Sur La Terre - Issue 24 by Firefly Communications

Editorial The promise of every new year in the Gulf is greeted by the glittering lure of two of the region’s most prestigious events. Now in its landmark 10th year, The Doha Jewellery & Watches Exhibition has grown into a regional and international beacon for both the makers and lovers of the finest haute joiallerie and haute horologie; while shimmering sapphire waters of the Arabian Gulf continue to attract the world’s finest floating palaces from around the world to the shore of Dubai for the Dubai International Boat Show. As has become our annual tradition, in this, our first issue of 2013, we look to blend the best of both of these two lynchpin luxury segments. From coupling the most beautiful boats with the finest sports watches, to offering a side-by-side overview of what we can expect from both wonderful events. With a potted history of Cartier, Laura Hamilton’s interview with the creative director of Van Cleef & Arpels and a tailor-made photoshoot by a talented young photographer, Dana Al Meslemani, we have DJWE covered form almost every angle, while Craig Barnett gives us his expert insight into the regional boats and yachts market as we look forward to DIBS’ 21st instalment. Among our regulars, our expectant fashion maven, Sophie Jones-Cooper, offers up her beauty tips for the season; Kevin Hackett drives the new Aston Martin; Senior Editor Steven Paugh tangles his tastebuds at the newly opened Quisine and I enjoy the stately home hospitality of London’s finest hotel, The Lanesborough. With “For Your Eyes Only,” “The Scene,” “Globetrotter” and much, much more crammed into this first bumper 160-page edition of 2013, and the promise of everything to come in our next instalment, it’s already looking set to be a busy year for the team at SLT towers. So, with all our wishes for a prosperous new year, I invite you to, once again, turn the page and immerse yourself into another sumptuous serving of Sur la Terre.

James McCarthy

Regional Managing Editor

. sur la terre . editor’s letter .

CONTENTS

DOHA NUMBER 24

the list A r t , c u lt u r e , l i f e s t y l e

the scene W e r e yo u s e e n o n t h e s c e n e ?

f o r y o u r e y e s o n ly Th e t h i n g s yo u n e e d to o w n

rev ue Fine quisine, hor se s

gl obe tro t ter Yo u r g u i d e to g lo b a l l u x u r y

st y le con fiden ti a l L o o k i n g f o r wa r d to s p r i n g b e a u t y

i n focus A b u oya n t m a r k e t

u p cl ose & per son a l Ta l e n t e d & pa s s i o n at e p e o p l e

ac c e s s o r i e s N at u r a l w o n d e r s

h aw k s

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CoNtENtS

DOHA NUMBER 24

or igi ns c A r t i e r : h A i l to t h e k i n g

tr en ds con fiden ti a l m inim Alism & monochrome

looK booK th e b e s t lo o k s f o r g u y s

fe atu r e s h oW t i m e: dJ W e

dibs

girls

20 13

106

b e au t y Wi n t e r t r e n d s

112

lifestyle oceAns of time

117

Jetset A n i g h t At t h e l A n e s b o r o u g h

126

i n Mo tion A s to n m A r t i n â&#x20AC;&#x2122; s n e W

132

pho t oshoo t l o o k At m e

145

o u t o f t h e b oX th e g A m e o f k i n g s A n d t h e queen of diAmonds

153

M a r K e t p l ac e p r o d u c t s AVA i l A b l e lo c A l ly

d b9

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Not on one st r and a r e all of lifeâ&#x20AC;&#x2122; s jewels st ru ng . - W i l l i a m Mo r r i s

the list arts and culture

JUN

5-9

MAR

14 - 24

Forever Now

Festival of Literature

Art Week

WHEN: 17 November, 2012 - 1 June, 2013 WHERE: Doha WHAT: Art Exhibition Mathaf: Arab Museum of Modern Art boasts the most intriguing and intricate art exhibitions in Qatar, from Chinese fireworks in the desert to spaces overrun by tiny models. Most visitors to the museum, however, will be unaware of its vast permanent collection - more than 6,000 works from the 1840s to the current day, which is rarely on show. Due to popular demand, Mathaf is revealing a collection of highlights; 57 works by seminal artists. Forever Now: Five Anecdotes from the Permanent Collection examines five diverse Arab Artists from the 20th century - Fahrelnissa Zeid, Jewad Selim, Saliba Al-Doueihy, Salim Al-Dabbagh and Ahmed Cherkaoui - each of whom negotiated innovative and important shifts and became masters of their chosen medium of modern Arab art. The artists come from Lebanon, Iraq, Turkey and Morocco and each demonstrates a preoccupation with his or her immediate environment, the given country’s history and its future. www.mathaf.org.qa

WHEN: 5 - 9 March WHERE: Dubai WHAT: Literature Festival As the infamously ironic Jane Austen said, anyone who does not enjoy a good book, must be intolerably stupid. Finding a good book, however, is sometimes not as easy as it looks. Book festivals are like a lighthouse for popular and critically acclaimed literature, and as a selection of well-known and international authors are attending Emirates’ Festival of Literature, if you can’t find a book to fall in love with, then unfortunately Austen was correct. There is something for all literary tastes at the Festival of Literature, from crime writer Ian Rankin to Emirati author and illustrator Maitha Al Khayat. Keep an eye on the event’s website for the announcement of the programme, which will include talks and workshops with the writers. www.emirateslitfest.com

WHEN: 14 - 24 March WHERE: Dubai WHAT: Art Fair Art Week is the umbrella under which Art Dubai, Design Days Dubai and Sikka thrive, and is the programme of arty cultural events that takes place in Dubai, Abu Dhabi, Sharjah and Doha this March. Having actually outgrown its name, the ten days are a veritable smorgasbord of art, culture and music events, making it the annual high point of the Gulf’s cultural calendar. Eagerly anticipated by anyone with an eye for art, Art Week stretches across multiple cities, each of which hosts a plethora of galleries displaying local and regional talent, giving a platform for the casual viewer to go and enjoy art that they would probably never come across otherwise. It attracts all the big names and the up-and-coming artists, so if you pick up a painting for a few hundred dollars from an unknown, you might find yourself with a work from the next Damien Hirst! www.artweek.ae

Until

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mar

the list ENTERTAINMENT

27 Feb 2 MAR

10 - 17 mar

april

Oman Salsa Festival

Plácido at the Palace

Middle East Film and Comic Con 2013

WHEN: 27 February - 2 March WHERE: Muscat WHAT: Dance Festival Back by popular demand, the Oman International Salsa & Dance Festival promises to be a mind blowing experience. Salsa has its origins in Cuba in the 1920s, and is a passionate dance that has clearly struck a chord with the soulful people in Oman. Gathering artists, performers, instructors and DJs from all over the world prepare to dance non-stop for three action-packed days! For those who are a bit shy, there are barbeques, pool parties and performances to get you in the mood for a bit of hip shaking and sashaying. www.omansalsafestival.com

WHEN: 10 - 17 March 2013 WHERE: Abu Dhabi, UAE WHAT: Opera There a few singers known only by one name: Madonna, Cher, Britney, Bono, but the only one who can really sing is Plácido. As one of the Three Tenors, he needs no introduction. After performing at every major opera house in the world, the Spanish tenor is gracing the stage in the UAE’s capital to be the centrepiece of the 10th anniversary of the Abu Dhabi Festival. Joined by The Czech Philharmonic Orchestra and his frequent collaborator, Eugene Kohn, Plácido will light up the stage with Ana María Martínez, a Puerto Rican Grammy award-winning operatic soprano and regular at the Abu Dhabi Festival. www.abudhabifestival.ae

WHEN: 5 - 6 April WHERE: Dubai, UAE WHAT: Comic Book Convention Geek culture is becoming increasingly mainstream these days. No longer are the nerds relegated to the dark basements to play their video games, swap collectables and dream of finding a mate... they are now among us and in a strange twist, they have become “cool.” No one thought this would happen. Ever. And yet, here it is! This is the second ever Comic Con in the Middle East and despite its youth, it has proved to be incredibly popular; last year saw 12,000 visitors from all over the world make the pilgrimage to the only outlet for Gulf-based geekdom. Not only can fans meet celebrities and artists, watch exclusive previews and take part in competitions, they also get to connect with like minded friends, and creators to discuss Sailor Moon ... at length and with great detail. Excelsior, true believers! www.mefcc.com

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5 -6

thE liSt LIFESTYLE

10 - 17

14 - 16 MAR

MAR

Tasmeen Doha 2013

Taste of Dubai 2013

Dubai World Cup

WHEN: 10 - 17 March, 2013 WHErE: Doha WHAT: Art and Design Conference Tasmeen Doha is an international design and art conference that is held biennially in Qatar. It attracts scholars, students and every kind of designer to discuss and debate issues in design and art, with this year’s subject being “hybrid making.” Qatar is very keen to form a sustainable future, and art and design will have an important role to play. The conference will discuss ideas about how to make this happen, with workshops and labs, to be followed by presentations and seminars. For anyone with a creative bent, this conference will open up new horizons and might hold the key to the future. www.tasmeemdoha.com

WHEN: 14 - 16 March WHErE: Dubai Media City Amphitheatre WHAT: Food Festival Dubai is a melting pot of cuisines from all over the world. From its fancy restaurants to its shawarma stands, there is no excuse for having a bad meal in this city. And there is no better way to celebrate gastronomy than having a food festival: three days of eating, drinking and entertainment! Taste of Dubai has chosen 30 of the city’s best restaurants, along with celebrity chefs to feed the foodies with every type of cuisine imaginable. Feast on gourmet burgers, foie gras, lobster, dumplings, sushi ... but remember to leave room for dessert! For the serious foodies, there will even be cooking demonstrations, so you can impress your friends with your culinary skills. An incredibly popular event in Dubai, last year there were over 22,000 visitors! www.tasteofdubaifestival.com

MAR

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WHEN: 31 March WHErE: Dubai, uAE WHAT: Horse race Our equine friends are very popular in this part of the world as a symbol of Arabian culture, grace and strength. So where else would you go to find the biggest (and some say best) horse race in the world? Dubai, of course! The uAE’s first horse race was in 1981. Twenty-five years later, 50,000 people annually flock to the Dubai World Cup, to see the thoroughbred horse race at the Meydan race course. Last year, the lucky horse to win the uS $10 million was Monterosso, foaled in the uK, but trained and owned within the uAE. Will the Emirates retain the cup in 2013? www.dubaiworldcup.com

th e scen e

Amouage opens new factory & visitors centre —

sur la terre attended The famous omani per fumery’s gala event in Muscat to celebr ate the opening of it new facilities .

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3 1. HH Sayyid Tarik bin Shabib Al Said, Director of Renaissance Group, with Sayyid Aymen bin Hamad bin Hamoud Al Busaidi, Deputy Chairman of SABCO Group. 2. Dr. Juma bin Ali Juma, Chairman of Oman Airport Management Company, with Sayyid Aymen bin Hamad bin Hamoud Al Busaidi. 3. Ross Cormack, CEO of Nawras, with HE Sayyid Badr bin Hamad bin Hamoud Al Busaidi, Secretary General of the Ministry of Foreign Affairs, Sayyid Aymen bin Hamad bin Hamoud Al Busaidi and David Crickmore, CEO of Amouage. 4. HH Sayyida Susan Al Said, Owner of Bait Muzna Gallery Muscat, with David Crickmore. 5. Monika Lindenberger & Dominik Wahl, Amouage Distributors from Germany, with David Crickmore. >>>

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th e scen e

8 6. Patricia Stevenson, Tatler Publishing Director, with David Crickmore. 7. First Secretary Lamya bint Harub Al Kharusi with guests at the opening of the Amouage Factory & Visitorsâ&#x20AC;&#x2122; Centre. 8. Elena Samarkina and Svetlana Dashkovskaya, Amouage Distributors from Russia. 9. Sheikh Suhail Bahwan, Chairman of Suhail Bahwan group, with Hind bint Suhail Bahwan, Director of Suhail Bahwan Group, and guests during the tour of the Amouage Factory & Visitorsâ&#x20AC;&#x2122; Centre. 10. Anna Zaptalova, Amouage Distributor from Russia, with HE Sayyid Khalid bin Hamad bin Hamoud Al Busaidi, Chairman of Amouage.

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London Fashion Week —

Just Missing the cut for SLT 23, london fashion week proved to be fabulous affair. As usual, slt snapper, lottie ettling was there to capture the fashion world’s eager a-listers.

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1. A furry newcomer to the front row. 2. Model and TV presenter, Alexa Chung. 3. London Fashion Week SS13 poster. 4. The ultimate SS13 accessory - a pooch. 5. Actress, Rebecca Hall. 6. Fashion blogger, Susie Lau. 7. The Mulberry catwalk. 8. Model, Poppy Delevigne. 9. Olympic Gold Medallist, Jessica Ennis.

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th e scen e

Panerai Boutique Opening in Abu Dhabi —

Officine Panerai opened its first Abu Dhabi boutique on the Avenue at Etihad Towers. Among the VIP guests was Panerai CEO, Angelo Bonati, who flew to the UAE to personally cut the ribbon.

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5 1. Guests enjoy Panerai’s hospitality. 2. Carla Salicini, PR Director for Panerai, meets with the assembled press corps. 5 3. Officine Panerai CEO, Angelo Bonati, meets with customers in the new boutique. 4. Adolphe Chaaban, Gaby Bitarian, Nasr Sleiman, Ibrahim Farhat and Milvin George. 5. Ahmed Seddiqi with Angleo Bonati. 6. Abbas Behbehani with Angelo Bonati. 7. Mohamad Jaffar and Elyana Jaffar.

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Mulberry SS13 at London Fashion Week —

A s always , mulberry was was the pick of the bu nch at LFW, here a re some of the pictor ial highlights.

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6 1. Alexa Chung with Mulbery’s creative genius, Emma Hill 2. Emma Hill poses with Lana Del Rey and her eponymous bag. 3. The great and good of the fashion world filling the front row. 4. Anna Wintour looks on. 5. Lana Del Rey and Kate Moss enjoy the show. 6. Actress Romola Garai shares a joke. 7. Gillian Anderson, Olivia Palermo and Vanessa Kirby.

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th e scen e

Hakkusan —

cantonese fine dining opened in the st. regis , doha to salivation and applause.

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3 1. Victoria Scott and husband and Ashlee Starratt. 2. Waitresses creating peking duck pancakes. 3. Ranran Ju and SLT’s Laura Hamilton. 4. A Chinese dragon. 5. Jon Truby, Jonathan Parsons and Jonathan Rivlin.

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u r eyes O

WElComE to a World WhErE moNEY iS No oBJECt aNd Cool ComES at a PriCE. FYEo iS a millioNairE’S ShoPPiNG liSt that GiVES You aN iNSidE traCK to thE thiNGS You NEEd to oWN.

SPlit-SECoNdS out >>> With the Doha Jewellery & Watches and the Dubai International Boat shows once again upon us, it seems appropriate that we start this issue’s FYEO with a product perfectly suited to both. Panerai has offered up this PAM 530 Luminor 1950 rattrapante 8 Days Titanio for mere pocket change at uS$27,200 and offering a sporty quality not often seen from the Italian watchmaker. Equipped with the in-house designed and built P2006 manual movement, the titanium-clad timepiece offers a uniquely-designed split-seconds chronograph suitable for any kind of sporting activity. The titanium case also provides a highly wearable weight while retaining Panerai’s generous, and now famous, proportions. www.panerai.com

. sur la terre . for your eyes only .

