HONG KONG MAY 2020 HK$45
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LANG LANG
SUPERSTAR PIANIST ON HIS CAREER, MARRIAGE AND LEGACY
CARA G | FOUR BRITISH CARS TO BEAT THE WORLD | SLEEPWEAR CHIC ARMCHAIR TRAVEL | SHALL WE CHALET? | RED-CARPET WATCHES PLUS SUMMER LOOKS FOR MEN AND WOMEN | ROMANTIC RUINS
B L ACK BADG E Where freedom meets desire. Dare to be different.
Rolls-Royce Motor Cars Hong Kong Shop 4, G/F, Wu Chung House, 213 Queen’s Road East, Wanchai, Hong Kong Tel: +852 2870 1692 www.rolls-roycemotorcars-hongkong.com.hk Š Copyright Rolls-Royce Motor Cars Limited 2019. The Rolls-Royce name and logo are registered trademarks.
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UNDERCOVER
STAR QUALITY
JACKET, SHIRTS AND TROUSERS HERMÈS WATCH HUBLOT CLASSIC FUSION CHRONOGRAPH GARAGE ITALIA
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It’s hard to know what to expect when you interview a superstar of such international stature as the pianist Lang Lang. Will he – horror of horrors – take umbrage at a question, throw a tantrum and storm out of t e room in a lea in p oto rap er make-up artists, hair stylist and interviewer open-mouthed and dumbfounded? Or will he turn out to be utterly charming, happy to oblige, open, friendly and so willing to analyse himself and his career that no topic appears to e o limits ort nately o r a ternoon in the company of the man who’s almost certainly the most famous classical musician in the world turned out to be such an unalloyed pleasure that we’d all have been happy if it had gone on all night – only that he did have a concert to perform that evening in the Hong Kong Cultural Centre. Back at t e p oto s oot wo ld e wear t is o tfit No problem. Would he pose this way, or that? Absolutely. Even the most trivial of questions that we threw at him (and everyone present felt free to pitch in) – How do you remember an entire concerto? How long do you practise every day – received a considered reply. No airs, no graces. What a delight. What a gentleman. What a star.
CONTENTS 10 17 200
UNDERCOVER EDITOR’S LETTER BACKSTORY
AGENDA
STYLE Rock your wardrobe
82
26
JEWELLERY A cornucopia of stone and metal
JEWELLERY Luxuriant Loops
90
30
WATCHES Fine art for the wrist
WATCHES Audemars Piguet
92
34
BEAUTY Shades, salves and scents
WATCHES Corum
94
38
DINING Tickling the taste buds
WATCHES Pas de Deux
40
TRAVEL Goss for globetrotters
102
TOYS Cool kit to covet
MAKE-UP Pink Profusion
110
FRAGRANCE Scent of Victory
42 44
ART Masters old and new
FASHION
40 View through the trees at Six Senses’ fourth lodge in Bhutan
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JEWELLERY & WATCHES
20
50
WOMENSWEAR Illuminati
60
WOMENS AND MENSWEAR Paired Down
72
TRENDS Pyjama-rama
78
CARA G Clean Island Living
BEAUTY
CONTENTS
LIVING 116
WEALTH Brought to account
118
ARCHITECTURE Filippo Gabbiani of Kookaistudios
126
PROPERTY Off-piste living
132
INTERIORS Sanctum
COVER 136
LANG LANG Music is the key
CULTURE 146
PHOTOGRAPHY Gina Soden
154
ART Rise and Shine
158
ART Peter Yuill
164
MUSEUM Documenting our maritime heritage
TOYS 170
CARS Best of British
INDULGENCE 180 CHEF
Écriture’s Maxime Gilbert
186
WINE Think Wine
190 TRAVEL
Interstellar inspiration
194
TRAVEL Globetrotting with Assouline
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126 Lang Lang
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HONG KONG
Joanne Ten
MANAGING DIRECTOR & PUBLISHER
Jon Wall
CHIEF EDITOR
Locky Lai
DESIGN DIRECTOR
Jing Zhang
Christopher Donnolley
EDITOR AT LARGE/STYLE DIRECTOR
Sepfry Ng
Yeeni Chow
ART DIRECTOR
Tiffany Poon
EXECUTIVE EDITOR
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SENIOR DESIGNER
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SOCIETY EDITOR
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SENIOR DIGITAL EDITOR
Ken Lai
CIRCULATION & PRODUCTION DIRECTOR
PRODUCTION OFFICER
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SENIOR DIGITAL EDITOR
DIGITAL WRITER
CONTRIBUTING EDITORS
Andrew Dembina, Peter Guy, Theresa Harold, Gary Jones, Gerrie Lim, Tasha Ling, Mathew Scott, Payal Uttam, Joe Yogerst CONTRIBUTING PHOTOGRAPHERS
Marguerite Bornhauser, Christiaan Hart, Chun Ho, Joe Kwong, Ricky Lo, Gordon Lund, Marco Ponti, Mike Ruiz, Laurent Segretier, Giovanni Squatriti, Olivier Yoan Janet Wong
Wendy Cheung
ASSOCIATE SALES DIRECTOR
Brian Bailey
ASSOCIATE SALES DIRECTOR
PARTNERSHIPS DIRECTOR
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Celine Chiu
Astor Chan
MARKETING OFFICER
MARKETING DIRECTOR
CREATIVE SERVICES MANAGER
PRESTIGE ASIA INDONESIA
MALAYSIA
Ronald Liem
Steven Chan
PUBLISHER
PUBLISHER & MANAGING DIRECTOR
Chris Hanrahan
Julie Yim
MANAGING EDITOR
SINGAPORE
TAIWAN
THAILAND
Lena Kwek
Steve Chen
Waraporn Siriboonma
PUBLISHER & EDITOR-IN-CHIEF
MANAGING DIRECTOR
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EDITOR
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Enjoy PRESTIGE in the following airport lounges T HAILAND
The Hong Kong edition of Prestige is published under licence from Burda Singapore Pte Ltd. Copyright © 2020 Hubert Burda Media Hong Kong Ltd. No part of this magazine may be reproduced without the written permission of Hubert Burda Media Hong Kong Ltd. All opinions expressed in Prestige Hong Kong are those of the writers and are not necessarily endorsed by Hubert Burda Media Hong Kong Ltd. Rights reserved. Prestige is a trademark of Burda Singapore Pte Ltd. | Hubert Burda Media Hong Kong Ltd accepts no responsibility for unsolicited manuscripts, transparencies or other materials lost or damaged in the mail. | Address all editorial and business correspondence to: Prestige Hong Kong, Unit 1006, 10/F, Capital Centre, 151 Gloucester Road, Wanchai, Hong Kong. Tel: (852) 3192 7010. | Advertising and Marketing: salesandmarketing@burda.hk | Editorial: editor@burda.hk | Prestige Hong Kong is printed by Apex Print Ltd, 11-13 Dai Kwai Street, Tai Po Industrial Estate, Tai Po, Hong kong. Tel: (852) 2660 2666. | Prestige Hong Kong is published monthly. Single copy price is HK$45. For local and overseas subscription information, please email: subscription@burda.hk. Tel: (852) 3192 7020.
EDITOR’S LETTER
THE NEW NORMAL
The sun is shining. People – albeit masked and wary – are out in the streets in force. Restaurants are, within the limitations of social-distancing idelines e innin to fill p a ain esterday saw a tra c am leadin to the central Harbour Tunnel. And for the last four days straight there’ve been no new reported cases in Hong Kong of Covid-19. Of course, by the time you read this things could have taken a step backwards, but at least at t is moment t ere s some reason to sense t at we mi t – st might – be over the worst of a crisis that came suddenly and as if from nowhere and then wreaked havoc right around the world. We’re not back to normal; in fact, we may be wondering for some time yet what normality actually is. What’s remarkable about humanity is its resilience – its ability to soldier on and grasp at optimistic outcomes no matter how bleak the circumstances. That’s certainly been true of Hong Kong in general and it applies to our little microcosm of local society here in the Prestige o ces w ere we too a e been soldiering on to bring you what we hope is some light and yet sustaining relie t ro o t it all ndeed t e man w o races t is mont s co er t e Chinese pianist who is, without doubt, the most famous classical musician on this planet, is also living proof of the power of optimism against adversity. Rising to international fame and wealth from inauspicious beginnings in a ei in sl m an an ser es as an inspiration to s all – and not only in the way he coaxes such sublime heights of artistry and emotion from both the classical repertoire and his piano. Our conversation with him appears in its entirety on page 136 and we trust you extract as much delight from reading it and we did from meeting him. o ll find more ood or mind and so l in t is mont s ma a ine too e meet locally ased artist t e e pat an c eter ill and tal to chef Maxime Gerard, who’s determined to ride the storm at his twoMichelin-star restaurant Écriture by continuing to serve superb, creative and yet en inely a t entic renc c sine talian orn arc itect ilippo Gabbiani tells us how his Kokaistudios is transforming and regenerating some heritage spaces in Shanghai and beyond. Model Cara G gives us an insight into her take on sustainable island living. Photographer Gina Soden explains how she turns ruined buildings into romantic visions. nd we o er o r er ent ope t at t is mont rin s ood ort ne to all of you.
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Jon Wall | CHIEF EDITOR
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BARCELONA, AS ENVISAGED BY ARTIST MARC DESGRANDCHAMPS AND LOUIS VUITTON
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WHAT’S NEW IN FASHION,
JEWELLERY, WATCHES, BEAUTY, DINING, TRAVEL, TOYS AND ART
agenda
AGENDA style
VIVA VERSACE E-tailer Mytheresa.com and Italian fashion house Versace launched an exclusive capsule collection for spring. Big, bold signature Versace glamour and baroque prints come in youthful pastels. Flattering dresses, minis, leggings, turtleneck, and sculpting bodysuits, firmly angled at body-conscious fashion fans — get them while you can.
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AGENDA style RED-CARPET FAVOURITE GIUSEPPE ZANOTTI GIVES US GLORIOUS RED HANNA HEELED MULES WITH FEMININE SATIN BOWS. SATIN IS REAPPEARING ON FEMALE FEET AFTER BEING SPURNED AS FROU FROU AND OVERTLY DELICATE. IN MODERN SHAPES, MAKES FOR ELEGANT PAIRING WITH GLAM EVENING GOWN OR COOL POWERSUIT
Janelle Chic
Its fresh hues and modern shape make the Bally Janelle crossbody bag a winner, especially accented by its oversized metallic Bally buckle. With storied leather brands updating their styles for younger-generation fans, we’re welcoming this incarnation in crisp white and fiery orange.
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AGENDA style
MONOGRAM ME, LV The latest range of LV monogram accessories for men are just perfection. We’re vibing with the confident bolts of colours in the backpacks (perfect travel companions we might add), bumbags and wallets, but also the cool, icy hue of this striking Messenger Taigarama Bag in Antarctica.
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AGENDA style
MameXTods
Local leathers brand-made-global success story pairs with emerging designers around the world for its T Factory project. MameXTod’s is a collaboration with Japanese designer Mame Kurogouchi for a women’s capsule. Mame’s approach is personal, attempting a collection that covers all the needs for a week’s travel, characterised by fluid lines, modular elegance and tightly edited hues (black, navy blue and tan).
Drop Dead Gorgeous
CELINE SPRING 2020 EYEWEAR RECALLS ’70S SAINT TROPEZ SPIRIT — GLAMOUR, SUN AND ROMANCE. VINTAGE-INSPIRED GLITTERED LENS AND PASTEL COLOURS MIRROR A SHIMMERING FRENCH RIVIERA COASTLINE. PLAYFUL, GORGEOUS AND BOLD ENOUGH TO DISTRACT
Ralph & Russo’s ready-to-wear is a delicious slice of glamour in an increasingly streetwear-influenced market. Taking from its couture line — which has dressed the likes of Lady Gaga, Priyanka Chopra, Angelina Jolie and practically every female A-lister you can name — the language is sleek, sensual and classically inspired, rich-girl style. This hot pink peplum jacket suit is a clever take on the women’s tux, while the sheer delicately laced full-length dress with feathered hem manages to cover and reveal at the same time. Available in Hong Kong at Joyce Boutiques.
AGENDA style Gardening Tools
“For Spring/Summer 2020, I took my cue from Diana Spencer... Clearly, she was a style icon, but I loved her fearlessness, her intelligence and, most of all, her humanity. She left a legacy of giving back that embodies what I admire most,” says petite blonde American designer Tory Burch. “This collection brings together English garden florals, a restrained volume and my own take on the Eighties.” We love the illustrative prints on the light Kira or the darker quilted Fleming camera bags.
The North Face X Kazuki “Lemon”
Oh, for the days when we all travelled freely and without concern. Once the current Covid-19 pandemic is brought under control, many of us will be planning our next holidays. I’m personally hoping for a proper adventure — hiking in Nepal or a journey in the Atlas Mountains of Morocco. Kazuki Kuraishi, longtime guest collaborator of The North Face Urban Exploration, continues with a unisex capsule for both urban and outdoors’ explorers alike, featuring a new colourway for the brand, “TNF Lemon.”
Easy Breezy
We’re sending some extra love to Italy on our style pages this month. Lightweight, relaxed looks that work for both a vacation in Mykonos or wandering around Hollywood Road in Central, Hong Kong. Ermenegildo Zegna’s latest menswear spring/summer line brings cool, fluid outfits some of our favourites being those layered pales and neutrals. Looks great with a tan.
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AGENDA style
BRIGHTEYED BEAUTY
Bright hues or neutrals, lux fabrics including gorgeous linen and textured plant fibre fabrics, runello ucinelli’s spring/summer 2020 women’s range is a veritable delight. With touches of safari and beach chic, we’re talking natural, casual style — what the brand call “a minimalism rich with authenticity and craftsmanship”. Channelling some much appreciated serenity and purity with all that relaxed tailoring, this is a literal and sartorial breath of fresh air.
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AGENDA jewellery
QUILT STITCHING
It’s been exactly 100 years since Gabrielle hanel first introduced the uilting expression the emblematic textural trademark of the maison. rom collars and cuffs to handbags and even make-up packaging, the stitching design has come to be a brand signature. In its most recent high- ewellery collection unveiling, oco ush, the tweed-like patchwork makes its way on to more delicate pieces. In particular, the slimmer rings that are e ually stylish worn individually or stacked. In its campaign, hinese supermodel iao en u presents the collection in varying sizes, materials and finishes.
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AGENDA jewellery Heavy Metal
In a balancing act to combine tradition and innovation, the lash de artier collection successfully harmonises bead and stud elements using meticulous craftsmanship to interconnect each component resulting in beautifully wearable pieces that are both fluid yet geometric simultaneously. It’s the perfect display of subtle elegance in modern ewellery design. aven broken conventional ewellery in its debut in , the new line takes on the same design codes while introducing new materials. using ust the right amount of punk and colour, the collection explores white gold and embraces tur uoise nuances of amazonite.
Girl with the Pearl Earring
There was a moment in time to be exact when the most coveted piece of ewellery was the ior Tribales earring. Such a simple design, yet so intrinsic to the brand, the double-bead studs had a long waiting list at every ior bouti ue. or spring , ior pulls at our heartstrings once again with an updated rendition of the original earring using a single radiant freshwater pearl behind the lobe, and a gold-finished natural wildflower motif before it, the sculptural shape reflects the season’s gardener theme as interpreted by aria razia hiuri. To be worn as a single or as a pair, the earring is sold individually and comes in rhodonite pearl, white pearl, grey ardiglio bead, beige asper bead and more.
What’s in a Name?
As a new decade begins, the collection synonymous with the eweller red gets a new name. Although rebranded as hance Infinie, the design codes remain untouched representing infinite oy, destiny, passion, fortune and chance, its popularity is universal. eleased in to commemorate the maison’s th anniversary, the design has become talismanic, as its subtle doubleloop design resembles the mathematical sign for infinity, the number at a -degree angle. The figure is a nod to founder red Samuel’s date of birth the eighth month of and the location of his first bouti ue in aris’ th arrondissement. In polished white, yellow and rose gold and studded with micro-set diamonds, the collection is a timeless amulet with a befitting new name.
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AGENDA jewellery SUPERABUNDANCE here do you draw the line when it comes to extravagant ewellery? hen and what is too much? According to ulgari, the answer is never. In its latest campaign celebrating An Ode to Life, oy and appiness, supermodel Lily Aldridge, ritish actress and singer aomi Scott and American star endaya capture the fierce, brave and unapologetic approach of life that ulgari’s fine ewellery represents. Taking the collections to the streets of the brand’s native ome, the three powerful women shimmer in high- ewellery Serpenti, . ero , iorever and iva’s ream. The “ ai Troppo” campaign aims to reintroduce exuberant creations that are never too much in any moment in life. .
Morning Dew
or centuries, the biggest inspiration in ewellery has always been and always will be nature. mbracing the beauty of other ature and translating it into wearable works of art has been uccellati’s mission since it was founded back in . To welcome the season of spring, the Italian eweller has handpicked a small selection of precious creations which pays homage to our surroundings. The amage pendant takes craftsmanship cues from Italian enaissance goldsmith traditions, using yellow gold to form an organic droplet silhouette with open branching latticework in white gold and brilliant-cut diamonds.
Beautiful Botanicals
Actress and Atelier Swarovski brand ambassador en lope ruz is launching her second crystal and cubic zirconia collection following her successful oonSun collection inspired by galaxy constellations. The new otanical ewels collection is an -piece range including necklaces, bracelets, cuffs, cocktail rings, convertible stud drop earrings. old pops of pink, yellow, emerald and scarlet stones are set against white pav crystals to bring out the vibrancy of the coloured gems while resembling the petals of the floral motif. The design of the collection celebrates the beauty of flora around the world, while the proceeds are dedicated to The ature onservancy T to help preserve the lands and waters that are crucial to the brand’s floral inspiration.
AGENDA jewellery
Empire State
is hometown was a constant source of inspiration for The ing of iamonds, a place now now tragically facing soaring ovid- cases. That doesn’t stop us from revisiting arry inston’s ew ork ollection, which celebrates the city that never sleeps and its landmarks through the eweller’s eyes and experiences from The earl and iamond raperie Suite, which celebrates the dynamic intersections along ifth Avenue, to the historic architecture of St. atrick’s athedral that sits bang opposite his atelier , all translated into neogothic pieces in white diamonds clusters and teardrop emeralds. hile we may not be able to travel this very moment, the intrinsic elements and energy of ew ork are with us.
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AGENDA watches
ALL A-GLITTER
Perfectly complementing Richard Mille’s bejewelled RM 07-01 ladies’ watch — not to mention the perfect way to wow that very special person on Mother’s Day — is this matching open-link strap. Light, airy and fle ibly casual in spite of dazzling with precious stones and metal, it s as much of a pleasure to wear as it is to admire.
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Divine Moon
Few watch brands do delicacy quite li e A. ange S hne, whose Little Lange 1 Moon Phase in pink gold with guilloch argent -coloured dial and white alligator strap could hardly be a more e quisite other s ay gift. owered by the hand-wound L121.2 calibre with twin mainspring barrel, it features an astronomical complication that only needs correcting by one day every 122.6 years, leaving busy mums with time for far more important things.
Stealthy Santos
Dating back more than 11 decades to the beginning of the th century, the Santos de artier arguably possesses greater historic pedigree than any other contemporary wristwatch. Contemporary, in fact, is e actly how this latest version of Cartier’s classic can be described, as it’s now available in this large 4 .5 . mm version in high-tech steel and ADLC, which comes with an interchangeable uic Switch metal bracelet and blac -rubber strap.
Time to Fly
The only watch brand legally permitted to inscribe the word “pilot” on its dials, Zenith now offers its distinctive aviator with cases in bronze and aged steel — in a smaller and more “democratic” 40mm size that s eminently wearable by women as well as men. Indeed, we thin an active mum might well be ta en by this ilot Type tra Special 4 mm in steel with a slate-grey dial.
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AGENDA watches
TIME TRAVELLER
ementing ouis Vuitton s entry to the ran s of fully fledged watch manufactures, the Tambour oon ual Time features a T complication with 4 timezones, ma ing it an ideal companion for globe-trotters of both se es not least because it s available in 5, .5 and 44mm sizes. adies versions come with blac or red dials and a precious model is available with diamond-set horns; especially dynamic, however, is the men s version in V anthracite.
Online Explosion
arnessing the power of social media, ublot has released a new watch for the first time in hina via its e hat ember entre, with three pieces of the Spirit of ig ang eca lac agic offered to ublotistas in advance of the model going on worldwide sale. ictured here is the eca ing old, which features a re-worked calibre with 10-day power reserve that’s combined with the Spirit of Big ang barrel design, and will be available in ublot boutiques shortly.
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Purple Reign
ne of three ladies watches offered by TA - euer especially for other s ay, the quartz-powered ef 4.F arrera ady features a purple dial in an elegant steel case, which is matched by a stylish alligator strap. Enhancing legibility are the dial’s silver-toned highlights.
Deco Echo
Inspired by the brand s own s design patrimony, ongines eritage lassic ef . .4. . combines stylish legibility with the feminine elegance of a blue leather strap that nicely matches its blued-steel hands. It comes in a .5mm steel case with silver dial, and also offers the alternative of a denim-effect leather Nato strap in anthracite.
Bold Femininity
Tudor s play for ladies this other s Day comes in the form of the Clair de ose, which comes in a , or 4mm case that s hewn from a solid block of stainless steel. Powered by an automatic TA movement 4 in the 4mm or in smaller sizes that offers a -hour reserve, this elegant yet practical timepiece features a screw-down crown that’s topped by a transparent blue spinel cabochon.
Snared by the Snake
ulgari turns to its seductive sna e to attract the ladies this other s ay with its Serpenti Suduttori collection of timepieces. ictured above are two glamorous models that combine the maison s e pertise in ewellery- and watch-ma ing, feature the distinctive serpent s-head design and come in steel or rose-gold cases. Both have a rose-gold bezel set with brilliant-cut diamonds and a cabochon-cut pin -rubellite-set crown.
