in the trend. I had to wait for the taste of clients to revert to real horology until about 1991 when I sold my first wristwatch with tourbillon. I set up my own independent manufacture, to remain independent above all and not have to depend on anyone. From then on, I created a full collection and I never stop selling my watches after that. Read next: Jean-Claude Biver on the evolution of luxury Also, F.P.Journe is the only manufacture in the centre of Geneva, and we are producing 95% of the haute horlogerie components necessary to make our watches, dial and cases included. We also offer a true watchmaking art. Each certified watchmaker makes a specific watch according to his technical sensitivity, and performs all production stages from beginning to end without anyone interfering in the process. A long lost privilege in today’s industrial watchmaking that is more and more segmented. This is why my horology is different, authentic and respecting the fundamentals of haute horology. Above all, I remain in my own path, innovation, quality and independence. And collectors appreciate our authenticity, transparency and our permanent researches for precision, innovation and exclusivity. [caption id="attachment_2798" align="alignleft" width="200"] Francois Paul Journe[/caption] LUX: How does history inform your brand? FPJ: I respect the history of horology as a musician would study Mozart. If one does not understand the philosophy of the ancient grand watchmakers which only goal was to make watches that were giving the exact time, then you only create gadgets. LUX: How can you make a product stand out to a consumer who owns everything? FPJ: Our collectors who can have the best money can buy, and above all, exclusive objects know that I am running an independent manufacture with an integrated production of all the components necessary for the making of our watches. It includes the creation and production of all its dial and watch cases which echo our 18 karat rose gold movement in perfect harmony. We are the only manufacture in the world to do so. My goal is continue my pursuit of precision in creating innovative precision chronometers in the respect of the fundamental values of haute horology and I will not disrupt this rule under any circumstances. Read next: Sky high with Bombardier private jets LUX: What is luxury? FPJ: Luxury is a term that has been perjured and used outrageously. It means excellence, know-how and innovation, within a limited production combined with genuine craftsmanship, an exclusive design with a genuine authenticity. It is also a desirable object that is not a necessarily a necessity. LUX: How do you honour tradition while still innovating? Francois Paul Journe: You can certainly innovate but you have to respect the fundamentals in high horology that have pertained for over 2 centuries, and there are not many horologists doing so today. I am proud to be one of the only fervent defendants of the fundamental values of haute horlogerie. We have a real manufacture and we continue to produce our watches as if they were scientific objects. That is how watches were considered in the 18th century. LUX: What are the biggest challenges you’ve faced as the owner and CEO of a luxury brand? FPJ: Independence is in your genes; for me it is not negotiable. Many of the challenges I set for myself would be difficult to achieve if I depended on large financial groups, on a financial side as well as on a creativity side and on a component production side. When I create a new calibre, I can modify components as I please in no time as they are made in our manufacture and I don’t have to depend on a supplier either. As an independent, we have to demonstrate a strong resistance against big groups and provide a genuine authentic concept and rely on ourselves only. We thus have to be self sufficient and control our production as well as our sales network. That is why we have opened our own network of boutiques which are offering the best possible service to our client, a professional approach of high horology and a perfect knowledge of our collections, without mentioning receiving our clients in a décor at the image of our brand. But creativity is our most powerful weapon to exist and coming out of groups’ shadow. Big groups sell industrial watches, and we are selling authentic high horology watches. I can only hope a certain public will know how to make the difference and do justice to the genuine values of craftsmanship that we will never cease to perform. Read next: Secrets to investing in Switzerland LUX: Would you define F.P.Journe as a discovery brand? FPJ: I don’t know what you mean exactly by a discovery brand. We can be called a discovery brand in the sense of innovation as we are producing innovative mechanism, or reunite different technical developments another brand have not put together, i.e. the Tourbillon Souverain with remontoir d’égalité and we are the only ones to do so. If you mean a recent brand, yes we are not for the general public but we are one of the best known brands in the world of collectors. [caption id="attachment_2799" align="alignnone" width="4255"] The entrance to the F.P. Journe manufacture in Geneva[/caption] LUX: How many watches would you recommend an individual owned? FPJ: I cannot tell a collector how many timepieces he should own, each collector has a collection that correspond to his taste but also its financial means. If he has only a few watches and he is happy with them, it is fine but he is not really a collector. But it is also fine if a passionate collector owns one models of each available in my collection . Read next: The silent speed of a Rolls-Royce Wraith LUX: What innovation are you most proud of? FPJ: The Tourbillon has been my first fascination of course and the resonance phenomenon has been occupying my mind for years in order to produce my Chronomètre à Résonance with 2 mechanical beating in opposition and auto-regulating each-other. But the watch I am most proud of is certainly the sophisticated Sonnerie Souveraine, the most difficult and most accomplished horological creation never realised and the one that has certainly given me the widest challenge in my career. It means six years of research for the Invenit and 10 patents for the Fecit, over 500 components, 4 month of assembling, adjusting and fine tuning, and this without counting the manufacturing of the components entirely produced in our manufacture in the centre of Geneva. Operating a chiming watch has always been risky. If you do the slightest thing wrong, like setting the time while the chimes are engaged or ringing, you damage precious mechanisms. My challenge was to create a Grande Sonnerie that was safe to use, and what sets it on a higher plane is that it is the only grand strike clock watch safe to use existing today. LUX: How do you relax? FPJ: I work a lot and I do not have so much free time. Mostly it is dinner with friends, tasting good food and good wine, and enjoying each other’s company. And Formula 1 racing. fpjourne.com

Frieze art fair: co-founder Matthew Slotover and the post-Internet scene

dariussanai — Thu, 06 Oct 2016 09:00:26 +0000

The Frieze art fairs in London and New York are the reference points for the brave new world of contemporary art: at once ground-breaking and commercial, edgy and established, and a badge of honour for the galleries selected to sell there. Frieze co-founder Matthew Slotover talks to LUX Editor-in-Chief Darius Sanai about digital art, the future of culture, and new developments.

[caption id="attachment_2842" align="alignleft" width="225"] Matthew Slotover[/caption] Matthew Slotover is the co-founder of Frieze art fair in London and New York, and is fast becoming one of the art world’s éminences grises. Although that’s probably a misnomer for this boyish-looking 48-year-old who looks as insouciant as he did the day he and Amanda Sharp founded Frieze magazine in 1991, soon after they had left Oxford University. Their art fair – the slightly less brash, slightly more cerebral, but just as influential, alternative to Art Basel – is still the most desirable place for the world’s biggest gallerists, collectors, and their armies of hangers-on, to display and purchase. Slotover and Sharp have resisted the impulse to roll out their brand around the world. Founded in 2003 in a tent in London, Frieze only opened in its second venue, in New York, in 2012. This year, a quarter of a century after the specialist art magazine that spawned the fairs was founded, they took on some outside investment, for the first time, from the sports and entertainment agency WME-IMG – behind Slotover’s innocent facade and genuine love of the new in art is as tough a businessman as any. Read next: Jude Law talks whiskey, hats and wagers ON DIGITAL & POST-INTERNET ART “People have been talking about digital art for 20 years, and your perspective on the subject partly depends on how you define it. Is it art that exists in a purely digital form? If so, what does that mean? Or does it mean art that exists only on the web, or as a video file or an audio file? Art that only exists on the web is not, I think, the way you define digital art. We have not had very many brilliant examples of artists using a purely virtual presence in that way. [caption id="attachment_2843" align="alignnone" width="7360"] 'Annals of Private History' by the Spanish installation artist Amalia Ulman at the Live section of Frieze London, 2015[/caption] In the past couple of years there has been a conversation about what some people call post-internet art. This usually has a physical component to it. It can be a video animation, but it can also be a sculpture or a flat artwork that refers to the internet and to modern communication, using images collected from the internet, such as logos, graphics and text from Instagram and other social media. It uses the language of technology and new communication to make art. The art world wants objects [not purely virtual art], and artists want to create objects. I didn’t like Richard Prince’s Instagram paintings when I first saw them, and now I think they’re brilliant: the work is about taking images that exist already and contextualising them. Richard loves photographic imagery; he used to be a photo editor before he was an artist. So he goes on Instagram, finds images that he likes, and makes a gnomic comment underneath them. He then does a screen grab and then a big print out with the image, with all the comments below. He is both inserting himself virtually into the Instagram world as an artist, and also making a physical object out of it. This leaves him open to criticism by the original image makers. When he did a stand comprising these pictures at Frieze New York last year, we had Facebook and Instagram comments saying we steal people’s copyright. Read next: Discovering the ancient heart of Hermes Prince’s response was that recycling images is what he has always done. One of the girls whose image he took did a grab of his picture, which was on sale for $90,000, and started selling prints of it for $100. He thought recycling his work and questioning the value was great. I find it hard to distinguish between painting, photography, sculpture, digital art and installation. People say to me at Frieze, “There was a lot of photography this year”. I reply that I didn’t see it as photography. A lot of artists move between media. And if digital art has to be shown on a monitor in a gallery, is it physical or not? [caption id="attachment_2841" align="alignnone" width="7360"] 'Collection of Suppressed Voices' by the Czech artist Eva Kot'átková at the Live section of Frieze London, 2015[/caption] What everyone looks for in art is something new that relates to its time, that isn’t just an updated version of what was done before. Most great artists historically follow this pattern: their work could only have been made in their time, they were pushing boundaries. As to the companies that sell digital images to be displayed on mobile devices, it turns out that what people want on their phone is not beautiful images created by an artist or designer: it’s the age of the selfie, and they want to take the picture and they want it to be of themselves. If you look at Instagram, what are people doing and sharing? It’s very egocentric, and a bit disturbing. I’m not sure art sold for digital devices is really ever going to take off.” ON BUYING ART ONLINE “According to TEFAF’s market report this year, the amount of art being sold online is estimated to have gone up from 6% to 7%. Still a small amount, but going in the right direction. Clearly, we are getting more comfortable spending larger amounts of money online. But there are caveats. A couple of months ago I saw a picture that was for sale in an online auction. It looked great. But when I spoke to the artist’s dealer, he told me he had done a physical inspection, and the condition was terrible – something you would never have known if just looking online. So there are some significant hurdles, which is why the online art market hasn’t exploded in the same way that music or film or clothing has. Many galleries have joined online sales platforms or invested in their own websites, but they are not seeing the returns they expected. They tend to get a lot of inquiries with a very low conversion rate into sales.” [caption id="attachment_2844" align="alignnone" width="4920"] Frieze London has been held in a temporary space in Regent's Park since 2003; it was more recently joined by Frieze Masters, focussing on non-contemporary art, held across the park[/caption] Read next: Taking British luxury overseas ON THE FUTURE OF FRIEZE “We are not going to rush into rolling out several new fairs. Our clients – the galleries – are the content. If you don’t have the right galleries, you don’t have a fair. But if the right opportunity arises, we will take it. We set up the magazine in 1991 and Frieze London in 2003, and then in 2012 we launched our two new fairs, Frieze New York and Frieze Masters in London – so our timing has been roughly a new venture every 10 years! We now have another new development, Frieze Academy , which has a series of talks, lectures and courses, such as how to write about art, and how to start an independent magazine. This September we are launching a course on art collecting, which will feature several fantastic art consultants, and could grow from London to other cities. And in October we are doing our first conference, for private individuals and museum professionals commissioning architecture for art spaces – homes, private museums and public museums.” Frieze Academy opened this year; frieze.com

Eric Favre, Managing Director of The Alpina Gstaad on the simplicity of true luxury

dariussanai — Mon, 12 Sep 2016 09:00:11 +0000

In the five years since it opened, The Alpina Gstaad has become an iconic European hotel, featuring award-winning restaurants and spa, spectacular indoor and outdoor pools, a gallery-worthy art collection, and an ambience of relaxed chic that epitomises modern luxury at its best. Here, Eric Favre, its Managing Director, talks about how it's done as part of our ongoing Luxury Leaders series.

