PRESTIGE Worldwide Digital Myanmar 01/2020 by firstconsulenza

SPRING 2020 VOLUME 5

MYANMAR

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IM PR INT

quarterly magazine

CORRECTOR ANDREAS PROBST

MEMBER OF THE BOARD TIBOR MUELLER BORIS JAEGGI

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PHOTOGRAPHS Bilddatenbanken, Louboutin, Patek Philippe, A. Lange & Sähne, Chanel, Cartier, Baume & Mercier, Carl F. Bucherer, Hermes, Nomos, Jaeger, Girard Peregaux, Rolex, Piaget, Vacheron, Breitling, Bulgari, Hublot, TAG Heuer, Zenith, Maurice Lacroix, Ulysse Nardin, Oris, Roger Dubois, MeisterSinger, Revlon, Yves Saint Laurent, Clarins, Dior, Lancome, Tamara Orjola, Jenifer Wen Ma, PPR/WITWINKEL/David Hubacher

EDITOR-IN-CHIEF SWENJA WILLMS s.willms@rundschaumedien.ch DEPUTY EDITOR-IN-CHIEF NIKE SCHRÖDER n.schroeder@rundschaumedien.ch SALES SALVATORE D'ALESSANDRO s.dalessandro@rundschaumedien.ch PATRICK FREY p.frey@rundschaumedien.ch VIRGINIE VINCENT v.vincent@rundschaumedien.ch FRANCO D'ELIA f.delia@rundschaumedien.ch MICHELE ZITO m.zito@rundschaumedien.ch ALBAN MULAJ a.mulaj@rundschaumedien.ch URS HUEBSCHER u.huebscher@rundschaumedien.ch HEAD OF PRODUCTION & ART DIRECTION EMMA R. SCHAUB e.schaub@rundschaumedien.ch PRODUCT PUBLIC RELATION SWENJA WILLMS s.willms@rundschaumedien.ch EDITORS DR. ALEXANDRA ARNOLD SANESHA BLOOM GISBERT L. BRUNNER WALTER EDELMANN WILMA FASOLA PATRICK FREY LONE K. HALVORSEN BERND HAUSER THOMAS HAUER SIMONE HOFFMANN URS HUEBSCHER ANDREAS KRAFFT BEAT KRENGER HEIKO LASCHITZKI CORINA RAINER KATHRIN ROTH ANNA KAROLINA STOCK BEATRICE SCHÖNHAUS SPIRIG HELENA UGRENOVIC ANDY ZAUGG

ADMIN, COORDINATION & SUBSCRIPTIONS SERPIL DURSUN s.dursun@rundschaumedien.ch PRICE Issue CHF 10.–/€ 9.50 Year C HF 39.–/€ 35.– IT SUPPORT DEJAN DJOKIC deki@rundschaumedien.ch WEB SERVICES websiteria GmbH info@websiteria.ch is a registered trademark. (IGE 596.147) ISSN 1662-1255

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ART & CULTURE

TRAVEL

20 FROM THE ASPHALT TO THE MUSEUM Christian Louboutin in the Palais de la Porte Dorée 30 EDITOR’S CHOICE Culture in book form 31 UNIQUE ART – METAMORPHOSES Athi-Patra Ruga 32 A MATTER CLOSE TO THE HEART Interview with Christina Oiticica

38 ALONG THE MEKONG From the Tibetan highlands down to the South China Sea 46 THE PEARL OF THE CARIBBEAN Cartagena

38 10

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WATCHES 58 &

58 PLAIN AND SIMPLE Wristwatches for cultivated contemporaries 68 TIMES FOR CHANGE What’s New in 2020

MO TION

JEW ELLERY

76 76 BRITISH OPEN AIR FEELING New Bentley Continental GTC 80 THE LAST OF ITS KIND The EB110 84 THE MASTER OF CURVED EDGES Design provocateur Luigi Colani

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FASH ION

92 COME, FLY WITH ME Pan Am Lounge Berlin 104 CULT PHOTOGRAPHY – REDISCOVERED Madame d’Ora 110 FASHION EDITORIAL Her(a)

118 CULT OBJECT LIPSTICK A turbulent success story

BEAUTY & WELL 118 BEING 130 LI VING 128 COLUMN Katrin Roth

130 BETWEEN TREND AND TRADITION Modern oriental carpets by Jan Kath 136 “CLASSIC BLUE” The on-trend colour for 2020 138 WORLD CAPITAL OF DESIGN Lille

NEW SERUM

O R D E S A LP E S T E AC H I N G YO U R S K I N TO T U R N B AC K T I M E

WE UNLOCK NATUREâ&#x20AC;&#x2122;S SECRETS FOR YOUR SKIN

ALP E O R.C O M

CULI NA RIUM 156

FI NAN CE TRENDS

37 ART & CULTURE 56 TRAVEL 75 JEWELLERY 90 MOTION 109 FASHION MEN 116 FASHION WOMEN 129 BEAUTY 142 LIVING 151 CULINARIUM 162 FINANCE

144 THE FLAVOUR MAGE Mitja Birlo 152 SUN ON THE TABLE Turmeric 156 A GOOD TEAM The Sühring restaurant

164 KIDS, COSTS, CRISIS? A costly joy 167 COLUMN Dr. Alexandra Arnold

MONCLER

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6 IMPRESSUM 19 EDITORIAL ANTONINI

168 PREVIEW

FROM THE HEART OF THE SWISS ALPS Artisan carpentry is still practiced in the idyllic Simmental valley of Switzerland. Our pride in masterful craftsmanship is reflected in each custom kitchen we deliver. We find our inspiration in the raw beauty of the local landscape with its majestic mountains and untouched valleys. Whether our kitchens are installed in a modern penthouse or a cosy chalet, our customers witness our passion to make their individual design dreams come true with a unique kitchen. ZbĂ¤ren kitchens are made from the best quality materials and manufactured with a combination of first class craftsmanship and our state-of-the-art machinery. Our workshop in the heart of the Swiss Alps delivers custom-made kitchens to homes across the world.

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EDITORIAL

TRAVELS IN A TIME CAPSULE

To understand the present, we need to get to know the past. And so in this issue we are opening our time capsule, and travelling back to observe the work of those pioneers, artists and explorers whose influence is still perceptible today. Our spring edition takes us through a colourful range of glittering epochs, starting with the most powerful Olympian goddess of Greek mythology – Hera – embodied by our cover picture and our fashion photo spread. We end up literally in a time capsule in the Pan Am Lounge in Berlin. Intoxicating parties, galas and receptions were held here in the 1960s – and still are today. Thanks to Natascha Bonnermann, the venue was revived with an awareness of its historical importance. And in Berlin in the middle of the 20th century, design provocateur Luigi Colani waged a relentless campaign against straight lines in design. We take an appreciative look at the organic, formal language of the visionary after his death last year. At the height of the industrial revolution 125 years ago, the story of one of the largest crystal groups in the world began: Swarovski is today the epitome of beauty, wedded to luxury and allied with modernity. We take a look back at the beginnings of the prestigious company. And finally, we follow a cosmetic tool through the last century. It has been put to work as a symbol of seduction, a film prop and even as a political statement: lipstick was never just a cosmetic product, but also an expression of an attitude to life, and a barometer of the spirit of the times. Intoxicated at the sight of the achievements of these almostforgotten progenitors, we close our time capsule again and turn our attention back to the present. Because here too, there are stories and ideas just waiting to be discovered, and anyone who keeps their eyes open will soon be writing their own success story.