Make a Splash
Swiss sports- and dive-watch specialist elma has come up with this Oceanmaster Antarctica, which is limited to 200 pieces. In a 44mm steel case and powered by TA s wor horse 4 automatic movement, it offers 5 bar of water resistance and features a helium escape valve as well as an eye-catching gradient blue dial. A portion of the proceeds of each watch will support the Antarctic and Southern cean oalition.
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AGENDA beauty
2-IN-1
Hydration in a tube, Dior’s new Addict Stella Halo Shine is enriched with aloe vera and beeswax, creating a hydrating formula with pearlescent finishing that lasts you through the day.
You can also enjoy the best of both worlds with Dior’s new Addict Stella Gloss. Straying from the typical sticky and dehydrating lip gloss, Dior gives us 18 lightreflecting shades infused with aloe vera and cranberry oil to nourish, condition and plump the lips. It’s designed to be used in layering with the Stella Halo Shine for a vibrant 3-D effect.
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BESIDES ITS BELOVED SKINCARE COLLECTION, DRUNK ELEPHANT RECENTLY INTRODUCED A NEW LINE OF ALCOHOL- AND FRAGRANCE-FREE BODY- AND HAIR-CARE PRODUCTS, INCLUDING BODY CLEANSER, LOTION, SHAMPOO, CONDITIONER AND EVEN DEODORANT.
Straight to the Point
Dyson has reinvented the hair flat iron — and though it’s pricey, it’s worth it. Its new Corrale is a a cordless hair straightener that features a unique flexible copper plate that gathers the hair and then straightens it using less heat than conventional straighteners, thus causing less damage to the hair. With three heat temperatures, it can create waves, curls, or ringlets, whatever the hair type.
Genie in a bottle
To achieve a dewy countenance, a hydrating essence should have a place within your skincare routine. Developed specifically for Asian skin, Lancôme’s new Clarifique Refining Enzymatic Dual Essence is enriched with French beech-bud extract to smooth, soften and brighten the skin.
J-Beauty
Specially infused with reflective pearls and highly refractive oils, Shiseido’s new shimmer GelGloss is designed to enhance your natural lip colour. Try shade Kogane Gold to add warmth, or Hakka Mint to emphasise brighter and whiter teeth.
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AGENDA beauty Helping Hands
Among the many brands that have joined the international effort to combat the Covid-19 virus is Bulgari, which has turned its perfume and cosmetics over to the production of some 50 tonnes of alcohol-based sanitising gel that will be distributed to hospitals in areas of Europe hit hardest by the pandemic.
WITH FRESH ITALIAN BERGAMOT A CLASSIC FRAGRANCE TOP NOTE, IT’S NO SURPRISE THAT DUNHILL HAS PUT ITS OWN SPIN ON THE SCENT. ENTER CENTURY BLUE, A RICH AND WOODY BLEND THAT CAPTURES THE CONTEMPORARY SIDE OF THE DUNHILL MAN Gold Crush
Following the release of its new Rouge à Lèvres lipstick and Mascara L’Obscur, Gucci Beauty has retruned with yet more makeup items. The latest collection from Alessandro Michele includes a lightweight face powder available in 12 shades and eyebrow pencils in six colours, as well as a glosseffect multi-use face gel.
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AGENDA beauty Day and Night
Be Insta-perfect anytime with Hourglass Veil Soft Focus Setting spray that will make your make-up last all day long. This ultra-fine and hydrating mist promises to smooth, set and enhance your foundation for maximum staying power.
Back to Classic
As a nod to Hubert de Givenchy’s very first collection S parables in , the brand has launched nice new unisex fragrances. rom ar on an u to Peur de Rien, each of these fragrances is designed to be worn in tandem with Accord Particulier, a signature blend of rose, ambrox and vetiver, to create more layers and intensity.
Candy Shop
When it comes to lipstick trends, milk tea has been monopolising the game. In that vein, SL eaut has now launched a new collection that comes in three colour families, including Candy Nudes, Latte Nudes and Spicy Nudes. Whether matte, glossy or creamy, the choice is yours.
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AGENDA dining
FEAST THE EYES
Specialising in French-Asian cuisine, the elegant new restaurant Pano is yet another venue at the West Kowloon Cultural District that pairs exciting food with unrivalled views across Victoria Harbour towards Hong Kong Island. As executive chef Ken Lau demonstrates, the view across the plates is nothing to scoff at, too.
What’s the Beef?
In these stay-at-home days there’s a plethora of home-delivery options with the usual suspects — pizza, pasta or, if the mood takes you, a selection from the carving table at the Mandarin Oriental’s Mandarin Grill. Selections of US prime tenderloin Beef Wellington, Wicks Farm Pork Rack, New Zealand Lamb Leg and Ping Yuen Chicken (plus delicious desserts) can be delivered to your home any night of the week, from 6-9pm, by phoning your order at least 24 hours ahead.
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Eat Your Own Cooking
One-Michelin-star Roganic Hong Kong is starting new cooking classes each Thursday, Friday and Sunday with executive chef Oli Marlow. The two weekday sessions will feature a three-course lunch and glass of wine as you learn to make two signature dishes — Irish soda bread and apple tart.
ASARAGUS TIPS: SABATINI’S CHEF CLAUDIO FAVERO IS SERVING A RANGE OF DISHES USING RARE WHITE ASPARAGUS FROM GERMANY’S BLACK FOREST
Patisserie Shares the Love
osewood ong ong’s utterfly atisserie is a showcase of extraordinary desserts from the hand of resident master pastry chef Holger Deh Chef, whose skills are evident in his technical prowess and deep understanding of European and Asian ingredients. The shop is also showing some heart by supporting those who’ve been affected by Covid-19 by donating lunchboxes to Impact HK, a charity that provides help to the homeless and less fortunate in Hong Kong. For every one of these scrumptious Or Noir tarts sold in-shop or online, an additional lunchbox will be donated!
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AGENDA travel
RETREAT INTO NATURE
In the hope that we’ll soon all be be able to recalibrate our travel horizons a little further than our own front doors, Aman is teasing the advantages of “Fresh Air and the Call of Calm” with a range of wellness programmes promoting optimal health and immune-boosting at its portfolio of resorts around the world. Pictured here is the oceanfront at Amanera in the Dominican Republic, where a three-night Holistic Immune Support Retreat will draw on “the healing power of nature, with her vast apothecary of medicinal plants and soul-cradling beauty”. Naurally the resort itself, which incorporates almost 810 hectares of hills and jungles replete with ancient trees and palms along some 11km of beautful coastline, will play a central role in achieving those worthy goals.
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Heart of the Kingdom
Six Senses has made a speciality of the Himalayan kingdom of Bhutan, where up to now it’s operated four lodges around the country. ith the opening of a fifth property, at Bumthang, its footprint is now complete. Comprising just eight suites, Six Senses Bumthang occupies a pine-forested hillside in an area that many consider to be the country’s spiritual heart. Together with the existing lodges, Bamthung offers guests a full circuit — or khamsa (journey) — of the kingdom’s western and central valleys.
Globetrotters’ Gazetteers
Long a go-to resource for those who love to globetrot in style, the Louis Vuitton Travel Book series has been augmented with new volumes on Barcelona, Morocco and Saint Petersburg. Adding a distinctive flavour to each title is specially commissioned artwork by French figurative painter arc esgrandchamps (Barcelona), Canadian contemporary artist Marcel Dzama (Morocco) and US fashion illustrator Kelly Beeman (Saint Petersburg).
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AGENDA toys HIGHWAY PATROL
Girardo & Co is offering for sale one of the world’s most glamorous cop cars, from its showrrom in Milan, Italy. A unique Ferrari 250 GTE, it was used by the Rome police department as a high-speed chase vehicle between 1963 and ’68, and, though now offered to private customers, is the only non-official car in the country permitted to carry a flashing blue light, a siren and special Squadra Volante livery. Now, what’s the Italian for, “Would you please step out of the car, sir?”
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A Bigger Splash
Production by the Italian yard Sanlorenzo of its 44Alloy superyacht is now under way, with two vessels now already sold to customers in Asia. The 44.5-metrelong yacht, which is designed by the renowned Zuccon International Project studio and is constructed entirely from aluminium, is expected to debut at the Cannes Yachting Festival in September. In addition to a three-level master cabin, it also features a lateral tender garage and a beach club.
AS POWERFUL AS IT BLENDS PERFECTLY INTO ALMOST EVERY SETTING, BANG & OLUFSEN’S NEW BEOSOUND BALANCE SPEAKER CONCEALS BENEATH ITS SOLIDWOOD AND KNITTED-TEXTILE EXTERIOR NO FEWER THAN SEVEN DRIVERS, IN AN ARRANGEMENT THAT’S DESIGNED FILL ANY DOMESTIC SPACE WITH SOUND
Aztec Artefact
Created by craftsmen using artisanal techiques and gold, this new limited-edition Montblanc Patron of Art fountain pen serves as a homage to the cultural legacy of Moctezuma I who in the 15th century ruled over the Aztec Empire in what would later become Mexico.
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AGENDA art
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CANDID GARDEN
Traditionally Chinese artists have focused on the subject of gardens and nature to communicate their personal relationship with the world and landscape. This exhibition at Alisan Fine Arts showcases Chinese ink painter Zahang Jianjun’s Rubbing Rain and First Drop works that draw upon his fascination with water. Placed alongside American multi-media artist Barbara Edelstein’s photographs and sculptures exploring the structure and forms of leaves, the gallery environment morphs into an Ineffable Garden of contemplative curiosity. Zhang is an abstract artist preoccupied by the themes of existence, time, space and transformation, and their effects on individuals and culture. His interest in the natural world and his fascination with water have inspired his First Drop of Water, Rubbing Rain and Flowing Water series, which represent an extension of his philosophical exploration of water and the visual force of ink. Further, with his Ink Rock series that investigates gongshi (naturally formed rocks traditionally admired by scholars), Zhang takes his search deeper into time as a medium in depiction the integration of nature and culture. The interface of nature and life is the foundation for Edelstein’s artworks. Her internalised interpretations of leaves, with their intricate forms, membranes and patterns, are poetically interpreted in both two and three-dimensional artworks, including photography, ink painting and sculpture. Edelstein often employs industrial materials such as silicone and modern technology combined with traditional techniques like ink on paper. Her fascination with the structural forms of leaves has led to her series of leaf sculptures, photographs and drawings, through which the artist conveys a message of universal oneness. Ineffable Garden — Zhang Jian-Jun and Barbara Edelstein at Alisan Fine Arts Central Gallery. Until May 09
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AGENDA art
Art that Cooks
As galleries have all gravitated to digital in the wake of Covid-19, Hauser & Wirth was swift out of the blocks with a new digital-content initiative, along with a series of online exhibitions. Called Dispatches, the platform consists of original homemade videos, online features, new digital exhibitions, and experiences, designed to connect viewers with artists. An Explore section features editorial stories, book recommendations, poems and musings. In Distract, parents can engage and commune with their kids via interactive learning and community experiences, including Family Saturday at Home. There’s also Cooking — using recipes submitted by artists, partners, directors, the Hauser team and friends. And Tag, in which Hauser curates favourite posts from the wider digital world. Hauser says this is just the start and in coming weeks we can expect more interactive live talks on social media and oom to link to a “wider cultural community”. Art’s digital platforms are starting to sound a lot like television. hauserwirth.com.
A Kind of Magick
Future Vibe
Literati meets digerati in the guise of Korean artist Kim Young-hun’s Diamond Mountain — Electronic Nostalgia showing at Soluna Fine Art in Hong Kong, an exhibition showcasing the artist’s vibrantly colored oil paintings inspired by the Korean landscape and digital screen glitches. Living through the analogue and digital generations, Kim observes and deciphers the unknown between the 1 and 0 of binary codes, leading him to create disoriented and euphoric paintings: inspirations such as stripe-covered lightbulbs, white noise from digital screens, and invisible vibrations from string instruments allow his works to “generate an electronic-like abstract painting language that interferes with some parts of the ambiguous boundaries of our ever-changing digital or reality lives”. As such, Kim thinks we’re looking at the world with a new pioneering perspective and what he calls a “new visual intelligence”.
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Hong Kong super curator Ying Kwok, who represented the city at the Venice Biennale in 2016, brings the timely Anonymous Society for Magick to Blindspot Gallery in Hong Kong, a group exhibition featuring Chen Wei, Hao Jingban, Lam Tung Pang, Wang Tuo and Trevor Yeung. Kwok borrows the concept of Magick from early20th-century occultist and ceremonial magician Aleister Crowley’s definition of agick as the “science of understanding oneself and one’s conditions”, in a comparative study of how artists apply that to their artistic practices. And times. Lam Tung Pang’s The Great Escape 2020, large-scale kinetic video installation references street magician Harry Houdini’s daring escape acts. Lam creates moving illusions that project the desire to escape from both the social turbulence and viral feverishness of his home city, while Chen Wei’s ensemble neon-light intallation Drifting Along (Hong Kong), offers a diagnosis of the contemporary social conditions in China and Hong Kong. Until May 23.
SOVEREIGN ART ASIA
The Sovereign Art Foundation (SAF) has shortlisted the names of mid-career artists as finalists for the Sovereign Asian Art Prize, the 16th staging of the region’s most prestigious award for contemporary artists. Initiated in 2003, SAF is a charitable organisation that raises funds for programmes that support disadvantaged children through expressive arts. For 2020, Hong Kong has the strongest representation with four artists — Chui Pui-chee, A Office, eggy han and achel heung ai-sez,
followed by South Korea and Indonesia with three each. The artists were shortlisted by a panel including Beijing’s Central Academy of Fine Arts’ professor Miao Xiaochun and contemporary Chinese artist Zhou Li. Artworks will be offered for sale at auction by Christie’s Hong Kong, with selected works available to purchase online. For now, the public can view the artworks, register auction interest and vote for their favourite online at sovereignartfoundation. com
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OUT OF BED AND INTO THE OPEN: SLEEPWEAR BY OLIVIA VON HALLE
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SLEEPWEAR CHIC, IN THE PINK, PARED-DOWN LOOKS FOR HIM AND HER
the look
WATERCOLOUR: ANDREA MANCINI, COURTESY MASSIMO ALBA
JAZZ-AGE GLAMOUR AND MESMERISING METALLICS CHANNEL THE GOLDEN ERA OF HOLLYWOOD. OPULENT TIMEPIECES AND SPARKLING, GEMSTONED FINE JEWELLERY ILLUMINATE THE BODY
ILLUMINATI
FASH I ON
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PHOTOGRAPHY CHER HIM FASHION DIRECTION JOHNNY KHOO STYLING JACQUIE ANG HAIR CHRISTVIAN GOH/ARX, USING KEVIN.MURPHY MAKE-UP MELISSA YEO, USING LAURA MERCIER PHOTOGRAPHY ASSISTANT YANG SHIHUI FASHION ASSISTANT JESSICA KHOR MODEL ZLATA KRAS AT LOOQUE TOP AND PANTS GIVENCHY OPPOSITE: SUIT PRADA HAT NINA RICCI GLOVES GUCCI JEWELLERY AND WATCH BVLGARI
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FASH I ON
OUTFIT BURBERRY
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OUTFIT HERMÈS JEWELLERY AND WATCH PIAGET FEATHER ORNAMENT, STYLIST’S OWN
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FASH I ON
TOPS, SKIRT AND BELT MSGM BERET VENNA GLOVES GUCCI
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DRESS DIOR SHOES HERMÈS JEWELLERY VAN CLEEF & ARPELS STOCKINGS, STYLIST’S OWN
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FASH I ON
SUIT AND TUNIC ALEXANDER MCQUEEN SHOES SERGIO ROSSI JEWELLERY AND WATCH PIAGET
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DRESS BOTTEGA VENETA JEWELLERY VAN CLEEF & ARPELS
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FASH I ON
OUTFIT GUCCI JEWELLERY BVLGARI
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BLOUSE, SKIRT AND SANDAL CHANEL JEWELLERY CHANEL HIGH JEWELLERY STOCKINGS, STYLIST’S OWN
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FASH I ON
PAIRED DOWN S H A R P B L A Z E R S A N D TA I L O R E D SUITING WITH SLIPS OF FEMININE L AC E O R P L E AT I N G – T H I S S E A S O N ’ S F O R M A L / I N F O R M A L D I C H OTO M Y T E L L S U S T H AT L E S S I S M O R E
PHOTOGRAPHY YUTI CHANG STYLIST MELINA CHEN MAKE-UP STING HSIEH HAIR ODYE WENG MODEL MENG-YU LAI AT LOWEN STUDIO AND REX AT INSENZE MODELS
JACKET, SHIRT, TIE AND TROUSERS BURBERRY SHOES AND SOCKS DIOR
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DERIAP NWOD D E R O L I AT D N A S R E Z A L B P R A H S ENINIMEF FO SPILS HTIW GNITIUS S ’ N O S A E S S I H T – G N I TA E L P R O E C A L Y M OTO H C I D L A M R O F N I / L A M R O F E R O M S I S S E L TA H T S U S L L E T
GNAHC ITUY YHPARGOTOHP NEHC ANILEM TSILYTS HEISH GNITS PU-EKAM GNEW EYDO RIAH OIDUTS NEWOL TA IAL UY-GNEM LEDOM SLEDOM EZNESNI TA XER DNA
JACKET, SHIRT AND TROUSERS GUCCI SHOES VERSACE
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FASH I ON JACKET JONATHAN SIMKHAI TROUSERS SALVATORE FERRAGAMO SANDALS HERMÈS EARRING VERSACE RING (LEFT) SACAI RING (RIGHT) GIVENCHY
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OUTFIT BOTTEGA VENETA
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FASH I ON DRESS GIVENCHY
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ROMPER VALENTINO
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FASH I ON OUTFIT DIOR
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COAT AND TROUSERS HERMÈS SHOES BOTTEGA VENETTA
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FASH I ON
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TOP SHIATZY CHEN TROUSERS GIORGIO ARMANI SHOES BURBERRY
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FASH I ON JACKET SALVATORE FERRAGAMO
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OUTFIT LOUIS VUITTON
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FASH I ON
STYLISH, DECADENT SLEEP & LOUNGEWEAR These days of working from home force us to look at our sleeping and slothing apparel – our personal wardrobe, literally – through new eyes, writes JING ZHANG
S
OLIVIA VON HALLE
ince WFH (working from home) became a reality for so many around the world, we decide this would be an opportune moment to revisit fashion’s pyjama trend. Stylish sleep and loungewear is an uplifting way to up the sartorial ante while we all spend more time indoors. And when event season ets into ll swin a ain some o tfits loo st as good outdoors. I’ve donned cocktail-print PJs with a clutch and stilettos for evening functions before, and plenty of men and women wear elegant robe-style jackets and velvet slippers as part of their formal party wardrobe. To pick up the mood in what can be a rather mundune daily ritual at home, we suggest some bright, zesty coloured PJs and loungewear that will awaken a room and/or statement prints that inject a bit of beauty or humour to yo r o tfit ne o t e most co eted p r eyors o sil y sens al py amas is rit pioneer li ia on alle w o came up with the idea for her brand when she lived in Shanghai and would browse the silk markets there. “I love creating products that feel new, exciting and relevant to the zeitgeist,” says the UK-based designer. “We don’t believe in following other brands or designing what we think our customers may like – it’s much more organic than that. Instead, we try to focus on just a few key styles and aim to elevate them, to make them the best they can be.” “Print has always been at the heart of the brand,” she explains. “All our prints are hand-drawn in our London studio and screen printed onto our silks, which gives them a really unique and distinctive character that’s become somewhat synonymous with the brand.” “They feel so fresh and playful paired with an exquisitely cut, timeless silhouette. I love the juxtaposition created by labouring this kind of care and attention on to something that’s traditionally been considered too utilitarian or simple to warrant it, like a pyjama, slip dress, or tracksuit.” Cool, hip and colourful with ultra contemporary prints and patterns on alle s collections are a s re fire way to invigorate your wardrobe. Also providing fun PJ sets is merican la el lice li ia sold at ane raw ord t at does long and short summer printed versions featuring their adorable cartoon icon based on the founder Stacey Bendet.
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FASH I ON SANGLOU
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LISA MARIE FERNANDEZ
BALENCIAGA
Staying at home can get seriously stylish with the plethora of brands dealing in chic sleep and loungewear these days. For daring bright bolts of colour to add positive energy, take a look at t e sa ron colo red elted r e ro e dresses rom isa Marie Fernandez (at Lane Crawford), which work for hot summer days and stylish lounging. Go full fashionista with this Balenciaga Chain print pyjama dress, which is really meant for s owin o o tdoors t ey all wear can e omewear t ese days. Also blurring the lines between home and runway is Ralph & Russo’s ultra-luxe ready-to-wear slinky Kimono tie-dye-style top or for full-blown drama, waft regally around yo r lorio s a ode in t e oor len t imono dress Some of the world’s most stylish women have been vocal about their love of being in their PJs. Kerry Washington has said that she “would wear pyjamas everyday to work if it were up to me”. Similarly Cate Blanchet prefers being in her PJs with her kids to working. Supermodel Heidi Klum has admitted to having “a whole army of pyjamas” in her wardrobe. If it’s a more zen look you’re going for, you can evoke a sense of calm with soft, high-quality comfy fabrics, in muted pastels and hues. The likes of Loro Piana do a wonderful job in this department always o erin ele ant timeless lo n ewear – their cream, white and dusky blue separates for spring summer are relaxed, ultra comfortable and always expensive looking – here’s to a hoodie that doesn’t look sloppy!