[caption id="attachment_2938" align="alignright" width="300"] Eric Favre[/caption] LUX: The Alpina Gstaad opened into a market, Gstaad, with plenty of choice at the luxury end. Why did it succeed? Eric Favre: Since it opened in 2012, our property has offered an entirely different experience than Gstaad has seen in the past 100 years. Our owners, architects and consultants had a clear vision of today’s discerning guests, who seek a chic but casual, authentic but refined hideaway in the mountains. So yes, the hardware is still important and we are fortunate to be offering outstanding facilities, but it's really about meeting the exacting needs of our guests which is at the crux of our success. More and more, hotel and spa clients are looking to connect with a 360 degree lifestyle brand, which offers a compelling combination of art, fashion, wellness and personality. We make it our mission at The Alpina Gstaad to deliver this in a truly exceptional way. LUX: What were the greatest challenges? EF: Finding the right people that are able to transport your philosophy has always been a challenge. Your biggest assets are the people behind your brand and who are willing to go the extra-mile for the satisfaction of your guests. We are fortunate enough to have built a team which goes above and beyond in achieving that task. Another challenge we were facing at the beginning was to build up a loyal clientele given the competition in the area. Today we are thrilled to welcome a strong percentage of returning guests year after year. [caption id="attachment_2942" align="alignnone" width="4928"] The Alpina has the best outdoor pool zone in the Alps[/caption] Read next: Luxury means excellence, know-how and innovation, says watchmaker Francois Paul Journe LUX: What are your clients like? EF: Our guests are looking for a sophisticated hideaway to unwind from their busy schedules and responsibilities. It is a wide and international audience that we attract, from high profile celebrities to active couples and families seeking some quality time. What they appreciate is the casual but classy environment at The Alpina Gstaad – not needing to oblige to any dress code, for example. They appreciate the discretion and natural beauty that Gstaad is so famous for. LUX: Why is Gstaad thriving when many Alpine destinations struggle at the top end? EF: I believe that it’s a mix of Gstaad's world-class events, alpine authenticity, breath-taking landscapes and lively social scene, not only during peak seasons. We keep reinventing ourselves without compromising on the local traditions. The world has always met in Gstaad and I am confident that this will remain a hot-spot for many generations to come. Read next: Jude Law on life and love LUX: Are you "new luxury" and what does that mean? Eric Favre: We go beyond what you would expect from a luxury hotel. Yes there is a Michelin starred restaurant and an award-winning Spa, however we are not celebrating the opulence in it. The idea of luxury is much more simpler than it was 20 years ago and today it evolves around re-connecting with yourself, your loved ones and a piece of heaven that we believe is Gstaad. [gallery ids="2944,2943" type="slideshow"] LUX: What are the most important elements of your offering? EF: High-end accommodation, interesting gastronomical experiences, a holistic wellness area and a personalised service from our 170 employees. Moreover, it is also the high level of discretion and Alpine authenticity in a stylish and contemporary setting. LUX: Is The Alpina Gstaad old money or new money? EF: I’d say we are well-invested money. Read next: Chopard’s co-president, Caroline Scheufele’s vision of the future LUX: How is running a very exclusive hotel different from the rest of the hospitality industry? EF: It is highly labour intensive and there is no room for error. It is also important to tread carefully the fine line between being exclusive and inclusive - while we wish to offer the utmost in discretion and privacy, it's important for all of our guests to feel welcome. [caption id="attachment_2945" align="alignnone" width="4096"] One of the hotel's spacious junior suites[/caption] LUX: How important is PR and how do you generate it at the high level? EF: We consider PR to be very important, but it needs to be well managed with a strategic approach. We are very selective with the opportunities we pursue and the media we work with, to ensure the results generated are the most effective. It's important for us to have exposure in the right lifestyle magazines, newspapers and supplements, as well as niche websites, in order to reach our target demographic. Part of this comes from working with the right journalists who have a clear understanding of our offering, and of our audience. Read next: LUX checks into the Maserati Suite at Hotel de Paris LUX: Is The Alpina Gstaad a brand, to roll out? EF: The beauty of our hotel is that we are completely independent from any international hotel chain. LUX:If you were a guest in your own hotel, what would you enjoy most about it? EF: The ability to be myself in a beautiful environment, which feels like its a million miles from anywhere in the mountains, yet is just minutes from all that Gstaad has to offer. thealpinagstaad.ch

Rustic luxury at Babbacombe Bay hotel, Cary Arms

dariussanai — Wed, 21 Sep 2016 09:00:09 +0000

Digital Editor, Millie Walton drives down to Devon to rediscover the charming imperfections of the English coastline, from the cosy luxury of a cliff-side beach hut

[caption id="attachment_2977" align="alignnone" width="3264"] The new luxury beach huts at Cary Arms[/caption] English coastal towns have been forgotten. Flights are now so cheap that it’s just as easy (consider traffic, extortionate British railway prices, inevitable delays) to hop on a plane to France for the weekend, as it is to make your way to Devon. Take a turn around Torquay and you’ll be able to see the desperate attempts to lure in tourists. This is not how it used to be, though; the Babbacombe Cliff Railway is living evidence of a more vibrant past. Built in 1926, the railway (which is actually an old-fashioned kind of cable car) has shuttled thousands of holidaymakers to and from Devon’s Oddicombe Beach in its time. Antique photographs in the makeshift museum cum visitor centre show crowded scenes of men in suits on deck chairs, women in hats and 1920s style swimsuits. You can barely see the sand for well-oiled bodies soaking up rays of English sunshine. [gallery ids="2980,2981" type="slideshow"] Read next: The best of East London’s gastronomy Babbacombe Bay is as staggeringly beautiful as it would have been back then. Red cliffs covered in green forest drop down into turquoise waters. If it wasn’t for the slight chill in the air, this could be Croatia. The real appeal though is exactly that: this isn’t Croatia. This is England and when you go to the beach, you will turn red either from an unexpected heat wave or from the biting cold winds. It’s rustic, makeshift and never predictable, but what makes Babbacombe better than all the rest? It’s got a little slice of luxury. The Cary Arms, reached by a very treacherous, steep drive down the cliff-side, is a de Savary hotel (part of a small exclusive group of properties that dot the globe) and delivers a homely kind of high-end indulgence. It’s been poised on its rocky perch since 2009, but – and here’s the game changer –it has recently opened six private beach huts and suites, with a new spa currently under (quiet) construction. The huts are painted in nautical colours as you’d expect of these shores, reached by a little walkway through the hotel and out the other side. They are built around the view; with glass doors that fold open onto the balcony for especially balmy days and a porthole window upstairs so that the first thing you see when you open your eyes is the sea. Read next: Luxury is simpler than it used to be, says Eric Favre of The Alpina Gstaad [caption id="attachment_2982" align="alignleft" width="207"] Dining with sea views[/caption] The details are what makes these huts extra special; champagne in a cool box with a glass bowl of strawberries awaits new arrivals, along with a stick of rock (what else?) on each pillow, a well stocked and complimentary mini-bar with snacks, juices and a bottle of rose, as well as a decanter of sloe gin that’s re-filled when you run dry. It's generous, but not flashy or intrusive, which is important in this wild setting and a theme that runs throughout the hotel. The restaurant is also excellent and a destination in itself. The menu changes according to the catch of the day and the season. For us, the highlights were a half pint of cold prawns that came with a little pot of garlicky mayonnaise and crusty bread, and the best Monkfish I’ve ever tasted (cooked whole in butter and herbs), served simply with new potatoes and green beans. We washed it down with a glass of Baileys on ice, in the study over a game of scrabble. It was all delightfully British. Overnight stays at the beach huts cost from £375 per night, beach suites from £475 and luxury doubles in the main hotel from £245 per night. For bookings and further details: www.caryarms.co.uk 01803 327 110

Arthur Brouwer, CEO of Heesen Yachts on why you should buy a superyacht

dariussanai — Thu, 29 Sep 2016 10:39:56 +0000

The new CEO of Heesen Yachts, Arthur Brouwer has stepped up to the helm at an exciting time for the luxury brand. Following the launch of their biggest yacht to date, 70m Galactica Super Nova at the Monaco Yacht Show, Arthur spoke to LUX, as part of our Luxury Leader series, about meeting the demands of the modern consumer, new technologies and sailing on the Amalfi coast

[gallery ids="3033,3035,3030,3037" type="slideshow"] LUX: What makes a yacht truly luxurious? Arthur Brouwer: At Heesen Yachts we strive to combine engineering and design, with luxury elements such as detailed interiors with high-end materials. All these aspects are perfected with top-notch technology, innovation and modern cutting edge-design, creating a truly luxurious yacht. LUX: How has the super yacht market evolved in the last ten years? AB: Superyacht owners are now looking for bigger, faster, yet comfortable and silent superyachts. The exteriors are becoming increasingly important with more request for more outside space to enable guests onboard to take in the surroundings. 70m Galactica Super Nova, launching at the Monaco Yacht Show on September 28th, is the perfect example of this trend, with a maximum cruise speed of 30 knots which is exceptional for such a calibre. Read next: Francois Paul Journe on the art of watchmaking LUX: What are the most difficult issues you face as CEO of an international business? AB: As discussed previously, the superyacht market is forever evolving and changing. As you can imagine, building a superyacht takes a certain amount of time, and when building on specs, we take a risk in offering the market something we predict will be suitable for future expectations. With the help of my great team, we seem to get it right though, but it is a risky process. Next year we will launch Project NOVA, a 50 metre Fast Displacement featuring a new hybrid technology for silent cruising. As we expected, silence is becoming the ultimate luxury. [caption id="attachment_3028" align="alignnone" width="3543"] The majestic 70m Galactica Super Nova was launched at this year's Monaco Yacht Show[/caption] LUX: How have the demands of your customers changed? AB: More and more our customers are asking for detailed and extravagant interiors and design. Since we build full-custom superyachts, we constantly seek to satisfy these demands, however outrageous, and generally make the impossible, possible. We are also very lucky to have a team of exceptional in-house naval architects to make this happen. Read next: Jean-Claude Biver on the levels of luxury LUX: All of your yachts are bespoke designs, what’s the most challenging customization you’ve faced? Arthur Brouwer: I think the most challenging customization was creating a glass pool bottom. The engineering around this had to be detailed to perfection to make sure the yacht could still cruise at high-speeds without shattering the glass floor. [caption id="attachment_3073" align="alignright" width="300"] Arthur Brouwer[/caption] LUX: What are the most interesting growth areas of your market? AB: I may seem repetitive, but once again, size is the constant growing area for superyachts. This is why we are currently building an 85m dry dock, meaning we will be able to build yachts up to 80m. LUX: Are your competitors other yacht companies or houses, other indulgences etc? AB: We are competing against all the other shipyards, but competition is good. It means that we continue to raise the bar year on year and deliver at an ever higher standard. Read next: Cary Arms brings luxury to Babbacombe Bay LUX: What are your best insider’s tips for visitors coming to the Monaco Yacht Show? AB: Obviously no trip to the Monaco Yacht Show would be complete without a visit to a Heesen yacht, particularly this year where Galactica Super Nova is proving to be one of the stars of the show. LUX: Where’s your favourite place to sail? AB: I love to sail to all kinds of exotic places, but a personal favourite is the Amalfi coast. Read next: Investment tips from international entrepreneur, Javad Marandi LUX: What’s next for Heesen Yachts? AB: Other than the development of unusual specialist builds like Project Nova; over the last few years we’ve seen a trend in the demand for bigger and bigger yachts, which doesn’t seem to be slowing down. We’ve just completed the addition of an 85m dry dock to our shipyard which will allow us to develop 80m yachts. LUX: How do you relax? AB: Not at the Monaco Yacht Show! I enjoy long distance classic rallies. heesenyachts.com

Ferrari maverick, Joe Macari on investing in classic cars, keeping your fingers dirty, and Brexit

dariussanai — Mon, 10 Oct 2016 09:00:15 +0000

Joe Macari is one of the most renowned names in the classic car business, his showroom in London a wonderland of racing cars, supercars and hypercars of all eras, plus the occasional dalek. A racing driver and car nut himself who spends much of his time crisscrossing the world to secure multimillion dollar deals on automotive rarities, Macari has high net worth customers all over the globe and cuts a flamboyant figure commuting to work in his $3m 1960s Ferrari Daytona Spider, cigarette firmly planted in mouth. Macari also has an official Ferrari and Maserati servicing workshop, and was recently appointed an Approved Ferrari pre-owned dealer. For our Luxury Leaders series he speaks to LUX about his maverick reputation, Brexit, and the hottest cars to buy now. By Darius Sanai