EDI TO RIAL

Swenja Willms Editor in Chief

ART ART && CULCULTURE TURE

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THE HIGH ART OF SEDUCTION FROM THE SIDEWALK TO THE MUSEUM: PARIS DEDICATES A MAJOR EXHIBITION TO THE SHOES OF CHRISTIAN LOUBOUTIN. HIGH HEELS MEET SHOW GIRLS, LADY DI AND DAVID LYNCH. Author_Beat Krenger

Â© Marc Domage

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It is a very rare special encounter. It can currently be witnessed in the Art Deco halls of the Palais de la Porte Dorée in Paris, where French shoe designer Christian Louboutin has staged his dreams for all to see. How he did it is electrifying: haute culture wears bright red leather soles. The exhibition includes models from his personal collection as well as loans from public and private collections from all over the world in a parade of spectacular shoes, many of which are on public display for the first time. The spectrum is as varied as Louboutin’s designs. Where else can you see the huge glass-mosaic stiletto that he designed for Maison du Vitrail next to a hologram of a stripping Dita von Teese? The exhibition in honour of Christian Louboutin has created a dazzling stage for collaborations with director David Lynch, multimedia artist Lisa Reyhan, choreog rapher Blanca Li and the English design duo Whitaker Malem. This is a homecoming for Louboutin. He was born in the 12th Arrondissement in the southeast of Paris, where he also went to school. He attended secondary school just around the corner. As a teenager, he spent almost every weekend in the cinemas on Avenue Daumesnil, where Indian and Egyptian films were shown at the time. In summer 1976, at the tender age of 13, Christian’s interest in women’s shoes was awakened for the first time in the entrance hall to the aquarium in the Musée des Arts Africains et Océaniens (now the Palais de la Porte Dorée, where the Louboutin exhibition is being held). This is where a sign caught his eye that s howed a crossed-out pump with a pencil as a heel, intended to prevent female visitors from scratching the parquet floors with their heels. The form of this “forbidden” heel fascinated him enormously, and he sketched it again and again. Today, the Pigalle pump inspired by this encounter is Louboutin’s bestseller and considered a symbol of femininity. With a height difference that never exceeds eight centimetres, the shoes have become objects of desire that make women dream and men marvel.

A REBELLIOUS YOUTH Christian Louboutin grew up surrounded by women. As the first and only son after three daughters, he was adored by his mother and showered with love. His father, a carpenter, was away a lot on business. As a child, Louboutin preferred to draw rather than go to school. After being expelled from class three times, he decided to run away from home at the age of twelve, and subsequently received his mother's permission to move in with a friend. Instead of completing a real apprenticeship, Louboutin drew and travelled extensively in his youth and discovered his great love of shoes by chance. He later said that he wanted to use shoes to “break the rules, to give women courage and to emancipate them”. He designed his first collection for the show girls of the Folies Bergère variety and musical theatre in Paris at the age of 20. The dancers wore almost nothing on stage, and yet you felt this strength and self-confidence in their performances thanks to their high, artfully curved and decorated shoes. After that, Louboutin was a shooting star. Chanel, Maud Frizon, Charles Jourdain, Roger Vivier and Yves Saint Laurent fought over the young fashion talent. Louboutin spent his youth working as a freelancer for the major Paris fashion houses. In 1991, Christian Louboutin opened his first small boutique on the Seine with the help of two friends from the art scene. He spent the first few years in the sales room and served his customers free coffee. By coincidence, Princess Caroline of Monaco found her way to his boutique in the first week after the opening, and enthusiastically left the shop with four full shoe boxes. From then on, the Louboutin brand's success was unstoppable. The ambiguously titled work exhibition “Christian Louboutin – L’Exhibition[niste]”, which will be on view until 26th July, closes the loop. There is a dazzling parade of shoe creations from his almost 30-year career to discover, many of them specially made, for example for Michael Jackson, Tina Turner and Usain Bolt, as well as the inspirations behind the selected models.

THE FAVOURITES OF THE SUPERSTARS Over two thousand pairs of Pigalle pumps are sold worldwide every day. The manufacturing secret: no less than 100 manual steps are required to achieve this feeling of weightlessness. Stars like Beyoncé, Madonna, Angelina Jolie, Leonardo DiCaprio, Catherine Deneuve, Rihanna and Zendaya are declared fans. In the last three decades since founding his company, a pair of “Louboutins” has become a metaphor for true luxury. Rapper Cardi B even dedicated a song to them in 2017. And, even though the pumps are now available in a thousand different variations, they all have one thing in common: the red leather sole – the trademark of every shoe from Louboutin. So, what’s the story behind the red sole? It’s down to a coincidence: While working on a new prototype, Christian Louboutin was troubled by the feeling that the shoe lacked that certain something. His assistant, who appeared in the studio with red nails that day, gave the designer a brilliant idea: he simply brushed the red lacquer onto the soles and set an accent that would go on to make history. The shoe became a sensation. Why has Louboutin stayed with red over the years? Because, in his view, it is not a colour but the very essence of seduction. The red Louboutin leather soles are very important, an exclusive code, because people love to be part of a conspiring community. The colour accent is subtle enough not to be intrusive.

FRIVOLOUS LIGHTNESS Louboutin’s work also transcends boundaries in the ten exhibition rooms: a theatre production from the Kingdom of Bhutan meets show dancers; a fetish for legends of the silver screen. These shoes are more than just accessories; they are contemporary witnesses and objects of art at the same time. Whether it’s Andy Warhol, Egyptian cats, go-go dancers or Marlene Dietrich’s top hat: they all influenced the Frenchman, as did his trips to Africa, South America, Asia and Oceania. Installed as a large, shimmering pyramid, you will find a collection of Louboutin’s most important shoe icons in the next room. Each pair is a masterpiece, be it through the use of the finest materials, his originality or because he knew the best craftsmen in the world. The highlights include a crystal Cinderella shoe and an elaborately embroidered slipper from the studio of designer Sabyasachi Mukherjee. A pump with the name “Lady Grès” pays homage to the eponymous fashion designer, who would always wear a turban during her lifetime. Other exhibits are dedicated to architectural stars such as Oscar Niemeyer and Ettore Sottsass. Now glamorous or steeped in history, now funny or void of any hint of intellectual prevarication. Louboutin has long been reduced to his sexy high heels, which naturally make up an important part of his work. The exhibition also shows that he is a master of staging and does not fear contact with everyday life.

