Cercle n9

Arts Travel Fashion Culture Interiors Sports Leisure Economics

Eugenio L贸pez Alonso

America Inside

A supreme art collector

E D I TO R ’ S L E T T E R again the master of finance and not vice versa. Finance needs to be strictly regulated. A stable economy cannot rely on financial casino roulette. The repeal of Glass–Steagall Act and the Commodity Futures Modernization Act of 2000 paved the way to the worst economic crisis since the Great Depression. Paying attention to everyone else’s selfinterest is, in fact, a precondition for one’s own ultimate well-being. It is not just good for the soul, it is good for business. Equity and social cohesion, with a fair distribution of wealth, are paramount for a society where luxury brands can prosper.

Having said that, taking a look at the world economies, where luxury will prosper in the next ten years, we forecast a new attitude on how the newly wealthy will become more discerning luxury consumers. The number of millionaires in the world is set to rise on a large scale. Is India the next gold pot for luxury brands? With Russia and China having taken much of the limelight in the past ten years with a double digit growing economy, while Brazil failed to live up to expectations, India might be the next bet for luxury brands.

The country is forecasted to generate new millionaires at a rapid pace, half a million by 2019 and potentially one million by 2025.

Fuelled by a young well educated population with high levels of entrepreneurship and business ownership, coupled with the fact that wealth creation and luxury consumption are not as controversial in India, nor restricted by social inequality, the market environment is ready for the picking. On the other side, Mexico compared to Brazil enjoys a competitive economy where doing business is easy, the tax burden is low and it has a population familiarly interested in fashion and luxury goods.

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Along with changes in wealth will come changes with how that wealth is spent. From our Yearly Qualitative Market Research experience in China last year and the USA this year we have witnessed a few shifts in luxury consumer behaviours for brands that target wealthy consumers.

Quality service, experience, craftsmanship, heritage are still very much what consumers want, but sustainability is the new word for luxury.

Today unrestrained power and rampant financial greed are writing an epitaph for the American and the European dream. The world is in a financial and moral crisis. Seven years after the start of the well orchestrated world’s worst financial crisis in decades it is easy to mock capitalism and identify causes leading to debt, unemployment and shrinking economies.

Sustainability and luxury are not a paradox - it's about craftsmanship and quality. When you buy a luxury product you will not throw it away in case it breaks; rather you will take it to be repaired. Embedding sustainability into the brand is the new trend. The time when consumers were used to buy piles of bags just for the sake of it is over.

Environmental responsibility with social and ethical responsibility is the next trend in luxury.

he ancient Greeks had a word for it Adifacia which means an overreaching desire for more than one’s share. This vice was often paired with Alazonia a form of arrogance directed especially against the gods and therefore doomed to fail.

Because of this, I shall simply observe that it is important for all of us that capitalism does not become discredited. The practical alternative is to reform capitalism not to throw it away as for sure State Socialism certainly is not the alternative to a modern and free society. For a prosperous capitalism to succeed where middle classes can prosper one needs to allow failure to happen. What we have now is not healthy capitalism - it is a perverted form of capitalism where we don’t allow privileged failure preventing the normal business cycle from taking its course.

Central bankers with political consensus continue to support zombie banks and their zombie customers with low interest rates, central bank liquidity, government guarantees, capital injections and transfers of worthless assets from these insolvent entities effectively onto the backs of taxpayers.

All of this obstructs the system from naturally cleaning itself out quickly and regaining resilience. These kind of incentives will further encourage financial sector participants to behave like spoiled children who think that if they create a mess they can run off without responsibility whilst leaving somebody else with the task and cost of cleaning up after them. Privatisation of gains and socialisation of losses is not prosperous capitalism.

Prosperous economies need to have finance where it belongs. Capitalism needs to develop a conscience where the economy has to become

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However summer is when political life and business life are not always in the forefront of our mind. You have travelled the world and we have followed you. The world carries on, of course, but it does so more whimsically than usual.

In this edition, we have concentrated to a considerable degree on people and life in America. There is an interview with Thomas Kato, an excellent illustration of American Dream, but you’ll find, too, a very interesting article written by Marie-Claire Gladstone on New York Real Estate and another by Blanca Uribe on San Diego. Then there’s the sharp economic article written by Rai Hamilton on the World Crisis.

On the lighter side, we have looked at events such as Burning Man, Festival del Sole and the Concours d’Elegance. What’s extraordinary about all these events is not just the culture but the partying that takes place alongside. Whether your style is more in the spirit of Festival del Sole or Burning Man, we hope you had fun. Everyone will have had their favourite moments. We also loved L'Ormarins Queen’s Plate at Glorious Goodwood. The Qatar Goodwood festival is one England's most famous sporting and social events of the year providing some of the best racing of the season. This year, a rank outsider, the French trained Amy Eria at 33/1 took everyone by surprise by winning LQP Stakes at Goodwood on July 31.

I wish all our Cercle friends an enjoyable reading.

Gabriele Salvadori Founder & Editor-in-Chief

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CONTENTS 06

MY VISION OF LIFE |

10

ECONOMICS |

16

M Y FAVO U R I T E S |

22

FA SHION |

24

ART BASEL |

28

INTERIORS |

36

BE AU T Y |

38

R E A L ESTATE |

40

A H E AV E N O F L U X U R Y |

46

MUSIC |

48

HIDDEN GEMS |

52

CONNECTING CIRCLES |

54

SUMMER SEASON |

60

LIBR ARIES OF LIFE |

64

A MSTER DA M |

68

F E S T I VA L D E L S O L E |

70

SAN DIEGO |

74

BUR NING MAN |

78

MONTER EY CAR WEEK |

79

CITY LIFESTYLE |

DANIEL RIEDO

R A I H A M I LTO N EUGENIO LOPEZ ALONSO

ANGELIKA BOLLIGER NINA MOADDEL ART 4 FUN

VA LERIA ACA M P O R A MARIE-CLAIRE GLADSTONE VA LÉRIE BU R NIER

KRISTĪNE BALANAS ALI BAGHERZADEH C H I N A TA N G

DECORUM AND LAUGHTER JOHN WOOD

KS ENIA M E ZEN TS E VA O LG A KU RUKOVA

BLANCA URIBE CHIARA TEDESCHI IVA N CIN QU E

PAT R I C I A U R I B E , D E E H I L F I G E R , B L E O N A Q E R E T I

80

V E N I C E F I L M F E S T I VA L |

86

SPORTS |

88

L' O R M A R I N S Q U E E N ' S P L A T E |

92

PL ACES TO STAY |

94

POLO IN SOTOGR ANDE |

98

IN CON V ER SATION W ITH |

I M AG I N AT I O N A N D R E A L I T Y

CRICKET JAMES TROT TER

N A DYA A R S E K I N A IRINA KAZARIDI T H O M A S K ATO

102

SOLAR R ETURN |

AMANDA CHIPRO

10 4

SU M M E R PA RT Y |

CAROL ASSCHER

108

WON DE R L A N D PA RT Y |

112

L Q P STA K E S AT GLOR IOUS GOODWOOD |

DENISE RICH K AT H E R I N E G R AY

For advertising please contact: Nadya.Arsekina@ccercle.com | +44(0) 7985 342246 Publisher Cercle Ltd ® 5 Vigo Street, Mayfair, London, W1S 3HB, UK Cercle is a ® Registered Trademark.· Printing in whole or in part is expressly forbidden without written permission from the publisher. The publisher declines any responsibility for manuscripts and photos sent directly. The views expressed in the magazine are those of the contributors and are not necessarily shared by the magazine. © 2015 - Cercle Ltd ®.· All right reserved.

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MY VISION OF LIFE

Daniel Riedo “I am an engineer, a man whose life is devoted to products and to development, and who was led to watch making by a love of beautiful things. I always think it is amazing to consider how much goes into the creation of a watch. The hand of the enameller, the engraver, the watchmaker and the setter all play a role in the process”

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here’s a book that’s just recently been published by Guruprasad Madhaven.

It’s called Thinking Like an Engineer.

Madhaven works at the National Academies of Sciences, Engineering, and Medicine in Washington. In the book he constructs a very strong case for the importance of engineering in society’s evolution.

important timepieces made down the years.

When you start to think about it, the mind of an engineer is visible all around us. Of course in watches and jewellery, but also in our buildings, in our transport systems on land, sea and air, not to mention fields such as biomedicine and software.

He was lucky enough to see it on sale in a second-hand shop in a coastal town. It was a collector’s dream watch and he was able to pay for a wedding and a lot else besides as a result.

I mention it because we were one of the first to produce a watch that could - and still can – be used by divers to notify them that it is time to go back to the surface.

His belief, though, is that the processes and conceptual framework within which engineers work is one which could usefully help us tackle challenges of a political and economical nature as well.

HERITAGE AND TRADITION

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aeger Le Coultre has a long-established history in which heritage plays a crucial part.

You see this, for example at our recently opened shop in London where the interior designer created a ‘movement wall’ displaying a host of our calibers past and present, and the most

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A story about one of our diving watches sold in America recently made the headlines. I love it. A man who knew the difference between an ordinary watch and a luxury timepiece managed to get hold of one of our first diving watches for a fraction of its actual value.

I think we all wrestle with the projection of identity - especially how to merge the tug-ofwar between appearing global while remaining true to our Swiss side. In addition, there’s that perennial pressure to stay alert to changing fashions and tastes without cutting off the past and losing your soul.

I believe hugely in the continuity of the Swiss industry of watch making. Nobody can transplant the Vallée de Joux across to China.

That is to say, the Asian economies cannot copy

either our legacy or our independent state of mind. In theory, an inventory can be copied. But they are pale imitations. It’s a bit like with eating.

I’d rather have four morels with real flavour than a whole mass of tasteless ones.

If I ever feel in danger of losing my bearings, I just walk around our heritage gallery. We have over 1,300 calibres and 400 patents reminding us of who we are and what we stand for.

THE PSYCHOLOGY OF LUXURY AND WATCH MAKING: “PEOPLE NOT MACHINESˮ

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et’s be honest your mobile phone gives you the time. So watches that started off as being the standard bearers of time and a status symbol, for that reason alone, are now being bought on a completely different basis today. Every Maison has to work out why and then play to this desire.

For me the answer lies in being sensitive to the relationship we all have with time and each other.

When we talk about owning a watch we are talking about a great deal more than an artefact – however beautiful. It’s about heart, art and a perspective on life that sees time as a continuum that can be sub-divided into meaningful intervals.

A story that demonstrates this perfectly is what happened to Charlie Chaplin’s watch. (It’s one of our iconic timepieces.) It was passed down to his grand-daughter. Carmen Chaplin. She made a film about that journey and here’s what she said in the interview.

me, because he gave it to my father, Michael Chaplin, his son, when he turned 14. Then my dad gave it to my mum as proof of their love on their wedding day. It was a real good-luck charm because they have been in love now for 45 years.”

“I love antique watches and the idea that they have a past and a story to tell,” she says.

“My grandfather’s watch particularly moves

For me this is a wonderful real-life illustration of how people bond with jewellery and watches.

DESIGN AND THE PAST

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ierre Bourdieu, the sociologist, underscored the fact that every field of production is a continuance of the past. Rare indeed are complete breaks – whatever marketing people tell you! Everyone of us - in whatever artistic field - is always influenced by somebody or something.

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Because of this designers are linked, as though by an umbilical cord, to their colleagues’ earlier solutions and to the past. This is especially so of the creation of a watch – the epitome of a complex apparatus.

Without contributions from these countless earlier craftsmen and other mechanics, it would be completely inconceivable to design and produce the timepieces of today.

THE ELEMENT OF SURPRISE

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ersonally, I always loved the fact that the father of modern magic was the French watchmaker Jean Eugene Robert-Houdin. In

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the world of watch making, there is always the desire to pull off some phenomenal surprise or trick.

The automata tradition embodied by the cuckoo clock (and its many variants) is just one aspect of this. In the world of luxury watches, there’s almost no limit. For centuries now, a huge amount of imagination has gone into developing underthe-lid surprise mechanisms and movements.

In our own Maison, our technologically most flamboyant range has been the Hybris Mechanica collection. Imagine, for instance, shrinking the complex mechanism that allows London’s Big Ben to strike and chime out the time to fit the small space of a wristwatch.

INVENTION.

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s a footnote, I think it’s entirely relevant to point out that the spirit of invention we embody played a part in the development of an extraordinary swashbuckling camera.

Back in mid-1930s Noel Pemberton Billing, a British politician and entrepreneur accepted a bet to design a camera that could fit inside a cigarette packet. Very James Bondish.

I’m delighted to say, he approached our company to help with it. Again I see this as unassailable proof of the long history we have of innovation.

Who knows what the future brings.

THE PAST IS NEVER DEAD. IT’S NOT EVEN PAST William Faulkner.

While some of our models are simple and classic, they feature a whole host of technical surprises.

In my opinion, Jaeger-Le Coultre is the purest expression of Fine Watch making

CREATIVITY – POINTS IN COMMON

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n aerial view of New York. The camera zooms down onto a street choked with vehicles. Finally, it comes to rest on a limousine.

Cut to a square-faced wristwatch. The time showing is 15 minutes to two. The owner of the watch, Pierce Brosnan who is cast as a playboy millionaire art thief, realises he is late for a meeting.

The film is the Thomas Crowne Affair and - yes, I’m happy to say that it’s our watch!

For well over a decade, we’ve made a point of collaborating with the film world in a variety of ways: re-versioning and preserving classic Chinese films, supporting new work and new directors and, of course, acting as a sponsor to most of the major film festivals. Aside from Venice, we support Shanghai, Dubai, Toronto, San Sebastian.

Right now, we’re in the middle of Venice Film Festival this year has a fantastic lineup -including the opening film: Everest. We also sponsor the Glory to Film-maker Award. In the past, we've honoured marvellous directors such a Spice Lee. I think Haute Horlogerie and cinema share common values. Both create dreams and a sense of wonder through aesthetic and technical mastery.

Haute Horlogerie, for example, draws upon the talent of a huge variety of different artisans in order to create a new watch. We have ten per cent of our workforce dedicated to thinking of new designs. Yet, that initial burst of creativity is just the beginning; it means little without the involvement of everybody else.

That said, those concepts would remain in the designers’ heads without the back-up of many different crafts. In this way, there is a real analogy with the way in which the film world works.

The fiction is that the film is in the mind of one director. In reality, it only has a life when writers, directors, actors and technicians, work together.

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ECONOMICS

WORLD CRISIS The banking system is taking us into crisis but now it’s global.

By Rai Hamilton

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ercle is blessed with a sophisticated readership but only a few outside our audience will know that the Federal Reserve System is the fourth central bank in the United States whose predecessors each perpetrated raging inflation and widespread economic disaster. Let's understand how the Federal Reserve protects and enriches the banking brotherhood in the international arena. Let's stop short of lapsing into accusations that JFK was murdered (executive order 11110) trying to stop what he saw as a fraudulent and unconstitutional structure perpetrated by key bankers to control the money supply. The fact is that the power of the Federal Reserve and the influence of the Press work hand in hand and stand shoulder to shoulder concealing any criticism from the American people if not from the entire global community.

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My mail box fills after each edition of Cercle and my last effort at urging the super-rich to think about the consequences of hoarding their cash made a record haul. Mostly, the support was for the keynote speaker at the FT Luxury Summit in Monaco who frankly went out on a limb suggesting there was even an opposite of luxury. In the last days we have seen an image of a little boy in a red jumper washed up lifeless in the surf on a Mediterranean beach. That image was probably more powerful than anything that could be written about greed, oppression, poverty and conflict. It has prompted the entire world to call for a debate on what to do about the source of the problem, cause effect, but the Press has avoided calling this the greed of the financial institutions in looking after their own interests no matter what the cost. There is no mention of any authority calling for a rationalisation of the

money supply system that is directly responsible for preventing ordinary people building their lives in safety. The immediate pressure caused by the migration of helpless people does nothing to shift the goal posts that would occasion relief and lead to a better outcome for the helpless.

Poverty and lethal conflict have gained an ascendency worldwide and made a mockery of the system which creates and distributes the wealth of this planet. The truth is that the super-rich financial institutions led by the Federal Reserve, World Bank IMF and Bank International Settlement (BIS) orchestrate a game of ripping the guts out of the weakest in our midst so they never have a chance of aspiring to anything.

The financial game starts with a mammoth loan created out of nothing through the magic

of fractional reserves from the majors like Citicorp, Chase Manhattan, Bank of America, etc. The preference is for these loans to go to a country with scant means of servicing the debt much less ever repaying the principle.

The banks make their money from interest on the loan, not on repayment, and they know they can’t lose because the Federal Reserve guarantees that massive loans that go into default will not be allowed to seriously damage the issuing bank. It is obvious that the system makes it profitable for banks to make large and unsound loans as well as inevitable that most unsound loans will go into default. You may well ask why loans go to their "buddies".

To answer that question look at banking bonuses and dividends in good times and bad.

The Federal Reserve system is a privately owned cartel that has never been legally sanctioned and has grown into a monster that is now incapable of sanction. The Federal Reserve is neither Federal nor does it have any Reserve. It is an opaque institution that has never been audited, has never paid taxes and is not accountable even to the USA President. This is the power to create new money out of nothing with a printing press and lending it out until the interest traps the borrower. The borrowers start with the US government and the game is that the original loans cannot be repaid so new loans are structured. More money then arrives out of the nothingness to cover the unpaid interest. It perpetrates a never ending litany of deprivation for taxpayer rather than the money making any difference to the most vulnerable. You may ask why all this money does not result in poor people dancing in the street? The answer is that those who receive the money are incapable of putting it to work efficiently and when they realise the task is hopeless they steal it. This circle of nonsense eventually leads to the lenders agreeing a fixed interest rate on the whole amount outstanding with some sovereign security and a longer period for repayment. The people are fleeced as every power broker, arms dealer and thug fights to become the recipient of the next windfall.

As I always say when some poor community is shovelled into a heap in the backyard of an intolerant society, there are those who make things happen, those who watch things happening and those who wonder what happened. There are even those who may try to stop things happening but in the case of the Federal Reserve, every serious opponent who had the power to change the system was assassinated. At some stage, when there is only destruction in an entire country filled with greed and hatred, the entire population can rise

up, but there is a small chance that those who wondered what happened will glimpse the truth.

Such is the case of the heartless filth that has been the government of Syria for two generations of one family. Now the people are on the move and the gap will be filled by extremists of a new and unheard of brutality and the Federal Reserve will do business with them. They will provide money by the purchase of stolen oil and they will trade with the arms dealers because that it the way their system works.

POVERTY AND LETHAL CONFLICT HAVE GAINED AN ASCENDENCY WORLDWIDE AND MADE A MOCKERY OF THE SYSTEM WHICH CREATES AND DISTRIBUTES THE WEALTH OF THIS PLANET Curiously, it is a significant part of the Muslim world that has had enough and they are from across the entirety of northern Africa. They will be welcomed in moderate numbers because the voters demand that is the case. The ordinary people of Europe are civilised and generous.

Without their combined voice of compassion, the governments would close borders. The child in the red jumper has triggered ordinary people to force their governments into a modicum of compassion.

However, amongst the hoard of migrants are fanatics who will stir up hatred and lay the ground for a Muslim Christian conflict of epic proportions in the future. As I write, the largest mosque in Europe is being built in Romania. In

ten years, the kindness will be forgotten and there will be hundreds more mosques and the seeds of an almighty conflict will burst upon us all.

Muslim families will control whole communities and then the voting of their representatives and they will point their fingers at the great Satan as the root of all evil, a Satan called the Federal Reserve that would be unveiled as the root cause of their forced migration. This will be a turning point in their history and culture with such a loss of life laid at the door of the unholy cartel that drives all our lives.

In order to help us fully understand our present predicament and what might be done to unmask the greed and those who profit from this misery, we need to know about the concept of fractional reserves and the way the same money can be used over and over again in the banking system.

The Wrathschilds perfected the art of making enormous profits from loans to governments, especially for wars and revolutions. This led to preventing any one nation from becoming strong enough to establish peace. Just as they financed the Bolsheviks in 1917 and just as the Americans were sucked into World War I to save J.P. Morgan’s loans to England, so the insiders were invited by the Wrathschilds to a secret meeting on Jekyll Island in 1910 which led to the basic plan that became the Federal Reserve Act. The insiders had European affiliates who preceded the secretive Council on Foreign Relations CFR and together they deceived Congress to push through a tool creating the ability to issue new money. Everyone could see that the idea was inflationary and would suck money out of every worker worldwide but the idea was accepted with the same tool suited to the Bank of England the IMF and the World Bank. The idea was to generate a structure of perpetual interest collectable on never paid-up loans which would subjugate the peoples of the Third World.

Not only does the Federal Reserve print new money but also it collects and deposits USA tax payers’ money into the Federal Reserve Banks not the U.S Treasury. The Federal Reserve then pays government expenses. This creates the first wave of what is known as fiat (unbacked paper) which is money that floods into the economy.

Commercial banks also create money out of nothing to create interest for themselves by multiplying every dollar deposited nine times.

This amazing feast is accomplished through the device of fractional reserves as deposits become loans in a system of repetition.

This newly created money causes the purchasing power of all money to decline with resulting

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Marriner S. Eccles Federal Reserve Board Building, Washington, D.C.

rises in prices. It is a deception that inflation is higher prices caused by full employment and a strong economy and it is madness to let the steam out of the economy by slowing growth with increased interest rates.

Alan Greenfly, once chairman of the Federal Reserve, pronounced this claptrap to control inflation and he merely devastated the bond market, clobbered the stock market, and helped only the bankers who were perfectly protected as the giant scam rolled on.

There is a consummate evil in how government must control population. Historically the only means by which a government has ever been able to secure the subordination of citizens to the State is by war. War that threatens a way of life provides the external threat without which no government can accumulate power so it is used to make the masses put up with all kinds of deprivation, taxation, and controls without complaint. No amount of sacrifice in the name of victory is rejected. Resistance is viewed as treason.

Initial US military ‘success’ in the Middle East might have caused peace. This was an unthinkable outcome for the power brokers and financiers and so they thought up a new threat to fill in the vacuum to keep the money rolling in and called it global warming. This would cost $ trillions and there would be no backlash. This environmental substitute for ongoing money

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IT IS OBVIOUS THAT THE SYSTEM MAKES IT PROFITABLE FOR BANKS TO MAKE LARGE AND UNSOUND LOANS AS WELL AS INEVITABLE THAT MOST UNSOUND LOANS WILL GO INTO DEFAULT. YOU MAY WELL ASK WHY LOANS GO TO THEIR "BUDDIES"?

took the form of promoting ecological doom as the new enemy that threatens the entire world.

There is no proper evidence of global warming.

The ice caps have even thickened by thousands of feet over the last two years. In any event, the substitute threat is clearly being managed and it has convinced the masses that there is as ‘An Undeniable Truth!’ as expressed by Al Boring with a Nobel reward.

“Credibility is the key, not realityˮ. Phony scientific claims continue to be publicized by the very same Insider-controlled media. They insist on funding of vast environmental projects by corporations and businesses that would appear to have the most to lose. Their plan is brilliantly successful. Politicians are now being elected on nothing other than spouting how our freedom is of no consequence when the very planet on which we live is sick and dying. President O’Bumma is on a futile three day trip to the wilderness of Alaska as I write.

Yet this perverted, power-mad Insider fix by the Federal Reserve need not prevail. None of these dreadful things they promote needs to happen. There is a procedure by which the Federal Reserve can be abolished, the national debt paid, and the country returned to a sound monetary system based on silver and gold.

This following extract is a secretly taped conversation between Alan Greenfly and Maurie Torium, the boss at the world’s most important investment bank Golden Axe. The occasion was

a dinner at the Henry Ford estate in Georgia.

The subject was to revisit a study commissioned

by Defence Secretary Robert McNamara entitled ‘Report from Iron Mountain’. This study cold-bloodedly discussed various means by which government might control the populace and perpetuate itself in power in the absence of war. In attendance was the multi-billionaire Malice Aforethought, recently appointed to be the powerful UN environmental czar. Malice gave a summary of how the United States needed to commit environmental aggression against the rest of the world. His argument was that the world’s ecosystems can be preserved by lowering the standard of living in the Third World and by taxation at home through political domination.

Maurie (Chairman of Golden Axe) – always believed you were a straight shooter, Alan. I never believed you were having an affair with that Israeli soldier Barbie Cue. The Press are making a meal of it saying she is roasting you on the spit but I know you go home to your mother every Friday for a plate of flanken.