[caption id="attachment_3055" align="alignnone" width="6000"] The Joe Macari Showroom. Image by Dylan Morris[/caption] LUX: How is the classic car sales business? Are modern classics important, or just incidental? Joe Macari: I would argue that the classic car business is as strong as it has ever been! classic cars are now, more than ever, seen as a very strong alternative asset class, with a series of incredibly strong auction results proving that people are willing to pay good money for good cars. LUX: Is the younger generation as passionate about the mechanics of cars as the older, and is that a problem? JM: I think that there will always be a huge proportion of young people who take a keen interest in mechanics, it’s a timeless interest that evolves with the leaps and bounds technology takes over the course of time. I don’t think we’re in any danger of experiencing a shortage of petrol-head technicians any time soon. Read next: LUX test drives the Rolls Royce Wraith LUX: Are people more or less into racing than they were when you started out? JM: I think racing has become more popular and accessible. F1 has obviously changed massively over the last few years, and my perception is that the changes have led to a migration of sorts. People seem to be more and more interested in events like Goodwood Revival and other classic car racing events in order for them to get their fix of unadulterated, noisy, raw racing. LUX: How has the typical buyer changed over the decades? JM: Certain areas of the world have changed tastes over the years. For example, the Middle East is really waking up to how investable the classic car market is. Obviously there have always been a number of collectors from the Middle East who have sought after classic cars, but there seems to be a broadening in the consumer demographic. Ultimately though, the buyers haven’t changed a great deal. Every single person who buys anything from me shares a burning passion, one I quite obviously hold very dearly, and have used their passion to drive themselves to a level of success whereby they are in a position to buy into their dream. Very few industries share that trait. LUX: What is hot in the market right now? JM: Ferrari are the pinnacle of the classic car market, almost every variant of the 250 sits at over £1m. The Testarossa (particularly the Monospecchio) and the 206/246 Dino are two cars that are picking up value very quickly. Anything limited Edition from Ferrari tends be a safe investment; the 288 GTO, F40, F50, Enzo, Challenge Stradale, 430 Scuderia, 599 GTO, LaFerrari and F12 TDF’s have all picked up value hugely from their list price and seem to be continuing to rise in value. Read next: Motoring with Jude Law LUX: Is the classic car market overheated? Joe Macari: Not in my opinion, were that to be the case we’d be seeing average cars sell for huge money and a quick browse of recent Auction Results will show you that people hold provenance and condition of the cars in high regard. If a car has very obvious flaws, it won’t make money. If a car has questionable history, it won’t sell. If we ever reach a point where very obviously terrible cars are being sold for far more than they’re worth, then there would be cause for concern, but until then I firmly believe the market to be the healthiest it’s ever been. [caption id="attachment_3053" align="alignnone" width="1216"] Left to right: Joe Macari & Tom Kristensen after their win at Goodwood Revival. Image by Andrew Gill[/caption] LUX: Some 1950s and 60s Ferraris sell for multimillions. Will the newer ones ever do so (even the limited editions)? JM: Undoubtedly so, it all boils down to the relationship between supply and demand. The supply of past-generation Ferraris remains fixed, however as the younger generation reaches financial maturity the demand for these cars increases, resulting in rising price. We saw a LaFerrari sell for $4.7m at Pebble Beach in August, who knows where they’ll be in 10 years time! LUX: Do people really buy the cars they hankered after when they were kids - does that mean the 50s and 60s cars will drop in price as their owners get old/pass away? JM: Not at all! The value these cars have accrued has given them serious kudos amongst the younger generation, I can’t conceive of a time when a 250 GTO or California Spyder are seen as “just another old Ferrari”, they are primarily works of art, and much like art they will continue to cause a reaction and be desired by many. Read next: Rustic luxury on the coast of Devon LUX: What gives you the greatest pleasure in your business? JM: Witnessing the transformation a car goes through during restoration. We take a car in average condition at best and pour our blood, sweat and tears into making it as beautiful as it was the day it rolled off the production line. I can think of few feelings as totally satisfying as seeing a customer’s face when they see their “new” car for the first time. LUX: What makes you most frustrated? JM: Potential not being utilized to its fullest extent. When someone isn’t doing as good a job as I know they’re capable of doing I get very frustrated. I don’t tolerate carelessness because in my mind the only reason one gets involved in the motor industry is because they have a passion for it, if you aren’t working at your best then you’re clearly not passionate about it. [caption id="attachment_3051" align="alignnone" width="1200"] A Porsche Carrera RS. Image by Dylan Morris[/caption] LUX: Do you purchase many cars and hold them back before selling? What car would you like to purchase for your business, that you haven't done already? Joe Macari: The only reason that would happen is if we’re planning on restoring a vehicle, we have storage with a number of cars in varying stages of restoration but very rarely, if ever, would we buy a car simply to hold it off market and then sell it at a later date as space is a very valuable commodity. Read next: The MD of the Alpina Gstaad on modern luxury LUX: What is the effect of Brexit on your business? Joe Macari: I think we’ve been relatively fortunate, obviously we specialise in LHD (left hand drive) cars which means that due to the swaying currency our cars became cheaper for Europeans quite literally overnight. A large proportion of our clientele tends to be relatively immune to financial shocks, so the demand for high performance cars is still very much alive. [caption id="attachment_3052" align="alignnone" width="6000"] Four Ferrari Daytona Spyders. Image by Dylan Morris[/caption] LUX: Some years back you became an official Ferrari service centre, and now you are an official Ferrari approved used car dealer - is this significant and what does it mean? JM: Above all else it bestows a huge sense of confidence onto our clients that we are supplying the absolute best product that we possibly can be. The fact that before we sell a car we’re able to perform Ferrari Approved Servicing and Sales Prep, as well as provide the customer with ongoing maintenance support, puts us in a position that very few other people find themselves in, and ultimately makes our business unique amongst a host of other very competitive businesses. LUX: People refer to you as a maverick. What does that mean? JM: I suppose people see the showroom and the service centre & imagine they’re run by someone in a suit; I think seeing me with greasy fingers and a cigarette in my hand comes across as a bit of a juxtaposition when in actual fact I like to lead from the front. I gain more pleasure from putting a car back together than pretty much anything else on earth, why would I turn my back on my roots? Read next: A guide to drinking and dining in East London LUX: You have good personal relationships with your big customers. Is that important? JM: Relationships are without question the most important aspect of any business, anywhere. The friendships I have forged over my years in the industry are far more important than any deal I’ve ever done, the fact that people trust me enough to return to me for business is something I don’t take lightly, it spurs me on to maintain the standards I have become known for. LUX: How do you secure the cars you want, when everyone wants them? JM: By building relationships and gaining trust. Everyone knows that if they need a car, I can find it for them. They know that the car will undergo the highest possible level of scrutiny and ultimately I have cultivated an environment around me and my business whereby people selling through me know that they’re getting the best deal they possibly can. Everything lies in relationships and trust! joemacari.com

Celebrating SALT magazine with Condé Nast and Swarovski

dariussanai — Tue, 18 Oct 2016 07:34:12 +0000

Editor’s blog By Darius Sanai

Aside from my role at LUX, I work as Editor in Chief of Condé Nast Contract Publishing, and this week we had a little launch party at Vogue House for Salt, the new fashion magazine we have launched with Swarovski. I co-hosted the party with Nadja Swarovski, and it was an enjoyable occasion in the autumn gloom of London, as Condé Nast editors and publishers mixed it with Swarovski’s glamorous executives, alongside by some interesting figures from the style and design worlds, and models and stylists from our shoots. Read next: Where to drink and dine in East London Magazine launches are all too rare these days, so it was good to be able to toast the rise of our reborn fashion and design title with a few cocktails and some creative buzz, with the Editors and Publishers of Vogue, Tatler and Vanity Fair lending their support. LUX will have its own rather special party next year, watch this space. [gallery ids="3118,3119,3124,3125,3126,3128,3122,3123,3131,3132" type="columns" orderby="rand"]

Salvatore Ferragamo on Tuscan indulgence, family prestige and winemaking

dariussanai — Fri, 28 Oct 2016 09:00:01 +0000

Salvatore Ferragamo has been an Italian luxury legend ever since its footwear was adopted by Hollywood sirens in the 1920s. Recently, Ferruccio Ferragamo, son of the eponymous founder and currently president of the company, and his own son Salvatore, have ventured into the world of fine wine and hospitality (following in the footsteps of Ferruccio’s younger brother Massimo, who owns the Castiglion del Bosco wine estate and luxury hotel). As part of our Luxury Leaders series, Salvatore Ferragamo speaks to LUX about restoring the medieval Tuscan village of Il Borro, ponders luxury’s demand for authenticity, and reveals his favourite Italian dish.

[caption id="attachment_3169" align="alignnone" width="1890"] Salvatore with his father Ferruccio Ferragamo[/caption] LUX: What kind of experience does Il Borro offer guests and what makes it unique compared to other luxury estates? Salvatore Ferragamo: Il Borro is truly unique because at the heart of the estate lies a medieval hamlet, dating back 1000 years which has been transformed into luxurious suites and villas through careful and respectful restoration. Authenticity is the cornerstone of all past and present activities at Il Borro. This place is one of a kind because of its tradition, at Il Borro, history, art, Tuscan culture and nature offer exclusive experiences and atmosphere that are impossible to find anywhere else. I refer, for instance, to our Wine & Art Gallery, an artistic description of the history of wine through my father’s collection of prints and artworks from the 15th century to the present day which include works by Mantegna, Goya, Rembrandt, as well as modern artists like Warhol and Picasso. The gallery introduces guests to our cellars, which have been enlarged to enable a higher production of wine, yet still represent a respectful extension of the area beneath the 19th century villa. At Il Borro we take care of our soil with an old-standing organic method and all our products are both pesticide and preservative free. We harvest the grapes, go horse-riding on the estate, pick olives and cultivate vegetables in a spectacular one-hectare garden. Il Borro is a lively place, where we work the land to reap the fruits that our customers can taste in the Tuscan recipes prepared by our chef, Andrea Campani. And of course there is a relaxation area, with eco-friendly pools and a spa free of machines, where guests can enjoy a range of treatments carried out by our professional team. [gallery ids="3179,3174,3172" type="slideshow"] Read next: Motoring Maverick Joe Macari's investing in classic cars LUX: What inspired the project of Il Borro Ferragamo wine estate? SF: It was the history of this place - all we had to do was bring the traditions of this land back to life. Our vineyards are spread over about 50 hectares and we make 4 red wines in total; Il Borro, Polissena, Pian Di Nova and Alessandro dal Borro, our white wine Lamelle is 100% Chardonnay. We also make an exquisite Vin Santo and the jewel in the crown of our wine cellar, Bolle di Borro, a sparkling Sangiovese Rosé made in the classic method. LUX: How do you compete against more established names and estates in the world of winemaking? SF: We do this through authenticity and excellence. We could produce three times as much wine, but instead we prefer to offer a product of the highest quality. We don't exploit our land, we take care of it. Our wines are the result of oenological research, aimed at making premium wines through challenging combinations and effectively looking after the grapes of our territory. On top of all this, we have a unique place: the medieval hamlet where our guests can enjoy an unforgettable experience in an authentic atmosphere, with all the comforts. [caption id="attachment_3162" align="alignright" width="200"] Salvatore Ferragmo pictured in the Il Borro wine cellars[/caption] LUX: How has the rise of digital marketing and social media affected the way you approach business? SF: Digital marketing and social media are the tools of today and they represent a great opportunity for us. Every day we strive to make improvements, using creativity and lots of energy. They offer us the opportunity to communicate in real time and with emotional impact all of Il Borro's values: hospitality, winemaking, food, health, nature, history, and traditions. Read next: Frieze founder Matthew Slotover on the future of culture LUX: Have you always been passionate about wine? Salvatore Ferragamo: I can't think of a time when there wasn't a bottle of wine on my family’s table. Wine is part of Tuscan culinary traditions and being a food lover I cannot imagine dinner, and sometimes even lunch, without a bottle of good wine. Taking care of Il Borro's winery just came naturally. The best moment of my day is when I start work with a walk through the vineyards. LUX: Wine and hospitality are relatively new territories for the Ferragamo family. What are some of the challenges you’ve had to face along the way? SF: Yes, that’s true. But some elements are not new to my family: the Made in Italy mission, craftsmanship, and the Tuscan lifestyle. Il Borro encapsulates all of these elements. The real challenge at Il Borro is respecting the estate, the land and its gifts, through innovations on which we invest considerably, to preserve the authenticity and, at the same time, offer high quality hospitality. [caption id="attachment_3173" align="alignnone" width="2048"] Chef Andrea Campani is renowned for his grilled dishes prepared in a large artisanal oven[/caption] LUX: Is your name a passport or a burden? SF: My name is an honour…except when somebody thinks that I’m “the shoemaker of dreams”, that was my grandfather! Having said that, I am fortunate to have examples of very successful entrepreneurs within my family, and I can honestly say that it's a great source of energy and a positive challenge. Read next: Luxury is making the impossible, possible, says CEO of Heesen Yachts, Arthur Brouwer LUX: The Relais & Châteaux group, of which Il Borro is a member, is renowned for the best culinary hotels across the globe. What do you think makes food exceptional and what’s your favourite Italian dish? SF: This is a difficult question, since food, like wine, is a sort of magic. The creativity of a wine-maker or a chef together with high quality ingredients that, in the end, make the difference. My favourite Italian dish... another difficult question. Probably Tagliatelle with Wild Boar Ragù in winter and Risotto with Tomatoes and Burrata Cheese in summer followed by a barbecue of our Chianina beef. LUX: How do the other aspects of the Ferragamo family business influence the running of the Estate? Do you see it as a collaborative project? SF: We prefer to keep the two family businesses separate, however, I would say it is the strong core of business and entrepreneurship which has been inherited from Salvatore Ferragamo (my grandfather) to my father and my father to me, and of course the Ferragamo name, which links the two together. LUX: Does Tuscany hold any particular relevance for the Ferragamo family? SF: Tuscany is my land even though my grandfather was from Naples and my mother is English. This is where I grew up, where my family established the brand, and also where a large part of the new Ferragamo generation lives. Tuscany represents Ferragamo’s creative inspiration at all levels, and we are very proud to be recognised as one of the leading Tuscan/Italian brands in the world. Read next: Driving through the Italian countryside with Jude Law LUX: How has the world of luxury hospitality evolved in recent years? Salvatore Ferragamo: I think there is a growing demand for authenticity. Travellers seem to be less interested in serial/signature hotel concepts, and the magnificent but cold buildings without history, without a soul. Travellers want to live and feel the experience alongside luxury and this offers a truly unique opportunity. [caption id="attachment_3178" align="alignnone" width="5616"] Activities at Il Borro include horse riding, cooking classes, trekking, golf, tennis and mountain biking[/caption] LUX: What’s next for Il Borro? SF: We have so many exciting projects in the pipeline, most notably: the launch of a 100% organic wine; the opening of Il Borro Tuscan Bistro in Dubai, the first restaurant in our franchising project, with the aim of eventually taking Il Borro’s Tuscan cuisine and wines around the world; the implementation of the biological production of our honey; and we also plan to provide Il Borro with an olive oil mill to produce our own biological extra virgin oil. LUX: How do you manage to balance work and pleasure? SF: I believe I'm lucky, because I love my job. I could never have spent my days behind a desk. Since I love going horse-riding and playing golf, everything is within reach here at Il Borro and I can easily make the most of the little free time I have, doing what I love! ilborro.it