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Christian Louboutin celebrated his 56th birthday in January. However, to this day, he has never completely given up his youthful rebelliousness. Already at the start of his career in the late 1970s, when he danced the nights away with Mick Jagger and Andy Warhol in the Palace nightclub in Paris, the urge for freedom and inclusiveness was as important to him as rubbing shoulders with the rich and beautiful. It almost seems as though Louboutin’s career is based solely on his attitude to life, preferring the scream over silence. The motto by which he has always lived: Watch me. I am proud of who I am. I want to be everything, just not boring.

tique on rue du Faubourg Saint-Honoré. Her record: 80 pairs of stilettos in two hours. And that at prices starting at 600 francs – per pair, of course. The Frenchman’s name is on everyone’s lips, even in the hip-hop scene. He has Cardi B to thank for that: in 2017, the entertainer rapped in the first lines of her debut single, Bodak Yellow: “These expensive, these is red bottoms, these is bloody shoes” and, further: “Hit the store, I can get ’em both, I don’t wanna choose”. Shortly after its release, the song became a hit and climbed to the top of the American billboard charts. As a former stripper born in the Bronx, Cardi B has experience with high heels: she got her first Louboutin stilettos at the age of 19. They were a birthday gift from one of her admirers, who regularly visited the club where she danced lasciviously at the pole. The superstar now owns well over 100 pairs of Christian Louboutin shoes. Cardi B's stylist, Kollin Carter, told “Billboard Magazine”: “Where Cardi B grew up, many young women want to make a statement with their exclusive shoes. In the Bronx, a pair of Louboutins conveys the message like no other status symbol: ‘I made it!’ ” Cardi B boosted the label's sales enormously by rapping about her favourite shoes and wearing them to many events. According to a report by industry experts Business of Fashion and searches on the fashion platform Lyst, searches for the luxury shoe label exploded by 217 percent after “Bodak Yellow” was released. Of course, Christian Louboutin was delighted with the free publicity from a celebrity, also because it was always important to him that all women love his shoes. The fact that a former stripper had become the greatest cheerleader for his shoes makes the maestro smile. “This closes the circle again, since my first creations were also worn by show girls,” Louboutin recently explained on American television. The recognition Christian Louboutin enjoys around the world today is also down to his persistence. To this day, he still has full creative and financial control over his shoe empire, founded 29 years ago, which is very rare. He currently has 160 boutiques around the world, and his fortune is estimated at 85 million dollars. To date, Christian Louboutin has never placed an advertisement for his shoes in a magazine – an absolute rarity in the fashion business. The designer knows that he is the best ambassador for his designs. That’s why he tirelessly travels the world to open a shop in Beijing one day, and to check up on the work of his studio in the Kingdom of Bhutan the next, where even the young queen is an avowed fan of his shoes. Christian Louboutin also designs handbags and recently launched his own line of cosmetics, to great success.

UNTIL DEATH US DO PART Last year, a photo in the “New York Post” caused a stir at the funeral of the late Aretha Franklin, with the caption: “Going in style, dressed in peace: Fire-red Louboutins, gold-plated coffin, three costume changes”. The soul diva’s last wish was to leave this world in her favourite fiery-red shoes. The eccentric singer had cultivated her glamorous image throughout her lifetime, including for her last farewell. So, her beloved Louboutins had to go with her in the golden coffin, which was displayed for her family and her fans in the Greater Grace Temple in Detroit. Louboutin has always been fascinated by women with rough edges. He laid the cornerstone of his career with the “Love Pumps”: a pair of black suede shoes on which the word “Love” was artistically embroidered. The word only becomes legible when the couple stands side by side. The story behind it is touching and sad at the same time. In 1992, a photo of Lady Di went around the world showing her and Prince Charles in front of the Taj Mahal on their visit to India. The princess’s gaze was downcast, inward and absent. The shoe designer wanted his “love pumps” to give the “notoriously unhappy princess” a little comfort. The pumps became a bestseller, and Louboutin’s career took off. So much so that today's editor-in-chief of Vogue, Anna Wintour, visited his Parisian boutique at that time to get to know Louboutin and his innovative shoe designs personally. As the maestro once told the press, a lot went wrong with the visit: In his excitement, he called Wintour, who was already known as the “Ice Queen”, “Ice Cream” until, prickled, she explained the misunderstanding. After that, she was indeed somewhat chilly, Louboutin recalled with amusement. But he is very professional in his work: a creative, passionate perfectionist. Drawings of his shoes have to be flawless. He always erases mistakes. The finished model is examined and modified until he is satisfied. This can take five days per item. “I have to immerse myself very deeply in a collection to get it right,” Louboutin responded to the “New York Times” when asked about his way of working.

SEX AND THE LOUBOUTIN The sequence in the series “Sex and the City”, in which the main protagonist, Carrie Bradshaw (Sarah Jessica Parker), stands enraptured before a shop window displaying Louboutin stilettos on 5th Avenue in New York, is an unforgettable scene. “Hello Lover – I’ve always dreamed of you,” she pines at the sight of her object of desire. Whether in film, music videos or on the catwalk, the phenomenon of the red soles is a universal success story. Louboutin’s revolutionary “Nude” series is also responsible for this. Many years ago, the designer was one of the first to have his pumps produced in nine different skin tones so that women of all skin colours can give the impression that their legs are much longer, thanks to the nude effect.

80 PAIRS OF STILETTOS IN TWO HOURS Christian Louboutin has never paused the unceasing carousel of new designs – did it ever become a burden for him to be designing 150 shoes a season? The little man is a hard worker and a master at finding new ideas for his shoes from everyday objects and impressions from his many travels. In the British “Harper's Bazaar” he recently declared: “In fashion, we don’t follow evolution, but revolution. I believe in the revolution that celebrates the feminine. I believe that the future belongs to women”. Bestselling author Danielle Steel is the maestro’s most loyal customer. She is said to own over 6000 “Louboutins”, and regularly flies to Paris and buys almost everything in the bou-

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other manufacturers such as Yves Saint Laurent also sell highheeled shoes with coloured soles, and that they could therefore not be protected. What is often forgotten is the fact that Louboutin not only sells killer stilettos, but also sneakers, men’s lace-ups and flat boots. At a shop opening, he once revealed that he never paid much attention to the difference between high and flat shoes. And he also does away with a prejudice: “I’ve always made flat shoes, too. But many people are fascinated by high heels because

With the wise foresight that other shoe brands would come up with the idea of using Louboutin's trademark for their purposes, the designer had the red shoe soles patented many years ago. No other company in the Netherlands, Belgium and Luxembourg can beautify the soles of their shoes with the bright red Pantone tone 181663TP. In early 2019, the company won a case against Dosenbach subsidiary Van Haren, which had been selling shoes with red soles at low prices since 2012. However, there was disappointment in Switzerland, where the federal court found that

ART & CULTURE

they are considered to be particularly sexy. If you ask me whether flat shoes can also be sexy, my answer is very clear: yes. Just think of Brigitte Bardot. She was the epitome of sensuality. And she usually wore ballerinas. Femininity is not inextricably linked to the height of the heels. Though I say that, I personally love high heels very much”.