RALPH & RUSSO
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FASH I ON
RE.VITYL
‘‘IN OUR FAST-PACED LIFESTYLE, WE OFTEN FORGET THE IMPORTANCE OF SLOWING DOWN TO CARE FOR OUR HEALTH AND KEEP IN BODIES IN OPTIMAL CONDITION” — IVA MILLAREAU, RE.VITYL
For slinky, sensuality, brands like Suzhou-based lingerie and sleepwear brand Sanglou does lots of lingerie, pyjama, sleepwear and robe styles. The vertically integrated brand owns its own mulberry and silkworm farms around China, ensuring high-grade silks and silk-mix fabrics (such as the machine-washable silk-jersey pieces we so adore). There are sexy slips and underwear (with slips of lace, jersey and mesh), as well as languid pure silk robes and pure silk pyjamas (for men too) in luxurious hues, perfect for lounging around the house in style. Accessorise with gorgeous slippers that work for home and outdoors. We’re obsessed with these ultra-luxurious Bottega Woven Slides, with the Italian brand’s signature leather weave, or look to slim versions of those trendy furry slides for added femininity. We’re also loving a velvet slipper at home – there’s something just a little decadent about this fabric and the jewel-toned hues it can hold. Prada’s waterproof logo slides are a more casual, sporty option – good for running around inside and outside in the steamy Hong Kong summer heat. Sleep accessories are key – see these unisex adjustable silk eyemasks in a range of colours with healing crystal inserts by newly launched Hong Kong-New York brand Re.Vityl. “In our fast-paced lifestyle, we often forget the importance of slowing down to care for our health and keep in bodies in optimal condition,” says the Hong Kong based co-founder, Croatian native Iva Millereau. “We want to restore your wellbeing through relaxing and restorative powers of crystals, silks and plant elemental energy to maximise sleep and quality of life…”
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LORO PIANA
MEN
DESMOND & DEMPSEY
We’ve not forgotten about the men, of course. Instead of slouching around in that old hoodie and sweatpants, there’s brands like Desmond & Dempsey (available from r orter w ere yo ll find a really lo ely ran e o solid masculine colours as well as cool, modern prints on PJs for men – the dark-green palm print being a great option this season – and using organic cottons that are better for skin and the environment. The most luxurious Loro Piano cashmeres and high-quality summer linens are dreamily super-comfy and perfect for lounging in. For full decadence, turn to a luxurious Italian brand like Stefano Ricci, which has dressed the likes of Tom Cruise and Nelson Mandela, and trades in ultra-masculine, Italian-made products. The brand is famed in Italy for its silks, owing in part to its historic Florentine silk mill that makes some of the most exclusive fabrics in the world. Take a look at the midnight-blue robe with grey quilted details made from 100 percent silk and available through Stefano Ricci’s Made-to-Measure services. Go big or go home – you might as well. You can do both with the bold range of outrageously colourful Versace signature printed robes. The unabashed maximalism of t eir ran e is not or t e aint o eart – t is definitely i es out emperor vibes. But what’s wrong with that once in a w ile o can t deny o tfits li e t is will ma e yo eel rather self-indulgent while nursing that third glass of Macallan Rare Cask single malt on the sofa. It’s not called being lazy or slobby my dear; it’s called “regal lounging”. inally top o a loo wit a pair o m ted cas mere or wool slippers, simple leather slides or try dapper velvet slips on shoes – widely available at traditional men’s shoemaking labels. Accessorise and get comfy with luxurious cashmeres at home, and we’ve spotted a masculine charcoal cashmere set by Johnstons of Elgin, also available from Mr Porter – and a fabulous choice for Father’s Day coming up soon.
STEFANO RICCI JOHNSTONS OF ELGIN
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CLEAN ISLAND LIVING CARA G MCILROY CLEANS OUT HER CLOSET IN THE NAME OF SUSTAINABLE FASHION. SHE OPENS UP TO DARA CHAU ABOUT HER FASHION CHOICES ENCOURAGING A GREENER LIFESTYLE AND INVITES US IN FOR A SNEAK PEEK OF HER WARDROBE
M
odel, TV presenter, entrepreneur and mother of three, Cara G McIlroy made her name during the hype of Eurasian modelling back in the early 2000s. Since then, the fashion and beauty maven has graced the covers of major titles in Hong Kong and abroad. As her career in as ion as in enced er personal sense o style and wardrobe choices, we can’t help but wonder what the inside of this supermodel’s closet looks like. Is there an endless rotation of dresses, tops, skirts and pants in a closet styled after Cher’s in Clueless? Are there shelves and shelves of handbags coordinated by colour, size and cross-referenced by brands? How many pairs of power pumps, strappy sandals and sneakers does she own? Unlike the fantastical imagination of a fashion hoarder’s dream, McIlroy surprises us with her down-toearth wardrobe. Her concern for sustainability and the environment has driven her to make smart and conscientious fashion choices. Building an eco-friendly wardrobe over the years, she further demonstrates her support for the environment and Earth Day, which marked its 50th anniversary this year, by taking on Vestiaire Collective’s Wardrobe Reality Check Challenge. e tal ed to er to find o t more a o t t e initiati e how she recycles her children’s clothing, and the ways in which she Marie-Kondos her closet.
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Tell us about your partnership with Vestiaire Collective. What attributes do you and Vestiaire Collective share? I’m a fan of Vestiaire Collective and have always appreciated companies that care for the environment. We both believe in the idea of a circular lifestyle. I love vintage and Vestiaire Collective is a treasure trove for vintage lovers like myself. I’ve also been a fan of pre-loved fashion for years, so it made a lot of sense for us to collaborate. Why did you participate in the Wardrobe Reality Check Challenge’? It was the perfect time for me to support a fun challenge li e t is or two main reasons first as m in t e process of moving house, a good clean out is necessary and overdue; secondly, I like to jump on board and support companies t at ma e e orts in t e name o s staina ility t in as an in encer and model it s a responsi ility have — given the current position our earth is in. If I can persuade even just one follower to change some small bad habits, that’s worth it for me. What was the hardest thing in your wardrobe for you to give up? I think things I don’t wear ever, but for some reason I have a strange attachment to. I did keep a few of these pieces li e t e tee my y was wearin t e first time met im and o r first enie sta tee t t e rest let o o
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A FAN OF VINTAGE CLOTHING, CARA G BELIEVES IN THE IDEA OF A CIRCULAR LIFESTYLE
“I LIKE TO SUPPORT COMPANIES THAT MAKE AN EFFORT IN THE NAME OF SUSTAINABILITY”
ow much of your clo et i econd hand vintage? I’d say about 10-15 percent of my closet is vintage and second-hand.
What in your closet could you never give up? My Burberry trench and Gucci woollen trench. They’re timeless capsule pieces I want to hand to my girls one day. What are the main things you consider when buying fashion? Will I wear it and will it last a few years down the line. Now that you have three children, how has that a ected your uyin for the id ? I seldom buy clothes for them. I do a lot of jobs for children’s brands, so we get given so much. The rest I swap with a little tribe of mommy friends. It’s so perfect and it’s so beautiful when you see your best friends’ kids in your kids’ clothes. It makes all those wonderful memories of them wearing them come back to life. It’s truly special. How has island living changed your style? t in e always een a eac irl definitely wear swimsuits more now than when I lived in the city. Just a more casual and relaxed style now, since I’m always at the beach. e cri e your o duty loo o you have a default look? Boho style and a bit of neutral tones. I used to hate athleisure, but now I’m in it a lot since I’ve had kids. It makes me feel like I’m working out as I chase them around.
How else are you supporting green living? I try to support a lot of sustainable brands now, because I’ve become more informed about the damage the fashion industry causes to the environment. Whenever I shop, I make sure it’s pieces I really really love and they’re basic pieces that I’ll wear forever. In your opinion, how realistic is sustainability in Hong Kong? What are some of the biggest challenges you’ve been faced with? Sustainability is just as realistic in Hong Kong as it is anywhere else [in the world]. It’s the small changes we make every day that make big impacts, so it doesn’t really matter where you live. For example, we can reduce plastic use, avoid single-use cutlery, switch to bamboo toot r s es et refill pac a es or prod cts s pport sustainable brands and swap clothes with friends, and so on. These are basic things that everyone can do and there’s no excuse wherever you live. The hardest thing to be sustainable with is probably food choices in Hong on t s ard to find ood ality and s staina le produce here. For example, in Australia, it’s easier to buy ality and s staina le prod ce locally t in on Kong there’s not a lot of local choices available. But there are still other things to be done in Hong Kong. For instance, taking public transport is convenient because everyone is always in the city, whereas in Australia, everything is so spread out that public transport isn’t the easiest way ere are di erent actions t at apply wherever you are.
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JE WEL LERY
LUXURIANT LOOPS
From everyday pieces to heirloom-worthy baubles, these chokers and collars bestow grace and style to their wearers
BVLGARI COLLABORATED WITH SHEIKHA FATIMA BINT HAZZA OF ABU DHABI FOR ITS LATEST HIGH-JEWELLERY COLLECTION, JANNAH, WHICH MEANS “PARADISE” IN ARABIC. THE COLLECTION REVOLVES AROUND THE FIVE-PETALLED FLORAL MOTIF THAT ADORNS THE CARRARA MARBLE CEILINGS AND ARCHITECTURE OF ABU DHABI’S GRAND MOSQUE. IT COMPRISES 37 CREATIONS, AMONG WHICH IS THIS BREATHTAKING WHITE-GOLD NECKLACE WITH MOTHER-OFPEARL PETALS, TURQUOISE CABOCHON PISTILS ANDA FRINGE OF 11 TEARDROP TURQUOISE STONES AND PAVÉ DIAMONDS
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THE NEW TIFFANY T1 COLLECTION REIMAGINES THE TIFFANY T LINE BY BUILDING ON A PIONEERING MOTIF THAT’S BEEN FEATURED IN THE BRAND’S JEWELLERY DESIGNS SINCE THE 1980S — THE SIGNATURE “T”. DESIGNED FOR THE INDEPENDENT WOMAN WHO ALWAYS HAS A POINT OF VIEW, ITS CLEAN, GRAPHIC LINES SHOWCASE ANGULAR AND FEMININE PROPORTIONS. THE TIFFANY T1 ROSE-GOLD DIAMOND NECKLACE IS TRACED WITH BAGUETTE STONES TOTALLING 10.54 CARATS ON ONE HALF AND ROUND DIAMONDS WEIGHING 3.46 CARATS ON THE OTHER, WRAPPING AROUND THE NECK IN AN CIRCLE THAT REPRESENTS INDOMITABLE SPIRIT AND POWER
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HARRY WINSTON’S WREATH CHOKER IS REIMAGINED IN SPRING’S VIVID HUES WITH THIS CREATION FROM THE HOUSE’S LATEST HIGH-JEWELRY COLLECTION. THE ONEOF-A-KIND WINSTON IN BLOOM WREATH NECKLACE IN YELLOW GOLD AND PLATINUM IS ADORNED WITH A CORNUCOPIA OF PRECIOUS AND SEMI-PRECIOUS STONES. THE 146 GEMS, INCLUDING AQUAMARINES, DIAMONDS, SAPPHIRES, PERIDOTS AND RUBELLITES, TOTAL 123 CARATS IN A SCINTILLATING ACCOMPANIMENT TO 10 OVAL AMETHYST CABOCHONS WEIGHING 29.02 CARATS
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LAURENCE GRAFF’S JOURNEYS TO THE FAR EAST RESONATE IN CREATIONS THAT ALLUDE TO THE SIGHTS HE ENCOUNTERED. A FAVOURITE WAS THE PEONY, WHICH IS HONOURED IN THIS OPEN CHOKER. SET IN WHITE GOLD, IT’S ADORNED WITH PEAR-SHAPE AND BRILLIANTCUT DIAMONDS WEIGHING 54 CARATS. THE LAYERED PETALS FORM AN ABSTRACT MOTIF THAT WRAPS AROUND THE NECK, ENDING WITH A CLUSTER OF FIVE PEAR-SHAPE DIAMONDS THAT DRAW THE EYES TO THE DÉCOLLETAGE
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JE WEL LERY GIVEN THE POSTPONEMENT OF THIS YEAR’S CANNES FILM FESTIVAL, WHICH WOULD ALSO HAVE SERVED AS THE ANNUAL PREMIÈRE FOR CHOPARD’S RED CARPET COLLECTION, WE LOOK BACK AT THE MAISON’S 2019 OFFERING. CELEBRATING COLOUR AND DARING SHAPES WITH RICH POETIC REFERENCES, THE 72-PIECE COLLECTION APTLY CONVEYS A MESSAGE OF LOVE. IT INCLUDES THIS CHOKER RESEMBLING AN INTRICATE LACE COLLAR. EMBELLISHED WITH 216 ROYAL-BLUE SAPPHIRES WEIGHING 101.32 CARATS, 72 MARQUISECUT DIAMONDS TOTALLING 18.35 CARATS AND 432 DIAMONDS WITH A TOTAL WEIGHT OF 39.40 CARATS, IT BRINGS THE THEME TO LIFE SPLENDIDLY
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THAT NATURE IS PERENNIAL THEME OF VAN CLEEF & ARPELS IS EVIDENCED IN MANY OF THE MAISON’S JEWELLERY COLLECTIONS. TAKE, FOR INSTANCE, THIS ELEGANT ROSE-GOLD COLLAR FROM THE FOLIE DES PRÉS COLLECTION, WHICH PAYS TRIBUTE TO A WILD AND ENCHANTING NATURE WITH A GARLAND OF COLOURFUL BLOOMS. ADORNED WITH 127 RUBIES WEIGHING 23.64 CARATS AND 103 DIAMONDS TOTALLING 6.90 CARATS
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A SIGNATURE OF THE MAISON SINCE 1914, THE PANTHÈRE DE CARTIER HAS BEEN REINVENTED IN VARIOUS INTERPRETATIONS, THE CHALLENGE ALWAYS BEING TO GIVE HER LIFE AND MOVEMENT. IT’S ACHIEVED EXQUISITELY HERE AS THE PANTHÈRE IS PERCHED GRACEFULLY ON A DOUBLE-STRAND DIAMOND CHOKER, HER EMERALD EYES TRANSFIXED ON THE GROUND BELOW. SET IN WHITE GOLD WITH A BEAUTIFUL COAT OF ONYX AND DIAMONDS, THE CAT CAN BE DETACHED AND WORN AS A BROOCH
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TWEED MADE AN IMPACT ON GABRIELLE CHANEL, WHO ADAPTED THE WOOLLEN CLOTH TO WOMENSEAR. IT’S SINCE BECOME SYNONYMOUS WITH THE MAISON, A RELATIONSHIP NOW CEMENTED IN ITS FIRST DEDICATED JEWELLERY LINE, TWEED DE CHANEL. THIS COUTURE NECKLACE FLAUNTS A 10-CARAT CUSHION-CUT DIAMOND IN THE CENTRE ALONGSIDE PEARLS, SAPPHIRES AND SPINELS IN YELLOW GOLD AND PLATINUM. EMPLOYING IN-HOUSE DEVELOPED JEWELLERY-MAKING TECHNIQUES TO EXPRESS THE FABRIC’S UNIQUE CHARACTERISTICS, CRAFTSMEN DEFTLY WORK SUPPLENESS AND COMFORT INTO THE NECKLACE STRUCTURE. THE SETTING HAS ALSO BEEN PARED DOWN SO AS TO MAKE THE CHOKER SOFT TO THE TOUCH, JUST LIKE THE FABRIC ITSELF
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BLAST FROM THE PAST
Audemars Piguet’s [Re]master01 Selfwinding Chronograph re-creates a little-known 1940s classic from the archives of one of watchmaking’s most famous marques, writes JUSTIN NG
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estooned with archival references from the 1940s, Audemars Piguet’s [Re]master01 Selfwinding Chronograph is a contemporary homage to the aesthetics of a decade more usually associated with the Second World War. Preceded by the Art Deco movement and the gradual discontinuation of the mono-pusher chronograph, ’40s watches were often born out of necessity as military equipment – and inevitably the chronograph, with its ability to measure time and speed, was much in demand. However, not all watches were made for t e war e ort ome were created or t e sake of a spiritual escape – and Audemars Piguet’s Ref 1533, on which the [Re] master01 Selfwinding Chronograph is based, was one such example. As only 307 were produced between the ’30s and the’50s, it’s also one of the company’s most sought-after vintage chronographs. At the time, Audemars Piguet didn’t produce watches in anything like the numbers it does today: until 1951, every watch it made was unique, which explains why information about each timepiece is hard to come by (and, more often than not, is accompanied by tales of past owners as an intriguing backstory). Details of these vintage Audemars Piguet chronographs can be so scant that to discover more about them we must wait for their sporadic appearances in auction-house catalogues. On November 7, 2015, a 1941-vintage, pink-gold and stainless-steelencased Ref 1533 with rosé champagne dial went under the hammer at Philips in Geneva for 305,000 Swiss francs (roughly HK$2.45 million at current exchange rates). It’s said
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that only three Ref 1533 pieces in stainless steel and gold were made in that year – they were subsequently sold in 1943. It was originally estimated at 100,000-150,000 francs, though the eventual sale price seems reasonable for a watch of such rarity and prestige. During the war, when the Ref 1533 was made, chronograph wristwatches accounted for a little under one-tenth of Audemars’ total output. The 36mm dual-tone case was considered larger than average, especially when its peers measured between 31mm and 34mm. Today, however, 36mm is deemed too small for chronographs. “There were many inspiring watches within our heritage collection that could have been the basis for this remastering project,” says Michael Friedman, Audemars Piguet’s head of complications, on the company’s decision to recapture the spirit of the Ref 1533. “The entire team unanimously decided on this chronograph
wristwatc eca se o t e specific aest etic and emotional connections we all felt for this echo of the past.” Examining the Audemars Piguet [Re] master01 Selfwinding Chronograph, it’s apparent that the DNA of the Ref 1533 is well preserved, despite it not being a “historic reissue” – Friedman says that the [Re] master01 Selfwinding Chronograph “is a contemporary remastering of one of our past creations e new y ac c rono rap features a round case and teardrop-like lugs in stainless steel, enhanced by a bezel, olive-shaped pushers and chamfered crown in pink gold, not unlike that of the Ref 1533. The hand-polished case is further complemented by a satin-brushed gold-toned dial enriched with black transferred hourmarkers, pink-gold hour, minute and seconds hands, blue chronograph hands and a blue transferred tachymetre scale. The new watch has also inherited the Ref 1533’s 4/5 indication, which sits above the
15-minute marker inside the 30-minute counter at 9 o’clock, allowing the wearer to record up to 45 minutes. This idiosyncrasy can be attributed to Jacques-Louis Audemars (1910-2003), whose favourite sport was football: the 45th minute indicates half time. While the original dial design, including Art Deco-inspired fonts and the Audemars Piguet & Co Genève signature, has been retained, the layout of the sub-dials has been
altered and the case enlarged to 40mm to improve legibility, as well as to house an automatic integrated chronograph movement wit col mn w eel y ac nction and hours of power. The original Ref 1533 is manually wound, as the automatic chronograph movement wasn’t invented until 1969. The [Re]master01 Selfwinding Chronograph’s calibre 4409 is revealed
through a transparent caseback – unlike the Ref 1533, which has a closed caseback. The mo ement is fitted wit a pin old rotor with Clous de Paris motif. Paired with a light-brown hand-stitched calfskin strap to accentuate the soft, elegant colours of the watch, the [Re]master01 Selfwinding Chronograph is also shipped with a dark brown alligator strap for a stately presence and is limited to 500 pieces.
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TRUE COLOURS
CORUM TRANSFORMS LAST YEAR’S ADMIRAL 42 FULL BLACK INTO A FULLY FLEDGED COLLECTION, ALBEIT ONE WITH A TWIST, WRITES JUSTIN NG
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ith its 65th anniversary looming, Corum has set out on a quest to retrace a heritage of breaking new ground. To many t e rand as come to e defined by the Golden Bridge, a collection whose raison d’etre lies in its non-conformist, baguette-shaped calibre. The world s first linear mo ement it was t e realisation o an idea, a calculated risk that ultimately bore fruit. It’s said that Vincent Calabrese, who created the movement, was frustrated that watches at the time were customarily bought for their appearance and with no regard to what was within the case (it was, after all, the height of the quartz crisis). Determined to go against the grain, he decided to develop watches with intrinsic substance that revealed what truly mattered, and created a baguette-shape movement that would prove his point. News of its development reached the ears of Corum co-founder René Bannwart; the two met and struck up a friendship. Sharing Calbrese’s vision and convinced of the movement’s potential, Bannwart ploughed resources into its production, so much so that the Golden Bridge has been emblematic of the brand since 1980, symbolising Corum’s willingness to push the envelope. If Corum has never been part of the mainstream, its new “risk is the reward” tagline heralds the arrival of yet more adventurous, provocative and intrepidly original watc es e first set o res lts – t e dmiral tomatic ll lac – t rned o t to e an ela oration o last year s dmiral ll lac old watc wit its s a e and an lar et lac presentation t e ori inal ll Black plays on the elementary palette of white/grey on black. Spurred on by the enthusiastic reception, Corum decided to de elop it into a complete collection o fi e colours: blue, red, orange, yellow and green. “The main objective is to go against the classic codes of watchmaking by proposing a trendy watch instead of a traditional case in steel or gold,” is how the brand explains it. “Corum [also] wanted to break the codes of its dmiral collection representin classic na i ation e na tical a s o t is new dmiral tomatic are colo red in di erent as y tints or m s dmiral s p was t e first watc to eat re a water-resistant square case. The following decades saw
numerous redesigns, as well as resizing and renaming, while nautical pennants replaced hour markers that were previously based on Roman numerals. The 12 nautical pennants adhere to the International Code of Signals, indicatin n m ers sin colo red a s n t e case o t e dmiral tomatic ll lac t ese a s are presented in black with contrasting accents of a singular colour that corresponds to the respective watch. Barring the coloured outlines of the nautical pennants, Super-LumiNova, date and small-second indicator, every part of the watch is in black or deep grey, giving an a stere and ed y e ect e ni e dodeca onal mm case is made of black PVD-treated stainless steel and the dial is of blackened brass. The Dauphine hour and minute hands are also skeletonised and treated with black PVD. However, legibility remains excellent, thanks to the ri t per mi o a fillin e raised na tical pennants set against a backdrop of circular motif enhance the depth of the dial, while the largely monochromatic palette ensures the dial remains in unison wit o t ein di c lt to read e watc is paired wit a vulcanised black rubber strap that’s fastened with a PVD-treated buckle. e dmiral tomatic ll lac is powered y an a tomatic mo ement wit a o r reser e ast year s ll lac was a one o limited edition prod ced in pieces ac o t e fi e new colo red models this year are also limited to 100 examples. With water resistance rated at ar t e dmiral tomatic ll lac is t e contemporary sports watc par excellence.