Alan (Chairman of Federal Reserve) – I’ve been with some lunatics today, Maurie. From a distance, it might seem that we’re all in the same boat as we’ve spent our business lives focused on the money. Now any idiot could be the first to lob up a nuclear warhead and everyone will be scared into giving up their wealth in exchange

for a place in some far away wilderness.

Malice (UN Environmental Governor) – I’m on the case, Al. These fakirs are stirring the pot and breeding like rabbits and soon they’ll be bombing everyone and grabbing each others’ oil revenues, They’re already talking about killing off the infidel by selective poisoning of the fresh water sources with this vibrio cholerae 0139.

We are the only ones thinking long term here so have no fear. By the time I’ve finished with the UN, I’ll have the oil price in the gutter so these fakirs have no income. It’ll be like Monopoly where there is only one winner and that’s us.

Who cares if there’s no one left in the game to play with? We will shortly be in control of all the Wilderness Lands and if that’s the only place left to live then we won’t let any of these fakirs in.

Maurie – That’s the end game, Malice. First we have to break the economies that have control of the Wilderness Lands. We’ll lend them big bucks and get them into the position of defaulting. That involves a little manipulation and controlling the $353 trillion daily inter-bank lending market and the key rates where banks lend to each other. Who knows when Barmaids, Honk and Shag and Royal Scot and 20 other banks are mis-selling complex interest rate products to over 29,000 small business customers. We’ll make sure the regulators put some codicil in the small print of the compensation program that will exclude all the large claims, say over £10 million. That way, the banks are exempted from

taking any meaningful hit. As for LIBOR and EURIBOR, if you were Flip Coyne, head of Trumpet Reuters, the data firm setting the daily interest benchmarks from figures provided by the banks themselves, and that’s us by the way, you’d know the numbers were falsified and then bet on the rates going back to normal. Why would anyone in the know ever admit we’re cleaning up on hedging interest rate products? Trader motivation is called a bonus-pot and these guys know they’re safe rigging the market because the Bank of England under Merlin King is happy to turn a blind eye. It makes the UK banks look stronger than they really are. The question no one has asked is how the banks dispose of the $ tens of billions that they’re stealing from their customers!

Alan – The integrity of the pricing structure is at the heart of the financial system worldwide.

No matter. Our key people get away with using chat room messaging to create systematic profit.

We all follow the Judaic tradition that ‘everything that is not blatantly illegal is okay’ Maurie – Not to mention that traders at every big bank regularly use employers’ money to bail out their friends after bad trades. There again, if we’re controlling the system, why should we be asked to rely on guesswork under pressure?

Manipulation of interest rates and client money is the obvious solution As Churchill said ‘the truth is so precious it must sometimes be attended by a bodyguard of lies’.

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Malice – Anyway, no one realises we’ve started taking control of the Wilderness Lands by landing debt instruments on the poorest nations. The Deputy Secretary of the United Nations, Mather B. Pees, feeds confidential information to Dr. Nambi Pambi at Wrathschild and he is ensuring that the critical locations for environmental protection and human survival are all being gathered in. We can keep all the general population completely out of it. I have distributed to the key players the structure of the Wilderness Lands and their capability of sustaining human life. Hope Anpray, the secretary to the Deputy Secretary General, sent me a study which showed exactly where fresh underground water was present in the Wilderness.

That’s how we chose which sites to buy. Each of them is Federal Reserve uncontaminated water directly from below. Remember our roots about ‘water turning bitter?’ We have to stay ahead of the game.

Alan – I was sitting in Demonico's in front of 200 people yesterday and it made me confident that we have the ability and connections to assemble all the wealth of the world. We have been chosen to be the guardians of the planet.

We are stockpiling gold. Cash is flooding in from collateralised funding programmes. With the

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drugs, we crate the money in our own terminal in Panama and hey presto it’s right back where it belongs in Switzerland.

COMMERCIAL BANKS ALSO CREATE MONEY OUT OF NOTHING TO CREATE INTEREST FOR THEMSELVES BY MULTIPLYING EVERY DOLLAR DEPOSITED NINE TIMES

Maurie – You’re right about Monopoly. After we’ve sucked in all the money and hoarded it and used it to advantage our friends, we’ll push interest rates up to 23% and charge 50% on credit cards for anyone who’s got anything left.

Malice – Mather B. Pees makes himself look like he’s helping the poor and taking credit for salvation while he’s stealing big bucks. He runs the United Nations just like the Federal Reserve and no one in the UN is accountable.

The Federal Reserve doesn’t even answer to the White House. All the people involved in controlling new paper and new money are safe because they’re family of the directors of the Federal Reserve. They control the cash flows of the world by monitoring which banks inject new money into the system. Hugh Mungus-Erectus left our very own cradle of greed at Golden Axe and he’s now Secretary of the Treasury so he does absolutely nothing that will disadvantage us. We talk about saving the world and everyone assumes we are talking about humanitarian projects. We make sure charity never reached the dying and we explain it as following the law of biomechanics. With our system, the severity

Federal Reserve building of Chicago

of the itch is inversely proportional to the reach.

Maurie – Let me put miracles in perspective.

There are 400 billion stars in our universe with as many as ten billion sufficiently like our sun to have produced hospitable planets and intelligent life and God sent his only son to us.

Alan – Exactly right. Wrathchild and the London banking houses ultimately control the Federal Reserve Banks through their stockholdings. The two principal Wrathchild representatives in New York are J. P. Organ and Coon Lobe and Co. who set up the Jekyll Island Conference where the Federal Reserve Act was drafted. They ran the campaign to keep the Federal Reserve private for themselves and got it passed by an act of Congress. They originally bought the controlling amounts of stock in the Federal Reserve Bank of New York in 1914. In the same year they had their principal officers appointed to the Federal Reserve Board of Governors and the Federal Advisory Council. Then they bought controlling shares in the twelve Federal Reserve regional banks. Now the controlling clans are those same people called Wrathchild, Schredder, Brown Shipshape, Organ Grenfell, Lizard, Brown Brothers, Montague, Harriman, Warthog and a whole mess of Lehman’s including Mayer Lehman, Emmanuel Lehman,

Herbert Lehman, Irving Lehman, Arthur Lehman, Phillip Lehman, Owen Lehman, Peregrine Lehman, Oswald Lehman, Geronimo Lehman and because directors of the Federal Reserve cannot be directors of any bank, that’s why you’re dealing with all the relatives.

It doesn’t matter if they’re vilified, banished or gone bonkers and in a sanatorium. They are the ones who control the Reserve Bank of New York, National City Bank of New York, National Bank of Commerce of New York, Hanover National Bank of New York, Chase National Bank of New York and every live person called Rockefall, every live person called Harriman and every live person called Baker. It’s said J. Henry Schredder Banking Company’s genealogical chart encompasses the entire history of the twentieth Century. It embraces the provisioning of Germany from 1915-1918, financing Hitler in 1933 so as to make a Second World War possible, backing the presidential campaign of Herbert Hoover and, by way of example, even having its directors serving as Secretary of Defence and Secretary of State in the Ronald Raygun administration. Then you have the head of the Bank of England, Sir Gordon Bennett, appointed in 1973 as a tool for the Wrathchild clan. He was chairman of J. Henry Schredder Wagg and Co. in London from 1963-72 and director of J. Henry Schredder in New York and

Schredder Banking Corporation in New York as well as being chairman of Hemma-Lloyds Bank and Rolls Royce. He was probably the single most influential financier of all time next to David Rockfall who was chairman of Chase Manhattan with a clan effectively running Standard Oil, General Motors, Allied Chemicals, Equitable Life, Firestone Tyres, Chrysler, Southern Peru Copper Corp., Industrial Minerva Mexico, Macy’s, Continental, Honeywell, Omega Fund, Northwest Airlines, Squibb Corporation, Northwestern Bell Telephones, Olin Foundation, Minnesota Mining, Mutual Benefit Life Ins., American Express, AT & T, Hewlett Packard, Pacific Northwestern Bell, FMC Corporation, Exxon Corporation, International Nickel, Cypress Woods, Federated Capital Corporation, International Minerals & Chemicals, Burlington Industries, Federated Department Stores, Wachovia Corporation, General Electric, Jefferson Pilot Corporation, Scott Paper, R. J. Reynolds Industries, American Petroleum Institute, United States Steel, Metropolitan Life Insurance, Sperry Rand and only Jesus Christ knows what else.

Maurie – I have to admit that Jesus has been very useful.

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M Y FAVO U R I T E S

Eugenio López Alonso A RT GLO RIO US ART “I’ve been interested in art now for a very long time. My parents told me that my ambitions probably began at the age of seven, when most boys want to be an astronaut or explorer. Anyway, they took me around Versailles and I was just overwhelmed by its grandeur and beauty. Apparently, I declared I wanted to be Louis XIV. Forbes recently wrote an article about me called the Mexican Medici, so I suppose, I sort of got there! ”

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uilding a collection is a life-long journey and, of course, one’s taste continues to evolve based on both life experiences and artistic trends. Eugenio Lopez, President of Fundación Jumex, has worked to create a collection that will stand the test of time and, with the creation of the Museo Jumex, allow generations of the public, both locally in Mexico and internationally, to experience contemporary art and understand how it shapes and influences our culture.

SELF -TAUGHT AND GIVING BACK I have spent more than 20 years looking at art, experiencing art and listening to those around me who have knowledge and expertise within the field. In 2001, I established Fundación Jumex with the hope of being able to make a difference in the art scene in Mexico. This marked a new era in Mexican culture. It was the perfect balance between contemporary art and economic power, and this marriage allowed me to contribute to the development of curators and critics in my country, as well as Mexican artists such as Gabriel Orozco, Damian Ortega and Abraham Cruz Villegas who will be inaugurating the new series of Turbine Hall commissions at the

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Tate Modern in London.

At the same time in Los Angeles, I was fortunate to learn from Margo Leavin, one of the most respected dealers in the city who recently retired, and from artists like John Baldessari. In addition, as Vice Chair of the Board of Trustees at the Museum of Contemporary Art, Los Angeles, it is very inspiring to see what Eli Broad has done for his hometown and his philanthropic generosity makes me want to give back even more.

WHAT I’M PROUDEST OF

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stablishing Fundación Jumex Arte Contemporáneo and Museo Jumex.

We began work with the Foundation to promote the production, discussion and knowledge of contemporary art and to generate innovative ways to foster art and culture. The Foundation has three core components: Fomento, dedicated to supporting the production of contemporary art and independent projects, education and research; Investigación, dedicated to the research and analysis of contemporary culture; and Educación, committed to enhancing the visitor’s ability to understand and appreciate contemporary art.

MUSEO JUMEX In 2013, the Foundation opened Museo Jumex, which then became the main exhibition platform for the collection and is widely thought of as one of the most significant international contemporary art collections in Latin America. The mission of the museum is to be a place to encourage discovery, reflection and learning of contemporary art itself. The 43,000-squarefoot museum is the first building in Latin America designed by renowned British architect Sir David Chipperfield. He is known for the Neues Museum in Berlin, the Kunsthaus Zurich and the upcoming redesign of the Southwest Wing for modern and contemporary art at the Metropolitan Museum of Art in New York.

The opening weekend of Museo Jumex was one of the most memorable moments of my life, something I will remember for years to come. Guests from around the world celebrated the opening, including art world VIPs, curators and artists.

The opening exhibition was a show of the collection curated by Patrick Charpenel, who was the director of the museum at the time, and a solo exhibition of the American artist James Lee Byars in collaboration

Courtesy Fundación Jumex Arte Contemporáneo

Andy Warhol / 5 Deaths, 1963.

Courtesy Fundación Jumex Arte Contemporáneo

Wilfredo Prieto / One, 2008.

Courtesy Fundación Jumex Arte Contemporáneo

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with MoMA PS1. It brought together a constellation of 95 pieces from the collection, showing common themes such as landscape, urban space, integration and the use of materials, industrial processes and the demystification of children.

Museo Jumex has become an iconic landmark and a “must-see” destination in Mexico City

SOME OF MY FAVOURITE ARTISTS In 1993 I saw a Robert Ryman work in a Sotheby’s catalogue that fascinated me and I have been following the artist ever since.

I think he is a genius. One of my favorite artists is, without a doubt, Cy Twombly. I have been collecting his work for years and continue to do so. My dream was to one day host an exhibition of his work in Mexico.

That dream came true in 2014 when Twombly’s first retrospective after his death traveled to Museo Jumex.

As I mentioned previously, John Baldessari is also very important to me. I admire the influence his work has had on younger generations in the art world. I was also influenced by him, as he helped to shape my approach to the art world.

I collect many Mexican and Latin American artists, including those mentioned earlier, and Amalia Pica, Miguel Calderón, Daniel Guzmán, Ana Mendieta and Mario Garcia Torres to name a few.

MY BEGINNING IN LOS ANGELES

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n 1994, when I moved to Los Angeles, I opened a Latin American art gallery called Chac Mool with Stella Provas. Fortunately, our timing was good and we maintained the business for more than ten years. But very soon after we opened, I realized that my passion was on the collecting side more that on the commercial side.

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ME AND MEXICO

PEOPLE WHO MATTER

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live in both Mexico and Los Angeles, which provides me the best of both worlds. Living in Los Angeles allows me to be exposed to a more dynamic international market, which I can combine with what is happening in my own country.

In the 1990s, Mexico’s contemporary art scene was evolving. Together with artists and institutions, I helped to create a platform to export Mexican art to the United States and then bring the work of renowned international artists into the country. I was proud to donate Damian Ortega’s “Cosmic Thing” to the Museum of Contemporary Art, Los Angeles, and to provide sponsorships for residencies and opportunities for Mexican artists to study abroad. My hope was that our work would impact the Mexican contemporary art scene both inside the country and internationally.

LOS ANGELES AND MEXICO

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’ve had a home in Los Angeles for more than two decades and I always live surrounded by my art. In this home, I have works by Andy Warhol, Dan Flavin, Bruce Nauman, Robert Gober and Damien Hirst.

Jeff Koons’ Elephant, which is part of the artist’s monumental Celebration series, is in my front garden. I also love mid-century modern furniture which I collect as well, including Jean Royere and Jean Prouve.

My Mexican roots are very important to me. My apartment in Polanco, in the center of Mexico City and overlooking the Bosque de Chapultepec, feels like the perfect environment to enjoy my art and the city.

y immediate family obviously. My friends. I also think that my chef, Lupita, should get a very special mention -- she makes the best Chilaquiles.

MY FAVOURITE PLACES

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always go to galleries in different cities. Sadie Coles in London, Marian Goodman in New York and Paris and Barbara Gladstone in New York and Brussels, to mention a few. I can also be found at the New York and London auctions and art fairs, including Art Basel, Frieze, Art Basel Miami Beach and Zona Maco in Mexico City. Seeing new art is very important to me and is something that gives me great satisfaction.

Cy Twombly / Untitled, 1969 Courtesy Fundaci贸n Jumex Arte Contempor谩neo

FOR ME UNDOUBTEDLY ONE OF THE MOST EXCITING TIMES IN ALL MY LIFE WAS THE OPENING OF MUSEO JUMEX IN 2013

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FA S H I O N

PARIS COUTURE SHOWS 2015-2016 Every year we so much look forward to the fall/ winter fashion reports. Why do we love it so much?

Well, for the start the cold or colder weather seems to linger a bit longer than the sunny warm one. It is an over all safer investment. We will always wear more boots than sandals, more cashmere than strapless tops and more leather than linen. Also with the current pallet we can easily wear some of our fall wardrobe in the warmer months.

By Angelika Bolliger

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personally can’t wait to take off all of my clothes, leave all my shoes behind and walk barefoot by May tired of the weight of the winter months heavy clothing, but after doing so for two summer months, sweating and gasping for air I can’t wait literally to put my jeans back on and indulge in dressing up.

The fall/winter fashion is like a freshly baked bread that you can smell from a distant bakery and your stomach twists in anticipation.

Ok, enough off that let's get straight to the point.

PARIS COUTURE:

FASHION SHOWS. TRENDS, PEOPLE, THE BUZZ

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his season like no others seems to be a mixture of many eras. The dominant trend seems to be the 70’s fashion, but there was plenty of 60’s inspired clothes and 80’s punk too. I would even detect some 40’s and 50’s inspired fashions and even some Victorian suggestions.

Something for everyone’s taste. You can almost

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play dress up pretending to come out of a different decade everyday.

CHLOE

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his must be my favourite label in the recent years. It's chic, effortless, feminine yet with an edge and coolness. It makes us look younger without trying too hard. The boho vibe works great all year round. It’s timeless. The long flowy dresses make you feel taller, slimmer and younger and more intelligent The 70’s inspired flared pants are simply hot without any vulgarity.

The skinny long silk scarves and flowy blouses add flare and elegance and a bohemian, artistic vibe. The models looked phenomenal as they glided down the runway. Everything seemed to be touched with a sense of lightness. Even the heavy coats and capes didn’t weigh down the airiness of the chiffon.

The colour skim of the fall/winter collection is neutral: beige, camel, burgundy, black, grey, navy, pastels and snake print. Light dresses and

blouses and heavy coats short and long, wool or fur - creating a perfect balance.

The bags, oh I love them all. In fact I have three already. The new 70’s inspired faye in several colour and skin combos. The now very famous drew bag is worn by pretty much every fashion conscious women, as is the new hudson a cool, western inspired bag with fringe or a tassel.

These bags can take you from summer into winter into the summer again. I think Chloe is a label that keeps gaining fans every season.

Let’s not forget the shoes. The Victorian/70’s inspired boots ankle and knee high with long laces to tie around deserves a mention too. I personally love them, they are girlish, stylish and very comfortable. Every outfit was perfect and wearable day and night and day to night. The collection transcended the 70's mood in the most natural way.

SAINT LAURENT

CHANEL

ISABEL MARANT

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aint Laurent is a very French, Parisian label.

Since Yves Saint Laurent's departure, the brand has continued to evolve. He was a man of vision and colour and was not afraid of making an overt statement. His creations tended to be instantly recognisable.

Today the house of Saint Laurent is still very cool and strong, but the colour pallette has changed and became more masculine. When you wear the perfectly fitted black suit with a skinny scarf and white shirt – you assume an aura of power.

It is not just a suit. It is perfection. This collection like the spring/summer one is also inspired by the 70’s, rock, western, boho, punk.

We see a lot of suede, wool, lace. We also see a lot more colour this season and print.

It’s not often that you can wear a rock chick inspired outfit and look glam, chic and confident.

Saint Laurent has a very long list of followers including fashion, music and film celebrities.

arl Lagerfeld brings clothes to live by creating a dreamy, yet real life environment for his couture shows. Coco would have been proud of him. He is a brilliant businessman as well in that he realises the power that comes from placing the show in a theatre set. As a result, you’re inclined to relate all the more to the characters dressed in it.

In particular, it puts the clothes in a context for those of us who need a little hint about what to wear and how. His fall/winter show was no exception. It was styled in a brasserie background with real bar counters, drink glasses, little round tables, leather banquettes and handsome waiters. The models acted as restaurant guests visiting the bar for a drink. The show was full of chic 60’s and 50’s inspired dresses with a current

LOUIS VUITTON

CHRISTIAN DIOR

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himsical, fairytale-like setting in a glasshouse filled with fake flowers and sunlight. This was the background for Christian Dior’s couture fall/winter show. The show was light and airy with the models looking like angels strutting down the runway in gorgeous flowing, sheer dresses and beautiful coats accompanied by statement making fur stoles.

The collection was clearly inspired by the Flemish masters it was fragile and strong at the same time, historical and modern. The coats with a very long bell like sleeves where fabulous as well as the sleeveless ones. Both were worn with vibrant coloured stole's. Wool capes and platform sandals gave an extra 70’s twist.

I loved the skinny maxi coat worn over wide bell bottomed trousers for added chicness. I also saw bell like dresses in different materials and couloirs a classic Dior. The winner for me was a 3/4 length leather coat with short sleeves loosely tied in the waist over loose bell bottom trousers. Raf Simons modern approach to an old idea. Bravo Fall/winter 2015/2016 fashion shows were full of splendour and vision. Some of the ideas can be taken to the streets without any adjustment and without looking over styled.

In a way, a new style has emerged a combination of a few decades mixed together with only the best pieces characterising each period.

sabel Marant is the darling of the models, hipsters and everyone else who wants to have that particular french look. The young generation of models like Kendall Jenner and Gigi Hadid are particularly fond of her creations.

This collection did not set out to shock. Yet it stayed true to the label’s signature street style.

It was more 80’s than 70’s with models wearing just a single dangling earring. The runway was crowded with skinny, long - waisted pants and flowing sheer mini dresses. We saw a lot of boots, ankle ones and knee highs too. They were worn with dresses, mini skirts and skinny pants.

I particularly loved a short lace up jumper with thick laces. The make up looked natural and the models were clean faced and had their hair pulled back. It was a mixture of boho, and rock with some ethnic influence.

twist still faithful to the classic Chanel silhouette.

The strong, black eye make up on the models only accentuated the clothes. Their the slick hair added elegance. That created a perfect balance.

It was very Parisian. Chiffon, lace, wool, sequins topped with loads of fake pearls and long sparkly necklaces. Classic Chanel nude ballerina shoes were given a lift from flat to mid heel. The Chanel suit got a revamp ensuring that we stay faithful to the brand regardless of our age.

The collection was polite, chic, elegant and had a very polished feel.

airytale, luxury, cuteness, elegance and a modernity. The outfits on the runway remind me of all the 1960’s early 70’s trends worn by actresses in the vast array of French films.

Those were the days when fashion in film had to be at its best creating unforgettable characters who to this day are representative of that era. I am a big fan of all the Bunuel, Godard, Vadim films. Equally, I adore french actresses like Jean Moro, Simone Signoret, Romy Schnieder, Brigitte Bardot, Catherine Deneuve etc. Pink panther springs to mind as well!

Everything was perfect, the make up, the hair, the clothes and the accessories. Even the men looked perfect. I look to this era time for my own inspiration as, I presume, did LV creative director Nicholas Ghesquiere.

Of course the collection was a mix of the old and the very essence of Ghesquiere’s style which is sharp modern and even a bit futuristic. The fur was incredible. It looked like white and soft teddy bears strolling down the runway. Chic, smart, cute and eye catching. We can only wish it was fake. The accessories perfectly matched the mood of the collection. The handbags were gorgeous and related to very chic luggage cases with its LV’s signature.

We saw slick trousers, mini skirts, maxi coats in vibrant colours and pastels, leopard print amongst other 60’s and 70’s inspired prints and patterns in both clothes and bags. All around it was a beautiful show done in a splendid French fashion style.

I personally can’t wait to go shopping and get dressed...

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ART

ART BASEL

MIAMI BEACH

By Nina Moaddel Art Basel Miami Beach is the sister fair to the original Art Basel, founded in Basel Switzerland in 1970. The US show of Art Basel, which began in 2002, takes place each December at the Miami Beach Convention Centre and marks the winter reunion for the international art world.

Its location, between North and South America and eight hours from Paris and London, means it attracts more billionaires than Davos. Money talks here and it's a conversation everyone seems to be enjoying.

Š Art Basel

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merica’s biggest art fair is where artists, architects, collectors and celebrities hit Miami Beach to buy cutting-edge work by day and go to parties by night.

According to Art in America, Leonardo DiCaprio bought a 1973 Frank Stella for just under $1 million at Marianne Boesky, and Sean “Diddy” Combs bought a Tracey Emin neon at Lehmann Maupin for $95,000. If possible, visitors should plan on spending at least four days in Miami, as the week is full of opportunities to mix, mingle; and, of course, look at great art. A regular fair visitor describes it as “a fascinating cocktail of art, ideas, partying and, of course, money”. But it is the art that’s designed to endure and which has left the biggest impression on visitors, despite the surrounding circus.

The whole strip of Miami Beach from the W Hotel on 23rd Street up to the SoHo Beach House on 43rd Street is the hottest new, high-end real estate in town. Last year saw the opening of Ian Schrager's Miami Beach Edition hotel (rooms are over $1,000 a night during the Art Basel week) on 29th Street. This year should also see the opening of Alan Faena's massive $1 billion hotel, condo and art museum complex at 32nd Street with buildings designed by Rem Koolhaas/OMA and Norman Foster.

Sean Paul

Wang Jinsong

Courtesy the artist and Thomas Duncan Gallery © Art Basel

Courtesy the artist and Beijing Art Now Gallery © Art Basel

The 2015 edition of Art Basel Miami Beach will be under the directorship of newly appointed Noah Horowitz, who previously served as executive director of The Armory Show in New York. More than 73,000 people attended Art Basel Miami Beach last year, with more than 160 museum and institutional groups represented.

