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CONTENTS
Preamble
Craft, people, ideas and stories Atelier Midavaine’s exquisite lacquer-making
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Behind the scenes at Palácio Tangará
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The world’s most glamorous parties
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Words of wisdom from chef Eric Frechon
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Bernar Venet’s monumental sculptures
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Standout cars from this year’s Classic Drive
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The Lanesborough’s 360° fitness programme
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Oetker Living
Inspiration from our hotels around the world Ski slope chic at L’Apogée Courchevel
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The return of the vintage travel poster
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Stylish country weekend essentials 70 A dream wedding at The Lanesborough
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Classic cocktails with a modern twist
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Postscript
cover photography: adam whitehead
Hotel news and destination guides People, Places, News
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Jumby Bay Island
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Insider Guides
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Hotel Directory
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The Moment
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Editor Charlotte Hogarth-Jones Creative Director Crispin Jameson Editorial Director Gill Morgan Art Director Sara Martin Picture Director Lyndsey Price Picture Assistant Louisa Bryant Assistant Editor Alex Moore Designer Sophie Dutton Head of Copy Damon Syson Sub-Editor Gill Wing, Mel Bradman Project Director Sarah Glyde, George Thwaites Commercial Director Chris Wilson, Luxx Media chris@luxx-media.com
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Welcome to Eden Being Welcome to the latest issue of Eden Being. It’s an exciting time for the Oetker Collection and in this edition we celebrate both the old and the new. We take a look inside the recently opened Palácio Tangará in São Paulo, where local artists and designers have brought contemporary Brazilian flair to the hotel’s interiors. We also bring news of the most recent addition to the Oetker Collection portfolio: the beautiful private island of Jumby Bay in the West Indies. Combining a wonderfully unspoilt natural landscape with exceptional luxury residences, this latest pearl in the Oetker Collection is open now. The Lanesborough’s resident cocktail guru shares a contemporary twist on some much-loved classics – and, just to balance out such revelries, we also road-test the next-generation fitness-assessment service that’s available there. Elsewhere in the magazine, we present a stylish modern makeover of the vintage travel poster, such a key element of travel’s early glamour. Convivial evenings are a big part of staying at an Oetker Collection hotel, so it was a pleasure to ask a writer to delve into the annals of the great parties of history, many of which we are lucky enough to have hosted. We also chart the rise of one of the most brilliant sculptors of recent times, Bernar Venet, whose foundation is easily visited from Château Saint-Martin & Spa.
ILLUSTRATION: DAN WILLIAMS
Should you be interested in taking home a little of the Oetker Collection lifestyle, we direct you to edenbeing.com, where our unique collections can be browsed at your leisure. We do hope you enjoy reading the many tales from our past and present, and that you have a pleasurable stay with us.
Frank Marrenbach CEO, Oetker Collection
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L AY E R S O F BEAUT Y The ancient art of lacquer-making is undergoing a revival, and no-one does it better than Atelier Midavaine in Paris, whose work is showcased at Le Bristol Paris. Alex Moore spoke to Anne Midavaine about a family business that has stood the test of time
photographer Alfredo Piola
“The most important thing about being a lacquerer is understanding the history and the culture,” says Anne Midavaine, granddaughter of Louis Midavaine, who founded Atelier Midavaine in 1919. Today, she continues the family business in Paris’s 17th arrondissement, working alongside a handful of other artisans in the workshop. “Japanese, Chinese, European, 17th and 18th-century French… it’s about understanding all the different styles. Becoming a lacquerer is quite a humbling experience, because you realise you know nothing compared to the Japanese masters – they were so incredibly skilled.” Japanese urushi-e – that is, the process of lacquering prints and artworks – is revered in the lacquer world, but so too is the work of the Midavaine family, whose exquisite boxes, screens, wooden panels, trays and tables are sold all over the world. And, while some of Atelier Midavaine’s pieces are clearly Japanese-inspired, the work also has a contemporary style that is unique to these Parisian craftsmen and women. In the past, they’ve been asked to embellish guitars, lamps and, occasionally, entire rooms. “The biggest project we’ve ever done was a dining room in Russia that was 20 metres long, 10 wide and 5 high,” Midavaine says. “It took seven of us three years to complete, working full-time.” Aside from private commissions, Atelier Midavaine has also completed designs for a number of big names, including Chanel, Cartier and the Oetker Collection – stay in room 661, 732 or 888 at Le Bristol Paris and you’ll note some of Atelier Midavaine’s beautiful coffee tables.
Left: a craftsman from Atelier Midavaine applies gold leaf to a screen
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Le Bristol Paris
Opposite page: a lacquered tray approaches completion Right: Anne Midavaine in her workshop Below: the artisans’ sources of inspiration span the millennia
World-class interior architects, designers and decorators such as Alberto Pinto, Juan Pablo Molyneux, Pierre-Yves Rochon, Andrew Winch and Peter Marino have all lent their talents to the atelier, helping to elevate it to the upper echelons of luxury. “When my grandfather set up the workshop just after the First World War, he was working for people all over the world, but not especially wealthy people,” says Midavaine. “My father’s clients were middle-class, but now we work almost exclusively for the incredibly wealthy.” Prices can vary, but pieces often sell for more than expected: for example, in 2010, a 140cm square panel, circa 1925, sold for $32,284 at Sotheby’s – more than double its estimate. “My workshop specialises in cellulosic lacquer,” explains Midavaine. “Lacquer in Europe is acrylic – it’s different to the lacquer in Asia, where they get it from the sap of the Chinese lacquer tree. Those trees don’t grow in Europe.” She says it’s the mix of modern and traditional techniques that sets the atelier’s work apart. First, the artist hand-draws the initial design on paper to create a maquette. Then, they apply a layer of the same rabbit-skin glue that was used in the 17th and 18th centuries. “We use it as sizing [to prevent the paint coming in direct contact with the surface] and it makes the surface perfectly smooth, like a mirror,” explains Midavaine. Next comes the lacquer, painted on to the smooth surface using flat bristle brushes, very often in a chinoiserie style. Usually it takes 15 to 16 layers, but if the design has any relief, two layers per day are added until the desired effect is achieved. So, what’s the secret of the atelier’s success? “Humility,’’ says Midavaine. “And taking your time.” Undoubtedly, these exquisite pieces are worth the wait. Atelier Midavaine pieces are available through edenbeing.com and via our interiors specialist, interiors@edenbeing.com 16
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Above: crackle-effect lacquerwork Left: gold leaf ready to be pressed into service
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PA L Á C I O TA N G A R Á São Paulo
GRAND DESIGNS Set in the grounds of a lush park, a new Oetker Collection hotel in Brazil is raising the bar when it comes to luxury. Alex Moore meets the interior designer whose opulent “haute-couture” vision has brought the imposing mansion to life photographer James Merrell
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Palรกcio Tangarรก
Previous pages: artist Laura Vinci’s exquisite chandelier graces the entrance to the Crystal Ballroom Opposite: striking contemporary art in the Parque Lounge This page, from top: the elegant minimalism of the Presidential Suite; the imposing foyer of the Crystal Ballroom; the hotel in its park location
In a city famous for world-leading design and architecture, opening an impressive new hotel that pays tribute to São Paulo’s rich cultural heritage while forging its own identity is quite a challenge. Location helps, of course, and it’s hard to think of a better spot for it than the lush, 26-acre Parque Burle Marx – the magnum opus of the great Brazilian landscape architect, Roberto Burle Marx. It also helps that the edifice in which the Palácio Tangará would find a home is as palatial as the new establishment’s name suggests. One of Brazil’s most prominent contemporary architects and interior designers, Patricia Anastassiadis, was tasked with bringing the hotel to life. She designed and furnished all the social areas, including the lobby, bar, spa, restaurants, meeting rooms and ballroom, while São Paulo company Bick Simonato – responsible for kitting out some of New York’s most stylish penthouses – was responsible for creating the look of the bedrooms, suites and corridors. 23
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Palácio Tangará
Anastassiadis was inspired by the palette of neoclassicist French artist Jean-Baptiste Debret, who depicted the people of 18th-century Brazil in lithographs. Golds, browns and greys in the lobby feel sophisticatedly decadent, in keeping with the enormous flower arrangements, marble floors, grand piano and whimsical objets d’art. Her approach to architecture has been described as haute couture, largely because of the emphasis she places on maximalist decoration. “The interiors were carefully planned, and I started with artworks,” says Anastassiadis. “I don’t believe in adding art as an afterthought.” One such example, in the showpiece glass-fronted wine cellar, is Mesa Raiz, by the woodworker Pedro Petry. An ornamental tasting table, it is made from the roots of a native pequia tree. Elsewhere, the gold-leaf installation by Laura Vinci hanging above the reception is a wonderful hint of the 26
splendour to come, eclipsed only by the monumental chandelier, also by Vinci, downstairs in the ballroom. Special care has been taken to ensure the choices of artwork are contemporary in style and varied in medium. Maps, sculptures, photography and tapestries by a number of local artists, including Ana Amélia Genioli, Fernando Arias, Artur Lescher and Araquém Alcântara, pay tribute to Brazil’s rich artistic heritage while respecting the ambience of glamour and elegance that is typical of other properties within the Oetker Collection. “I wanted to bring the work of these artists to Tangará to represent Parque Burle Marx’s abundant nature,” explains Anastassiadis. In doing so, she has created a synergy between the tropical milieu and the polished interiors that has made the hotel an extension of the park itself. Roberto Burle Marx himself would surely approve. palaciotangara.com
Previous pages: artworks inspired by nature in the Burle Bar Above: strong architectural lines create an elegant mood in the Royal Suite This page, clockwise from top: the hotel’s wine cellar; the chic Prestige Suite; interior designer Patricia Anastassiadis
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GET ME ON THE GUEST LIST From Vanity Fair Cannes Film Festival after-parties at Hotel du Cap-Eden-Roc to lavish gatherings at Le Bristol Paris, the Oetker Collection has hosted some of history’s greatest celebrations. Genevieve Fox traces the evolution of the super-soirÊe 28
elliott erwitt/magnum photos
Left: Truman Capote’s Black and White Ball, held in New York in 1966