House of Peroni launches pop-up at the Baglioni Hotel, London

dariussanai — Mon, 30 Nov -0001 00:00:00 +0000

For one month only the House of Peroni will have a new home at the Baglioni Hotel from the 10th November 2016. In collaboration with Osteria 60, the House of Peroni is launching a cocktail pop up to celebrate a uniquely designed aperitivo menu; inspired by Italy designed by Peroni. Drinks include ‘The Peroni Winter Garden’ that is based on the winter gardens of Lake Como. Cocktails are accompanied by foody delights of smoked aubergine salad and gratinée pepper side dishes. However these cocktails, designed to conjure an appetite, are sure to go very well with Head Chef Ivan Simeoli’s menu with signature dishes that include wild sea bass Carpaccio and a classic Italian favourite the Osteria 60 Tiramisu. Why not escape London for a little bit of Italy in Kensington.

Six of the tastiest places to dine in Stockholm

dariussanai — Tue, 08 Nov 2016 11:00:23 +0000

Stockholm is undergoing a quiet gastronomic revolution in an understated Swedish style. Francesca Peak selects the coolest places to taste crisp-bread, cinnamon buns, sushi, salad and reindeer.

Sturehof

[caption id="attachment_3227" align="alignnone" width="4274"] Sturehof was rated by Monocle as one of the 50 best restaurants in the world.[/caption] This fashionable hangout just off the main shopping street is the result of an affair between classic Swedish plates and homestyle French cooking. Red and white gingham tablecloths, a bustling, but intimate vibe and a lengthy menu all hint to the comforting meal ahead. Cocktails are top-notch and there’s a generous wine list to keep you busy after you’ve perused the fish-heavy menu (to choose meat here is a sin). Choose a typical Swedish starter of herring and cheese, or indulge in the fresh seafood platter, before moving on to the poached turbot or salted cod. The liquorice crisp-bread is dangerously addictive. sturehof.com Read next: Salt Magazine party with Swarovski and Condé Nast

Café Saturnus

When you arrive at a small cafe off a fairly nondescript street and see a queue at 8.30am on a Saturday, you know you’ve picked a good spot. Tear your eyes from the mesmerising mosaic floor to the kitchen and you’ll see huge breakfast burritos and bowls of steaming porridge being rushed onto tables, along with the heady smell of fresh, rich coffee. However, it’s the buns that are the real star of the show: enormous cardamon and cinnamon buns are stacked at the front of the counter, tempting you as you place your order for a chia bowl and skinny latte. Give in to temptation: they’re packed with flavour and will keep you full until you’re craving another mid-afternoon. cafesaturnus.se

Hantverket

[caption id="attachment_3216" align="alignnone" width="1085"] Restaurant Hantverket overlooks Stockholm's beautiful park, Humlegården[/caption] A short 10-minute walk from the bustling Stureplan is Hantverket, the city’s newest self-aware cool place - thankfully without a snotty attitude - to enjoy a bite while spotting the latest trends on young Stockholmers. Although the entrance leads you straight into the restaurant, veer left to the bar and enjoy a perfectly crafted martini while perusing the rather succinct dinner menu. What they lack in length they make up for with innovation: try the duck with blueberries and rose petals for a more fragrant take on the typically heavy bird, and be sure to try a locally-sourced slab of reindeer. restauranghantverket.se Read next: Salvatore Ferragamo on the latest family venture

Vete-Katten

[caption id="attachment_3218" align="alignnone" width="5510"] Selection of buns and pastries at Vete Katten[/caption] Stockholm institutions don’t get much sweeter than this. Founded in 1928 by the determined Ester Nordhammar, the patisserie serves freshly baked treats and bread, and the most indulgent hot chocolate the city has to offer. Pop in to grab a baguette and coffee or venture behind the glass counter and into the traditional house with its tables tucked away into secret corners and adorable design details. Like stepping into a grandmother’s cottage, the smell of baking draws you in, and before you know it, you’re sitting at a table with a blueberry bun and pot of tea. Some places just have that effect, and this is certainly one of them. vetekatten.se

East

[caption id="attachment_3217" align="alignnone" width="3543"] East's cool, sleek interiors are inspired by contemporary Japanese culture[/caption] When you’re in a country famed for its minimalist designs, it seems only natural to look to a cuisine loved for its simplicity and neatness. Sweden, meet Japan. The sushi-heavy menu here is dotted with Asian favourites, from curries to noodles and dumplings, with the odd ceviche thrown in for good measure. Every dish packs a punch, whether in its subtle flavours or the spiciness of its chilli flakes, and all are brought to your table sharing-style with scary efficiency. Go for a sushi platter at lunch and while away the afternoon with a carafe of warm sake. east.se Read next: Frieze founder, Matthew Slotover on the post-Internet scene

Doctor Salad

[caption id="attachment_3212" align="alignnone" width="843"] Doctor Salad uses 100% organic ingredients. Above: two boxes of "a vegan délice" with glasses of fresh mint water[/caption] The very thought of going out for a salad may strike fear into the hearts of some, but there’s no chance you’ll leave Doctor Salad with a rumbling tummy. Served in huge boxes with optional protein on the side, vegetables are spiralised, dressed and chopped to delicious perfection, and each box is a mesmerising kaleidoscope of health. Pair your box with a soup and pile of homemade flaxseed crisp-bread and have a seat in their kitsch but tiny cafe, watching the world go by. doctorsalad.net

Fotofever: the new world of photography

dariussanai — Thu, 10 Nov 2016 12:24:32 +0000

Fotofever Paris is a friendly kind of art fair. It welcomes newcomers, whether or not their pockets are deep, and favours fresh faced talent. Ahead of the fair’s fifth edition, held under the majestic roof of the Carrousel du Louvre, Millie Walton speaks to the founder and director, Cécile Schall about the emotional impact of artwork, how digital apps have affected photography and the next generation of collectors.

[caption id="attachment_3325" align="alignright" width="200"] Cécile Schall. Image by Paola Guigou[/caption]

Millie Walton: What inspired you to start fotofever? Cécile Schall: My passion for photography is something that’s always been with me, fed by my family’s attachment to this art form for many generations. I founded fotofever 5 years ago, driven by the feeling I had when I purchased my first ever artwork 8 years ago; the emotion took over me and I knew I had to have that work. I found a way, through instalments, so that I could have it in my home and enjoy it every day. I now want to show other art lovers, that it’s possible to become a collector and also demonstrate why it is important to collect, which will support artists and to allow great artistic creation to continue.

MW: How do you compete against more established and larger art fairs? CS: fotofever stands out from the other fairs firstly because it is the only one focused on encouraging and guiding new collectors. Our program ‘start to collect’ has been created specifically to offer new collectors a selection of quality artworks within a price range attainable for new collectors ( less than 5,000 Euros). It will also offer more established collectors some guidelines and the basic principles about collecting photography, so that they can ‘safely’ let their heart fall for an artwork and purchase it. [caption id="attachment_3334" align="alignnone" width="3600"] Fumikazu Ishino 'A Caramel Tooth Filling'. Courtesy Einstein Studio[/caption]

I see photography as the most appropriate medium to begin buying and collecting contemporary art. It’s the most accessible aesthetically and financially. Today, however, unfortunately we see that most people who have the financial means to collect, hesitate to take that first step. Often this is because the art world is intimidating to novices.

Fotofever is the perfect hunting ground for confirmed collectors who seek to discover the artists of tomorrow – our independence allows us to present galleries with a bold program. Highlights of this year’s fair include the new zig-zag scenography, The Collector’s Apartment and organised discussions between artists, collectors and gallerists.

[caption id="attachment_3323" align="alignnone" width="4336"] 'Burning Man' 2012 by Eric Bouvet, Courtesy Galerie Hegoa[/caption]

MW: What advice would you give to someone looking to start a collection? CS: To start a collection, you first have to realise that you don’t need to be wealthy or an art expert to buy your first piece of art. There is no set age to begin a collection, nor one to stop.

As a starting point, look for a theme that speaks to you, that is close to your heart, a passion. The theme is sometimes unconscious and may reveal itself to you well after the purchase of the first work...

Go to a gallery that you feel comfortable with, one where you imagine trust can be established. Perhaps that represents an artist who you’re already aware of.

Follow your heart and wait for the right moment. When you come across a good work, you’ll know. It will be like a light bulb has been switched on inside your head.

Despite this wave of emotion, keep your feet on the ground and start "small" when it comes to price and do not hesitate to ask the gallery if you can pay in monthly instalments as many are open to this.

[caption id="attachment_3332" align="alignnone" width="5760"] Hugh Arnold. 'Series Agua Nacida'. Courtesy Hilton Asmus Foto[/caption]

MW:How do you think the art market has changed in recent years? CS: The art market has evolved a great deal over the last decade, especially with the development of online galleries, or physical galleries that sell online. This has broken down a lot of galleries and encouraged more transparency with pricing, something that we agree with at fotofever is displaying the price as one of the exhibitor requirements.