The very last shoe of the final haute-couture fashion show by Yves Saint Laurent, who was already terminally ill at the time, can also be seen as a special homage. Christian Louboutin designed the YSL farewell shoe, a fact that even most fashion experts do not know. The bright light shines on the filigree work of art and awakens a small fire in it that leaves no one cold. Even those who are neither art-savvy nor fashion-savvy will be able to enjoy this extravaganza. A labyrinth opens, the individual showcases and video projections in the extensive architecture of the show each have their own inner logic, each with a new charm. Ten rooms were specially kitted out for it. On the exhibition’s journey through time, you can find a replica of Louboutin's first studio, which he set up in a small apartment in the 9th Arrondissement at the start of his career. His first mood boards, drawings and drafts by designers whom he idolised at the time are on view. Azzedine Alaïa was one of them. To top it all off, you can immerse yourself in the mysterious film world of director David Lynch, who drives the fetish surrounding the shoe to the extreme. Christian Louboutin is a master at finding allies and breaking new ground to create something that will last, not just a gimmick for one season. The wonderful thing about Louboutin’s designs is that they don’t age. He designed the Pigalle pumps 15 years ago, and his shoes can be worn for years: they never go out of style. Where they are eccentric, they take on the character of a certain elegance. And in that, they are related to the sculptures, films, paintings and pictures made especially for the Paris exhibition, which preserve their history while simultaneously pointing to the future.

THE ETERNAL NOMAD Louboutin likes to travel. His apartment in Paris is the centre of his life, but he also owns a country house in Brittany, a castle in the Vendée region of France, a mansion in Lisbon, a beach house in Melides, Portugal, and a country house near Luxor (including a houseboat on the Nile). A villa in Los Angeles rounds off the impressive real estate portfolio. He likes to travel to Asia and South America, often in search of new ideas. He draws his inspiration from life itself, not photos or books. He prefers personal experiences and impressions. The Frenchman is considered a master in combining strong patterns, materials, details or colours into new creations, which shows that the creative process can also be fun, right down to the finished shoe. No one else mixes different styles like Christian Louboutin: in addition to art, he uses musical or social as well as ethnic themes. Always a feature: his pronounced love of colour, lace, rivets and spikes as well as elaborate embroidery and lots of rhinestones that gleam like small diamonds on the foot. Louboutin values a glamorous appearance just as much as the durability of his designs: “Today, I think of my shoes more like a jeweller thinks of his jew ellery,” he says. “Made for eternity”.

L'Exhibition[niste] Palais de la Porte Dorée until 26th July, 2020

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EDITOR’S CHOICE DAZZLING FIGURES OF THE MUSIC WORLD

Lynn Goldsmith: Before Easter After. Lynn Goldsmith. Patti Smith TASCHEN

The photographer Lynn Goldsmith presents intimate insights into the life of the incomparable Patti Smith, and immortalises a golden era of rock ’n’ roll. In addition to hundreds of previously unpub lished photographs that differ from Patti Smith’s prevailing image – rather austere, black and white photographs – this signed edition includes an introduction, lyrics, poems, and texts by Smith that reflect a turning point in her life. The volume documents a crucial phase in Patti Smith’s career and celebrates two exceptional artists whose creative partnership continues to this day.

A RETROSPECTIVE

Part design guide, part manifesto, this first career retrospective of Fabien Baron, whom Vanity Fair calls the world’s most sought-after creative mind, presents an immersive picture of more than 30 years of award-winning work as an art director. This edition contains examples from the entire range of his work, including typography, packaging, product, furniture and interior design, and conveys it all with aesthetic logic, clarity, and style. This publication includes texts by the author Adam Gopnik and a preface by the world-famous supermodel, Kate Moss.

Fabien Baron: Works 1983 – 2019 Phaidon

A SPACE FOR CREATIVE MINDS AND KINGS

The new lifestyle publication, “St. Moritz Chic”, takes its readers to those places in St. Moritz that have already enchanted stars like Coco Chanel and Alfred Hitchcock. Exquisite, previously unreleased images of glamorous parties at Badrutt’s Palace Hotel, legendary events such as the Festival da Jazz, the Snow Polo World Cup, and the British Classic Car Meeting St. Moritz, are also featured in the pages of “St. Moritz Chic”. And, of course, winter sports and the fascination of the mountains can’t be left out of an illustrated St. Moritz book. This 268-page work was created with the support of art historian Dora Lardelli, the cosmopolitan Giorgio Pace, and numerous guests. While the book’s aesthetics tend toward a minimalist style, the photographs are predominantly colourful and lively.

St. Moritz Tourismus: “St. Moritz Chic” Assouline

ATHI-PATRA RUGA

UNIQUE ART – METAMORPHOSES

ART & CULTURE

“One medium is not enough for me. Reality is not enough for me.” – Athi-Patra Ruga –

The works of Athi-Patra Ruga fascinate and confuse, as if out of a dream. The African artist explores society, art, crafts and pop culture. In a sensual and utopian way, his work reflects a narrative world with hybrid characters who are free of stereotypes. As part of the new edition of “Dior Lady Art #4”, the artist presents his interpretation of the timeless icon. “Lady Dior” is an ode to the multiple nature of femininity, a manifesto of perfect harmony, suitable for every personality. The “Dior Lady Art” project met with great euphoria right from the start, and so Dior continued the idea of creative re-design and once again invited artists worldwide to reconstruct the famous icon. Once again, the artists had an utterly free hand and were able to create their interpretations of the cult bag without any specifications being set. Athi-Patra Ruga designed a “Lady Dior” with his portrait for the new “Dior Lady Art #4” collection. A face made of flowers, crystals and pearls on black leather. The embroidery and pearl reliefs once again showcase the fashion house’s technical excellence and savoir-faire performance. A blue, miniature Lady Dior is reminiscent of the Junon dress created in 1949, an haute couture icon. Ruffles and flounces, embroidered from colourful pearls and sequins, shine like treasures. The limited collection has been available since January, and will remain so until it sells out.

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A LABOUR OF LOVE

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SHE WORKS IN PARTNERSHIP WITH NATURE, BURIES HER WORKS UNDERGROUND, SINKS THEM INTO THE RIVER, EXPOSES THEM TO WIND AND STORMS. CHRISTINA OITICICA, PAINTER AND WIFE OF BESTSELLING AUTHOR PAULO COELHO, TRUSTS IN MOTHER EARTH AND WANTS TO GIVE BACK TO THE VIEWERS OF HER WORKS A PIECE OF HER CONNECTION TO NATURE. DURING AN EXCLUSIVE VISIT TO OITICICA'S STUDIO IN GENEVA, THE BRAZILIAN-BORN ARTIST TALKS ABOUT HER ART, SPIRITUALITY AND HOME COUNTRY. Author_Swenja Willms Images_Diyala Kayiran

One of her labours of love: Christina Oiticica in front of her artwork together with the founder of the “Gallery Elle”, Atossa Meier.