“I like large parties. They’re so intimate,” F Scott Fitzgerald once quipped. “At small parties, there isn’t any privacy.” The Jazz Age writer and bon viveur knew instinctively the elements of a properly good party. There must be scale, vision, theatre. Scale encourages intimacy, demanding that guests pair up or seek out their posse. Only then can they navigate their way through the drama their host has created for them. They become performers, dressed up in whatever costume the event requires, however outlandish, thrilling to the party’s magic and mis-en-scène. That magic is partly achieved through setting. From the 17th-century-themed, savagely decadent 1903 Romanov Ball, hosted over two days by Tsar Nicholas II and Empress Alexandra in the Winter Palace in St Petersburg, to Josephine Baker’s legendary after-show party at Le Bristol Paris in 1975, settings exert power. And this explains why Fitzgerald fell for Hotel du Cap-Eden-Roc and set his flawed masterpiece Tender Is the Night in the “proud, rose-coloured hotel”. The hotel is white, of course, but rose was the romantic tint through which he viewed the Riviera villa “shimmering in the sunlight with promise and untold secrets… a frisson in the air as one crossed the threshold”. The most sensational parties in history pulsate with frisson. Each spring, when the global elite rock up at Hotel du Cap-Eden-Roc for the Vanity Fair Cannes Film Festival bash, their glamour and star wattage lights up the fabled terraces overlooking the azure Med. Entry is the platinum ticket. “I’m in,” many a guest inwardly gasps, the exclusivity making first-timers tremble. Not so the likes of such perennial attendees as Tilda Swinton, who this year swanned down the hotel’s sweeping staircase in a black-and-white polka-dot dress by Loewe – a swan showing no sign of paddling under water. Still, as party entrances go, the prize must go to French ballerina Zizi Jeanmaire, who arrived at the 18th-century-themed Cuevas Ball in Biarritz in 1953 semi-naked on the back of a camel, clutching an outsize feathered fan. The host, Chilean-born ballet impresario the Marquis de Cuevas, draped in gold lamé sporting a headdress of grapes and ostrich plumes, was criticised by the Vatican for his extravagance. The Pope was clearly not placated by the fact that the Duchess of Argyll had dressed up as an angel. Tut tut. Bianca Jagger riding into the iconic 1970s New York nightclub Studio 54 on a white horse to celebrate her 30th birthday seems positively understated in comparison. Novelty, alas, would not have secured even the most upwardly mobile an invitation to Mrs Astor’s annual ball in Manhattan, held in the society hostess’s palatial Fifth Avenue residence in the 1900s. Still, those on “the 400”, as her guest list became known, weren’t allowed to dance the polka (too immodest) and had to eat terrapin, albeit washed down with champagne. I’m sure it did wonders for one’s social standing. But how much fun was had? To this day, the greatest, most important parties hinge on their guest lists. And, it’s not as simple as filling a room with Hollywood A-listers; it’s all in the mix. Wild eccentrics 29
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Hotel Du Cap-Eden-Roc / Le Bristol Paris
chatting with 1990s supermodels, business moguls rubbing shoulders with movie producers on the dance floor – a sense of the unexpected gives a party that extra buzz, as guests have the thrill of mixing outside their usual circle. Nobody knows this better than Vanity Fair editor Graydon Carter, whose annual Oscars party in Los Angeles was dubbed “the world’s most famous party” by film mogul Harvey Weinstein. “This is the party of all parties,” echoed filmmaker John Singleton this year. “People really let their hair down and make it happen. Where else can you see Mick Jagger and Jackie Chan at the same event?” In previous years, you’d have found the likes of Monica Lewinsky chatting with Ian McKellen, Venus Williams talking with Amazon founder Jeff Bezos, and John Cleese shouting at Fatboy Slim to turn the music down. Nobody goes to these parties for the food, of course, but it still has to dazzle, just as much as the outfits. At Cannes this year, the Vanity Fair Hotel du Cap-Eden-Roc A-listers sat down to a risotto of violet artichokes, parmesan and wild herbs, followed by creamed chocolate Grand Cru with Madagascan vanilla cream and strawberries, accompanied by Laurent-Perrier Brut Millésimé 2006. The accent is on light, delicately flavoured fare – nobody eats to excess at any of these modern mega-bashes. Few behave badly or even let their guard down any more; silliness is the kiss of death in the age of the selfie. Not so at the parties held by Fitzgerald’s friends, and fellow Hotel du Cap-Eden-Roc devotees Gerald and Sara Murphy, the American expat social magnets who counted Pablo Picasso, Gertrude Stein, Ernest Hemingway and Dorothy Parker among their coterie. It was this enigmatic couple who first persuaded the hotel to stay open for the 1923 summer season in order that they could entertain friends at their favourite venue – and so the Riviera season was born. That same year, the Murphys threw a party on a barge on the Seine. The cause was worthy – a celebration of their friend Stravinsky’s ballet and orchestral piece Les Noces, which was dedicated to another friend, the impresario Serge Diaghilev and his Ballets Russes – but the mood was anything but. It was silly, playful. When Sara Murphy couldn’t find fresh flowers for the table centrepieces, she went to a toy shop and bought clowns, animals, cars and dolls, which she stacked into pyramids. Picasso, always up for a laugh, duly rearranged them, placing a plastic cow on the top of the pile. Place settings were carefully planned, but Stravinsky mischievously moved them around. Champagne was, as ever, drunk to excess, they partied through the night, and a sozzled Stravinsky ran the length of the room and leapt nimbly through a giant laurel wreath – fortunately, without falling into the Seine. Roaring Twenties host extraordinaire, Count Étienne de Beaumont, another star in the Murphy firmament, also understood the power of excess. Every year, he and his wife, Edith, threw a ball and banquet in their Paris mansion. Most deliciously surreal was their 1924 Automative Ball, at the Théâtre de la Cigale: guests were invited to come dressed as 30
Clockwise from above: Actor Gérard Philippe and his companion, in 1952, at the Hotel du Cap-Eden-Roc; Count Étienne de Beaumont and the Duchess of Ayen at a baroque ball in 1923; more masked revellers at Truman Capote’s Black and White Ball
étienne de beaumont foundation/imec archives elliott erwin/magnum photos
“Count Étienne de Beaumont understood the power of excess. Every year, he and his wife, Edith, threw a ball. In 1924, guests were invited to come dressed as a car”
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a car. Sara Murphy turned up in a metallic flapper dress, Gerald in a faux-steel jacket, both clutching dipsticks, le beau monde got tanked up on champers, and actors sped about making guttural engine noises. Good parties invite you to make your mark, and they become famous when someone pulls a showstopper. The annual Met Gala in New York, in aid of the Metropolitan Museum of Art’s Costume Institute, is known as “fashion’s biggest night out”. Here, it’s the clothes that do the talking, and everyone’s out to make a statement. Whether it’s Anne Hathaway’s hooded gold gown from 2015, the frothy pastelblue Zac Posen dress in which Doutzen Kroes made a Cinderella-like entrance in 2010, or Salma Hayek’s highsplit, barely there black dress back in 1997, there’s no better time of year for celebrities to impress the style pack. The late Princess Diana did just that when she was helicoptered in for the 1996 gala wearing a risqué, revealing navy slip-dress by John Galliano. “The been-there, donethat New York fashion crowd stopped dead in their tracks,” said the then editor of US Harper’s Bazaar, Liz Tilberis, a friend of the princess. The Met Gala, like Elton John and David Furnish’s annual star-studded fundraiser at the Hotel du Cap-EdenRoc for Amfar, the American foundation for Aids research, 32
getty images
Opposite, from top: Josephine Baker celebrates the 50th anniversary of her “Revue Negre” at Le Bristol Paris in 1975; a menu for a celebratory dinner at the hotel in 1893
This page: model Gisele Bündchen takes to the dance floor with a friend at the Costume Institute Benefit Gala at New York’s Metropolitan Museum of Art in 2003
taps into an era when dressing up was de rigueur. Paul “King of Fashion” Poiret – the revolutionary Parisian couturier who, at the turn of the 20th century, did away with the petticoat and corset – threw an historic Persian-themed fancy-dress party in his villa in 1911. Poiret, dressed as a sultan, welcomed his 300 guests from a gilded throne, a feathered-and-bejewelled turban his crowning glory. His wife, Denise, sporting the harem-style pantaloons and lampshade-shaped tunic that were among her husband’s design signatures, held court in a golden cage. Madonna would have loved that. There was an oriental food tent, tropical birds and, of course, a lot of champagne. Guests who did not dress up were turned away. And quite right too. A host who makes an effort demands effort made in return. Today we are inured to the literati gracing glamorous parties – red-carpet regulars run from Salman “that’s-mein-a-DJ” Rushdie to JK Rowling, who, in 2015, wrote the “lost manuscript” of a fairytale on the dress she wore to celebrate her half-century at a birthday bash with the theme “Your Worst Nightmare”. We are less used to writers flashing their cash, however, which is precisely what Truman Capote was doing when he threw his $16,000 Black and White Ball in New York in 1966. The My Fair Lady-inspired monochrome dress-code was daringly offset by blood-red table linen and bold gold candelabras entwined with crimson berries. The guests numbered 540 and included literary demigods John Steinbeck, Norman Mailer and Philip Roth. Clad in couture gowns and black-tie, some of the invitees sported unicorn horns and others specially commissioned masks adorned with jewels, pearls, and feathers. The actress Candice Bergen wore a long-eared rabbit mask in mink, and Katharine Graham, the president of The Washington Post, a cat mask that matched her white dress. Graham was wise to the fact that the ambitious Capote had really only asked her as guest-of-honour to pull in the big names. It worked. Frank Sinatra, Mia Farrow, Lauren Bacall and Vivien Leigh were there, and they quaffed Taittinger and ate spaghetti and meatballs – a well-judged juxtaposition of high-brow and low that marks out the confident host. Think of Jeffrey Archer and his shepherd’s pie and Krug Christmas parties. At 2am, Capote physically barred Sinatra, his star attraction, from leaving, worried that his other guests would follow suit. What poor show. Contrast that with the night Josephine Baker, the singer and activist who thrilled fans in her famous, fantastical banana-leaf skirt and was described by Hemingway as “the most sensational woman anyone ever saw” – and he’d seen a few – celebrated 50 years on stage. It was the setting that made the night so memorable: the after-show party was held at Le Bristol Paris. Secreted in the elegant hotel’s private salon, guests arrived at 1am and dined on sherry consommé, sea bass in salmon mousse, and sautéed veal with lobster. Baker, the epitome of 1920s glamour, was toasted by Sophia Loren, Princess Grace of Monaco and Mick Jagger. The champagne – Louis Roederer Cristal and Lanson rosé this time – flowed. And history was made all over again. 33
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Q U E S T I O N S O F TA S T E
ERIC FRECHON The three-Michelin-starred head chef at Epicure at Le Bristol Paris, who is also chef-patron at The Lanesborough, on testing new talent, his mother’s apple pie and why he likes playing with fire
Who would you most like to work alongside? Joël Robuchon, without hesitation. He’s one of the greatest French chefs and he works with such precision. What do you consider the greatest dish you’ve ever created? It would have to be the stuffed macaroni with black truffle, artichoke and duck foie gras, gratinated with mature Parmesan, that we serve as a starter at Epicure. It has stayed on the menu ever since I first made it, and it uses some of the most wonderful ingredients from France and Italy. Is there anything you still struggle to cook? Nothing comes to mind, but you do have to be very careful with salt. Guests at Le Bristol Paris come from all over the world and not every nationality enjoys the same amount. French cuisine has long enjoyed a reputation as the best in world. Do you think that’s still true today? Absolutely. Just like fashion, French cuisine keeps evolving and we chefs keep finding new ways every day to build on our culinary heritage. It helps that we have such excellent produce in France as well – not every country is as lucky. Which other cuisine around the world inspires you, and why? I’m fascinated by Japanese food. Chefs in Japan have so much respect for the produce and techniques they use.