“THE MAIN OBJECTIVE IS TO GO AGAINST THE CLASSIC CODES OF WATCHMAKING BY PROPOSING A TRENDY WATCH INSTEAD OF A TRADITIONAL CASE IN STEEL OR GOLD” #prestigehk | PRESTIGE
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PAS DE DEUX
The intimate merging of haute joaillerie and haute horlogerie creates precious jewellery watches that tell time fabulously
RECTANGULAR LINKS, A HEXAGONAL DIAL AND BEVELLED BRANCARDS: THE NEW MAILLON DE CARTIER WATCH SHOWCASES CARTIER’S MASTERY OF RHYTHMIC GEOMETRY. SET IN WHITE GOLD AND INLAID WITH A DIAMOND PAVÉ OF 486 BRILLIANT-CUT STONES WEIGHING 8.64 CARATS, THE WATCH WAS DESIGNED AS JEWELLERY FIRST. THE BEAUTY OF THIS ULTRA-FEMININE 16X17MM QUARTZ TIMEPIECE LIES IN THE TWIST OF THE LINES AND IN ITS TORSION. WELL-ROUNDED AND OPULENT, THE ARTICULATED BRACELET’S LINKS ARE OFFSET AND ALIGNED ON THE BIAS, A CLEVER INTERPRETATION THAT PERMITS CASE AND LINKS TO ENTWINE THEMSELVES IN ONE GRAPHIC MOTION
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TWEED DE CHANEL, THE MAISON’S ’S FIRST HIGH-JEWELLERY COLLECTION DEDICATED TO THE HAND-WOVEN SCOTTISH WOOLLEN TEXTILE, INCLUDES IN ITS STUNNING REPERTOIRE THIS BRODÉ WATCH, WITH A QUARTZ MOVEMENT, SET IN WHITE GOLD AND INLAID WITH DIAMONDS. CHANEL’S ARTISANS DEVELOPED SPECIAL ARTICULATION TECHNIQUES THAT BREATHE LIFE INTO SOLID GOLD AND PRECIOUS GEMS, WHILE HONOURING THE IRREGULARITY OF TWEED THAT SO DELIGHTED GABRIELLE CHANEL. THE PURE LINES OF THIS OPENWORKED TIMEPIECE REINFORCES ITS GRAPHIC POWER. FINELY WROUGHT CHAINS WERE METICULOUSLY HAND-LAYERED WITH DIAMONDS OF VARYNG SIZES AND CUTS, MAKING SURE TO MAINTAIN THE BRACELET’S SUPPLENESS AND COMFORT. ALSO DOTTING THE BRACELET ARE QUAINT DIAMOND CAMELLIA FLOWERS, ANOTHER FAMILIAR HOUSE EMBLEM
WATCH ES
THE MASTERFUL INTERPRETATION OF FLOWERS IN VAN CLEEF & ARPELS’ REPERTOIRE REFLECTS THE MAISON’S UNIQUE SAVOIR FAIRE THROUGH FINE GEMSTONES AND THREE-DIMENSIONAL FORMS. THE 33MM FRIVOLE SECRÈTE WHITE-GOLD-SET WATCH IS AN ODE TO THE BEAUTY OF FLORA. A DIAMOND-PAVÉ DIAL DISCREETLY REVEALS THE TIME, CONCEALED BY DELICATELY PIVOTING COROLLAS FULLY EMBELLISHED WITH DIAMONDS. WHILE THIS QUARTZ TIMEPIECE CAN BE WORN ON A NAVY GROSGRAIN BRACELET, THE PRECIOUS BOUQUET CAN ALSO BE TRANSFORMED INTO A PENDANT AND WORN ON A WHITE-GOLD CHAIN, OR MOUNTED ON A JEWELLERY STRUCTURE TO BE WORN AS A BROOCH
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INSPIRED BY BVLGARI’S ROMAN ROOTS AND THE MANCHETTES THAT GLADIATORS COILED AROUND THEIR WRISTS, THE SERPENTI MISTERIOSI ROMANI SECRET WATCH HIGHLIGHTS THE SENSUAL CHARM OF THE MAISON’S SIGNATURE SERPENT WITH SPARKLING GEMS AND A POWERFUL DESIGN. STRIKING AND MESMERISING, THE SNAKE SLITHERS AROUND THE CUFF AND CONTAINS AN UNEXPECTED TWIST — A SYSTEM OF TINY HIDDEN SPRINGS BRINGS THE CREATURE TO LIFE, MOVING EACH GEM THAT MAKES UP THE SNAKE’S HEXAGONAL SCALES. SET IN WHITE GOLD, THIS CONVERSATION PIECE IS DECORATED WITH 34 BLACK ONYX INSERTS, MARQUISE- AND BRILLIANT-CUT DIAMONDS TOTALLING 40.23 CARATS ON THE CASE, DIAL AND BRACELET, AS WELL AS A PAIR OF PEAR-SHAPED EMERALDS WEIGHING 0.55 CARATS FOR THE SNAKE’S EYES
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LAURENCE GRAFF WAS CAPTIVATED BY PEONY FLOWERS DEPICTED IN ANCIENT PAINTINGS, ENGRAVED ANTIQUITIES AND REFERENCES IN MODERN CULTURE. THUS INSPIRED, GRAFF’S PEONY COLLECTION WAS BORN. FOR THE PEONY DIAMOND SECRET WATCH, HOUSE DESIGNERS LAYERED SCULPTED PETALS AT DIFFERENT ANGLES THAT LEND A SUBTLE THREEDIMENSIONALITY TO THE TIMEPIECE. CUSTOM-CUT DIAMONDS TOTALLING 31 CARATS MIMIC THE PETALS AND EMBELLISH THE BEAUTIFULLY ARTICULATED BRACELET THAT RESEMBLES A VINE TWIRLED AROUND THE WRIST. A PAVÉ DIAMOND DIAL IS REVEALED WHEN THE UPPER PETALS OF THE PEONY ARE ROTATED TO ONE SIDE.
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FOR A TOUCH OF RED-CARPET GLAMOUR, HARRY WINSTON’S PRECIOUS EMERALD FROM THE HIGH JEWELRY TIMEPIECES COLLECTION FLAUNTS A STUNNING PLATINUM BRACELET SET WITH 136 MARQUISE-CUT DIAMONDS AND 28 BRILLIANT-CUT DIAMONDS, WEIGHING 14.95 AND 0.24 CARATS RESPECTIVELY. THE 17.5MM BY 17.5MM PLATINUM CASE FEATURES AN ELEGANT OCTAGONAL SILHOUETTE THAT REFERENCES WINSTON’S OWN FONDNESS FOR THE EMERALD CUT. FRAMED BY 20 BRILLIANT-CUT DIAMONDS SET ON THE CASE, THE GREEN DIAL IS MADE FROM HAND-PAINTED IRIDESCENT MOTHER-OF-PEARL. ADORNING THE CASE AT 5 AND 10 O’CLOCK ARE 10 MARQUISECUT DIAMONDS THAT FAN OUT FROM THE CONFINES OF THE CASE IN DYNAMIC ARRANGEMENTS THAT RECREATE THE HOUSE’S SIGNATURE CLUSTER MOTIF. THE GEM-SET BRACELET TWINKLES WITH 126 MARQUISE-CUT DIAMONDS THAT FLOW FROM THE CASE TO THE CLASP. THE SUPPORTING PLATINUM STRUCTURE AND CLAWS ARE INVISIBLE TO THE NAKED EYE, ALLOWING THE ENDLESS WHITE DIAMONDS TO DOMINATE THE SCENERY
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CHOPARD’S 2019 RED CARPET COLLECTION CELBRATES LOVE IN ALL ITS DIVERSE FORMS. THIS ARRESTING JEWELLERY WATCH IS A TESTAMENT TO THE TECHNICAL KNOW-HOW, IMPECCABLE CRAFTSMANSHIP OF THE MAISON’S HIGH-JEWELLERY WORKSHOP. IT FLAUNTS AN INTRICATE SCULPTURAL LACEWORK PATTERN ON A WIDE, FINELY WROUGHT BRACELET FASHIONED FROM WHITE GOLD. THE EXQUISITE CREATION IS ALSO BEDECKED WITH 60 CARATS OF FANCYCUT DIAMONDS, AS WELL AS EIGHT MARQUISE-CUT DIAMONDS ARRANGED LIKE A WIND ROSE ON A MOTHER-OFPEARL DIAL. TWO 4.2-CARAT FANCY LIGHT YELLOW DIAMONDS FRAME THE DIAL AS A FINISHING TOUCH
FROM THE NATIVE BLOOM LINE OF PIAGET’S GOLDEN OASIS HIGH-JEWELLERY COLLECTION COMES THE SECRET OASIS WATCH. SET IN WHITE GOLD WITH 1,188 BRILLIANT-CUT DIAMONDS AND 129 BAGUETTE-CUT DIAMONDS TOTALLING 24.90 CARATS, THE TIMEPIECE IS INSPIRED BY A DESERT MIRAGE WITH GENTLY SWAYING PALM TREES SET AMID A LUXURIANT GARDEN. CURVED DIAMOND FRONDS PARTIALLY CONCEAL THE DIAMOND PAVÉ DIAL, WHICH ILLUMINATES WITH A SPECIAL SNOW SETTING. THE UNDERSIDE IS FULLY OPENWORKED, WHICH ALLOWS LIGHT TO SHOW OFF THE STONES IN ALL THEIR GLORY. EQUIPPED WITH A 56P QUARTZ MOVEMENT, IT’S THE REMARKABLE RESULT OF 130 HOURS OF JEWELLERY WORK — THE LONGEST TIME SPENT ON A PIAGET HIGH-JEWELLERY WATCH CONSTRUCTION
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B E AUT Y
ANYTHING IS POSSIBLE WITH SUNSHINE AND A LITTLE PINK PHOTOGRAPHER JAMES FISHER CREATIVE DIRECTION, HAIR AND MAKE-UP DANI RULL STYLING ANA BLANCH DIGITAL ART HAUT TOUCH COORDINATION AND TEXT TIFFANY POON
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FINE BROW
Step up your brow game by changing the way you wear your brows for every occasion EARRING BVLGARI TOP STELLA MCCARTNEY
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B E AUT Y
FLUSHED CHEEKS
imic hot flushed cheeks with a wellblended touch of soft pigmented powder or cream blush
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JACKET BURBERRY
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B E AUT Y
DRESS DIOR GLOVES COURRÈGES
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SOFT PEEPERS Simplicity is the key to this season’s pastel eyes. A well-blended shade on clean, glowy skin makes a fresh statement MASK CHANEL
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PLUMPED LIPS Achieve kissable lips with a lipstick with a creamy finish or gloss DRESS CHLOÉ
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FULL BLOOM LASHES
on’t be afraid to experiment with colour. Apply mascara with the wand positioned horizontally, starting from the root for an even, volumised look BEANIE ALEXANDER WANG BLAZER DIOR
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FR AGR AN CE
SCENT OF VICTORY Formula 1 enters the world of fragrance with its ďŹ st m oll t o Y-JEAN MUN-DELSALLE sits down with its creators
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ormula 1 wouldn’t be Formula 1 without the smells of tyre smoke and high-octane fuel, the thrill of speed and victory sprays of champagne. Now the world’s most expensive sport is bottling that entire sensory experience in its debut perfume collection made by fragrance producers Symrise, Firmenich and Givaudan in collaboration with UK-based Designer Parfums, which was unveiled at last year’s Abu Dhabi Grand Prix. As Formula 1 sits at the cutting edge of design, engineering and tec nolo y t e idea was to introd ce a world s first y rin in o t a bottle marking a design revolution in the conservative perfume sector. So internationally renowned Welsh industrial designer Ross Lovegrove – who’s inspired by nature and its evolutionary process and a major advocate of generative design and progressive technologies – was called in to create three high-tech, futuristic 3D-printed metal exoskeletons that wrap around a suspended glass acon containin t e ra rance A project that Lovegrove worked on for the best part of two years, the result is Fluid Symmetry, Agile Embrace and Compact Suspension – each in a limited and numbered edition of 20. Previously used for aircraft or spaceship parts or the high-end medical and dental industries rather than for commercial products, 3D printing in metal as now een sed or t e first time in t e world o per me showcase of what’s possible in 3D printing today and how beautiful it can be, the three variants are like nothing seen before, as the technology to make them simply didn’t exist until now and they can’t be manufactured by any other method. “I’m very picky, so I only make any kind of design if I feel it’s a c allen e and a e t e c ance to ma e a di erent le el o contribution to a particular sector,” says Lovegrove. “I could feel that there was something interesting here. I’m trying to marry technology and form in a really new way. As an industrial designer, you have to make a commitment to use the tools that are available to you in the time in which you live. You wouldn’t make a Formula 1 car in old materials and processes. I’m interested in things that can only be made today. o to apply it in t is case in a sort o a te co t re di sion li e way, I have an opportunity to explore these principles at a very high level with the high-value pieces in metal. When I was at SpaceX, they have 3D-printing machines that mix biological, biomorphic form with base principles of engineering, and when these two co-join, you get an aesthetic that’s on one hand incredibly emotional, but on the other and ll o total scientific discipline e e plains A complex and time-consuming process, each exoskeleton requires from 15 to 35 hours to print in metal. They’re produced in Germany by
CLOCKWISE FROM OPPOSITE: F1’S DEBUT RANGE OF THREE FRAGRANCES; F1’S DIRECTOR OF MARKETING AND COMMUNICATIONS, ELLIE NORMAN; WELSH INDUSTRIAL DESIGNER ROSS LOVEGROVE
Materialise, a provider of additive manufacturing software solutions and sophisticated 3D printing services in industries ranging from healthcare, automotive and aerospace to art, design and consumer products. Rather than a predictable appearance, Lovegrove opted for an aesthetic that’s at once state of the art and sophisticated, with designs connecting back to the high-performance F1 car and driver. Referencing a wishbone-shaped cockpit-protection halo cage that’s been divided and mirrored, Fluid Symmetry in 3D-printed blasted titani m is in enced y t e car s aerodynamics to enerate a new 21st-century technological-biological design. In gold-plated, 3D-printed titanium, the feminine Agile Embrace bottle features solid, owin lines t at t e inner core ec oin ow a car str ct re envelopes and shields the driver. Compact Suspension, on the other hand, has been imagined as a multilayered spaceframe with a powerful geometric motif in 3D-printed stainless steel. Ellie Norman, Formula 1’s director of marketing and communications, explains the decision to launch a perfume to broaden the brand’s appeal. “Our focus is how do we grow the fan base and continue to diversify what is already a very global fan base,” s e says art o t at needs to e t ro ow we e plore di erent passion points. Fragrance is something that’s so emotive, and smell is the most powerful for memory recall, so it made sense for us in such a
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FR AGR AN CE
LOVEGROVE DISCUSSES THE SCULPTURAL EXOSKELETONS THAT WRAP AROUND THE PERFUME FLACONS
visceral sport that we should explore how we could partner with the best in the world to create a fragrance inspired by F1. Part of what we’re doing within the sport is expanding much more into an entertainment and media brand driven by lifestyle, so this plays perfectly into that aspect.” stomers may c oose rom a collection o fi e nise a te parfumerie scents embodying the energy and excitement of F1. “The challenge for a global brand when you’re creating a fragrance is that it s ery ard to find one ra rance t at wor s in e ery co ntry so we tried to match the territories in which F1 has a strong fan base against the territories that do well in perfumery,” says Parag Vidyarthi, Designer Parfums’ managing director. it fi e we ad a ood mi w ere at least one wo ld wor well in every territory: Europe, Latin America, the Middle East and North America, and a global fragrance that would appeal everywhere but was more s ited to ssia ay e someone doesn t li e all fi e ra rances t e eryone can find one or two t at t ey wo ld wear We evaluated each fragrance for its own merit. It was almost a blind tasting. It was important for us to come up with the best products rather than work with a particular fragrance house or perfumer.” Inspired by the courage of risk takers, Fragrance I by Louise Turner mixes long-lasting citrus freshness with spicy black pepper and pink peppercorn layered across exclusive Akigalawood set against a sensual background of leather, Indonesian patchouli and Ambroxan. Evoking burnt rubber, smoke, a sense of competition and pure emotion, the intense, woody and leathery Fragrance II by Fabrice Pellegrin combines mandarin and bergamot with a salty accord and notes of erani m reen apple and am er ris amplified wit t e tyra Vulcain captive. The only fragrance in the collection made by two perfumers – Emilie Coppermann and Alexandra Carlin – the aromatic and spicy Fragrance III is built around cinnamon, iris, tonka bean, vetiver and guaiac wood with metal pepper de Laire base. Capturing the sweet smell o ictory wit a podi m finis ra rance y ierre erros
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is based on a champagne accord representing a spray of bubbles. It opens wit spar lin mandarin er amot and lemon electrified y t e zing of Timut pepper and lavender, and contrasted by the powerful Ambrostar captive. Rich and audacious, Fragrance IV by Aliénor Massenet marries the heat of black pepper and cardamom with the coolness of juniper berries. At its heart, intoxicating narcissus is balanced by soft, mineral orris, which smoothly transitions to a masculine base fusing Madagascan vetiver, leather and sandalwood boosted with Tonkalactone. “Formula 1 is an extremely masculine and luxurious sport, but it was missing perfume, so I was super happy to create one for them,” Massenet says. y first idea was t at needed to se in redients t at ad a ery high impact, with a lot of power and testosterone, but then I thought: w y not se narciss s t s a rare and e pensi e ower t at no ody has played with before and could be very masculine, so I put a lot of spice like pepper, sage, cardamom and cinnamon. There are dry notes and a kind of sweet, fruity coconut from the Tonkalactone, a captive that gives the wow, the vroom, like when the drivers start their engines. It’s a very fearless fragrance. When I created this fragrance, I was very focused, just like the drivers need to be extremely focused and scared of nothing. For me, this fragrance is that emotion put inside a bottle.” Made to order, each of the three luxury variants is priced at wit additional finis es to e created t is year idyart i points out that buyers will subsequently be able to create their own customised resin bottle designs within set parameters, because the nat re o printin allows or t e creation in an e cient way o a single exoskeleton or small series as needed.
SEL ECT
THE WEARABLE LIGHTNESS OF BEING VAGUE, VAPOROUS AND VOGUE BY TURNS IS EMPORIO ARMANI SPRING/SUMMER 2020
IF EMPORIO ARMANI’S spring/summer 2020
duster coats, small jackets, and wraparound
collection appears to float, wisp and breeze down
deconstructed blazers (an Armani show is never
the runway, then it plays both vague and vogue
without them), co-ordinated with straight-leg or
simultaneously, living up to its fleeting, invisible
gathered-at-the-hem trousers. Dresses in
billing, titled as it is, Air. The maestro Giorgio
vaporous tulle, which in the evening can be lit up
Armani himself describes the soft colours and
by small crystals, sequins and metal strands, turn
surfaces as being redolent of an attitude that is
silvery, almost lunar.