Landmark mall Tel: 44 86 4767 - Villagio mall Tel: 44 17 8132 Bahrain - Qatar - Saudi Arabia - UAE - Oman - Kuwait - Jordan - Lebanon www.maya-la-chocolaterie.com @maya_choco /mayalachocolaterie @mayalachocolaterie

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GaiN SomE WEiGht >>> Following the festive season and the passing of another year, it is the traditional time for new year’s resolutions. More often than not this is to be healthier, eat better and get fit. Equally as often, these are the ones that are broken the quickest. However, with the beautifully designed and aesthetically pleasing, as well as incredibly tactile, Alias Barbell, you won’t want to stop your workout, especially if all you’re looking for is enough weight to keep tone while you’re sitting at your desk. For around $200, this Philippe Starke masterpiece is available in either a 1kg or 2kg weight, and is made from chromed casting brass. The ends feature thermoplastic rubber coverings to ensure you don’t mash your desk or hardwood flooring or blemish the barbell with unsightly scratches. If you’re feeling fit enough, pick one up today. www.allmodern.com

SNoW KidS toY >>> If you’re planning a trip to ice-encased Europe, or worse still, planning to visit Senior Editor Steven Paugh at his Montreal base, then you are probably going to need one of these. The Snolo Stealth-X Sled, which looks like a discarded prop from The Dark Night Rises, is hewn from the toughest, lightest carbon fibre and has been tested at speeds of up to 40mph. The company claims that the $3,000 Stealth X allows

for unprecedented levels of control and manoeuverability, as well as being able to fold up and be carried like a backpack. With about as much chance of seeing a snow flake falling in the GCC as fi nding a unicorn egg at the bottom of your garden, we here at SLT Towers are wondering whether it works well on sand. www.snolosleds.com

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Time For The Future >>> This is probably the least expensive watch you will see if you are visiting DJWE this year, but we guarantee it will definitely be the most futuristic. The company, Central Standard Timing, claim that its new CST01 is “the world’s thinnest watch” at just 0.8mm thick. The $130 watch achieves this by packing a battery, an E-Ink display and a controller chip into a 0.5mm pocket, etched into the single-piece stainless steel band. This positively anorexic watch clearly doesn’t leave much room for loads of controls, buttons, bells and whistles, of course, which is why they’re all mounted on the recharging base. However, considering it just takes 10 minutes to charge the watch, which will then carry its power for a whole month before needing to revisit the base station, it is no wonder it’s so thin - always working and rarely found sitting around on its ring. Available in either black for him or white for her (and possibly hipster him), it is definitely time for the future. www.centralstandardtiming.com

On The Case >>> With all of the bling that is going to be flying around Qatar in the next few weeks, this is probably the most useful item you will find in FYEO this issue: the $6,000 Tumi Tegra-Lite Bulletproof Briefcase. This limited edition attaché case is made using 65 layers of advanced Tegris polypropylene thermoplastic composite to provide durability and impact resistance while maintaining a light weight. Inside, you’ll find vachetta leather trim, an

iPad pocket, a file divider, accessory pockets, a false bottom to conceal items of the highest value, and, of course, a handcuff attachment. Perfect for transporting that Harry Winston necklace back from the Jewellery & Watches Exhibition, your trust fund cheque to the bank, that microphone you traded the Bluesmobile for or just getting your lunch safely to the office. www.tumi.com

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r evu e foo d

Savoy Faire Three and a half pearls

Chef Guy Savoy opens his new restaurant, Quisine, at The Pearl The last time I caught up with world-renowned and highly-decorated French chef, Guy Savoy, it was delicious ... and I hadn’t yet even tried his cooking. Regular readers of Sur la Terre will remember my interview with him in SLT 21, where the good chef not only waxed philosophical on the state of the international culinary scene, but also had me alternately in stitches and utterly captivated with his affable personality and wellhoned ability to cook up a lyrical soufflé.

Sometimes in Doha, I get the feeling that we’ve hit something of a plateau, not least in terms of design ... or creativity as a whole, for that matter. Maybe this is indicative of the “recycled destination” sort of situation that exists throughout the world, but I do think it’s a keenly-felt Doha malady. Homogeny, it seems, has finally swallowed us. However, much like the calendar date December 22, 2012 did for Mayan apocalypses, Guy Savoy has proven that there is still hope out there for salvation ... and salivation.

You can imagine my excitement, then, when we got word here at Sur la Terre towers that Chef Savoy would be making his much-anticipated return to launch his latest and, until recently, hush-hushed project with Qatar Luxury Group opening on The Pearl: Quisine. “A restaurant should be in and outside of time - everything should be natural ... simple,” said Chef Savoy during our last interview. So how do his words hold up against his deeds, and does his culinary concept, like his charisma, cut the proverbial mustard?

The interior of his Doha-based Quisine, designed by modern architectural legend, Jean-Michel Wilmotte, affords the exceptional in an international body of restaurants that is often merely “ceptional.” Immediately evoking a cream and chocolate-palleted, Japanese sort of minimalism, and draped, of course, by art lover Savoy’s incandescent aesthetic flavour and personal selections, the foyer of Quisine offers its entrants a relaxed, yet rich welcome; the perfect accompaniment after your personal elevator-conveyed arrival.

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There continues within the main dining room a further fervent shucking of much-the-same-muchness. The open-planned room hosts a court of tables and a phalanx of vast windows, offering as they do, sweeping views over The Pearl, while large, nigh-Venetian wooden slats coalesce the space into a welcome sort of intimacy. Amidst it all stands out a large, quasi-industrial, surrealist wall, whispering over the banquet room a thin voice of fire amongst the famished. Honestly, it looks like something out of a Terry Gilliam movie ... in a good way. Saying all of that, I am really just happy that Chef Savoy has chosen to eschew the ridiculously ubiquitous “Forced Arabesque” school of design, which in this region has become a faded caricature of visual culture. Of course, Chef Savoy has long been known for his good taste, but more important than his design selection is that which he employs within his dishes. I began my journey into Quisine where most other such contracts end with a signature ... dish, that is. Chef Savoy’s artichoke and black truffle soup, served with a toasted mushroom brioche and black truffle butter has become the stuff of legend throughout his tapestry of international restaurants, and rightfully so. Beneath a firmament of my hungry grin, slender islands of artichoke and truffle shavings bob leisurely in a thick, rich broth, foreshadowing with glee a welcome tastebud tranquility. It is, without equal or hyperbole, the best soup I have ever supped, and to miss it would be, quite frankly, neglect. This is true, even in the face of the other appetising starters on the menu, like the locally-inspired confit lamb and vegetables with zaatar spice and mint oil, confit and glazed chicken, pan-seared green cabbage and mushroom, or the line-caught whiting with caviar, Dublin Bay prawn tartar and lemon jelly, a selection of which was enjoyed by my fellow diners, although in my opinion, significantly less rapturously so. Between this auspicious start and my forthcoming main course came something for which Chef Savoy has become quite renowned: the bread cart. You simply have not lived until you’ve had your choice of bread paired almost scientifically with each phase of your meal; an unexpected yet welcome element that will now be felt missing as I dine finely elsewhere. It wasn’t simply the bread that enjoyed the chariot treatment, as later in the evening, we met with what appeared to be a roving garden, but in actuality was an inspired presentation of fresh herbs and teas, paired to your taste and present disposition. Also paired were the beverages of the evening, and in this, I must take a slight tangential turn. Being that the Powers-That-Be have, in their infinite wisdom, declared libations at The Pearl to be illicit fare, restaurants have been forced to be a bit more ... creative in their approach to refreshment, and Quisine is no different. Unfortunately, however, this is the only realm in which Quisine falls flat, and it isn’t even the restaurant’s fault. Nor is it the fault of the establishment’s impressively inventive sommelier, whose resourceful efforts to mimic the verboten did not go unappreciated. The woman is an artist, but it must be frustrating for her, like being forced to perform synchronised swimming in molasses. Flavour-infused water, no matter how peppery or whiskey-evocative, simply pales in comparison to a good bottle of wine, a bafflingly simple truth, which hopefully the higher-ups will one day allow themselves to recognise if they ever want The Pearl to be taken seriously by high society, let alone the rest of the world. Even without the civilisation of complemented quaffing, however, the mains of the evening were nothing short of spectacular. We were invited to try Quisine’s Prestige Menu - a nine course set menu that allows its challenger to run the gourmet gauntlet for four to five hours - but decided on something a bit more subtle. This is not to say that such an experience would have left any of us feeling unpleasant, as Chef Savoy has structured his restaurant around the digestive sensibilities of his native France, with no one plate overhauled with mounds of food. On the contrary, as is often the case with such a strategy, the eventual contentment you feel after a night dining at Quisine is ... resounding.

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One of my guests and I enjoyed immensely the succulent and texturallysatisfying lobster, served in-shell and alongside roasted avocado and a light bouillon with lobster coral and mushrooms, while the third of our fortunate triumvirate went for the pigeon, prepared and served in three ways, and accompanied by butter lemon sabayon. While the uncontested star of the Quisine show remains the unforgettable soup, the mains were nothing if not worthy travelling companions. For my guests, dessert consisted of a rich, gooey chocolate fondant with layered praline and chicory cream, while I had something a bit more ... thematically relevant. It is called The Pearl, and true to its namesake, this opaque and oracular orb is something of a mystery; a visual feast of culinary artistry as much as one of taste, this little guy took a lot of time and skill to create. What I can tell you about this secretive pudding is that when its white chocolate outer shell melts after a drizzle of warm sauce, the fruity and sweet-yet-tart treasure revealed within is something quite special. Much like our jovial waiter for the evening, I wonâ&#x20AC;&#x2122;t ruin the surprise further, just take my advice and order one yourself. Our meal finally drew to a close with a caravan of culinary carriages. Whether it was the sundry selection of cheeses or the smorgasbord of puddings from the childhood nostalgia-laden dessert trolly, which includes everything from light chocolate mousse to tiny cheesecakes

to lemon marshmallows to yet another Savoy signature, his motherâ&#x20AC;&#x2122;s homemade rice pudding (an absolute MUST), each flavour became more singularly arresting than the last. In the end, I give Quisine 3.5 SLT Pearls for a truly passionate approach and delivery, fettered only by the bitter taste of stunted thinking at The Pearl.

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Feather and Mane Four pearls Laura Hamilton discovers the natural talents of Doha-based photographers, Aurélie Korady and Marie-Josée Bédard

At the tail end of last year, there was a short exhibition at the Grand Hyatt called Feather and Mane. You will be forgiven if you missed it, but it is not excusable to live in ignorance of the two artists behind the show, Aurélie Korady and Marie-Josée Bédard, two French professional photographers living in Doha. After an auspicious but coincidental meeting - their children are in the same class at school - Aurélie and Marie-Josée found that their different

approaches to photography complemented each other, and thus, a partnership was born. They find that as expatriates and photographers, they can cast a fresh eye on their surroundings. Feather and Mane focuses on two symbols of Arabian culture: the horse and the falcon. After moving to Doha, the two became enamoured of the most romantic elements of traditional Qatari life. Aurélie is not actively involved in falconry, although it’s something that is easily

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AurĂŠlie Korady .

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participate in, but as Aurélie and Marie-Josée explain, practice makes perfect. “It’s such a joy to teach high school students, they’re so enthusiastic!” praises Marie-Josée. “They’re very good at the technical side of things,” says Aurélie. “People always say, ‘Where did you see that?’ when they see our photographs,” says Aurélie. “It’s because photographers have to look at things harder to fi nd the shot. We take our time... and look a little closer,” explains Marie-Josée. For more information, visit www.aureliekorady-photo.com and www.marie-joseebedard.com

Marie-Josée Bédard ..

appreciated from afar, and a trip to the falcon souq/hospital would certainly pique anyone’s interest. Her photographs of falconry in Qatar show a strong connection between the bird of prey and its owner, juxtaposed against a lonely background of endless sand. The muted colours - black and white is her preferred medium - further illustrate the contrasts; the results are beautiful and striking. Marie-Josée, a horsewoman herself, offers a peek into aspects of culture that the ordinary viewer might have missed. She manages to both anthromorphise the equine beauties and catch their graceful movement on fi lm, which is no mean feat. The two charming French women also teach workshops. Photography has quickly become very popular in Qatar, perhaps because it is something that anyone with a camera can

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GlOBetrOtter

Where: new yoRk WhAT: MoMa, the MuSeuM oF ModeRn aRt WheN: 23 deceMbeR 2012 to 15 apRil 2013 www.moma.org

Where: vancouveR WhAT: canadian inteRnational FilM FeStival WheN: 30 – 31 MaRch www.canadafilmfestival.com

Where: new yoRk WhAT: liza Minneli WheN: 13 MaRch

GloBal GathEriNGS

www.nyc.com

Global Gatherings is your at-a-glance map of magnificence, directing you to all of the culturally essential, entertaining and luxurious events and happenings that will be taking place across the world (or perhaps, we should say, “sur la terre”) over the coming months.

. sur la terre . globetrotter .

Where: glaSgow WhAT: MuSic FeStival WheN: 2 to 16 MaRch 2013 www.glasgowmusicfestival.org

Where: paRiS WhAT: FalStaFF: paRiS opeRa WheN: 5 MaRch

Where: hong kong WhAT: Sleeping beauty by hong kong ballet WheN: 15 – 17 MaRch

www.classictic.com

www.hkballet.com

Where: vienna WhAT: conceRtS in MozaRt’S houSe WheN: 28 FebRuaRy – 8 MaRch

www.classictic.com

Where: dubai WhAT: aRt week WheN: 14 - 24 MaRch www.artweek.ae

Where: london WhAT: liFe and death in poMpeii and heRculaneuM WheN: 28 MaRch – 29 SepteMbeR

Where: dubai WhAT: woRld cup 2013 WheN: 30 to 31 MaRch 2013 www.dubaicalendar.ae

www.britishmuseum.org

Where: doha WhAT: QataR MaSteRS WheN: 23 to 26 JanuaRy 2013 www.qatar-masters.com

Where: MelbouRne WhAT: auStRalian gRand pRiX 2013 WheN: FRoM 30 to 31 MaRch 2013 www.grandprix.com.au

. sur la terre . globetrotter .

GLOB ETROTTER

nightlife

SHOPPING

Sturecompagniet

Fleur Woods

Where: Stockholm, Sweden GPS: 59˚ 20’ 12.12” N, 38˚ 32’ 24.16” E

Where: Sydney, Australia GPS: 50˚ 27’ 42.14” S, 151˚ 11’ 12.33” E

Sometimes, in certain places, a chic exclusive cocktail bar will just not do, and the only option is to live large. In Stockholm, after you have exhausted the quaint Swedish bars, you have to experience a superclub, Scandanavian-style, if only just to say you’ve been. Stockholm’s biggest club is famous for being the haunt of Swedish supermodels and that is perhaps the biggest draw for the joint, although the Gothic feel adds a certain grandeur. It’s a place to see and be seen. Sipping something sparkling in a beautiful surrounding adds a je ne sais quoi to the experience of bubbly. There are different bars with varying vibes and dance floors to fit every mood and tastes and suit everyone, but head straight to the VIP section for the best night in the city’s coolest club. www.sturecompagniet.se

The bohemian aesthetic in Fleur Wood’s designs come from her time in the Indian Himalayas, where she designed garments for the exiled Tibetan government’s project to preserve culture in her early twenties. When she returned to Sydney to launch her own label, she took her love of vintage and juxtaposed it with luxury; her flair for mixing pieces highlights her natural style. Her boutiques have become a lighthouse for those drowning in confusion at what is sartorially cool at any given time; the Fleur Wood look is effortlessly chic as well as being cutting edge. At the forefront of Australian fashion, her designs regularly attract the eye of the Hollywood jet set who love her feminine and luxurious apparel. www.fleurwood.com

. sur la terre . globetrotter .

HOTEL

restaurant

Miura

Turquoiz

Where: Celadna, Czech Republic GPS: 49˚ 32’ 07.43” N, 18˚ 19’ 38.31” E

Where: Abu Dhabi, UAE GPS: 24˚ 32’ 20.42” N, 54˚ 25’ 28.69” E

Choosing a hotel can be a difficult compromise, one party wants to stay somewhere beautiful, luxurious and artistic and the other wants to be as near as possible to a golf course. Miuna is the answer to your prayers and will keep everyone happy. This is a boutique hotel with a twist, a post-modern art gallery that you can stay in (artwork by legends like Warhol, Basquiat and Damien Hirst lining the walls) and it lies at the feet of a golf course in the Beskydy Mountains. Everything about this hotel is unusual and slightly fantastical; the spa has a Sanotherm Levitation Bath which can make your body weightless and the hotel is surrounded by “Cuboids” by Czech sculptor David Černý which perch on the roof and repose in the lake. www.miura.cz/en

In the gloriously luxurious St. Regis Al Saadiyat Abu Dhabi, there are many restaurants to delight your culinary senses; you are simply spoilt for choice. Close to the beach, where you can see bottlenose dolphins in the morning and turtles hatching in the spring, is Turquoiz, where manager Marco de Pasquale will look after you with aplomb. Being by the sea, Turquoiz specialises in seafood; the scallops and lobster are delicious and should not be missed, but if you’re adverse to fish, then you can have the turf without the surf. When the sun goes down and the DJ is making sweet sounds that complement the waves, it is an idyllic spot to relax. www.stregissaadiyatisland.com

. sur la terre . globetrotter .

style confidential

SPRING BEAUTY From nude nails to heavy brows, we bring you the hottest beauty trends for the new season, direct from the catwalk and from the expert herself, celebrity make-up artist and Artistic Director for Revlon, Gucci Westman.

When it comes to make-up, it is oh so easy to fall back on your staple style, but that is the fashion equivalent of wearing the same clothes season after season. A big no-no. So every season, why not revamp your make-up bag as well as your wardrobe and take a fresh approach to your day-to-day make-up. With the dawn of a new season upon us, there has never been a better time to ditch those blunt brown eye pencils for some new and on-trend make-up essentials. Who better to turn to for that all important beauty advice for the new season, than the creator of these looks herself - Gucci Westman. Gucci is not only renowned for her head-turning red carpet looks and celebrity cover girl make-overs for magazines including Vogue and Vanity Fair, but is also responsible for creating many of our favourite catwalk looks from London and New York Fashion Weeks. As Global Artistic Director of Revlon, Gucci is called upon to work her magic and conjure up the hottest make-up looks for shows including Antonio Berardi, Oscar de la Renta and Rag & Bone. This season Sur la Terreâ&#x20AC;&#x2122;s Style Editor, Sophie JonesCooper, was lucky enough to meet the make-up guru backstage at London Fashion Week and gets the low down from Gucci and Revlon nail expert, Jenny Longworth, on whatâ&#x20AC;&#x2122;s new for SS 13. We find out which shades and styles should be making their way into our make-up bags this spring and how to wear them.