Which dish do you ask a chef to cook for you in an interview? Hare à la royale is an excellent test. It’s a slow-braised dish dating back to 1775 and includes ingredients such as foie gras, offal and cognac, accompanied by Jerusalem artichoke ravioli with black truffle, celeriac and chestnuts with horseradish. It takes three days to prepare and it’s difficult to master, but it’s one of the greatest French dishes of all time. And what’s the best thing anyone has ever cooked for you? I have incredible memories of my mother’s apple pie, fresh from the oven. It was the smell of my childhood. Do you think your friends and family feel under pressure when they invite you for dinner? Yes, a little! Some people try to cook dishes that will impress me, but I always prefer it when they cook with their heart. What do you eat at home? I love barbecuing. It’s a real challenge, because you have to judge the cooking time of each ingredient perfectly – but you get to play with fire! Do you ever eat junk food? Yes, but just to taste it. What’s the best thing about working at Le Bristol Paris? Everything is possible – we use the most fantastic produce and there’s a really talented team in the kitchen. When Epicure was given three Michelin stars, it was a great reward for us. And, finally, where would you like to be in 10 years’ time? I can’t imagine myself anywhere else than here. Wherever I am, I will always, always be in the kitchen.
illustration: magda antoniuk
How did you become a chef? It all started when I was 13 years old. I wanted a bike, and my father told me I had to work to buy it, so I went looking for a summer job. I found a position in a restaurant at the seaside and developed a real passion for food. After that, I went on to study at the culinary school in Rouen.
ADDRESS BOOK LA BOULANGERIE DU NIL 3 rue du Nil, Paris 2e
E.DEHILLERIN 18 – 20 rue Coquillière, Paris 1er
LA MAISON NORDIQUE 221 rue du Faubourg Saint-Honoré, Paris 8e
“I’ve fallen in love with this bread by Japanese baker Shinya Inagaki, especially his rye or spelt loaves.”
“Whatever cooking utensil I need, however obscure, I always find it in this cave of treasures near Les Halles.”
“Keyan Eslamdoust recently opened this sublime boutique which is famous for its Caviar de Sologne and seafood.” 35
M E TA L G U R U With three simultaneous exhibitions in Britain this autumn – including a coveted spot in Frieze London’s Sculpture Garden – groundbreaking French artist Bernar Venet, whose foundation in Le Muy is an hour’s drive from both the Hotel du Cap and Château Saint-Martin, is poised for a renaissance. By Emma Crichton-Miller
Collapse of Arcs: 200 Tonnes by Bernar Venet, 2016. The weighty installation, comprising 200 steel arcs, dominates the vast hangar of the Venet Foundation in Le Muy in the South of France. “For me, exhibiting in a small gallery is torture,� says the sculptor
had shown a talent for drawing. His mother was anxious about him – he was precocious but asthmatic, and the youngest of her sons – but nonetheless encouraged him. During a visit to Nîmes, aged 11, to buy oil paints, Venet saw a book in a shop window, the cover of which depicted a woman washing her feet. Its title was Renoir. Discovering that this was the name of a famous artist whose paintings hung in galleries and were sold for a lot of money, he recalls, “I realised at that moment I would not work in the factory.” Highly motivated throughout his teens, he obsessively copied artworks from the books his mother bought him, recreating masterpieces by Rembrandt, Rubens, Goya, Cézanne, Picasso and Klee. He was drawn to paintings that challenged convention, that pushed for alternative answers as to how a work is made. He later encapsulated his views thus: “It’s not art if it doesn’t change the history of art.” For Venet, figurative painting was not the answer he was seeking. After a stint at art school in Nice and then in the army, he started to create raw abstract art, using his feet as well as his hands, first with paint and then with tar, which he had seen dripping spectacularly down the face of local cliffs. Turning his back on the Lyrical Abstraction movement fashionable in
previous pages: © xinyi hu, paris; courtesy of archives bernar venet, new york. this page: © archives bernar venet, new york. opposite: simone simon, cagnes-sur-mer
This summer, an assertive, monumental, abstract artwork – all jagged elbows of rusted weather-resistant steel, resembling a giant deconstructed hedgehog or an entire building frame collapsing – appeared in Regent’s Park in the British capital. Entitled 17 Acute Unequal Angles, it was part of Frieze London’s annual Sculpture Park, which features outstanding examples of modern and contemporary work. The grave and impressive piece was created by Bernar Venet. Renowned in his native France and highly regarded in New York, which has been his base since 1967, Venet is almost unknown in Britain, and has not had a solo show in the country since 1976. This year, however, three simultaneous exhibitions – at the London gallery Blain|Southern, in the grounds of the National Trust-owned historic house Cliveden, and in the aforementioned Regent’s Park – have introduced this leading figure in 20th-century conceptual and minimalist art to a new international audience. Venet, a vivid raconteur, tells his story well. Born in the tiny village of Château-ArnouxSaint-Auban in the Alpes-de-Haute-Provence in 1941, into a family living in straitened circumstances, he was expected to follow his friends and relatives into employment in the local factory. From an early age, however, he
38
Opposite: Indeterminate Areas, by Bernar Venet, 1996-1999. As the work’s name suggests, these shapes, created from torch-cut steel slabs, elude description Above: Venet at his foundation, with some of his sculptures. He spent 25 years transforming the former sawmill into a one-of-a-kind exhibition space
France at the time, and also the Abstract Expressionism of American artists such as Jackson Pollock, he asked, “What should we do that is new? How can we go beyond…?” At art school, he had made influential friendships among a radical avant-garde group that would later become known as L’École de Nice. It included Ben Vautier, just a few years older than Venet, who introduced him to Yves Klein, Armand Fernandez and other members of the Paris-based Nouveau Réalisme group, then in its infancy. However, from the start, Venet struck out on his own, creating works using cardboard, industrial paint or piles of coal, and using sound and pioneering forms of performance art. His eye, however, was on the United States. “On 1 April 1966, I went to New
York,” Venet explains. Within two months, he had met Roy Lichtenstein, Andy Warhol, Robert Indiana and other leading Pop Artists as well as the influential gallerists Leo Castelli and Paula Cooper, and had started to exhibit. “I was very lucky. Things moved very quickly. I definitely went there at the right time,” he says. But it was the formal restraint of minimalist artists such as Donald Judd, Dan Flavin and Sol LeWitt that really inspired him, and encouraged him to use mathematics and science as starting points for making art. From then on, Venet asserts, his work has unfolded according to its own internal logic, interrupted only by the period from 1971 to 1976, when he stopped making art altogether, focusing instead on theory and teaching.
PREAMBLE
Bernar Venet
This page: Elliptic, Elliptic by James Turrell, 1999. Turrell, an American light and space artist, is one of a number of influential creatives whose work Venet exhibits at his foundation
Whether creating two-dimensional works based on industrial drawings; relief sculptures of geometrical arcs; films, photographs or furniture; monumental steel sculptures of indeterminate wriggling lines, freed from geometry; or gigantic, entangled nests of rusted metal embodying the collapse of the world, Venet’s creative imagination has always been fired by the ever-evolving sequence of his ideas. “It’s not that I particularly like steel, but it’s the most practical material,” he explains. “It’s the idea that drives me.” Now a much-garlanded senior statesman of the art world – last year, he was presented with the International Sculpture Center’s Lifetime Achievement Award – Venet has also been a passionate collector of the works of fellow 40
artists. At the Venet Foundation, in an 18th-century former mill house set in meadows either side of the Nartuby River in Le Muy, South of France, beside the vast hanger which displays his own work, are exhibited major pieces by an impressive roll call of names: Frank Stella, Robert Motherwell, Donald Judd, Lawrence Weiner, On Kawara, Armand Fernandez, Yves Klein, Jaume Plensa, Sol LeWitt, Anthony Caro. These works pay testament to a ceaselessly creative individual for whom friendship and art have always been intertwined. “Money does not mean anything,” he says. “I would always rather have an artwork.” venetfoundation.org
this page: © frÉdÉric chavaroche. opposite: © serge demailly, la cadière-d'azur. both courtesy of archives bernar venet, new york
Opposite: Le Pont Tube – the tubular steel bridge that Bernar Venet created to straddle a waterfall on the Nartuby river, which transects the foundation
Venet is compelled to create work that challenges convention: “It’s not art if it doesn’t change the history of art”
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Classic Drive
PREAMBLE
DRIVING AMBITION From a 1953 Fiat Otto Vu to a 1958 Porsche that evolved from a Beetle, some of the world’s most impressive cars lined up to take part in this year’s Classic Drive illustrator Alain Bouldouyre
The Classic Drive returned to Provence, in the South of France, in October, with 44 teams from across Europe competing for the coveted first place. The rally – which was the fourth of its kind, took place over three days and covered a total of 435 miles, leading competitors via some of the continent’s best culinary destinations,
The Ford Shelby Cobra: “It’s very beautiful but very masculine”
including the eponymous Chez Bruno, the restaurant belonging to Clément Bruno, who is known as the “Pope of truffles”, and Château Léoube, one of the region’s most famous vineyards. Ahead of the race, Alex Moore spoke to three of the drivers about their beloved cars and how they came to acquire them.