“I think there’s a lot that can be done to help take the fair in Miami to the next level”, Horowitz said. This year’s fair has a strong representation from the Americas with galleries coming from the US, Argentina, Brazil, Canada, Colombia, Mexico, Peru and Uruguay alongside many of the most important galleries from Europe, Asia and Africa. Dealers said increasingly well-curated booths, a burst in demand and interest from across Latin America, and the art market's growing synergy with fashion, music, and design were all contributing factors.

The first day of the fair is split into two. First in are the real high rollers. They have a preview card stamped with 'First Choice VIP' and then later in the day, the slightlyless-high-rolling people arrive. They have plain old VIP preview cards. BMW providing the VIP car service at the fair are lined up outside to ferry those with the First Choice cards to wherever they want to go. Normal visitors pay $45 a go to enter the show; if you have either card, you go for free.

Larry Bell Courtesy the artist and Kohn Gallery © Art Basel

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Thomas Wachholz CYAN 100/0/0/0, 2014

Rosalyn Drexler The Defenders, 1963

Courtesy the artist and RaebervonStenglin, Zürich © Art Basel

Courtesy the artist and Garth Greenan Gallery © Art Basel

The show is divided into the following sectors: Galleries: the main sector of the show, features 191 galleries presenting the highest quality of paintings, drawings, sculptures, installations, prints, photography, film, video, and digital art by over 4,000 artists.

Nova: provides a platform for younger galleries to present new work by up to three artists and will feature 34 exhibitors works that have been created within the last three years, the Nova sector often features neverbefore-seen pieces fresh from the artist's studio and strong juxtapositions.

Positions: this sector, featuring 16 curated solo booths, provides a platform for emerging artists to present one major project.

Edition: 12 global leaders in the field of prints and limited-editioned works exhibit the results of their collaboration with renowned artists.

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Kabinett: this sector’s participants are chosen from the Galleries sector to present curated exhibitions in a separate space within their booths.

Public: this sector offers visitors a chance to see outdoor sculptures, installations, and performances, within an open and public exhibition setting at Collins Park in collaboration with the Bass Museum of Art since 2011.

Survey: following its debut last year, Survey returns with 14 exhibitions of historically informed works.

Film: this sector presents a dynamic program of films by and about artists in an outdoor venue (in addition to at the Convention Center) at the Frank Gehry-designed New World Center’s SoundScape Park.

While Art Basel Miami Beach is undeniably the main event, it’s produced more than

20 satellite fairs, stretching from Midtown to Downtown. In 2004, Design Miami launched featuring the world’s leading galleries specialising in twentieth and twenty-first century collectible design. Art Miami, known as Miami's premier anchor fair, kicks off the opening day of Miami’s art week showcasing the best in modern and contemporary art from more than 125 international art galleries. NADA Art Fair is recognised as the alternative assembly of the world's youngest and strongest art galleries dealing with emerging contemporary art.

But a mere listing of the sections doesn’t give an accurate feel of the sheer range of the work here, which not only encompasses every conceivable form for fine art practice but moves out into architecture, theatre, music and dance.

South Florida’s leading museums again time their strongest exhibitions of the year to coincide with Art Basel. Visitors to Art Basel will also have the opportunity to view the city’s internationally renowned private

collections, including the Cisneros Fontanals Art Foundation (CIFO), the de la Cruz Collection Contemporary Art Space, the Margulies Collection at the Warehouse and the Rubell Family Collection. In December the Pérez Art Museum Miami (PAMM) will present 'Nari Ward: Sun Splashed', 'No Boundaries: Aboriginal Australian Contemporary Abstract Painting', 'Firelei Báez: Bloodlines', and project galleries by Sheela Gowda, Jeff Wall, Nicolas Lobo and Bik Van der Pol. The Institute of Contemporary Art, Miami (ICA Miami) will present 'Shannon Ebner – A Public Character' and 'Alex Bag – The Van (Redux)' while NSU Art Museum Fort Lauderdale will show 'Pablo Picasso: Painted Ceramics and Works on Paper, 1931-71', 'William J. Glackens: A Modernist in the Making', 'The Indestructible Lee Miller', and 'Revolution of the Eye: Modern Art and the Birth of American Television'. Other highlights include 'Margin of Error' and 'Philodendron: From Pan-Latin Exotic to American Modern' at the Wolfsonian-FIU; 'The Summer of ’68: Photographing the Black Panthers', 'Vincent van Gogh’s The Poplars at Saint-Rémy', 'Edgar Degas’ Portrait of Mlle. Hortense Valpinçon’ at the Norton Museum of Art; and 'Carlos Salas: Latin America and the Global Imagination' at the Museum of Contemporary Art (MOCA).

As the Bass Museum of Art is undergoing renovation, it has instigated bassX – a series of artists' projects, exhibitions, events and education programs – in the Miami Beach Library, directly across from the museum.

In December bassX will present a new performance by Sylvie Fleury.

With an estimated three billion dollars’ worth of art up for sale and UBS, NetJets US, Davidoff and The Absolut Art Bureau among the leading sponsors, the week-long affair has become a destination for luxury brands hoping to woo high-net-worth attendees. As Stefano Tonchi, W Magazine editor-in-chief, is quoted as saying, “The people who are buying a Murakami or a Koons are probably the same people that are

going to buy a $50,000 Louis Vuitton bag in collaboration with Rei Kawakubo or a punching bag by Karl Lagerfeld”. Whether it is through pop-up boutiques or luxury branded experiences, brands manage to position themselves as supporters of the arts while communicating their messages to the art and design community.

BMW, the official automotive sponsor, has for nearly 40 years been running its Art Car program. The brand works with different artists to design and paint their vehicles, which are displayed each year at the fair. Last year BMW presented two of

Another brand making a splash was French champagne house Ruinart. Last year, Scottish-born and Paris-based artist Georgia Russell was commissioned to create a sculpture, which was displayed in the Art Basel VIP area. Russell also designed a limited-edition glass champagne ornament, which was inspired by carvings on the walls of Maison Ruinart’s champagne cellar.

While artist-designed champagne bottles aren’t new, creating a unique casing at an art fair is an especially effective means of reaching the kind of people who would take pride in purchasing a product with clear links to the art world.

Each of Art Basel’s three annual shows – in Basel, Hong Kong and Miami – has a very distinct personality. Basel is grand old European money; very solid, very good quality. Hong Kong, with its 50 per cent ratio of galleries from the Asia-Pacific region, feels newer, more full of surprises in both the participants and the visitors. And Miami... well, it’s the home of unashamed bling. Perhaps it’s the weather, perhaps it’s the legend but glamorous Miami is the place where the intimate meeting and merging of big art and big money is the most upfront.

It’s educational!

Art Basel Miami Beach 2015 Dates

Leon Vranken Pitfall, 2013 Courtesy the artist and Meessen De Clercq, Brussels © Art Base

its legendary BMW Art Cars – the BMW 320 by Roy Lichtenstein (1977) and the BMW M3 by Michael Jagamara Nelson (1989). These experiences proved that being brought directly to the product and being immersed in the offering leaves a lasting impression and leads to sales.

Preview (by invitation only) Wednesday, December 2, 2015 11am to 8pm Thursday, December 3, 2015 11am to 3pm Public opening dates: Thursday, December 3, 2015, 3pm to 8pm Friday, December 4, 2015 and Saturday, December 5, 2015 12noon to 8pm Sunday, December 6, 2015, 12noon to 6pm

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INTERIORS

PHOTO ART That rocks

By Michala Brincker & Camilla Baretta

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Turning photos into ART Michala Brincker & Camilla Baretta are two Danish creative and dynamic women full of passion for what they do.

Over 200 layers were used to create this unique and contemporary artwork of the city of Z端rich.

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The women behind ART4 FUN Michala Brincker The ART Designer Copenhagen Michala is the creative force behind the brand and is a master in this unique skill of photo art. She makes sure that each artwork is finished down to the last detail. When not busy with creating beautiful pictures, Michala enjoys sailing her Hobie Cat and taking part in international competitions.

Camilla Baretta Art Sales Agent ZĂźrich Camilla is head of sales and based in Switzerland.

Born to Danish parents, she was brought up in Mexico City and now enjoys living in beautiful Switzerland where she dedicates a lot of time to her favorite hobby of skiing.

Together they make a dynamic team. They sell their artwork worldwide to an exclusive clientele. Special lines are being designed to match particular homes, and art for children’s rooms and portraits are also part of their large portfolio. Michala and Camilla take pride in creating the very best for their clients and if you buy a specially designed piece from ART4FUN.ch it will be the only one of its kind in the world.

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Photo Art

Behind every GREAT MAN there stands a GREAT WOMAN

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Behind ART4FUN.ch there are two

Every year, the Photo Exhibition in Zurich selects the best 100 photographers in the world to represent their work at the annual exhibition. In 2014 Michala and Camilla’s ‘Swiss Goat’ was awarded this prestigious honour. The picture now hangs in a private club in Verbier.

Above ART4FUN.ch’s creative office in Copenhagen. No two jobs are the same. Some want oversized pieces, others a custom made exclusive line for an entire hotel, while others are commissioning a unique portrait of their loved ones. An ART Certificate with signature is being delivered with each painting to guarantee the buyer the origin of the artwork.

The process

All images on each artwork are photo based, starting with a background and then adding layers of images. Drawing on the images and working with special effects make ART4FUN.ch pieces outstanding, extraordinarily stylish and different. There are between 20 and 200 layers on each artwork, which gives the viewers a 3D kind of effect making the images pop out of the painting. From a distance the artwork looks like a photo - but if you look closer it’s more like a painting.

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E S S AY

Do you have an appetite for unique and extraordinary

ART Above: “Le Mouton Noir ready for supper” limited edition.

Below: “Mrs sheep knitting her own wool” limited edition.

?

Well, then you have come to the right place...

ART4FUN in Switzerland can create what ever your heart desires. Both Michala and Camilla love a challenge and with their wide imagination as well as their excellent language skills they operate globally.

A private webpage is created for every client offering them the opportunity to follow the development of their work of art. Obviously, Michala and Camilla take great pride in listening to their client’s 3 6 | Issue N9

wishes and desires.

“Birthday Flowers” limited edition.

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13

years

BEAUTY

Botulinum

toxin

anniversary

CELEBRATING 13 YEARS OF COSMETIC USE OF BOTULINUM TOXIN: STATE-OF ART AND NEW PERSPECTIVES

By Valeria Acampora

I

’m often asked what I consider the biggest revolution in Aesthetic Medicine in the last 25 years. Beyond any doubt, I reply “Botulinum toxin”(B.T.). The advent of smoothing wrinkles with B.T. injections has allowed Doctors like myself to treat conditions that in the past not even plastic surgery could correct. Sick of those two vertical lines between your eyebrows that make you look tired and angry? Want to get rid of those little lines around the eyes that are still there despite your persistent use of eye creams? Don’t like the “worry lines” across your forehead?

B.T. is the answer, with minimal pain, extremely natural results and nodowntime, meaning you can resume your usual activities straight away… even fly post-treatment! Though it’s more widely known as an aesthetic pleaser in reducing wrinkles, B.T. is a medication that was first approved by the FDA, in 1989, to treat medical conditions. In Aesthetic Medicine it has gained its popularity between, both, men and women, for how well it treats “dynamic wrinkles”.

Dynamic wrinkles are caused by facial expressions and repetitive facial movements. Constant frowning is one sure way to get them, but any sort of movement will bring them on, including laughing heartily and squinting at your computer screen. In other words, just being alive brings them on. What happens over time is that skin ages and loses its elasticity, so the line morphs from a “wrinkle in motion” to the more dreaded “wrinkle at rest”. Like it or not, that

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“little guy” is there to stay. B.T. can dramatically improve “dynamic wrinkles” by relaxing the expression muscles that contract and cause these lines. A scientific study, published in 2006 by the “Archives of Facial Plastic Surgery”, compared the effects of B.T. on facial wrinkles in identical twins. The study looked at two sisters: one who had undergone regular B.T. treatments over the past 13 years, and the other who only had B.T. treatments twice. The results found that the twin treated with B.T. regularly did not show as

many of the signs of aging as her minimallytreated twin, who had problems with forehead, eyes and frown lines. She looked much younger and completely natural, compared to her sister who hasn’t been constantly treated. Best of all, no adverse effects were reported over the course of the 13-year study for either twin.

Nowadays, B.T. is used for cosmetic purposes in 70 countries and on over 4 million patients in the USA alone, every year. It is being used, more and more frequently, also as a preventative anti-wrinkle treatment. Patients in their 20’s, in case of facial muscular hyperactivity, are taking a proactive approach in preventing wrinkles with the use of B.T. Common B.T. treatment sites and indications are the following: • Glabella – “Frown lines”: the Glabella is the area between your eyebrows.

“Frown lines” extend vertically above the nose, between the eyebrows, looking like a number “11” is etched into the face. In some individuals, they can form deep folds or furrows. “Frown lines” can contribute to an angry or scowling appearance. The use of botulinum toxin can not only relax the muscle to stop patients overworking that area, it can also reduce the appearance of that static groove.

• Forehead – “Horizontal lines”: horizontal wrinkles that form on the forehead are common to many individuals. These lines are caused by repeated lifting of the eyebrows and forehead. The goal with B.T. is to diminish exaggerated movement of the forehead, leaving adequate movement of this area, so that an individual does not have a frozen look and can make normal expressions.

• Corner of the eye– “Crows’ Feet”: “Crow’s feet” are lines that extend from the outer corners of the eyes. They can range from a

few lines to multiple fanning lines. B.T. not only diminishes or removes wrinkles, but over time, can also erase etching of the lines completely.

• Sides of the nose –“Bunny Lines”: “Bunny lines” are wrinkles that form on the bridge of the nose, mostly evident when smiling or laughing. These wrinkles may be horizontal, vertical or diagonal. B.T. can improve these lines.

• Eyebrows – “Lifting of the brow area”: B.T. can be used as a non-surgical alternative to elevate the eyebrows to a more youthful position relative to the eyelids.

• Jawline – “Non-surgical reshaping”: While a strong, square jawline can be distinctly masculine and desirable in male patients, many female patients are seeking softer, more feminized shape of their face. Asian females, for example, often desire to change the shape of their face from a square to a more attractive oval one. B.T. has revolutionized facial reshaping, allowing the changing of the shape of the face without scalpel, pain, swelling and downtime.

• Area above the mouth-“Smokers lines: “Smokers lines” are fine wrinkles on the upper lip that radiates out from the red lip border.

While they are sometimes called “Smoker’s lines”, most individuals develop the lines for reasons other than smoking. These lines can contribute to lipstick bleeding in women. A tiny amount of B.T. can help relax the muscle that is causing these lines.

• Corners of the mouth- “Marionettes lines”: corners of the mouth usually experience a gradual depression over time. In many individuals, the depression may extend downward from the corners of the mouth, giving an individual an unnatural “marionette-type” appearance. B.T., injected properly, provides a subtle enhancement in the appearance of the corners of the mouth.

• Chin-“Chin creases”: Many individuals develop a rough skin texture on the front area of the chin that can look something like an orange peel, which is how it gets the name, “peau d’orange”or “orange peel”. This crêping of the skin is mostly a result of repeated contractions of the chin muscle. Over time, the contractions may result in numerous thin, cross-hatched lines that give the chin this undesirable look.

This “peau d’orange” can be treated with small amounts of B.T.

• Neck- “Platysma bands”: As we age, the muscle in our neck may become more lax or more enlarged. When this happens, vertical bands, called “platysma bands”, may become more pronounced when the muscle is contracted. B.T. relaxes this muscle and diminish the appearance of the bands.

Much more than simply a wrinkle eraser, these days, B.T. is being used in Aesthetic Medicine for a bunch of other things: • “Gummy smile”: A “gummy smile” is characterized by a smile that shows too much of the gums. Usually it results from “excessive lip elevation” when the upper lip rises too far above the upper teeth. Thankfully, “gummy smile” reduction is now possible, simple and effective by injecting small amounts of B.T. into specific muscles.

• Excessive sweating: B.T. has been approved for the treatment of all sorts of sweating, from underarms to hands and feet by blocking the release of the chemical responsible for stimulating the sweat glands.

• Facial Erythema: Facial erythema represents the cutaneous neurovascular aspect of a complex disease, called Rosacea, that is characterized by flushing associated with persistent erythema because of visible blood vessels. A pilot study, conducted by the “New York University School of Medicine” together with the “Mount Sinai School of Medicine - New York”, evaluated the ability of B.T. to treat this subtype of facial erythema with positive outcomes.

a neurotransmitter known as acetylcholine.

It’s applied by Doctors directly to the skin and wiped off after 30 minutes. At the moment, it has been studied just for the treatment of eyes wrinkles and excessive sweating. Would you like to know when can you expect the gel to be available at the Doctor’s office? Not for a while: it still needs to go through phase 3 trials, or final testing, before it receives U.S. Food and Drug Administration approval.

However, with a substance with such dramatic properties for beautification, the world has a love/hate relationship. Despite of its widespread popularity, there is still a lot of misunderstandings and prejudice regarding Botox. Bad B.T. happens but, in Aesthetic Medicine... not always what it looks bad “is because of B.T.” ! The truth is that, most of the time, in the hands of a good Medical Doctor, B.T. can create a marvelously natural look that makes people more refreshedand relaxed-looking. In my opinion, the goal of B.T. is fewer wrinkles, not no movement. The use of Botox is an advanced application. As such, it should only be used by Physicians who are experienced with it and use a customized approached to each patient.

• Promote production of elastin and collagen: B.T. injections might do more than simply relax facial muscles to create a more youthful appearance. New research suggests the anti-aging treatments may also turn back the clock on facial skin itself, aiding its ability to stretch and recoil.

But what’s really fascinating: Topical Botulinum toxin is on its way! Yes: no more needles. No more pain. No more wrinkles for patients with needle phobia!

• Scientists have been working on a topically applied version of botulinum toxin, in other words a needle-free gel formulation of botulinum toxin. Like injectable forms, topical B.T. relaxes muscles by blocking the release of

Dr. Valeria Acampora, MD Board Certified Medical Doctor in Aesthetic Medicine, by the AAAM European Dermatology London.

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From the high-life in Monaco, to Selling high-end real estate in Manhattan R E A L E S TAT E

By Marie-Claire Gladstone

EVENT MANAGEMENT IS A BIT LIKE BEING A THEATRE MANAGER OR RUNNING A FILM SET. EVERYTHING GOES THROUGH YOU AND THERE’S A GREAT DEAL TO STAY ON TOP OF IT

I

was born in the Netherlands and grew up in Amsterdam. I attended schools in Switzerland and California at the Anderson School of Business at UCLA where I achieved an MBA in marketing.

Following graduation, I decided to return to Europe to pursue a career in the fashion industry where I applied my marketing knowledge at Salvatore Ferragamo in Florence, Donna Karan in Milan and John Galliano in Paris. These professional experiences helped to improve my language skills and fluency in Dutch, German, English, Italian and French. After having enough of the stressful fashion world I decided to move to Monte Carlo were I started working initially

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as a real estate agent and a couple of years later founded my own special event planning company, which catered to real estate and luxury lifestyle companies through-out the Cote d’Azur.

MONACO DEFINITELY SUITED MY PERSONALITY

B

eing an events organizer meant that I got to know a huge number of interesting people.

As a result, I was lucky enough to be on the invitee list of most galas, parties and soirees held around Monaco and St. Tropez. My company

organized events ranging from the Grand Prix Ball to collaborating with other high-end events and gatherings.

CHALLENGES

T

he Grand Prix was held in the Sporting club of the SBM with an after party in Jimmy’z.

It went down in Monaco history because it happened to be the first time that Charlene Wittstock officially appeared with Prince Albert.

So I guess that those pictures will be kept for ever.

Also it was the year after Hurricane Jeane which sadly devasted so much of Haiti. Because of this,

the profits of this charity ball were dedicated to a charity called Yele Hait. The profits of this Charity Ball went to Yele Haiti – a charity set up

by Wyclef Jean. He and Bono sang Redemption together and then Victoria Silverstadt auctioned off some fantastic prizes. We ended up raising 2 million Euro's that night. Organizing an event like that starts about a year before, securing sponsors, talent and start to sell the tables.

Event management is a bit like being a theatre manager or running a film set. Everything goes through you and there’s a great deal to stay on top of. If you use SBM then you know that the food, drink, flowers, table settings and many other of the tiny details that are so important will be right on the night. When there’s going to be so many VIPs, you need that kind of reassurance. Even so, it’s astonishing how busy I always was even on the day itself. I learnt never to congratulate myself ahead of time. Just when I started to think - we’re there – there would be something that could potentially throw a spanner in the works. Sponsors and money are the two things you must keep an eye on. Sponsors try to negotiate more tables for their guests and you suddenly are aware that there are a number of

HOW IT CAME ABOUT

M

HOME IS WHERE THE HEART IS

Pliny the Elder

y becoming a real estate broker was a combination of an unexpected move away from Monaco and therefore needing to reinvent myself to a new life, new city. The move came about after I met Robert. You could call him my “restaurant” Romeo as we initially met in a trendy New York City restaurant on December 5th 2005.

I sensed immediately that our encounter was likely to change my life and it did. We started trans-Atlantic dating with all that that entails - a lot of trips between Europe and America and a lot of telephone calls too. Then in 2006 I took the plunge and relocated to New York. We got married on September 28th 2007, at the Players Club in New York which many of our friends from Monaco travelled to attend.

Once I secured my working visa, one of my close friends (Dee Ocleppo) suggested that we acquire our RE (Real Estate) sales license together.

There’s a lot of property law to digest but I loved it. After successfully passing the exam, I was hired by the Corcoran Group and started my new career as a RE agent in Manhattan.

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LUCK AND SUCCESS

WORKING WITH PEOPLE

Y

M

ou can imagine what a great beat this is.

Opportunities abound. I have negotiated and closed many impressive sales in condos, coops and new developments throughout the prominent neighbourhoods of Manhattan.

Success in real estate is about giving people the confidence to buy and knowing the people who want to buy. In my first year I became a member of Corcoran’s Multi-Million Dollar Club – an industry group for brokers dealing in premium real estate. Some of my more recent industry accolades include being: Wall Street Journal (WSJ) Real Trend #37 of 1,000 top brokers nationwide (2015) Real Deal #36 of 75 NY Top Brokers (2015) Manhattan Top Sales agent for May and June (2015).

From the way I’m writing this down, I’m making it sound remarkably easy. Actually, it’s not. The Manhattan business environment is very fast and you have to be ready to move very quickly to stay ahead of the competition. I inherited a strong work ethic from my parents and I’m lucky that I’ve lived in a lot of countries and therefore speak many languages. My experience of event management also played a part in giving me the necessary business acumen in sales and marketing. Above all, if you want to be a successful broker it is essential to listen to your customers. Sometimes you have to listen to what is not being said as much as what is being said.

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any of my wealthy customers are very straight forward: Suffice to say they did not get to where they are in life by having lots of

THE LATEST INFORMATION INDICATES THAT CONDOMINIUM PROJECTS IN MANHATTAN TAKE JUST THREE MONTHS TO SELL OUT. THAT’S LESS THAN HALF THE AVERAGE US DURATION OF SEVEN MONTHS.

patience. This means they expect you to respond to them immediately; after all that is what they are used to. Therefore, it is important for me to consider and respect the personality traits of all my customers. In this market, I will typically receive hundreds of emails per day, and I always respond to each and every one quickly.

New clients are initially surprised by such fast responses, but I do not know of any other way of working. This is partly due to the fact that over three-quarters of my customers are foreigners and it is my way of helping them deal with the time and cultural differences. I respond to my phone day and night! This can result in a rather madcap environment. I wouldn’t say my husband likes this side of things but, on the other things, he understands that this is what my customers expect. The top and bottom line is that being prompt and always at the other end of the phone is why clients kept coming back and are ready to refer me to their friends.

I am always grateful that my hard work is rewarded financially, but also personally.

I think everyone likes to be recognized.

Customers have said of me, “Marie-Claire has a natural sincerity and warmth which allows her to connect with her customers and enable her to achieve their goal of either selling or acquiring their home”.

THE PROPERTY MARKET The property market in New York City is growing at a rapid rate. Last year we saw prices improve by 18.8% year on year, making the city one of the world's fastest real estate movers worldwide. While new projects are been launched at a greater rate over the past one to two years, the new supply is still always lagging behind the astronomical market demand.