“effortlessly feminine”. A sense of softness, lightness and even “the
Accessories accentuated the urban tone of the whole, taking discreet style into a real-life
syntax of floaty, immaterial style” pervades in a
context; high-top sneakers in faded denim and
series of soft washed-out colours such as
flats with luxe appliqués like crystals laid over
aquamarine, grey, sky blue, “greige”, powder pink
naked skin. And even the tiny plexiglas bags were
and pistachio, which never threatens to boldface
worn like jewels. Harmonious and clean, the airy
their intent. And occasional exclamation marks of
confection bespeaks the wearable lightness
acid green and cornflower blue unfurl in overlaps
of being.
of shaded or pinstriped silk with a paper effect, and ultra-lightweight crushed velvet. At times this collection feels as subtle as breath. An airy lightness dominates the shapes, which appear to sweep over the body, in fluid
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DESIGNER GRACE CHEN’S SHANGHAI STUDIO BY ARCHITECTS KOKAISTUDIO
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AN EYRIE IN THE ALPS, KEEPING HOLD OF YOUR BANK ACCOUNT,
DESIGNS ON YOUR INTERIORS
living
WE ALTH
CLINGING TO YOUR BANK ACCOUNT DURING THE CRISIS ABRUPT ACCOUNT CLOSURES AREN’T JUST VICTIMISING RETAIL CUSTOMERS, WRITES PETER GUY. HIGH-NET-WORTH CLIENTS AND THEIR FAMILY BUSINESSES ARE ALSO FACING GREATER SCRUTINY FROM BANKS
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I
n 25 years of exile, I’ve never had a frozen account, either in Switzerland or elsewhere in the world,” said the late dictator of aiti ean la de a y oc alier a ter eein to t e renc i iera o matter ow di c lt it is or e eryone else to access and retain an in ser ices rest ass red t at millionaire despots and t eir an ers are s amelessly o li io s to re lations owe er increasin ly strict and ar itrary financial re lations since t e lo al financial crisis a e prod ced now yo r client and anti money la nderin policies so strict and m r y t at an c stomers and t eir relations ip mana ers ne er really know where they stand. r pt an acco nt clos res aren t merely confined to yo r a era e retail c stomer i net wort clients and t eir amily businesses and assets continue to face more scrutiny from banks’ compliance in esti ators eparate teams cond ct d e dili ence on client ac ro nds and on oardin applications eca se t e relations ip mana er is too emotionally and commercially in ested to c t o l crati e clients nd little to no e planation will e i en eca se an s see to a oid ar ments or laws its rom dis r ntled clients e on oin o id crisis only stresses t e importance o oldin on to yo r acco nt and access to financial ser ices en acin t e spectre o anot er reat epression or ar es t e last t in anyone needs is or t eir an to send t em a p le matic letter anno ncin ser ices a e een wit drawn and t ey need to find anot er pri ate an to open t eir acco nt e pandemic is pain lly demonstratin to ric indi id als t at wealt is completely di erent rom li idity o can e ery wealt y and e cas strapped specially i mar ets and li idity collapse nd access to an in ser ices s c as t e a ility to mort a e assets as a way to con ert fi ed assets into cas is t e startin point or ac ie in li idity ere are no bad assets; only bad prices. o amo nt o le al action will e a le to recti y or reverse a closed account. No statute or common law entitles indi id als and companies to an in ser ices t s not a ri t n a di ital financial economy an indi id al can’t exist or function without a bank account or credit card o co ld e rele ated to ein a non person s erin t e same ate o millions o mi rant wor ers w o a e no access to financial ser ices e internal an o cers processin t e in esti ation and cancellation of your account is totally removed from yo r relations ip mana er a in it o t o t e ands o yo r relations ip mana er red ces t e stress o dealin wit a distra t and o tra ed client t s a case o dicial o erreac w ere too many s i tin and arbitrary laws and rules create traps for unwary and
law a idin citi ens easily t rnin t em into s spected criminals Faced with such personal liabilities, it’s much easier for bank mana ers and financial ad isors to ettison clients rat er t an fi t an p ill attle wit rdensome re lations nd t ose c ar ed wit money la nderin will no lon er e a sol ed wit only fines nstead t ey ace c ar es so onero s and lawyers w o c ar e so m c t at it can e c eaper to plead ilty an s are rel ctant to tal a o t t e process o ic in o t clients w o don t meet t eir c an in internal standards t t ey a e no c oice eca se re lators a e s own no rel ctance in le yin record settin fines or ailin to detect and control money la nderin and suspicious transactions, which is usually a part of a predicate o ence s c as ta e asion e lators a e in icted illion dollar fines on an s and pri ate an s or money la nderin ey a e orced t e costly d e dili ence work and responsibility down to banks who have proactively shut down t e acco nts o e en esta lis ed i net wort clients any of the decisions are based on risk analysis of their data bases that determine client siness and ind stry profiles t at are li ely to e tro lesome in and Banks will never announce what kind of business or wealthmana ement acco nts t ey re tryin to root o t as t at wo ld represent public-relations suicide. Instead, one only hears rumours of t e acco nts o diamond ro ers or art dealers ein closed eca se an compliance analysis as determined a relati ely i c ance o money la nderin occ rrin in t at area i net wort clients are especially lnera le as t eir in estment and business activities can be more complicated. Banks demand a detailed history of the client’s source of money, assets and business ac ro nd nd it doesn t end a ter ein on oarded to a pri ate an e lar pdates are re ired ltra i net wort clients a e complained to me t at c rrent re lations create nreasona le delays in settin p an in ser ices or o s ore companies ein sed as oldin companies e we o rules has forced banks to assume a slow and cautious approach to even mundane services such as company formation. r strated pri ate an ers e plain to me t at re lators increasin ly demand t at an s at er more ran lar in ormation a o t e ery client ne relations ip mana er said t at one o is clients succinctly declared her main source of income was “two divorces”. There was little more to add to the report. Then, an sian client co ldn t prod ce or reprod ce t e doc mentation needed to prove that his family business was funded by a personal loan from his uncle, because family members don’t enter into written a reements wit eac ot er t s not nown w et er or not an s plan to s spend t e c llin o client acco nts d rin t e pandemic t today s ncertainties ma e it more important t an e er to an on to yo r acco nts
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TRANSFORMERS FILIPPO GABBIANI, CO-FOUNDER OF DESIGN FIRM KOKAISTUDIOS, TELLS JING ZHANG ABOUT HIS JOURNEY TO CHINA’S LARGEST CITY, SUSTAINABLE ARCHITECTURE AND RADICAL RENOVATIONS
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SINTOHO RESTAURANT AT THE FOUR SEASONS HOTEL KUWAIT AT BURJ ALSHAYA
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T BELOW: THE BUND 18 BUILDING (CENTRE) ON SHANGHAI’S HISTORIC WATERFRONT. OPPOSITE: AN ORIGINAL ART DECO STAIRCASE IN THE BUILDING
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o Filippo Gabbiani, “sustainability” can mean many things. “It could be in the materials you use, renovating an existing building or the economic sustainability of a space. It could be the strategic redevelopment.” Since landing in China two decades ago with business partner Andrea Destefanis, the two Italian-born architects and founders of Kokaistudios have worked on some of the country’s most interesting projects, including the sympathetic renovation of Shanghai’s neoclassical column-fronted Bund 18, a pioneering project that lasted two years and remains a monument to a movement that’s swept the city’s skyline. When I call Gabbiani in Shanghai, he’s just about to
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prepare dinner for the family, and his son can be heard running around in the background. With two days left of his 14-day home quarantine during the Covid-19 crisis, the architect is eager to get back to business. China’s largest city is slowly returning to normal. As much as their award-winning practice has carved a niche for meticulous, elegant historical renovations, much of Kokaistudios’ work is radically challenging the “sociality” of their spaces. Although the studio was established in Venice in 2000, it relocated just two years later to Shanghai, where it’s emerged as a champion of this approach in Asia. And no matter whether the building is old or brand new, that idea – combined with the immense scalability and speed offered in Asia – it
can make architectural work utterly transformational. “When Andrea and I finish a project, we hide inside the space and watch how people experience it for the first time” Gabbiani says. “We stay there for hours.” “When you renew a stuffy former bank and make it into a new lifestyle space in Shanghai, the result can be incredible. That’s reenergising the space with a society. When you redesign a an old factory that used to house 1,000 workers into a design centre on Shanghai’s Jianguo Lu artery, as we did some years ago – the first project of this kind in the area – it’s also super-sustainable.” Winning the international competition to design the prestigious Tsinghua University Law Faculty Library in Beijing was an immense coup. Finished last year, the
building’s graphic rectangular exterior evokes traditional printing blocks and the national capital’s signature hutongs. The circular skylight atop a central three-level atrium streams natural light into the building. Soothing light wood interiors, offices, walkways, ramps and stepped seating spiral around the central void, and windows allow for striking views across the campus. The duo’s work has taken them from august institutions to clever F&B concepts like the Brasserie at the Four Seasons in Kyoto, luxury stores and innovative retail interiors for Shanghai’s Reel Mall and Hong Kong’s K11 Art Mall. But smaller-scale projects remain here and there, such as intimate residences and the revamp of a 1930s villa for a Shanghai couture house. Investing in the rennovation of beautiful but often
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“WE CREATED A PLACE FOR PEOPLE TO LINGER AND SPEND TIME IN” dilapidated European style architecture all over Shanghai, the studio promotes a sense of sustainability through preservation of this history. The old can blend seamlessly with the new sometimes, and turning the messy combination of blocks at 769 Huahai Lu into the Richemont Group’ new sleek Shanghai Headquarters is just one example. The revamped Xintai Warehouse along Suzhou Creek is another. Maintaining a sense of history while bringing life back to these once derelict areas “boosts the social engine of the space, connecting people on a urban scale”, Gabbiani says. And trust the Italians to be so adept at injecting that warm, human touch to spatial interactions. Visually, their style has a fantastic range. Just look at the holistic attitude to their design of Social House by Xintiandi, a two-floor space mixing retail, F&B and lifestyle, inside Shanghai’s Xintiandi Plaza central business district. Designed with a soothing, relaxing feminine aesthetic, this is a space for openness, exchange and vital socialising. Meanwhile, one can see in the fluid
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forms of the Altlife Bookstore in the eastern port city of Ningbo a lovely example of how organic geometry in architecture can encourage people to be curious and move around. “We created a place for people to linger and spend time in,” Gabbiani says of this lifestyle destination. Contrast that with the Tsinghau Law Library or the much heralded five-star Capella Hotel hospitality project in Shanghai, a stone’s throw from my own apartment in the city. I would often cycle by the formal red-bricked property on Yongjia Lu, admiring the traditional Chinese shikumen building typology that I knew lay inside. After living in the Chinese metropolis for 18 years, it’s no surprise that Kokaistudios has so many projects in and around Shanghai. But farther-flung cities such as Dubai, Tokyo, Paris, Singapore, Kuwait, Moscow and Kuala Lumpur have also come calling. “Kyoto was an unbelievable project,” recalls Gabbiani of the restaurant finished in 2016. “I loved it, we were working in the middle of a Unesco temple area and it was
just amazing. “At the Kyoto Four Seasons Hotel and Resort’s ‘Brasserie’, Kokaistudios took a bold leap in combining a strong architectural approach and interiors with an original use of materials and light. Refering Japanese material philosophies of interaction between nature and human design, they managed a rather seemless interplay between the 5-star Brasserie Lounge and Restaurant that faced onto a centuries-old Japanese garden and pond. Kokaistudios recently moved to big urban planning and design projects like the newly imagined Anting New Town Centre, completed last year. Beyond pure architectural design, projects like this are shaping how people interact in their towns. Covering 50,000 square metres, the urban
CLOCKWISE FROM LEFT: KOKAISTUDIOS CO-FOUNDERS ANDREA DESTEFANIS AND FILIPPO GABBIANI; ANTING TOWN’S REFURBISHED CENTRAL SQUARE; FOUR SEASONS HOTEL KYOTO
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renewal project in Anting (a satellite town 60km from Shanghai) upgraded and redesigned its Central Square, which included an elevated “twisted sail”-like canopy, while extending its four axes. The work transformed an underused, ill-equipped space” into a vibrant hub with areas to sit and socialise around a pavilion for events or games (there’s a basketball court and playground) and simply hanging out. Gabbiani and Destefanis have this habit of soaking in their handiwork through watching the physical and emotive reactions of others in the new spaces – a sort of spy-like observation after each job is one. The feeling is one of partial accomplishment. “Why partial? A lot of
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architects are never really satisfied by what they do. We do have a perfectionist nature,” Gabbiani explains. “We always say that we should design for the people, the social experience, to see how the space is lived … and sometimes architects are designing more for themselves.” So what attracted Gabbiani to architecture in the first place? Was it growing up Venice, one of world’s most famous architectural wonders? Or perhaps being raised in a family of designers, artists, art dealers and famous glass craftsmen from that ancient waterborne city? “I’ve been drawing since I was 10 years old, but originally I wanted to be an industrial designer, even after
“I WILL NEVER HAVE ANOTHER EXPERIENCE LIKE BUND 18”
I studied architecture at university,” he says with a laugh. During his studies, he and some classmates invented a new type of solar cell that was transparent like glass (poetically linked to his own family’s glass art background in Venice). But lacking the capital to bring those ideas to market left them with no choice but sell the patent to American buyers who used the technology to create solar shields used in space by Nasa. Selling the patent allowed Gabbiani to buy his house, and start Kokaistudios with Destefanis at the age of 30. But it would be many years before he landed in China. He lived and worked for firms in Canada, the US, and
then Denmark – consulting with big architecture and design companies on projects. One of those projects drew him to Hong Kong, where he soon met Ailing Chang, the art lover and entrepreneurial owner of Shanghai’s famous Bund 18 building. The Kokaistudios co-founders were the first to land in the heritage edifice, and once they’d agreed to take on the project, it quickly evolved to a team 33 people working on it full time for two years. “I’ll never have another experience like Bund 18 in my life, because we really ran everything from the start,” says Gabbiani wistfully. It’s clearly the project that has most emotional resonance even today. Arguably this was the big turning point of his career and life, allowing him to form more solid roots after years of globetrotting. Completed in 1923, the former neoclassical building was the China headquarters for the Chartered Bank of India, Australia and China, and has unparalleled panoramic views of Pudong’s famous finanical skyscrapers and the Huangpu River. It remains one of the city’s hot spots, a personal haunt when I’m in Shanghai, and home to Hakkasan, Mr and Mrs Bund, L’Atelier de Joel Robuchon, and the notorious Bar Rouge. Having set a new standard for heritage revitalisation in the city through a meticulously researched approach to restoration, the results won a 2006 Unesco Asia Pacific Award of Excellence for Cultural Heritage Conservation. “Transforming it was just amazing,” Gabbiani says, pausing, almost taken aback by the flood of memories. “I mean … can you imagine?”
ABOVE: JIANYELI WEST WING CAPELLA SHANGHAI. LEFT: RENOVATED FORMER RUBBER FACTORY IN KUNMING, YUNNAN
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COME HOME TO … A SKI CHALET
If your idea of winter-time heaven involves heading for the pistes, then you may well be in the market for a luxurious Alpine eyrie. GARY JONES scours Europe’s ritziest mountain resorts and fi sfi m o t s
HEADER BUTLER EXBOLD A CAPS 45P
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R R ALL PT
A MODERN CHALET IN FRANCE’S VAL D’ISÈRE RESORT AREA
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T
he house-hunter battle cry of “location, location, location” is especially pertinent when selecting a luxury lpine s i property and can e eard ec oin o snow-dusted slopes from Kitzbühel to Cortina d’Ampezzo. A property’s price and potential rental return, as well as lifestyle factors (shopping, dining out) to be enjoyed while in residence, can vary greatly with country and resort. According to the 2019 issue of the industry-respected International Report on Snow & Mountain Tourism, the number of annual “ski visits” globally has been relatively stable for almost two decades, o erin at a o t million e fi re as een on a rad al upward trajectory in recent years, in no small part driven by a growth in interest in skiing from China. While the United States attracts more skiers than any other country (with close to 20 percent of the global total), the most favoured region is consistently the European Alps, with the “big four” nations of Austria, France, Italy and Switzerland together capturing an impressive 44 percent of all ski visits. That popularity makes the Alps an attractive destination for ski-property investment. This is especially true in what real-estate giant Savills calls the prime mar et defined as piste side properties al ed at more t an e lo al firm s winter edition o e i Report states: “Many resorts in the Alps have seen prime property prices increase over the past 12 months, with the prime market generally seeing larger rises in value than the mainstream market.” Savills describes the top 25 percent of prime properties as “ultraprime”, and The Ski Report continues to explain in statistical detail t at t ere are si nificant ariations in demand or t ese e cl si e residences, their market prices and potential returns on investment depending on location. Savills says the American town of Aspen currently ranks as the
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global ski resort with the highest ultra-prime prices (equivalent to €44,500 per square metre), with Vail (€32,900; also in the state of Colorado) taking third position. Both Aspen and Vail are most popular with domestic buyers. All other locations in the 2019-2020 ultra-prime top 10, however, are in the European Alps, with the French resort of Courchevel 1850 (in the reliably excellent Les Trois Vallées skiing region, and named for its altitude, which averages at 1,850 metres above sea level) currently placed second (€33,400). Courchevel 1850’s most luxurious chalets are favoured by international buyers, notably from Switzerland and Russia. They come not only for perfect snow but also for the exceptional choice of Michelin-star restaurants, including acclaimed Le Chabichou by Stéphane Buron, Le Kintessence, Baumanière 1850, Le Montgomerie, Le 1947 and Sarkara; and designer shopping courtesy of Louis Vuitton, Hermès, Valentino, Loro Piana, Prada, Cartier, Fendi, Dior and the likes. Val d’Isère (€29,300), also in France and similarly always in high demand due to its well-earned reputation for luxury, is placed fourth, swiftly followed by Switzerland’s St Moritz (a smidgeon under €29,300) and Verbier (€27,600), and then Courchevel (including the sister towns of Courchevel 1300, Courchevel 1550 and Courchevel 1650), Megève (France), Andermatt (Switzerland) and Méribel (France). Most owners don’t live in their ski properties but use them as occasional winter boltholes, and so potential rental return is often a smart investment consideration. n o rc e el or e ample a top tier l ry c alet defined y Savills for this comparison as a detached, 4,000-square-foot, newly furnished property with six bedrooms, six bathrooms, valley or mountain views and spa access) might cost €12 million to buy. In the skiing high season, it could achieve a rental return of €100,000 a week.
CLOCKWISE FROM OPPOSITE: THE AUSTRIAN TOWN OF KITZBÜHEL; CHALET ALASKA AT COURCHEVEL 1850; CHALET LIVING ROOM AT SIX SENSES KITZBÜHEL ALPS
In Austria’s Tyrol, a similar chalet costing half that might pull in just €10,000 for the same peak-season rental period. That said, the medieval Tyrol village of Kitzbühel has long been fashionable with t e et set otential yers ere enefit not only rom a wide c oice of stylish, sought-after chalets regularly coming to market, but also numerous gourmet restaurants, exclusive boutiques, alluring nightlife and other après ski diversions on the doorstep. Finally, investors in ski properties are advised to consider “resort resilience sin fi e ey metrics – snow ality snow relia ility season len t altit de and temperat re – to a e t e consistency o a resort s s iin o erin Over the past three years, the same six resorts have topped Savills’ Resilience Index. In order of their ranking for 2019-2020 they were Zermatt (Switzerland), Saas-Fee (Switzerland), Breuil-Cervinia (Italy), Vail, Aspen and Obertauern (Austria).
It’s also worth noting the speed at which Andermatt, in central Switzerland’s picturesque Ursern Valley, appears to be racing up the Resilience Index, from 45th place in 2017 to its current seventh position. orderin t e protected strian nat re reser e o o e a ern – t e lar est reser e in t e entire lps – t e e cl si e resort comm nity o i enses it el lps it e elalps com is illed as t e first sustainable, zero-waste luxury hotel and residences development in the region, with chalets priced from around €5.1 million. Projected to be completed this year, and already proving a hit with green-minded buyers, the village-style resort will include 13 private chalets, 45 condominiums and a 77-room hotel, all designed by celebrated Italian architect Alberto Priolo with interiors by Sweden’s Martin Brudnizki fusing regional authenticity and local stone and wood wit contemporary air
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“Austria, France, Italy and Switzerland together capture 44 percent of all ski visits” e resort s o r or fi e ed c alets – ran in in si e rom to s are eet – are eated ia eot ermal and solar ener y with water supplied directly from an onsite spring. And while luxuriating in the warm glow of the eco-virtuous, owners can enjoy a host of Six Senses perks, from a three-storey spa to pillow menus and private chefs and nannies on call. What’s more, each chalet comes with a limited-edition Porsche aycan t e car rand s first ero emission electric model itsel worth about €170,000. Only 18 have been produced, especially for Six Senses. Smaller with three bedrooms but no less comfortable, Chalet Albert (for sale by Alpine Marketing at €3.6 million; alpinemarketing.com) nestles within walking distance of Kitzbühel’s buzzing, metropolitan centre and en oys ma nificent iews o t e near y pea s o Hahnenkamm, Wilder Kaiser and Kitzbuehel Horn. Built in the typical Tyrolean style with a widely projecting roof to protect wooden alconies t e c alet also enefits rom open itc en a do le ara e and a huge terrace with plentiful sunshine.
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In the sought-after Quartier Nogentil of upmarket Courchevel ni t ran ni t ran com is o erin a rare pac a e o two beautiful, neighbouring chalets at €15.6 million. Built in traditional Alpine style and sumptuously decorated with warm, extensively wood-panelled interiors, Chalet Alaska (living area 3,900 square feet) and Chalet Anchorage (3,000 square feet) each boast fi e edrooms and fi e at rooms deli er e ceptional iews o t e majestic Sommet de la Saulire and surrounding peaks, and are just a leisurely stroll from the much-favoured Pralong piste. Alaska’s indoor spa with heated indoor swimming pool, sauna and hammam (Turkish bath) will help ease aching muscles after days of high-octane adventures on the slopes. Anchorage’s master suite has its own private jacuzzi. Guests can also recharge batteries courtesy of the chalet’s wellness area with its own chromotherapy jacuzzi and steam room. Both properties feature large dining and living areas wit ma nificent stone fireplaces as well as spacio s terraces or o piste entertainin In the heart of the popular Swiss skiing destination of Villars-surOllon (generally known simply as Villars), Savills (savills.com) is o erin t e alet le r des ei es at million wiss rancs (about HK$71.5 million). Set in 2,000 square metres of private landscaped grounds, this substantial (6,350-square-foot) residence overlooks the Rhône valley from an altitude of 1,258 metres. With seven bedrooms and six bathrooms, the recently built chalet
is ideal for entertaining, with spacious reception rooms, luxurious li in areas la is edroom s ites s n filled alconies lar e terraces and wooded gardens. The creative layout enables the property to e confi red as a si edroom c alet and a st dio apartment or a fi e edroom c alet and a one edroom apartment ere s also a ara e or two cars as well as ma nificent iews rom all three levels of the nearby Dent du Midi mountains. op lar wit amilies illars o ers a ood ran e o s iin or all levels, two international boarding schools, an abundance of summer activities and Geneva airport just over an hour away. Also on sale by Savills, at €9.35 million, Chalet Kiliminjaro in Val d’Isère is a convenient, quintessentially Alpine chalet in the resort’s pop lar a e etta area t o ers easy access to more t an m o roomed pistes pl s a wealt o c allen in o piste r ns Spread over four levels and totalling 4,198 square feet,the ski-in, ski-out chalet is traditional in design, incorporating locally quarried stone and ar ested tim er t oasts fi e lar e edrooms and fi e bathrooms (three en suite), meaning it can easily accommodate 10 ests t also enefits rom a sa na a enero s terrace wit ac i and a semi-professional kitchen. The open-plan dining-and-living space has cathedral ceilings, a fireplace alcony and e ay windows deli erin reat ta in iews o spectac lar s rro ndin eo rap y e t ird oor master bedroom also has a large balcony.