MW: Are there any particular themes or trends that you can see emerging in photography? CS: Each year fotofever gives birth to new collectors thanks to an eclectic selection of several hundred works presented by galleries from around the world. If it were not for these galleries and their expanding horizons, then this would not be able to happen. As a forward-looking photography art fair we are open to all new types of photography and its artists. Technology is moving fast and many of the galleries at fotofever mirror this, whether it’s the discovery of artists on Instagram or tricky aerial photography.

[caption id="attachment_3329" align="alignnone" width="4000"] Antoine Rose. 'Spiagge Bianche Study 2 Serie Tuscany 2015'. Courtesy Xin Art Galerie[/caption]

Millie Walton: How do you think digital apps like Instagram, have impacted the world of photography? Cécile Schall: We live in an image-saturated world. Everyone carries some type of camera on them and are encourage to use it, to document, to share, sometimes to show-off! There is a generation that have grown up surrounded by photography. One of the focuses of fotofever is to educate the younger generation about photography as an art form, rather than a lifestyle accessory.

One of the main challenges we see when it comes to contemporary photography is its reproducibility, as opposed to the uniqueness of a painting or a sculpture. Photographers are creating more and more unique works to make them stand out not only visually but creatively too.

[caption id="attachment_3330" align="alignnone" width="9449"] Edouard Taufenbach. Cinema 1p Serie Cinema. Courtesy Galerie Gratadou Intuiti[/caption]

This challenge is to do with the apparent simplicity of the photography practice, in a world where everyone with a smart phone considers themselves a photographer. It can give photography the status of a simple reproduction technique, when the creative process of some artists is very complex and part of the uniqueness of their work - such as Catherine Balet who worked full-time over 3 years to create her series Looking For The Masters in Ricardo’s Golden Shoes, or Antoine Rose who rides an helicopter over seaside resorts to take perfectly vertical shots.

For children ‘Les p’tits collectionneurs’ (the little collectors) is a 25m2 area at the heart of the fair that we’ve created in order to host fun and free educational workshops for children aged 6-12 years old. We want to show to children the entire creative process behind a photographic work by allowing them to take on the role of model, photographer and graphic designer.

The 18-35 generation also buy a lot online and social media has become influential in their decisions. Although we think that the physical encounter with an artwork is essential, the internet is an amazing information tool. We have been working on our web site to present all the artists that have been exhibited by the 300 galleries at fotofever since 2011. Our idea is to turn this site into a catalogue so that it acts as the fair’s continuum to support these partnerships.

[caption id="attachment_3333" align="alignnone" width="4252"] Keren Bereshit. 3 Bereshit 2002. Courtesy Lelia Mordoch[/caption]

MW: In your view, what makes a good photograph? CS: It’s unexplainable, judging whether an image is a good photograph is something that comes from experience but also from deep emotions. It’s completely subjective and that’s what makes walking around a photography fair such an interesting experience, to be able to see so many versions of a photograph as a work of art.

MW: Which participating galleries are you most excited about this year? CS: Throughout the year preparing the fair, the fotofever team has looked for the most promising, local and international galleries sharing its commitment to emerging contemporary artists using photography as a medium, so we are looking forward to seeing all the projects to be presented in real at the fair.

We are excited for all our exhibitors for different reasons, some because they have come so far (Asia for example), others because they are new, some because they’ve been with us from the beginning. They all add to the eclectic mix, but they all have fresh approaches to photography that you won’t see at other fairs.

fotofever paris 2016, runs from 11th to 13th November at the Carrousel du Louvre

Hosting the launch of the Sensual Purity book by Condé Nast for Mercedes-Benz, at Vogue House

dariussanai — Mon, 14 Nov 2016 11:00:00 +0000

Editor's Blog

By Darius Sanai

I was delighted to host a Condé Nast party at Vogue House yesterday with Gorden Wagener, Chief Design Officer of Daimler, parent company of Mercedes-Benz, as guest of honour. The occasion was the launch of the book Sensual Purity, published by Condé Nast on behalf of Mercedes-Benz, and Gorden enthralled the audience in his Q&A session with me, holding forth with his casual brilliance on the future and importance of design.

Read next: The next generation of art collectors My personal highlight? Chatting to Gorden and my colleague GQ Editor Dylan Jones (who didn't know each other before) about design - two design gurus, one concentrated conversation of inspiration. I am a firm believer in media (books and magazines, like LUX) as design and art objects in themselves, and everybody finished the evening even more convinced of this, I think.

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Shooting Stars: Spago in Beverly Hills is one of only three restaurants in LA to hold two Michelin stars

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Head Chef Austrian-born, Los Angeles based Puck overseas almost 30 restaurants worldwid

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Inside ‘The Little Treasured Toy Shop’

dariussanai — Mon, 21 Nov 2016 11:00:29 +0000

This Christmas, Plan A Events brings a fairytale, multi-sensory evening of fantasy to London. Although details remain “hush hush”, an illustrious Mayfair location will be transformed into a magical abandoned toy store.

[caption id="attachment_3271" align="alignleft" width="217"] Performers entertain guests whilst they dine[/caption] Nutcrackers and fairies will play host, serving guests a three-course Christmas inspired meal, ending with an interactive board game of dice brownies with berry coulis, jelly and spiced cream. Throughout the evening diners will be enchanted with theatrical performances, music and dancing. Similar to Covent Garden's Circus, but for a more refined audience. Be sure to leave your glass slippers at home. The story commences on Thursday 1st December and runs until Thursday 22nd December. onceuponatimepresents.com

dariussanai — Mon, 30 Nov -0001 00:00:00 +0000

Sell: It’s the biggest classic car auction in European history – and there’s no reserve, meaning cars have to sell for whatever is bid. There may be no better place to buy an investment you can fly around in, says Darius Sanai Text: Starting on Friday November 25, around 480 supercars and classics will be up for sale in Milan at the RM Sotheby’s Duemile Ruote (“two thousand wheels”) auction. But it’s not the just the quantity of stock or the lack of a reserve that has excited collectors and dealers from around the world: it’s the quality and variety of the collection. From a single owner whose business assets were seized by the Italian government, the sale is of a connoisseur’s collection of some of the most exciting and prized cars of the past 40 years, including a phenomenal selection of the hottest market category right now, so-called “modern classics”. The collection is short on the prewar Bentleys and 1950s Jaguars that might have made up a classic collection in the past; instead, it features some of the hottest cars of the modern era. The star of the show may be a 1966 Ferrari 275 GTB/6 Alloy, estimated at more than 2.5 million euros (although, hypothetically, if nobody else bids, it could be yours for a fraction of that). However much of the attention has been focused on more modern cars. These include one of a handful of Ferrari 599 Fioranos made with a manual transmission instead of the much more common paddleshift; a rare Ferrari 575 Maranello with the same transmission; two Porsche 911 GT2s from the ‘996’ model designation, considered the last of the raw driving experience Porsches; a Ferrari F512M, the final, rarest, most powerful and desirable of the Testarossa series of the 1980s and 1990s; and many more, including rally cars from Lancia, a desirable ‘plexi’ Ferrari Daytona, and a 25th Anniversary edition of the legendary Lamborghini Countach, designed by Horacio Pagani, who later went on to found the Pagani supercar brand. The collection of the unfortunate, bankrupted collector was as broad as it is deep, with cars for fans of every marque and at every price level: if fast BMWs are your thing, there is a brace of original BMW M3s, a M635 CSi and an original M Coupe. There are Porsches from 1970 to 2007 (a 997 GT3 RS). “It’s an extraordinary selection – there is every Porsche 911 you can imagine, for example,” says Alain Squindo, COO of RM Sothebys. “It was amassed relatively discreetly, the collection was not known about before. What’s particularly interesting about this auction is that it highlights what’s particularly appealing to new collectors, 30 and 40 year olds coming into the car world. They are not interested in prewar grand sedans: instead we have sporting high performance stuff, Porsche 911s, Lancia Integrales, Alfas, Astons, thrilling high horsepower stuff.” It’s the sheer quantity that fascinates, he points out: there are two fiberglass Ferrari 308s, four Ferrari Testarossas (all red). Squindo says most of the cars are “cosmetically pristine” while emphasizing that RM Sotheby’s hasn’t had time to inspect them all and that bidders need to look carefully at the particulars in the catalogue. If your newly acquired Ferrari 400i doesn’t work, there’s no comeback. Still, for a collector of modern classics, the atmosphere will be of a child in a sweetshop. The world’s biggest sweetshop. Just don’t get carried away. Now, I’m going to look at one of those Ferraris… http://www.rmsothebys.com/tv16/duemila-ruote/

dariussanai — Mon, 30 Nov -0001 00:00:00 +0000

It’s the biggest classic car auction in European history – and there’s no reserve, meaning cars have to sell for whatever is bid. There may be no better place to buy an investment you can fly around in, says Darius Sanai

Starting on Friday November 25, around 480 supercars and classics will be up for sale in Milan at the RM Sotheby’s Duemile Ruote (“two thousand wheels”) auction. But it’s not the just the quantity of stock or the lack of a reserve that has excited collectors and dealers from around the world: it’s the quality and variety of the collection. From a single owner whose business assets were seized by the Italian government, the sale is of a connoisseur’s collection of some of the most exciting and prized cars of the past 40 years, including a phenomenal selection of the hottest market category right now, so-called “modern classics”. The collection is short on the prewar Bentleys and 1950s Jaguars that might have made up a classic collection in the past; instead, it features some of the hottest cars of the modern era. The star of the show may be a 1966 Ferrari 275 GTB/6 Alloy, estimated at more than 2.5 million euros (although, hypothetically, if nobody else bids, it could be yours for a fraction of that). However much of the attention has been focused on more modern cars. These include one of a handful of Ferrari 599 Fioranos made with a manual transmission instead of the much more common paddleshift; a rare Ferrari 575 Maranello with the same transmission; two Porsche 911 GT2s from the ‘996’ model designation, considered the last of the raw driving experience Porsches; a Ferrari F512M, the final, rarest, most powerful and desirable of the Testarossa series of the 1980s and 1990s; and many more, including rally cars from Lancia, a desirable ‘plexi’ Ferrari Daytona, and a 25th Anniversary edition of the legendary Lamborghini Countach, designed by Horacio Pagani, who later went on to found the Pagani supercar brand. The collection of the unfortunate, bankrupted collector was as broad as it is deep, with cars for fans of every marque and at every price level: if fast BMWs are your thing, there is a brace of original BMW M3s, a M635 CSi and an original M Coupe. There are Porsches from 1970 to 2007 (a 997 GT3 RS). “It’s an extraordinary selection – there is every Porsche 911 you can imagine, for example,” says Alain Squindo, COO of RM Sothebys. “It was amassed relatively discreetly, the collection was not known about before. What’s particularly interesting about this auction is that it highlights what’s particularly appealing to new collectors, 30 and 40 year olds coming into the car world. They are not interested in prewar grand sedans: instead we have sporting high performance stuff, Porsche 911s, Lancia Integrales, Alfas, Astons, thrilling high horsepower stuff.” It’s the sheer quantity that fascinates, he points out: there are two fiberglass Ferrari 308s, four Ferrari Testarossas (all red). Squindo says most of the cars are “cosmetically pristine” while emphasizing that RM Sotheby’s hasn’t had time to inspect them all and that bidders need to look carefully at the particulars in the catalogue. If your newly acquired Ferrari 400i doesn’t work, there’s no comeback. Still, for a collector of modern classics, the atmosphere will be of a child in a sweetshop. The world’s biggest sweetshop. Just don’t get carried away. Now, I’m going to look at one of those Ferraris… rmsothebys.com/tv16/duemila-ruote

Europe's biggest car auction: RM Sotheby's two thousand wheels

dariussanai — Wed, 16 Nov 2016 09:56:46 +0000

It’s the biggest classic car auction in European history – and there’s no reserve, meaning cars have to sell for whatever is bid. There may be no better place to buy an investment you can fly around in, says Darius Sanai