Susanne Lebek, professional horse rider and trainer 1963 Ford Shelby Cobra My brothers have a lot of old cars – mostly German models like Mercedes – and for 15 years they were pleading with me to join them on a rally. Eventually I gave in and I started to drive their cars, and that’s how I got into racing. I’ll be driving a 1963 Shelby Cobra in the rally. I bought it at the start of the year, but it only arrived in March. Since then, we’ve made a few changes, including putting a set of really good brakes on it. When it arrived, it was in almost perfect condition, but next winter we’ll make some more tweaks so it drives that little bit better still. I had two old cars already – a Jaguar E-Type and an AustinHealey – and I was looking for another to add to the collection. I was after a Cobra because my brother loves them, and I like the look of its long front. We found one in California in November last year, after passing up two in Germany that weren’t in great condition but were really expensive. We had it shipped over from the States. The owner I bought it from had only had it for a couple of years, but the owner before that had looked after it for 20. Only 400 Cobras, maybe 450, were ever produced. Usually, they don’t have a roof, but mine does – and only a few have a soft top. I drove in the Las Carreras de Mexico in a pink Shelby Mustang. I took part with a girlfriend and we came 35th. In 2013, I did the Classic Drive in Marrakech with Oetker in the Jaguar E-Type and came second. I’m thrilled to be driving this car for the rally – I just love the loud sound of Cobras. It’s not a normal car – it’s very beautiful but very masculine. It’s hard to drive, but that suits me – I don’t mind cars I have to work with. It has a very heavy motor out front – there’s no power steering – and the pedals are very stiff, meaning a hell of a lot of work for the legs!
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The Fiat Otto Vu: “I thought: ‘Oh my God. That’s the real McCoy.’”
“You know how Italian cars are – this one can be a bit of a diva. On a rally in Austria, all the controls broke. Surprisingly, we won!”
Georg Weidmann, CEO of Swissvax 1953 Fiat Otto Vu
The Fiat I’m racing is pretty spectacular. It’s a 1953 Fiat Otto Vu – an 8V. Not many people know that Fiat once built such a supercar. It looks like a small Ferrari and has a two-litre engine. The Otto Vu won the 2L GT class in Italy every year from 1953 until 1958, despite having been produced for only three years at that time. It had no commercial success, of course, but it’s a brilliant car – and very rare. It’s amazing to have such a small engine with eight cylinders; that’s why it feels very similar to a Ferrari to drive. But you know how Italian cars can be – and this one’s a bit of a diva. Unfortunately, it’s not super-reliable. I’ve had problems with the petrol pump, the ignition, the clutch... On a rally in Austria, all the controls broke. We had no speedometer or rev counter, so I was just driving guided by the sound of the engine. Fortunately, everything else worked – and, surprisingly, we won! I like pre-war cars, but that’s probably an age thing. It wasn’t until I hit 40 that I really got into them. I have a soft spot for them because they’re real machines and you have to put in the effort to get the best out of them and think about what would work best. If they break down – which they
naturally do – you can fix everything and get on your way. You just can’t do that with a more modern car. To buy an Otto Vu isn’t easy – you rarely come across them as they’re hardly ever on the market. I first saw one on the Mille Miglia 15 years ago, which sparked my interest, so I bought a book about them and began searching for one of my own. Then, six years ago, I was showing a car at the Concorso d’Eleganza Villa d’Este and I saw it: a red Fiat. I thought: “Oh my God. That’s the real McCoy.” From then on, I followed that car, until, two years later, I was in a position to buy it. It’s a nice vehicle to own because people always ask what it is – it’s not pretentious and it’s such fun to drive. It’s light, very lively and has such a beautiful shape – it was designed by the prototype department of Fiat itself. The V8 engine was the work of Luigi Rapi and was actually intended for a limousine. In the early 1950s, Fiat wanted to move into the more exclusive limousine market, but when the engine was ready, it realised it was far too expensive and it would never be able to sell a limousine that had such a costly part. Instead, the engineers came up with idea of doing a twoseater GT with the same engine. The car has a little bit of racing pedigree – all Otto Vus do. It came second in the 1954 GT championship. Afterwards, it was sold and, in 1968, it vanished. Lots of models ended up in the States, where, when their engines blew up, the owners would replace them with American V8 engines. In the 1980s and early 90s, a few emerged again, but they always needed extensive restoration. I was lucky because the work on mine was carried out in Italy by Dr Piero Lorenzo Zanchi, owner of Pavia FC, who was also the president of the Milano Automobile Club. He had the car restored over 10 years to an amazing standard, largely because the work was undertaken in Italy, where you have access to both the parts and the specialists. No credit goes to me – he did a superb job. 43
T RUST US… …TO G U I D E YO U TO B U Y YO U R N E W YAC H T A N D M A I N TA I N I T S VA LU E W H I L S T A L S O P R OT EC T I N G YO U R M O S T VA LUA B L E A S S E T S O N B OA R D.
THE TRUSTED N A ME IN YACHTING FR A SERYACHTS.COM
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PREAMBLE
Classic Drive
Mark Featherstone, sponsorship director at Goodwood 1958 Porsche 356A GT
This will be the second Classic Drive I’ve done properly and my wife is with me this year. I did my first in Marrakech in a Volkswagen Campervan – one of the support trucks – and rode shotgun with its owner for a week to see what it was all about. Last year, I did the rally in Baden-Baden, Germany, in a viper-green, early-1970s Carrera RS, which was great fun. I own a 1967 Porsche 911S that I’ve had for a very long time. I intended to race in that, but someone recently drove into the back of me! Fortunately, I’ve been able to borrow a 1958 Porsche 356A GT for the rally. It’s the precursor to my 911 and a very important car in terms of the history of Porsche. The Volkswagen Beetle became the 356A, then the 356A went on to become the 911. The 356A was the start of
that incredible transformation from the rather slow but loveable Beetle into a bona fide sports car. Porsches are iconic cars. When I began working, a Porsche was the one purchase I dreamed of making. I bought a couple of new ones and eventually got round to buying an old one. Mine may have been built in the 1960s, but it’s essentially the same car as the new ones people are driving today, with the rear engine and all the weight over the back. I love Classic Drives because they’re so relaxed. There’s a road route and a set of instructions, and it’s not about winning at all costs. All the competitors are great people, very polite, and all the cars are pretty much of the same age – they tend to be from the 1950s and early ’60s. It’s very laid back: usually there’s two or three hours of driving and then the enjoyment of exceptional food that reflects the region you’re in. Great driving, a beautiful backdrop, wonderful people, delicious lunches – what more could you want? And obviously the accommodation is exceptional too!
The Porsche 356A: “It was the start of that incredible transformation from the slow but loveable Beetle into a bona fide sports car”
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PREAMBLE
The Lanesborough The Lanesborough Club & Spa’s sauna
PERS ONAL BEST At The Lanesborough Club & Spa, a dedicated team can create a holistic health-and-fitness programme just for you. Two willing participants were put through their paces
photographer James Merrell Years ago, there was very little personal about personal training. Walk into any gym and you’d come out with one of a number of set programmes. And if you didn’t get the results you wanted? Well, you just weren’t putting in the hours… More recently, the world’s most forward-thinking establishments have been taking a more individualised approach to health and fitness, looking at everything from your job, diet and stress levels to what time you go to bed, in order to help clients train in a way that suits their body type and works with their lifestyle. Leading the charge is Bodyism at The Lanesborough Club & Spa, which offers clients an exclusive Body Oracle Assessment in order to design a bespoke programme that meets their needs. Walking its labyrinthine corridors lined with discreet treatment rooms, and opulent dressing rooms hidden behind burnished walls, the ambience is one of elegance and unrivalled luxury, pitched somewhere between private members’ club and high-net-worth home. And that excellence is evident even before you step on to the gym floor, as new members are given a complimentary Body Oracle Assessment that looks not just at exercise and nutrition, but at lifestyle factors too, to generate a regime that impacts all elements of their life. This broad and thorough approach is thanks to the Club & Spa being part of the Bodyism group, established in 2006 by trainer James Duigan with the aim of creating long, lean, healthy bodies by balancing the four pillars of movement, mindset, nutrition and sleep. Over the years, Duigan has become known as much for his clients – who include Elle Macpherson, David Gandy and Rosie Huntington-Whiteley – as his methods, which focus on being kind to one’s body. At The Lanesborough Club & Spa, each trainer has a different background and specialism, and are all available to every client – a key part of the Bodyism ethos is to have clients work with different trainers to keep motivation levels high. We put two experienced exercisers through the Body Oracle tests to see what they could learn from the results. 46
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PREAMBLE
T H E
The Lanesborough
PAT I E N T
Name Toby Shaw Age 42 Fitness level Very good Current routine Five times a week. Workouts include Reformer Pilates and TRX/calisthenics. Problem areas After 20 years of lower-back pain, Toby developed sciatica in his leg three years ago, which surgery has failed to remedy. He also has pain in his knee after a bungee jump in his teens. Aims Reduce the pain, then strengthen the glutes and core to support his back. T H E
T R A I N E R
Alex Beard, performance specialist. T H E P R E S C R I P T I O N
Toby is physically active, despite the debilitating condition that affects his back and leg. He’s very interested in knowing if his nutrition or training regime could help lessen his pain in any way. His diet is generally good, but he should up his protein levels. A Bodyism Protein Excellence shake would be an easy way to fit this into his working day. The pinch test to measure body fat and create a hormonal profile indicates that he has high levels of inflammation in his system in response to his pain. In terms of lifestyle, we determined that more sleep and less stress are key. Something that can provide immediate relief is myofascial release – that is, manipulating trigger points to relieve pain by relaxing and lengthening the muscles. Toby uses a foam roller for this, but I gave him a hockey ball to use on the piriformis muscle in the glutes. Ten minutes of that before he goes to bed will relax tight muscles and also release endorphins such as serotonin and dopamine, which reduce anxiety and aid sleep. Having observed the way Toby moves, we worked on effective ways to target the muscles in the back, glutes and hamstrings, which all help support the spine. I had him raise his heels by standing on a weights plate or a book, a folded towel between his knees, and slowed down the squat – eight seconds down, eight seconds up. This ensures the right muscles are firing at the right time and increases the difficulty without using weights, which might aggravate his back. Finally, I gave Toby a movement preparation plan. More than a warm-up, the exercises help with flexibility, balance, strength and mobility.