The latest information indicates that condominium projects in Manhattan take just three months to sell out. That’s less than half the average US duration of seven months. Obviously there are reasons behind this statistic. One is that Manhattan projects tend to have fewer units available than other US market segments.

Above all, New York City remains a dream destination – one that is associated with having made it. THIS IS the city where successful people, no matter how they gauge success, want to be. Robert always says that New York is a “meritocracy” and that is why we all love the city as we do.

But New York is not just for those who have already made it. People come because it’s a place to maximize and expand their career. From an investment perspective it’s also one of the best metropolises in the world. In this regard, you need to consult someone who has had time to understand what’s happening in any given year.

Condominium projects available in the New York market comprise new launches and underconstruction developments, resale units, and co-ops. New launches command the highest price tags, followed by resale units and coops. Average per-square-foot prices across all three sub-categories stand at $1,673, or approximately £ 630,000 per square meter.

The six key areas of Manhattan are Uptown (north of Central Park), East Side (east of Central Park), West Side (west of Central Park), Midtown (middle portion, a major commercial and media center), Downtown (lower part of the island, between Midtown and Financial District), and Financial District & Battery Park City (the lowest part of the island, home to the headquarters of many leading companies, the New York Stock Exchange, and the World Trade Centre).

CURRENT HIGHLIGHTS

A

few of the most exciting upcoming new development projects are: 212 Fifth Avenue 520 Park Avenue 220 Central Park South Due to my good relationships with developers I’m able to get my customers right in at the beginning when sales start in what the industry refers to as the “friends and family period”. I pride myself in having the ability to provide my customers with first choice and price offerings on some of the most sought after properties in New York City.

Some of my flagship listings currently include: (Plaza Hotel, Apt 1809) Tommy Hilfiger Dome PH The all-American fashion designer is selling his Plaza Hotel penthouse duplex, Tommy Hilfiger and his wife Dee Ocleppo have listed the unit, located on the 18th and 19th floors of the building, with an asking price of $75 million.

The almost 6,000-square-foot four-bedroom unit includes an original Eloise mural by Hilary Knight and a terrace. The iconic Dome Penthouse at the legendary Plaza, a one-of-a-

kind condominium residence, is rarely offered for sale. Perfectly situated on the 18th and 19th floors of the hotel, it’s a unique four bedroom and four and a half bathroom, house with a spectacular terrace overlooking the Central Park and 5th Avenue. It’s also known to be one of the most architecturally significant homes in New York City and was recently featured in "Living in Style New York".

(Okay, I’m sounding like the real estate agent that I happen to be; I know that!) But I’m guilty of that for the right reasons. It’s true. After all this was created to be a home for someone who has an eye for style. Only the most luxurious finishes and materials were used to restore this property to its original grandeur, complete with 21st century conveniences.

The other brilliant aspect of it is its convenience.

The Plaza is a fully staffed 24 hour luxury white glove condominium with a separate entrance.

Residents are offered the full complement of hotel services including maid, valet and Todd English room service.

Architect Frank Lloyd Wright's former apartment at New York's Plaza Hotel, on sale for $32,9M. This is another spectacular home with four bedrooms and 4,000 square feet of space. It was featured in the Architectural Digest of November 2014.

The home was completely renovated in 2011 and redecorated in a modern style. The living and dining rooms were extended and three additional bedrooms were created, one with its own private entry that is wheel chair accessible.

The condo has 13-foot ceilings and large windows that look out on the Guggenheim, Central Park, and more. The apartment also has access to the concierge, maid, and in-room dining services that are a part of the Plaza Hotel.

SOCIAL LIFE

I

see a lot of my international friends more often now, as they come to NY regularly, in October/November for the Angel Ball of Denise Rich, and in the spring.

Also my travels bring me back sometimes to the Cote-D’Azur and in particular Monaco, I just attended the Monaco Grand Prix this year, with my friend Dee, who also used to live in Monaco before getting married and moving to NY.

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PLACE

Hotel de Rougemont A H E AV E N OF

LUXURY

By Valérie Burnier

A HEAVEN OF LUXURY, INDULGENCE AND ALPINE CHIC

A

t the Hotel de Rougemont, you will find a place of ease to relax and meet in the Alpine style. This is the welcome General Managers Christine and Alexander Perper extend to their guests. Their approach – chez nous – chez vous – is as uncomplicated as it is warm, and the light fitting cascading from the entire height of the building into the lobby symbolises this – its glass beads diffuse an enchanting and warm light reminiscent of the crystallised snowflakes, sparkling rays of sun and glistening dewdrops that encapsulate the region’s quotidian charms.

The Hotel de Rougemont is the realisation of a passionate idea to recreate an exquisite Alpine residence in the boutique hotel style on the site of the former hotel. Discreet luxury, a tangible air of ease and an ambiance of true hospitality welcome guests from near and far.

Nestled into the unrivalled natural beauty of the Pays d’Enhaut, the hotel is very much defined by its chalet-style architecture. Harmonious, with personal character and contemporary design, five adjacent chalets of varying sizes stand together in an almost village-like cluster slightly above Rougemont village. The new chalets accommodate guest rooms and suites, private residences, a restaurant and an entrance building with lobby, bar and lounge. Planning and construction placed great emphasis on the surroundings, the views and the landscape – every window affords postcard-worthy views.

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Simple, clean lines paired with handpicked natural materials are the theme, which defines the architecture and runs through the entire establishment. The highest levels of comfort are assured throughout. The fir wood grain is redolent of the traditional, timber-rich building style of the region, lending the space a cosy mountain vibe and emanating a subtle scent.

The warm yet discreet, light yet open esprit of Alpine hospitality can be found everywhere in the hotel. Architecture and interior design allow guests to enjoy the authentic charm and ambiance of a mountain chalet, paired with an inspired contemporary concept. Our guests come here to experience their own, very individual chalet vacation, say Christine and Alexander Perper.

CHALET LIFESTYLE

T

he 19 bedrooms and 14 suites – four of which are penthouse suites – are all south facing, some with balconies, and reveal sweeping views of the Pays d’Enhaut. Floor areas range from 25 square metres in the chalet rooms and 30 square metres in the deluxe rooms to 37 – 42 square metres in the prestige suites. With 54 square metres, the penthouse suites represent the pinnacle of luxury and can be combined as apartments. Located in the two larger chalets, these guest rooms can be linked and are particularly suited to families wishing to create their own private space.

C

lean lines, expansive windows and fir timber-clad walls combined with brown leather are juxtaposed with glass cubes accommodating the bathrooms. The same materials have been used throughout in entirely different ways, lending each room its own character. The functional design provides ample space for rest and relaxation, pleasure and activities alike. The ambiance is warm and understated. Natural materials such as wool, linen, leather and sumptuous pelts form a cohesive play of colours and textures inspired by earth and nature.

The bathrooms also feature the harmonious clean lines that define contemporary chalet chic. Fir wood and Pietra di Corinto marble fittings contrast with black ceramic surfaces, sandstone and glass elements.

Intricate pieces of art in oxidised steel adorn the walls of the suites and penthouse suites. The work of the artist Paolo Albertelli, they echo features and views of the surrounding landscape in refined perfection with a reference to paper cutting, a time-honoured craft traditional to the region.

LE ROC RESTAURANT

T

he path to the restaurant leads past the “Roc”. It stands for the establishment’s culinary philosophy – a high regard for nature, strong regional ties and an affinity with the very best raw materials and ingredients. The ambiance in Le Roc is welcoming and cosy. Walls and ceilings clad entirely in fir set the scene for genuine Alpine hospitality.

Warm lighting, light tableware and accent colours engender an atmosphere of ease. This is where the charm of the Alpine brasserie and understated luxury converge. Benches and chairs upholstered in natural fabrics complement old timber beams and cow bells, rendering visible and tangible the relationship between gastronomy and the authenticity of regional farmhouses. The restaurant seats 55 diners in addition to a summer terrace seating 15. The centrepiece of the space is the open fireplace, which underscores the Alpine mood and is used to prepare

Issue N9 | 4 3

exquisite grilled meat and fish dishes. There are 55 further seats on the first floor, making it the perfect venue for private functions.

Innovative and light, traditional and in tune with nature – the cuisine caters to all tastes. Dishes such as the finest beef carpaccio and alp cheese croquettes, followed by grilled meats and fish and a range of tempting desserts can be ordered as a menu or individually. A changing daily menu is chalked on a large slate at the restaurant entrance, featuring the fresh produce sourced by the chef at the market or in cooperation with carefully chosen regional producers.

Tinted windows on the north-facing wall of the space announce two exclusive spaces, which are entirely devoted to the pursuit of pleasure – the Wine Bar and the Cigar Lounge.

The Wine Bar boasts a choice selection by wine expert Geny Hess.

The wine list embarks on a journey through the Alps and features award-winning Pinot Noir, exciting white wines from canton Vaud, fine champagne and the very best Swiss sparkling wines among many other discoveries. The large, oval table is ideal for wine tastings and private functions.

Jean-Luc Daniel combines enjoyment and hospitality with a very social approach. He envisages people “sitting together at the table to talk and exchange thoughts and ideas”. This social and sociable aspect is reflected in the classic casserole-based dishes which he likes to place on the dining table for all to share – such as the traditional boulettes à la liégeoise, a meatball dish hailing from his native Belgium, or grandmother-style beef carbonnade.

The interior of the smoked glass and timber Cigar Lounge was inspired by a masculine, British style and exudes the colours, scents and history of fine cigars and tobacco. The well arranged offering includes a selection of Patoro cigars. Characterised by its elegant gold star, this brand represents an unconditional pursuit of perfection and the highest quality.

Exclusive raw materials, expertly rolled and carefully matured, form the foundation of unprecedented enjoyment.

ROC BAR – LOUNGE – WINE BAR – CIGAR LOUNGE: INDULGING LIFE’S PLEASURES

LE SPA – AN ATTITUDE

T

he Roc Bar is a popular venue to meet in an informal, casual ambiance.

Wood, golden onyx accents, leather and shining glass and bottles make for a relaxing and cocooning atmosphere. The offering includes expertly mixed cocktails, sparkling champagne and snacks to complement the congenial setting.

The Alpine-style Lounge beckons with comfortable armchairs and sofas and expansive windows affording views of the mountain panorama. It is the perfect place to read, chat or simply pass the time. The room’s focal point is the magnificent fireplace, which is open from all sides and was built by local tradesmen from stone from the local river running through Rougemont – the Sarine. Honed over time by flowing water, its structures reflect the dynamics of nature.

The terrace is all about sunlight and the proximity to nature. Luxurious, soft pelts to wrap up in, the fresh Alpine breeze and the warmth of the sun’s rays on the face evoke the ultimate vacation atmosphere. The culinary offering comprises light lunch dishes and seductively sweet afternoon treats.

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T

he muted, somewhat mystical and yet light atmosphere in the spa draws guests into a haven of wellbeing. The 10 x 4-metre black mosaic pool is framed by expansive windows and evokes images of a tranquil lake at the foot of the mountains. The light reflects – echo-like – on the black stuccoed and mirrored ceiling and walls.

The fireplace and numerous candles emit a warm glow and delicately fresh fragrance. The quiet areas feature natural stone and soft fabrics, and are equipped with comfortable recliners and armchairs that invite guests to relax and linger.

The materials selected for the Spa unite earth and stone in clean lines, creating a comfortable and spacious interior of tranquillity and luxury.

Subtly arranged plants and mosses enhance the natural vivacity. The three massage and treatment rooms feature reclaimed fir wood, reflecting the chalet chic style displayed throughout. The Spa is located on the ground floor of the hotel, enabling convenient and direct access to the guest rooms via elevator.

PURE ALTITUDE – HARNESSING THE POWER OF EDELWEISS

T

he choice of the Pure Altitude brand – a skincare line composed of alpine plants – complements the hotel’s close relationship with nature. Pure Altitude focuses on the properties of the edelweiss and nature’s regenerative powers. This organic skincare range targets an intensive regeneration of the epidermis and a glowing complexion. The mountains as a source of healing and an environment in which oxygen and clean air stimulate the body shape the Pure Altitude philosophy.

Edelweiss and alpine flora provide all the active ingredients needed to strengthen the body’s natural defences. The mountains in turn are rich in natural powers and attributes such as stimulation, protection, regeneration and resistance.

The edelweiss used in this exclusive skincare range grows at height in canton Valais, as part of an agricultural cooperative specialising in the organic cultivation of medicinal plants. Chosen for its rare cosmetic virtues, edelweiss is the key ingredient of Pure Altitude skincare products.

The plant combines antioxidants and remineralising properties, together with more than 50 minerals.

The Spa offers 25 to 80-minute facial and body treatments for men and women. Trained therapists offer each guest tailored advice.

After a hike, an invigorating day on the slopes or simply to pamper body and soul – nothing beats a visit to the Turkish bath and sauna. Beneath a canopy of stars, the hammam has a mystical air, enhanced by 100 percent humidity and the carefully selected colours of the interior. The sauna is entirely in aspen wood and overlooks the pool.

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MUSIC

GREAT VIOLINS

THE PR OMISE OF THE ID EAL

The violins made by the Italian geniuses Antonio Stradivarius, Giuseppe Guarneri del Gesù and Niccolò Amati are among the finest musical instruments ever created. These violins possess an extraordinary, almost mystical attraction that goes beyond what we feel for almost any other object of artistry. Within the limitations of their fragile appearance, they embrace not only all the musical compositions that have ever been written for the violin but also the music for the world to come.

They enable their most gifted players to search towards an unattainable ideal. In a way, antique violins of these great masters have the capacity to contain the entire world of music within them and, in the right hands, too.

By Kristīne Balanas

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herever these elegant instruments came from, whether they were created for a collector, virtuoso or king, their longevity far surpasses the lifespan of any owner. Each instrument has been a witness to stories far more complex than any single individual could ever imagine. Violins have endured and remained in large measure unchanged down the centuries, observing foibles and attainments of their temporary masters, whom they have outlived in the past and are likely to continue to outlive into the future.

To get to know the violin of an old Italian master is a continuous process. The discoveries and observations made, can be compared to having committed oneself to a lifelong companionship.

One’s traits are mirrored and even magnified in

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the other, one’s actions produce an immediate responsiveness, the strings - constantly under tension - have an unusual sensitivity towards the most determined or most delicate of strokes of the bow; the instrument comes under the spell of the performer.

It is this process of discovery, along with the thrill of live performance, that inspires me in my own lifelong commitment to the high art of violin playing. I have always felt that a live performance of music is fragile and uncertain of outcome: the equivalent to a miniature lifetime.

Immersed in the role of being a medium – and interpreter and communicator – between the music’s creator and its hearer, the performing artist makes the music present to the world. Each performance embodies the lifetime of an artist

at that particular moment and a desire for an unobtainable fulfillment.

Holding an instrument of such quality in one’s hands while being on stage, is like holding the very soul of the music he or she is about to perform, a soul equally fragile and fleetingly beautiful as the very act of performing it. I have always felt both the weight and the thrill of such responsibility. And it is an instrument such as that of the old Italian masters that gives me a voice, or rather, the opportunity to sing about profound things.

What an instrument such as a Stradivarius or a Guarneri does to a piece of music is to render it complete, by reawakening it time after time. The absolute, the essential performance lies firstly in

the idea of it. The flawed nature of our existence can not compete with this concept. Once one has tasted the lining or the promise of perfection in arts, one will strive towards conquesting even greater realms of the truth in harmony, beauty, form. And this is precisely what a great instrument does – it is not an instrument of music, it is an instrument towards Meaning itself.

It is not by accident that the violin has, for the longest time, been associated with the spiritual and the occult. It has been regarded as the instrument of the Devil, as well as the instrument of dark and other-wordly spirits. In ancient Greece, stringed instruments were used for bacchic ceremonies, and they were considered (when played a certain way, and in certain modes) to induce either dreamlike or ecstatic behaviours from performers and audience.

While these associations may not ring true to our technology-driven ‘brave new’ world, it is in playing the violin today – and in particular a violin of such caliber as a Strad or a Guarneri – that I feel in consort with the accumulated wisdom of earlier times. Because it is precisely in the nature of the violin’s sound, of the very way sound is produced, and of all the minute things one can do to one single note (consider, for example, the speed of the bow, its pressure on the string, and the amount of vibrato) that I hear the essence of ecstasy itself.

Playing the violin is, for me, a metaphor for extending beyond the limitations of my own nature. I consider the way a note is born on the violin: from nothingness, with the most minute movement of right hand, the bow touches and caresses a string. From nothingness sound is born, as fragile and questioning as the wood of the soundboard from which it resonates. And within that fragility, the speed, pressure, strength of the

bow alone renders the sound alive – it is as if the bow is breathing life to tone and sound, it is as if the bow guides sound through adulthood and eventually death. From the minute movement of

IT IS NOT BECAUSE OF ME, THE VIOLINIST, THAT LIFE IS GIVEN TO A STRADIVARIUS. IT IS BECAUSE OF THE STRADIVARIUS THAT LIFE IS GIVEN TO ME the bow, to the poise of the left hand, and from the elegant tension of the string to the deep echo of the soundboard, every tone is given life and, more importantly, desire for its continuation, for

its procreation.

Viewed from this perspective, the violin is, in fact, the instrument of the otherwordly, whether it’s called devil or spirit. Because it invites, from the very first attempt at sound production, both listener and performer, to let go and lose oneself in delirium: the delirium of continuous and never-ending regeneration and rebirth.

Whenever I hold an instrument of the Italian masters in my hands, I let myself at times imagine that they, too, understood their craft as an attempt to reach and touch the otherworldly.

Every instrument seems to be created as if in an alchemist’s lab, its creator breathing life into wood like the bow breathes life into sound.

Every instrument has a life of its own – its parts breathing in and out every minute change of temperature and humidity of the environment – a life that is fed by the lives of others, by their experiences, their goals, their losses, their successes and their defeats. Playing a note on an instrument of the old masters is like awakening History itself, the same way that Wotan awakens Erda, the Wisdom of the Earth, in Wagner’s Ring of the Nibelungs.

Playing the violin is a study in awareness: awareness of history, of tradition, of excellence, of responsibility. But most importantly awareness of the fact that this world, as it is shaped today, is nothing but a small percentage of the whole story. It is an awareness of the moment, that frozen moment between tones and of the silver line that connects audience to music, through performer and through time, towards the truth.

Finally, it is the awareness that the immaterial nature of tone cannot but exist through the material nature of exquisite, elegant, and impeccable craftsmanship.

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HIDDEN GEMS

Bejewelled Treasures:

THE AL-THANI COLLECTION

Dr. Amin Jaffer.

Sixty two years ago this year, Marilyn Monroe donned a pink gown and let it be known to a generation of swooning men that while it was noble for them to die for love, she nonetheless preferred men who live for love and give expensive jewels. If love is to be the measure of a jewel, then the man who has published the astounding collection formed by Sheikh Hamad bin Abdullah Al Thani, must be overflowing with it.

By Ali Bagherzadeh

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ixty two years ago this year, Marilyn Monroe donned a pink gown and let it be known to a generation of swooning men that while it was noble for them to die for love, she nonetheless preferred men who live for love and give expensive jewels. If love is to be the measure of a jewel, then the man who has published the astounding collection formed by Sheikh Hamad bin Abdullah Al Thani, must be overflowing with it.

Subject of a recent exhibition at New York’s Metropolitan Museum of Art, the Sheikh’s Collection of Indian jewellery will be exhibited at London’s Victoria & Albert Museum in 2015. In fact, it was a former curator at the V&A, Dr. Amin Jaffer, who worked with the Sheik on the collection, which was acquired and compiled over a period of five years. It was also Dr. Jaffer who edited Assouline’s book on the Collection, Beyond Extravagance: A Royal Collection of Gems & Jewels, and who is now working on a second edition of the book.

Dr. Jaffer first met the Sheikh, an aesthete and an avid collector, in Doha in 2007. The Sheikh had just acquired Bernard Boutet de Monvel’s portrait of the Maharaja Yeshwant Rao Holkar II of Indore, and being apprised of Dr. Jaffer’s academic knowledge of princely India, invited him to view the portrait. Then in 2009 the Sheikh attended the V&A’s blockbuster show, Maharaja: the Splendour of India’s Royal Courts, curated by Anna Jackson and Amin Jaffer. Jaffer recounts that the Sheikh had an immediate connection with the exhibition, given the historical nexus of the pearl trade between Qatar and India, but also because of the Sheikh’s own intrinsic understanding of Indian aesthetics. Soon after the Sheikh began to acquire important pieces of Indian jewellery, building a foundation for what would become his collection.

Jaffer explains that “Sheikh Hamad’s guiding theme has always been to acquire the very best pieces” and as such “the emphasis on excellence has been at the core of this project from the start”.

The Sheikh also wanted research on the collection to be academically sound and

rooted in leading scholarship on the subject.

And for this endeavour in this field there were few collaborators who could have matched Jaffer. Together they selected an academic committee to study each piece and to write about them for the Collection’s catalogue. Jaffer reached out to leading specialists in each area covered by the

EUROPEAN CREATORS SUCH AS CARTIER AND IRIBE BROUGHT WESTERN AESTHETICS TO JEWELLERY FOR THEIR INDIAN PATRONS, AND STARTED DESIGNING JEWELLERY FOR WOMEN OF THE TYPE PREVIOUSLY ONLY WORN

BY MEN Collection, many of whom he had worked with previously, including Robert Skelton, the former keeper of the Indian Section of the V&A, Michael Spink, another leading expert and Will Kwiatkowski, a specialist in Persian inscriptions. As a result, Dr. Jaffer believes that “the scholarly dialogue of these researches, and the consequent lectures and publications, will create a lasting legacy for all who are interested in Indian

courtly and jewelled arts”. And indeed it will be posterity, and now the public, which will benefit from the Sheikh’s vision for the Collection.

Indian jewellery is a complex area of study, and understanding the history of India’s Mughal emperors, the Persian speaking kings who ruled India absolutely and unchallenged from the early 16th century until the sack of Delhi by the Iranian king, Nader Shah, in the early 18th century, is an essential step toward understanding the Mughal tradition of wearing gems, and even of appreciating the popularity of gems in the Subcontinent today.

The Mughals were one of history’s most dedicated authors of opulence – who else would think to create the Taj Mahal as a simple token of love – but their extravagance was matched by an equal measure of high taste. No subject of their largess dazzles more than their jewellery, and besides being admired for its beauty and value, Mughal jewellery was also important for its symbolism and for the meaning attached to each gemstone.

In this historical context, Dr. Jaffer’s academic credentials allow him to have a narrative, to let each piece recount its story and to take the viewer literally inside the Collection.

It is then for good reason that Mughal jewellery anchors the chronologically earlier parts of the Collection.

The Collection also encompasses the era of the British Raj, when Western influences, as opposed to the Persian influences of the Mughal era, defined the styles and choices of princely India. European creators such as Cartier and Iribe brought Western aesthetics to jewellery for their Indian patrons, and started designing jewellery for women of the type previously only worn by men. And the flow of ideas was in both directions; these avant-garde designers, from the European era of suffragettes, flappers and art deco geometrics, had their home grown designs equally influenced by the aesthetics of their Indian market.

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inally, the Collection finishes in today’s world, at a time when current masters of design such as Viren Bhagat remind that traditional Indian influences can, or maybe even should, easily coexist with modernity.

view at the V&A, from conventional gems such as necklaces, head gears, aigrettes and jighas to objects such as bejewelled boxes, ornaments and weapons.

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he V&A’s exhibition is curated by Susan Stronge who has elegantly chosen pieces for display. The result is

Although the Collection comprises over 300 pieces, only a select number will be on

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careful not to overwhelm the senses, but nonetheless ensures that an Aladdin’s cave sense of fantasy will still seduce even the most sober of audiences. The exhibition and indeed the Collection are not to be missed.