Starting on Friday November 25, around 480 supercars and classics will be up for sale in Milan at the RM Sotheby’s Duemila Route (“two thousand wheels”) auction. But it’s not the just the quantity of stock or the lack of a reserve that has excited collectors and dealers from around the world: it’s the quality and variety of the collection. [caption id="attachment_3448" align="alignleft" width="300"] 2008 Porsche 997 GT2[/caption] From a single owner whose business assets were seized by the Italian government, the sale is of a connoisseur’s collection of some of the most exciting and prized cars of the past 40 years, including a phenomenal selection of the hottest market category right now, so-called “modern classics”. The collection is short on the prewar Bentleys and 1950s Jaguars that might have made up a classic collection in the past; instead, it features some of the hottest cars of the modern era. Read next: Mercedes-Benz launches new book with Condé Nast The star of the show may be a 1966 Ferrari 275 GTB/6c Alloy, estimated at more than 2.5 million euros (although, hypothetically, if nobody else bids, it could be yours for a fraction of that). However much of the attention has been focused on more modern cars. These include one of a handful of Ferrari 599 Fioranos made with a manual transmission instead of the much more common paddle-shift; a rare Ferrari 575 Maranello with the same transmission; two Porsche 911 GT2s from the ‘996’ model designation, considered the last of the raw driving experience Porsches; a Ferrari F512M, the final, rarest, most powerful and desirable of the Testarossa series of the 1980s and 1990s; and many more, including rally cars from Lancia, a desirable ‘plexi’ Ferrari Daytona, and a 25th Anniversary edition of the legendary Lamborghini Countach, designed by Horacio Pagani, who later went on to found the Pagani supercar brand. [gallery ids="3444,3445,3449" type="rectangular"] The collection of the unfortunate, bankrupted collector was as broad as it is deep, with cars for fans of every marque and at every price level: if fast BMWs are your thing, there is a brace of original BMW M3s, a M635 CSi and an original M Coupe. There are Porsches from 1970 to 2007 (a 997 GT3 RS). Read next: Salvatore Ferragamo on Tuscan indulgence “It’s an extraordinary selection – there is every Porsche 911 you can imagine, for example,” says Alain Squindo, COO of RM Sothebys. “It was amassed relatively discreetly, the collection was not known about before. What’s particularly interesting about this auction is that it highlights what’s particularly appealing to new collectors, 30 and 40 year olds coming into the car world. They are not interested in prewar grand sedans: instead we have sporting high performance stuff, Porsche 911s, Lancia Integrales, Alfas, Astons, thrilling high horsepower stuff.” It’s the sheer quantity that fascinates, he points out: there are two fibreglass Ferrari 308s, four Ferrari Testarossas (all red). [caption id="attachment_3460" align="alignnone" width="1200"] 1965 Alfa Romeo Giulia Sprint GTA[/caption] Squindo says most of the cars are “cosmetically pristine” while emphasising that RM Sotheby’s hasn’t had time to inspect them all and that bidders need to look carefully at the particulars in the catalogue. If your newly acquired Ferrari 400i doesn’t work, there’s no comeback. Still, for a collector of modern classics, the atmosphere will be of a child in a sweetshop. The world’s biggest sweetshop. Just don’t get carried away. Now, I’m going to look at one of those Ferraris… rmsothebys.com/tv16/duemila-ruote/

dariussanai — Mon, 30 Nov -0001 00:00:00 +0000

Supermodel Erin O’Connor, actress Clara Paget and Alfred Cointreau crammed into a leafy green photo booth for creative picture and video calls during a slightly surreal launch party earlier this week in central London. They, and we, were at the Liberty London store to celebrate the launch of a social media campaign by the maker of the key Margarita ingredient (I’ll have mine with Patron and salt, please, since you’re asking) and general iconic spirit, Cointreau, to give back to the local community that supplies one of Cointreau’s four main ingredients – oranges! The One Orange One Tree (or, if you speak Instagram, #1orange1tree) plants a tree in Senegal for every picture anyone posts on social media with the appropriate hashtag. The big idea is to restore biodiversity to the heavily deforested African nation, while, also, naturally, consuming much Cointreau in the company of the world’s beautiful people. Nice.

Cointreau partners with Liberty London for a good cause

dariussanai — Fri, 18 Nov 2016 11:00:00 +0000

[caption id="attachment_3477" align="alignright" width="230"] Laetitia Casta[/caption] Supermodel Erin O’Connor, actress Clara Paget and Alfred Cointreau crammed into a leafy green photo booth for creative picture and video calls during a slightly surreal launch party earlier this week in central London. We were at the Liberty London store to celebrate the launch of a social media campaign by Cointreau to support a reforestation project in Senegal, set up by the company’s Artistic Director Laetitia Casta in collaboration with artist, Naziha Mestaoui. Read next: Sweden’s quiet gastronomic revolution For each photo posted on Instagram with the hashtag #1orange1tree, Cointreau will plant an orange tree in the local community to promote biodiversity in a heavily deforested area. There’s a rather beautiful collectors item for sale too: the Parisian Zest Coffret, decorated with an exclusive Liberty print pattern and filled with a zesty candle, cocktail notebook and of course, a bottle of the bittersweet liquor. [gallery ids="3479,3481" type="rectangular"] By Kitty Harris

Fawaz Gruosi: The man behind the world's most trailblazing jewellers

dariussanai — Tue, 29 Nov 2016 11:00:43 +0000

Florence-born Fawaz Gruosi spent years working with diamond expert Harry Winston in Saudi Arabia, learning the intricacies of the industry from within. In 1993 he launched his own brand, de Grisogono in fine jewellery's capital, Geneva. Despite his lack of formal training, Gruosi is now widely considered one of the most creatively daring, sales savvy and charming jewellery designers on the modern market. He speaks to LUX about black diamonds, celebrity endorsements and the need for experimentation. [caption id="attachment_3538" align="alignleft" width="200"] Fawaz Gruosi at an Eden Rock cocktail party in Cannes[/caption] LUX: What do you think makes de Grisogono so successful? Fawaz Gruosi: De Grisogono is characterised by unique and playful design codes. I like people to feel glamorous in my creations and while I have the greatest respect for them, I am not bound by the conventions of traditional jewellery design; at de Grisogono we like to take risks. When you wear de Grisogono you are making a statement, I think this is what makes us stand out. LUX: Which markets are most interesting in the luxury world at the moment? FG: We are currently expanding our offering in the Middle East and we are also looking into Asia. In Europe, London remains an important market; our Flagship opened in February 2016 and deeply reflects our brand aesthetics and my personal roots. The plan of the store references the typical Florentine villa – where I grew up - with three distinctive rooms: the Corte, the Grande Sala and the Stanza Del Tempo. The space uses chiaroscuro – playing with light and dark, texture and colour – to add interest to the room and create playful backdrop to the jewellery and watches. Read next: Christmas in a Mayfair toy shop [caption id="attachment_3534" align="alignright" width="227"] Milla Jovovich with Fawaz Gruosi at Cannes in 2002[/caption] LUX: How do you compete against historic jewellery brands? FG: We do not compete against historic jewellery brands, what we offer is completely different. We are often described as ‘daring’ and ‘trailblazing’ thanks to the fact that my approach does not conform to the rigours of traditional jewellery design. Our clients come to us because they know they will find something different. I made my name by experimenting at a time when the market was tired of traditional pieces that looked more or less the same. My designs are bold and colourful, we mix semi-precious with precious stones to create unexpected, unusual and beautiful pieces. LUX: How has the fine jewellery world changed since you first entered it? FG: At the beginning, many people were wary of my approach to high jewellery but now people are actively seeking more daring and challenging designs. Conventional design has given way to greater creative freedom. [caption id="attachment_3543" align="alignnone" width="2403"] Kate Moss, Fawaz Gruosi and Helena Christensen[/caption] LUX: You’re famous for pioneering the use of the “black diamond”, what inspired that innovation? FG: I was entranced by the story of the historic Black Orlov, a monumental black diamond. I began to research black diamonds which had been rejected by the industry, largely because they are extremely challenging to cut. I found them intriguing, captivating, and any other gemstone is immediately enhanced by the dark sparkle of black diamonds, creating one of the most striking chiaroscuro effect. In 1996, de Grisogono launched a collection devoted to the black diamond. It was perfectly pitched at a moment when monochrome minimalism was very fashionable, sparking a massive global jewellery style-trend for black diamonds which continues unabated today. Read next: An insider's guide to Europe's biggest car auction LUX: What are the biggest challenges you’ve faced as the founder and creative director of a luxury brand? Fawaz Gruosi: The marriage between business and creative approach – thankfully we seem to have struck the right balance. [caption id="attachment_3535" align="alignleft" width="210"] Fawaz Gruosi with Liz Hurley in Gstaad[/caption] LUX: How important are celebrity endorsements for de Grisogono? FG: The glamour of celebrity has greatly helped to shape our identity. The tone was set when the first de Grisogono boutique was opened in Geneva in 1993 at a party attended by Sophia Loren. Since then, we have been lucky to play host to many of the world’s most beautiful and famous women who have attended our parties and worn our jewels – Kate Moss, Naomi Campbell, Sharon Stone to name a few. Throughout the years, we have built lasting friendships with celebrities. By personally choosing de Grisogono for their red carpet moment, they express their love and passion for exclusive, distinctive, dazzling jewellery. This year during Cannes, we were delighted to see Bella Hadid and Kim Kardashian wearing our jewellery, as well as Jourdan Dunn, Milla Jovovich, Toni Garn and Natasha Poly. [caption id="attachment_3541" align="alignnone" width="5500"] Kim Kardashian and Fawaz Gruosi in Cannes[/caption] LUX: When you look back on your career, what are you most proud of? FG: I am most proud of the de Grisogono family. My closest team members are at my side for 10, 20 years now. We are just like a family and know exactly how each other works and I am proud of each and every one of them. LUX: What lies ahead for the brand? FG: We continue to expand into new territories and next year will be exciting in terms of some of the high jewellery creations we plan to unveil. LUX: How do you relax? FG: I have been so busy in the recent years that relaxing is a true luxury! But a perfect way to relax would be spending time with my family, in Porto Cervo or St. Moritz/Gstaad during winter, listening to music or cooking pasta for big groups of friends at home! degrisogono.com

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F512M interior

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Barricaia Masseto 1 (media)[1]

dariussanai — Thu, 03 Sep 2015 13:16:56 +0000

Vigna Masseto 1 (madia)[1]

dariussanai — Thu, 03 Sep 2015 13:17:21 +0000

OZONE - Bar Area

dariussanai — Tue, 15 Sep 2015 10:31:41 +0000

OZONE - Private Dining Room

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Aqua-20

dariussanai — Tue, 15 Sep 2015 10:32:01 +0000

Aqua Restaurant & Aqua Spirit Bar/Lounge

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Aqua Interior ML03

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Basilic

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dariussanai — Fri, 26 Feb 2016 16:38:35 +0000

Abama Spa & Golf Resort

dariussanai — Fri, 26 Feb 2016 17:11:47 +0000

Abama Spa & Golf Resort

dariussanai — Fri, 26 Feb 2016 17:12:05 +0000

El Mirador swimming pool - Twilight

dariussanai — Fri, 26 Feb 2016 17:13:29 +0000

Kabuki

dariussanai — Fri, 26 Feb 2016 17:14:23 +0000

main house exterior

dariussanai — Tue, 01 Mar 2016 11:04:36 +0000

SPA garden (2)

dariussanai — Tue, 01 Mar 2016 11:06:17 +0000

Vintage car on drive

dariussanai — Tue, 01 Mar 2016 11:06:24 +0000

Libary HR

dariussanai — Tue, 01 Mar 2016 11:06:41 +0000

Lucknam Park Hotel

dariussanai — Tue, 01 Mar 2016 11:06:56 +0000

arial1000

dariussanai — Tue, 01 Mar 2016 11:10:17 +0000

Lords of the Manor - Glen Mitchell Photography-133

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Lords of the Manor - Glen Mitchell Photography-102

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dariussanai — Tue, 12 Apr 2016 15:15:17 +0000

Switzerland cityscape

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dariussanai — Wed, 20 Apr 2016 16:03:45 +0000

Back in Five Minutes

Bi5M-JP-02

dariussanai — Wed, 20 Apr 2016 16:04:04 +0000

Back in Five Minutes interiors

Bloody Mary_low

dariussanai — Wed, 20 Apr 2016 16:07:48 +0000

Breakfast at Andaz Hotel

Love it or Ate it Chicken low res

dariussanai — Wed, 20 Apr 2016 16:08:11 +0000

Breakfast menu at Eastway, Andaz

Caroline Gruosi-Scheufele_Venice

dariussanai — Thu, 28 Apr 2016 13:18:09 +0000

Caroline Scheufele of Chopard in Venice

Palme Verte earrings and pendant 849773-0001 & 799773-0001

dariussanai — Thu, 28 Apr 2016 13:25:19 +0000

Palme Verte Chopard jewellery

'Blood Ties' Premiere - The 66th Annual Cannes Film Festival

dariussanai — Thu, 28 Apr 2016 13:33:15 +0000

Chopard fan Marion Cotillard on the red carpet

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dariussanai — Thu, 28 Apr 2016 13:33:22 +0000