CLOCKWISE FROM OPPOSITE, BELOW: CHALET ALBERT IN KITZBÜHEL; CHALET ALASKA IN COURCHEVEL 1850; CHALET FLEUR DES NEIGES IN VILLARS, SWITZERLAND
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FEEL GOOD IN STYLE
If you fancy admiring the gorgeousness of the Rosewood Hong Kong’s new wellness concept Asaya, the good news is that you can take home products from its Asaya retail space, curated by local firm At Liberty. You’ll be able to shop for artisanal designer interior and home products, such as luxury handwoven African rugs by Kahoko, Origin Made bi-colour marble plates (upper right), wooden stools and Shoji screens by the Ariake Collection, and those impressive one-of-a-kind, archedstone o candlesticks.
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What a Corker
rinking at home more? s too. There’s a stylish way to do things even during isolation. L’Atelier u Vin, the renowned wine-making, bottling and serving brand, showcases Le ollectionneur set, which you can find at Lane rawford. ade from walnut and equipped with a selection of wine tools, it also makes a perfect gift for the wine-lover in your life.
Holding a Candle to Tom Dixon
Tom Dixon is a fan favourite of course. This month we’re eyeballing his candelabra Swirl collection. Geometric forms or conical shapes stacked upon each other, these sculptural items will add a beautifully contemporary look to your space. Available at Tom Dixon stores and Lane rawford.
In Bed with LA DoubleJ
ashionista favourite LA ouble has gone into beddings and textiles with the same happy Italian exuberance that it does its tableware and women’s fashion. ournalist, street-style star and founder artin has made a name with joyful, colourful and busy prints that command attention. The olombo print bedding sets from Lane rawford’s home section are made from luxurious 300-thread-count cotton with a satin finish, featuring fluttering birds and blooming florals.
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ARMCHAIR TRAVEL WITH ASSOULINE: THE SHER-DOR MADRASSAH IN SAMARKAND
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LAIDBACK WITH LANG LANG, A TASTE OF FRANCE, THE ART OF RUINED BUILDINGSMARITIME MUSINGS
the well
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JACKET AND TOPS BRUNO CUCINELLI TROUSERS ZEGNA WATCH HUBLOT BIG BANG UNICO RAINBOW KING GOLD
“MUSIC IS LIKE LANGUAGE. IF YOU ONLY LISTEN BUT DON’T TALK IT’S NOT SO MUCH FUN” ONCE THE BOY WONDER OF CLASSICAL MUSIC, SUPERSTAR PIANIST LANG LANG NOW TEMPERS HIS FLAMBOYANT VIRTUOSITY WITH A NEW-FOUND INTELLECTUAL RIGOUR, AND IS DEVOTING MORE ENERGY TO HIS EDUCATIONAL FOUNDATION
WORDS JON WALL PHOTOGRAPHY RICKY LO ART DIRECTION SEPFRY NG HAIR AND MAKE-UP KIDD SUN PHOTOGRAPHY ASSISTANT WEST NG STYLING ASSISTANT LAU BO LOCATION THE GENTRY CLUB, K11 MUSEA
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ne of the most famous classical musicians in the world today – and certainly one the best-known concert pianists – Lang Lang, who took up the instrument at the age of three and was performing and winning competitions just two years later, is, at the age of 37, something of a phenomenon. Named by Time magazine in 2009 as one of the 100 Most n ential eople in t e orld e s played or princes presidents and prime ministers, and has been repeatedly praised not only for his absolute mastery of his chosen instr ment t also or is tireless e orts as an ed cator and populariser of classical music, which can only be described as evangelical. Born in the northern Chinese industrial city of Shenyang in 1982, as a child he was driven mercilessly by his policeman at er w o d decided t at is son wo ld ecome the greatest classical musician in the country. In the event – and after one major hiccup when, at the age of nine, he was told y is t en teac er t at e d ne er ma e it as a concert pianist – he achieved much more than that. In his mid-teens he and his father left the Beijing slum where t ey d een li in and mo ed to t e nited tates an Lang enrolled at the famous Curtis Institute of Music in iladelp ia and two years later rst on to t e international stage after standing in with the Chicago ymp ony rc estra or a sic ndr atts ince t en e s li ed li e a roc star o no in wit rappers and superstars of sport, with whose lifestyles he o ten identifies nown initially or is da lin tec ni e and deeply emotional interpretations of the romantic repertoire, including works by Chopin, Rachmaninov and c ai o s y e s also colla orated wit a m sicians s c as Herbie Hancock, the singer-songwriter Billy Joel and even the rock bank Metallica, as well as recording music for the video game Gran Turismo 5. An injury to his left arm in 2017 threatened to destroy his career and kept him from performing for more than a year; his return to the stage has seen him exploring the more cerebral side of his prodigious talent by focussing on rigorously intellectual works, such as ac s Goldberg Variations. And last year his life took another c an e o direction w en e married t e erman orean pianist Gina Alice Redlinger; the couple divide their time etween omes in ei in aris and ew or
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n on on or a pri ate per ormance earlier t is year Lang Lang found time to sit for an exclusive photo shoot with Prestige, talking to everyone and delighting them with his easy charm and self-deprecatory humour. Although now nearer 40 than 30, he brimmed with an enthusiasm that can only be called boyish, revealing himself to be a born communicator and talking at length – and in an accent located midway in t e acific etween ina and ort America – about his educational foundation and its frankly inspirational aim to spread a knowledge and love of music to young people around the world.
When you look back on your life, does it surprise you how far you’ve come and where you find yourself now? ea it s a ma or s rprise act ally always dreamed w en was a kid of having a good career, a good life as an artist, and m ort nate to a e ac ie ed t at t wasn t easy – it was very challenging – but at the end of the day I was lucky, because I made my career and that dream has turned into something even more exciting. After growing a little older m doin e en more e citin t in s so yes it s een ite a surprise. Was there a time when you thought you wouldn’t achieve your ambition to become a concert pianist? t s w at always t o t was oin to do in my li e although there were two periods when I had second thoughts. en was nine years old t o t t at d pro a ly ne er ma e it a ter my teac er in ei in asically fired me la s – t o t t en t at may e didn t a e a c ance e second time was just after I arrived in America, and found t ere were so many talented pianists t at it was di c lt to et started in my professional career. Competitions are one thing, t a real pro essional career is ite anot er t t at time also had some doubts, that it would be hard to achieve what I wanted, to be a world-class musician, that maybe before I got t ere d e ried wo ldn t say elt li e i in p – well when I gave up for three months when I was nine, I really was i in p – t t e second time alt o was still ite positi e was t in in t at i co ldn t ma e it t ere wo ld have to be an alternative. And then somehow I got this big rea someone ot sic la s and t at s ow ot my career going.
JACKET, SHIRTS AND TROUSERS HERMÈS WATCH HUBLOT CLASSIC FUSION CHRONOGRAPH GARAGE ITALIA
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Was it always going to be the piano, or was there another instrument? And was it the music that led you to the piano or the piano to music? t s ind o ot eca se t e piano wit o t m sic is asically a tool la s t m sic wit o t t e piano is not that exciting, because the piano is not only a melodic instr ment t it s also perc ssi e at s t e reat t in about the piano, you can create a lot of dimensions, a lot of combinations. Were there any particular pieces of music that inspired you to become a pianist? es t ere were certainly some is year recorded t e Piano Book in w ic a o t percent o t e pieces are t e ones that I was practising as a kid, like the Mozart “Twinkle win le Ah, Vous Dirai-Je Maman t e ac min et eet o en s Für Elise, Czerny Études, the Clementi Sonatina – and there are even some Chinese folk tunes – so those are the main memories of me as a boy, practising all the time and ot erin t e nei o rs Have these pieces stayed with you throughout your career as part of your repertoire, which you go back to all the time? es li e t e c ai o s y Piano Concerto, Chopin waltzes and nocturnes, Beethoven sonatas certainly, and Mozart, a lot of o art pieces eca se w en yo re really yo n yo re not a raid o playin o art – t o o io sly it doesn t sound that good because Mozart is so precise, and as a kid it s really ard to play it at a i le el o most o t e o art sonatas e ad to re learn a ain and a ain is year or me t e main oc s – t e main c allen e – is ac s Goldberg Variations. Those are also pieces I learned when I was or inspired y t e rilliant and somew at eccentric anadian pianist lenn o ld o t ere are some pieces that you have to prepare for many years before you record them, like the last few Beethoven sonatas, which yo wo ldn t record w en yo re la s t wo ld e ridiculous. But Chopin Études, that can be very nice if you record it at or years old eca se tec nically yo re already playing pretty fast and pretty accurately. Did you grow up in the public spotlight and was that difficult? ot so m c act ally en yo start yo n yo need to a e a i eart yo re ery ra ile t en yo ll always et rt emotionally was l c y in t e way t at started ite early n t e e innin was ite ood t y t e time reached a certain age I never felt I was the best – I thought I
was the challenger. I always felt that there were a lot of great youngsters playing so well that I had to learn from them. Some kids are already starting to concertise as professionals at 12 or 13 years old, playing 70 to 100 concerts a year, and are already making recordings for the top four record companies t en it was t e top si now it s o r and was looking at those kids and obviously I admired them. But I adn t started playin internationally at or not li e the real child prodigies. So in a way I am sort of a child prodi y in t e re ional sense la s t wasn t so well known internationally. Even when I got to America there were a few kids ahead of me, who were already making record deals and playing wit t e ew or il armonic so oped t at someday would get there too. By the time I really started my career I was already or so d ad t ree years o not per ormin a lot. I gave maybe only 20 concerts, and those were more like practising, like warming up in churches or playing in on iew e as or e ras a w ic was ood eca se d started to build up my repertoire. So when I began my real career t e ood news was t at was already e ipped wit a lot of new repertoire. In that way I was fortunate, because if d started concertisin internationally at ei t or and ma in record deals t in wo ldn t a e een ready and could have burned out in a short time.
When you were in your twenties you must have had a pretty brutal schedule. The scheduling was crazy. Now I look back and I see that I was at my siest etween t e a e o to t m appy now eca se or t e last fi e years m no lon er t e siest pianist t s antastic yo now la in t is is a real ac ie ement wasn t doin so m c recordin t was doing about 125 concerts a year, sometimes even more. oo en oyed it yo a e to t s li e ein an star or a player in the European Champions League – you have to play in your national league, national cup and European c p and yo also a e to play or yo r national team at s exactly how it was for me.
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TOP GUCCI TROUSERS ZEGNA WATCH HUBLOT SPIRIT OF BIG BANG YELLOW SAPPHIRE
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“I WANTED TO BROADEN MY REPERTOIRE, BUT I’LL STILL PLAY RACHMANINOV AND TCHAIKOVSKY”
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How does your schedule now compare to before? You had an injury to your arm and you came back… … a year and a half ago. Now I try to make my scheduling, say sia percent rope percent t e percent and another 10 percent elsewhere. I now perform about 80 a year t s still ite a lot t not compared wit t t ere s a lot o ot er t in s a e to do eca se a e my sc ools and my o ndation wor t s not easier t wit fewer concerts there is more balance. Let’s talk about the foundation. esta lis ed t e an an nternational sic o ndation in t s somet in always dreamed a o t en was a id not only wanted to realise my ambitions but to help some of my friends achieve theirs. There were a lot of kids growing up with me who were also very talented but sometimes they lacked opportunities, good teachers and a good environment, so I was always trying to support them, because we all had the same dream – of being a musician. So in 2008 – that was the Olympics year in Beijing when I played at the opening, which was a bit overwhelming, as it was pro a ly my first milestone career mp – t o t that maybe I could use this as a platform to do something or ot er people t was ite l c y at t e o ndation s grand opening we had the help of the Grammy Foundation, arne ie all and a ew ma or an s so in t e first ew years we were able to achieve a lot, in terms of funding, very ic ly t o r first nd raiser we reac ed million so we were a le to start findin t e est yo n pianists aro nd t e world and pro ide t em wit sc olars ips e teamed up with Carnegie Hall, the Royal Albert Hall and the Musikverein in Vienna to give them the opportunity to perform – and with the help of Oxford, Juilliard and the Royal College of Music we built up this network to train t em o t at was t e first step n merica most p lic sc ools don t a e m sic classes w ic is ery sad t s somet in o nd w en first came to America and was taking classes at Curtis, that in the public schools there was nothing. All of my classmates had zero knowledge of traditional music or even that Mozart ever existed. ere are two reasons w y t ere s no m sic trainin in p lic sc ools irst t ere s not eno ndin so w en t ey loo o er t e d et t e first t in s t ey c t are t e arts and music. And the second thing is that the way of
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learning music in the past was very academic – you read the note and sang a line. But today, because of new technology, like smartphones, smart pianos and smart methods, you can learn music in a much more casual and more direct way. o can in ol e yo rsel rat er t an st listen to w at yo re s pposed to do sic is li e lan a e yo only listen t don t tal it s not so m c n – it s li e a comp ter wit o t t e internet o a e to e inside the music. Our new way is what we call t e eys o nspiration m sic class w ere e ery c ild as a keyboard and a tablet device in front of them. The teacher is li e a wit eadp ones on and says want t e first piano to do this and I want the second piano to do that,” so it s li e ildin p a piano orc estra e way t ey learn is like playing games – children get much more involved and t in can do it t is is easy t s n w ic is w at m sic is supposed to be. So not only is this a new way, but also e eryt in costs less o can wire it p wit classrooms in India or Russia, so in a way we can involve everybody with no transportation costs, and now we have 70 schools worldwide.
Earlier we were talking about your repertoire and that you were now playing a lot more Goldberg Variations, Mozart, etc. es wanted to roaden my repertoire t ll still play Rachmaninov and Tchaikovsky. For me the challenge is not just … well I know how fast I can play and how powerfully I can play, but my goal is to play the more intellectual pieces. t s not in to do wit w et er m capa le or not it s more t at pre er to mo e in t at direction t ll contin e to play the romantic repertoire, too – that will never change. If you hadn’t been a concert pianist, what would you have done? I would say someone who can communicate, because it doesn t matter w et er it s m sic or somet in else li e to talk to people, I like to get to know what they need and what they like. You recently got married. How has that changed your life? or t e etter n a way it s ecome more sta le t s a new e innin anot er start t s reat w en yo re married to t e ri t person and at t e ri t time t re ired a lot o t o t – it s not a decision yo can ma e st li e t at and t in m ort nate to a e made t e ri t decision ince I now have a family I have more life outside of music than before. And during my recent one-year-and-three-month break I obviously had a lot of family time. So I just stayed ome en oyed a c p o tea and tal ed a o t li e
JACKET HERMÈS TOPS BRUNELLO CUCINELLI WATCH HUBLOT BIG BANG UNICO RAINBOW KING GOLD
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MILITARY HOSPITAL OPERATING THEATRE
ROMANCE AMONG THE RUINS British artist GINA SODEN tells jing zhang about finding beauty in the haunting decay of once-glorious architecture
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ee huge sweeping arches, rich Rococo detailing, domed canopies and cracked windows, all heavy with dust and the weight of history. Ornate frescoed villas, palaces and theatres, their colours once bright, now faded, and interiors dilapidated over years. Each is lit with gentle sunlight breaking through, shadows cast over the stories and dramas lived under grand chandeliers and heavy curtains in spaces once filled with life. “I want to evoke a sense of narrative and the life of the building, and try to avoid a documentary look,” says the award-winning British photographer and artist Gina Soden. “I love bright colours, patterns and that ‘wow’ effect. I also love a bit of mystery, so try not to give too much away. I want to leave the viewer with more questions than answers.” For the young British artist, it’s all hinged on emotive images of beautiful buildings and interiors in states of decay, with nature sometimes invading abandoned human construction. She’s staked her claim in the art world with this niche, recently taking commissions from The Hoxton hotels (for its new Paris property) and Soho House (to produce new works for the Barcelona, New York, London and Amsterdam houses and its London hotel The Ned). Her work packs a powerful punch, in 2018 winning her UK Artist of the Year and Photographer of the Year at the Rise Art Prize (the
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biggest open art competition in the UK) with Klinik, a photograph of an abandoned sanatorium. These forgotten buildings are given regal presentation with Soden’s stunning knack for photographic composition, symmetry and Renaissance-esque perspective. Viewers are usually soothed when looking at the works, but some reactions have been more extreme. “Someone cried once at an art fair, as they were so moved,” Soden recalls. “That was surprising!” Perhaps it’s due to the elegant classicism, beauty in the midst of desolation and collapse, or how colours sometimes drench a piece, overwhelming the gaze with emeralds, turquoises, dusty pinks, powder blues and sunlight hues ranging from soft amber to hot terracotta. Or maybe it’s the poignant reminder of time, death and decay. “A few of my pieces really illustrate the passing of time,” explains the artist, distinguished by her ever-changing, rainbow-ranged locks, as she shows me her spacious new studio in Reading, Southeast England, via Facetime, “Thermale is an abandoned spa complex and looks so ancient and grand. Ivy is from an abandoned asylum and the ivy creeping along the floor was just beautiful. And Tree in Room – this was photographed in a summer camp and on the second floor a tree was growing through the floor, and during my second visit it had already grown massively! Some buildings seem to decay more than others … it depends on the country and location, though, and how well-known or well-guarded it is.”
GINA SODEN POSES IN ONE OF HER SUBJECTS. OPPOSITE: A CHURCH INTERIOR HAND-PRINTED ON TO AN OLD MIRROR
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CONTROL ROOM. OPPOSITE: THERMALE
Soden’s process is so much more than just taking the picture. It involves months of research, often through dense forests and meadows, abandoned complexes and lockedup buildings deemed unsafe for the public Most recently, Soden exhibited at The Other Art Fair and Archaeologies, a 2019 group show at the Charlie Smith Gallery, curated by Zavier Ellis. Her work has shown at New York’s Pulse Art Fair, London’s Art15, the London Art Fair, te Photo Art Fair and Photo London, held at Somerset House. A Hong Kong connection comes from being exhibited early in her career at the now-closed Cat Street Gallery in Sheung Wan, before she picked up prizes like the 2014 The Naylor Award for the Finest Photograph, and the Secret Art Prize the same year with a piece called Les Histoires. She blends different exposures together to capture all those details in a single image, creating that very painterly look. She’s deviated from realism with a kaleidoscopic series, an abstract departure that plays with geometries, and has developed a process of hand-printing her images on to found antique “mirrors, marble and metals, treated and corroded with industrial tools and materials, culminating in the Corrodium series – a current self-professed career highlight. The Ingresso series also holds a special place in her heart, but she tells me that the most meaningful would be Retrogression.
“It came from a huge week-long road trip in 2012 with three friends. I was shooting not knowing I’d be creating a series from it and so was fully relaxed about the outcome. After that, everything changed! This was my first step into the art world. The series was really successful, I got a huge amount of press and lots of things happened afterwards, for which I am very grateful.” Soden’s process is so much more than just taking the picture. It involves months of research, often through dense forests and meadows, abandoned complexes and locked-up buildings deemed unsafe for the public. She could be hiding or being chased by security guards around closed-down schools, asylums, villas or power plants. The victory of finding something breathtaking and incredible is punctuated by occasions when “hours of research disappears down the toilet as the building was demolished a few months ago” – the whole affair can be a hugely emotional rollercoaster, she says. No doubt these rollercoaster pursuits have paid off handsomely, landing her in CNN Style and in the pages of the Financial Times, the Telegraph, Dazed & Confused magazine, the British Journal of Photography and Casa Vogue.
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Her work has been focussed on Europe (Italy specifically) so far – not surprisingly, for the sheer wealth and density of grand old buildings. “Italy just had me hooked for the last few years and I simply can’t get enough of it. I’ve not even travelled further south than Naples, so there’s still so much more to do there.” From there come the Italian Renaissance references: seen in that sense of depth and her obsession “with single-point perspectives while creating a painterly aesthetic in post-production … unconsciously, it perhaps all ties together to that look.” That being said, Soden is keen to explore Georgia, Japan, Cuba, Taiwan, Lebanon and Russia next. The USA is also high on her list, despite being put off by gun-toting security guards and police. Unusually for modern photographers, Soden prefers to use natural light, occasionally – but rarely – adding a torch. Ideally, she visits locations first thing in the morning “with diffused light creating soft shadows and picking out the highlight details”, or else, she explains, “it’s golden hour for obvious reasons” if logistics allow. Admittedly, I love her work – there’s already one piece hanging in my new London apartment, and I’ve just ordered three more. Her knack for enlivening these ruinous structures pushes the boundaries of beauty, decay, nostalgia and neglect. It’s perhaps all the more appreciated when thinking of Soden’s journeys to each location. “The act of gaining unlicensed access is a full-body workout, soaked in anticipation, nerves, excitement and the paranoia of getting caught or disappointment when you can’t find a way into the building,” she says, laughing. “Then all the hours of hard work and long-distance travel ends in one of two ways: either the sheer dismay of all the work up until that point amounting to nothing, or utter elation of stepping into an amazing location and being completely undisturbed.”