. sur la terre . style confidential .

DEW DATE On the catwalk of J Mendel This is a fresh and easy every day style that suits all skin types and complexions. Skin is dewy, eyes are fresh and lips are beautifully glossy. Wear with spring’s feminine ruffles and bold and bright separates.

Get the look: • • • • • • J Mendel SS13..

Gucci says: “I wanted to create a look that is universally beautiful, that any girl would want to wear. Because the collection has so many bold and bright colours and patterns, I kept it pretty simple and fresh.”

Use a mousse foundation for a flawless and lightweight complexion. Blend a muted brown shadow on eye lids. Line the inner rim of eyes. Add mascara to both the top and bottom lashes to make the eyes pop. Add a warm flush of peach to the cheeks. Line the lips with a lip liner and finish with a touch of simple gloss to round out the look.

For the skin: Revlon Photoready Mousse Foundation For the lips: Revlon ColorBurst Lipgloss in Bellini

Gucci Westman creates a flawless complexion ahead of the J Mendel show..

BROW WOW On the catwalk of Rag & Bone The primary focus of this look is the brows, so make sure yours are prepped and primed, but not too manicured. Skin, eyes and lips are kept very pure and natural so the defined brows stand out. With its nod to the 90s, this look works perfectly with spring’s 90s fashion throwbacks. Think Kate Moss grunge chic.

Get the look: • Keep your foundation to the minimum by using a simple face perfecting primer. • Use a brow pencil to create subtle freckles and dramatic brows. • Use eye shadow to add extra definition to brows. • Add a touch of natural flush to lips by mixing two shades together.

For the brows: Revlon ColorStay 16 Hour Eye Shadow Quad in Addictive For the nails: Revlon Nail Enamel in White on White

Rag & Bone SS 13..

Gucci adds the finishing touches backstage at Rag & Bone..

THE NAILS Nails are big news this season, with several colours taking centre stage. At Rag & Bone, white made a comeback and looks set to be big news for spring. “Nails were kept short and were shaped to the natural curve of the fingertip,” explains Revlon nail expert Jenny Longworth. “This gives a really clean and chic finish with the white adding a 90s feel which is beautiful, sporty and futuristic.”

. sur la terre . style confidential .

Gucci says: “I wanted to create a look that was bold, but still looked soft and natural. I was inspired by the iconic supermodels of the 90s and the great structure of their brows.”

NUDE LUXURY On the catwalk of DAKS Nails are the eye candy in this look, and barely there nude nails, also known as “greige” are THE new nails for spring. In fitting with the DAKS woman, this look is all about luxury, maturity and a chic and understated cool finish. Wear with spring’s clean lined minimalist whites and structured silhouettes.

Jenny says: “The great thing about a greige, is it is a modern version of a nude. It’s much cooler, whilst still being wearable and still a little unusual.” Get the look:

DAKS SS 13..

• • • •

Start with a light and dewy foundation. Add a peach blush to the cheeks for a natural finish. Define the eyes with a thin line of black liquid eyeliner on the top lash line. Keep lips blushed with a lick of pink gloss. For the nails: Revlon Post Trauma Nail Treatment, Revlon Nail Enamel in Elegant, Revlon Top Coat, Revlon Liquid Quick Dry..

Look out for barely there ‘greige’ nails this spring..

LIP READING On the catwalk of Oscar de la Renta Let your lips do the talking with this look, but be sure to put away your gloss. Lips are stained and matte for a fresh approach to statement lips. The feel of this look is ladylike but with a rebellious edge, making it ideal to wear with spring’s moody florals and graphic monochromes.

Get the look:

Oscar de la Renta SS 13..

For the lips: Revlon LipButter in Sweet Tart, Revlon Matte Lipstick in Stormy Pink, Revlon ColorBurst Lipstick in Baby Pink

Gucci says: “I was inspired by Keith Haring meets Holly Golightly; it’s a little bit naughty meets nice. I wanted to create a look that was cool and luxurious, just like the clothing.”

. sur la terre . style confidential .

• Keep your skin simple, fresh and sheer with a face perfecting primer. • Add a subtle flush to cheeks with a powder blush. • For the lips, blend a mix of lipstick and lip butter and apply with your fingertips to give a suede-like finish and to keep the look matte.

CLEAN CUT On the catwalk of Antonio Berardi In keeping with spring’s sports luxe vibe, this look is sporty, clean and fresh with an emphasis on gorgeous luxe skin and a structured finish. Such simple make-up works with the new season’s bold stripes, luxe leathers and chic sports separates.

Gucci says: “The Antonio Berardi girl is reminiscent of a 90s Helmut Lang girl. An upper east side wholesome beauty that went to Spence School in New York, so I wanted to give the skin structure and an expensive finish.” Get the look: • • • •

For a fresh approach to flawless skin, first use a face perfecting primer. Use a peachy lipstick to contour the cheek bones and add structure. For a youthful finish, use a lash liner to add freckles. Finally, pat on a berry lip butter to add a simple wash of colour.

Antonio Berardi SS 13..

THE NAILS “Berardi had a real ‘sport luxe’ vision for the girls of SS 13,” explains Jenny. “His collection features flashes of neon, including a gorgeous neon salmon pink, which he wanted to emulate on the nails.” To achieve this shade, Revlon custom blended several nail enamels to create the perfect shade. The result, a gorgeous neon nail colour, perfect for adding a sporty, bold flash to your look.

For the cheeks: Revlon Super Lustrous Lipstick in Mink For the nails: Revlon Nail Enamel in Fearless

BRONZED GODDESS On the catwalk of Giulietta Get in the mood for your summer getaway with this gorgeous bronzed and glowing style, which is all about bold brown eyeshadow and dewy bronze lips. Wear with new season whites or bold and graphic brights for a striking finish.

For the bronzed eyes, Gucci uses brown.. eyeshadow and a large brush to blend..

For the lips: Revlon SuperLustrous Lipstick in Amethyst Shell and Revlon ColorBurst Lipgloss in Rosegold

Get the look:

Giulietta SS 13..

Gucci says: “The designer envisioned a mermaid with an eccentric twist so I wanted it to look as if the girls had just emerged from the sea.”

• Use a mousse foundation and powder blush to give the skin a dewy and bronzed glow. • Don’t be afraid to over-do the brown eyeshadow and extend up towards the brow bone and under the eyes for a sultry finish. • Apply a good lick of mascara to define lashes. • Use a bronze shaded lipstick followed by a lip gloss to get a full and rich glossy bronzed lip.

. sur la terre . style confidential .

T he gem cannot be polished withou t fr iction , nor a man per fected withou t t r ials . - Lucius Annaeus Seneca

i n FO CUS

At 147m in length, the highly secretive MY Topaz is rumoured.. to be the latest addition to the Abu Dhabi ruling family’s royal fleet .

A Buoyant Market As Dubai prepares to host the 21st edition of its International Boat Show, the most important annual event for the GCC’s boating and yachting community, does it mark a “coming of age” for the yachting sector in the region? Before the curtain rises on the big event, Editor in Chief of Yacht Qatar, Craig Barnett, provides a snapshot of what’s happening on and off the waters of the Arabian Gulf.

. sur la terre . in focus .

Deciding what makes you happy, where you want to go, what you want to do when you arrive, and who with, are the first questions one should ask when considering a boat or yacht purchase. Depending upon your answers, the most suitable craft may turn out to be anything from a kayak to a megayacht, a personal watercraft to a sailing dinghy, or a sports boat to a flybridge yacht. Of course the question of financing the purchase of a lifestyle asset cannot be ignored, but as the examples listed above show, there’s something available to suit most budgets. With regards to running costs, the general rule of thumb is to allow around ten percent of the initial purchase cost for annual fees like berthing, insurance, service and maintenance. When considering who buys leisure craft in the GCC, the purchasing power of residents can be drawn along quite definite demographic lines. Middle and upper management positions are primarily filled by Western expats, who purchase smaller bow-rider or centre console boats and sometimes yachts up to around 50ft. Business owners from neighboring Arab countries and the sub-continent meanwhile generally buy yachts between 50ft and 80ft. GCC nationals with accumulated wealth from family “Group” companies purchase superyachts in excess of 100ft, while members of the royal families dominate the world’s mega yacht sector. If evidence of the Middle East’s penchant for megayachts is required, then one need look no further than our annual listing of the world’s Top 100 private yachts. Nationals from the region own 32 percent of them; almost as many as owners from the US and Russian combined. The average length of their yachts is the largest, and the Abu Dhabi royal family has the future “world’s largest yacht” in build at Lürssen; a staggering 180m project named Azzam. Two of the same family’s purchases in 2012 also went straight into the “top seven:” the 147m MY Topaz and the 141m MY Yas.

elaxing in the cockpit of a beautiful new yacht, with refreshment close at hand and the warm turquoise water of Doha Bay quietly lapping against the hull, there’s no better time to reflect on the benefits leisure craft are bringing to residents of the Arabian Gulf. Leaving the fast paced life of the humdrum city, the ocean generously gifts two valuable commodities that one pays dearly for on land: time and space. Whether spending time with the family, entertaining clients, fishing with friends or enjoying any one of a myriad of exhilarating watersports, a boat or yacht is a vehicle to a much happier place.

Megayacht deliveries during times of financial austerity inevitably generate unwelcome column inches, but those who pen them forget two very important factors. Firstly, the world’s largest yachts can take up to five years to build, so they’re generally ordered during boom times and delivered during downturns. The same applies for the world’s tallest buildings; e.g. Empire State (the Great Depression), Petronas Towers (crash of Tiger Economies) and the Burj Khalifa (recent financial crisis). Secondly, the building, outfitting, service, crewing, provisioning, fuelling and maintenance of these yachts redistribute funds invested amongst many thousands of people. This creation of jobs has not gone unnoticed amongst the GCC’s business leaders.

Measuring 141m, MY Yas is is the seventh largest yacht in the world . and a fine example of the region’s capacity to build sophisticated vessels .

. sur la terre . in focus .

With a dramatic reduction in piracy in 2012, the Pearl Qatar’s . Porto Arabia marina could soon feature on megayachts’ passage plans .

The early signs of shipyard ownership aspirations were first seen when GCC based wealth funds and individuals began investing in the acquisition of existing European shipyards. In 2007, the Abu Dhabi MAR Group were the trailblazers, acquiring several leading shipyards in Europe and building another in the UAE’s capital. In 2010, Omani businessman Mohammed Al Barwani followed with his purchase of Dutch megayacht builder Oceanco. Others have followed suit since. Building closer to home, however, rather than simply purchasing existing foreign businesses, is now bringing local benefits.

Dhabi’s island developments, and other projects in Oman, Lebanon and Bahrain are new exciting destinations for visiting yachts. As the coastline and infrastructure grows, so do the opportunities for boat and yacht owners. If you’re not onboard with the lifestyle already, maybe now’s the time to be visiting the Dubai International Boat Show?

Entering the final phase of construction, on the outskirts of Doha, the Superyacht Halls at Nakilat Damen Shipyards Qatar (NDSQ) will open before the end of this year. The state-of-the-art facilities will have the capacity to build in steel and aluminum and refit the world’s largest yachts. Most megayacht owners may previously have been reticent to send their yacht through the Gulf of Aden for refit in Doha due to piracy issues, but a reduction of more than 75 percent in attempted piracy incidents in 2012 will have quashed such fears. Hopefully, with diminished security concerns, the Middle East will now begin to join the Seychelles and Maldives archipelagos on an alternate to the traditional “Mediterranean summer, Caribbean winter” cruising schedule for the larger yachts.

Having graduated through marine publishing from a UK-based Jet Ski Magazine to currently presiding over four YACHTS Magazine publications in the Middle East and a megayacht title in the USA, Craig has experienced the full spectrum of leisure marine activity over the past 15-years. Currently based in Dubai, but with regular commutes to satellite offices in the yachting “capitals” of Cannes, France and Fort Lauderdale, Florida, Craig’s daily interaction with leading shipyard executives, designers, suppliers and yacht owners provides a unique insight into the regional and international yachting sector.

As residents of the region can already see from the water, land reclamation has created hundreds of miles of additional coastline with waterfront property developments, along with marina and yachting infrastructure. Doha’s extraordinary Pearl-Qatar island, Dubai’s magnificent 3.5km long Marina District and Jumeirah Palm, Abu

. sur la terre . in focus .

About Craig

Heâ&#x20AC;&#x2122;s the Bos

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. sur la terre . up close and personal .

Nicolas Bos Nicholas Bos, despite his young visage, is an old pro. After joining the Richmont Group, which owns Van Cleef & Arpels, in 1992, Bos has gone from strength to strength, taking creative direction for the company and has since risen to the top to become President and CEO of the grandest and most prestigious jeweller in the world. Sur La Terre sits down with him in Paris to pick his mind.

hat drew you to working at Van Cleef & Arpels? It was mostly the artistic dimension. I came from more of a cultural, museum background, not necessarily jewellery. What really attracted me was the opportunity to cross genres, and it was the fascination of the long and complex creative process of the decorative arts, especially jewellery. Here is a process that involves a lot of people, which I organise and then monitor. When we start with a simple idea, it transforms itself into a fantastic piece.

all, if Estelle Arpels and Alfred Van Cleef had not met and fell in love, their two families would never have created the jewellery house. It was a love story, but there are a lot of other reasons for the choices, for the inspirations. The Arpels believed in the positivity of life (which doesn’t mean naiveté), transmitting it through their creations, in a celebration of nature, of movement, of lightness. Life is about mystery, fantasy and strangeness. It’s never aggressive, we don’t do snakes…we do magic. Whimsicality we like, but we don’t include anything frightening; powerful, yes, but never frightening.

The Van Cleef & Arpels flagship store is in the heart of Paris. Do you think if Alfred Van Cleef had chosen somewhere other than Place Vendôme, the company would be different? When they chose Place Vendôme, it was changing. It used to be a destination for aristocratic families to order and buy jewellery in a private salon. They used to go upstairs by appointment, but now we have entered into a different paradigm. The Ritz opened, an international travelling clientele was coming to Paris from America, from Russia, from Egypt. Paris was, if not the centre of the world, a centre of culture, style and elegance. Each prominent family used to have its own private jeweller, but the jeweller became a creator and people would come to him. Place Vendôme was an amazing influence; it became the centre of jewellery in the world, people started to flock to it to see the creations.

The original workshop above the flagship store in Place Vendôme is still used. It’s a very traditional space; the artisans use wooden desks and there are very few computers. In a similar way, Van Cleef & Arpels still uses the Mystery Setting, a unique way of setting stones that was invented almost a hundred years ago. Has it changed much since it began? There is actually constant change, slight innovations here and there, but we’re not staging a revolution! The Maison was built on innovation, but some are more visible than others, like the Mystery Setting, in which gems are placed in an invisible setting that only a handful of artisans know how to do - it’s one of Van Cleef & Arpels’ most closely guarded secrets. Technically speaking, we are improving the level of precision, the level of detail. This workshop is a production facility, but our idea is not to preserve craftsmanship for the sake of it. The artisans work by hand because there is no better way to do it. You cannot do the Mystery Setting with a machine, it’s not possible. It’s rare, but doing things by hand is more efficient in a way! I think this is what gives life to the pieces.

Your new collection is called Palais de la chance. It seems that luck and perhaps fate have played a part throughout the history of Van Cleef & Arpels. After

. sur la terre . up close and personal .