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03 01. Pendant brooch set with diamonds and rubies 2011

By Bhagat Mumbai, India 02. Brooch set with emeralds, sapphires and diamonds 1922

By Cartier Paris, France 03. Gold finial from Tipu Sultan’s throne 1790 – 1800 Mysore, South India

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04. Arcot II’ diamond 1760; modified 1959 and 2011 India 05. Carved emerald bead Probably 18th century Mughal Empire 06. Spinel and pearl necklace Mughal Empire

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07. Dagger with jade hilt ca. 1629 – 36 Mughal Empire

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12 08. Silk sword sash with jewelled gold fittings ca. 1900 India 09. Diamond turban jewel made for the Maharaja of Nawanagar 1907; remodelled in 1935 India 10. Gold and diamond hair ornament ca. 1900 Western India 11. Ceremonial sword with jewelled gold hilt ca. 1880 – 1900 Hyderabad, South India 12. Jade crutch handle with precious stones set in gold 18th century Mughal Empire

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Photos: Prudence Cuming Associates Ltd Bejewelled Treasures: The Al Thani Collection, sponsored by Wartski, runs from 21 November 2015 – 28 March 2016. www.vam.ac.uk/bejewelledtreasures

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C O N N E CT I N G C I R C L E S

CHINA TANG BAR “An honourable and upright man keeps well away from the slaughterhouse and the kitchen, and allows no knives at table” Confucius

By Eva Potel Years ago, Britain had only a few Chinese restaurants, mostly offering a cheap and unedifying mix of chips and chop suey - a dish that had never existed in China, and one that justifiably earned the remark the “he that eats Chinese food can expect a big belly and a short lifeˮ.

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he Chinese have always placed eating at the centre of civilized living. Confucius’s remark pertains precisely to this idea. He taught the need for humaneness, filial piety and a peaceful, hierarchical state. An extension of this is the emphasis in Chinese cuisine on “balanceˮ.

It is said that the perfect meal should consist of soup, three dishes and rice. But all should be regulated in accordance with contrasting tastes and textures: smooth, soft; hot, cold; savoury, spicy. In short, a Chinese meal should a setting to promote wellbeing and harmony. Hence the ruling against knives and the choice of chopsticks instead. (The practice of presenting food in bite size pieces for which no cutting is necessary proceeds from this.)

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A PEASANT WOULD HAVE TO STAND A LONG TIME ON A HILLSIDE WITH HIS MOUTH OPEN FOR A DUCK TO FLY INTO IT Confucius Times have changed, and Britain now has many excellent Chinese restaurants. Undoubtedly, one of the best of these is the China Tang Restaurant and Bar which celebrates its tenth anniversary this year.

The restaurant serves Cantonese food of the best and most authentic quality to be found outside China. Taste buds of the guests unfold to relish the delicacies on offer: mango spring leaf vegetable (eccentrically accompanied with a dollop of salad cream), lotus root tasting like souped-up water chestnut but unique in appearance, fried crispy-skin chicken or steamed sea bass. (To single out a few.)

Cercle spoke to John Man who revealed some behind-the-scenes secrets. To be authentic, Cantonese food needs to be sourced very carefully indeed. In Britain, it took a while to find pork - a Cantonese staple - with the right marbled succulence essential for a perfect rendering of honey roasted Char Sui. Similarly with chicken. To present an authentic Cantonese Crispy Skinned Chicken, the bird has to have a thicker, more fat layered skin than is more often the case. Cooking this dish is both complex and time consuming. First, the chicken is partcooked in a bath of aromatic herb liquor. Then it is fan dried and deep fried by meticulously pouring hot oil over and over the skin to produce the required crispness.

Cantonese food is also rich in a wide variety of fish dishes. It would be impossible replicate all that from Britain. But meticulous attention is paid to sourcing local Stone Crabs, Scottish lobster, British scallops and rope grown mussels.

Duck has always been a staple of Chinese cooking; As Confucius’ remarks: “A peasant

would have to stand a long time on a hillside with his mouth open for a duck to fly into it”.

Whicker (in his time!) and Jools Holland. In other words, A-listers a-plenty.

Peking Duck is a speciality here too – no less than 80 fly out of the kitchen into the mouths of celebrity diners every day!

The rave reviews won for the food have been matched by the sumptuous interior personally planned by Sir David Tang – lacquered wood, mirrored pillars, fretwork above and art deco trimmings below. The abundance of chinoiserie and quirky objects d’art creates a 1920’s ambiance: you could be walking into the pages of a Somerset Maugham novel.

The footfall and identity of these enthusiasts have always been impressive – Michael Caine, Kate Moss, Hugh Grant, Stephen Fry, Alan

Last but by no means least there is the Gang Pao De cocktail bar that offers a list of classic cocktails – most notably a whiskey infused gunpowder tea.

It’s not cheap, but if you can afford it, go there.

It’s a gas.

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SUMMER SEASON

DECORUM AND LAUGHTER Trying to get a fix on the English class system is like chasing a ball of mercury around a Petrie dish. Every time you think you’ve finally pinned it down, it slips away again. Many have tried, including some of our greatest writers. But in the end, because of the infinite nuances, the infuriating contradictions, the arcane rules governing dress and behaviour and the bizarre relationships between the upper and lower classes, precise definitions remain elusive.

By Simon Piggott

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DEFINING THE INDEFINABLE

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owever ill-defined, the English class system can certainly be witnessed in action, and never more gloriously than during the annual Summer Social Season. At one level, these social highlights are exclusive as most have official Royal patronage. Yet, at the same time, they have retained a strangely bucolic character.

There is even something of the village fete about them; but one conducted under the watchful eye of a social elite, and governed by traditions that can go back as much as two hundred years or more. It is this amicable mix of social classes that foreigners find most striking.

THE HIGHLIGHTS: CACHET AND ROYALTY

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o what exactly is The English Social Season?

It begins in late May with the Chelsea Flower Show. This is also when the Glyndebourne Opera Festival opens which runs until August.

June is the month when events really kick off: Derby Day; the opening of The Royal Academy exhibition; Royal Ascot (the world’s most prestigious race meeting) and, of course, Wimbledon, famous for tennis. July sees Henley Royal Regatta and, later in the month, Cartier International Polo, and yet more racing at

Glorious Goodwood. The Season finally winds up in August after the yacht racing at Cowes.

The fact that the ‘cachet’ of The Season remains as strong as ever, even as we advance into the new digital age, is remarkable. One of the main reasons it has not only survived, but gained in strength is Royal Patronage. Racing at Ascot was initiated by Queen Anne in 1711, and is still celebrated by the Royal Progress around the course. The Royal Academy was founded

by George III in 1768; The Royal Horticultural Society dates back to 1804 and first emerged in its modern form with the appointment of Prince Albert as President in 1862; Henley Regatta was first held in 1839 and received Royal patronage in 1851; The Yacht Club (now The Royal Yacht Squadron) was founded by a group of enthusiasts at a meeting in St James, London in 1815, and patronized by The Prince Regent, later George IV, and by his brother William IV after him.

If Royalty is everywhere, it never has the weighty presence previously associated with of some the “anciens regimesˮ of Europe. Instead, the British monarchy, aware that its bond with the nation needs to be adaptable, has managed to mutate in step with social change without sacrificing much of it essential character. This same adaptability has long been the hallmark of British society in general, a fact that accounts for the remarkable

social inclusivity that characterizes the events of the Social Season. So, while not all are admitted to the Royal Enclosure at Ascot, the ordinary public can stand within a short distance of the sovereign as she views the horses, or in the Winners Enclosure at the Parade Ring. The same is true of Derby Day, of which someone once remarked, “It’s the only place where a Duke and a dustman can rub shouldersˮ.

Social distinctions have mellowed over the years.

Vetting for admission to the Royal Enclosure at Ascot is still rigorous, but less so than it once was.

But quaint incongruities persist, reminders of past history. Each event is policed by its attendant group of ceremonial guards, resplendent in 18th century costume - green jackets at Ascot, descendants of the Yeomen Prickers of Queen Anne’s buckhounds; Red Collars at the Royal Academy, recalling the days when liveried footmen escorted guests in the days when the Academy was a fashionable town house; scarlet tunics of the Chelsea Pensioners at the Royal Horticultural Show, whose regalia dates back to the days when Charles II established the Royal Hospital for veterans; black bowler hats at Henley Royal Regatta.

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SPORT AND GAMBLING

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he Social Season is part pageant, part pantomime, part picnic. But it is also much more than this. In important ways, its extraordinary survival in a recognizable form is a testament, one that tells us something fundamental about British society and how it has evolved.

The twin obsessions of the English – and they are common to all social classes – is a love of sport and gambling. It is no accident that, with the exception of the Chelsea Flower Show, the Royal Academy Exhibition and Glyndebourne, every important event in the Social Season is a celebration of sport and, apart from polo (a much later addition), all those sports were invented in England. It is equally certain that what transformed country sports from their raffish, rural origins into glamorous occasions patronised by the aristocracy was largely an obsession with gambling.

Throughout the 17th century, as sports like cricket and horse racing developed, rich

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aristocrats placed huge bets on the result.

Effectively, sport and gambling became two sides of the same coin. In this environment, it was ability not birth that counted. With so much at stake, these activities became increasingly professional. Racing – a particular passion of the English upper classes and including Royalty - created a growing category of trainers, veterinarians, breeders and jockeys. The same was true of the rapidly developing sport of cricket: a winning team needed expert players.

These were keenly sought out by aristocratic patrons of the game hoping to improve the odds with the often outrageous sums they were prepared to wager. By the beginning of the 18th century, a new artisan class of professionals was emerging creating some interdependency between the classes and even the beginnings of social mobility.

This is not to say that England has always been a haven of liberty. But the acceptance dating back to Magna Carta, and even earlier that everyone has certain basic rights has profoundly influenced the way politics and society have evolved. Chaucer and Shakespeare portrayed

their characters as individuals in their own right. Whatever their social status, they express a certain confidence and independence of mind.

By the beginning of the 18th century, the time when the Social Season was beginning to take shape, the satirical novels of Defoe, Fielding and others paint a picture of a brawling, rumbustious, irreverent society in a state of constant evolution.

VOLTAIRE’S OBSERVATION

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he contrast with other leading European nations of the time could not be more striking. Whereas in France an emasculated and unemployable elite spent most of their time at Versailles, neglecting their estates in favour of devising ever more elegant ways of fluttering a scented handkerchief, the English aristocracy was more pragmatic. Unlike the French, they did not need a Royal Dispensation to marry someone from outside their own class; they also paid taxes and could work if needed.

When Voltaire arrived in England in 1726, he found “a nation fond of liberty, learned, witty, despising of death…where the nobles are great

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the system was rigid, but precisely because it was porous: because social mobility was more attainable in England than in equivalent European societies, those with social ambitions made every effort to achieve them. As the 19th century rolled on, the old aristocracy, while still rich and powerful, were inexorably moving more to the margins. This was partly disguised by the increasing habit of ennobling commoners for services rendered – sometimes deservedly, sometimes less so – provoking Oscar Wilde’s caustic comment that Debrett’s Peerage was the best work of fiction in the English language.

Nevertheless, the middle class had arrived, even if it was under an assumed name.

betraying their roots. Snobbery still persists, but the British are aware of the danger of taking their social pretensions too seriously; our class system is flexible and there is usually a new migration in progress. Royal trappings are still essential, but in a different way. In a neat inversion of history, they are now complimentary rather than central to events: reassuring proof that the middle class has arrived, that they are ‘in’. In return, the middle classes, devoted as ever to the Monarchy, gladly embrace anachronistic codes and rituals.

In many ways, the events of the season are a sort of theatre in which everyone is playing their part, a baffling mix of equal and opposite, annoyingly incomprehensible to foreigners.

So what of the future? The world is now global.

As a result, The Season has become a sort of international crossroads. Winged like Mercury the super-rich flit from one gilded perch to another, and the English Social Season has not escaped their attention. Many of the events are now sponsored by corporations, most of them owned by the same billionaires who so love to drop in for the kind of pedigree status that association with the British monarchy alone can provide.

The problem was to maintain appearances. With the barbarians knocking at the gate, the trick was to take what they had to offer without being seen letting them in. The tension this provoked was frequently a chosen subject for writers like Thackeray and Trollope. Their novels describe the trials and tribulations of an aspiring middle class attempting to negotiate a daunting obstacle course of polite observances in dress, manners and behaviour to which they had to conform.

William Frith’s wonderful painting, A Private View At The Royal Academy, painted between 1881 and 1883, gives a slyly ironic illustration of this.

What is remarkable about this pictorial almanac of the great and the good of his day, is the relative absence of the traditional aristocracy. In fact, most of those featured have solidly middle class origins. Gladstone, Prime Minister at the time, came from a family of merchants; John Bright, Chancellor of the Duchy of Lancaster grew up in Rochdale where his family ran a cotton mill; the surgeon Sir Henry Thompson came from a middle class family in Suffolk and was originally destined for a career in business.

As for the rest of the characters portrayed in this extraordinary panorama, they are artists – John Everett Millais, Philip Calderon; writers – Anthony Trollope, Robert Browning, Oscar Wilde; cartoonists –John Tenniel, George du Maurier; actors – Henry Irving, Ellen Terry, Lily Langtry. This event is supposed to be an art exhibition, but only Oscar Wilde is bothering to look at the paintings!

AN OPEN CIRCLE

CACHET AND EXCLUSIVITY

without insolence…where people share in the government without confusion.ˮ Two things struck him in particular: a marked lack of pretension among the English aristocracy, and a strongly entrepreneurial ethic in the country at large.

Voltaire’s observations were acute. This was the period when two major events were combining to make Britain the first world superpower: the acquisition of Empire and the Industrial Revolution. The wealth this generated began creating an administrative and industrial middle class, one that was soon to become very wealthy.

WEALTH AND IMPOVERISHMENT

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s the costs of maintaining large aristocratic estates and possibly a house in London continued to rise, so did the appeal of marrying money – even if it came without a pedigree.

This was where the social season came into play. As the 18th century advanced, the events of The Season ceased to be solely for enjoyment of sport and became ones where the need for money could associate freely with the desire for status to the mutual benefit of both classes.

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oreigners have often accused the English of being ‘obsessed with class’. This is true, but in ways outsiders do not understand or even suspect. Far from indicating some kind of social ossification, the reverse is the case. The English have been obsessed with class, not because

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oday, in 2015, the special ‘cachet’ of the season is as strong as ever. It has survived because the middle class has successfully appropriated some of the trappings and affectations of earlier times and adapted them.

The stroke of genius has been to do so without

The danger is that the Season could become a luxury event. The essence of luxury is exclusivity; the essence of the Season is the opposite. The power of money – lashings of it – could start to upset the delicate balance that is the core characteristic of the English Social Season by insisting on just the kind of exclusivity the British establishment has wisely avoided. British society is not regulated by written codes. It has evolved as a sort of hybrid whose contradictions and inconsistencies are tolerated in the interests of a quiet life. This makes our institutions fragile.

The future of “The Seasonˮ – as for so many other things in today’s world – could become uncertain, its survival or otherwise a barometer testing the state of our culture, rather like the canary in the coalmine.

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PHILANTHROPY

Libraries of Life John Wood is an activist and Founder of Room to Read, a global non-profit organization focused on fighting for global literacy and gender equality in education.

By Maite Plimmer

Q: THERE IS NO REASON WE SHOULD LET BOKO HARAM WIN, AL QAEDA WIN – WHAT SHOULD WIN IS EDUCATION, EDUCATION WILL LEAD TO TOLERANCE, PEACE, STABILITY AND ECONOMIC GROWTH

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What took you from being an executive leader at Microsoft to being a leader in the philanthropic arena?

A:

Part of it is my passion for education because I think education is the most fundamental and proven ticket out of poverty. Every successful society in the world whether it be Switzerland or Hong Kong - the country where I happen to live - if they are well off it’s almost always because they have provided access to education for every citizen. Yet in so many parts of the world today kids do not go to school.

In fact there are 770 million people who are illiterate. So one of the reasons I left my job at Microsoft and have dedicated myself full time to Room to Read for the last 14 years is because I wanted every child to have a chance to reach his potential. If a kid can’t read /write or attend school by the time he is 7, it

is pretty much game over; henceforth, they probably will be part of yet another generation to live in poverty.

It all started in Nepal for me. I remember hiking and reaching this school and asking the Head Master why his library was empty considering there were 450 students attending the school on a daily basis. His answer was “we are too poor to afford education in this country, but if we don’t have education we are destined to remain poor”.

That was really the defining moment and it was then that I decided this was the way forward for me. There was no option to do this as a side project, as Microsoft would always be more demanding; hence to avoid this non-competition, I left. There is only one idea in my mind: education-education-education for the poorest people in the under developed world.

Q: A:

What has been your biggest success in your life?

I think the fact that 15 years ago we were a cash strapped organization with a budget of 50.000 dollars while today we have reached 10 million children across 10 countries

Q:

For nine consecutive years, Room to Read has received Charity Navigator’s highest rating of four stars for financial accountability and transparency - an honour only 1% of their rated charities can claim. How has Room to Read achieved this level of transparency?

A:

We have a very transparent model that I think gives people faith. I think it is also a question of leadership, many leaders today are moved by their egos, and they don’t listen to others or involve them. Our leadership aims to be authentic. We also have all our financials and tax returns on our website for the last 5 years (e.g you can check everyone’s salaries). In addition

we have outside evaluators and we post their findings on our website

Q:

I see in the future, organizations having their own philanthropic departments; do you see this is possible too?

A:

Not only in the future, I see this happening today. For example, we get 1/3 of our budget from companies who want to invest in frontier markets in countries like Vietnam, Zambia and India. They are investing not only cash but in a very creative in-kind way such as donating their air miles. Here are a variety of examples: hotel chains like Hyatt, Hilton and Squire donate us rooms to use; Credit Suisse donates office space around the world so we can avoid paying the high real estate costs; Lenovo has donated 1000 laptops for or staff; Salesforce gave us unlimited cloud space for our data. We also have companies that donate their employees who are specialized in IT, HR, and other areas and who help us in the day to day

operations. We also receive donations for our fundraising galas including the offer of auction prizes. For example, the Four Seasons gave us a week at one of their paradise locations.

Going back to your original question, companies that give to a life-changing cause make their employees proud and their customers happy because each likes to know they are dealing with an ethical company. If companies do more for social causes, they will be able to attract better talent and with hand on heart they can tell their customers that they are doing something good for the world.

Q: A:

Do you have any heroes?

One of my Heroes is Paul Farmer who is an American anthropologist and physician. He is best known for his humanitarian work providing suitable health care to rural and under-resourced areas in developing countries, starting with his field work in Haiti.

Issue N9 | 6 1

Andrew Carnegie is also someone I look up to. As many know, he was a Scottish American industrialist who became one of the foremost philanthropists in America and the British Empire. He was not the most ethical guy in the world, but late in life he made a decision to open thousands of libraries… I never had his resources but he started at 60. I started at 35 and I am catching up fast.

Q:

How did Room to Read manage to connect with the Clinton Foundation?

A:

Well, I was really lucky because Bill Clinton is a voracious reader and read the book I wrote Leaving Microsoft to Change the World and he seemed to like what we were doing. He later on wrote in his book Giving, and mentioned Room to Read, speculating what would happen if a few hundred people did what John Wood was doing. Subsequently, the Clinton Global initiative asked me to be a speaker at their annual conference.

The admiration is returned in that he has also become one of my heroes. I have met President Clinton on various occasions and he always asks me how many new libraries we have built. He has done great things for us. He endorsed my first book, for example; something that, in turn, helped us raise awareness about our mission. They have also given us frequent exposure on stage and many of the individuals we have met through the foundation have been pivotal in our growth. Indeed some Some are nowadays sitting on our board.

Q:

How does Room to Read tackle issues like corruption in some countries?

A:

We do not have a problem with customs because most of the books we use are self-published in the local language. But, in fact, the major way we handle corruption is that we tell governments that they can’t ask us for a bribe or money. Moreover we follow this with the observation that we are going to ask them to give us money! We ask the governments in the countries we work in to contribute to our projects for psychological and economic reasons. We believe in an old saying that says “people don’t steal from themselves” and so to avoid losses, we make sure that all our projects have the cooperation of national and local government. This tactic ensures we are all working together - meaning that there is little incentive for corruption and that we all have something to gain.

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Q:

To what extent do local traditions impact Room to Read’s drive for equality education in its region of operations? How do you decide which countries to operate in?

A:

I would say all the schools we have built today contribute to the spreading of gender equality. We have opened 1,900 school blocks and they are all co-ed facilities, as this is one of our founding principles. We want to go to places where there is a strong enabling environment. This involves several things – notably political stability, social stability and a strong functioning ministry of education. If the latter is there, then they can provide our projects with trained teachers and books. If we have all of this we have a higher chance of achieving success. We don’t operate in refugee camps although our heart goes out to them because we really try to operate in enabling environments that will be set up for success.

Q:

In the developing world children are often regarded as an extra source of income to the household therefore education is not seen as economically viable for most families.

How does Room to Read tackle these issues?

A:

We have incredibly strong women on our staff whom we call social mobilizers.

They are strong educated in local affairs, they are out in the community and remind parents that yes if you put your children out in the field you may have a little more rice but if you educate her you have a long term retiring plan, insurance policy and have a chance for your children to be the first person in the family to finish secondary school.

Every year we have more and more demand for our projects meaning that more people are starting to realize that education is the best long term road to success. Again going to the enabling environment, we do try to work in places where the parents have a strong push for education. Last week when I was in Nepal overlooking some of the destruction of the earthquake, many places I visited had constructed make shift schooling areas to replaces those destroyed because they want their children to go to school despite the fact that they have lost their homes. That is how much these parents are hungry for their kids to get educated.

Q:

Which is the country that has been hardest to operate in and what is Room to Read’s next objective?

A:

Our first objective was to reach 10 million students by the year 2020 which was a pretty big goal for a small cash strapped organization. However we have managed to reach our goal for 10 million students by the end of 2015 and have increased our goal for 2020 so that Room to Read reaches 15 million students. It is a big objective but I feel very confident and we have the right team in all 10 of our programme countries. Not only this, we have funding from all around the world including the United States and Switzerland; on the other hand, we need more people to get involved and that I guess is my kind of closing message. We have so many more communities asking for these programmes but, sadly, at the moment we have had to say “No” or “Not Yet”. Therefore we need more executives, companies and individuals to get on board. We also want Room to Read to become one of the biggest global movements in history. That global movement is all about saying no child should ever be told that they were born in the wrong place or the wrong time or the wrong family and therefore will not get an education. There is no reason we should let Boko Haram win, Al Qaeda win – what should win is education, education will lead to tolerance, peace, stability and economic growth.

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T R AV E L

AMSTERDAM Amsterdam is a city of many faces. It combines the touristy and free-wheeling Red light district, many centuries of classic art and architecture, the romantic Venice-like channels and the gastronomic experience… and these are just a few reasons to visit.

By Ksenia Mezentseva

BREAKFAST

I

am a ‘foodie’ and cannot prepare for any trip without planning out my meals. And as they say: “Breakfast is the most important meal of the day”. In Amsterdam you have quite a few options to start your day on a good note- a classic hotel experience with eggs, coffee and sausage, a typical Dutch breakfast of a toast with various toppings or my favourite option - pancakes!

Pancakes are a traditional Dutch food. They are usually quite large in size and thin, similar to Russian pancakes if you ever tried those. You will find many pancake houses in Amsterdam with sweet, savoury and original recipes ranging from apples and Grand- Marnier to Nutella to ham & cheese and steak & eggs variations.

My favourite pancake houses are: Pancakes Amsterdam - a tiny place in the cool Nine Streets neighbourhood serves a great selection of one to many exotic combinations of toppings. Be prepared to wait in line, but it’s worth it!

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Upstairs - named the “smallest restaurant in Europe” it’s a tiny tea house with many colorful tea pots hanging from the ceiling. You must go there just to feel like Alice in Wonderland at the Mad Tea Party.

If you are a late riser and prefer brunch to breakfast make sure to go to Cafe George located on one of the channels. The all-white French serves all-day breakfast, great soups, sandwiches, salads and such French classics as savory baguettes, steak frites and tartars.

THE STEREOTYPE

R

ed light district - to me is the least interesting area of Amsterdam full of British stag parties and too many “dazed and confused”.

But if you take the right guide you can find a lot of history in the area starting from the origin of the moniker “coffee shop,” which turned out to be much older than most think. Just as the English dominated the tea trade, Dutch were the masters of the coffee trade in the 17th and 18th centuries. Places where coffee was sold and

served also frequently offered other substances that trading ships brought along from faraway lands. The name still stands. By the way, the Dutch have passed the law banning marijuana sale to tourists, but the City of Amsterdam chose to ignore its enforcement.

ART

A

msterdam is a great place for art lovers.

This year is the 125th anniversary of Van Gogh’s death. Many museums all over the world host special exhibits to honour the event. Van Gogh Museum in Amsterdam is of course at the front of the pack. Apart from the breathtaking permanent collection, on September 25th the museum will unveil “Munch: Van Gogh” exhibition. The exhibit will be the first one to bring the two great masters whose works parallel each other in many ways.