“In terms of Toby’s lifestyle, we determined that more sleep and less stress are key” 48
T H E
PAT I E N T
Name Nicole Bennett Age 42 Fitness level Excellent Current regime Six times a week. Workouts include swimming, running, tennis, and interval training at a British Military Fitness bootcamp. Has completed 14 marathons. Problem areas Tight neck muscles and tense shoulders from long hours in front of a screen. Aims Improve reaction times when playing tennis, and increase fitness in a fun and different way. T H E T R A I N E R
Simone Parsanejad, fitness manager. T H E P R E S C R I P T I O N
This page, clockwise from left: the Club & Spa’s changing rooms; hydro pool; and gym To find out more about the Body Oracle Assessment, call 020 7333 7064, or email
clubandspa@lanesborough.com
The Body Oracle Assessment tackles the mind and body as one entity. Nicole’s fitness and diet are excellent, but she would benefit from engaging in sports that promote mindfulness – allowing the body to relax is as beneficial as rigorous exercise. She runs a lot, which is a good way to focus and de-stress, but I’d suggest beginning and ending each training session with a breathing programme to calm the mind. She might also benefit from doing some Reformer Pilates classes here at The Lanesborough, and incorporating yoga into her routine. It’s not a high-impact activity, so it’s less stressful on the joints than running, and a great way to give the body a chance to recalibrate. Nicole has higher levels of body fat on her calves, which is usually the result of poor sleep patterns. I’d recommend she goes to bed at the same time each night and gets to sleep as close as possible to 10pm – the sleep you have at around that time is of much better quality than if you go to bed later, even if you then sleep in the next day. We’ll now build a bespoke programme for Nicole that helps to incorporate some of these new approaches into her current programme, and she’ll also have one-on-one sessions with one of the appropriate Bodyism coaches, depending on target area, to help develop skills in different areas. Progress takes time, but for an immediate boost, I gave Nicole a Body Brilliance chocolate shake. Invented by Bodyism’s founder, James Duigan, it contains fibrous super-greens, including barley grass, broccoli and wheatgrass, which are all really high in vitamins and minerals.
“Sports that promote mindfulness allow the body to relax – they’re as beneficial as rigorous exercise” 49
L’APOGÉE Courchevel
HIGH SOCIETY France’s most haute snow-sports resort demands upscale apparel for downhill action, and luxe après-ski looks that are as cool as they’re warm photographer Adam Whitehead stylist Tilly Hardy
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Previous pages
C H I L L
FA C T O R
Roll-neck Jumper by Fusalp; sunglasses by Spine Above
H E I G H T O F S T Y L E
All skiwear by Fusalp; white fur hat by Yves Salomon Left
I C E Q U E E N
Jacket by Fusalp; fur collar by Helen Moore; ski pants by Bogner
Above, and right
SMO O T H O P E R AT O R Jumper and ski pants by Fusalp Overleaf
H I G H D I N I N G She wears dress by The Pretty Dress Company. He wears suit and trousers by Moss Bros; shirt by Michael Kors; shoes by Harry of London
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The spectacular staircase of the restaurant Le Comptoir de L’Apogée, representing the high point of Courchevel’s dining scene
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Above
S I M P L E
P L E A S U R E S
Roll-neck jumper by Woolrich; trousers by Bogner Opposite
P R I VA T E V I E W
White cowl-neck jumper by Allude Overleaf
T O P O F T H E WO R L D
She wears ski suit by Fusalp. He wears jacket and ski pants by Fusalp; jumper by Gucci Vintage; sunglasses by Spine
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Photographer: Adam Whitehead Stylist: Tilly Hardy Hair & make-up: Martina Lattanzi Models: Agnieszka Golębiewska and Robertas Aukstuolis
HIGH SOCIETY
G US H L O W A N D C O L E
Luxury shearling hand-knitted beanie, €160
G US H L O W A N D C O L E
Shearling Taper coat, €2,040
VA L E X T R A
All-in-one travel wallet, €1,490
TAY L O R MO R R I S
H.F.S. sunglasses, €280
S I L LA M
Necklace (freshwater pearls, white diamonds, white gold), €19,980
B R E U E R
Jersey blazer, navy blue, €550
A L L P R O D U C T S A VA I L A B L E F R O M E D E N B E I N G . C O M
S I L LA M
Iridescent earrings (South Sea pearls, white diamonds, white gold), €21,800
A L E X A N D R A
L L E W E L LY N
Black and white feather, €4,775
S I L LA M
Faye earrings (aquamarines, white diamonds, white gold), € 3,300
F E U
G US H L O W A N D C O L E
Shearling Shawl Scarf, €285
E T H A N
K
Grey reversible tote in alligator with a beige leather lining, €13,500
BA M F O R D / Z E N I T H
D E
B E AUMO N T
The Golden Porringer, jasmine, €465
Chronomaster El Primero 42mm, €9,200
VINTAGE POSTERS
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THE ROMANCE OF TRAV E L Capturing the thrill of seeing the world, vintage travel posters possess a powerful retro charm. Now, a young illustrator has distilled the spirit of the Oetker Collection and depicted its hotels in the same nostalgic style, reports Charlotte Hogarth-Jones Few design items intended to be temporary have become so timeless and evocative of their era as the vintage travel poster. As popular today as when they were first printed, their appeal is obvious – with bright colours, bold designs and optimistic slogans, they promise a kind of glamour and excitement that is quite charming. Of course, people were genuinely excited about travel in the early 20th century, when the posters were first being produced. New railroads, ocean liners and aeroplanes made getting about faster, cheaper and easier than ever before. “It’s quicker by rail!” posters promised, “Travel by Clipper!”, “Getting there is half the fun!”. The South of France – initially popular as a restorative health destination – had become the resort of choice for the summer season, with rumours of lavish parties and romance spurring visitors on. Meanwhile, as more ski lifts went up, and ski equipment became more advanced, holidaying in the Alps was becoming increasingly popular. It was a thrilling time for designers too, with the invention of the lithographic printing process giving access to an entirely new palette. In the early 1900s, posters were becoming far less information-heavy, and the direction taken by artists such as Hugo d’Alesi in France, Emile Cardinaux in Switzerland and Adelfo Hohenstein in Italy helped move posters away from ephemeral illustrations into the realm of iconic prints. By the 1920s, lines were sleeker, typefaces were plainer and shapes were big and bold, and government tourism agencies were happy to send artists out on the road to work up the best possible advertisements. One of the most influential poster designers of the time, Roger Broders, for example, spent from 1925 to 1935 designing posters for the fashionable beaches of the Côte D’Azur and the sunny slopes of the Alps, financed mainly by the PLM railway company (aka Chemins de Fer de Paris à Lyon et à la Méditerranée). In London, meanwhile, Charles Paine was working on his equally recognisable works for the London Underground.