Does technology play a large part in the workshops? It’s not a 19th century workshop. Some of the guys are 18 years old, some are 35, some are 50. There are computers, they’re on facebook! They don’t live in the past. They are creating with techniques invented 100 years ago, 50 years ago, some from last year. Sometimes we use computers, but not for production. Sometimes it’s useful to look at a volume rendering using a computer. We developed a new kind of Mystery Setting three or four years ago, a new technical achievement for us, and we use the computers to try and understand what is possible and what is not. The way we assess the quality of the stones today has really improved from 100 years ago. Physical, chemical and optical examinations are much more advanced. Do you choose to have themes and narratives because it makes the jewellery more timeless? By nature, jewellery has to be timeless. Of course you have the influences of the time, the lifestyle, but this is the main difference between jewellery and fashion. Fashion can be a real expression of the moment, but when you do a fashion collection, you don’t have to worry about whether it’s going to be relevant. We always ask, will this piece be relevant in two years? In 20 years? We use universal stories, not references from something that happened last week, but references that have a relevance today. An example of this is one of the first collections I was involved in; we wanted to revive the magical element that we did in the 40s with the fairy brooches, which were very unique. We wanted to explore them and give that style a wider spectrum. We decided to take inspiration from Shakespeare’s A Midsummer Night’s Dream, which is a reference that will stay for centuries from now. At the beginning of the 21st century, Harry Potter came out and was really popular, so everything was about magic, it wasn’t about paying tribute; there was just something in the air. And that made the reference to magic consistent with the times, which is what we try to do. There is something that you feel; that connection with different fields of creation. As you’re a man and this is a jewellery company mostly for women, do you feel that you have a different relationship with jewellery? That’s a very good question and it’s something I think about a lot. Of course I have a different relationship. I never see a piece and think, “Wow, I want to wear that.” I had a rock style when I was younger, so I used to wear rings, but I’m not going to wear the jewellery! I always liked that universe, but I agree there is some disconnect. I think as a creator it’s a good thing not to go by my tastes; I don’t think in terms of wearing it and I think that helps in the more universal aspect of my

creative approach. The design team is mostly male, although we have a few women, mainly in research. There’s a lot of exchange, though; they’ll say that a certain piece has a nice design, but ask if it is comfortable to wear. Then they’ll try them on. It’s the same in fashion; a lot of designers create amazing things for women and they are guys! Sometimes I try the rings on, just to see how they look, how they sit. We do the same things with the stones to see how they react with light. Van Cleef & Arpels has recently started a masterclass, L’Ecole Van Cleef & Arpels, the jewellery world’s answer to wine tasting. How did the idea for the school come about? It’s really the idea of creation and transmission. We’ve been quite good at creation, if I may say so, and I’m a great believer in museums, in education. Creation can be fascinating to a wide audience, and we should open these doors as much as we can. Historically, if you think back on the big world fairs of the past, or when we participate in Art Dubai, there always has been a wide public appreciation in artistic dimensions. They’re fascinated by the stones, the stories and the celebrities associated with the jewellery. For various reasons, jewellery has lost that connection with decorative arts and with fashion; with the rest of the world, there is only that connection with clients. You don’t just display art by Picasso to those who can buy or collect them. Yes, there are great collectors, but you want to share the emotions of an art piece, as well. Most of us won’t ever own a Picasso, which doesn’t mean you can’t enjoy the exhibition. There is an amount of privacy and secrecy with high-value pieces of jewellery, but it’s not at all in contradiction to what we do in education and sharing. When we did an exhibition in New York - a Van Cleef & Arpels retrospective - over 170,000 visitors saw it, the highest ever at the Smithsonian. No one expected it, but those numbers really confirmed this global level of interest. The public wanted to see the pieces, they wanted to experience them. In a way, we’re answering a question. You have a lot of educational programmes for art, for wine, but nothing existed for jewellery. One of the references we have is cooking lessons. That was the driving element for the school. We didn’t want to just do lectures, we wanted to create an experience. I was talking to clients who had been collecting jewellery for 30 years, but had never polished a stone, never been involved in any way other than buying - and it informs their taste and gives them new appreciation and understanding. The jewellery world has been considered a bit out of reach, a bit exclusive, but recently there has been a rediscovery in the last decade of decorative arts. In the Middle East, decorative arts have always been very important; art and artistic devotion have to do with craftsmanship here. In Europe the artist is an individual genius, but in the Middle East that idea of craftsmanship is still strong.

. sur la terre . up close and personal .

A Gem of a Designer

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. sur la terre . up close and personal .

Victoria Tryon Victoria Tryon is exactly what you expect a jeweller and gemologist to be; pretty, charming and enviably decked out in her own wares. The up-and-coming designer has recently won the The Bright Young Gem Awards and is a favourite among Emirati and Qatari ladies who appreciate her covetable bling. After having cut her teeth at Harry Winston, Harry Fane and Fairfax & Roberts, she set up her eponymous company, Victoria Tryon. three years on and Victoria is quietly carving a niche for herself with her delicate and feminine jewellery. Sur La Terre caught up with her to delve into what makes her tick.

hat drew you to jewellery design? Was it the artistic aspect or the gems? What’s not to love about jewellery! Initially, I was drawn to the provenance of the pieces. I loved the fact that jewels often marked a special occasion and were handed down through generations and had fascinating stories associated with them. You consider yourself primarily a gemologist. How does this influence your work? Often the gemstone will lead the design, rather than conceptualising a design and then sourcing the gemstones. I often embark on the design with a particular gemstone in mind. How would you describe your personal style? You wear a lot of your jewellery - do you design with yourself in mind? Being such a jewellery enthusiast, I often start with the jewellery when putting an outfit together. Jewellery is far from an accessory for me, it’s the foundations of my look. I don’t particularly think of myself when I design, only of my clientele and what I consider appropriate for them. Do you think you can tell a lot about a person by their choice of jewellery? I think jewellery is a form of self-expression and therefore I do think that you can tell quite a bit about a person by their choice in jewellery. Much like the clothes that we wear, jewellery makes a statement about us as much as anything else we do, wear or have.

A lot of women have a connection with jewellery that seems to bypass most men; why do you think that is? Where does the desire to adorn ourselves come from? Historically, jewellery goes back a long way and has served many purposes. It has been used as currency, protection - in the form of amulets, functional - as clasps and pins, symbolic, depicting religious symbols and purely decorative. Initially, jewellery was often used as a form of dowry associated with a woman when she marries. The purpose of jewellery was primarily either functional or a display of wealth. This is still relevant today, with both jewellery and watches. It is not only aesthetic but also a status symbol. What is your creative process? How does a design start for you? I consider myself to be an observant individual. A concept can establish itself through anything from textiles, art and architecture to nature. I am fascinated by other cultures and enjoy travelling and often this is when I am most inspired. My “Vanity Rose” collection came about whilst visiting an exhibition at the Victoria and Albert Museum in London on the Aesthetic movement. There was a phrase that was resonating with me whilst I looked at some of the work of Charles Rennie Mackintosh. My Aunt had recently imparted some wisdom to me, “Don’t forget to stop and smell the roses.” I find that so often we buzz about in our own bubbles and forget to look up, observe and digest the goings-on around us. Too often we multi task, walking whilst responding to emails and really paying no attention to our surroundings. We miss so much. This collection was designed to remind us to stop and appreciate the world we live in. Each of my collections has a story associated with it.

. sur la terre . up close and personal .

You won the Bright Young Gem Award two years ago - are you impressed with the rapidity of your rise in fame - or has it been a lot of hard work? One of the aspects of the award that excited me most was the word Young! It was reassuring and empowering to have my work recognised in such a way. I knew I was on the right track and to continue persevering. It has been hard work and undoubtedly will continue to be so. However, it is worth it. I love what I do! Do you prefer designing collections or private commissions? Do they present different challenges? I enjoy both, and they indeed present different challenges. My favourite part of the bespoke process is handing over a piece of jewellery which I have created specifically for someone; the satisfaction it gives me to see how thrilled they are on receipt of the finished piece. To witness the transformation of a concept into a carefully crafted piece that has been nurtured to maturity is a wonderful thing. I feel a sense of honour and pride to play a part in marking many special occasions and declarations of love. I see the collections as a book of short stories and really enjoy developing each one. Your career has taken you all over the globe, from Fairfax & Robert in Australia to Harry Winston in England. Can you pinpoint each Maison with teaching you something about jewellery or opening your eyes to something new? I have had a fascinating career to date in the industry. It started with Harry Fane in St. James’s where I discovered that jewellery was not just simply aesthetically pleasing, but could be deeply symbolic and tell us so much about different cultures and have fascinating stories to tell. Fairfax & Roberts had an onsite workshop, where I would observe pieces being carefully crafted. Here I learnt some of the more technical aspects. Cartier taught me the importance of heritage and branding. Boucheron dares to be individual and goes against the grain, creating some unforgettable sculptural pieces, which are truly unique. Harry Winston showed me the importance of a fine gemstone being the centrepiece of a design. That a superior stone can be placed on a pedestal, it needs nothing else, no elaborate detracting design.

A lot of Emirati and Qatari women commission you to design jewellery for them. Is there a discernible style that they prefer? They do indeed and I am very fortunate for this. I am fascinated by the region and the culture and this does influence my design. I feel comfortable there and feel I understand what they do and don’t like. There is a fairly eclectic style, dependant on the generation. I have seen tastes evolving somewhat over the years. What attracts the younger generation today is not what would have attracted their grandmothers at their age. What are your plans for the future? I have been contacted by a number of potential distributors with whom I am currently in discussion. I would like to raise the profile of Victoria Tryon jewellery further and find like-minded partners to aid me with this. I aim to continue to create beautiful jewels, which tell a story and will be cherished by generations to come. Is designing engagement rings a completely different challenge to designing other jewellery? Did you design your own engagement ring? It is indeed, it marks one of the most important moment in one’s life. That huge commitment of spending the rest of your lives together, this in itself is very powerful. It’s also often up to me to gauge the recipient and come up with something that they will treasure, often having never met them. This is pretty challenging! However, it is a challenge I relish. I really enjoy getting to know the recipient through the eyes of the client. It’s an emotionally charged process. My husband proposed with a loose stone, which I set in a temporary mount. Once I’d got used to it, I knew how best to mount it.

. sur la terre . up close and personal .

I BRING TO YOU CULINARY EXCITEMENT FROM THE FAR EAST

MY NAME IS

Acc e s sO r i e s

Natural wondeRS For the most desirable pieces with brilliant gems, dazzling diamonds and intricate designs, look no further. Your new season’s jewellery inspiration starts here. photogRAphEd By JEAN-dANiEl MEyER stylEd By MélANiE hEARNdEN

Clockwise from top left: Rose gold and white agate earrings with diamonds from Bijouterie.. Kunz, “Butterfly” brooch in white gold with sapphires by Benoit de Gorski, “Serpent”.. necklace in rose & grey gold with sapphires, tsavorites and diamonds by.. de Grisogono, “Lily of the Valley” diamond and emerald brooch by Van Cleef & Arpels...

. sur . surla laterre terre . accessories . section . .

Clockwise from top left: “Icy Diamonds” earrings by de Grisogono, grey gold bracelet with aquamarine, diamonds, onyx and tourmaline by Cartier, “Diorette” ring by Dior, white gold, ruby and tsavorite “Frog” ring from Les Ambassadeurs, yellow and white diamond ring by Bogh-Art, “Turtle” pendant with paraiba tourmaline and violet sapphires by Benoit de Gorski, rose sapphire and diamond ring by Benoit de Gorski, “Pear” ring in grey gold with diamonds by de Grisogono.

. sur la terre . accessories .

Clockwise from top left: white gold and diamond necklace by Graff, diamond butterfly brooch by Bogh-Art, white gold and diamond ring by Cartier, “Caresse d’Orchidé” ring in grey gold, black lacquer and diamonds by Cartier, “Dragonfly” titanium and diamond brooch by Bogh-Art.

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Clockwise from top left: “Star & Garter” white gold and diamond hoop drop earrings by Garrard, “Wings” white gold and diamond ring by Garrard, “Butterfly” white gold and diamond brooch by Graff, diamond chandelier earrings by Benoit de Gorski, “Bagatelle” rose ring in white gold and diamond by Dior.

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Clockwise from bottom left: “PanoMatic Luna” watch by Glasshutte Original, “Excalibur”.. watch by Roger Dubuis from Les Ambassadeurs (left), “Uniformity Joaillerie” watch in red gold.. with diamonds by Blacksand (right), “Tino” watch in white gold with baguette-cut diamonds.. and purple galuchat strap by de Grisogono, “X-1” watch in brushed and polished stainless steel.. with rose gold case by Ebel, “Big Bang Cappuccino Gold” watch by Hublot and “Reine de.. Naples” watch with mother of pearl face and diamonds by Breguet from Bijouterie Kunz...

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origins

Hail to the

King

. sur la terre . origins .

Sur la Terre takes a brief trip through the ages to explore the foundations and lasting legacy that makes Cartier “The Jeweller of Kings and The King of Jewellers.”

ust before his coronation in 1902, the then Prince of Wales (and thereafter, King Edward VII of England) decreed one haute jewellery house to be above all others. In fact, he respected the craftsmanship so much, that he christened it with a title that continues to ring throughout the hallowed halls of history. Cartier, he proclaimed, would henceforth be known as, “Joaillier des Rois, Roi des Joailliers,” or in his mother tongue, “The Jeweller of Kings, The King of Jewellers.” That’s quite the monarch-made monicker. Of course, if any one house deserves such a title, it is Cartier. Much like the precious stones with which it has become so inextricably linked, or the luxurious settings it designs to display them, Cartier has become something more than the family tradition it carries on; it is a timeless thing, shaping the space of the world around it and redefining its beauty. And yet, even that which has no foreseeable end must necessarily have a beginning, inauspicious though in this case it may be.

Elizabeth Taylor wears the $1m Cartier Diamond . necklace .given to her by Richard Burton (Left) .

The name Cartier had existed within the European ether for a long time, finding fame in the mid-to-late 16th century, even then being associated with both royalty and natural beauty. When famed explorer Jacques Cartier was sent by King François to the new world, it was to discover gold, diamonds and other precious materials. Little did anyone figure that someone with his namesake would one day be in the business of bringing them back. Jump ahead some 300 years. It is Paris, 1847. Another young man named Cartier, this one a jeweller’s apprentice, has finally proven himself worthy enough to take the business reins from his master, a renowned artisan by the name of Adolphe Picard. Now the craftsman of his own destiny, Louis-François Cartier would henceforth become the patriarch of a new Parisian legacy. La Maison Cartier’s first brush with royalty came just 10 years after its foundation in 1856, when Princess Mathilde, niece of Napoleon I, first purchased luxury items from the prized house. However, the influence and prestige behind the Cartier name is one that would be truly realised by Louis-François’ descendants. Handing down the managerial mantle of the company to his son Alfred in the waning days of the 19th century, Louis-François was clearly keen to keep his family name just that; something Alfred, too, would hold dear. It was under the direction of his sons, Louis, Pierre and Jacques, that the modern-day Cartier name would find its current lofty position at the top of the international jewellery world. The brothers Cartier were obsessed with finding greatness in all of its multi-faceted forms. From the earliest days of the 20th century, they traipsed about the globe making connections and researching materials. Pierre tackled the Russian and eastern markets, as well as the much sought-after American market, where he sold his now (in)famous Hope Diamond in 1910, firming up the Cartier reputation with the royalty of the new world; which is to say within the tycoon culture of modern business. Jacques, meanwhile, travelled to the emerging Arab world and subcontinent to build the brand’s now storied relationships with the aristocracies in the region.

. sur la terre . origins .

The Duke and Duchess of Windsor 1953 - Cartier Archives © Cartier .

Edward VII visits Cartier at 13 rue de la paix, Paris, in 1904 - Cartier Archives © Cartier .

Cartier’s history with the Arabian Gulf was established soon after in 1911. Obviously, the relationship has been time-tested since, and has lasted to where Cartier is still one of the area’s most ubiquitous names in luxurious lifestyle. Not only is this renown thanks to its celebrated associations, but also because of its innovations, such as functional enhancements like the folding buckle for wristwatches, which Cartier patented in 1909, and visual feats like the invisible mount for jewellery, created in 1933. These were mostly developed by Pierre and Jacques’ brother Louis, who stayed within the European market, working on techniques and innovations in the field that have helped to change the very face of modern jewellery and watchmaking, while at the same time ingratiating the Cartier name further with status and high society.

The Cartier UNIC Van - Cartier Archives © Cartier .

Louis Francois Cartier at age 29 . in 1848 Cartier Archives © Cartier .

Indeed, the 20th Century truly elevated the lineage of Cartier, being awarded official purveyor status via royal warrant by both King Edward VII of England and King Alfonso XIII of Spain in 1904, by King Carlos I of Portugal in 1905, Tsar Nicholas II of Russia in 1907, King Paramindr Maha Chulalonkorn of Siam in 1908 and King Fouad of Egypt in 1929, amongst many, many others. The house also impressed such luminaries as Evelyn Walsh Mclean who, as mentioned previously, bought from the house, the intimidatingly inimitable Hope Diamond. Famous stones and the designs that keep them are staples of the Cartier family name and brand, with iconic pieces swaddling the storied career of the house like a diamondfestooned blanket. Many of these pieces were bespoke,

Prince Rainier III and Grace Kelly in front of Cartier’s Paris boutique - Cartier Archives © Cartier .

. sur la terre . origins .

As a brand, Cartier has transcended itself thoughout time and space as a precious, nearflawless being.

Cartier Lily Brooch from 1906 - © Cartier

like arguably the first men’s watch to really put Cartier on the map in terms of luxury timekeeping. We are of course referring to the Santos wristwatch, which was pioneered by Louis Cartier in 1904, when his friend, famed Brazilian aviator Alberto Santos-Dumont, complained about the durability and practicality of his pocket watches while flying. Thus, The Santos, Cartier’s first wristwatch for men, was born.

A 1916 Santos Watch in Platinum, Gold and Sapphire - © Cartier Collection .

A 1991 Cartier Crash Watch .