Don’t let the long line to entrance scare you off.

You can get a private guide or a day pass for a faster entrance.

Another place to visit is the newly renovated

Rijksmuseum that reopened its doors two years ago after being closed for a decade – twice as long and almost double the cost than originally planned. But it was worth the wait - this year the European Museum Forum has named Rijks the European Museum of the Year.

If you hurry and get to Amsterdam before October 11th you will have a chance to see an outdoor exhibition of Miro’s sculptures featured in the museum gardens. Spend a few hours at the main building and make sure to wander around the Gallery of Honor – the heart of the museum that features Rembrandt’s grand Night Watch and Vermeer’s Milkmaid among others.

After the visit browse the little street fair just in front of the museum on your way to lunch.

Go to Seafood Bar a few hundred meters away on Van Baerlestraat 5. Enjoy a great oyster selection, grilled lobsters and spectacular seafood platters.

If you are in a less of a seafood mood and want to stay in the area Brasserie Keyzer is a good nearby option located just across the street from the entrance to Stedelijk Museum.

NOT ART

W

hen you feel that your craving for art is fulfilled (most probably your day 2 in Amsterdam), take a boat tour and spend three to four hours cruising the channels of Amsterdam.

It may sound like a lot but trust me, with a good guide the time will fly by, especially if you take a bottle of nice wine and some snacks to accompany you on the boat. Most private boats will allow it.

Ask to see The Old Center and compare the rich canal history to such contemporary areas as the Eastern Docklands, the grand building of the Amsterdam Central Station (which is under the construction till 2018 and is better to see from the water), the modern structures of Eye Film Museum of Amsterdam, the Nemo Science Center and the vibrant Noord area.

After your tour ask the guide to drop you at Envy on Prinsengracht 381 for lunch – an Italian inspired tapas bar with fresh countryside small dishes, great wine in a contemporary setting.

Alternatively you can have lunch first and have your boat meet you by the restaurant entrance.

center up until the 1940s and was even called “Jerusalem of the West”. Take a guide and spend two to three hours walking around the Old Jewish Quarter to visit the 17th century Portuguese Synagogue, the Holocaust memorial and the Hollandsche Schouwbur Theatre - the Old Dutch theatre where many famous Jewish artists performed before the World War II. During the Nazi occupation it was renamed to Jewish Theatre and later served as the deportation center to the concentration camps.

Today it’s a memorial and a museum.

One of the most famous sites in Amsterdam is the Anne Frank House where Anne Frank hid with her family during the World War II and where she wrote her diary. The line to the entrance goes around the museum and to the next corner and there seems to be no way around it. The locals say that the line is a part of the experience – the Jews suffered, and the visitors should suffer a bit as well.

If you are a cultural buff like me, you may like to enjoy the Jewish Amsterdam. Not everyone knows that the city was a prominent Jewish

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SHOPPING

D

on’t look for the designer shopping in Amsterdam - there isn’t as much of it and it’s really not the place. Instead enjoy the cute local designer boutiques in the Nine Little Streets area – the trendiest shopping area of Amsterdam, the antiques at the Antiekcentrum on Looiersgracht street and BeBoB design store with post World War II vintage furniture.

If you enjoy contemporary design checkout the many contemporary galleries. Make sure to go to Droog a design firm that sells various funny objects from international contemporary designers and the Moooi Showroom - a contemporary art and furniture store with unusual and interesting designs.

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If you are a foodie like me you will enjoy visiting one of Amsterdam’s food markets. On Saturday or Monday go to Noordermarkt where local farmers sell fresh greens, various mushrooms – the market’s specialty, different Dutch, French and Belgian cheeses, mouthwatering pastry that you can try right there on the spot and of course the pancakes. Make sure to stop for a cappuccino and the famous Dutch apple pie sold at Winkel 43 – a café just outside the Noordermarkt!

Just a few minutes away from the Noordermarkt is the Bloemenmarkt - the famous Amsterdam flower market. Although today it’s a very touristy place it’s still nice to pass by for some beautiful fresh flowers or to pick up some tulip bulbs you can bring back as souvenirs for friends and relatives who like to garden.

CHILDREN

I

f you have children and decide to bring them with you, Amsterdam has a few great things to do - the Nemo Science Center, the free puppet show on Dam Square and the Artis Royal Zoo. To me, Amsterdam is a city for a romantic getaway, relaxing walks, boat and bike rides and just like Paris, love!

RESTAURANT RECOMMENDATIONS: BREAKFAST:

DINNER:

The Dylan Hotel Keizersgracht 384, 1016 GB Amsterdam, Netherlands

De Kas An organic institution that grows greens and vegetables at its own greenhouse located in Frankendael Park.

Kamerlingh Onneslaan 3, 1097 DE Amsterdam, Netherlands

Concervatorium Hotel Van Baerlestraat 27, 1071 AN Amsterdam, Netherlands Pancakes Amsterdam Berenstraat 38, 1016 GH Amsterdam, Netherlands Greenwoods Great English-style breakfast in this charming cafĂŠ.

Singel 103, 1012 VG Amsterdam, Netherlands Omelegg A cute place with a country-style setting specializes in all types of egg dishes.

Ferdinand Bolstraat 143, 1072 LH Amsterdam, Netherlands

LUNCH: Envy Prinsengracht 381, 1016 HL Amsterdam, Netherlands Seafood Bar Van Baerlestraat 5, 1071 AL Amsterdam, Netherlands

Ron Gastropub An urban hip gastro bar is located in a residential area of Willemspark 7 mutes away from the museum district.

Awarded with one Michelin start the restaurant offers tapas style menu and a great wine list.

Sophialaan 55, 1075 BP Amsterdam, Netherlands Pompstation Great premium steaks and burgers, live music and trendy atmosphere in the building of the old gas station.

Zeeburgerdijk 52, 1094 AE Amsterdam, Netherlands Momo Contemporary Japanese with a busy bar and good drinks.

Hobbemastraat 1 Ciel Bleu A two Michelin star restaurant offers an elegant setting with a great view. The menu presents high French cuisine with a contemporary twist.

Ferdinand Bolstraat 333, 1072 LH Amsterdam, Netherlands

Upstairs Pannenkoekenhuis Grimburgwal 2, 1012 GA Amsterdam, Netherland Cafe George Leidsegracht 84, 1016 CR Amsterdam, Netherlands Brasserie Keyzer Van Baerlestraat 96, 1071 BB Amsterdam, Netherlands

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A R O UANRDO TUHNED WO T HR E LW DO R L D / N A PA VA L L E Y

10 YEARS

FESTIVAL DEL SOLE

By Olga Kurukova The Festival del Sole is an annual ten-day music, food, wine, and art festival held in California's Napa Valley.

Founded in 2006 by Richard Walker and Barrett Wissman, the festival attracts over 8,000 attendees annually.

VALLEY OF EDEN Think of chateaux and many of you will be thinking of the Loire Valley, Burgundy and Bordeaux.

However, some of the most amazing chateaux are actually in Napa Valley, California. There is the majestic château called Domaine Carneros - that is itself inspired by the 18th century Château de la Marquetterie in Champagne.

Napa valley is an extraordinary region, known by connoisseurs and oenophiles, as America's Eden. Its landscape has also been the setting for many fortunes and rivalries.

Charles Krug is credited with establishing

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Napa Valley's first commercial winery in 1861.

In the next half century, many other families became intrigued by the possibilities, including Schramsberg (founded in 1862), Beringer (1876) and Inglenook (1879).

The mixture of snobbery and prohibition mean that Napa Valley’s reputation was muted until a blind tasting rocked the wine establishment.

Known as the Paris Tasting of 1976, the best wines of Bordeaux and Burgundy were pitted against Cabernet Sauvignon and Chardonnay from California. To the chagrin of the French, the Americans won.

When the tasting was done, the judges had given top honors to Chateau Montelena Chardonnay and Stag’s Leap Wine Cellars Cabernet Sauvignon. Napa Valley would never be the

same, and the number of wineries would grow from a few dozen to several hundred today.

WINE NOTES The 10-day festival is about wine, women and song in equal measure. It involves most of the major wineries such as Darioush, Opus One and Seven Stones All of these compete with one another to stage the most interesting performances.

The lure is that the music is accompanied by a sumptuous feast before or afterwards. It is during those events that festival regulars who come every year catch up. “It’s like a summer camp for adults.” Forbes reports one woman saying.

The theme of this year was Hollywood and

Vine, celebrating the fusion between Hollywood and the grape. Kevin Spacey even agreed to take a break from House of Cards in order to sing some of the American classics. He pulled this off with great aplomb – thumping out a line up that included hits from Frank Sinatra, Bobby Darin, Billy Joel and Paul Simon.

On the opening night, fireworks exploded over Opus One Winery drowning out the cannons of Tchaikovsky’s 1812 Overture.

This was played by the Russian National Orchestra who also serenaded guests with The Way You Look Tonight, Dancing Cheek to Cheek and the Theme from Dr. Zhivago.

Other memorable highlights included an exciting performance by Herb Alpert, the trumpeter and a world première of new choral works by composer Gordon Getty. Deborah Voigt was also due to appear to a sell out audience. Except she didn’t, she went down with flu.

Showing incredible presence of mind and a great contact book, the organisers flew in a young soprano Nadine Sierra who rose to the occasion beautifully. Amongst other things, she sung Ah, je veux vivre from Gounod’s Romeo and Juliet. Following with four selections from Debussy’s Chansons de Jeunesse and arias from Donazetti’s Lucia di Lammermoor and Verdi’s Rigoletti. She concluded with a touching tribute to mezzo-soprano Marilyn Horne by singing a song she had once heard Horne sing, Stephen Foster’s Beautiful Dreamer.

Beautiful dreamer, queen of my song, List while I woo thee with soft melody; Gone are the cares of life’s busy throng, Beautiful dreamer, awake unto me!

Beautiful dreamer, awake unto me!

Most Americans also know that the festival is renowned for its fundraising. Getty and his wife.

On this note, the event is known for its incredible

luxury auction widely reported ahead of time in publications like Forbes and Robb’s report. All money raised goes to art education in the state.

Last year the tally came to $1.32 million.

As a result, request submitted by schools for the furtherance of art and music was met. Ann Getty and her husband have led the charge from the beginning – so much so that the organizers decided to dedicate the tenth anniversary of the festival to the couple.

In this respect there was one last twist that emphasized the underlying purpose of the festival. The pianist, Mikhail Pletnev, whose family were refugees grew up in the local area. In 1990, he returned to Russia and was instrumental in founding the Russian National Orchestra. Since the inception of the Festival his orchestra has been the principal orchestra. It is a perfect symbol of what this festival stands for.

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AROUND THE WORLD / SAN DIEGO

KEEP CALM AND

VISIT SAN DIEGO!

By Blanca Uribe

H

aving been born to Mexican parents, but raised in San Diego, I often feel privileged when people ask me where I’m from. This is an all too common feeling for many San Diegans, many of whom share my origins. This is because we live in a city that “has it all” and, at the same time, we have benefits of the culture and flavor that Mexico has to offer.

Located on the southwestern tip of California, famous for the sandy beaches of the beautiful Pacific Ocean (and a few miles north of the most commuted border crossing in the world) lies a city with an ethnic, cultural and geographic diversity virtually unparalleled anywhere in the world.

Because San Diego was once part of Mexico, it still reflects its historical and cultural heritage. Naturally, its proximity to Mexico with its temperate climate make it a popular tourist destination for culturally minded travelers from all over the world. Those of us who live here also like to say that since we have it so good here, why leave? For those of you who have yet to visit my hometown, let me give you are few reasons why I think San Diego is truly “America’s Finest City”.

For starters, San Diego’s nearly perfect weather

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all year round and its majestic beaches are two of the main reasons people come to and stay in San Diego. But weather is not the only reason. The city also boasts a unique identity based on its location on the Mexico-U.S. border. Many of San Diego’s inhabitants are fully bi-cultural and bi-lingual, which gives the region a truly international feel. For many people, it is quite common to cross the border into Tijuana for work on a daily basis, to catch a sporting event or simply to have lunch or dinner. As a person who works, lives and plays on both sides of the border, I thrive on the multicultural character of the region For example, San Diego’s arts and music scene is heavily influenced by its proximity to the border; world-renowned artists and musicians often exhibit their works on both sides of the international divide.

As a result, San Diego is a perfect example of the modern international city.

Having been a part of Mexico up until the mid19th century, San Diego’s origins go back to Spanish colonial days - a fact reflected in its architecture.

Many of the landmarks, streets and points of interest have Spanish names. Even those who live here but don’t speak Spanish, take pride in pronouncing these names correctly! Perhaps the most iconic colonial

feature in San Diego (and how San Diego got its name) is Mission San Diego de Alcala, which was founded in 1769 by Spanish Friar Junipero Serra, and served as the first Catholic Mission in what was then called “Las Californias. Mission San Diego de Alcala, a National Historic Landmark, is truly an icon of colonial architecture and definitely worth the visit.

Another proud emblem of San Diego’s cultural heritage is Balboa Park, the hundred year old urban cultural park named after Spanish explorer Vasco Nunez de Balboa. The impetus behind Balboa Park’s and creation was the Panama-California International Exposition of 1915. The park was built to coincide with the opening of the Panama Canal, and to showcase San Diego as one of the first ports of call for merchant and passenger ships passing through.

Today, Balboa Park is home to many of the city’s most important museums. It also serves as the city’s green space, because much of the park is devoted to preserving the region’s native flora. The park has natural vegetation zones, a botanical garden, world-class restaurants, museums devoted to various areas of interest, an amphitheater, several theaters and the

world-famous San Diego Zoo. Signs of Spanish colonial influence are everywhere. This is where San Diegans spend time, strolling through the park, picnicking on its green areas, enjoying the street performers and enjoying its museums.

One of the most important museums in Balboa Park is the San Diego Museum of Art. Originally, the museum was designed to showcase not only its grand collection of works by European old masters, but also a broad collection of American, Latin American and Asian Art art, as well as works by local artists. The museum is also home to collections of objects and artifacts from around the world, ranging in date from 5,000 B.C. to modern times.

The San Diego Museum of Art’s American collection has thrived since the establishment’s beginning. The artwork features artists like Chase, Eakins, Cassatt, Durand and Inness.

There are also numerous selections by O’Keeffe, and also works by artists of the Ash Can School.

The museum’s modern art includes pieces by masters working in both Europe and Latin America, including Dalí, Magritte, Matisse, Rivera, Tamayo, Miró, Calder, and Moore. My personal favorite part of the museum includes

the European selections extending from the Renaissance and Baroque ages, through the eighteenth century, to Impressionism and PostImpressionism. Much like the majestic Eiffel Tower in Paris, or the classic Art Institute in Chicago, Balboa Park was built during a time when inventors, innovators and designers came together for an international gathering to showcase everything the city had to offer. Today, Balboa Park is a dramatic feature of the San Diego skyline offering a fascinating variety of culture for future generations to enjoy.

San Diego’s culture scene also has much to offer in the area of music and the performing arts.

The area abounds with dynamic performances, including ballet, symphony and theatre. A few examples are Copley Symphony Hall in San Diego and the Old Globe Theater in Balboa Park which celebrates the Elizabethan Era, hosting Shakespearean plays in their nearly original setting. Also, because the region has such a large presence of Mexican expatriates, it is not uncommon to have Mexican traditional works adapted to ballet or other theatrical settings.

One of my favorites is the Mariachi Vargas, a Mexican mariachi group that performs several

Issue N9 | 7 1

times per year at Symphony Hall, and has been known to perform together with the San Diego Opera.

One of San Diego’s most visited spots is Coronado, an island that lies across the bay.

Coronado is Spanish for “crowned,” and the island certainly lives up to its name. Coronado is home to the famous Hotel del Coronado, a world-famous resort and hotel that has hosted some of the world’s top diplomats and heads of state for over one hundred years. The island has a charming town where it is hard for locals to walk the main street, Orange Avenue, without encountering a familiar face. With the San Diego bay on one side of the island and the Pacific Ocean on the other, the spectacular Coronado Bay Bridge connects Coronado to downtown San Diego. Downtown San Diego is the Gaslamp Quarter, filled with restaurants of every flavor, major shopping centers, and of course it’s the home of the city’s night life with many bars and night clubs to choose from.

Southern California is well known for its beautiful beaches, and the ocean is certainly part of the character of the city. If you are more the adventurous type, you have the option to charter a boat at any of San Diego’s marinas for a fishing expedition. If you’re lucky, you might catch a beautiful Bluefin Tuna, some yellowtail or maybe a big Dorado. For less adventurous types, another option is to give the seasickness a miss and find fresh fish of the day at the local fisherman docks in Point Loma, a community famous for its fishing tradition.

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One of the main reasons I love San Diego is its proximity and close ties to Mexico. As the daughter of Mexican-born parents, the fact that San Diego shares a border with Mexico, specifically Tijuana, weighed heavily in my

BECAUSE SAN DIEGO WAS ONCE PART OF MEXICO, IT STILL REFLECTS ITS HISTORICAL AND CULTURAL HERITAGE. NATURALLY, ITS PROXIMITY TO MEXICO WITH ITS TEMPERATE CLIMATE MAKE IT A POPULAR TOURIST DESTINATION

decision to live here. The San Diego-Tijuana border is the busiest land border in the world, linking two very distinct but interdependent neighboring cities. Like me, tens of thousands of people cross the border daily to get to and from work. While many live in Tijuana and do

their business in San Diego, many San Diegans also enjoy Tijuana for what that city offers. This relationship enriches San Diego with diversity, culture and dynamism.

Many make their way south of the border to work, enjoy beach homes, indulge in spas, and visit vineyards that offer summertime outdoor concerts and to enjoy some of the world’s best Michelin Star restaurants located in the Baja California Region. Most people are not aware of this fact, but the Caesar salad was invented in the once local Tijuana Caesar Hotel, which today is known as the Caesar’s Restaurant.

Another motivation that encourages many to make their way down south of the border is to experience another world of entertainment and sports. Tijuana has two professional level teams.

The Toros de Tijuana Baseball Club, who play at Estadio Gasmart and the Xoloscuintles de Tijuana Football Club, whose home turf is the Estadio Caliente. A visit to Estadio Gasmart to watch the Tijuana Toros Baseball Club is guaranteed to offer spectators three hours plus of fun-filled entertainment, including five mischievous mascots who pretty much steal the show as they congratulate the players after a home run! The musical entertainment is always in English and Spanish, complimented with “la batucada” and banda to finish off the night. The big screen keeps fans entertained and engaged.

The food is another of the main attractions. My favorite part of the estadio Gasmart experience, are authentic Mexican “antojitos” (or snacks) ranging from tacos, to Nutella-filled churros

(and, of course beer - lots and lots of beer to encourage the fans dancing to traditional Mexican Banda music). Alternatively, there are typical American baseball snacks, such as popcorn and hotdogs, with - of course - those Mexican sweet and spicy toppings.

San Diego also enjoys a number of professional sports teams. The San Diego Chargers (American) Football team make their home at Qualcomm Stadium, while the San Diego Padres Baseball Club call Petco Park their home.

Both teams have a local and national following, and even the Padres’ team name (Padre means father or friar in Spanish) is a tribute to the city’s historical roots as one of the first Catholic Missions in California. Additionally, one can find sports fans on both sides of the border, rooting for teams on the other side!

While a border may separate the two cities, the San Diego-Tijuana region is truly one megaregion when it comes to the philanthropic and business community. Almost on a weekly basis one can find and attend charity events occurring, bringing the two communities together to help support the under privileged and the arts.

What is most astonishing to me is the way communities on both sides of the border contribute to supporting each other. Two great examples are the Hospital Infantil de las Californias and Ronald McDonald House.

Hospital Infantil de las Californias is a hospital located on the Tijuana side of the border and offers various medical treatments to underprivileged children from both Mexico and the United States. Doctors from Canada, Mexico and the United States worked together to make the hospital a reality. Donations made to this hospital come from individuals and corporations from both sides of the border. In my charity work in the region, I have been truly impressed by the degree of collaboration that exists. So there you have it! For those who have yet to visit San Diego or are looking for reasons to make it out to the beautiful California coast, I hope that my perspective has provided you with a wealth of options for entertainment and relaxation available in“America’s Finest City.” And by the way, in case I didn’t mention it, San Diegans are some of the nicest and most welcoming people in the United States. Until next time, I’m off to the beach

Blanca Uribe is a Cercle articles contributor and Vice-President of the Toros de Tijuana Baseball Club. She serves on the board of trustees of the San Diego Museum of Art in San Diego and on the board of Coparmex in Tijuana.

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A R O U N D T H E W O R L D / N E VA DA

Burning Man

By Chiara Tedeschi

F

or a few days, individuals wired to the lifestyle of twenty-first century living, revert to desert living and fire worship. In the Nevada desert, dancers whirl and twirl turning into what Elias Canetti calls “the rhythmic and throbbing crowd.”

The pyrotechnics that end the weeklong celebration in Black Rock City Nevada are some of the most spectacular on earth. More than anything Burning Man is an exuberant alliance between aging hippies, pyrotechnical

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fanatics, artistic visionaries and, increasingly, modernists who want to break free of the world they are creating.

Add to this mix the troupes of eco-worshippers and nudists who make the pilgrimage to the Playa and you have a huge bacchanal rave to outdo all other raves. One thing’s for sure William Burroughs would have been in his element.

THE ART OF SPECTACLE

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n Burning Man’s case however the attempts are bolder and more immediate. This is performance art for a global audience. If it started with a small select crowd, disenchanted with the excesses of contemporary life. Today, it has become something of a monster animal, breathing fire across the desert sky.

It is spectacular to witness twenty first century men and women reverting to the fire – worshipping fetishes and symbols of our cavemen ancestors.

PHILOSOPHY OF THE PLAYA

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f you are intending to get the best of the event, you have to cast aside the rational side of yourself. Be warned light heartedness is taken very seriously indeed. In order to absorb what Burning Man has to offer, one has to be prepared to discover a whole new depth of spirituality.

Scepticism suspended, accompanied often by a dose of hallucinatory drugs, creativity is everywhere. Elaborate sculptures reach toward the sky and others even puff out flames. Each installation is unique and absolutely takes your breath away. Electronic dance music collides with other world beats, uncontrollable emotion is bursting all around the surreal atmosphere and strangers share their love by hugging you without warning. This is a perfect example of the omnipresent freedom of self-expression at the festival.

Gift giving is also a very important philosophy at the Playa. The unconditional generosity of the Burners was an important part of this magical experience.

Burning Man is an immersive theatre in which everyone is required to play games and indulge in the creation of utopia. Drop the illusion or cut

back on the drugs - and a mood of bemusement may descend that is hard to shake off. The Playa is a wonderfully liberating experience for people who wish to indulge in their playful and childlike instincts. There are not many places on earth where you are able to zoom around on mutant vehicles when you are an adult without having your sanity questioned.

An ARSONIST’S PARADISE

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urning Man is about the glory and psychological significance of fire to mankind – not just at the core of the event but at its fringes as well – guiding the conception of many of

WE COME TO THE DESERT LOOKING FOR A PARTY, LOOKING FOR ADVENTURE. INSTEAD WE FOUND OURSELVES WE ARE THE PARTY, WE ARE THE ADVENTURE

the dance performances that take place through the week. At the same time it is also a playful reinterpretation and re-purposing of pagan, cathartic rites of passage of fire through the ages and across cultures. The spirit of Native America reigns.

If you wish to fully go with the flow (or rather fire) various ceremonial practices are essential – such as the Spike Ceremony and the procession of fire dances. The former involves various Burning Man tribes taking turns to smack an iron stake into the ground. This marks the place where the Man will be built.

SPIRITUAL ART

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side from the Man, the creation of the temple is of immense symbolic significance to most Burners. It summons up a great deal of the weeklong communal experience.

David Best, the artist behind the conception of the temple has always had unswerving faith in the value of the exercise both from the psychological and aesthetic perspective. Only one, predates the blazing inferno of the Twin Towers.

What struck him in 2001 was the poignancy of the messages of grieving relatives and friends searching for their loved ones. Because of this, he has encouraged, the temple to be a platform where Burners can write messages at any time during the festival and take time to reminisce in honour of the missing. Upon entering the temple, a sense of peace descends and embraces you. This was a very special moment for me.

Each year there is not only a new temple but also a new theme: Promise, Loss, Forgiveness…

Festival-goers are encouraged to extemporize either closing off or honouring a particular episode in their lives.