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PRESTIGE: Christina Oiticica, your art form is known as “Eco-Art”. What does this term refer to? CHRISTINA OITICICA: I’ve always been interested in femininity. When I started burying my works underground, the main idea was to connect with Mother Earth. This is how my work and contact with nature came about. I wouldn’t personally use the term “Eco Art”. My work revolves around me as an artist, as a woman who is connected to nature.

exhibition in nature. And I noticed how I established a connection with nature – by a leaf falling on my painting or an insect crawling over it. What are the challenges of working with nature? The biggest challenge is nature itself, because we have no control over it. I once worked in the Amazon region when a huge monsoon broke out in the region and my work, which I had sunk in the river, washed away due to the flooding. A little boy from a neighbouring village finally found my pictures and brought them back to me. Another challenge is that I can never plan the results of my work in advance – nature influences them. I make my contribution through painting, but nature ultimately completes the work.

What was the basic idea behind the concept of creating your art in collaboration with nature? Our society has developed far too many new technologies, and we have lost contact with nature and spirituality. I would like to express this in my work. I believe that because we have lost contact with the earth, we no longer respect it and no longer recognise its value.

A job that also requires a lot of patience… One of my greatest strengths. Nowadays, however, I don’t travel around as much anymore and don’t spend as much time in nature as I would like.

The origin of this concept lies in one of your many trips. Was this a special moment in your career as an artist? Yes, in 2002, I lived in the Pyrenees in the southwest of France and at the same time had an exhibition in Paris, for which I still had to finish some works. I lived in a tiny hotel room and had no place to paint. Since I was fascinated by the nature and the changing seasons in the region of the Pyrenees, which we don’t have in my home town of Rio de Janeiro, I spent a lot of time outdoors. So I decided to finish my work for the

This May at the “Gallery Elle” in Zurich, you will present your latest works prepared with salt, which were stored in salt lagoons for over a year. Where did the inspiration for this work come from? I chose salt because I wanted to do a new experiment. I am a wandering artist, a pilgrim artist; I like to work with different techniques. Since the salt of the earth is the light of the world, we humans are the salt of the earth. We are born to shine and to

ART & CULTURE

“OUR SOCIETY HAS DEVELOPED FAR TOO MANY NEW TECHNOLOGIES, AND WE HAVE LOST CONTACT WITH NATURE AND SPIRITUALITY.”

The latest works by Oiticica will be presented in the “Gallery Elle” in Zurich from the 22nd of May.

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spread our light to be seen. After working with earth, which embodies the great mother and pure femininity, I thought it was interest ing to use a new natural material to complete my work. And I found that salt crystals are not only infinitely beautiful, but also have a very strong spiritual meaning. Salt adds grace to the food, spices it and makes it taste better. Salt figuratively stands for grace and vitality. The connection between man and nature is also a concept of the “Gallery Elle”. The gallery of Atossa Meier is exceptional and is located in an old villa in Zurich surrounded by an idyllic garden. So the magic of nature remains, secret and hidden. Art is something very personal – either you are touched by the pieces or not. As a gallery owner, Atossa Meier wants to be touched by the pieces so that she can convey this feeling. We humans have the feeling that we can control everything in life, even art, but this is simply not the case. Ultimately, it is nature that has the power and determines our life and ultimately art.

Spirituality is something difficult to grasp. How do you manage to visualise them in your art? For me, spirituality is a connection to my faith. In my art, I visualise my emotions, which I take up in nature, in love or magic. But it is also a challenge for me to capture an emotion that suddenly springs up out of nowhere. Each of my pictures has a soul, and to pick up on something like that you have to feel it in your heart.

The books of your husband Paulo Coelho inspire people to find their own way. You also work with symbolism and spirituality. Where does this connection come from? Paulo and I have been married for 40 years, and we have a strong connection. So it is natural for us to influence each other. In the beginning, each of us brought our share of spirituality into the relationship. We are connected by the same basic idea, but we still have different ideas about spirituality.

What influence does your home country of Brazil have on your art? I’ve been living outside of Brazil for 20 years now. But I still have a strong connection to my roots, for example through the many colours in my work. Brazil is also a very spiritual country where many different religions coexist and faith is deeply rooted in society. This is also reflected in my pictures. Has your art changed since you moved to Switzerland? Stylistically there have certainly been one or two changes. But the message behind it is still the same.

STUDIO MARANT

“La Matriochka ne s'emboîte pas” – a series of Russian dolls created by different artists as part of the Misaotra project. It is intended to illustrate the profession of an exhibition curator, and is the subject of a suitcase exhibition.

RAPHAËL DENIS

Spectacle and consumption are two unavoidable themes that the artist Raphaël Denis embodies with ridicule and irony. His works can be seen at the 22nd edition of “Art Paris 2020”.

ART & CULTURE

KUNSTHAUS ZÜRICH

“Sound and Smoke – the Roaring Twenties”. The Kunsthaus reveals the heterogeneity of style of those revolutionary years in painting, sculpture, drawing, photography, film and collage. Contemporary artists who deal explicitly with the stylistic language and subject matter of the 1920s build a bridge to the present.

PATRICIA URQUIOLA

Each of the “Overlay Baskets” by Milanese designer Patricia Urquiola consists of only four carefully composed layers of smooth but hardwearing Louis Vuitton leather. With harmonious colours and contrasting edges, the baskets, which are available in three sizes, are all individually made by hand.

ART & CULTURE

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Â© Fotolia

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MR. BOUALAO AND THE SPIRITS OF THE

ME KO NG Author_Thomas Hauer

THE MEKONG FLOWS THROUGH SIX COUNTRIES ON THE APPROXIMATELY 4500-KILOMETRE JOURNEY FROM THE TIBETAN HIGHLANDS DOWN TO ITS ESTUARY DELTA ON THE SOUTH CHINA SEA. IT GROWS FROM AN INCONSPICUOUS TRICKLE TO ONE OF THE MIGHTIEST RIVERS ON EARTH. ALONG ONE OF THE MOST SPECTACULAR RIVER SECTIONS BETWEEN THE GOLDEN TRIANGLE AND THE CAPITAL OF LAOS, VIENTIANE, A MODEST CRUISE INDUSTRY HAS DEVELOPED OVER THE LAST 20 YEARS. IT HAS MADE THIS REGION, WHICH UNTIL A FEW YEARS AGO WAS LARGELY UNDEVELOPED, ACCESSIBLE TO MAINSTREAM TOURISM.