Other such immortal creations include the Dali-esque Crash watch (melting) of 1967, the yellow gold and jonquil diamond brooch made for Barbara Hutton in 1957, the 69.42-carat pear-shaped Taylor-Burton Diamond given to Elizabeth Taylor by Richard Burton in 1969 and the famed ceremonial necklace made for the Maharajah of Patiala. Add to this the numerous examples of jewellery design purity and extravagance in the modern yet timeless collections of the past decade, such as the Le Baiser du Dragon and Les Délices de Goa collection in 2003, the Caresse d’Orchidées par Cartier Fine Jewellery collection in 2005 and the La Doña de Cartier watch in 2006, and you can trace an undying lineage of true greatness and timeless beauty.

Watchmakers at Rue de la paix, Paris, . circa 1911 - © Cartier Collection .

The Hope Diamond .

. sur la terre . origins .

Alfred Cartier with his three sons: . Pierre, Jacques & Louis in 1922 .

Cartier Paris at 13 rue de la paix, circa 1900 - Cartier Archives © Cartier .

Things, as is their wont to do, often change, however, and the same is true for Cartier. This speaks of nothing to the quality of the brand, but rather to its direction. After nearly 100 years of existing as a family owned and operated entity, the Cartier presence in Paris was finally bought up in 1972 by a group of investors, and the helm relinquished to a one Robert Hocq, whose innovations in luxury cigarette lighter designs some four years prior, under the banner of Cartier, impressed a market ever-more clamorous for the diverse. And diversify they did into a bevy of new products. Whereas previously, the Cartier name was associated mostly with fine jewellery, antiques and objects d’art, newer products carrying the Cartier stamp included everything from leather goods to perfumes to writing implements. The trend of organising and corporatising within Cartier continued throughout the latter half of the century, which saw all of its assets merge into the bejewelled behemoth it is today. Speaking to that diversity, in the mid-1980s, Cartier, under the direction of General Director Alain Dominique Perrin, began seriously patronising the arts, in particular as they applied to jewellery and vice versa. In 1984, he founded the “Foundation Cartier pour l’art Contemporain,” or the Cartier Foundation of Contemporary Art, to prove his commitment in bringing Cartier within the framework of a more modern-day appreciation of the historic artistry of the brand. Not five years later, Perrin, in tandem with the French Ministry of Culture, assisted in curating the first ever retrospective of the art of Cartier, an artistic relationship with which the founders would have been proud, and one that continues on unabated today. Cartier has since been at the centre of arts exhibitions, travelling showcases and literary tomes; and yet, it has not let its fame sully the familial nature of its core business heart. In the 21st century especially, Cartier has taken the lead in not only luxurious delectability, but also social responsibility, by adopting practices like the Kimberley Process to eliminate trade conflict stones in 2003, co-founding the Council for Responsible Jewellery Practices in 2005 and holding the very first “Love Charity” international fundraising event in 2006.

Cartier’s handle as both King of Jewellers and Jeweller of Kings was well-chosen by the Prince of Wales those many years ago. As a brand, it has transcended itself thoughout time and space as a precious, near-flawless being. If history can be held to any indication, that storied legacy shall continue, and allow Cartier to stand tall above many others uncontested as the once and future king.

. sur la terre . origins .

A Cartier advert from 1925 - Cartier Archives © Cartier .

tr en ds confidential

Minimalism

&Monochrome As the new season approaches, Sophie Jones-Cooper discovers how minimalism and monochrome have been the ultimate design duo since the swinging 60s and are the perfect fast track to spring style.

Marc Jacobs SS’13..

s with most spring seasons, a bombardment of colour is a style prerequisite. After the darker tones and moody hues of winter, our wardrobes make way for a merriment of sun-soaked, vibrant colours and blossoming sweet pastels.

sharp and structured silhouettes and a simple aesthetic are huge pulls for spring fashion.

Each season offers up a new medley of shades to get our style radars buzzing and this season, we are met with a jam-packed colour wheel, featuring everything from metallic brights to powder pinks and vibrant orange to electric blue. At the centre of this season’s offering though, is a somewhat more stark colour pairing - black and white. The elegance and purity of this minimalist colour duo creates a vision of stunning style and sleek contrasts. White is a positive colour, reflecting not only light but a calm, fresh and serene mood, which makes it a popular choice of colour for spring and summer, while black is mysterious, elegant, powerful and often a colour associated with the winter season. But what is so great about this monochrome pairing is its high impact simplicity - a style unto itself without the need for additional colours to bring it to life; although, with that being said, it works equally as dramatically with splashes of bold colour accents.

Minimalism first appeared in the 1960s, and it all started in the world of art. The term “minimalism” was used to define art that was not akin to a painting or sculpture, and ended up becoming a global concept. The minimalism style of art was first attributed to the architect and designer Mies van der Rohe, who led the Bauhaus School and who coined the phrase, “Less is more.” Minimalism was the new style du jour that was to take over from the previous mass-following of pop art and over-use of colour. In this quest to strip art back to its bare essentials and follow its new minimalist calling, there soon became a requirement for less colour, which saw the rise of monochrome. Ever since, monochrome has continued to work hand-inhand with minimalism in the field of art, design and architecture, creating the perfect union.

As well as colour, with a new season arrives new style trends, and while there may be oodles of micro-trends popping up from every nook and cranny - everything from ruffles to graphics and the Orient to the futuristic - there is one key umbrella trend that is at the forefront of spring fashion and that is minimalism. Clean cut lines,

. sur la terre . trends confidential .

What happens when the fashion pack combine the minimalist monochromatic tones of black and white with the sleek finish of minimalistic lines? Pure style harmony.

As well as the art world, monochrome became increasingly popular in the world of fashion. During the 60s, fashion became obsessed with black and white. The swinging 60s were all about monochrome, mods and mini skirts. Designers, including Mary Quant, Chanel, YSL and Givenchy had a huge hand in creating this iconic look, as did style icons of the time like Twiggy, Edie Sedgwick, Jean Shrimpton and Audrey Hepburn. This

Marc Jacobs SS’13..

Paul Smith SS’13..

Mulberry SS’13..

Mr Jacobs did not let his passion for 60s monochrome stop at his own collection, but stripes, geometry and all things 60s mod were the theme of his collection for Louis Vuitton in Paris. This show was all about striking minimalistic pairings. The designer not only paired black with white, stripes with checks and short with long, but models too came down the catwalk two by two. Again, it was the stark pairing of black and white and in particular the bold stripes that took centre stage.

Balenciaga SS’13..

Moschino SS’13..

defining look became a style that would go down in history. As with all iconic styles, it is back for a second showing, and this season is set to return to our wardrobes, updated with a 2013 spin. Black and white is pairing up with minimalist lines for a sleek and seductive and largely graphic new style for spring. In New York, Marc Jacobs got the ball rolling with his heavily weighted black and white collection. The styles were stripped back to basics with clean, sharp lines, edgy cuts and simplistic yet graphic bold black and white stripes plastering themselves across everything from t-shirts to tunics and jump suits to jackets. It was 60s inspired minimalist monochrome at its best - beautifully revived for the 2013 woman. After the show, the designer cited 60s “It” Girl Edie Sedgwick as his muse and the stripy strong collection was certainly a hit with 2013 It girl, Alexa Chung, who proclaimed “I am a sucker for a stripe and I so just loved it”.

. sur la terre . trends confidential .

Stripes are a great way to wear the monochrome trend, especially if you want to lend a modish feel to black and white. Bold stripes perfectly combine chic minimalism and monochrome as, despite the allure of the simple purity of black and white, patterns such as stripes or geometry, add a subtle depth creating a bold yet chic aesthetic. Stripes are everywhere this season - vertical, horizontal, diagonal - any which way takes your fancy. They are thick and bold or narrow and sleek - the choice is yours. But stripes are not the only way to embrace spring minimalism and monochrome. Diane Von Furstenberg also rocked the power of black and white, with her gorgeous and simple black and white printed dresses. As to be expected with DVF, there was a touch of the exotic with her monochrome offerings, but her billowing dresses and palazzo pants still retained an edge of minimalism, combined with a touch of sporty elegance and 60s simplicity.

Osman SS’13..

Versace SS’13..

Marni SS’13..

Over in London, designers including Jonathan Saunders, Osman, Paul Smith, Alice Temperley and Mulberry also embodied this minimalist sense of style and colour with their SS 13 collections. Jonathan Saunders introduced black and white chevrons into his designs, Alice Temperley and Osman both embraced a graphic minimalist sensibility combining sharp silhouettes with the elegant colour combo of black and white, while Paul Smith opted for vertical black and white striped dresses and trousers, as well as introducing other bold colours, a look which monochrome is so adept at enhancing. Classic British heritage design Mulberry also steered away from the more traditional collection of spring pastels and country classics, introducing simple and elegant black and white floral print dresses and separates. In Milan, the capital of bold maximalist style, designers also took this new, more clean-cut and minimal aesthetic under their wing, with labels including Jil Sander, Prada, Versace and Marni channelling an injection of sleek black and white into their collections. Versace and Prada did away with the fuss and fanciful creations, keeping their offerings simple and sleek. At Versace we saw a black lace embellishment on a pair of sleek white pants and at Prada, a cute white floral decal emblazoned across much of the collection. Marni proved that monochrome needn’t remain texture and patternless to retain its stark impact, with some gorgeous textured and patterned black and white skirts worn against equally as mesmerising contrasting prints. Over in Paris, it was no surprise to see minimalist designs lead the way down the catwalk and chic black and whites dominating the colour palette. A Paris Fashion Week report conducted by EDITD.com, named black and white as the top colour combo for SS 13, as well as finding a 33% positive sentiment to stripes as one of the key themes of the season.

Louis Vuitton SS’13..

As well as Marc Jacobs’ homage to the modish 60s for Louis Vuitton, Balenciaga also showcased some striking black and white silhouettes and it wouldn’t be a Chanel show without the ubiquitous and iconic shades of black and white. Chloé, Lanvin and Stella McCartney also joined the minimalist and graphic monochrome medley, proving once again that this is without a doubt a design duo that has stood the test of time and is set to take our wardrobes by storm this season. So, when thinking about what to wear this season, take it from the top. Team black with white, keep lines sleek and excess to the minimum. Go for stripes and stark graphics and if you do want to bring in some colour, add accents of bold primary colours, neon or vibrant electric shades. And remember, in the words of Mr Minimal himself, “less is more.”

. sur la terre . trends confidential .

LO O K BO O K

WILD CHILD

Make way for some no-holds-barred, statement-making, new season prints. Think wild and wondrous for your spring style adventure.

Wear your trousers in tip-top style this spring by flaunting a bold floral print.

TOP TIP:

DRESS Fenn Wright Manson, SCARF House of Fraser, JEANS by Fearne Cotton for Very.co.uk, SHOES Hobbs, BALLET PUMPS Monsoon, JACKET Hobbs, BLOUSE La Redoute, DRESS Hobbs, SKIRT Fenn Wright Manson, BLOUSE House of Fraser, DRESS by Holly Willoughby for Very.co.uk, TROUSERS House of Fraser, TROUSERS ASOS.com, TROUSERS La Redoute

. sur la terre . look book .

CATWALK MOMENT: Italian

labels Giorgio Armani and Marni both embraced head-to-toe prints for a striking spring style.

LO O K BO O K

LIGHTEN UP Take the stress out of your wardrobe and opt for cool and collected whiter shades of pale - ideal for hitting the ocean waves.

TOP TIP: Choose sleek and minimal separates for a cool and crisp daywear style, combining white with black or blue for a sophisticated and nautical-inspired finish.

HOODIE Orlebar Brown at MrPorter.com, JACKET Lanvin at MrPorter.com, SHIRT Givenchy at MrPorter. com, SHORTS House of Fraser, JEANS Burberry Brit at MrPorter.com, TROUSERS River Island, SHORTS River Island, SUNGLASSES Oliver Peoples at MrPorter.com, SHOES Quoddy Bulcher at MrPorter.com, SHOES Mens at Dune, SHOES Mens at Dune

. sur la terre . look book .

F or beau tifu l eyes , look for the good in other s ; for beau tifu l lips , speak only wor ds of kindness ; and for poise , walk with the knowledge that you a r e never alone . - A u d r e y He p b u r n

fe at u r e

Showtime! It’s a new year and the Middle East luxury merry-go-round begins again in earnest with two of Sur la Terre’s favourite regional luxury lifestyle events kicking off the year in sybaritic style. To whet your appetite, we take a look back at some of the record-breaking bling that has made the Doha Jewellery & Watches Exhibition a beacon in Haute Joaillerie circles over the last decade, as well as what you can expect to find “sur la mer” at the 21st Dubai International Boat Show.

All That Glitters There is a saying that from small acorns, great oaks grow. This platitude could have been written for the Doha Jewellery & Watches Exhibition, now in its 10th year. No-one could have foreseen just how successful the event would become, nor just how important a thread it would be to the social fabric of Qatar way back in 2003, when the entire event took up the space of a ballroom of the Doha Sheraton hotel. Now, of course, we are used to the extravagant decor and surroundings of the show’s current home at the Doha Exhibition Center, with fortresslike booths, fountains and moats and more red carpet than a Hollywood awards ceremony. From humble beginnings, every year we look forward to the 15,000m² bejewelled sprawl that makes up the modern DJWE and attracts hundreds of thousands of visitors and exhibitors from all over the region and the world.

of global premieres. The biggest players from jewellery’s royalty have called Doha home for a fortnight every February, including the likes of Richard Mille, several members of the oligarchical Graff and Bulgari families, as well the new generation of artisans, such as Mads Kornerup, founder of celeb favourite, Shamballa, just to name a few. Companies and brands have been founded here, and the DJWE has also borne witness to its fair share of Guinness World Records over the last few years. Even this very magazine has been tied to the event for the past five of its ten-year run, with our first issue, number 0, being dedicated to the exhibition, albeit in a much different format to the periodical that you now enjoy.

It has become as important an event as any for the many watchmakers and jewellery craftsmen that make the annual trek to our small peninsula to show off their latest creations, as well as unveil a multitude

So, while there exists very little archival record of the origins of the Doha Jewellery & Watches Exhibition, let us, instead, look at some of the headline items to have passed through the portals of the Doha Exhibition Center in the years since we began our association with the event; at least, items that have captured our imagination, and that we think make the DJWE a truly unique event.

Mouawad’s record-breaking “1001 Nights Diamond Purse”..

Bejewelled Qatar 2022 football by Al Makki Jewellery..

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From diamond-encrusted handbags to bejewelled footballs, the DJWE always throws up the odd quirky surprise. Supporting the Qatar 2022 bid, Al Makki Jewellery displayed a ball so bling, it would make Ballotelli blush. Emblazoned with black and white diamonds, the commemorative football proudly showed off, not only local ingenuity when it comes to jewellery work, but the Qatar 2022 logo as it had never been seen before. Also on a sporting theme, the show has turned up a Barcelona shirt with the club crest and the Qatar Foundation logo created from precious stones, to celebrate the Qatari organisation’s sponsorship of, arguably, the world’s most accomplished football club.

Perhaps one of the most memorable moments in recent years was the presentation by the Book of Guinness World Records to brothers Fred and Pascal Mouawad of their certificate for the world’s most expensive handbag. “The 1001 Nights Diamond Purse,” valued at $3.8 million, is officially the most expensive handbag in the world. Created after a painstaking 8,800 hours, the heart-shaped handbag was rendered with 18-carat gold and 4,517 diamonds (105 yellow, 56 pink and 4,356 colourless), with a total weight of 381.92 carats. The breathtaking item was unveiled to a waiting world at the 2011 DJWE and became the second world record captured by the company. The following year in 2012, the brothers Mouawad, again, left the jewellery world gasping, with the house’s $6.8 million “Snow White Princess Diamond Watch,” crafted from 18-carat white gold and meticulously layered with 233 colourless diamonds of varying sizes. The watch’s gems weigh in at a staggering 106.93 carats and are also some of the most pure -and largest - flawless cut diamonds in the world. While the Snow White didn’t quite capture another certificate for the company, it makes you wonder what treats the brothers have in store for the Doha Jewellery & Watches Exhibition’s 10th birthday.

The show also inspires many international watch and jewellery companies to create bespoke limited edition and one-off pieces for the Qatari and regional markets. It is here they choose to showcase them, from Officine Panerai’s “Qatar Special Edition (PAM00472) Radiomir 10 Days GMT,” with an engraving of Zubara Fort on the backcase, to Parmigiani’s one-ofa-kind $4.11 million “Falcon” clock, encapsulating not only Parmigiani’s watchmaking brilliance, but a stunning interpretation of the Middle Eastern tradition of falconry. The unique piece’s polished silver falcon’s wings, and the cap on its head, are highlighted by 6,000 brilliant-cut

Ulysse Nardin’s Freak Blue Phantom .

A special edition Panerai watch, made just for the Qatar market..