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VINTAGE POSTERS
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VINTAGE POSTERS
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paul cariou
“The light is what gives that feeling of wellbeing to the portrayal of each destination” If there’s one thing that marks out the French posters from the others being produced at the time, however, it’s the sense of light – as illustrator Léa Morichon (pictured, above), who is designing a range of limitededition, vintage-inspired prints for the hotels of the Oetker Collection, discovered. “If you look at Roger Broders’ famous poster Les Calanche de Piana, you can really appreciate the mix of warm and cool colours, and the contrast he created – he was a genius. The light is what gives that feeling of wellbeing to the portayal of each destination, and it’s different, whether it’s Courchevel or Antibes. It’s quite complicated to capture.” Using the same lithographic printing technique that was used at the time, Morichon prints the colour on to textured paper before handdrawing over the top. “At first, I experimented using Photoshop and other computer programs, but you can’t really recreate something vintage using modern software. There’s no shortcut to this aesthetic – it’s an old process that takes time, and there’s a lot of research involved too.” Inspired by Broders, early 20th-century fashion illustrator Léon Benigni, 1950s movies and fellow French artist Malika Favre, she works in pencil to design each poster before they are printed in Limoges, in France, after which she adds typography – also executed by hand. This summer, Morichon has been touring the Oetker Collection hotels around the globe, and she will release an original artwork for each one throughout the autumn. For further information, or to purchase a print of any of the posters, priced at €620, visit edenbeing.com
Previous pages, and left: Léa Morichon’s vintage-inspired posters for L’Apogée Courchevel, Hotel du Cap-Eden-Roc, Brenners Park-Hotel & Spa and Palácio Tangará
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WEEKEND PURSUITS
C O U N T RY CLASSICS Everything you need for a perfect weekend in the country, from hip flasks and dice games to decanters and canes... and the perfect bag to pack them in photographer Sam Hofman set designer Carrie Louise
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Previous page, leather Bridge set by Mufti; pheasant cufflinks by Deakin & Francis; Zenith Chronomaster El Primero watch by Bamford Watch Department; fishing reel by Martin Blackwell; shotgun and horse cufflinks by Deakin & Francis; sterling silver game bird by Patrick Mavros; cup case by Ettinger Right: from left: sterling silver game bird by Patrick Mavros; antique hip flask; duck decanter by Deakin & Francis; flute by Culinary Concepts; Perudo game set by Mufti; hunter’s flask by Ettinger All products are available at edenbeing.com
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Left: antique hip flask; antique leather cup case; bell by Culinary Concepts; khaki shawl by Babjades; folio bag by Chapman Bags; sterling silver bird by Patrick Mavros; labrador walking cane by Classic Canes; Portofino travel bag by Valextra All products are available at edenbeing.com
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T H E
LA N E S B O R O U G H London
PERFECT DAY The opulent surroundings of The Lanesborough are the perfect setting for an elegant London wedding – with a little sparkle courtesy of Graff photographer Adam Whitehead stylist Tilly Hardy
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Previous pages, and opposite
NAT U R A L
R A D I A N C E
Sapphire and diamond earrings and necklace, round diamond “Promise” engagement ring; Mildred dress by Pronovias at Mirror Mirror; veil by Caroline Castigliano Above
T WO ’S C OM PA N Y
Pear shape diamond earrings and pear shape diamond “Promise” engagement ring, pear shape and round diamond necklace; dress by Monique Lhuillier at Browns Bride; veil by Caroline Castigliano; suit and shirt by Simon Carter; tie by Dunhill
Right
C R O W N I N G G L O RY
Diamond Scroll Motif tiara, pear shape and round diamond necklace and bracelet, diamond earrings; dress by Caroline Castigliano; flower girl dresses by Monsoon
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Above
F R E S H S TA RT
Bikini by Fifi Chachnil; bracelets by Rosantica and necklace by Patrick Mavros available from edenbeing.com
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Left
A
F I N E
R OM A N C E
Diamond Scroll Motif tiara, Diamond Carissa necklace and bracelet, MasterGraff Grand Date Dual Time Tourbillon; dress by Savin London; tuxedo and shirt by Aquascutum; bow tie by Dunhill
Right
N I G H T T O R E M E M B E R
Diamond Peony earrings and necklace, pear shape and round diamond cuff; dress by Halfpenny London; suit, shirt and tie by Simon Carter All jewellery courtesy of Graff. Further information available at Graffdiamonds.com Photographer: Adam Whitehead, Stylist: Tilly Hardy, Hair: Ken O’Rourke, Make-up: Ninni Nummela, Models: Hanna Juzon, Eddie Wrey. With grateful thanks to The Lanesborough and Graff For more information about weddings at The Lanesborough, email Antoinette Lettieri, Head of Events, at ALettieri@lanesborough.com, or call +44 20 7259 5599
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HONEYMOON ESSENTIALS
M E L I S SA O DA BA S H
Nicole kaftan, €265
VA L E X T R A
Soft tote bag, €1,350
M E L I SSA O DA BA S H
Jemima Eden Rock branded hat, €125
VA L E X T R A
Iside chain purse, €1,090
O N
T H E
I S LA N D
Lacing swimsuit, €390
LAU R A M A NA R A
Neve poncho, €395
A L L P R O D U C T S A VA I L A B L E F R O M E D E N B E I N G . C O M
CA BA NA
Gold-plated pendant with semi-precious stone, €455
M E L I S SA O DA BA S H
Tampa halterneck one-piece, €255
O N
T H E
I S LA N D
Long dress, €910
O N
T H E
I S LA N D
R O SA N T I CA
Short dress, €515
L I N DA
Etna necklace, €195
FA R R O W
E M I L I O
Cat-eye sunglasses, €895
P U C C I
Printed dress, €645
E L I E
B L E U
Jewellery box, €2,635
THE LANESBOROUGH
C O C KTA I L S
THE REMIX Tampering with a classic cocktail is a challenge most bartenders would balk at. Not the team at The Lanesborough’s Library Bar, though, who deliver some spectacular and surprising results. Charlotte Hogarth-Jones pulls up a bar stool to stir it up with the master of reinvention photographer Mitch Payne
Few cities have a cocktail scene as vibrant as London’s. With new establishments opening all the time, and a discerning clientele, competition for the most inventive, brilliant new drinks is fierce. Yet when The Library Bar at The Lanesborough reopened two years ago, manager Mickael Perron took on the task of giving a new spin to some of the world’s most famous classic cocktails. “When we first opened, our aim was simple: to please everyone,” he says. “During that first year, we put all sorts of drinks on the menu to see what would happen. What we saw was that our guests, whether they were from Europe, Asia, Africa or America, would keep coming back to the classics. It was obvious that we needed to retain the DNA of these drinks, but we still wanted to make our mark on them – to give them a bit more expression, some of our soul.” Partly, the bartenders noticed, it was about familiarity. Whether a drink at the end of a long day of meetings or a celebratory glass to toast a special occasion, everyone likes to be able to select a drink they know and love. After all, there’s a reason why some cocktails have stood the test of time – and that’s because they’re among the very best. So, how exactly do you define a classic? “For me, it’s just a popular cocktail,” says Perron. “It includes drinks such as
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the martini, which is a very old-school classic, but also those like the cosmopolitan, which is a relatively modern creation – it doesn’t have to be pre-Second World War. To qualify, it needs to be something everyone will recognise, whether you’re an old hand at choosing from a drinks menu or a young person who’s sampled only a few cocktails before.” The added challenge when it comes to making a classic drink, Perron explains, is that most people can recognise a good – and bad – one as soon as they taste it. When it comes to simple, elegant drinks like a martini or negroni, there really is nowhere to hide. But that’s part of the fun, he says: “One reason we liked the idea of doing classics with a twist is because we wanted to allow our bartenders to show what they could do. Why not push forward, we thought – let’s have some fun!” “It takes a long time to reinvent a classic,” Perron explains. “You need people to come back, reorder it and talk about it, so it becomes well known. I want them to say, when they go back to Sydney or wherever they come from, ‘You know what? The Lanesborough makes a wicked negroni!’ I overheard someone in the bar last week ordering a Gaspari Manhattan and since then, I haven’t stopped smiling. That’s the sort of thing that makes it all worthwhile.”
PREAMBLE
In praise of
G A S PA R I
M A N H AT TA N
Scotch whisky, sweet vermouth and New Orleans bitters with flamed rosemary and Bénédictine liqueur T H E T W I S T :
RO S E M A RY
“I invented this some years back, when I was entering a cocktail competition. It was my grandmother Mimi Gaspari’s birthday, but I was missing the celebrations to take part, so I made a drink in tribute. It’s based on a Rob Roy and the rosemary adds a scent of the Mediterranean. At the time, not many people were using herbs or spices in drinks, but rosemary is easy to come by. We burn it into the Bénédictine, Blue Blazer-style. The flavour works well with the Scotch, and it gives off a big flame, which creates a sense of occasion – when people see a big glass of ice with fire above it, they want to know what’s going on.”
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B E L E ZA
DA I Q U I R I
Mint-infused Yaguara cachaça and Sichuan pepper syrup shaken with yuzu juice T H E
T W I ST : CA C H A ÇA A N D Y U Z U J U I C E
“A daiquiri is known as a bartender’s drink – ordering one is the quickest way of knowing if the person in front of you knows how to balance flavours, because every daiquiri is basically a rum sour, made with two measures of spirit, in equal parts sweet and sour. Our head bartender, Lorenzo Rocci, created this to celebrate the opening of Palácio Tangará in São Paulo. ‘Beleza’ is a Brazilian word that means ‘all good’, and the peacock feather is a tribute to the carnival there. In our version, we use cachaça, the national spirit of Brazil, which is a kind of rum. Yaguara is a really well-crafted and delicate version of it.”
S T G E O RG E ’S N E G RO N I Campari, Cynar liqueur, port and Sipsmith gin, finished with rock candy sprinkled over a rooibos ice cube T H E T W I S T :
P O P P I N G CA N DY
“You don’t want to mess with a negroni – the flavour profile and balance is really particular. When we set about reinventing it, we told the bartenders to make something interesting that stays true to the original and this is what they came up with. The rooibos ice cube gives a rich flavour when it melts, and the popping candy on top is a nice touch, as a negroni is quite a serious drink. At first, I wasn’t convinced, but we have a regular who drinks only negronis and he loved it – like him, people can’t resist holding their drink up to their ear and hearing it crackle!”
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U P S I D E - D O W N
F I Z Z
Hendrick’s gin, elderflower cordial, lemongrass and vanilla syrup, lemon juice, citrus and cucumber crisps, and ginger foam T H E
T W I S T :
E L D E R F L O W E R
“For the past couple of years, people have been asking us for a drink that involves Hendrick’s and elderflower, so we came up with this variation on a gin fizz. It’s a fun one because the glass unstacks into separate pots: the gin fizz, a ginger foam and some dehydrated cucumber and citrus crisps. There’s no set way of drinking it, so it’s playful; everyone comes up with a different method. It’s not something you’d give to martini drinkers – it’s not a challenge, just something light and refreshing that’s a bit different.”
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G E N T L E T W I N K L E Elderflower cordial, dill-infused Chase vodka, champagne and lemongrass, with pansies and rosemary T H E T W I S T :
L E MO N G R A S S
“It’s nice to have a Twinkle on the menu, because it’s a London classic. Sometimes we get a bit carried away with Caribbean cocktails and have to stop and remember – hold on, we’re next to Buckingham Palace! It was invented by the famous mixologist Tony Conigliaro – who has a number of bars in the capital and is a consultant to others across the world – and the only difference between our recipe and his is ours has a hint of dill and lemongrass. It nicely balances the sweetness without having to use lemon or lime, which can be a bit overpowering. That’s why lots of lemongrass is used in Asian cookery: it’s a great way of balancing something heavy, without masking the other flavours.”