ART IN THE TIME OF COVID
Cancelled shows, fairs and gallery events, people told to stay at home, public life gone — the creative economy (among others) is under threat because of Covid-19. So how are Gina Soden and her fellow young artists adapting to this? “Oh it’s such a crazy difficult time for so many people,” she says. “I was meant to start work on a new series at my five-week art residency at Villa Lena in Tuscany, which will now be postponed until next April,” she says. “I was so gutted about it, but I think it’s reminded me what’s important — to have a roof over my head for my husband, family and friends all to be safe and well. What more can you ask for in these unprecedented times?” Working alone in isolation is nothing new for most artists but selling in isolation is proving to be harder. Digital platforms, and apps such as Instagram have helped hugely. Soden has taken up a “genius” initiative by Matthew Burrows: artists selling artworks priced at a maximum of £200, and once each artist reaches £1,000-worth of sales, they pay it forward by purchasing another artist’s work. She’s received a flood of orders by eager fans over her @ginasodenartist Instagram account already. It’s proved a great way to support young creative talent and acquire accessible pieces that bring beauty into our homes, especially since we’re now spending so much time in them. TALK
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CULT UR E
RYAN SCHNEIDER, HOLDING UP THE SUN, 2020. OPPOSITE: LEROY NEIMAN, KNICKS VS LAKERS, 2011
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BRIGHT SHINING STARS A am l at s t
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on on allery er t e n ence as e panded its premises y ta in o er t e lower oor o its c rrent location on ollywood oad and as een cele ratin t e mo e wit a si nificant e i ition eat rin an e citin line p o emer in and esta lis ed ased artists e e i ition titled s a re ects t e dynamism o pop lar contemporary art today in partic lar t e ea y in ence rom mo ements in t e e presentation incl des new sc lpt ral wor s y icasio ernande and yan c neider alon side paintin s y dam eris onni eatwood ndy i on aron o nson e oy eiman and ri ar er amilla n strom os a e oc in and os eames are s owin t eir wor s or t e first time wit t e allery w ic as a sister esta lis ment in os n eles e re pleased to e pand t e space and a e t e opport nity to present more e citin pro rams to o r a dience says allery director lliana oi t a time o nprecedented c allen es and ncertainty we wis to demonstrate o r commitment to artists and
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THE EXHIBITION REFLECTS THE DYNAMISM OF POPULAR CONTEMPORARY ART TODAY
art and wealt ses common istorical tropes to reima ine still li e and odalis e paintin s as an a ency or desire onni eatwood e ins is paintin s wit direct mar s and s i les to ild compositions o er time e ra ti li e scri les scratc es and primiti e colo rs are t e controlled c aotic wor o an pressionist lso playin wit t e alance etween npredicta ility and control a straction and fi ration painterly l rs and minimalist ard ed es aron o nson s paintin s loo into t e idity o s apes orms and colo rs and t e interconnectedness t at mani ests in etween ri ar er s seemin ly is al reestyle wor s com ine elements o contemporary c lt re into a narrati e ow o politics m sic internet memes all cinatory dreams conspiracy t eories and t e iero lyp ics o ario s s c lt res ac ed wit re erences is wor s e ploit today s amiliar eelin o oc lar om ardment t ro a cacop ony o is al so rces nown or lendin a op rt sensi ility wit a ist yet e pressionistic r s wor e oy eiman relentlessly depicted s ects t at ran e rom as et all star t rned politician ill radley to sprawlin n lis ardens is paintin s and prints a e een eat red in ma a ines and s own internationally as well as ein collected y m se ms t at incl de t e rt nstit te o ica o and t e mit sonian merican rt se m in as in ton
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CLOCKWISE FROM FAR LEFT: NICASIO FERNANDEZ, HEAD SHOT, 2020; RISE AND SHINE INSTALLATION AT OVER THE INFLUENCE GALLERY; ARTIST JONNI CHEATWOOD
wedis artist amilla n strom s practice encompasses paintin drawin sc lpt re and poetry e e plores a to io rap ical topics t ro mo r s rrealistic landscapes and fi rati e e pression ssian merican painter os a e oc in is est nown or is lar er scale acrylic wor s in t e comic oo tradition o ligne claire is wor represents t e armonio s interactions o s ects w o nat rally dismissin t e o nds o c lt ral e emony are a le to o ercome and adapt to complicated sit ations os eames employs a series o commonly sed artist tec ni es to create o ect filled can ases wit layers o mar s art istorical re erences rap ics si ns and daily o ects e orderless ality o t e paintin s are reminiscent o t e infinite scroll o t e online world we are dwellin in now Rise and Shine is showing until May 9
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CIRCULAR LOGIC
Hong Kong-based artist PETER YUILL reconciles the logical with the spiritual through the trademark device of a circle, writes FLORENCE TSAI
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CULT UR E
orn and raised in Ontario, Canada, Hong Kong-based artist Peter Yuill has been making waves on the local scene this year with his solo exhibition Alignment at newly opened Gallery HZ on Hollywood Road. Following a starstudded attendance at his previews in Soho House Hong Kong, which saw politician John Tsang, singer/actress oyce en and oiselle eiress i any an amon t e crowd art aficionados and artists ali e concede t at t is will e a transformative year for him. Perhaps what strikes viewers the most is how the artist’s appearance and t e art e prod ces di er dramatically all ri ly ear li e and covered in tattoos, Yuill is a friendly giant who can converse with anyone with light-hearted ease. However, the art he produces is clean, minimal, Zen, extremely detailed and somewhat intimidating. Highly analytical and technical in appearance, his circular paradigm has become a trademark that’s inspired by the interconnectedness of the
LEFT: AS ABOVE, SO BELOW. BELOW RIGHT: INSIDE THE VORTEX. BOTH INK AND METALLIC PAINT ON COTTON RAG
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universe and the inevitable limitations of humans in their understanding of all the secrets of nature. In his show, Yuill turns t e dic otomo s relations ip etween t e infinite and t e limited into a powerful narrative of liberation through which he’s indeed achieved the alignment between his artistic and spiritual development. Spirituality is a consistent theme in his exhibition, which is no surprise given his own strong spirituality and interest in the topic. Indeed, as he’s married to feng shui designer Thierry Chow, daughter of the famed feng shui master Chow Hon Ming, you could say that the theme dominates his life. In 2017, Yuill released an acclaimed series of works with static line, circular form and monochromatic shapes drawn and arranged by hand. The series represented his o rney in findin t e synt esis etween two seemin ly parado ical realms – his logical mind and inner self. Since then, he continues this journey by further reducing his pictorial vocabulary to a single shape – a circle – and finds is definiti e lan a e o e pression t at transcends all the dichotomies of the world and immerses viewers in the intricate yet harmonious dimension of the whole. According to Yuill, the circular iconography in his work “came from a long process of deconstruction that I undertook several years ago trying to get to the core essence of myself and my creative vision. I spent a long time being unhappy with the work I was making and really wanted to break everything down and discover what I was really all about. I continued to distill my work down more and more and more until I was eventually left with just a circle, and from there I began building back up again. To me the circle represents the
“To me, the circle represents the marriage of mathematical and spiritual perfection�
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marriage of mathematical and spiritual perfection.” Yuill says this body of work has been incubating since last autumn, wit ndreds o di erent s etc es and concept drawin s laid o t to create the pieces he wanted to make. It wasn’t until December that he begin kicking it into high gear, which is highly impressive given that he then created the 14 original works and three limited-edition prints in a span of just three months. Whereas his previous works “were much more chaotic and aggressive, the pieces in Alignment are much more alanced and centred re ectin t at same eelin wit in me e says Yuill says he always knew he’d be an artist in one form or another. e always een a fiercely independent and sel reliant person and wal my own pat ne er really fitted into normal society e en rom a very early age, and always knew that my own destiny was something that would cut against the grain. For a long time it was a very isolating feeling actually, until I realised that it was OK to think so radically di erently rom e eryone aro nd me In spite of such certainty, he’s has had his fair share of jobs in the past y parents first started p ttin me to wor w en was aro nd years old scrapin t e r st o tr c trailers and repaintin t em also worked at a ski slope in the winter and a driving range in the summer, where I drove the tractor that picks up all the golf balls. “I worked at Home Depot running that giant saw, I worked in a factory that manufactured truck parts, and I spent many years in university painting houses with a professional crew. The last ‘real job” ad was rie y teac in n lis w en first mo ed to on on
ABOVE: LIMITLESS PATH OF THE INTUITIVE MIND. BELOW CENTRE: FREYR. BOTH INK AND METALLIC PAINT ON COTTON RAG
but that didn’t last long.” When asked to describe Hong Kong’s art scene, Yuill says that it’s a work in progress – “Hong Kong is a very tough place to be an artist. There’s very little resources, very little establishment support and the rents are obscenely expensive. The city is run from a commerce mindset, not from a quality-of-life or appreciation-of-beauty mindset. This makes anyone doing anything that isn’t commerce-related always str lin and a in to fi t an p ill attle “That being said,” he adds, “it’s not all bad either. As a younger city on the up and up, it can be easier to network and meet the kind of people that can help you develop, because everyone’s trying to do something, everyone’s a hustler. It also makes the creative community small, tight-knit and like a family. We’re all in this together and people help each other a lot.” Yuill’s currently working with his good friend and fellow artist Simon Birch on his large project The 14th Factory, which also features several other Hong Kong, Chinese and international artists. Launched previously in Los Angeles, it’s now in the process of being moved to London – global circumstances permitting, of course.
CULT UR E ANTIQUE DIVING COSTUMES ON DISPLAY AT THE HONG KONG MARITIME MUSEUM. OPPOSITE: HIGH-QUALITY CATALOGUES FROM RECENT EXHIBITIONS
SEA STORIES FEW PORT CITIES ARE AS DEFINED BY THEIR HARBOURS AS HONG KONG, A FACT REFLECTED IN TWO CENTURIES OF CULTURALLY HYBRID ART, WRITES CHRISTOPHER DONNOLLEY
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n the mid-1970s, Hong Kong shipping executive Anthony Hardy was passing by an art gallery in New York when he noticed in the window an extraordinary painting of an all-toofamiliar scene. It was Hong Kong Harbour, which he knew well through his line of work. There were the unmistakable hills of Hong Kong Island, with its towering Peak, and even some familiar manmade monuments. The harbour was full of ships, but none he could recognise – stately clippers, so called because of their speed under sail in the perpetual race to get valuable cargoes of tea and other luxuries to the markets of London and New York.
ere was e en an ancient oatin prison t e remains o a lumbering 18th-century man-of-war minus its masts and rigging. But the most remarkable aspect of this painting, by an unknown Chinese artist in about 1865, was the style and execution that was both expert, naïve, familiar and oddly foreign at the same time. Hardy spent an unscheduled hour and a half in the prophetically named Incurable Collector Gallery, later to emerge “with the painting tucked under my arm, at what was the start of my slippery slide”. Although he’d been involved in the shipping industry in Hong Kong since 1961, until this time Hardy had hardly heard of a China rade paintin t t e artwor in is possession was t e first o w at
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“REMAINING RELEVANT IS VITALLY IMPORTANT TO US” — RICHARD WELSLEY, MUSEUM DIRECTOR
became in the following decades one of the largest such collections in private hands, and that today constitutes much of the collection of the Hong Kong Maritime Museum, whose establishment was driven largely by Hardy himself. The China Trade genre gets its name from the era of seaborne trade between mostly Southern China and the West, which started three centuries before the founding of Hong Kong in the neighbouring Portuguese enclave of Macau. Much of the merchandise made by skilled Chinese workers would be regarded today as l ry oods sil erware sil s fine porcelain ade car in s and intricate furniture designed for European tastes. n a s mpt o s id e els o ce t at o erloo t e stately and newly renovated Tai Kwun complex, which until recent years functioned as the city’s bleak Central Central Police Station and bleak prison, the walls of Hardy’s plushly decorated room seem to groan under the weight of priceless art and deep antiquity. He explains what makes the paintings not quite East nor West through a work titled An East India Company Midshipman.
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THE CHINA TRADE EXHIBITION HALL. BELOW: MUSEUM DIRECTOR RICHARD WESLEY AND ASSISTANT DIRECTOR LIBBY CHAN. BELOW LEFT: A PAINTED EIGHT LEAF-SCREEN FROM ABOUT 1690
t first it loo s a estern paintin says ardy t certain t in s give it away as being painted by a Chinese hand,” he says. The lower part of the sallow face of a seafaring European is ruddy red from voyages across South China waters under the bright sun, while the upper part of the face, with the cap removed, is ghostly pale. “He’s obviously been woken out of his bunk to have his portrait painted, because the buttons in the middle of the shirt are all astray. A European painter probably would have corrected the scene, but the Chinese artist has painted what he saw.” Hardy explains that the global centres of China Trade art are London, Hong Kong and the Peabody Essex Museum in Salem, near Boston in the US, due to that city’s key early role in America’s gradual rise as a maritime trading power in the years after the American Revolution. It comes as no surprise learn the Maritime Museum’s collection o t is type o wor is per aps t e finest in sia But it was the enchanting and technically superior ceramics that became the most sought-after commodities in China’s trade with the West, catering as they did for all tastes – and for centuries. The museum’s is home to more than 300 pieces of ceramics, which date between the 18th and 20th centuries.
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The museum also houses some 100 model ships, which range in size from palm-sized to a large model of the Keying, built on a 1 to 12 scale. Fortunately, knowledge of the ship-modelling craft has survived. There are galleries dedicated to art and artefacts of seafaring technology – oddly shaped sextants, chronometers, barometers and other precision instruments that measured angles of the sun and stars, counted the miles of sea travel and kept perfect time on pitching seas, which still retain their beauty if not utility in the sullen era of GPS. Two truly monumental works in the museum’s collection are the Alexander Hume Painting and a giant scroll titled Pacifying the South China Sea. At 91.5 by 276.5cm, the gigantic Alexander Hume panoramic scene is painted in gouache on silk, most likely in a studio in old Canton.
ABOVE: REMAINS OF PORCELAIN SALVAGED FROM A SHIPWRECK. ABOVE RIGHT: RENOWNED COLLECTOR AND MUSEUM FOUNDER ANTHONY HARDY. BELOW: ONE OF THE MORE THAN 100 SHIP MODELS IN THE COLLECTION
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Made for the European market, it shows a Western naturalistic landscape style set in a traditional Chinese hand-scroll format. It’s wort a isit to t e m se m st to wonder at t e tec ni e o t e painter’s craft, which keeps revealing itself at progressively smaller intervals. It’s believed the painting was bought as a souvenir by Alexander Hume of the East India Company in China shortly before he sailed ome in me oined t e company in risin to ecome the Chief of the Company’s Representatives in Canton. The museum is building a solid future through its clever, entertaining and informative recollections of Hong Kong’s fascinating past through expanding collections and several vast exhibitions that it
“IT’S NOT A BIG COLLECTION, BUT IT’S CERTAINLY OF VERY HIGH QUALITY“ THE MONUMENTAL ALEXANDER HUME SCROLL IS NAMED AFTER ITS BUYER FROM THE EAST INDIA COMPANY
hosts every year. Recent shows have included a tribute to Hong Kong’s silver trade, Hong Kong pirates, two and half centuries of Sino-American sea trade, and rare and ancient maps, to name a few. eadin m c o t is e ort o er t e past decade is allery director Richard Wesley who studied, taught and practiced museum management in Australia, including on historic Norfolk Island, a one-time penal settlement that later resettled for many AngloPolynesian descendants of the Bounty tiny rom ar n Pitcairn Island. Wesley sees a distinct future for the museum. “Since 2013, the Hong Kong Maritime Museum has operated from Central Ferry Pier 8 on the edge of one of the world’s great commercial harbours,” he says. “As our audience and community support has grown, we’re see in to tell not st t e commercial istory o s ippin in on Kong, but also to communicate the critical importance of conserving the amazing biodiversity found in local waters. Remaining relevant to the daily lives of local residents is vitally important to us. We’re also an important tourist asset for the city.” Libby Chan, the museum’s director of curatorial and collections, has a PhD in Chinese Art from the Chinese University of Hong Kong, worked at the Singapore Asian Heritage Museum and is a Curatorial Fellow at the the Smithsonian’s National Museum of Asian Art in Washington. I ask her what made the collection so special.
— LIBBY CHAN, ASSISTANT DIRECTOR
“What makes it unique is its thematic and East-Meets-West contexts,” she says. “It’s not a big collection, around 5,000 items, but it’s certainly of very high quality, in particular the export Chinese Trade arts, such as paintings, ceramics and other materials. Many are world-class pieces.” The collection keeps growing, thanks to the generous starts provided by founder Hardy and his late wife Susan Chen Hardy, who was also a renowned collector and dealer. Not only does Hardy generously and continuously donate to and support the Museum, but he also has extraordinary contacts among the shipping, museum and collectors’ networks. “The many facets of the collection allow us to tell the port story of Hong Kong, and how it links to the Pearl River Delta, Southern China, Asia and the World,” says Chan. She’s certainly at home with her work: “The area of maritime heritage is broad and multi-disciplinary. It requires a creative approach that really is fun. The challenge is how to make the historical past become relevant to the present and the future.” Curators are faced with the preconception that anything connected to maritime is m sty and old as ioned n t is o ima inati e curating, fresh angles and engaging narratives are important. Indeed today, the sea is the core of human activity and our lives. Ninety percent of global trade today is still transmitted across the ocean.”
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BEST OF BRITISH
THE UK’S MOTOR INDUSTRY MAY BE TEETERING ON THE BRINK BUT, WRITES JON WALL, IT CLEARLY HASN’T LOST THE PLOT ENTIRELY IF THESE FOUR BRILLIANT NEWCOMERS ARE ANYTHING TO GO BY BENTLEY MULLINER BACALAR
We featured Bentley’s new hand-built Mulliner Bacalar last month, but frankly the limited-edition open-top is so gorgeous that we had to give you a second look. Nor does the fact that it’s built on the platform of the Continental GT (which is also shared with Porsche’s secondgeneration Panamera) make the Bacalar any less exotic – or have these relatively unbespoke underpinnings prevented a dozen ultrahigh-net-worth individuals from shelling out the roughly US$1.9 million sticker (that’s before tax) that Bentley’s slapped on each car. Unlike the electric-powered EXP 100 GT concept, which the company re ealed last year and as clearly in enced t e two seat barchetta’s styling, the Bacalar is relatively conventional beneath its dramatic skin, which begins with an aggressive profusion of grills and slats and ows into an ele antly elon ated entley stle n act its twin-turbocharged six-litre W12 has been around for more than a decade-and-a-half – though as it’s good for 650bhp and 333km/h, its occupants are certainly likely to feel the wind in their hair. And as there’s no roof whatsoever, that’s one reason why we can’t imagine spotting a single one of these ultra-exclusive automobiles perambulating along England’s rainy roads any time soon.
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THE MULLINER BACALAR MARKS A RETURN TO BESPOKE COACHBUILDING AT BENTLEY
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LAND ROVER DEFENDER
We’ve been waiting more than four years for a replacement for the original and much-loved Defender, itself an evolution of a vehicle that first saw t e li t o day in learly t e old andy co ldn t a e gone on for ever, but as the months mounted up so did the fears that the new Defender couldn’t possibly live up to its predecessor’s reputation as the go-anywhere workhorse par excellence. Fortunately – and in spite of being an entirely new design from the w eels p – t is new and o er is in e ery way a wort y s ccessor to the original. Tough, boxy and functional, it ticks all the desired styling boxes, and though rugged enough to conquer the most challenging conditions and terrain, the second-generation Defender is properly 21st-century in conception, being pleasant to drive and surprisingly comfortable (neither of which attributes even the old car’s most fervent fans could ever sanely have claimed). Currently only the long-wheelbase 110 version is available (the SWB comes later), with engines ranging upwards from a 2-litre turbodiesel four. Standard cars ride on coil springs with air suspension an option, while permanent four-wheel drive ensures the new Defender will be as at home on mountainsides as motorways – not to mention the posh environs frequented by intrepid urban explorers.
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THE NEW LAND ROVER DEFENDER DEMONSTRATES ITS OFF-ROAD CREDENTIALS IN THE NAMIBIAN DESERT
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MCLAREN 765LT
Those who, after being fortunate enough to drive the superlative 720S, were wondering what more could they reasonably expect from a s percar clearly don t incl de t e deni ens o t e and desi n departments at c aren s space a e actory in rrey eca se t ree years a ter t e first appeared c aren as ca t e eryone o ard y droppin t e p en ine o t e enna ypercar into its c assis s a in some rom its wei t addin some insane car on fi re aero aids to its already slippery and rippy odywor and come p wit t e new a car t at s e en more sensationally ast than the one on which it’s based.
With a production run of – you guessed it – 765 examples (though on previous form, in due course we can also expect a similar number o con erti le piders t e s o ld also e rare eno to e almost a collector s item t will o co rse e monstro sly ic wit a maximum of around 330km/h and 0-100 acceleration in the blink-and-you-missed-it zone And with an additional 25 percent downforce from all those winglets and an even larger and longer rear wing, it should corner as if it were painted on the tarmac. As for the quartet of titanium exhausts that poke out from the tail, take care not to stand too close when the engine’s revving, otherwise you may have a pants on fire moment t at yo adn t e actly ar ained or
THE WORLD’S BEST SUPERCAR JUST GOT BETTER WITH THE ARRIVAL OF THE MCLAREN 765LT
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ASTON MARTIN V12 ZAGATO HERITAGE TWINS – ONE COUPE AND ONE CONVERTIBLE SPEEDSTER
ASTON MARTIN V12 ZAGATO To be strictly accurate, the Aston Martin V12 Zagato isn’t new at all. It’s a continuation of the rare and beautiful 2013 limited-edition supercar coupe that the British company created to commemorate the 100th anniversary of the Italian coachbuilder Zagato. Nor is it entirely an Aston – production of the 19 coupes and a similar number of convertibles (which are new) will be handled at the Warwick, UK facility of the Swiss-owned R-Reforged operation. And to make matters only slightly more confusing, these “new” Zagato Astons will only be available as 19 pairs of “Heritage Twins” – one tin-top and one ragtop – priced in excess of US$2 million for the two of them.
lt o little as c an ed in t e desi n and car on fi re bodywork of the coupe, which of course features the “double-bubble” roof typical of all Zagato designs (including its legendary variant of Aston’s DB4 GT, now worth millions), the convertible gets a speedsterstyle tail that also gets active aero – as, indeed, does the coupe. Beneath the bonnet lies an uprated version of the Vantage V12 en ine w ic now enefits rom a p power oost ere s tantalsingly little information available, however, as to whether or not the resurrected Zagato will receive the six-speed manual box of the 2013 car, not that it matters to you – unless you’re among the 19 buyers who’ve already slapped down the cash, all have been sold.