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diamonds, while its beak and talons are made of gold. The bustard ultimately cannot evade the falcon, which seizes its prey six times every hour. There are, of course, pieces that are not specifically designed for this market, but capture its imagination completely. One such watch, in recent years, was the critically-acclaimed Ulysse Nardin “Freak Blue Phantom.” The game-changing watch was not only an haute horologie masterpiece, but also a recipient of a symbolic Sur la Terre Award for “Best Complication” in our imaginary red carpet of the best pieces on show at the 2010 event. All of this is just the tip of the glittering iceberg that is the Doha Jewellery & Watches Exhibition. With hundreds of brands arriving in the next few weeks to show off their shimmering wares, this tenth instalment of the show promises to be the biggest and best yet and, like the noble Oak, from a small start, it has taken just a decade for the DJWE to spread its roots and become an ever-growing symbol of both Qatar’s economic strength and its stature as a global heavyweight in the luxury segment. >>>

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Parmigiani’s stunning “Falcon” clock

Time To Get Precious The tenth Doha Jewellery & Watches Exhibition will be held at the Doha Exhibition Center between the 20th and 26th of February. www.dohajewels.com

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fe at u r e

Sails, Planes and Automobiles For 21 years, the great and the good of the marine industry have descended on Dubai in March to take part in the region’s flagship leisure marine event, which after more than two decades, has become a beacon for the burgeoning industry in the GCC. Continuing its stellar growth, this year’s Dubai International Boat Show promises to be bigger and better in just about every respect. Last year, a record number of Superyacht Builders Association (SYBAss) members signed up to be a part of the show’s 20th anniversary celebrations, and this year’s show is likely to continue in the same vein, with no less than 30 new exhibitors from Turkey, Italy and elsewhere, all coming to join the party. Among the prized names that set sail for Dubai in 2012 were Abeking & Rasmussen, AMELS, Benetti, CRN, Feadship, Fincantieri, Heesen Yachts, Lurssen, Oceanco, Sanlorenzo and Trinity Yachts. No doubt they will be mooring up at Mena Seyahi again this year to showcase their latest models and designs alongside the local dealers such as Gulf Craft. As was the case last year, the dedicated SYBAss Pavillions have been further enhanced and will, again, be set in the heart of the show within the Marina Display Area. For the best known and most respected names in superyacht circles, the event is synonymous with success. “It comes as no surprise to us that the Dubai International Boat Show is attracting so many world class superyacht builders,” said Michael Breman, Sales Director of Lurssen Yachts. “For Lurssen, the event has always been an excellent opportunity to showcase our most innovative and sophisticated yachts and introduce the brand to an equally sophisticated audience. This is not only the most important marine industry event in the Middle East, it has become a must-attend event for global players.”

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A number of key factors have been the catalyst for the success of the show, not least the range and reach of its high calibre international exhibitors, but also in-part to the highspending visitors. So much so, in fact, Dubai International Boat Show has become the most accurate gauge and effective driver of the regional marine market. Bringing together buyers, builders and distributors from around the world to display their wares to some of the highest net worth individuals is such a successful formula, that in recent years, the show has extended its remit to other, related areas of the marine lifestyle arena. For instance, this year will see the return of the Supercar Promenade, which will showcase some of the finest, and highest value, automobiles available in the Emirates. Highlights will include cars from great British marques such as McLaren, Bentley and Rolls-Royce, whose finest creations will be parked alongside Brabus-tuned AMG Mercedes-Benzes, Porscheâ&#x20AC;&#x2122;s latest models and Japanese automotive giants, Nissan. As well as automobiles, there will be exhibits from jewellery companies, high-end furniture manufacturers and other industries that help the Dubai International Boat Show transcend your average trade show and become a complete lifestyle event.

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â&#x20AC;&#x153;Dubai International Boat Show has become the most accurate gauge and effective driver of the regional marine market.â&#x20AC;?

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The event also draws its exhibitors from more than 40 countries, with several companies from new geographic locations deciding to attend. There will be debut appearances from several new nations from as far afield as russia. Other key segments of the show will be the Superyacht Boulevard, exclusively reserved for the showcasing of superyachts of 25 metres and above; the Marina Display Area, comprising of the largest on-water display in the Middle East; Luxury Supplies & Services housing the fi nest luxury fi xtures and fittings from around the world; and Equipment Supplies & Services, an indoor area fi lled with exhibitors specialising in products essential to the supply and servicing of the leisure marine industry. For the fourth consecutive year, one of the worldâ&#x20AC;&#x2122;s most elite watch brands, Officine Panerai, will attend as a supporting partner alongside Mercedes-Benz, which will once again be the official show car. Meanwhile, leading private jet manufacturer, Bombardier, renews its position as a major sponsor for the second time, meaning that this 21st instalment of the Dubai International Boat Show will be the most impressive event on land, sea or in the air.

All Aboard The 21st Dubai International Boat Show will be held at the Dubai International Marine Club at Mina Seyahi between 5th and 9th of March from 3:00pm to 9:30pm daily. www.boatshowdubai.com

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B E AUTY

Winter BEAUTY TRENDS We’ve recreated three make-up looks from the autumn/winter Paris and Milan runway shows that are worth stealing. The classic smoky eye is given a colourful new twist, seductive berry-inspired lips cause a stir and white shadows create an ethereal look. Photographed by Marc Ninghetto Hair & make-up by Julie Monot Styled by Mélanie Hearnden Model Diane-Laure from Demoiselle Models Text: Tiffany Mitchell

Winter Whites Swathes of white shadow and neutral tones on the eyes work together to create a beautifully angelic day-time look. Get the look - Clarins Skin Illusion Mineral & Plant Extracts L oose Powder Foundation - Chanel Les 4 Ombres R affinement eyeshadows - Lancôme Ombre H ypnôse Mono eyeshadow in Trésor Glacé - Chanel Lèvres S cintillantes in Glossimer Model

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wears pink fur boa from

V icedomini

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Sci-fi Eyes Exaggerated colour on the eyes is a strong and glamorous evening look this season. It’s all about mixing colours – purples, blues, greens and golds - for an otherworldly, dramatic effect. Get the look - Guerlain Ecrin 4 couleurs in Les Violets - Givenchy Le Prisme Yeux in Acoustic Harmony - Estée Lauder Pure Color Cyber Metallic Eyeshadow in Ultra Marine - Clarins Kohl K ajal eyeliner in violet - Lancôme Hypnôse Star Mascara Model wears raccoon fur coat by Faith Connexion from the Drake Store.

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Forbidden Fruits Deep, velvety, burgundy lips are this winterâ&#x20AC;&#x2122;s hottest beauty look. From mulberry to blackcurrant to grape, make a statement with a berry stained pout. Get the look - Guerlain Shine Automatique H ydrating Lip Shine in Flirt - Chanel Rouge A llure V elvet Lip Colour in Lâ&#x20AC;&#x2122;Impatiente - Bobbi Brown Creamy M atte Lip Color in R azzberry - Nars Larger Than Life Lip Gloss in Rouge Tribal Model wears blue fur boa from V icedomini

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l i fe s t y l e

Oceans of Time Twenty-twelve was a vintage year in the boating industry with many of the world’s leading shipyards delivering some of their most innovative and technologically advanced vessels ever. Equally, the year saw the continued success of that most masculine of timepieces, the sports watch, with not only established marine chronometer brands adding significant new launches, but even some new brands making a splash. Sur la Terre takes a look at some of the finest examples of both the watercraft and watches that have created waves in the last twelve months.

s long as man has been conquering the sea, from sextants to sundials, he has created instruments to help him navigate and keep time. As mankind’s maritime ambitions evolved and our exploration of the briny deep pushed greater physical boundaries, the world of horology has continued to keep pace, ensuring that measuring time and tide has always been both functional and stylish. The likes of Columbus and Cook, who risked life and limb to map the world aboard rickety, wooden, saildriven, vessels, would blanche at the size, speed and sturdiness - let alone the luxury - of the floating palaces that, nowadays, traverse the world’s waterways for nought but the pleasure and joy of travelling. Equally, too, they would have been impressed by the sailing aids, the technological marvels and, of course, the timepieces available to the seafarers of the 21st century. So, in memory of Magellan, Columbus, Cook, Vespucci, et al, what follows are three of the best boats to set sail in 2012 alongside the must-have watches that help to keep track of the oceans of time spent living the high life on the high seas.

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Burgess Yachts - Smeralda One of the stars of the recent Monaco Yacht Show, but only available to view by customers and a few members of the exclusive yachting press, Burgess showcased its beautiful Smeralda among the superyachts at Port Hercules. With her distinctive hull lines and super-sleek profile, the spectacular brand new 77-metre boat is the third and most advanced vessel in the company’s multiple award-winning Silver Series. Built by Hanseatic Marine and designed by Espen Øino, she incorporates a variety of enhanced features ranging from her technical specification to her deck layout, guest areas and interior decor. Smeralda delivers cruising speeds of 25 knots and a top speed of over 27 knots, with a range of 4,500 nautical miles when sailing at a steady 18 knots. The performance credentials of Smeralda were proven on her maiden voyage from Perth in Western Australia to Monaco, which the boat achieved in an impressive 23 days, despite stormy conditions and heavy seas.

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Smeralda is the largest superyacht to be built in Australia and boasts the highest level of Northern European luxury craftsmanship and outfitting. The sophisticated contemporary-styled interior was designed by Andreas Holnburger of Vain Interiors in Germany and features American walnut panelling, high gloss lacquers, and innumerable custom finishes such as sculptured carpets, woven leathers and artisan stonework. On the main deck, the main saloon is framed by large picture windows offering panoramic views and plenty of natural light. The adjoining media lounge/library with a plasma cinema screen leads aft to the “Winter Garden,” a large air-conditioned dining area with wrap-around sliding glass panels conceived for flexible indoor-outdoor dining, whatever the weather. Dining arrangements can be adapted for either intimate social gatherings or for larger parties of up to 20 guests. The Owner’s Apartment occupies the entire upper deck level and features an expansive saloon, comfortable stateroom with his and hers bathrooms and dressing rooms, in addition to a large private aft facing deck area. Your guests, meanwhile, can enjoy any of the nine cabins, three of which are VIP suites. Other unique features include the heli-pad, a glass-fronted jacuzzi on the sun deck, an outdoor cinema, an outdoor nightclub sound system, large forward gull-wing doors which house the vessel’s inventory of water toys, while the sea level “Beach Club” boasts a comprehensive spa and gym, a customised sauna, massage room and a beauty salon. www.burgessyachts.com

Lürssen Yachts - Lady Kathryn V Lady Kathryn V is, like her predecessors Solemates and Arkley, a very voluminous yacht and her exterior design by Espen Oeino is dominated by sleek, curved features which have been expanded throughout the whole yacht. Jack Fhillips, along with the owners, has created a classical, elegant and sophisticated interior while maintaining maritime colours of blues, whites and creams, while Adam Lay’s bulkhead design blended beautifully with lightness of fabrics and the custom, luxurious, soft loop carpet. Lay has created generous and warm areas in which the design blends elegant and rich woods. The interior joinery is a combination of maple and anegre with flat paneling and applied mouldings. A warm fruit-wood stain color was identified early-on in the process while sitting next to one of the fabulous pieces of furniture in the owners’ home. In some special areas, such as the dining room, owners’ study and main salon aft demi-lune cabinets, Walnut is used in combination with Oak burl to create a contrast to the joinery elsewhere on-board.

Ulysse Nardin Monaco Limited Edition

For over 166 years Ulysse Nardin has been creating some of the most reliable marine chronometers in existence. The Monaco Limited Edition timepiece is designed to tackle extreme conditions and the 45.8mm case houses a self-winding movement featuring a 42-hour power reserve. The case has been specially treated with a sophisticated vulcanisation process giving it a blue rubber coating. The watch is further strengthened by an exclusive black ceramic folding clasp and a blue rubber strap with ceramic components which, like the dial, is enhanced by a wave pattern. Fitted with a unidirectional rotating bezel and screwed crown, its case is water-resistant to 200 metres. This edition is limited to 100 pieces, each individually numbered and engraved on an 18-carat gold side plate.

The main entrance lobby has its space and light maximised by an architectural staircase atrium which takes in the lower deck, main deck and bridge deck with a skylight encouraging light to enter the space from the sun deck above. The staircase curves around a honey Onyx column and bronze sculpture. Inboard of the staircase a double height

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Graham Swordfish Booster Iris

mirror, which was inspired by a Georgian window at Chatsworth House in Derbyshire, England, allows light to cascade into the main entrance lobby, lighting the stonework floor with compass motifs, and intricate wrought-iron and gilded balustrades.

The Swordfish Booster Iris is an iridescent-coloured watch shimmering in shades of green, purple, blue and pink. The rainbow effect is the result of the complex composition of the 48mm case’s oxide coating, which entails a nanometer-scale coating process developed exclusively for Graham. This means that each piece is completely unique and that no two watches will be produced with the same colour casing. Setting-off the iridescent case is a black mother-of-pearl dial, guaranteeing that in the aesthetics department alone, this is a watch that will set its wearer apart from the rest of the boating set. Employing a Calibre G1710 automatic movement with a 48-hour power reserve, the Swordfish Booster Iris is water resistant to 100-metres.

A new feature, unique to Lady Kathryn V, is the owners’ sea terrace portside, which is accessed via the owners’ cabin. With a distinctly nautical yacht club feel, this area opens to the elements via a huge shell door. Sitting on the platform offers incredible views forward just under the flare of the hull. Forward of the owners’ cabin are his and hers dressing rooms and water closets which lead to the full-beam bathroom which can be closed-off for complete privacy, with luxurious curtains which pull over the enormous half-round central glass-walled shower. To port is an oval bath tub with Jacuzzi, dressing table and basin cabinet, and to starboard is a large chest of drawers, basin cabinet and TV. Four guest cabins are located on the lower deck. The two forward guest cabins comprise King sized beds, TV cabinet, dressing area and ensuite bathroom. Both have a separate WC/bidet room outboard taking advantage of the light. The two aft cabins are equally well appointed with Queen sized beds, dressing area and en-suite bathrooms. A fifth guest/VIP cabin is situated on the bridge deck. The sun deck, at which you arrive via the elevator, reveals an all-white almost heavenly space which incorporates white Thassos marble walls with columns, a floor with dark blue accent “drops,” white painted

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fretwork and mirrored doors. This area, called L’orangerie, was inspired by the Orangery at Kenilworth House on Hampstead Heath and the Hotel Cap d’Antibes. Intended to be completely different from the rest of the yacht, this area is light and bright and incorporates a gym, with one-way mirrored glass allowing users to see out whilst being able to work-out in complete privacy, a steam shower, sauna with changing room and a casual dining area as a central hub. As the link between the two most used outside spaces, the sun deck forward with Jacuzzi, dining tables and bar, and the sun deck aft with dining table and casual seating, this area has been one of the “must see” areas of the yacht. Powered by two 1,455kW Caterpillar engines, Lady Kathryn V reaches a top speed of 15.5 knots with a range of 7,000 nautical miles. There is also a fully-equipped tender garage which has large shell doors on either side and houses two tenders, as well as a large selection of sports equipment such as wave runners, kayaks and sea bobs along with a professionally equipped dive room. Available for charter, the Lady Kathryn V currently cruises the Mediterranean, the Baltic and the Bahamas. www.lurssen.com

Omega Ladies’ 37.5mm Planet Ocean

The Omega Seamaster Planet Ocean will be associated for a very long time with James Bond, who sported one of the new 2012 models throughout the box office hit, Skyfall. However, the Planet Ocean is not just a man’s watch, with ladies being well catered for, particularly with this model, the 37.5mm in 18-carat red gold with white dial and Ceragold unidirectional bezel. The watch is powered by an Omega Co-Axial calibre 8521 movement with a 50-hour reserve and the ability to look stunning at a depth of 600-metres.