41 Â© Ross Hillier

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The Lao People’s Democratic Republic, founded in 1975 and still today a socialist one-party state under the leadership of the revolu tionary People's Party (LRVP), sealed itself off hermetically from the outside world until the mid-1980s. In a country which consists of more than 60 percent mountains and impenetrable jungle, there were neither paved roads nor a railway network, excepting a few overland stretches in the Mekong plain. However, parallel to the economic opening of big brother Vietnam, the political bamboo curtain was gradually being lifted in Laos as well. Today, it is above all the Chinese who are accelerating the country’s development at great speed with prestigious major projects such as a high-speed railway line currently under construction. In fact, due to its geopolitical position as a coastless buffer state and French colony, Laos has not only been a pawn in the centuries-long struggle of major European powers for a box seat in the lucrative Chinese trade, until its independence in 1954, but also the hegemonic striving of its powerful neighbours. From the mid-1960s, it also became the scene of a gruesome proxy war in the shadow of the Vietnam conflict. But in the end, armed resistance gained the upper hand militarily in Laos as well, led by the legendary “Red Prince” Souphanouvong. But that’s in the past. Our journey downstream for about 800 kilometres begins at the Thai-Lao border, which we pass at Huay Xai. Now, at the end of the rainy season, the water level of the Mekong should actually be about three metres higher here, but even in this corner of the earth climate change is making itself felt, as the life-giving monsoon is becoming increasingly unpredictable. Razor-sharp blades of rock protrude in numerous places from the reddish- brown coloured water of fertile sediment, between which gurgling whirlpools and torrential cataracts have formed. The river forces its way through these bottlenecks with such force that even the “Mekong Pearl”, which was completely overhauled in 2017 and normally copes well with difficult conditions, has to travel

downstream under full load. Only in this way can the rudders build up enough pressure to keep the ship in the narrow fairway. An undertaking that demands all the skills of Captain Boualao and navigator Mr Vansee, who together have around 70 years of professional experience. You won’t find any nautical equipment such as echosounders or even reliable charts on the bridge. But don’t worry: pilot and captain know every rock, every shoal and every sandbank along the route like the back of their hand. Further downstream, the initially wide Mekong Tal becomes narrower and narrower, and the mountain flanks on both sides of the shore, covered with dense teak forests and lush green bamboo, to which simple bamboo huts stick like swallow’s nests, rise almost vertically into the sky. Only here and there do fields on the slopes that have been reclaimed by slash-and-burn clearing stand out like scars from the tropical thicket. Meanwhile, the almost 30 passengers, who are accommodated in spacious teak cabins, treat themselves to an ice-cold Beerlao on the aft deck, relax in the tiny ship’s spa or enjoy the slow-moving projection screen from comfortable sun loungers. At midday, water buffaloes doze lazily in the sun on broad sandbanks, while lonely fishermen in narrow long boats check the nets laid out in the river and countless children from the villages near the shore cool off in the water after school. Then the passengers are invited to lunch by a discreet gong. Chef Mr Ning and his team conjure up delicious buffets and à-la-carte menus in their tiny galley three times a day. Mostly simple, but tasty local specialities. For example, Laos' national dish Laab, a hearty meat or fish salad with mint and coriander. Even though Mr Ning is reluctant to tax European palates with too much spice, the chilli used in some dishes is enough to bring a tear to your eye. The passengers can enjoy life on board in a relaxed manner, in contrast with the business of the bridge. The Mekong does not forgive mistakes. But Captain Boualao, who has never acquired a

Spectacular jungle scenery along the Mekong.

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Laotian rice farmer.

A young monk washes his alms bowl.

patent because not much importance is given to papers in Laos anyway, doesn’t rely on his experience alone. It’s almost more important to appease the river spirits. For even if the lowland Laotians along the Mekong profess Buddhism, they believe no less fervently in spirit beings of all kinds. Whether it be deceased ancestors who need to be appeased, or nature spirits who live in the shallows of the river or the adjacent forests. And so Captain Boualao and Mr Vansee perform small sacrificial rituals at particularly sacred places along the shore. Then sometimes a handful of rice, sometimes a banana, goes overboard. After all, such a river spirit also has to eat regularly. Of course. From time to time, there is also a glass of high-proof rice liquor, which the spirit beings apparently also appreciate. On the other hand, they are less receptive to cash – usually the most common currency in Southeast Asia for securing good karma. Incidentally, the shipowners themselves prefer to rely on a well-endowed policy with the Lao branch of the Allianz insurance company. Since sailing on the Mekong is only possible by sight, the captain has to drop anchor at the latest when the sun goes down. Then the ship is moored with arm-thick ropes to steel stanchions, which are driven into the soft sediment by the crew at lightning speed. If the berth is near a settlement, this is also a good opportunity to experience Laos beyond the glossy brochures. For example, when visiting the village of Ban Huay Phalam, which is not recorded on any map of the world. But first, it is a matter of climbing the steep embankment in single file, into which the team has quickly dug a few makeshift steps. The bamboo huts built on stilts to protect against snakes and scorpions are inhabited by people from the

Khamu ethnic group, who earn their modest living by cultivating dry rice or working as labourers on Chinese plantations in the hinterland. After initial scepticism, visitors are soon surrounded by children who attend the state-run village primary school, which looks rather dilapidated. After all, it’s not often that strangers show up here – especially not 30 pale-faced Farangs at once. About halfway downriver, the “Mekong Pearl”, after passing the Tham Thing Caves near Pak Ou with more than 6000 Buddha statues, reaches the old Laotian royal city of Luang Prabang, which has been a UNESCO World Heritage Site since 1995 and captivates luxury tourists and backpackers alike. Luang Prabang is not only the spiritual centre of the country, where gilded stupas and pagodas of more than 30 monasteries sparkle, but also attracts visitors with dozens of hotels and guesthouses, restaurants and massage shops. After four days beyond civilisation, it’s almost a culture shock. Even if it is relatively slow out of season. During the 48-hour stay, classic sightseeing is on the programme, including a flying visit to the former royal palace, the busy night market or the oldest temple in the city, Wat Xieng Thong. And of course, a detour to the spectacular sinter terraces of the Kuang Si Waterfalls is also included. In contrast, the city has hardly any nightlife to offer. The pathways are folded up before midnight. For good reason, because living in Luang Prabang means getting up early: around 5.30 am every morning the monks from the surrounding monasteries go out for alms. This has now become one of Laos’ most famous tourist attractions – to the displeasure of many monks, however. Then, the last stage to Vientiane almost flies by. Before that, however, the “Mekong Pearl” once again crosses one of the most pristine

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landscapes along the entire course of the river, with a magical aura that literally puts you into a trance, so that hours and days, indeed time itself, begin to dissolve. At the beach BBQ, under a starry sky on a sandbank in the middle of nowhere, where the rice liquor flows freely, shared with the inhabitants of the nearby village, the latest group of Farangs will be completely seduced by Laos. If it weren't for the low water level, which ultimately almost checkmates even the "Mekong Pearl" at Pak Lay, because meanwhile, the water level has dropped to about one and a half metres. Fortunately, the Chinese have opened the flood gates of their huge dams upstream, so that the ship can just about make it to Vientiane on the oncoming waves. Nevertheless, ship’s boy Laan has to check regularly with a long bamboo pole how much water the “Mekong Pearl” still has under the keel. When faced with major rapids this is a matter for the boss, and the captain goes ahead with a fishing boat to have a personal look at the situation, as the ship has to pass the dreaded Keng-Chan cataract shortly before the destination, the most extensive shoals of the whole route. The brief visit to the capital with its magnificent Patuxai (Victory Gate), which commemorates the glorious victory over the French, is only a footnote of this impressive journey deep into the soul of this forgotten land.

Lernidee Erlebnisreisen offers various Mekong packages on two modern river cruise ships between September and February. A 15-day trip, including an eleven-day cruise between the Golden Triangle and Vientiane, is available from around 3480 euros per person, including f lights with Thai Airways, excursion package and full board.

WWW.LERNIDEE.DE

The Wat Xieng temple in Luang Prabang.