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THE REMIX
A N NA
N E W YO R K
Kivita coasters, €255
C U L I NA RY C O N C E P T S
Palace wine cooler, €80
C U L I NA RY C O N C E P T S
Leather handle half-size champagne bath, €230
C U L I NA RY C O N C E P T S
Palace serving tray, €80
C U L I NA RY C O NC E P T S
Pair of hammered champagne goblets, €75
A N NA
N E W YO R K
Kivita crystal bottle stopper, €95
C U L I NA RY C O NC E P T S
Lighthouse cocktail shaker, €185
A L L P R O D U C T S A VA I L A B L E F R O M E D E N B E I N G . C O M
S I E G E R
BY
F Ü R ST E N B E RG
Faces wine cooler, gold, €1,264
T. T. T RU N K S
Mojito home trunk, €60,000
S I E G E R
BY
F Ü R S T E N B E RG
Sip of Gold goblets, €130 each
C U L I NA RY C O N C E P T S
Bell cocktail shaker, €140
C U L I NA RY C O N C E P T S
Stag bottle stopper, €25
PAT R I C K M AV R O S
Grouse wine coasters in sterling silver, €6,100 each
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Left: last year’s event featured exquisite classics like this 1971 Ferrari Dino 246 GT Competizione
INTERCLASSICS MAASTRICHT
S I M P LY THE BEST A host of the world’s most iconic automobiles will be on display this January at InterClassics Maastricht 2018, as Benelux’s ultimate classic-car exhibition celebrates its 25-year anniversary
I N T E RC LA S S I C S M A A S T R I C H T 2018
From the 11th to the 14th January 2018, Maastricht in the Netherlands will be going all out to celebrate the 25th edition of InterClassics Maastricht. The anniversary edition of this classic-car exhibition is set to feature all the highlights that have made previous years so memorable. Based on the 18 themes that have characterised the event over the past 25 years (including Jaguar, Ferrari, Porsche, Aston Martin, Bugatti, British Royals and Maserati but also Grand Prix Classics, America’s Fine Classics, and more), a unique collection of 18 prized specimens will be showcased. The best and most exclusive classic cars representing these themes will be on display. There will also be a broad platform for displaying everything related to these classic cars, from spare parts to memorabilia. InterClassics Maastricht is therefore an absolute must for any car enthusiast. 25 Y E A R S O F I C O N I C C LA S S I C AU T OMO B I L E S
It was in 1994 that the Oldertimerclub Gronsveld organised the very first edition of InterClassics in one of the MECC Maastricht’s exhibition halls. Since then, InterClassics Maastricht has grown to become one of Europe’s most prominent classic-car events. Organised by the MECC itself since 1996, the exhibition now fills the entire MECC Maastricht venue. Initially born as InterClassics, the exhibition has undergone
several name changes over the years. In 2003, it was renamed “InterClassics & TopMobiel” and because of the expansion of the event to include a Belgian edition, InterClassics Brussels, the name was changed in 2015 to “InterClassics Maastricht”. Long since familiar to visitors, the exhibition’s central themes have not always been a regular feature of the event. The first was introduced in 2003 and since then, 18 different themes have been showcased. The 2014 edition had no fewer than three central themes: “Maserati: 100 years”, “Pre-war race legends” and “Mustang big-screen heroes”. Ferrari is the only brand to have been featured twice. In 2008, the event spotlighted “60 years of Ferrari”, and during the last edition, all eyes were once again on Ferrari when 25 prime specimens from the history of 70 years of Ferrari were on display. S P E C I A L A N N I V E R SA RY E D I T I O N
Over the past quarter of a century, the exhibition has welcomed a total of 400,000 visitors. The growth in visitor numbers, from several thousand at the first edition in 1994 up to and including the expected 30,000 for this upcoming edition, forms a solid foundation for the future. In 2015, we were pleased to add the successful “little sister” event, InterClassics Brussels. However, our expansion ambitions have not yet been fully realised, and we hope to announce new initiatives in the near future. for more information about this event, please visit interclassicsmaastricht.nl
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POSTSCRIPT
P E O P L E, P L A C E S, NEWS The new faces, openings and announcements from the Oetker Collection’s hotels around the globe. Catch up on all the latest – from wine awards in Paris to a São Paulo spa
U LT I M AT E
R E LA X AT I O N
The Flora Spa by Sisley opens at Palácio Tangará
CAUSE FOR CELEBRATION
Bespoke trunk for Le Bristol Paris T.T.Trunks, the brainchild of Damien Finot and Julien Trossat (both formerly of Louis Vuitton) is one of Paris’ finest trunk-makers, crafting luxury bespoke trunks for all occasions. The brand’s beautiful cases are built to house everything from watches and liquor to cigars, speakers and jewellery. Le Bristol Paris is partnering with these exceptional artisans to commission a bespoke trunk for the hotel. The unique trunk will be stocked with some of the finest cuvées and will be available in Le Bar du Bristol his coming autumn.
Palácio Tangará is pleased to announce the opening of the Flora Spa by Sisley. The 1,500 sq m spa completes the hotel’s superlative list of luxury amenities that includes three-Michelin-starred chef Jean-Georges Vongerichten’s restaurant and the Patricia Anastassiadis-designed ballroom. French skincare brand Sisley will oversee the spa’s seven treatment rooms, offering massage, reflexology, shiatsu, hot stone treatments and the Rosas Phyto-Aromatic – black rose facials for “instant youth”. The spa also features a barbershop and beauty salon, Jacuzzi, and relaxation lounge, as well as providing personal training sessions and yoga classes. The pièce de résistance is the 25m heated swimming pool – a particularly glamorous setting for your morning dip.
INSPIRED BY NAT U R E
KOS Paris teams up with Le Bristol Le Bristol Paris has partnered with luxury cosmetics brand KOS Paris to design four organic essential oils for hair and body, inspired by different locations around the palatial grounds. La Roseraie is a nourishing, anti-ageing oil that evokes the hotel’s fragrant rose garden while L’Orangerie uses the citrus notes of the orange grove. Le Jardin Français and La Perle Parisienne are soothing, antistress oils with musky accents – perfect for nourishing tired skin after a long day’s travel. 100
W O N D E R WA L L S
Stunning new artworks at Hotel du CapEden-Roc
Earlier this year, the legendary Bar Bellini at Hotel du Cap-Eden-Roc was renovated by interior designer Bergit Gräfin Douglas of MM Design in Frankfurt. Since 1870, the bar has been immaculately decorated to showcase the best art, furniture and interior design of the time. As part of its latest refit, Douglas has acquired an eclectic mix of original artworks from innovative contemporary artists. The works include: seven pieces by German painter Carlo Boger; 1+2=3 (triptych) by French conceptual artist Daniel Buren; a colour screen print entitled Knife Cuts by German artist Imi Knoebel; Ohne Titel by Austrian painter Martha Jungwirth, which has been hung over the bar, and a piece donated by singer-songwriter Mika.
G R A N D A WA R D
Epicure sommelier honoured The Oetker Collection has enjoyed great success in its wine cellars this year. The three-Michelin-starred Epicure at Le Bristol Paris was recently honoured with the “Grand Award”, the highest accolade, by America’s influential Wine Spectator – for the second year running. “Our wine list evolves every day, and like the best vintages, it is enriched over time,” says Bernard Neveu, Le Bristol Paris’ head sommelier. “Epicure’s wine list of course offers the most prestigious estates, but these rub shoulders with little-known treasures created by passionate winegrowers who have worked with us for years.” 101
J U M BY BAY I SL A N D
J UM BY BAY ISLAND 102
One of the most beautiful, untouched locations in the world, this private Caribbean hideaway offers the ultimate in discreet, understated luxury for those who appreciate life’s simpler pleasures
The Oetker Collection is delighted to announce the opening of Jumby Bay Island in Antigua, West Indies – the 10th property to be added to our portfolio. The private paradise comprises 120 hectares of lush, unspoilt land surrounded by pristine white-sand beaches and turquoise waters. With teeming coral reefs offshore and protected wildlife species inland, few destinations afford guests such an array of opportunities to marvel at natural
beauty while also providing such luxurious accommodation. The well-established resort has 40 rooms and suites, and 50 individually designed villas, some of which have up to nine bedrooms and direct access to a private beach. The island also has several excellent restaurants, an exceptional spa, and comprehensive watersports and fitness facilities, including five tennis courts. Reservations can be made by emailing jumbybay@oetkercollection.com 103
PREAMBLE
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In praise of
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A private paradise surrounded by pristine white-sand beaches and turquoise waters
Opposite: Jumby Bay’s Lazy Lizard residence sleeps twelve and has a private swimming pool. This page, from top: resort bicycles are available for guests; the seven-bedroom Bananaquit residence includes a magnificent pool and delightful veranda
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INSIDER GUIDES
COURCHEVEL Alpine charm, pristine snow and dazzling sunshine – this resort has it all. Immerse yourself in the street art, quirky boutiques and artisan cheese stores surrounding L’Apogée Courchevel, and be sure to indulge in a glass of vin chaud after dining at one of the many cosy mountain restaurants
Eat
Shop
One of the oldest mountain restaurants in Courchevel, Le Chalet de Pierres [ 1 ] can be found at the foot of the Verdons ski slope in Jardin Alpins. Inside, the two-storey space offers cosy alcoves and log fires, while, outside, a large sunny terrace overlooks the soaring peaks of La Saulire. The restaurant’s rotisserie serves some of the best roast meats in town, but save room for dessert, as the selection is impressive. You’ll find warming hot chocolate and vin chaud at Le Tremplin [ 2 ] in La Croisette, and pancakes and waffles between 4pm and 5.30pm back at the hotel in the Joseph Dirand-designed Le Bar de L’Apogée [ 3 ].
Take a day off from the slopes to explore some of the resort’s many interesting boutiques. At Courchevel 1850, Lilie Store [ 4 ] sells a plethora of beautifully designed objects, from custom skis to original artworks, all made in the Alps. If cooking’s your thing, further up the valley, in Le Praz, chefs at the Coopérative Laitière [ 5 ] will teach you everything there is to know about the cuisine of the Savoie region. While here, be sure to leave with a block of Beaufort cheese, which is similar to Gruyère. An hour away, in Séez, you’ll find an array of luxury woollen products at Maison Arpin [ 6 ], woven on the same machines that the Arpin family has used since 1817.
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Every winter, Courchevel is transformed into an open-air gallery, when the resort plays host to the annual Art at the Top exhibition. Paris’s Galeries Bartoux acts as curator and invites a host of international street artists to decorate buildings, wrap ski lifts and install sculptures on the slopes and in the surrounding towns. Last year, the French sculptor Richard Orlinski created a sculpture trail that began with a large, red King Kong atop the mountain. This year’s line-up promises to be even better. Events usually begin when the resort opens, on 9 December.