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Overmarine - Mangusta 130 Misunderstood I The Misunderstood I from the Mangusta 130 range is an example of modern style, elegance and top performance. The 40-metre “Maxi Open” stands out for her racy, decisive lines courtesy of designer Stefano Righini, as well as her performance - 37 knots at top speed powered by twin Roll-Royce Kamewa waterjets - and excellent seaworthiness. Offering a range of 400 nautical miles at its cruising speed of 32 knots, the craft is perfect for cruising the GCC. On board, the feeling is one of calm relaxation. The Overmarine-designed interiors are the result of an in-depth architectural study. The main deck houses an elegant, spacious salon and lunch area and offers a delightfully panoramic view through the large windows. The central part of the roof can be opened up to allow more light and fresh air to flood into the cabin. Below deck, the guest area consists of a full beam owner’s suite astern, featuring a large bathroom, walk-in closet and a fitness area with Technogym equipment, as well as three spacious guest cabins; a VIP stateroom, a twin cabin and a double room, all of which are fully equipped with en-suite bathrooms. Like all the models in the range, the Mangusta 130 is also characterised by large exterior spaces at both bow and stern, an unusual feature in yachts of this category, which allow owners and guests to experience life on board to the full. The lunch area is protected from the sun by a retractable awning. The two coffee tables can either be turned into a single large table to accommodate several people in complete privacy or lowered to create another sun deck. The stern cockpit is extremely versatile, with a Jacuzzi tub that can be converted into yet another sun deck, next to its lunch area and a large television that can be hidden away when it is no longer required. The garage is fully equipped with tender and jet skis, as well as a number of other sea toys. www.overmarine.it

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J ETSET

A Night At The Lanesborough

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Regional Managing Editor, James McCarthy, experiences the “suite life” at The Lanesborough Hotel in London.

here are hotels, and then, there are Hotels. For the wealthy traveller to London, it is easy to be swayed by the historic reputation of Claridge’s or the Dorchester, the two grand old dames of the capital’s hospitality landscape for more than a century, but they can somehow seem a little passé these days. No, for the iconoclast with cash to burn, the relatively youthful St. Regis-owned Lanesborough is nothing short of the perfect destination. While the hotel may be a mere pup in London-years, being open since just 1991, the building itself, perfectly situated on the ley line of luxury that borders Belgravia and Knightsbridge, has stood since the Victorian age which, along with its imposing Greek Regency facade, pillared entrance and bowlerhatted doormen standing sentinel on Hyde Park Corner, provide the necessary gravitas. Its aristocratic credentials are unquestionable. Built on the site of Lanesborough House, home to

the Earl of Lanesborough in the 1700s, the current structure was completed by renowned architect William Wilkins (who also built the National Gallery in Trafalgar Square) in 1844 and opened its doors as the 350-bed St George’s Hospital, acting as such until 1980. After a painstaking renovation under the auspices of the Royal Fine Arts Commission, the Georgian Society, the Victorian Society and English Heritage, the Lanesborough today is a paragon of 18th century elegance and discrete professionalism blended with all of the contemporary luxury one would expect from a Park Lane hotel. Personally, as a luxury lifestyle journalist, I have had the good fortune to be royally received and pampered by many of the world’s truly great hotels, from Brown’s of Mayfair, to the exceptional Cap Estel on the Côte D’Azur and, while each has offered a wonderful glimpse into a life of unadulterated luxury, none of my experiences had prepared me for the status and service that is afforded as a matter of course to any resident of The Lanesborough.

The Garden Room..

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The devil, you see, is in the details. Once I had been received within the capacious and glorious, but tastefully opulent reception, I was escorted to the Buckingham Suite, a snip at £3,500 ($5,630) a night, and introduced to my Butler, who already knew my name and had set to work unpacking my case and arranging for my shirts to be pressed. As I walked into the spacious, multi-roomed, first floor residence, I was transported straight onto the set of Downton Abbey. The aged brass fixtures and fittings, including buttons for summoning “the help,” the elegant wood panelling and period antique furniture all contributed to the illusion. It also concealed a wealth of modern technology and luxury, from LCD TVs hidden behind gilt-framed artworks to Bose iPod docks nestled behind moveable panels, as well as every type of internet and power socket hidden in the specially-fitted top drawer of a vast, imposing, wooden leather-covered desk. The type of desk, one would imagine, at which Churchill would have sat while writing his letters to King George VI and taking in the

spectacular view of the Wellington Arch from the floor-to-ceiling bay window. My favourite first impression, though, was not the complimentary bottle of chilled Tattinger Champagne, but the personalised headed notepaper and calling cards, with my name and direct room number printed just below the hotel masthead. This in itself might seem a silly thing to notice amongst the comfort and luxury of the super king-sized bed, with its gazillion-thread count Egyptian cotton sheets, or the flawlessly sumptuous Carrera marbled bathroom, but it demonstrated a truly personal touch, so easily lost in the hospitality industry, even at the highest level. In all of the elite hotels in which I have had the pleasure of hanging my metaphorical hat, I have never seen such attention to detail. To me, it sums up everything that is great about The Lanesborough, where you are not just another set of deep pockets, passing through one in a chain of luxury hotels. It feels more like being welcomed back into your own stately home after a long trip away.

The Living Room in the Buckinham Suite..

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And what a well-appointed home it is. Among the amenities available are a world-class Spa Studio, offering the latest in La Prairie body and face treatments, as well as acclaimed male ministrations. For relaxation of a less salubrious, but no less enjoyable, nature there is either the Garden Room, an upmarket, but wonderfully understated al-fresco cigar lounge, offering a well-stocked humador and a veritable cornucopia of fine whiskies to enjoy them with, or the Library Bar, once rated “the best hotel bar in the world,” which houses a fine collection of vintage cognacs, as well as a menu brimming with signature cocktails. It was here where I met with Clare and Malin from Luchford APM, who handle The Lanesborough’s PR account and helped organise my stay, both looking dazzlingly glamourous in their stunning black gowns that, alas, were not for my benefit. The ladies were escorting renowned chef, Heinz Beck, to his latest awards ceremony. Beck is the brains behind The Lanesborough’s culinary pièce de résistance, Aspleys. It is not only the restaurant that gave Beck his fourth Michelin Star, but it is also the fastest-awarded Michelin Star in London, with Aspleys achieving the honour within four months of opening. After making my reservation personally, the effervescent Mr Beck, replete in black tie and dinner jacket, assured me over his glass of Champagne that I would enjoy my dinner and to try the carbonara fagottelli. With a wink and a handshake, flanked by his statuesque

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The Bathroom (above left) and Bedroom in the Buckingham Suite..

It is the attention to the small details that sets The Lanesborough apart, like the personalised stationery..

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Aspleys’ main dining room..

charges and looking for all the world like a retired James Bond, he was whisked away to the waiting Rolls-Royce and the satisfaction of landing another glittering award, while I retired to my room to dress for dinner. The first thing you notice as you step into the Aspleys dining room is the beautiful vaulted glass ceiling, punctuated by a trio of dramatic chandeliers. The main room is on two levels, with a sunken dining area framed by a raised, balcony-type floor for a more secluded and romantic setting. Off to either side of the main entrance, there are private dining areas for larger parties or those wishing for a more discrete, family dining experience. I was sitting on the balcony with the restaurant spread out before me, allowing me to enjoy the fine Venetian-inspired setting as well as the spectacular food. I started with the slow-cooked guinea fowl with wild mushrooms and a capuccino sauce and followed it up with fois gras terrine, smoked

apple and amaretti. The sommelier paired the wines with each course fantastically, delivering a glass of 2007 Muffato, a sweet, syrupy aromatic wine, bringing with it the euphoric scent of childhood summers and blossoming fruit trees. It danced playfully on the palette and worked in perfect concert with the wonderful blend of savoury and sweet provided by the fois gras. Again, the sommelier’s choice was exquisite, matching a full-bodied white wine with Aspleys’ signature carbonara fagottelli, as recommended by Beck himself. A bowl brimming with small parcels of pasta, each bulging with a carbonara sauce, was placed before me. When the first delicate parcel ruptured on my tongue, relieving itself of its creamy cargo, I was in epicurean heaven as each subsequent mouthful brought with it, literally, an explosion of flavour.

At The Lanesborough, you are not just another set of deep pockets, passing through one in a chain of luxury hotels. It feels more like being welcomed back into your own stately home after a long trip away.

Quite unadventurously, after weighing up the pigeon with crispy polenta, marinated figs and cauliflower against the fillet of beef

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cooked in red wine with Radicchio Trevigiano, I opted for the latter. I was not disappointed. The tender meat and rich sauce was a supremely prepared and wonderful rendering of one of my favourite meals. For dessert, I chose the cryptically monikered “Milk,” which, it transpired, could be a meal in and of itself. Five different dishes, all with milk as the key ingredient, arrived to taunt my tumescent body. I felt like the corpulent Mr Creosote in Monty Python’s The Meaning of Life, facing the terminal prospect of “one, tiny, wafer-thin mint.” Bravely soldiering on, I endeavoured to at least taste each act in the decidedly alabaster culinary opera laid out before me, until I was finally forced to succumb to my satiated body. I decided a brisk walk in the crisp London air was needed to ease the digestion of my fantastic repast, so I headed out for a stroll around the fringes of Green Park. My circular route brought me to the door of trendy London nightspot, Whisky Mist, a favourite among young Royals and high-rolling City bankers alike, and a mere 10-minute walk from the hotel. A couple of healthily-priced measures of 18-year-old Glenlivet later and I was already yearning for my stately refuge, so back into the cold November night I ventured, passing a myriad supercar dealerships as my hot breath formed fleeting wraiths against the frozen air. As I walked onward towards the welcoming embrace of The Lanesborough, the knowledge that my faithful butler would be waiting with my robe and slippers, a potent nightcap and my bed turned down, filled me with a satisfied warmth.

Aspleys’ signature carbonara fagottelli ..

As I slid between the sheets of the marshmallowy soft bed and waited for sleep to cascade over me, my feeling of contentment was pricked by twinge of melancholy. The sadness that The Lanesborough has forever skewed my perspective of what luxury accommodation should be like and that, the following morning, after my (perfectly prepared) poached eggs on toast, I would be leaving it behind. My work will always propel me to destinations of a reputed five-star calibre, but, as I said before, there are hotels and then there are Hotels... and then there is The Lanesborough.

Aspleys is the brainchild of Michelin-starred chef, Heinz Beck (right) ..

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T he cou ntless gold of a mer ry hea rt, T he ru bies and pea r ls of a loving eye , T he indolent never can br ing to the ma rt, Nor the sec r et hoa r d u p in his t r eas u ry. - W i l l i a m Bl a k e

i n moti o n

Ten

Out of Nine

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Kevin Hackett takes the wheel of Aston Martin’s new DB9

have heard it said that Aston Martin’s design chief, Marek Reichman, has the best job in the industry. Imagine, some say, being in charge of the styling of the most stylish car company around. But they’re barking up the wrong tree, for his is a poisoned chalice.

Think about it. I reckon his is the toughest job out there and I don’t envy him at all. When he joined Aston Martin, the DB9 and V8 Vantage were already in production – two cars as physically flawless as it is possible to be. How, you might rightly ask, could anyone be expected to follow these designs with anything other than disappointment? So, having accepted mission impossible, what Reichman has sensibly done instead, is to keep honing and refining, making subtle yet effective changes to the designs of cars that bring grown men and women around the world to their knees. See an Aston Martin on the road and, chances are, you’ll be drowning in a pool of your own drool within seconds – class on four wheels simply doesn’t get classier. Now you might be wondering why we’re bothering to test a car that’s been around since 2004 – a lifetime in the motoring world. But today’s DB9 – this DB9, to be precise – bears scant resemblance to the troubled original, apart from its physical, external design. Spot the differences? They’re there, alright. Put this thing next to one of the early cars and you’ll see how the 9’s look has been updated over the course of nearly a decade.

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But has it worked? Nobody thought more highly of the early DB9’s slinky, sinewy shape than I. Over the past few years, many have passed through my hands and I have studied, with an almost fetishistic obsession, every square millimetre of them, trying in vain to find a duff line, the slightest physical flaw. Granted, some of the various alloy wheel designs have been hit-or-miss and it’s never looked its best in certain paint hues, but that basic shape has always captivated me like no other modern car. Perfection? I’ve always thought so. The 9’s design was started by Ian Callum’s team, before he jumped ship to give Jaguar a much-needed kick up the derriere, and was finished by his replacement, one Henrik Fisker. Fisker then shrunk the DB9 to give us the V8 Vantage before he, too, left Aston Martin to set up shop on his own. That was when Reichman took the reins and, to his credit, he knows when something is instinctively right. When charged with beefing up the 9, he gave us the DBS – a car that successfully blended beauty and raw aggression – and he managed to turn the V8 Vantage into a roadster, with the result being one of the most dropdead gorgeous pieces of automotive rudeness to ever turn a wheel. And let’s not forget the Rapide – a car that seats four (just) and makes the Porsche Panamera look like it’s been involved in a head-on collision. The car that you’re looking at on these pages is as close to a reworking the DB9 will probably get before an entirely new, clean-sheet design is implemented. And, for the most part, it still looks entirely stunning. To my eyes, the car’s nose has lost some of its grace with that gaping hole and deep spoiler, but overall it’s unsullied and has lost none of the magic that has caused thousands of people to forgive its past questionable reliability. But while the new DB9 looks, to the untrained eye, very similar to the original model, underneath its sculptural flanks beats the heart of an almost entirely different car. This thing is radically different and improved in every way.

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Its engine, in particular, is a modern masterpiece. Six litres of full-fat V12 goodness that, when ignited and soundly thrashed, releases the finest automotive music you’ve ever heard. There are more telling descriptions, but we’re probably best keeping those to ourselves; still, take it as read: this motor is a guilty pleasure that we owe it to ourselves to enjoy while we still have the chance. For anyone interested in the oily bits, this engine features a new block, a new crank, new throttle bodies, a new intake manifold design, new hollow camshafts, machined combustion chambers, bigger intake valves and new dual variable valve timing heads. Or, in laymen’s terms, it’s what is known as a “new engine.” In fact, it’s probably best viewed as a slightly less powerful version of that which is currently carrying out active service in the new Vanquish, which has replaced the always stunning DBS. Speaking of which, this new DB9 punches out 517hp, which makes it more powerful than the DBS. Make no mistake, this is a seriously quick machine. To start it, you grasp hold of the key, which is essentially a silly fob thing with a polished, crystal glass end cap. It’s weighty and quite lovely to hold. Press the brake pedal, insert the key into the central slot and there’s a mechanical whirring for a second before BAM! Aston Martin’s V12s always make an incredible noise when they’re ignited, like a Rhodesian Ridgeback that’s doing its best to terrify a pride of lions into submission. If the looks of this car don’t reduce you to monosyllabic grunts, the sound surely will.

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The initial racket soon settles down into a civilised rumble and, when you first take to the road, it does initially feel like the DB9 is all mouth and no trousers, because at low speeds everything is totally serene. The steering feels meaty and precise and the auto ‘box shifts around without the clunks and thunks it used to send shimmying through the seat of your pants. Hit the Sport button and mash the loud pedal to the carpet, however, and the DB9’s Jekyll and Hyde dual personality makes itself known in and instant. There’s an absolute ferocity, with the previous civility disappearing in a haze of full-on engine roar and neck-snapping acceleration. The rear end, even with the intervention of all the electronic trickery of its traction control system, feels incredibly lively and you’d need an incredibly wide, empty stretch of tarmac at your disposal if you’re going to be brave enough to disengage it completely. The upshot of this contradictory state of affairs is that the DB9 makes you feel like a driving god – a hero – without killing you.

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“ If the looks of this car don’t reduce you to monosyllabic grunts, the sound surely will .” -

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But the alarming gathering of pace is not what leaves the biggest smile on your face. It isn’t even the feeling that you’re piloting something that’s hand-built in England with an engineering might that Aston once looked like it would never possess. It isn’t the steering or the superb carbon ceramic brakes, which are now fitted as standard. It isn’t the look or the feel of the cabin’s architecture, nor is it the Bang and Olufsen sound system with its ludicrously cool tweeters that emerge from the top of the dashboard when you switch it on. No, it’s the noise; the nape-tingling, spinerearranging wall of bellowing sound that its twelve cylinders punches out through its exhaust pipes. As wonderful as Ferraris, Lambos and all the rest can sound, an Aston V12 at full chat remains one of the all-time greats, and makes the asking price of this car seem entirely reasonable. Once you’re really on it, the depth and breadth of the new DB9’s personality begins to reveal itself. The clever adaptive damping has enough scope for most situations even in the standard ride mode, but in Sport the car’s composure increases without any perception that the ride quality has suffered. Even severe road imperfections are heard rather than felt and, if the surface gets really bad, the DB9 still manages to smother away any harshness. In fact, it’s in this area that the car’s steady but excellent evolution is most manifest. As a driver’s car, it now excels in every possible way. Hit the DB9’s sweet spot and it makes you want to drive and drive – which is what a real GT car should be all about. It should make you want to cover vast distances

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just for the hell of it and it should allow you to emerge from a cross-continent dash without you feeling the need to call your chiropractor, and I can’t think of another car I’d rather spend time in than this. A Bentley Continental GT might be slightly quicker and more luxurious but it doesn’t feel as involving as the 9, which is never anything other than taut and fit, but rarely makes you feel like you’re in any danger. To make the driving experience just right, every time you get behind the wheel, Aston Martin has included a setting lock, so the car remembers how you like it to feel and go, without the need for you to go through a load of tedious button-poking or knob-rotating every time you start it up again. As your familiarity with this Aston increases, there’s always the dangling carrot of the Track mode to keep you on your toes. Press and hold the damper setting button and the chassis is reprogrammed for extra stiffness, making the DB9 feel even more alive, more dart-like. It still doesn’t turn it into a bouncing mess (unlike the similar setup on a Porsche 911); instead, it finishes the car’s transformation from docile gent to wailing nutjob, without causing you to feel like stopping and throwing up. On the right road, in this Track setting, there won’t be many other drivers able to keep up with you. Aston Martin was, until very recently, in danger of confusing its customers with a senseless range of DB9-based models. There was the standard car, the DBS and, what we all knew was a step too far, the Virage, which was supposed to be a halfway house between the 9 and the S. That model did not need to exist and it’s been canned, along with the DBS. Now we have a DB9 with all the best bits of the Virage, and we have the new Vanquish, which replaces the DBS and brings with it a more distinct look but not, in my view, enough advantages over the DB9 to warrant the spending of significantly more money. This is, by some margin, the best Aston Martin DB9 ever. unlike some of its rivals, it offers everything you really need and nothing you don’t. It feels honed, refined and complete. But most of all, it brings total class to the streets and roads of this world, and we can’t put a price on that these days.