Poppy Delevinge wears the green carpet collection by chopard

Mary J.Blige

dariussanai — Thu, 28 Apr 2016 13:33:54 +0000

Kendall Jenner - a fan of Chopard jewellery

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dariussanai — Thu, 28 Apr 2016 13:39:16 +0000

Chopard jewellery on Julianne Moore

859329-1001 Bracelet from the Green Carpet Collection

dariussanai — Thu, 28 Apr 2016 13:41:38 +0000

Chopard's fair-mined jewellery range

portrait GD

dariussanai — Tue, 03 May 2016 12:11:06 +0000

Portrait of luxury leather goods company, Moynat's president

Moynat Boutique NYC

dariussanai — Tue, 03 May 2016 12:11:11 +0000

Moynat opens new store in New York

Moynat Boutique NYC

dariussanai — Tue, 03 May 2016 12:12:01 +0000

Erik Bulatov, Rouge a Levres, 1994, pencil on paper, 35 x 32 cm. Image credit Michael Brzezinski

dariussanai — Tue, 10 May 2016 10:40:11 +0000

Shot from Autumn exhibition at de Pury de Pury

Simon de Pury - Colour copy 2

dariussanai — Tue, 10 May 2016 10:56:49 +0000

Simon de Pury, owner of de Pury de Pury

Erik Bulatov, Perestroika, 1989. Oil on Canvas. 269 x 237 cm. Courtesy of the artist

dariussanai — Tue, 10 May 2016 11:54:56 +0000

Oil on canvas by Erik Bulatov

Erik Bulatov, Entrance-no-Entrance, 1973-1995. Oil on canvas, 230 x 230cm. Courtesy of the artist, Private Collection and Simon Lee Gallery. Image credit Peter Mallet.

dariussanai — Tue, 10 May 2016 11:55:02 +0000

Erik Bulatov art work displayed at de Pury de Pury

Erik Bulatov, Autoportrait, 2011. Oil on canvas, 146.5cm x 114cm. Courtesy of the artist.

dariussanai — Tue, 10 May 2016 11:55:11 +0000

Image from a past exhibition at de pury de pury

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dariussanai — Tue, 17 May 2016 14:16:25 +0000

Model Cara Delevinge pictured on yacht with Hublot boss Jean-Claude Biver

dariussanai — Tue, 17 May 2016 14:16:29 +0000

Celebrities celebrate opening of Hublot's new factory

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dariussanai — Tue, 17 May 2016 14:16:39 +0000

Luxury leader Jean Claude Biver

Michael Wainwright (2)

dariussanai — Tue, 24 May 2016 16:35:53 +0000

Member of Boodles family and Managing Director, Michael Wainwright

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dariussanai — Tue, 24 May 2016 16:36:02 +0000

British jewellery brand, Boodles store in London, Mayfair

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dariussanai — Tue, 24 May 2016 16:36:04 +0000

Sleek interiors at Boodles London

Raindance ring

dariussanai — Tue, 24 May 2016 16:36:07 +0000

Raindance Ring

PRAMMA UP collection launch 10.05.16 image credit - Steve Howse_19

dariussanai — Wed, 01 Jun 2016 10:05:19 +0000

Launch of Pramma's new collection

PRAMMA UP collection launch 10.05.16 image credit - Steve Howse_9

dariussanai — Wed, 01 Jun 2016 10:05:23 +0000

Sarah Berman collaborates with Stefania Pramma for new collection

PRAMMA UP collection launch 10.05.16 image credit - Steve Howse_4

dariussanai — Wed, 01 Jun 2016 10:05:50 +0000

PRAMMA UP collection launch 10.05.16 image credit - Steve Howse_1

dariussanai — Wed, 01 Jun 2016 10:06:00 +0000

PRAMMA ONLINE

dariussanai — Wed, 01 Jun 2016 10:31:33 +0000

Michael Wainwright ONLINE

dariussanai — Wed, 01 Jun 2016 10:42:11 +0000

Formula 1 Grand Prix de Monaco 2016

dariussanai — Fri, 17 Jun 2016 15:28:21 +0000

Formula 1 Grand Prix de Monaco 2016

dariussanai — Fri, 17 Jun 2016 15:28:59 +0000

Formula 1 Grand Prix de Monaco 2016

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Formula 1 Grand Prix de Monaco 2016

dariussanai — Fri, 17 Jun 2016 15:29:02 +0000

Formula 1 Grand Prix de Monaco 2016

dariussanai — Fri, 17 Jun 2016 15:29:03 +0000

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dariussanai — Thu, 07 Jul 2016 12:27:06 +0000

Roland Herlory, CEO of luxury swimwear company Vilebrequin

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dariussanai — Thu, 07 Jul 2016 12:27:20 +0000

Luxury swimwear company Vilebrequin

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dariussanai — Thu, 07 Jul 2016 12:27:35 +0000

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dariussanai — Thu, 07 Jul 2016 12:27:40 +0000

BurlingtonArcade1 (high)

dariussanai — Thu, 07 Jul 2016 12:27:49 +0000

Knights House, Penthouse - Reception

dariussanai — Wed, 20 Jul 2016 09:19:47 +0000

Cheval Place penthouse new residential development

Knights House_Full Exterior_Portrait_HR

dariussanai — Wed, 20 Jul 2016 09:25:28 +0000

Finchatton's new property in Knightsbridge

Knights House, Penthouse - Master Bathroom

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small Knights House, Penthouse - Master Bedroom

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small Knights House, Penthouse - Terrace

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LFW_SS16_Emilia_Wicksted by jamiebaker at London Fashion Week

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models backstage at London Fashion Week

LFW_SS16_Emilia_Wicksted by jamiebaker at London Fashion Week

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LFW_SS16_Emilia_Wicksted by jamiebaker at London Fashion Week

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Emilia Wickstead

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Emilia Wickstead Portrait

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London-based fashion designer Emilia Wickstead

Emilia Wickstead

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Emilia Wickstead

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LFW_SS16_Emilia_Wicksted by jamiebaker at London Fashion Week

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Luxury clothing designer Emilia Wickstead's collection at London Fashion Week

LFW_SS16_Emilia_Wicksted by jamiebaker at London Fashion Week

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Models with fashion designer, Emilia Wickstead

GLobal 6000

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Bombardier's bespoke private jets

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Superyacht ULYSSES features a striking black hull and cream coloured superstructure.

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dariussanai — Thu, 21 Jul 2016 11:24:12 +0000

Monaco's five star hotel Hermitage

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dariussanai — Fri, 22 Jul 2016 10:10:55 +0000

Saut Hermes champion rider Abdelkebir Ouaddar

Hermès Cavale

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New saddle by luxury brand Heremes

Saut Hermès 2016

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Annual Hermes equestrian event in Paris

Saut Hermès 2016

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Lighting at Saut Hermes 2016

Talents Herms, prix

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Miniature saddles awarded to prize winners at Saut Hermes

Grand Prix Herms

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Talents Herms

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Talents Herms

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USA rider Catherine Pasmore at Saut Hermes

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Maserati Suite views

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Maserati presents a pop up suite in Monte Carlo

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EDITED Maserati GranCabrio

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Maserati suite guests are given keys to a GranCabrio car

Hôtel de Paris

dariussanai — Tue, 26 Jul 2016 13:47:32 +0000

Maserati GranCabrio

dariussanai — Tue, 26 Jul 2016 13:47:33 +0000

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RISTORANTE IMG_10011

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The Armani hotel in Dubai

4. Il Bar

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Bulgari Hotel in London

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This season's collection by Fendi

Cellars in Ayr, Scotland

dariussanai — Tue, 02 Aug 2016 09:00:11 +0000

Fine wine stored in Scottish cellar

Adam Brett-Smith at Corney Barrow offices

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Head Offices on 1 Thomas More Street

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Corney & Barrow London headquarters

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Driving the Mercedes-AMG GT S

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dariussanai — Thu, 11 Aug 2016 09:47:47 +0000

Car review: aston martin

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dariussanai — Thu, 11 Aug 2016 09:50:35 +0000

test driving an aston martin

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dariussanai — Thu, 11 Aug 2016 10:12:54 +0000

Test driving the rolls royce wraith

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dariussanai — Thu, 11 Aug 2016 10:14:07 +0000

Silent engined rolls royce wraith

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dariussanai — Thu, 11 Aug 2016 10:14:23 +0000

Inside a Rolls Royce Wraith

RP - Cayenne GTS-15

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Porsche test drive through the countryside

RP - Cayenne GTS-3

dariussanai — Thu, 11 Aug 2016 15:23:30 +0000

Porsche's luxury new model

RP - Cayenne GTS-30

dariussanai — Thu, 11 Aug 2016 15:24:38 +0000

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dariussanai — Thu, 18 Aug 2016 09:41:07 +0000

Ambassador of Tag Heuer, Patrick Dempsey at the Monaco Grand Prix

Hublot Announces Supermodel Bar Refaeli As Newest Brand Ambassador

dariussanai — Thu, 18 Aug 2016 09:41:17 +0000

Supermodel Bar Refaeli pictured at the New York Hublot boutique

"Hublot Celebrates Grand Opening Of Fifth Avenue Boutique In NYC"

dariussanai — Thu, 18 Aug 2016 09:41:58 +0000

Dancers rappel down the facade of the Hublot Fifth Avenue Boutique during Hublot's celebration of the grand opening of it's Fifth Avenue Boutique in NYC on April 19, 2016 in New York City.

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dariussanai — Thu, 18 Aug 2016 09:42:09 +0000

Ricardo Guadalupe, CEO of Hublot, and athlete Usain Bolt pictured outside Hublot's New York boutique

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dariussanai — Thu, 18 Aug 2016 09:50:59 +0000

Maxime Buchi pictured shaking hands with Hublot boss, Jean-Claude Biver

Johnnie Walker Blue Label - 'The Gentleman's Wager II' Photocall

dariussanai — Fri, 26 Aug 2016 09:32:10 +0000

Actor and star of Johnnie Blue Walker Label's short film, Jude Law

Johnnie Walker Blue Label - 'The Gentleman's Wager II' Car Experience

dariussanai — Fri, 26 Aug 2016 09:33:01 +0000

Johnnie Walker Blue Label short film classic cars

Johnnie Walker Blue Label - 'The Gentleman's Wager II' Photocall

dariussanai — Fri, 26 Aug 2016 09:33:09 +0000

Actors Giancarlo Giannini and Jude Law star in Johnnie Walker Blue Label new short film

WHITE-2EDIT

dariussanai — Thu, 01 Sep 2016 12:05:42 +0000

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dariussanai — Mon, 05 Sep 2016 14:36:45 +0000

Luxury swiss watch brand FP Journe

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dariussanai — Mon, 05 Sep 2016 14:36:48 +0000

Luxury Leaders: FP Journe

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dariussanai — Mon, 05 Sep 2016 14:36:57 +0000

Swiss luxury watch brand Geneva

FP Journe

dariussanai — Mon, 05 Sep 2016 14:40:07 +0000

Luxury watches

Adam BS

dariussanai — Mon, 05 Sep 2016 15:58:16 +0000

Frieze Art Fair in Regents Park, London. Photo by Linda Nylind. 13/10/2015.

dariussanai — Tue, 06 Sep 2016 11:01:24 +0000

Art installation at Frieze Art Fair in Regents Park

MATTHEW SLOTOVER

dariussanai — Tue, 06 Sep 2016 11:01:37 +0000

Matthew Slotover founded Frieze art fair with Amanda Sharp

Frieze Art Fair in Regents Park, London. Photo by Linda Nylind. 15/10/2015.