“People bring their letters – letter to son, a daughter will scrawl her last farewell. A man will come to forgive...

A husband will say good bye to his marriage. People will grieve”.

“Some will separate. A man will find some strength.

People will marry. Lovers will take promises or find resolve. The words on the walls are very public but in

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their anonymity something special happens. People find a way of achieving peace within themselves and with another”.

David Best

The Confessional.

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his reliance on individuals unburdening themselves in a public but anonymous space is also something that the 2015 installation, Totems of Confessions, has exploited.

Burners walk around an artwork known as Totems of Confessions, where people are asked to write confessions on a piece of paper which will then be pinned to the inside of the tower before being burned along with it.

Gazing into the Future

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urning Man is also increasingly become the place of experimental and new design to get its first outing. On this score, a new trend is appearing – namely the building of algorithmic structures using parametrics: Two outstanding examples which attracted a lot of attention this year came from the University of Westminster, London. Lorna Jackson’s Reflection is a piece designed to provide an intimate setting in which confessions, secrets and tales can be shared either openly, or with strangers through a semi-private screen.

As she stated: “Reflection presents this year's Burners with an intimate setting in which to share their innermost confessions, secrets and tales, with the option to do so both openly with other Burners face to face, or retain the mystery of their identity by sharing with a stranger through the pavilion's semiprivate screen”.

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The Arbour

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nother installation is that of Josh Haywood who successfully raised money from Kickstarter for his latest installation titled Arbour. As the intricate work shows, the artwork is inspired by “the geometry of sacred architecture”.

The 2015 Man

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he eponymous Man sculpture always forms the center point of the temporary town, and is the literal marker from which all distances are measured when building the city from plans.

A town built on sand

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ll art and artists wrestle with questions of existentialism: the drive of each person to rise above their threatened insignificance and mortality; the march of the generations, mankind’s stewardship of the universe and so forth.

All these installations are built on sand. Once set on fire these are permanently erased by the implacable and unforgiving power of flames. This is what makes Burning Man so unique. You have to live the moment, if you’re not careful suddenly you blink and it’s all turned to ash.

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AROUND THE WORLD / MONTEREY

MONTEREY CAR WEEK

By Ivan Cinque Monterey Car Week is a succession of loosely connected shows that will transform almost anybody into a car convert. It’s a chance to see cars of every era in the leisurely span of a week. You’ll find see everything from priceless vintage cars to the latest production models of the world’s top manufacturers.

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his year sales were just above $400 million.

This was the second highest in Monterey Car Week history, but some way behind last year’s monumental total of $430 million.

Some investors, on account of this, were asking whether the market has currently topped.

TYRE MEETS TURF.

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he event of the week with the most glitz and panache is the aptly named Pebble Beach Concours de’Elegance held on the famed 18th fairway of Pebble Beach Golf Links.

Originally a small social event paired with a road race through the pine and cypress forests of Pebble Beach, the Pebble Beach Concours has grown into the top-ranking collector car competition in the world. This year the sensational list of vehicles vying for

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Best of Show include Ferrari, DuPont, postwar Cunninghams, British pre-war sports cars, 75th anniversary Lincoln continentals, and 50th anniversary Mustangs.

THE ACCOMPANYING MENU.

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ther highlights of the Monterey Car Week include The Quail: A Motorsports Gathering, with classic racing cars, and the Monterey Motorsports Reunion, which sees classic cars take to the track at Laguna Seca.

Last year’s auctions featured the most expensive car ever sold at auction — a $38 million Ferrari.

This year was a more modest affair, with the most expensive cars likely topping out around $20 million.

In fact if you are, or know anybody, who is a Ferrari Fanatic then Pebble Beach is the pilgrimage that you have to make at least once in your life. If not you’ll regret it on your death bed. The theme for this year’s Meet was “Honoring Pebble Beach Racers” where we pay special tribute to the Ferrari cars that competed in the inaugural Pebble Beach Road Races of the 1950s.

INVESTING

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s always there’s the opportunity to blow a fortune on an ultra desirable classic car of your own if you like. If not, if you’d rather remain on the sidelines, you can relax. This is one of those events where you can enjoy some of the best cocktails on the planet.

Patricia Uribe

Dee Hilfiger

Bleona Qereti

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was born in Los Angeles and spent the first decade of my life here before moving to Switzerland. I spent the next years living between London, New York and California, exploring my passions in film, art, history, and cuisine. I went on to attend the New York Film Academy with a focus in production, which eventually led me to study Art History at Christies. Because I have always had a passion for furthering my education, I went on to attend the French Culinary Institute, learning culinary arts - focused on French and Italian Cuisine.

I spent a great deal of time studying business management and honing my skills in the art of food and wine pairing. I have always had a love for food, but this education solidified my palate and sparked my interest in fine dining and travel.

I now spend the majority of the year based in California, where I work alongside my father in the family business.

WEST COAST / L.A. 01. Capo | (1810 Ocean Avenue) In Santa Monica for its intimate Italian charm and delicious white corn ravioli with black truffle.

02. Melisse | (1104 Wilshire Blvd) In Santa Monica offers delicious, cuisine with Michelin stars, that for me, is the ultimate place to indulge.

03. Elyse Walker | (15306 Antioch St.) My Favorite store in LA in the Pacific Palisades.

04. The Pink Palace | (9641 Sunset Blvd.)

Also known as The Beverly Hills Hotel. I love its pool and its classic Polo lounge for meeting people whether for social or professional matters (Ask for the McCarthy Salad).

05. Chateau Marmont | (1727 N Hudson Ave in Hollywood.)

One of my favourite nightspots are the patio of the for excellent food with a quintessential L.A. vibe.

06. No Vacancy | (8221 Sunset Blvd) Great for a night of dancing and mingling.

first generation American, born from English and Turkish parents, Dee Hilfiger grew up in Rhode island. While still in high school, Dee was discovered by a modelling scout. She eventually signed with the iconic Ford modelling agency and moved to Paris.

While there, Dee discovered her passion for global travel, which would continue to inspire and influence all elements of her life.

EAST COAST / NY 01. Metropolitan Museum of Art | (1000 Fifth Ave) One of the largest and finest art museums in the world! There is something for everyone!

02. NY Vintage | (117 W25th St.) My favorite vintage store in NY... You can even rent one of a kind couture gowns from their incredible archives. Better than a candy store!!

03. The Waverly Inn | (16 Bank St.) A cozy and popular place in the West Village.

Great food and people watching!

04. The Chelsea Market | (75 Ninth Ave) Great place to walk, explore, shop,or even pick up a gourmet coffee and a Lobster roll.

05. John Salibello | (229 E60th St.) Best selection of Mid Century lighting and furniture. Also other great furnishing stores along this street!

06. Dylan's Candy Bar | (1011 3rd Ave) If you have kids, this is an absolute must do... and in case they didn't get enough sugar you can walk up the street to.

07. Serendipity | (225 E60th St.) For a frozen hot chocolate or an ice cream sundae!

08. Aida Bicaj | ( 30 E 67th St.) My biggest secret! Best facialist anywhere!

09. Saks Fifth Ave | ( 611 Fifth Ave) The largest selection of anything you could possibly want or need... including a Dee Ocleppo handbag.

10. Kirna Zabete | (477 Broome St.) One of the coolest and most well edited boutiques in the city.

nown as the Madonna of Albania, Bleona Qereti, took her first major step in her musical career by singing at Albania’s National Music Festival. From then on, she began to build a reputation as an electrifying live performer.

Making her home in L.A. in 2010, she’s the only artist, apart from Lady Gaga, to be invited to perform two years in a row at the legendary White Party. In the meantime, she invested in illustrious fashion photographers like Vogue’s Vincent Peters to create the elite global brand Bleona.

WEST COAST / L.A. 01. Urasawa | (218 N Rodeo Dr) Their 26 course dinner the absolute best sushi I have ever had.

02. Boa On Sunset | (9200 Sunset Blvd 650) As authentic as the Old West with an incredible variety of meat. The name, too, I find brilliant.

03. Spago | (176 N Canon Dr) Definitely not a typical Italian restaurant.

Spago is the recipient of the AAA Four Diamond Award and has two Michelin stars. It also has outstanding wine.

04. Kreation | (9465 Charleville Blvd) In Beverly Hills I do juicing once a month for 3 days and for 1 week before every big performance or red carpet. They have some wonderful cold-pressed juices such as Bikini cleanse.

05. Soho house | (9200 Sunset Boulevard ) Best place to hang out and do lunch and meetings.

06. Gunnar Peterson | (www.gunnarpeterson.com) Everyone is his client from Stallone to kardashians.

07. Bootsey Bello | (9229 Sunset Blvd) Best clubs everyone who is anyone loves this.

08. Rodeo Drive | (Rodeo Dr, Los Angeles) Of course it is the best shopping.

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C U LT U R E

VENICE FILM FESTIVAL

“Imagination and Realityˮ

By Margharita Wailes-Fairbairn “So where’s the Cannes Film Festival being held this year?” The question, once asked in all innocence by pop icon Christina Aguilera, may now have a grain of sense to it. It might not be too fanciful to say ‘Venice’!

Golden Lion for Lorenzo Vigas for the film "From Afar"

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VENICE FILM FESTIVAL 2015

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ver the years, Cannes has certainly presented many of the great films we all remember, and promoted the world’s most famous directors. But despite being less than 300 miles apart - visiting Venice has a very different feel to being at Cannes.

Like the exterior façades lining the canal, the former feels beautifully untouched; while the latter has been reworked and reworked until it is unrecognisable.

The first Cannes festival was created in 1939, but because of the War, did not really get going until the late 1940’s. Originally it was more of a social event attended by all the Hollywood super stars – Kirk Douglas, Sophia Loren, Grace Kelly, Cary Grant among many others, lured no doubt by that special mystique the French are so good at promoting.

Cannes continues to show some excellent films, but it is now as much a red carpet celebration of celebrity as it is a film festival. It screams commercialism at almost every point and every picture click. Up to 10,000 or more buyers and sellers of distribution rights, technical facilities, publicity deals and all the infinite paraphernalia of the mechanics of film production compete for space and attention. It is a film bazaar extraordinaire. Hustling, haunch to frenetic paunch, buyer and seller wheel their deals through the crush – all in defiance of the Festival's true purpose which should be: celebrating the Art of Film Making.

VENICE TRUE TO FORM

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enice, by contrast, has a much longer history and adheres more strictly to the artistic values of the medium. The first Esposizione d'Arte Cinematografica, international film festival ever organized began on 6th August 1932 on the terrace of the Excelsior Hotel on the Lido di Venezia. At 9:15 in the evening, on a screen set up on the terrace, Rouben Mamoulian's Dr. Jekyll and Mr. Hyde was shown. The screening was followed by a grand ball in the halls of the Excelsior.

From the start, the selectors showed an unerring eye for identifying films of lasting significance. A Nous la liberté by the great French film director, Rene Clair won first prize. Other notable entrants were Forbidden, by Frank Capra, The Champ, directed by King Vidor and Grand Hotel, by Edmund Goulding. All this, plus films by Howard Hawks, Anatole Litvac and Leni Riefenstal.

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The 1950’s was the great period, when, for the first time, the world was opening up artistically to areas beyond its traditional European or American cultural spheres. Apart from the brilliant offerings of Italians like Antonioni and Fellini, or French directors like Chabrol and Louis Malle, this was the decade when the Venice Festival celebrated the discovery of the great Japanese directors – especially Kurosawa (Rashomon) and Ichikawa (The Burmese harp) as well as Satijit Ray from India (The Unvanquished).

OPENING FANFARE

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he festival’s has for several years done a successful balancing act between the demands of the Opening Ceremony which must appeal to the celebrity-hunters and A-listers and the competition line-up. They’ve managed this in two ways.

Firstly the timing of the festival (which immediately follows Venice’s Historical Regatta) is significant. The pomp of the latter is a dramatic way of declaring the arrival of the former. Many stay.

And while, informality is part of Venice’s charm, the glamour is never forgotten. At opening night and the awards ceremony the witness who declared the ball in 1932 to be full of “the colourful comings and goings of the most exquisite attireˮ would not be disappointed.

The famous Venice Regatta

Secondly, the selectors have gained a reputation for choosing exceptional openers, many of which end up being Oscar successes. In 2014, Birdman, the black comedy that recounts the story of a washedup actor struggling to mount his Broadway play won best picture at the Oscars. The year before, the space-thriller Gravity, scored a seven Oscar win! Its director and co-writer Alfonso Cuarón heads up this year’s Jury.

This year, the jury were attracted by the spiralling tension of Everest. A disaster movie (based on an unsuccessful commercial climb in 1996) provides an almost too realistic sense of the misadventure. The technological abilities of 3D force the audience to confront the torments and agonies of the climbers as their chances of rescue fade.

The choice of such a sombre subject, however, gave rise to the slightly odd sensation of moving with lightening speed from being on the brink of death to the fanfare of the opening ceremony.

Jake Gyllenhaal from opening film, "Everest"

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THE AWARDS: TALES OF THE UNEXPECTED

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enice has always embraced the unexpected – even if it took longer than it should to recognize the genius of Swedish director Ingmar Bergman. It rewards the surprising and scouts for talent in off-beat territory. Countries and cultures as different as Japan, India, Eastern Europe, Russia, Iran and Turkey have all at one time enjoyed Venice’s attention.

So the question on everyone’s lips in the run up to the 72nd competition was: who's next?

Well the Golden Lion went to Venezuela, a longoverdue acknowledgement of the strength of filmmaking in South America, whose voice many lament has been previously under-represented. (Excepting, always, Luis Bunuel’s marvellous creations.)

In addition, the festival seemed to relish those storylines that explored the darker crevices of human society: Gangland violence and homophobia - From Afar.

Kidnapping and extortion - El Clan. Terrorism – Frenzy.

Mafia and FBI corruption - Black Mass. Child Abuse – Spotlight, not forgetting the very powerful Beats of No Nation.

THE GOLDEN LION

T A must watch on 3D movie, "Everest"

Abraham Attah, awarded as best new young actor in the shocking film "Beasts of No Nation"

Dakota Johnson and Johny Depp

Icelandic director Baltasar Kormakur and his wife

he smart money had been on Anomalisa, a full length animated feature directed by Charlie Kaufman.

Instead, Desde Allar (From Afar), a tantalisingly understated study of an older man's obsession with a street kid from a tough working class neighbourhood in Caracas, scooped up the honour.

The success of From Afar is all the more remarkable for being a film from a first time director, Lorenzo Vigas. Armando, an older man, secretly stalks a kid, Elder, (played by another newcomer, Luis Silva), before soliciting sex. Their subsequent, often turbulent relationship is handled with great insight and subtlety.

Armando's true motivations, his hurt and damage, remain obscure; but somehow all the more palpable because of that. After Elder is badly beaten by his homophobic friends, Armando takes him home to care for him. Slowly, Elder's naive machismo, his rage and insecurity start to melt, leading to the beginnings of a new emotional maturity.

The Silver Lion for best director was another tribute to the vibrancy of the South American film industry.

In El Clan, Argentina’s Pablo Trapero created a dark crime movie based on a real-life story of a prosperous family of kidnappers in Buenos Aires.

It’s been a huge hit on home soil. This was one of

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Venice Film Festival hostess, Elisa Sednaoui

several films in the competition or playing outside the competition that chose to reflect the violence of urban life in the twentyfirst century.

GRAND JURY: ANOMALISA

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nomalisa, could be said to be a perfect illustration of creative surprise. Every aspect of its conception and publicity has deliberately flouted convention.

Superficially it falls into the genre of animation but in reality it is more of a modern day fable. Screen’s reviewer called it “a wistful, resonant film, a bracing, wry, honest dose of cinematic melancholy”.

From the perspective of character and plot, Anomalisa, is about a motivational speaker trying to rise above his monotonous existence. On a whim he seeks to reconnect with an ex-girlfriend. Bella agrees to meet him but rapidly vamosses. Stone eventually gets lucky with Lisa (Jennifer Jason Leigh), the mousier of two girls from Akron who idolise the author and are in town to hear him speak.

The joke is that the ennui experienced by the central character ( voiced by David Thewlis) comes from being bombarded with the type of cheery, empty messages that he preaches.

This description is however as flat as the life led by Stone. The animation is almost impossible to describe. In fact the publicity

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acknowledges this by effectively refusing to provide any clues about the look and feel of the film until you are sitting in the cinema. Instead of screen shots, they are in fact issuing a back of head shot of one of the actors.

SPECIAL JURY PRIZE

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he choice of Emin Alper’s film “Abluka” Frenzy signals the jury’s undeniable interest in films with a political undertone.

Like others in its genre, it was far from being an easy watch. It positions the viewer into a disturbing psycho-social drama following the intertwined fate of two brothers.

Mehmet Ozgur plays Kadir, a convict out on parole in an unstable Turkey. The deal he has struck is to become an informer for the Turkish intelligence service Working as a garbage collector, Kadir is to report on his neighbours and has been trained by his handlers to recognise the smell of suspicious chemicals that might be used to make bombs.

As his character reflects; “This country is weird. We all live in holes and do secret things”.

BEST NEW YOUNG ACTOR.

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he film explores the harrowing subject of child soldiers earning, Abraham Attah, the Beasts Of No Nation star the crown

of Best New Young Actor. The young actor put in an astonishing performance.

The film also embodies and embraces the future in a commercial sense. It’s the first film produced by Netflix. Even more interesting is that the CEO of Netflix has announced that this will be available on Netflix as soon as it gets its cinema release - breaking what until now has been old industry practice.

LIFE LONG ACHIEVEMENT.

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ut – perhaps most important of all – the veteran French director, Tavernier, was awarded Gold Lion for life long achievement. And life-long it has now been.

His first film Les Baisers, came out in 1964.

Tavernier was always hard to pigeon-hole.

However, fittingly for the line-up of 2015, most of his stories - whether the film is set far back in the past or contemporary – deal with the ease in which corruption filters into our lives. For example, Safe Conduct (2002) looked at the moral quandary of French filmmakers during the German occupation.

In the end though films are not to be reviewed but watched. A film that didn’t scoop up awards at Venice, starring Tilda Swinton is dominated by her silence.

Cercle too should perhaps fall silent and start observing.

SPORTS

CRICKET THE GREATEST SPORT?

By Christopher Goddard

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n 1882 the unthinkable happened. English cricket, a sport whose lofty ideals and gentlemanly characteristics were supposed to enshrine all that was best about our culture sustained a humiliating setback. A team of what were probably then considered as upstart colonials from Australia beat the English side by 7 runs. The entire nation went into shock.

The Times newspaper wrote a mock obituary stating that ‘the body (of English cricket) will be cremated and the ashes taken to Australia’.

Ever since, there has been a series of five fiercely contested Test played at four year intervals, whose object is to win the Ashes. The arcane peculiarities of cricket, its elegant style and its extraordinary influence have made it

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unique. This year the Test series is being played in Britain.

The satirical magazine, Punch, once remarked that Britain’s true sphere of influence is the cricket ball. Certainly it would not be too far fetched to claim that the game is the country’s most famous and enduring export. 125 countries are now officially recognized as playing cricket, of which 107 have national teams. The British Empire has gone the way of all previous imperial pretensions, but its legacy lives on in the benign form of cricket. Indeed, cricket has delivered what empire could only partially accomplish.

Just two examples among many others: It has played an important role as a unifying influence

in India, a country the game is next to an obsession, and the brilliant successes of West Indian Test teams in the 1980’s did an enormous amount to overcome racial prejudice.

Prince Philip once remarked that ‘There is a widely and quite erroneously held belief that cricket is just another game’. He is right: cricket is a phenomenon, one that so perfectly enshrines the peculiarities and eccentricities of the English that it is effectively an institution. No one but the British would devise a game that can take up to five days to provide a result, a fact that provoked the American actor, Robin Williams, to remark that cricket was like baseball on valium.

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ricket’s origins are obscure. It seems to have started as a childrens’ game where the idea was to bowl or roll a sheeps head or a stone at a three legged milking stool that was defended by someone wielding a stick. As far as the name is concerned, the only thing we have to go on is that the Flemish word for stick is Krik Ket. The game was apparently popular in southern parts of England with connections through the wool trade with Flanders. So far, so tenuous. There may also be some connection with the game of bowls – hence the word bowler in cricket. But it is also unclear which one of these two activities preceded the other. Either way, the game had progressed to become firmly established as an adult activity by the middle of the 16th century.

Ironically, a game that has since become synonymous with a certain elegance of style, a gentlemanly observance of rules and a strict code of behaviour was actually catapulted into national prominence by gambling. Having resolved our religious feuds and restored the monarchy, temporarily abolished during the Cromwellian interregnum, England was concentrating on acquiring an empire. The wealth that began to accumulate from that launched what could be described as our first experiment with liberal economics: money and how to make as much of it as fast as possible, was the new obsession. All forms of gaming and speculation – along with their attendant corruptions - were rife. The disastrous financial crash of 1720, known as The South Sea Bubble, was characterized by the same mix of greed, hubris and sheer stupidity that caused the banking crisis of 2008.

The new speculative fever regarded almost anything that moved as an opportunity for gambling – and cricket was no exception. As early as 1664, a gaming act had been passed limiting bets to $100 ( about $14,000 in today’s money!). Such high stakes were bound to attract huge interest. Rich aristocrats such as the Duke of Richmond and Sir William Gage began to form teams and enlist expert players like Thomas Waymark and John Newland in order to better compete with rivals for potentially huge sums of money. In a neat inversion of market forces, it was the players who generated the money, not the money that generated the players.

Cricket developed rapidly throughout the 18th century. Rules were first suggested in 1727 and formally drawn up in 1744, with additions such as LBW and an official width of the bat incorporated in 1787, the same year the MCC was formed out of the Star and Garter Club.

Meanwhile, an expanding railway network was enabling county teams to compete nation wide

and transporting large numbers of spectators to the games: Cricket was acquiring national status.

The period between about 1880 and 1914 is generally referred to as the golden age of English cricket. This was the era of W.G Grace, C.B Fry and Sir Jack Hobbs; the time during which the aesthetics of both batting and bowling styles were refined as never before. Descriptions of the game occasionally reached hyperbole and even surpassed it. In the words of C.L.R. James, “Cricket is first and foremost a dramatic spectacle - it belongs with theatre, ballet, opera and dance”.

This was also the time when the great mythology of cricket became fully elaborated – apparently synonymous with all the supposedly chivalric virtues of the English: restraint, courtesy, respect for one’s opponent and disdain for foul play. In all, there was a rather arrogant preference for

CRICKET IS THE GREATEST THING GOD EVER CREATED – CERTAINLY GREATER THAN SEX...

Harold Pinter the amateur over the professional, a person ‘who could never be a true sportsman’. ‘Play up, play up and play the game!’ was a popular form of encouragement, whereas “It’s not cricket’ was an equally common disparagement. In short, an ability to play cricket was often seen as indicative of special virtues. As Dr George Riding once said: “Give me a boy who is a cricketer and I can make something of him”.

As with most mythologies, the cricketing legend stands up less well on closer inspection. As late as the 1950’s, distinctions were still being preserved between amateurs, who were invariably public school and university educated, and professionals, who were working class. Butlers would greet the amateurs as they came in for lunch with glasses of chilled sherry, while the professionals made their way to separate dressing rooms and dining area.

Consistent with the perception that amateurs were ‘officers and gentlemen’ an amateur was invariably appointed as captain, even though

other professional players might be more skilful.

The assumption was that amateurs, who did not play for money, would thereby be unsullied by vulgar competitive ambitions, but would play the game for its own sake. In fact, most amateurs did rather well out the system, charging fees for coaching where no coaching would be asked of them, and putting in large claims for expenses.

W.G.Grace, for instance probably earned at least £150,000 from cricket – considerably more than any professional – and was nothing if not fiercely competitive.

Even so, an important comparison can be made with football. With matchless arrogance, football describes itself as ‘the beautiful game’.

Apart from the extraordinary skill of many of the individual players, there is very little that is beautiful about it. Football stadiums are in many ways the modern equivalent of the coliseums of Ancient Rome, with the players as gladiators performing within them. Matches are often characterized by such brutal determination to win at any cost, it can provoke violence both on and off the pitch.

Whereas, cricket was always seeking to create a myth of middle or even upper class superiority, football has always remained relentlessly working class, and has proudly proclaimed itself as such, in some instances picking on and bullying a player precisely because he does not share their background. The stars of football may be working class heroes, but, with rare exceptions, their influence as role models has seldom been good. This may not be altogether their fault.