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Photos hoot

Look at me Photographer: Dana Al Meslemani Assistant photographer: June Delgado Stylist: Farah Kreidieh Assistant stylist: Carla Mallari Model and agency: Laila Salamao for mega models brazil Art director: Roula Ayoub - Lara Nakhle Executive producer: Johan madarasz Hair stylist: Marjolina Lin and Pitt Gallardo Make up artist: Mary A nthonette Mercado

Necklace, Leo Pizzo white gold & diamond; Earrings, Leo Pizzo white gold & diamond; Ring, Leo Pizzo; Bracelet, Repossi white gold & diamond (right hand); Bracelet, white gold & diamond, Huchli Belluni; Ring, Leo Pizzo white gold & diamond; Lingerie, Jenny Packham from Salam.

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Necklace, Schreiner La Fleur; Earrings, Schreiner La Fleur; Rings, Schreiner La Fleur Collection (left hand) and Leo Pizzo (right hand). Musical Box, Reuge Voliere de la Cour; Dress, Donna Karan from Edition 1.

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Necklace, Schreiner white gold with emerald and diamond; Earrings, Schreiner white gold with emerald and diamond; Ring, Schreiner white gold with emerald and diamond (left hand); Bracelet, Verdi yellow gold with diamond; Bracelet, Verdi white gold with diamond; Bracelet, Verdi pink gold with diamond (right hand); Jumpsuit, Catherine Malandrino.

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Necklace, Cartier Panthere platinum onyx spots & emerald eyes diamond; Earrings, Cartier Panthere Altesse platinum onyx spots, emerald eyes & diamond; Ring, Cartier Panthere enchaine white gold brillants, onyx spots emerald eyes; Dress, Frankie Morello.

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Watch, Cartier Panthere Secret Watch (Unique piece) full diamond, emerald & onyx; Top, Catherine Malandrino.

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Necklace, Schreiner white gold & diamond; Earrings, Schreiner white gold & diamond; Ring, Schreiner white gold & marquise diamond; Ring (right hand), Leo Pizzo white gold and diamond; Bracelet, Schreiner white gold, rose cut diamond; Bracelet, David Morris white gold with diamond; Shirt, Prabal Gurung from edition 1; Trousers, Catherine Malandrino; Shoes, Brian Atwood from edition 1; Belt, Moschino.

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Earrings, Messika Eden collection pink gold, diamond; Bracelet (left hand), Messika Eden collection pink gold and diamond; Bracelet, Messika Eden collection pink gold diamond; Ring (left hand), Messika Eden collection pink gold; Dress, Moschino.

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Necklace, RCM white gold, ruby & diamond; Earrings, Schreiner white gold, ruby & diamond; Ring, RCM white gold, ruby & diamond; Pendant chain, Garrard white gold, pearl & diamond; Watch, Audemars Piguet white gold full diamond; Top, Donna Karan from edition 1; Skirt, Frankie Morillo; Shoes, Brian Atwood from Edition 1.

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Necklace, Leo Pizzo white gold & diamond; Earrings, Leo Pizzo white gold & diamond; Ring (right hand), Leo Pizzo white gold & diamond; Bracelet, RCM white gold & diamond; Bangle, Huchli Belluni white gold & diamond; Bracelet, Schreiner white gold & diamond; Bracelet, Schreiner white gold marquise diamond; Top, Catherine Malandrino.

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Necklace, Mikimoto white gold, diamond and pearl; Bracelet, Repossi, white gold and diamond; Ring, Wedding ring, white gold and diamond; Dress, Dsquared from Salam.

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Out OF tHe BOx

NaCho liBrE Photography: Dominic James

Let other people play at other games. The King of Games is still the Game of Kings.

here is no denying that polo has a regality that other sports can only aspire to; everything from the horses to the spectators drinking tea and eating cucumber sandwiches screams privilege. Adopted by royals and the aristocracy, polo is an ancient game, first played in Persia over 2,500 years ago as a training exercise for the King’s elite cavalry, where it earned the epithet The Game of Kings. Back then, there were up to 100 members on each team, making it less of a spectator sport and more of a bloody battle. The Persians spread the Game of Kings all over the Eastern world until a member of the Cavalry 13th Hussars, Captain John Watson created the polo as we know it now. He made it less dangerous by limiting the number of players on a team to five and inventing some rules, such as the classic “Do not steer your horse in front of the player with the ball, as you will get trampled.” The inherently dangerous sport was last played at the Olympics in 1936, but has begun to see a rise in

popularity of late, and one suspects that it may have something to do with Nacho Figueras. Nacho is the Beckham of polo, complete with a modelling contract, a beautiful supermodel wife, a plethora of pretty progeny and a handsome visage. Charm personified, the Argentine polo player grew up on a farm, surrounded by horses and polo, which is more popular and widespread in South America than other parts of the world. “It’s not as popular as football, but it’s a popular sport,” says Nacho, who started playing when he was only nine years old. By 17, he had his first job as a polo player, which qualifies you as a professional; the moment you are paid for playing, you’re a pro. “What I love the most are the horses, that’s what I’m most passionate about. I get to travel all over the world. And of course, the game itself is fascinating.”

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Of course, no mere mortal can bear the weight of making polo cool again all by himself, no matter how handsome. Nacho has made two important friends on his quest: Ralph Lauren and St Regis. He met Ralph Lauren, the all American designer, in the Hamptons in 1999 at a polo match, and Lauren thought it would be fun for a polo player to model for his polo collection. More than a decade later, the partnership is still going strong. “Polo epitomised the lifestyle Ralph envisioned for his clothes, and I grew up admiring them because I was into polo. So it was a coincidence ... in my head I like to think it was meant to be. They’ve been a great partner, it’s brought awareness to my sport,” says Nacho, who looks darn good in a polo shirt. And then St Regis stepped up. When Global Brand Leader Paul James was looking through the archives of the Astors, the founding family of St Regis, he came across a lot of photos of the Astors at polo matches. “There’s a small island off the tip of Manhattan called Governor’s island, historically the polo ground of New York; polo was played there every season from the late 1890s to the Second World War. As one of the leading families in New York, polo was part of their social life. And I thought, the only way to grow internationally is to build on the values of the original family.” Nacho, who names the New York St Regis as his favourite, was working to bring back polo to New York for the first time since 1941 with Veuve Cliqot. He asked St Regis to be a part of the initial match, which James notes was windswept and rainy. “But there was an audience! And that was very interesting.” The next year, St Regis held a big event on Governor’s Island, and then a Cup in London, and then they took polo to China, Thailand and now it’s part of the social scene in Abu Dhabi. “Horses are such an important part of the culture here. It had to connect with the people, it couldn’t just be people drinking champagne. And pink polo obviously appealed to people.” Pink polo is certainly popular. Held every year in at Ghantoot Racing & Polo Club, the glitterati from Dubai don pink and sashay out in the sunshine to watch the Game of Kings. Part of the allure of polo is of course, the chance to dress up, but it is sociable and more family friendly than any other sport. Families and friends bring blankets and stretch out in the sun to watch the horses (that is, of course, if they haven’t managed to get an invite into the VIP tents). Pink Polo is an innovative way to draw awareness to the deadly beast that is breast

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. sur la terre . out of the box .

“Nacho is the Beckham of polo, complete with A modelling contract And a beautiful supermodel wife.”

cancer; the perfect charity event. Everything is pink, including one poor horse, who was unfortunate enough to meet with some pink dye and looked rather disgruntled. The polo horses were beasts of magnificence however. It was a tense match between St Regis and their competitor, Abu Dhabi Commercial Bank (ADCB), and for the first half of the match, St Regis was the underdog until they turned it around at the last minute, scoring a final point. It was nail biting stuff, scones and cucumber sandwiches forgotten as the horses galloped along the pitch. “It’s all about the authenticity and the resonance,” says Paul James. “We did pink polo in Thailand, and it was sponsored by the Thai princess. You could see the dynamic shifted; it was younger, slightly more fashionable...it was like a pageant. You can go to a polo match and ignore the horses. More than one thing attracts people. The horses are amazing, they’re Usain Bolts, their ability, their strength, the softness of touch they have...they’re phenomenal creatures. That’s enough of a draw for half the people.” One of the more misleading assumptions about polo is that it’s an enclosed, exclusive world. Although it belongs to a world of luxury and privilege, it’s actually a friendly sport. “I went to the polo club in Ghantoot, I had never been before and I connected with the horses, with the people right away,” says Nacho, who spends half his life travelling around the world playing polo. “It’s like a family, we’re very open to new people. It’s the biggest misconception about polo, that if you’re not part of the polo world, then you’re not invited. But we’re always looking for new people, to play, to come to games, bring your kids, your family, your dog! That’s become one of my missions in life, that the polo world is open to everyone. That’s why St Regis is so great.” It is, however, a difficult sport. Not only do you have to be a good horseman, but you need the hand eye coordination to hit a ball with a mallet while charging along a field. It requires a lot of dedication. “The only time I managed to hit the ball was when Nacho was helping me!” laughs Paul James. Nacho makes it look easy. One of the best in the world, Nacho is humble and quick to name polo players who he admires. For him, it really is all about the horses, although being a “St Regis connoisseur” is an added bonus. “I have a breeding operation in Argentina. I have a lot of horses; 350 that I breed for polo playing. My son who is 12 started playing polo and just when I thought I couldn’t have any more fun playing polo and travelling, my son came in and it’s a whole other level of enjoyment. Hopefully he will become better than me, so I can stay home and look after the horses and he can go around the world for me! But it’s not a bad job, not at all.”

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out of the box

Diamonds

Are Forever . sur la terre . out of the box .

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Marilyn Monroe spoke the truth when she sang, “Time rolls on and youth is gone and you can’t straighten up when you bend! But stiff back or stiff knees, you stand straight at... Tiffany’s... Diamonds... Diamonds... I don’t mean rhinestones... but Diamonds... are a girl’s best... best friend!”

hat exactly is it about compressed carbon? That’s all diamonds are, after all. But we’re obsessed with them, revering the stones at a level to which rubies and emeralds merely aspire. Humans have long been magpies, attracted to anything shiny and it is true that diamonds have more than a passing similarity to stars in the sky. The sparkling facade belies the hard exterior; one of the hardest materials on earth, as Shirley Bassey sang, diamonds are forever. Perhaps it is the combination of eternity and beauty that have people so entranced and starstruck by diamonds. Curiously, diamonds find themselves at the heart of scandals and intrigues, from The Affair of the Diamond Necklace, where Marie Antoinette brought the Royal Court to eternal shame (and helped the French Revolution), to astonishment at the size of Jennifer Anniston’s engagement ring. There is only one jeweller that is synonymous with diamonds and that is Tiffany & Co. Tiffany’s has been part of our everyday lexicon for almost 200 years, whether because ethereal waif and fashion icon Audrey Hepburn dazzled in Breakfast at Tiffany’s, gazing into the window display at some breathtaking bling, her eponymous breakfast forgotten, or because, for a lot of women, Tiffany’s means engagement ring. The power and indeed, lure, of Tiffany’s diamonds is hard to deny and it seems no one is immune; even Susan Boyle, the scruffy Glaswegian songstress who eschewed fame and fortune recently splurged in Tiffany & Co in New York after receiving a Tiffany bracelet last year and falling in love with it. The Tiffany & Co Founder, Charles Lewis Tiffany’ had his heart stolen, too, by the largest yellow diamond ever discovered, a stone that is said to sparkle as if lit by an inner flame. In 1877, in the Kimberley Diamond Mines in South Africa, the stone was discovered and a year later Tiffany purchased the stone for a mere $18,000 and sent it to Paris where renowned gemologist Dr George Kunz cut it to 128.54 carats to best show off its brilliance. He named it the Tiffany Diamond. Tiffany & Co is still amazed that the priceless treasure was hiding hundreds of miles below the earth for millions of years. As if to counteract this magnificence waste, Tiffany then proceeded to show off his precious gem at World Fairs from the 1890s to the 1930s, where visitors gazed amazed at the large

The Tiffany Diamond .

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The Kimberley Mines, South Africa..

diamond. The Tiffany Diamond has never been for sale, except for one day in 1972. Tiffany & Co took out a not entirely serious ad in The New York Times announcing that the diamond could be purchased for $5,000,000 within a 24-hour time period, but luckily for the world, no one took out their cheque book (perhaps no one believed Tiffany’s would ever really part with the diamond) and the stone remains Tiffany & Co’s beloved property.

Charles Lewis Tiffany..

Although usually displayed inside the flagship shop on Fifth Avenue in New York, the Tiffany Diamond occasionally makes it out, although for its first outing since the World Fairs it only made it to the window display! In 1955, the famous window display artist Gene Moore was famous for his designs and according to the New York Times, “had Fifth Avenue pedestrians doing delighted double takes for more than half a century.” Who better to create a window display for the famous Tiffany Diamond? He designed a gold wire angel that held the diamond up to the heavens; an offering to the gods. Moore’s minimalist approach created the perfect balance between decoration and commerce; the emphasis was on celebrating the Tiffany Diamond and creating intrigue rather than overwhelming the diamond with embellishment. The effect was not only memorable, but very festive. The Tiffany Diamond has only ever graced two women’s necks, Rhode Island socialite, Mrs Sheldon Whitehouse at The Tiffany Ball in Newport (the guest list included JFK and Jackie Kennedy) and of course, the inimitable Audrey Hepburn. Jean Schlumberger, French jewellery designer and later Tiffany Vice President, had the honour of designing the setting for the Tiffany Diamond not once, but twice. Schlumberger’s

. sur la terre . out of the box .

Tiffany Exhibit .

Ribbon Rosette necklace was worn by Audrey Hepburn in the film Breakfast at Tiffany’s. The Tiffany Diamond sat on a bed of gold ribbons, inlayed with white diamonds, delicate yet reminiscent of the tangled forest in Sleeping Beauty. Hepburn, who had seen and worn her fair share of bling quoted John Keats when she told Tiffany & Co that “a thing of beauty is a joy forever.” More recently, in 1995, the Musée des Arts Décoratifs in Paris held a Jean Schlumberger retrospective, which showed the diamond in a brooch setting called Bird on a Rock. A very whimsical piece, it drew attention to just how large and timeless (and even a little bit amusing) the diamond can be, with its fantastical bird, perching jauntily on the priceless yellow diamond.

Gene Moore’s window display .

To celebrate Tiffany & Co’s 175th anniversary, the Tiffany jewellers have been working hard on a new setting for the last year and unveiled their creation in Dubai at the end of 2012. The current inception is a startling modern necklace of white diamonds and platinum, totaling over 120 carats. Featuring 20 Lucia diamonds and 58 brilliant-cut diamonds, the Tiffany Diamond is mounted on a motif of sun rays and designed with 481 sparkling stars. As part of Tiffany & Co’s dedication to innovative design and luxury jewellery, the Diamond will travel the world. Its first outing was in Dubai Mall, and now it will travel to Tokyo and Bejing, giving the world a chance to glimpse the famous gem before being safely returned to New York.

Schlumberger’s Ribbon Rosette necklace .

Bird On A Rock .

The Tiffany Diamond 2013

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M A r K e tPl Ac e

wElcoME

to thE SLT MARkEt plAcE.

A go-to gUidE

oF thE hot pRodUcts yoU shoUld BE BUyiNg, AvAilABlE iN thE locAl MARkEt Now.

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M A R K ETPL ACE

Natura Bisse Diamond white Serum, exclusively available at 4U Royal Plaza, Doha.

Van Cleef & Arpels FĂŠerie Spring Blossom, available at Salam and 4U Stores region-wide.

Van Cleef & Arpels Vintage Alhambra limited edition bracelet and earrings , available at Van Cleef & Arpels boutiques region-wide.

Mademoiselle Ricci perfume, available at Salam and 4U Stores region-wide.

Paul Smith Neopolitan striped peak hats and DUNST Stone leather and linen heeled brogues , both available at The Gate in Doha and the Paul Smith boutique in Dubai Mall, UAE.

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Blue Gucci Jackie bag, available at Gucci stores region-wide.

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M A R K ETPL ACE

Chaumet Attrape-moi… si tu m’aimes ring, available in Doha through Alfardan jewellery and regionwide at chaumet boutiques. Neckties from Kenzo’s men’s collection, availble at kenzo Stores region-wide.

Jaeger-LeCoultre Grande Reverso Lady Ultra Thin with a double-tour strap by Valextra , available at JaegerLeCoultre boutiques region-wide.

Chaumet Dandy Slim WG LM-38 Auto watch limited edition, available in qatar through alfardan jewellery and at chaumet boutiques region-wide.

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Cover Image: Les Indomptables de Cartier : Peacock watch and brooch in 18-carat, rhodium-plated white gold, set with diamonds, rubies, nephrite jade and sapphires. Photographer: Jean-Jacques Pallot ÂŠ Cartier 2012

Cover Image: J Craft Torpedo Image courtesy of J Craft Stockholm, Sweden

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