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art installation in the Live Section of Frieze Art Fair in Regents Park, London

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Francois Paul Journe

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dariussanai — Wed, 07 Sep 2016 12:29:59 +0000

Corney & Barrow Adam Brett Smith

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dariussanai — Wed, 07 Sep 2016 12:32:21 +0000

Luxury leaders series interview with Roland Herlory

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dariussanai — Wed, 07 Sep 2016 12:35:40 +0000

Michael Wainwright Luxury Leadrs

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dariussanai — Wed, 07 Sep 2016 12:39:16 +0000

Javad Marandi starts our Luxury Leaders series

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dariussanai — Thu, 08 Sep 2016 11:13:51 +0000

Best bars in east london

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dariussanai — Thu, 08 Sep 2016 11:14:52 +0000

Drinking and dining in East London

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dariussanai — Thu, 08 Sep 2016 11:15:07 +0000

East London's best bars Discount Suit Company

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Best East London brunch

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dariussanai — Thu, 08 Sep 2016 11:49:24 +0000

Best East London brunch spot

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East London bar

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bar

dariussanai — Thu, 08 Sep 2016 14:27:52 +0000

Night Jar East London bar

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dariussanai — Thu, 08 Sep 2016 14:57:02 +0000

Clams and mussels at Rotorino

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dariussanai — Thu, 08 Sep 2016 14:57:37 +0000

gstaad

dariussanai — Thu, 08 Sep 2016 15:22:54 +0000

Exclusive hotel in the Alpine town of Gstaad

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dariussanai — Thu, 08 Sep 2016 15:24:07 +0000

Hotel MD Eric Favre of the Alpina Gstaad

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Luxury alpine retreat

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The Alpina Gstaad hotel

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dariussanai — Mon, 12 Sep 2016 10:38:15 +0000

Stoke Newington top restaurant

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dariussanai — Mon, 12 Sep 2016 10:38:19 +0000

Dining at Stoke Newington favourite restaurant, Black Pig with White Pearls

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dariussanai — Mon, 12 Sep 2016 10:38:22 +0000

Black Pig with White Pearls sharing board of meats and cheeses

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dariussanai — Mon, 12 Sep 2016 10:42:44 +0000

East London drinks

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dariussanai — Tue, 20 Sep 2016 11:19:07 +0000

Rustic luxury at Cary Arms Hotel, Babbacombe Bay

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dariussanai — Tue, 20 Sep 2016 11:23:38 +0000

luxury stay in Devon

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Luxury Devon hotel beach huts

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Beach hut luxury at Cary Arms

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Indulgent dining at Babbacombe Bay, Cary Arms Hotel

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dariussanai — Tue, 20 Sep 2016 11:25:42 +0000

heesen

dariussanai — Wed, 28 Sep 2016 15:33:07 +0000

Largest yacht to date by Heesen yachts

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dariussanai — Wed, 28 Sep 2016 15:36:56 +0000

Launch of the 70m Galatica Super Nova

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dariussanai — Wed, 28 Sep 2016 15:37:50 +0000

Monaco Yacht Show preview of the Galatica Super Nova Yacht

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dariussanai — Wed, 28 Sep 2016 15:37:52 +0000

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dariussanai — Wed, 28 Sep 2016 15:43:02 +0000

New super yacht by Heesen

GalacticaSuperNova_Guillaume Plisson

dariussanai — Wed, 28 Sep 2016 15:43:19 +0000

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dariussanai — Wed, 28 Sep 2016 15:43:28 +0000

Super yacht design by Heesen

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dariussanai — Thu, 29 Sep 2016 15:30:17 +0000

Heesen Yachts CEO, Arthur Brouwer

Salt Launch Party With Conde Nast International

dariussanai — Mon, 17 Oct 2016 10:42:32 +0000

Condé Nast and Swarovski celebrate the launch of SALT magazine

Salt Launch Party With Conde Nast International

dariussanai — Mon, 17 Oct 2016 10:43:05 +0000

Vogue House hosts Salt magazine launch

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dariussanai — Mon, 17 Oct 2016 16:35:10 +0000

Salt Launch Party With Conde Nast International

dariussanai — Mon, 17 Oct 2016 16:35:33 +0000

Conde Nast hosts Salt party

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dariussanai — Mon, 17 Oct 2016 16:35:38 +0000

UK launch of Swarovski magazine

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dariussanai — Mon, 17 Oct 2016 16:35:55 +0000

Swarovski launches magazine at Vogue House, London

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dariussanai — Mon, 17 Oct 2016 16:36:07 +0000

Swarovski launch magazine with Conde Nast

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dariussanai — Mon, 17 Oct 2016 16:36:19 +0000

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dariussanai — Mon, 17 Oct 2016 16:36:32 +0000

Salt Magazine launch at Vogue House London

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dariussanai — Mon, 17 Oct 2016 16:36:43 +0000

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dariussanai — Mon, 17 Oct 2016 16:36:54 +0000

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dariussanai — Mon, 17 Oct 2016 16:45:49 +0000

London launch of new Swarovski magazine

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dariussanai — Mon, 17 Oct 2016 16:45:59 +0000

Swarovski publication by Conde Nast

Salt Launch Party With Conde Nast International

dariussanai — Tue, 18 Oct 2016 07:17:18 +0000

Conde Nast and Swarovski Magazine Launch

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dariussanai — Thu, 27 Oct 2016 14:19:42 +0000

Salvatore pictured in the cellars at Il Borro

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dariussanai — Thu, 27 Oct 2016 14:20:56 +0000

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dariussanai — Thu, 27 Oct 2016 14:21:12 +0000

Joint Ferragamo family venture

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dariussanai — Thu, 27 Oct 2016 17:28:29 +0000

Ferragamo family restores Il Borro

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dariussanai — Thu, 27 Oct 2016 17:35:46 +0000

Ferruccio Ferragamo pictured with his son Salvatore at Il Borro

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dariussanai — Thu, 27 Oct 2016 17:37:44 +0000

Large, spacious bathrooms

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dariussanai — Thu, 27 Oct 2016 17:38:20 +0000

Head chef, Andrea Campani pictured in the Il Borro's gourmet restaurant

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dariussanai — Thu, 27 Oct 2016 17:38:30 +0000

Traditional suites equipped with modern facilities

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dariussanai — Thu, 27 Oct 2016 17:43:25 +0000

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dariussanai — Thu, 27 Oct 2016 17:43:26 +0000

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dariussanai — Thu, 27 Oct 2016 17:44:23 +0000

Horse riding through the Il Borro orchards

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dariussanai — Thu, 27 Oct 2016 17:46:37 +0000

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dariussanai — Mon, 07 Nov 2016 11:51:06 +0000

healthy, organic lunch spot in Stockholm, Sweden

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dariussanai — Mon, 07 Nov 2016 12:06:43 +0000

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dariussanai — Mon, 07 Nov 2016 12:07:36 +0000

Green spaces and dining in Sweden: Hantverket

east-4

dariussanai — Mon, 07 Nov 2016 12:07:53 +0000

East offers Japanese fine dining in Sweden

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dariussanai — Mon, 07 Nov 2016 12:10:42 +0000

iced buns on sale at Vete Katten, Stockholm

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dariussanai — Mon, 07 Nov 2016 12:40:30 +0000

Sturehof restaurant in Sweden

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dariussanai — Tue, 08 Nov 2016 12:55:36 +0000

Christmas theatrical performance by Once Upon a Time

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dariussanai — Tue, 08 Nov 2016 12:56:03 +0000

Theatrical dining experience in Mayfair by Once Upon a Time

Burning Man 2012

dariussanai — Thu, 10 Nov 2016 11:34:01 +0000

Eric Bouvet at fotofever paris

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dariussanai — Thu, 10 Nov 2016 11:38:34 +0000

fotofever founder photographed by Paola Guigou

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dariussanai — Thu, 10 Nov 2016 11:40:54 +0000

Xin Art Galerie Antonie Rose

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dariussanai — Thu, 10 Nov 2016 11:41:08 +0000

Edouard Taufenbach at Fotofever

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dariussanai — Thu, 10 Nov 2016 11:41:30 +0000

Galerie Thierry Bigaignon showcases work by Catherine Balet

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dariussanai — Thu, 10 Nov 2016 11:42:26 +0000

Hugh Arnold photography

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dariussanai — Thu, 10 Nov 2016 11:42:27 +0000

Fotofever presents Keren Bereshit

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dariussanai — Thu, 10 Nov 2016 11:43:29 +0000

Photography by Fumikazu Ishino at fotofever Paris

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:29:16 +0000

Mercedes-Benz releases book with Conde Nast

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:29:45 +0000

Mercedes-Benz book launch

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:31:01 +0000

Sensual Purity: Gorden Wagener on Design

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:32:30 +0000

Conde Nast book launch

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:33:28 +0000

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:34:14 +0000

Sensual Purity - Gorden Wagener On Design

dariussanai — Sun, 13 Nov 2016 22:34:46 +0000

Mercedes-Benz releases book

Sensual Purity - Gorden Wagener On Design

dariussanai — Mon, 14 Nov 2016 12:53:32 +0000

Conde Nast and Mercedes-Benz book launch party in London

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dariussanai — Tue, 15 Nov 2016 11:51:29 +0000

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dariussanai — Tue, 15 Nov 2016 23:58:08 +0000

Classic car auction

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dariussanai — Tue, 15 Nov 2016 23:58:25 +0000

Two thousand wheel Sotheby's auction

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dariussanai — Tue, 15 Nov 2016 23:59:10 +0000

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dariussanai — Tue, 15 Nov 2016 23:59:36 +0000

Milan classic car auction

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dariussanai — Wed, 16 Nov 2016 00:00:24 +0000

Classic Car auction

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dariussanai — Wed, 16 Nov 2016 00:01:19 +0000

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dariussanai — Wed, 16 Nov 2016 00:01:54 +0000

Ferrari Maranello 2002

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dariussanai — Wed, 16 Nov 2016 00:02:02 +0000

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dariussanai — Wed, 16 Nov 2016 00:06:46 +0000

Duemila route auction, Milan

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dariussanai — Wed, 16 Nov 2016 10:03:14 +0000

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dariussanai — Thu, 17 Nov 2016 15:43:25 +0000

Cointreau creative director

Cointreau Partner With Liberty London To Design Limited Edition Gift Box Launching #1Orange1Tree Social Project

dariussanai — Thu, 17 Nov 2016 15:43:52 +0000

Cointreau Partner With Liberty London To Design Limited Edition Gift Box Launching #1Orange1Tree Social Project

dariussanai — Thu, 17 Nov 2016 15:44:24 +0000

#1Orange1Tree Social Project launch

Cointreau Partner With Liberty London To Design Limited Edition Gift Box Launching #1Orange1Tree Social Project

dariussanai — Thu, 17 Nov 2016 15:44:54 +0000

Cointreau partner with Liberty London

Cointreau Partner With Liberty London To Design Limited Edition Gift Box Launching #1Orange1Tree Social Project

dariussanai — Thu, 17 Nov 2016 15:45:23 +0000

Liberty London launches Cointreau campaign

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dariussanai — Thu, 17 Nov 2016 15:46:25 +0000

Cointreau Partner With Liberty London To Design Limited Edition Gift Box Launching #1Orange1Tree Social Project

dariussanai — Thu, 17 Nov 2016 15:48:34 +0000

Cointreau partners with Liberty London

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dariussanai — Mon, 28 Nov 2016 20:46:45 +0000

Fawaz Gruosi in Cannes 2002 with celebrity Milla Jovovich

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dariussanai — Mon, 28 Nov 2016 20:50:54 +0000

Liz Hurley and Fawaz Gruosi

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dariussanai — Mon, 28 Nov 2016 20:51:31 +0000

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dariussanai — Mon, 28 Nov 2016 20:51:33 +0000

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dariussanai — Mon, 28 Nov 2016 20:53:42 +0000

Fawaz Gruosi

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dariussanai — Mon, 28 Nov 2016 20:54:03 +0000

Soirée De Grisogono

dariussanai — Mon, 28 Nov 2016 20:55:10 +0000

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dariussanai — Mon, 28 Nov 2016 20:55:30 +0000

de Grisogono cannes party

Corporate Photographer London

dariussanai — Mon, 28 Nov 2016 20:55:56 +0000

Fawaz Gruosi pictured in London

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dariussanai — Mon, 28 Nov 2016 20:56:09 +0000

Fawaz Gruosi and models

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dariussanai — Tue, 29 Nov 2016 16:12:57 +0000