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ÉCRITURE’S SPACIOUS DINING ROOM AND OPEN KITCHEN. OPPOSITE: MAXIME GILBERT PREPARES A DISH OF BRITTANY LANGOUSTINE
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KEEPING IT REAL As the world attempts to navigate through these current challenging times, so does chef MAXIME GILBERT of Hong Kong’s two-Michelin-star restaurant Écriture. He tells FONTAINE CHENG how he plans to innovate and evolve for the uncertain future of the restaurant industry
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t’s late afternoon on a weekday in April when I walk into Écriture, the two Michelin-star contemporary French restaurant headed by executive chef Maxime Gilbert. To my surprise, I’m asked to wait, because the restaurant is still full of lunchtime diners. I’m confused and even doubtful – many restaurants I’ve visited in the past few weeks have been as empty as a politician’s promises. Intrigued, I take a peek around the corner to see if this is indeed true and my eyes widen as they take in the busy room. Can Hong Kong, along with its restaurants, be on the road to recovery at last? You may already have dined at Écriture and are familiar with its exceptionally creative cuisine, as well as the special kind of theatre t at il ert presents ot in t e sense o dry ice and s per o s plating tricks, but in the stagecraft service and table-side carving, and the shows of smoking put on especially for you. Dining here is an experience – and it’s one worth revisiting as the change of seasons brings with it new produce and therefore new recipes and menus to savour. Named after the French word for “writing”, the restaurant’s story began when it opened its doors in 2018. Its genre, or rather cuisine, is contemporary French but, as Gilbert explains, it’s also about “going back to basics”. Underpinned by traditional French cooking, his
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cuisine focuses on respecting produce as the basis of every plate of food he serves. It’s where nonessential components are removed, w ere real coo in ta es place and w ere t e tr e a o rs o t e produce can be found. t ere are e er any small er s or owers on t e plate it s eca se it brings something to the dish,” says Gilbert. “It’s not there to just make it beautiful. If the dish is beautiful, it’s because the produce is beautiful; the cooking is beautiful. Not because of the plate.” We start at the beginning of Gilbert’s story. “Even at a young age, I’ve always loved cooking and eating. My family are all gourmands – we love to eat.” It was this love of food and eating that sparked his interest in ecomin a c e is introd ction to fine dinin owe er came from his father who worked in the cognac industry and would return home after travelling the world with stories about the top chefs he’d met. Thus inspired, Gilbert went on to study and train to become a world-class chef, dreaming of achieving a Michelin star at his own restaurant one day. That dream became a reality when Écriture was awarded two Michelin stars within six months of opening and retained its stars this year too. “It’s not what we work for, but it means a lot to us,” he says. Asked whether he now dreams of three stars, he says “yes” without a second’s thought, adding “but it takes time”.
CLOCKWISE FROM MAIN PICTURE: THE ÉCRITURE KITCHEN IN ACTION; LYCHEE DESSERT; PERTUIS ASPARAGUS AND CURED JOHN DORY
“If a dish is beautiful, it’s because the produce is beautiful, the cooking is beautiful”
INDU LG EN CE CLOCKWISE FROM BELOW: ROASTED BLANC DE BLANC LAMB; RESTAURANT INTERIOR; MAXIME GILBERT; TURBOT – FOIE GRAS
His determination to achieve this is something he learned from the world-renowned and celebrated French chef Yannick Alléno. As the latter’s protégé, Gilbert cut his teeth at a number of high-end establishments including the Hotel Le Meurice in Paris, La Grande Table Française in Marrakech and Stay by Yannick Alleno at the Shangri-La in Beijing. Asked what it was like to work with Alléno, Gilbert says with a laugh, “It was hard, but it was good.” “I was 21 when I arrived to work with him. He’d just taken over Le Meurice, and he said: it’s one star, but I come here for three stars, that’s the goal.” After three years, Alléno and his team, including Gilbert, achieved the highest accolade of three Michelin stars. “I still have a very good relationship with Alléno. I talk to him very often and he always has good advice.” Thereafter, Gilbert became the head chef at Hong Kong’s Amber. It was there that he came to understand how a restaurant – and not just a kitchen – is run. “This experience taught me a lot. It wasn’t easy. We opened seven days a week for breakfast, lunch and dinner. It was non-stop,” he recalls. “It’s good to work in a place like this as it will quickly show you that you cannot be a little princess.”
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Gilbert’s next chapter has been realised today at Écriture. During my visit, he prepares several dishes from his new Library of Flavours tasting menu, which features four to seven courses made with produce from French farmers, producers and suppliers. The reason, as Gilbert explains plainly, is because “I’m French and I love French produce, so I support France”. Our chat meanders into the state of Hong Kong’s food and beverage industry, how restaurants all around the world have been hit extremely hard, and that this is his way of supporting his native country during this time. New dishes, as always, spotlight the produce. One highlight, Green Asparagus, uses the legendary spears from Pertuis, which are braised in seawater brought in from Brittany, before being topped with thin slices of beef ham-cured John Dory, which hails from a small family-run supplier in northwestern France. The Brittany Langoustine is fragrantly steamed in Vin Jaune, one of the rarest French wines, and is complemented by the fresh green peas of spring and a claw bouillon in sed wit li orice arisian tc er s pplies its finest meat or the Roasted Blanc de Blanc Lamb, which is grounded with the earthy a o rs o rilled maita e sorrel and a sil y ni miso cream
“We’re very lucky in Hong Kong, as we’re one of not many cities that are still open,” says Gilbert. “But we need to adapt. To have a profita le siness to eep o r team to not lose o s we a e to create revenue. So we need to be creative.” To adapt, Écriture is in survival mode by temporarily switching to a tastin men only w ile il ert is also o erin a wee end l nc to satisfy guests who are no longer travelling and must remain in Hong Kong. He’s also been drumming up creative ideas to keep going, such as a new delivery menu, and he’s taking part in online culinary classes and live chef talks. Among the latter will be a collaboration with chefs natoly a a o o elfie and ladimir in o ite a it both of which are considered Moscow’s most progressive restaurants. On the subject of recovery, Gilbert expresses his anxious ncertainty o e onest e says e eryone is s erin and don t know how it will go.” It’s an emotion many of us have felt in recent times. Fortunately, it’s not long before I catch a glint of resilience in his eyes and a positivity in his voice that says he won’t go down easily. With that, I’m reminded of the important – and in my opinion necessary – role t at fine dinin resta rants play in t is story ey re the table of luxury and the plate to escapism that we need, especially now, and I vow never to take them for granted again.
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ROMAIN LORIOT AND JEAN-BENOIT ISSELE, ENTHUSIASTIC OWNERS OF THINK WINE
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FRENCH CONNECTIONS A MUTUAL PASSION FOR IMBIBING NON-UBIQUITOUS WINES, WORKING KNOWLEDGE OF QUALITY SERVICE AND AN EYE FOR COMFORTABLE BAR-ROOM AESTHETICS LED TWO FRIENDS TO THINK WINE, WRITES ANDREW DEMBINA
Late last year, two French residents of Hong Kong with experience in top local and international restaurants as managers, sommeliers and wine procurers launched a relaxed wine bar in Soho, with an intriguing list of bottles and accompanying nibbles that go beyond charcuterie and fromage, designed to make good pairings. The story of how they met and had their bar-venture Eureka moment is a curious one, full of coincidences. Romain Loriot, managing director of Think Wine, came to Hong Kong with Alain Ducasse’s restaurant group to help close Spoon restaurant and open Rech Hong Kong; he then became the sommelier and wine buyer for the 12 restaurants of Le Comptoir Group – six were high-end, notably the two-star Écriture. The face of Think Wine is Jean-Benoit Issele, former head sommelier of the one-star Belon in Soho (number 15 on the Asia’s 50 Best Restaurants 2019 list) among other establishments. “It’s funny, we’re both from the South of France – I’m from Montpelier and Jean-Benoit [JB] is from Nîmes,” explains Loriot. “They’re a 20-minute drive from each other but we never knew each other. JB arrived two days after me in October 2016, and a week later we were both in the wine bar LQV, got talking and decided to play the game ‘blind tasting’: I gave him a glass from my bottle, he gave me a glass from his – and they were both the same wine! From 1,200 bottles on the list, we’d both chosen the same one, from Jura, from Ganevat: La Zaune à Dédée [a white, 80 percent Gewurztraminer, 20 percent Sauvignon]. “After that, we decided to meet every Sunday and go to a wine bar for blind tastings. After three or four months, we felt we’d seen all the interesting wine [in Hong Kong bars], so we imagined opening a wine bar to et er and finally we really said et s do it
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The duo, however, aimed for much more than presenting a list of talking-point wines. “Quality of service,” was another factor, adds Loriot. “There are plenty of wine bars we liked, but they didn’t have the kind of service that JB and I knew in Michelin-star restaurants where we’d worked: a conversation with the waiter about the background of the wines, good recommendations and serving techniques, and comfortable seating – something most wine bars lack. We wanted to have all this, at a good price.” in ine s s are eet o oor space is di ided into distinct zones: a cellar room with a central counter where up to 12 can gather; a private room with a long table; a bar counter and adjacent tables with barstools; a lounge graced with armchairs and sofas that incorporates Christian Lacroix fabric and wallcoverings; and the balcony – a mix of tables and chairs and deck cushions. e were lessed to find arc itect r ce to wor wit all our ideas,” says Issele. “He helped us include a lot of personality, including my grandfather’s Michelin-starchef menu collection, Romain’s family champagne-cap collection and Riya Chandiramani’s mural in the middle of the bar to tell our personal life and stories about wine.” The bar has held winemaker masterclasses, private tastings and had private parties for up to 70 people in the main area. Weekly masterclasses have included introductions to champagne houses, as well as wines from ot er re ions w en isited y t e li es o icolas a y winemaker from Mas Amiel, in Maury in the Roussillon; Hervé Bizeul from Domaine du Clos des Fées in Roussillon; and from Alsace, Eddy Leiber-Faller – winemaker at Domaine Weinbach. Additional regular wine events are held without visiting representatives, and there was a recent champagne and caviar event. Wine bars often have a limited selection of snacks but the Think Wine duo know their market and haven’t neglected hot dishes. Warming dishes feature hot tartines, tr e risotto and a ed camem ert and o r c eese
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platter choices change once a month”, adds Loriot. “All our food service is focused on what matches the wines that people are drinking.” Unusually for a wine bar, Sunday brunches are served too. “We have oysters and signature dishes – like a mixed platter of cold cuts and cheese” explains Loriot. “We needed something with eggs, so we put on a Mediterranean quiche – making it vegetarian, as many people we know prefer that. We’ve known chefs at [restaurants like] Belon, Écriture and Caprice for years; they helped and suggested ways of making our signature brunch dish the Dragon Dog, which has lobster and tr e in it ont ly pop p c e colla orations started recently first with Nordic restaurant Frantzén’s Kitchen, where JB had worked previously. Guest chefs from popular restaurants present o r to si cas al dis es some re ect items t ey serve, others are concocted especially for Think Wine. is mont o anic resta rant is o erin amon its selection a fried-chicken sandwich, which isn’t on its regular menu. “It’s fun,” says Loriot. “JB and I see the chef ’s items and then pair them with wines between us.”
THINK WINE OFFERS 600 VINOUS VARIETIES, OF WHICH 80 PERCENT ARE FRENCH, WITH THE REMAINDER FROM THE LIKES OF SPAIN, ITALY, AUSTRALIA, GERMANY, THE LEBANON AND MOROCCO
THINK WINE IS DIVIDED INTO ZONES OFFERING DISTINCTLY DIFFERENT VINOUS VIBES, FROM GROUPS OF 12 TO PRIVATE PARTIES FOR UP TO 70 PEOPLE ALONG WITH ONE-ON-ONE TASTINGS
Think Wine has been received positively by guests: “Some are surprised by the amount of wine and the diversity we have,” says Loriot. “They like some of the i ottles we et too s c as t e ortified red as Amiel 1985 that we serve with a pipette – like in a winery. People like the experience, and they often take pictures and videos.” t e arieties on o er percent are renc Thanks to Loriet’s connections in France, half of these come directly from producers. Not wanting to ignore wines rom rt er afield co ntries s c as stralia Italy, Germany, Spain, Lebanon and Morocco have also featured so far. “We had to think, ‘What’s good for a wine bar?’” says Loriot. “Not all work if you’re not having a restaurant meal – they can be too full-bodied – from North America or from Cahors in the South of France; you want a nice steak with these – or too sweet, like a great Yquem for example, which people only enjoy with a dessert in a
restaurant. So we had to think about what can be enjoyed on their own and to pair with our food. “We have some amazing wine from Australia. Before I came to Hong Kong, I didn’t really like Australian wine,” Loriot confesses. “I’d always tasted the big wineries’ o erin s t some small winema ers t at ma e st 2,000 to 5,000 bottles are really special natural wines.” In homage to the way the Think Wine founders met, the bar holds its regular Blind Tasting Challenge – challenging patrons to guess three out of four qualities about a wine they taste after stipulating a white or red preference – and three “yes or no” questions are allowed. It’s a tough ask, and for the few who succeed the reward is determined by a lucky draw, with prizes ranging from a corkscrew to lunches for two at upscale restaurants. It’s all part of the disarming fun vibe here – as Issele puts it, “We hope to educate guests about wine, and provide them with a nice environment and service for them to relax, enjoy and have a good time.”
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FUTURE VISIONS
FANCY A ONCE-IN-A-LIFETIME GETAWAY WITH A GRAND TOUR OF THE GALAXY, OR SOMETHING NICHE AT THE MIGHTY AURORAS OF JUPITER? OUR NEXT WORLD IS CLOSER THAN YOU THINK, WRITES STEPHEN SHORT #prestigetravel | PRESTIGE
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here’s nothing like a global pandemic to make humanity stop and pause to think about our medium-term future on planet Earth, especially in the face of rising global warming and accelerated depletion of resources. But certain groups of people spend their lives considering exactly this future every day. Nasa’s Jet Propulsion Laboratory (JPL) in Pasadena, USA would be one of them. ile we re still confined to social distancin and t e many ramifications o more domesticated li in t is seemed the perfect moment to share Nasa’s Visions of the Future project, a series of 14 space-tourism travel posters created by artists working with scientists at JPL. The results are mind-boggling and otherworldly, yet so tangible and captivating. Among the many highlights, see Visit the Historic Sites of Mars, a poster that imagines a future day when we’ve achieved Elon Musk’s – and our – vision of human explorations of Mars and takes a nostalgic look back at the great imagined milestones of planetary exploration that will somebody become celebrated as “historic sites”. Nasa’s Mars Exploration Programme seeks to understand whether Mars was, is, or can be a habitable world. issions s c as t e ars at finder ars ploration Rovers, Mars Science Laboratory and Mars Reconnaissance Orbiter, among others, have provided information that provides answers. If you want an otherworldly experience that makes the Northern Lights look like early silent pictures in Hollywood, the Jovian cloudscape on Jupiter boasts the most spectacular lightshow in the solar system, with northern and southern lights dazzling even the most jaded space traveller. Jupiter’s auroras are hundreds of times more power l t an art s and t ey orm a owin ring around each pole that’s bigger than our home planet. Revolving outside this surreal oval are the glowing,
electric “footprints” of Jupiter’s three largest moons. Nasa’s Juno mission continues to study Jupiter’s auroras from above the polar regions, studying them in a way ne er e ore possi le t e an in and will finis y July 2021. Or discover life under the ice, with 360 ocean views. Perhaps most tantalising of any solar entity, is the astonishing geology and the potential to host conditions for simple life that exist on Jupiter’s moon Europa, a must-explore destination. Beneath its icy surface, Europa is believed to conceal a global ocean of salty liquid water twice the volume of Earth’s oceans. And the tug of Jupiter’s gravity generates enough heat to keep the ocean rom ree in n art w ene er we find water we find li e at will asa s ropa mission find w en it eads for this intriguing moon in the 2020s? The race is on for discovering life with the tiny Saturnian moon Enceladus. The discovery of its icy jets and their role in creating Saturn’s E-ring is one of the top findin s o t e assini mission to at rn rt er assini mission discoveries revealed strong evidence of a global ocean and t e first si ns o potential ydrot ermal acti ity beyond Earth – Enceladus has more than 100 geysers. But for bragging rights on intergalactic level, Nasa’s Voyager mission took advantage of a once-every-175-year alignment of the outer planets for a grand tour of the solar system. The twin spacecraft revealed stunning details about Jupiter, Saturn, Uranus and Neptune – using each planet’s gravity to send them on to the next destination. Voyager set the stage for such ambitious or iter missions as alileo to piter and assini to Saturn. Today both Voyager spacecraft continue to return valuable science from the far reaches of our solar system. And right now space tourism is the next-paradigm go-to. Aman Europa or Four Seasons Enceladus anyone? Wish you were here.
THE JOVIAN CLOUDSCAPE ON JUPITER BOASTS THE MOST SPECTACULAR LIGHT SHOW IN THE SOLAR SYSTEM
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FLIGHTS OF FANCY ALTHOUGH OUR HORIZONS MAY CURRENTLY BE DMINISHED, THERE’S NOTHING TO STOP US TAKING A JOURNEY OF THE IMAGINATION, ONE AIDED BY THE EYES OF LUXURY PUBLISHING HOUSE ASSOULINE
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ATHENS’S PALAIO FALIRO NEIGHBOURHOOD FROM THE AIR, BY MARINA VERNICOS
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THE BEACHSIDE BAR LE CLUB 55 IN ST TROPEZ, FRANCE
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or the last quarter of a century, the bespoke New York-based publishing house of Assouline has served as what’s appropriately been called a “librarian of luxury”. Although starting out with compact, hand-size volumes devoted to famous names in fashion and luxury goods that sold for a mere handful for dollars, the company quickly moved on to specialise in huge, lavishly photographed, printed and bound tomes that could cost upwards of four or, in the case of limited editions, even fi e fi res Still a family business today, the company was founded in a Paris basement by a couple with extensive experience in the luxury ecosystem: Prosper Assouline had worked in an advertising agency, while his wife Martine had served as head of communications for the house of Rochas. So it was perhaps inevitable that when they began their own publishing venture they didn’t stray too far from terra cognita, with a catalogue of beautiful books devoted to the grand maisons of French fashion and luxury, names such as Cartier, Chanel and Dior – one that’s expanded in magnitude along with the physical dimensions of the publications themselves. In addition to fashion and luxury – subjects with which
t e company as ser ed as a se eral rands semi o cial biographer – Assouline explores other subjects likely to be o interest to a readers ip t at is y definition a ent and globally aware. Art, design, architecture, automobiles and i society nat rally fi re prominently t at t e other end of the scale the publishing house is perfectly happy to engage with elements of culture that are less o io sly ele ated o ar it s prod ced fi e mon mental collaborations with Coca-Cola, while a 2008 enquiry from the toymaker Mattel resulted in a pair of equally enormous publications, one devoted to the Barbie Doll and the other to Hot Wheels. Travel is another topic perfectly suited to Assouline’s e isitely e cessi e treatment – indeed t e imprint s first outing, in 1994, was with a book devoted to the couple’s favoured hotel in southern France. Today the Assouline library, which now extends to more than 1,700 volumes, positively groans with titles devoted to destinations exotic and chic, both near and far away. So to sweeten the bitter pill o ein confined or mont s on end to o r own all-too-familiarly dreary necks of the woods, we’ve decided to o er some respite y del in into t e pa es o fi e o sso line s newest tra el tomes St Tropez Soleil, Uzbekistan – The Road to Samarkand, Amalfi Coast, Zanzibar and Athens Riviera. Travel has always been about turning the dream of the unfamilar into reality, and it’s hard to imagine a more evocative way of provoking such visions than this collection of beautiful images.
SAUDI ZA BUSURA PARADE; LEFT: ZURI AND MAUA SPA; IMAGES BY ALINE COQUELLE
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THE MEDITERRANEAN FROM VILLA SAN GIACOMO, AMALFI, ITALY. BELOW: COAST BETWEEN POSITANO PRAIANO, AMALFI, BY CARLOS SOUZA
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SHAH-I-ZINDAH MAUSOLEUM, SAMARKAND, UZBEKISTAN; IMAGE BY LAZIZ HAMANI
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BACKSTORY
PAWN AGAIN In 1831, an intriguing collection of 12th-century miniature chessmen carved from walrus ivory was uncovered on the Isle of Lewis in Scotland’s Outer Hebrides. Dubbed the Lewis chessmen hoard, these ancient artefacts have become inspiration for the Lewis Chess Set, the latest addition to Royal Selangor’s British Museum Collection. Masterfully recreated in pewter, these replicas of the original chessmen range from composed royals and serene clerics to fierce warriors – indeed, the king, queen, bishop, knight and rook are all
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dramatically expressive. Pawns, on the other hand, are represented by upright slabs that are etched with complex scrollwork. All the pieces are set on a Nyatoh chessboard scorched with a Celtic-inspired knot motif from the king’s throne. The chessmen’s unique embellishments and zoomorphic motifs have been further interpreted into a homeware collection that includes a bottle stopper, tankard and drinking horn, as well as salt and pepper shakers that promise to be a classy conversation piece on any table setting.
Changing Young Lives Foundation is dedicated to rewriting the life stories of thousands of underprivileged children and marginalized youth in Hong Kong and the Mainland every year by providing them with 100% free programs in education and self-empowerment, unleashing their potential to maximize their opportunities and inspiring them to live their life to the fullest.
www.changingyounglives.org.hk