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CARTAGENA MI AMOR!

Author_Helena Ugrenovic

THE PEARL OF THE CARIBBEAN

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SHE IS A CROSS BETWEEN A SKYSCRAPERFILLED "MIAMI VICE" FEVER SEÑORITA AND A CENTURIES-OLD COLOURFUL AND FLOWERY COLONIAL-STYLE OLD TOWN LADY. SHE WAS REGARDED AS A VERITABLE HOTSPOT FOR SEA MARAUDERS AND IT TOOK 200 YEARS FOR WALLS TO BE BUILT AFTER AN ATTACK BY THE LEGENDARY PIRATE SIR FRANCIS DRAKE. SHE IS BOTH A ROMANTIC AND A VIVACIOUS SEDUCTRESS WITH A PROPENSITY FOR SWEET THINGS, AND SHE IS TEEMING WITH HISTORY. CARTAGENA DE INDIAS. COLOMBIA'S UNDISPUTED QUEEN. Pedro de Heredia founded Cartagena de Indias on the Caribbean coast of Colombia in 1533. It was one of the first Spanish colonies in South America and, as it turned out, an extremely attractive one. Together with Santo Domingo, the city’s namesake on the Iberian Peninsula developed into one of the most important international ports belonging to the Spanish Crown. Its fleet of ships, teeming with goods, would dock in Cartagena twice a year. In exchange, gold and precious stones were loaded by the kilo into the already bulging bellies of the cargo ships, until they were stuffed to bursting point, to transport the precious cargo back to Spain. For pirates, the booming trade was a true El Dorado from which they drew insatiably, making Cartagena a permanent victim of raids and looting. After a particularly savage attack by the notorious English buccaneer Sir Francis Drake, the city decided to protect itself by building a 13 kilometre long wall, the fortress of San Felipe and two additional forts. But the booty was too valuable, the pirates were too greedy, and the wealth of the city was too immense to withstand further pirate invasions. 200 years later, Cartagena was protected by 29 forts, and in 1740 the city triumphed in the Anglo- Spanish War when it was successfully able to withstand the attacks of 186 ships carrying a total of 18,000 men. Long live the Queen and the perfect example of defensive Spanish architecture with her! LOVE THEME Protected by its ramparts, the old town of Cartagena, now a UNESCO World Heritage Site, retains its centuries-old enchanting beauty. A walk along the wall under the clock tower, across the Plaza de los Coches, and up to the Portal de los Dulces is a jour-

ney back in time that takes you through a labyrinth of cobbled streets, balconies overgrown with bougainvilleas, and monumental churches. The dark-skinned fruit sellers, the “Palanqueras”, stand here, in the shadow of the arches, with their heavy baskets full of tropical fruit playfully balanced on their heads, looking almost like a three-dimensional painting. Small stands, crammed together to form a lively mini market, offer a variety of souvenirs, most notably Panama hats and other headgear designed to withstand the scorching heat of the Colombian Caribbean. Amidst the backdrop of rattling horses' hooves, you’ll find jew ellery, lottery tickets, cigars, cold water and ice-cold beer in cans every few metres. “Amiga! Amiga! Amiga! Cerveza! Water! Cigar, good cigar! Come on bonita! Cheap! Cheap! - the vendors call out. It is also the setting of one of the key scenes in the love story between Fermina Daza and Florentino Ariza, told by award-winning Colombian author Gabriel Marcia Marquez in his novel “Love in the Time of Cholera”. Later, this place is called “Portal de los Escribandos” (Arcade of the Scholars) in the 2007 film adaptation. This is where the protagonist writes hundreds of letters to his lover, and it is the place where his long wait begins. A wait that is to last 51 years, nine months and four days.

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THE OTHER COLOMBIA The days of drug cartels fighting each other, led by one of the most powerful drug barons in the world, Pablo Escobar, and the ongoing conflicts between the government and the paramilitary rebels, which lasted some fifty bloody years, are not forgotten. The Colombian government agreed to a final ceasefire with the largest guerrilla group, the FARC-EP, on June 22, 2016. Although the ceasefire came to an end in September 2019, the situation in the country has improved considerably and Cartagena is now attracting more and more tourists, backpackers, and also single travellers to this beautiful and diverse country. Cartagena is the tourist capital of Colombia and also the best guarded and therefore safest city in the country. Regardless of what is happening around it – when potential conflicts are simmering, ebbing and flaring up again – Cartagena’s defense strategy has not changed and the city continues to preserve its colonial beauty. But instead of firing cannons at enemy ships from the ramparts and forts, there are policemen and soldiers everywhere, whose bright green helmets are reminiscent of the Ninja Turtles.

by the sea. The mirrored and shiny facades of the skyscrapers glisten in the sun’s rays and soar majestically into the steel blue, cloudless sky. It is Cartagena’s most exclusive neighbourhood, built to the highest first world standards, and one of the richest districts in Colombia. The most popular hotels of the city are located here, you can also find McDonald’s, Bubba Gump Shrimp Company, Crepes & Waffles, and Subway here. A unique big city flair prevails, making everything seem almost surreal, and not just because of the view of the cathedral's cupolas. There is probably nowhere else on earth where only a few centimetres separate the spray of the washed up waves from the busy road, blocked by cars and honking taxis, that winds along the shore. At night, when darkness covers the city like a velvet cloak and the old town is bathed in warm orange and gold tones, Bocagrande bursts onto the scene like a miniature glittering Miami. AÌ QUE CEVICHE! Along with other favourites such as Hong Kong, Marrakesh, Buenos Aires, Durban, Rio de Janeiro and Ho Chi Minh, Cartagena is also becoming known as an exciting gastronomic “open sesame!” and also as the culinary capital of Colombia. Numerous innovative, romantic restaurants of the highest quality are concealed between

BIENVENIDO A MIAMI! In a bizarre contrast to the picturesque and cheerful old town, the Bocagrande district spills out over onto a peninsula surrounded

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Tipps On her Majesty's service He's a buccaneer, explorer, vice admiral, and the first English circumnavigator. Sir Francis Drake, son of a farming family, who as a child was forced to make his own living and at the age of 13 went to sea with his brothers. He progressed from cabin boy to sailor, then to helmsman and became one of James Lovell's officers in 1566. Spain had imposed an embargo, which not only failed to amuse Her Majesty Queen Elizabeth, but also enraged her. So, in an unladylike fashion, she issued the so-called “letters of marque” to the English shipping associations. These letters allowed Spanish ships to be boarded and their goods to be seized, which benefitted the English treasury. Whilst Lizzy was the mastermind and true pirate in royal sheep’s clothing, Drake was the one who got the thirst for blood after his first raid experience on Lovell’s ship, and set sail on his first privateering voyage to the Caribbean in 1570. On the streets of Cartagena They are not just the parquet over which tourists and locals stroll and carriages roll. They tell stories. In contrast to the tragic stories told on other streets, the happenings on “Calle del Santísimo” have a happy ending. According to legend, the Fernández and Villarreal families lived on this street. One day, love knocked on their doors, but tragedy was about to strike. Jerónimo Villarreal had fallen in love with Constanza Fernández. This displeased both families greatly and after the situation escalated, the families decided to fight each other with swords. It was here, in this very spot, that the battle was to begin and blood was to flow. An altar boy, who was accompanying a priest from the “Santo Toribio” Temple, was on his way to visit a sick patient and started ringing his little bell. Frightened that the Holy Father might witness this unholy spectacle, they decided to join the group. After listening to a sermon, both the Fernández family and the Villarreal family felt reborn and all their hatred vanished. They took each other by the hands and made peace. Following this happy event, the “Calle Teatro de la Refriega” was renamed to “El Santísimo”, the Saint.