Promising youngsters are pulled into training schools at a ridiculously young age where they are trained for nothing but football. There they find themselves exposed to a laddish, sexist (and sometimes racist) culture dominated by money and all the trappings of success that money can provide.

Cricket’s previously rather haughty view of itself as a sporting temple of chivalric ideals and high minded disdain for commercialism has changed a lot over the years. But these traditions are what have saved it from the rampant commercialism that afflicts most other sports. Professional cricketers are not offered anything like the eye watering remuneration of footballers: There is still a residual sense that the game is worth playing for its own sake, regardless of the money.

Like football, cricket is now also predominantly a working class sport, but one which is much more socially inclusive. It can be played aggressively, but always with a respect for its rules, the umpires who preside over them and fair play. It is this that has made cricket such a positive force for good in so many different countries across the world.

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EVENTS

L’ORMARINS QUEEN'S PLATE “The Second Saturday of January”

By James Trotter Where were you the second Saturday of 2015? If it takes too long to come to mind, chances are you were not where I was. My answer comes immediately. It’s the same place I was last year, and the year before that. The memory is still rich as a fantastic dream from which you have just awoken and wished to be true.

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anuary 10th 2015. Midday. The South African summer sun at its zenith overhead. In the distance I can see the ragged silhouette of the Helderberg Mountains. Gazing to the right from my perch in the stands my eyes pan across the vineyards of Constantia and the famous botanical gardens of Kirstenbosch.

Nestled in between the Atlantic and Indian oceans in the lap of the iconic Table Mountain lies Kenilworth Racecourse, home to Africa’s most exclusive horse racing event, the L’Ormarins Queen’s Plate.

A steady human stream of blue and white on sun-kissed skin pours in through the gates collecting in an eddy of excitement below the grandstands. There is a growing buzz of anticipation. This is the one day throughout Cape Town’s long lazy summer that the city’s most fun, beautiful and fashionable drag their bodies off Clifton and Camps Bay beaches, dress in elegant sexiness, and converge on Kenilworth to sip champagne, nibble on crayfish, and prepare themselves for the event not to be missed on Cape Town’s busy social calendar.

Together what is formed is a kaleidoscope of the city’s successful and stunning, complemented with a touch of the international adventurous, world class horseracing, indulging in a feast of African luxuries and delicacies, all under the heat of the South African summer sun and in the setting of what is frequently voted the world’s most desirable city. Welcome to the L’Ormarins Queen’s Plate.

With over 150 years to its history the L’Ormarins Queen’s Plate dates its traditions back to 1861 when it was first run in honour of Queen Victoria who donated a silver bowl and 500 sovereigns as the prize for the prestigious race. Now considered one of the world’s great racedays, L’Ormarins Queen’s Plate frequently determines the best horse on the continent and past winners have proven themselves in recent years to be of world class. L’Ormarins Queen’s Plate victor of 2013, Variety Club, was rated the third best horse in the world last year, and this year’s champion, Futura, currently lies in the world’s top 20 himself. The winner of the race gains automatic entry for America’s biggest raceday, the Breeders’ Cup. Adding to international ties, a co-sponsorship currently exists between the L’Ormarins Queen’s Plate and Glorious Goodwood in the United Kingdom where amongst other things the Best Dressed Lady at Goodwood wins an all-expenses paid trip to the L’Ormarins Queen’s Plate, and vice versa.

What sets the L’Ormarins Queen’s Plate apart from other race days is its raison d’etre is not one of populous mass scale, but rather one of exclusivity, elegance and

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panache, catering only for those with more sophisticated tastes. Since 2005 the race has owed its title sponsorship to L’Ormarins, a Wine Estate based approximately an hour away from Kenilworth in the exquisite region of Franschhoek at the foot of the Groot Drakenstein mountain range, and which is supported in sponsorship by luxury brands BMW, Julias Baer and now Cartier.

Throughout the day you will find yourself treated to the wines of L’Ormarins Wine Estate served under the brands of Antonij Rupert, Terra del Capo and Protea. If bubbles are your thing, then you may want to partake in the all new L’Ormarins Brut Rosé. The Estate also plays home to the Franschhoek Motor Museum, which decorate the trackside fields and enclosures at the event with jewels in the form of vintage automobiles from their gorgeous collection.

And in 2016 a formal group of Goodwood racecourse members, and potentially another group from Ascot, are to be making the trip to Cape Town using the event as a sneaky reason for a few weeks holiday in the sunshine of the Cape.

The horse racing connection to L’Ormarins comes in the form of Drakenstein Stud.

Located on the lower slopes of the estate below the vineyards, Drakenstein is one of the country’s leading breeders of thoroughbred racehorses, and is certainly one of the most beautiful of its kind anywhere in the world. The blue and white theme of L’Ormarins Queen’s Plate day in fact owes itself to the colours of the jockey silks worn

by Drakenstein’s runners. Drakenstein Stud along with the L’Ormarins Queen’s Plate are major supporters and investors in horseracing within South Africa, an industry which contributes in excess of R3billion towards the country’s Gross Domestic Product. To further bolster economic growth and community development in the Cape Town area, L’Ormarins Queen’s Plate only sources and showcases local suppliers and vendors for all its needs from event coordination to food offerings.

The event itself provides direct and indirect employment to hundreds of people – including jockeys, trainers, groomsmen, events teams, administrative staff and security personnel – involved in all areas of this highly labour-intensive industry.

Hundreds of foreigners have already added the L’Ormarins Queen’s Plate to their annual list of days not to be missed.

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“The ripple effects of job creation (during and after the events), increased spending at our attractions and across the hospitality

industry, and increased need for associated services are all welcome injections into the local economy,” says the City’s Mayoral Committee Member for Tourism, Events and Economic Development, Councillor Gareth Bloor. “Our support of the L’Ormarins Queen’s Plate is part of our strategy to attract big events to the City and to position Cape Town as the Events Capital of Africa.” In addition, the event gives back to society by its support of a local charity, the Montrose Foundation, and its various programmes, including an Equine-Assisted Youth Development Programme designed to address the problem of substance abuse affecting poorer communities in South Africa.

January 10th 2015. It is now 8 pm. Still one hour left of sunlight. And the festivities are now properly underway. The VIP’s of the L’Ormarins private luncheon and the Chef ’s Table’s special guests have concluded their dining extravaganza and are making their way across to the Style Lounge for the afterparty. We have just watched the final race of the card begin and conclude metres away.

A rush of power and energy. I reach for the champagne bucket and top up my flute and the girl’s next to me - an actress from Spain out for the summer shooting a sequel to one of Hollywood’s largest franchises (which one, I am not at liberty to say). Champagne feels like the right choice. The mood of elegance and sophistication is progressing in tempo to one of celebration. After all, it is the peak of the South African summer, and we at an exclusive party in one of the most exotic and stunning cities in the world.

Only a few hours ago we were privileged to bear witness to the emergence of a new equine champion in the form of Futura. All around us we have the most beautiful people that Cape Town has to offer mingling with a concoction of international leaders, businessmen, models, and thrill-seekers from around the globe. We’re toasting glasses filled with Cap Classique from the nearby Cape Winelands and dancing the sunset in under an open sided marquee at the foot of Table Mountain. What a fantastic way to celebrate Africa. What a perfect time to be alive.

P L AC E S TO S TAY A R O U N D T H E WO R L D

GR AND HYATT CANNES

HOTEL JW MARRIOTT

HOTEL MAJESTIC

GR AND HOTEL DU CAP FER R AT,

HOTEL MARTINEZ | Cannes

Cannes

BARRIÈRE | Cannes

A FOUR SEASONS HOTEL | Cap Ferrat

HOTEL FA IR MONT

MONTE-CARLO BAY

METROPOLE HOTEL

PL AZA ATHENEE

Monte Carlo

HOTEL | Monte Carlo

Monte Carlo

Paris

THE PENINSULA HOTEL

HOTEL DE VENDOME

HOT EL H YAT T PA R IS

HOTEL R APHAEL

Paris

Paris

MADELEINE | Paris

Paris

PRINCE DE GALLES HOTEL

HOTEL REGINA

LE ROYA L MONCE AU

HOTEL MEURICE

Paris

Paris

R AFFLES HOTEL | Paris

Paris

HOTEL SAN REGIS

THE ROSEWOOD HOTEL

THE BE AUMONT HOTEL

THE WESTBURY HOTEL

Paris

London

London

London

DR AYCOTT HOTEL

DUKES HOTEL

BROW N'S HOTEL

CLARIDGE’S HOTEL

London

London

London

London

HOTEL CA FE ROYA L

CHILT ER N FIR EHOUSE

THE CONNAUGHT

BAGLIONI HOTEL

London

London

London

London

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HOTEL SOFITEL ST JAMES

THE M AY FA IR HOTEL

BULGARI HOTEL

EXCELSIOR HOTEL GALLIA

London

London

London

Milan

FOUR SEASONS

BULGARI HOTEL

ARMANI HOTEL MILANO

C A R LTON HOT EL

Milan

Milan

Milan

BAGLIONI | Milan

PA R K H YAT T

BAUER HOTEL

T H E S T. R E G I S V E N I C E S A N

HOTEL MONACO & GR AND

Venice

CL E M EN T E PA L ACE | Ve n i c e

CANAL | Venice

Milan

H E LV E T I A & BR I S TOL

H O T E L S AVOY

THE WESTIN EXCELSIOR

FOUR SEASONS

HOTEL | Florence

Florence

Florence

Florence

PA RCO DEI PR I NCIPI

A L DROVA N DI V I L L A

HOTEL EDEN

HOTEL DE RUSSIE

GR A ND HOT EL&SPA | R o m e

BORGHESE | Rome

Rome

Rome

HASSLER ROMA

THE ALPINA

HOTEL DE ROUGEMONT

L A R ÉSERV E GENÈV E -

Rome

Gstaad

Rougemont

HOT EL A ND SPA | G e n e v a

FOUR SEASONS HOTEL

M ANDAR IN OR IENTA L

INTERCONTINENTA L

LE RICHEMOND

DES BERGUES Geneva

Geneva

Geneva

G e n e v a Issue

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LEISURE

POLO IN SOTOGRANDE

A view through the lens Photos & text by Irina Kazaridi Polo is the oldest team sport in the world. Born in Central Asia some five or six centuries BC, it progressed to Persia and from there to India.

There it was discovered by the British who brought it to England, where it rapidly became the favoured sport of the aristocracy and the Royal Family.Â

Robert Strom and Pelayo Berazadi, Sainte Mesme Polo team, winners of Medium Goal Cup of the 44 International in Santa Maria Polo Club.

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MY OWN LOVE AFFAIR WITH POLO

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olo captivates with its noble beauty and the special excitement and atmosphere that prevails whenever it is played. No one could remain unmoved by it whether a passionate fan or even a casual spectator.

My first acquaintance with it took place a few years ago in Saint-Tropez. It was love at first sight, one that never leaves me. The inimitable world of polo is like an unending story that constantly stimulates my artistic imagination.

I made a decision to become an art photographer rather than a straightforward sport photographer trying to capture the beauty of the game. Over the past year I have travelled to almost all the places that host major polo tournaments - Argentina, St.Moritz, Dubai, Palm Beach, Saint Tropez, Sotogrande. At some of them - St.Moritz, St Tropez and Sotogrande I also exhibited my photos.

Adolfo Cambiaso from Dubai Polo Team.

I spent this August documenting the atmosphere at the Sotogrande polo club: the stars of polo world, their families, breathtaking competitions and the behind the scene life, including, of course, - the after Polo parties!

I’m delighted to share my latest photos with Cercle magazine.

SOTOGRANDE’S SUMMER CLIMAX

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otogrande, Spain’s most prestigious resort, is almost eight square miles. It also has a renowned - and unique-polo scene. The Prince of Wales, The Duke of Cambridge and Prince Harry have all played matches in the resort.

Today, Sotogrande is beginning (to use an equestrian metaphor) to feel its oats. For a whole month, in August, residents and visitors are presented with day after day of exquisite tournament at the Santa Maria Polo Club.

Polo girls.

Adolfo and his wife Maria.

This year the Dubai Polo Team carried off the crown.

The finale of many finales.

THIS YEAR’S MATCH: THE TRIUMPH OF DUBAI

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ubai Polo Team has been on a winning streak for some time. Many say this is because of the combined magic of the son of Dubai’s owner, Rashid Albwardy, and the Argentinian factor.

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Two horses

Dubai Polo Team

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Yes, Argentina is indisputably the Mecca for polo.

There you have the best polo players, the best horses and polo schools. And since – as with other sports - your nationality is no longer the determinant of whom you play for, bagging an Argentinian puts you in a good starting position.

The Dubai Polo team has gone one better. After all, the man who has been declared the best polo player of all-time: Adolfo Cambiaso plays for them!

Just as the haka cry of the All-Blacks has an unnerving effect on the opposition, so does the arrival of Adolfo.

Cambiaso was once asked what his biggest advantage was when he went on the field. “My name on the back of my shirt”, he responded.

Iron Bridge. Portrait of Milo Fernandes Araujo coach of legendary La Dolfina Polo Team.

His scoring record set in the Argentinian Open, still stands today. Then in 1994 he won the Argentinian Triple Crown and reached 10 handicap goals. This is the highest you can get in the sport, and he has kept it ever since. How old was he then? Just seventeen. So some advantage.

Today, he is hitting forty but still the number one world player. And he looks as though he has every intention of remaining there for a further few years.

Asked last year by a reporter from La Nation about his ambitions, he was clear-headed in his reply: “I’ve already made history”, he said, speaking to a reporter from La Nation. “But I always want more glory. Always”.

So perhaps unsurprisingly, the Dubai Polo Team was in exuberant form. Even so the other team in the final - La Lechuza Caracas - was not inclined to give up lightly. On the contrary, the two teams kept everyone craning their necks, unable to guess who would win, until the final chukka.

Martin Valent of Dubai Polo Team and his son Martin Valent of Dubai Polo Team and Juan Martin Nero of La Lechuza Polo Team.

Rashid Albwardi, patron of Dubai Polo Team

There were five tied chukkas. But in the end, it was Cambiaso who scored to achieve the final result: 12-9.

And, fittingly, it was also his pony, the mare Yun Yun, ridden by him in the third and the sixth chukkers who won, the best pony trophy.

AFTER THE EUROPEAN SUMMER SEASON.

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or the Europeans who want their polo season to be extended, here are my recommendations.

Book a flight and fly, fly away.

The most famous and spectacular tournament in world polo is the Aberto - Open Palermo in Buenos Aires, held every year in November and December, during the Argentine spring.

Thereafter, the polo-playing fraternity migrates around the world: to Dubai, South Africa, Palm Beach before returning for the English summer season.

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I N C O N V E R S AT I O N W I T H

THOMAS K ATO Entrepreneur Thomas Kato took some time out his busy jet set lifestyle to speak to Cercle, letting us know what makes him tick and his quite surprising journey to the top.

By Catherine McQueen

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t first glance his good looks and charming manner give him the appearance of a jet setting playboy born into a wealthy family but in reality Thomas Kato is a self made family man, who began his real estate business doing physical construction work.

Michigan on which he built. CVS took on a 25-year lease. That was 12 years ago and from then on he stopped doing construction work for other people and instead became a developer, acquiring the land and buildings himself and then leasing back to tenants.

It really is quite an incredible story of hard work and determination

T

He stared working when he was around 17 years old and got a job parking cars from 6pm – 2am and doing cement work in construction from 7am – 3pm. After about 6 months of doing this his entrepreneurial streak took hold and he got a few of the guys he was working with to work for him. He got so much work that he set up a cement company and started building strip malls across the US. When he was around 20 years old he met a young architect and they started doing business together splitting the profits 50/50.

The first project that they had was to build a drug store for US$2m. They managed to complete this project on time and under budget which anyone who has ever done a building or renovation project will know is extremely rare!

After 8 years they had completed over 200 building projects across the US. Thomas then approached the well known chain CVS and said that he no longer just wanted to build for them but he wished to also own the properties and then lease them to CVS and other business like them. They agreed and he found a site in

HARVARD

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REAL ESTATE homas was born in Southern California where he remained till about 8 years ago.

He then started to do more and more work in Europe so it made sense to move to the East Coast. He could not deal with the New York winters so settled in Miami.

so moved into Latin America and Europe. In January this year he opened an office in Rome and is also looking to expand into Brazil in the near future.

WHEN IT COMES DOWN TO IT IT’S ONLY ABOUT THE MEMORIES. THAT’S THE ONLY THING YOU ARE TAKING WITH YOU

FINANCE

T

he real estate business clearly proved quite lucrative and having made some money, like many others, Thomas decided that he would like to diversify a little. And so he set up Merchant Hub, a payment processing company. He set the company up in Miami but soon realized that the US was already a very saturated market and

learly very driven and a high achiever Thomas decided to do an executive MBA at Harvard after meeting a former alumni when looking at acquiring a company in Brazil.

During his time there he completed over 300 business case studies and made numerous friends and business contacts from his class of 160 people. Thomas was voted Chairman of his class and for 1 week every year he organizes a reunion somewhere in the world. This year it’s in Monaco.

POLO

T

homas did not grow up in a family surrounded by horses, in fact he only saw polo being played for the first time around 10 years ago at the Miami Beach Club. From the first time that he saw it he could see the adrenaline in it and fell in love with the sport.

He told the organizer that he wanted to play in the tournament. When he asked Thomas how long he had been riding for Thomas said that, well apart from riding a horse along a beach in Mexico once he had never really ridden a horse before. So the businessman in Thomas brokered a deal with the organizer and in exchange for unlimited lessons agreed to provide sponsorship to him. For the next 2 years Thomas was sometimes taking lessons as much as 5 or 6 days a week and was soon able to ride a horse like a pro. In the 3rd year he stared to play polo.

He started playing for the Grand Champions in Florida and then at the Aspen Snow Polo Tournament.

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IF YOU HAVE 10 TO 15 STICKY NOTES FLOATING AROUND THEN NOTHING GETS DONE. WITH TOO MANY PRIORITIES YOU CAN START TO LOSE FOCUS

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olo became a passport to a lifestyle for Thomas taking him to amazing locations all over the world including Santa Barbara and The Hamptons and introducing him to other international success stories. Most people involved in the sport of polo are of a similar ilk living that jet set lifestyle that in itself is expensive to maintain. When you factor in the cost of the horses and the grooms it becomes even more so. Although Thomas originally started to play the sport because it was fun and high adrenaline he soon became aware of the attractions

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T H OMAS K ATO of the international polo playing circuit and the opportunities that posed.

When his company, Merchant Hub, needed a brand to associate with he chose polo. He maintains that while everyone thinks that it is an elitist sport it is actually not, in fact attracting lots of different people from all kinds of backgrounds. He used his own pictures as he owned the copyright to those images and it meant he didn’t have to pay anyone else. It helps of course that he has the looks of a male model so can carry it off.

LIFE

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n terms of advice to achieving that enviable lifestyle of his, Thomas has 3 very good tips for business success:

5 years from now and then whether you have done anything this month that will help you to get to that goal.

1) You need to have a clear vision of what you want to achieve

Life he says is ultimately about quality of life: friends, family, being cultured and understanding other people. It is not about owning material things but about getting experiences out of life and really living it.

2) You need to give that vision a laser focus 3) You need to be clear on your priorities. If you have more than 3 then they are not really priorities anymore.

If you have 10 to 15 sticky notes floating around then nothing gets done. With too many priorities you can start to lose focus.

He says you should think about where you want to be 1, 2 or

Ultimately he feels that he can put a lot of his initial business success down to a survival instinct. The need to build and grown to give security. However once he had achieved that he wanted to enjoy life more and spend more time with his family.

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A S T R O LO GY

“WISH YOU MANY HAPPY (SOLAR) RETURNS’’ Thanks to the Solar Return, there is a way for us to assert some free will. We all experience a SR every year around our birthday.

By Amanda Chipro

BASICALLY IN SR YOU PUT THE GOOD PLANETS IN THE HOUSES BENEFICIAL TO YOU. NEED MORE MONEY? HAVE THE LUCKY JUPITER IN THE SECOND HOUSE OF MATERIAL GOODS AND FINANCIAL MATTERS

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hat most people know about astrology is the star signs which refer to one of the twelve constellations of the zodiac: Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius and Pisces. This is a popular form of sun sign astrology that newspaper astrology forecasts are based on which is very simplistic.

My interest in astrology started as a teenager. I read somewhere that our personality is not only influenced by hereditary factors and the environment but also by the state of our solar system at the moment of birth, which is what astrology is based on. At that time I was confused about who I was and

what I wanted. I thought that maybe my astrological natal chart could help.

For my birthday, on the 12th January (I am a Capricorn, since you asked) I requested as a present from my parents an expensive heavy manual of astrology containing also the position of the eleven planets (ephemerides) from 1900 to 2000. A natal chart is based on the time, date and place of birth. As I was born at 6 am, I discovered I had Sagittarius as my rising sign and most of the planets where in a fighting mood against each other at the time of my birth. My chart looked like a battlefield and Uranus was the most belligerent of all! The planets are the Sun, Moon, Mercury, Venus, Mars, Jupiter, Saturn, Uranus, Neptune, Pluto and Chiron.

I

was fascinated by the insights into my potentials, needs and limits given by my chart.

During the following years I practised my new skills with friends and family and also learned “how to look into the future’’ by interpreting the movements of the planets and their relationship to the natal chart at any given time. They are called Transits and Progressions. Those planets move at different speeds through the 12 houses. As with the 12 zodiacal signs there are 12 astrological houses. If significant aspects are made, events will occur given the nature of the planets involved in specific house. Tilly, a friend of mine, has always believed in astrology and whilst studying for her law degree wanted to use it to her own advantage. She gave me all the dates of her exams to check whether her transiting planets would have been favourable or against her. If the stars would have been on her side she would have spent more time partying rather then studying. Initially I didn’t want such a responsibility and refused to help her. But I succumbed to her relentless insistence. She followed my predictions and partied all the way to her degree.

Astrological prognostication on one level is a predictive analysis but its purpose is also to bring to light the inner changes and cycles which occur in us and which often coincide with events in the outer world. That implies the complex issues

that our destiny is “written in the stars” about which the individual can do nothing. Fortunately it is not exactly so. Thanks to the Solar Return (SR), there is a way for us to assert some free will.

We all experience a SR every year around our birthday. It is a horoscope for the coming year, calculated for the place where we are at the exact moment of our birthday. As the SR is based on our birthday location we have some measure of control over our destiny for the year to come by choosing where to spend our birthday. A good astrologer tells clients where to travel in order to get the best SR chart.

Don’t like the strict, serious Saturn in your First House which represents your personality? Find for it a better house placement like the Fourth House which represents our roots — both the home we come from and the one we set up. That might entail flying few hours toward east for your birthday.

Basically in SR you put the good planets in the houses beneficial to you. Need more money?

Have the lucky Jupiter in the Second House of material goods and financial matters. For your SR chart to take effect you need to stay at least a day and a half before through a day and a half after. So pack for four nights.

Sometime ago at a dinner party, my friend Rita was talking enthusiastically about the SR and how exciting it was to spend her birthdays in places she had not visited before. A voluptuous blonde in her fifties cut her short by saying that she would never tamper with energy and destiny because she believed that for every action there is also a reaction (Karma) and there is a reason for everything we go through. Rita retorted that if what the lady called higher power has given access to that information, it might as well mean we have been allowed to choose our experience.

Does the SR work or is it only a placebo effect?

I have done it many times both for myself and my friends and it has made a big difference in outcomes. My friend Margherita had been diagnosed of breast cancer in 2012. At the present, thank God she is now well and over it. Just out of curiosity she asked me to look at her SR horoscope for 2012. I had goose bumps when I saw the stellium of planets placed in her 12th house which corresponds to ordeals we have to go through, serious illnesses and hospitals. Every astrologer knows that no planet should ever be in a SR’s 12th house if we want to be in good physical or mental health. Of course with the SR the astrologer does not presume to take God’s place. However as the old adage says ‘‘God helps those who help themselves’’.

Wish you many happy (solar) returns!

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SOCIAL SEASON

CAROL ASSCHER SUMMER P ARTY

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SOCIAL SEASON

CAROL ASSCHER SUMMER P ARTY

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SOCIAL SEASON

DENISE RICH

W ONDE RL AND P ART Y

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SOCIAL SEASON

DENISE RICH

W ONDE RL AND P ART Y

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SOCIAL SEASON

LQP

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STAKES AT GLORIOUS GOODWOOD

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