FREGATE ISLAND
Fregate Island Private in the Seychelles ticks all the boxes – where else can you adopt a baby tortoise, eat inside a banyan tree, sample myriad varieties of exotic fruits and vegetables, soothe the soul in a spa set among giant rock formations and soak up the sun on one of seven idyllic beaches?
Fish
Relax
See
Dine
The Indian Ocean is one of the world’s richest fishing grounds. Learn the ropes on a deep-sea excursion with Fregate Island’s expert fishermen – you’ll head to the nearby game bank [ 1 ], which is teeming with yellowfin tuna, dorado, sailfish and marlin. Or go for a sashimi cruise with a private chef, who’ll serve seafood Japanese-style on deck. Either way, on your return to the island, the kitchen staff will prepare your freshly caught fish exquisitely.
There’s no doubt that it’s easy to wind down by the hotel’s infinity pool or on one of Fregate’s seven idyllic beaches. But no visit to the island would be complete without an afternoon spent in the tranquil setting of the Rock Spa [ 2 ], whether a treatment, massage or yoga class is your bag. Drawing on the healing properties of locally sourced plants, its expert therapists blend a personalised prescription of ingredients such as papaya, banana, coconut oil and lemongrass that will renew, recharge and revive.
There are few places globally where you can find as many turtles and tortoises as Fregate Island. A population of 3,000 Aldabra giant tortoises call it home, so you’re sure to see them making their leisurely way around the island. There’s also a tortoise nursery [ 3 ] here – the conservation team look after the hatchlings and you can get personally involved in the conservation programme by adopting a baby tortoise.
Fregate’s dining options are impressive. Chef Dale Lapperts grows more than 50 varieties of fruit, vegetables, herbs and spices on the island’s plantation [ 4 ], and encourages diners to visit and select their preferred ingredients. The service is available at all the restaurants, including the Treehouse [ 5 ] – housed inside one of Fregate’s oldest and largest banyan trees – as well as at Pirates Bar [ 6 ] and Mont Signal [ 7 ], the highest point on the island. It’s also possible to dine on the beach, where a dedicated chef will prepare your own private barbecue as the sun goes down.
6 2 7 illustrations: dan williams
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INSIDER GUIDES
S Ã O PA U L O From its luxury shopping malls to its colourful street art, this bustling Brazilian metropolis is a city of contrasts. Step out of the Palácio Tangará and visit cutting-edge galleries, vibrant street markets and lively pavement bars for an authentic taste of the city’s charms
Learn
Eat
São Paulo is renowned for its architectural diversity, so it’s certainly worth making a point of seeing its extremes. Instituto Lina Bo Bardi [ 1 ] was founded by the late, great modernist architect and her husband to promote Brazilian culture and showcase their art collection. The building, formerly known as the Glass House, is considered one of the country’s most significant buildings. No visit to São Paulo would be complete without a visit to the Paraisópolis favela [ 2 ] either. Hire a local guide and discover an authentic portrait of this humble population.
Want to eat like the locals? Bananeira [ 5 ] serves pan-Brazilian cuisine in a number of lively Bahia-inspired beach bungalows. Dishes include meats traditionally cooked in plantain leaves, and moqueca, a traditional fish stew. Elsewhere, the Swiss chaletstyle restaurant Chalezinho [ 6 ] has a reputation for being one of the city’s most romantic eateries. Enjoy a bottle chosen from the extensive wine list in the piano bar before heading upstairs to sample one of the restaurant’s speciality dishes.
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Discover Vila Madalena [ 3 ] has laid claim to the title “coolest neighbourhood in São Paulo”. The area is replete with galleries and artists’ studios as well as restaurants, and when the sun goes down, it really comes alive. Revellers from bars big and small spill out on to the pavements, while bands busk on street corners and DJs play on bustling terraces. At the weekend, don’t miss the chance to visit the famous Praça Benedito Calixto street market [ 4 ] for handcrafted trinkets and unusual antiques.
Discover an unusually serene retail experience at Shopping Cidade Jardim [ 7 ] – although it’s one of the biggest malls in the country, it’s among the quietest. An oasis of calm in the city, it hosts outposts of luxury brands such as Hermès, Emilio Pucci, Jimmy Choo and Rolex amid its verdant indoor gardens. Head to the top floor for impressive panoramic views.
PA R I S Exceptional museums, beautiful parks and some of the world’s finest restaurants – Paris’ attractions are well documented. Head off the beaten track, however, and discover authentic bistros, a literary emporium and a park full of curious follies, all within a stone’s throw of Le Bristol
Fuel
Explore
Start the day by enjoying a café crème al fresco at your local coffee shop. Just down the street from Le Bristol, Honor [ 1 ] is famous for its single-origin brews, which are some of the best in the capital. For lunch, drop into Le Griffonnier [ 2 ] just round the corner – this chic bistro serves traditional dishes such as confit de canard and escargots. For supper, you’re spoilt for choice: sample Eric Frechon’s threeMichelin-starred cuisine at Le Bristol Paris or try Vincent Basset’s gourmet creations at the excellent Au 41 Penthièvre [ 3 ].
The 8th arrondissement and the Champs-Elysées are the domain of international flagship stores, but venture off the beaten track and you’ll find some of Paris’ most interesting boutiques. For leather goods, Moreau Paris [ 5 ] has been the go-to for the Parisian elite since 1882. Librairie Lardanchet [ 6 ] attracts the same clientele, in search of rare French tomes dating from the 15th century onwards. For a real treat, be sure to visit La Pendulerie [ 7 ] – an Aladdin’s cave, the walls of which are lined with the most magnificent ancient clocks.
Smell
Walk
Opposite Le Bristol Paris, in a spectacular 19th-century mansion that was formerly Christian Lacroix’s couture house, the world’s first olfactory museum, Le Grand Musée du Parfum [ 4 ], offers a multisensory journey through the history of perfume-making. Visitors can experience more than 70 fragrances here, as they learn about the role of le nez (the nose), and how the globe’s most iconic scents were created.
Stroll 15 minutes north of Le Bristol Paris and you’ll find Parc Monceau [ 8 ], one of the city’s most elegant outdoor spaces. Take the time to follow the different routes that traverse it, looking out for curious follies, including an Egyptian pyramid, a Chinese fort, a Dutch windmill and Corinthian pillars. After that, head to the nearby Musée Nissim de Camondo [ 9 ] – once the home of the prominent Camondo family, it is now one of the French capital’s most sumptuous galleries celebrating the decorative arts.
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PREAMBLE
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In praise of
Courchevel • Baden-Baden • Paris • Vence-French Riviera • St Bar ths Cap d’Antibes • Seychelles • Antigua-West Indies • London • São Paulo
HOTEL DIRECTORY
5 rue Emile Allais Jardin Alpin (Courchevel 1850) 73120 Courchevel France T: +33 (0)4 79 04 01 04 F: +33 (0)4 79 04 01 14 reservations.apg@oetkercollection.com
Schillerstraße 4/6 76530 Baden–Baden Germany T: +49 (0)7 221 900 0 F: +49 (0)7 221 387 72 reservations.brenners@oetkercollection.com
112 rue du Faubourg Saint–Honoré, 75008 Paris France T: +33 (0)1 53 43 43 25 F: +33 (0)1 53 43 43 26 reservations.lebristolparis @oetkercollection.com
Avenue des Templiers BP 102 06142 Vence France T: +33 (0)4 93 58 02 02 F: +33 (0)4 93 24 08 91 reservations.csm@oetkercollection.com
St Jean Bay St Barthélemy F97133 French West Indies T: + (0) 590 590 29 79 99 F: + (0) 590 590 27 88 37 reservations.edenrock@oetkercollection.com
Fregate Island Private PO Box 330 Victoria, Mahé, Republic of Seychelles T: +248 (0) 4670 100 reservations@fregate.com
Boulevard JF Kennedy 06601 Antibes France T: +33 (0)4 93 61 39 01 F: +33 (0)4 93 67 76 04 reservations.hdcer@oetkercollection.com
PO Box 243, Antiga and Barbuda West Indies T: + (0) 1 268 462 6000 F: + (0) 1 268 462 6020 jumbybay@oetkercollection.com
Hyde Park Corner London SW1X 7TA United Kingdom T: +44 (0) 20 7259 5599 F: +44 (0) 20 7259 5606 reservations@lanesborough.com
Hotels with this symbol have Eden Being boutiques on site The Eden Being boutique at Le Bristol Paris opens December 2017. Most of our pieces are available to purchase online and in our boutiques. For more details, please contact
Rua Dep. Laércio Corte 1501 Panamby 05706 290, São Paulo Brazil P +55 11 4904 4040 F +55 11 4904 4002 reservations.tangara@oetkercollection.com
our personal shopper Max on: +44 207 079 1635 or email personalshopper@edenbeing.com © Copyright 2017 Brave New World Publishing Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publishers. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain. For advertising enquiries email chris@luxx-media.com Brave New World Publishing Ltd, 6 Derby Street, London W1J 7AD; +44 (0) 20 3819 752
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THE MOMENT
R A C H E L MCA DA MS A N D O W E N W I L S O N IN THE CITY OF LIGHT
Woody Allen’s fantasy comedy Midnight in Paris (2011) captured on celluloid some of the city’s most iconic locations, from the banks of the Seine to the Rodin Museum and Le Bristol Paris. Rachel McAdams and Owen Wilson play the romantic Gil, a successful but frustrated Hollywood screenwriter, and his fiancée, the more down-to-earth Inez. On a trip to Paris, Gil wanders the streets at night, drawn 112
back to the world of 1920s bohemia, when Paris played host to Hemingway, the Fitzgeralds, Picasso et al. Le Bristol takes centre stage, with many of the couple’s trademark Allen-esque romantic wranglings taking place in the Panoramic Suite. Its flower-filled terrace looks out over Montmartre and the SacréCœur, and it’s hard to think of a more fitting backdrop for a film paying homage to the city’s charms. lebristolparis.com
rex features
The French capital is nostalgically evoked in a classic Woody Allen movie that allows its spectacular settings – among them Le Bristol Paris – to assume their rightful place in the spotlight
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