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sometimes overwhelms the locals. In December 2013, eleven artists from Cartagena de Indias, 24 Colombians and three international artists took part in the first ever International Festival for Urban Art.

the colourful houses of the old town. Many of them have even been awarded a "Traveller's Choice" award by Tripadvisor and their enthusiastic guests. The cuisine of the world is right at home here, whether visiting an Italian locale, a sushi temple, French Versailles, or a fusion innovation, there's at least one version of this dish on every menu – ceviche, because Cartagena's "corazon" is on fire and crazy about marinated and finely chopped seafood with citrus juice, oil, garlic, tomatoes, and spices. And no matter which restaurant recommendation you ask for, every suggestion ends with the same sentence, "You absolutely must try the ceviche! These are the messengers from heaven!"

IGUANA, LION OR MERMAID? At first you don’t notice them until you stroll through the alleyways and take refuge in the shadows cast by the balconies decorated with elaborate flowers. They fit into the picture, Cartagena’s living props! You would think they are a design detail of a creative population. However, the “aldabas”, the door knockers attached to the solid wooden doors, are not just for decoration. In the past, they were used to distinguish one family from another and to communicate the social status and power of the family. The bigger the aldaba, the richer the family. The shape of the aldaba provided information about a family's origin. Thus, the iguana, which the majority of the population would like to have more than just at the door, symbolises royal kinship and implies that one is either a relative or a descendant of the royal family in Spain and enjoys the privileges that are associated with this. The lion does not represent a dangerous “throw you to the lions” fate, but instead refers to military commanders. The king of the jungle, the symbol of leadership and strength, guarded the doors of military commandos and families associated with the army in ancient Cartagena. It is one of the most frequent aldaba motifs found within the walled old town. Mermaids, seahorses, and piranhas decorated the doors of merchants who bought and sold their local goods by sea.

GETSEMANÍ “ZONA ROSA” To call it beautiful would simply be an understatement and even an insult. The next gem in Cartagena’s Garden of Eden is almost too magical and unique. Only a few minutes away from the historic old town, it was once the red light district and meeting place for dubious characters in dark alleys. Today, Getsemaní is a trendy hippster and artists' quarter and melting pot for all kinds of nationalities, where Europeans, Americans, Colombians, Australians, Venezuelans and Italians mingle, where all social hierarchies unite in this epicentre of joie de vivre. Plaza Trinidad is the heart and soul of Gethsemaní, with its street vendors and street musicians, it is probably the liveliest square in Cartagena. Enjoy the extraordinary atmosphere, eat Arepa de Huevos, or just watch the people, day or night. Tasteful restaurants, trendy bars and discotheques, adorned with colourful pennants, line the streets. Strains of Salsa and Cumbia can be heard every where, history and art can be found on every street corner, and the impressive graffiti on the walls of the houses reminds us of Miami and its Wynwood Art District. Street art as a form of expression tells stories about everyday situations and problems such as different moral concepts, racial segregation, gentrification and increasing tourism, which brings in the money, but also

ROSARIO ISLANDS 28 small islands form the “Nuestra Señora del Rosario” archipelago, or “Islas del Rosario” for short. They shimmer like fried eggs in the Caribbean Sea 40 kilometers southwest of Cartagena. They were once inhabited by indigenous people who lived mainly

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from fishing until the conquerors reached the region. The islands, which are part of the Corales del Rosario y San Bernardino Nature and National Park, boast crystal clear water, snow-white beaches and a variety of coral reefs and are a popular getaway and diving destination these days. A day trip to the Rosario Islands is the perfect way to escape the sweltering heat and take a break from the bustling vibrancy of the city. The further the speedboats and catamarans get away from the mainland and closer to the mangrove forests, the more impressive Cartagena appears with its dazzling modern skyscrapers and old town centre, whose past hangs over the city like an omnipresent, but invisible veil.

beaches around the world, and of course one of Cartagena’s highlights. The Barú peninsula and the bay of Playa Blanca, which like the Rosario Islands can also be reached by speedboat, make you feel like you've left the snow-white Caribbean beaches behind and landed on a magical and surreal planet from another galaxy. This breathtaking phenomenon is called bioluminescence and is produced by tiny unicellular organisms, so-called marine luminous animals or luminous algae. Chemical processes cause the organisms to emit light erratically when they move, be it through waves, swimming, surfing, or splashing. The “Avatar” experience is a delight for the brave individuals who venture into the water at night. Cartagena de Indias is like a love story that shares its bittersweet farewell tears, exuberant nights, passionate kisses, and its sea full of longing with its visitors.

WHEN THE SEA SPARKLES It’s almost as though the sky and all its stars fell directly into the water, as if the aurora borealis had emptied itself into the sea causing an iridescent silvery blue glow and making the stars and aurora flash like laser beams with every movement. It’s a natural phenomenon of a special kind, which can be observed on numerous

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RIMOWA

RIMOWA has teamed up with luxury f ashion house Dior for an unforgettable and unique collection to celebrate the best of both brands. Made of the finest aluminium, the “Dior and RIMOWA” cabin case in a blue colour gradient is characterised by the symbolic Dior Oblique design.

BANG & OLUFSEN

The Bang & Olufsen Contrast collection was developed in collaboration with Danish design studio Norm Architects. Part of this collection is the “Beoplay H9 3rd gen” wireless over-ear headphones with touch interface and voice assistant.

TR AV EL SMYTHSON

C CHANEL

The Chanel wakesurf board adds a touch of high fashion to extreme sports. Composed of carbon fibre, PVC, and ethylene vinyl acetate. The interlocking C logo on the top of this wakesurf board is the perfect addition.

The “Panama” currency case with zip fastener is a trademark of the Smythson travel collection and combines functionality, playfulness, timelessness, and modernity perfectly. It features modern colour accents on the outer zip fastener and four compartments for different currencies, receipts and train tickets.

WAT CHES & JEW WATCHES& JEWELLERY ELLERY PRESTIGE

WATCHES & JEWELLERY

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MODEST, SIMPLE

AND YET SOMETIMES COMPLICATED Author_Gisbert L.â&#x20AC;&#x2030;Brunner

WATCHES & JEWELLERY

THE SAYING “ALL THINGS IN GOOD TIME” ALSO APPLIES TO WRISTWATCHES. MOST SOPHISTICATED CONTEMPORARIES WILL AT TIMES EXPERIENCE OCCASIONS WHEN SPORTY OPULENCE IS OUT OF PLACE AND SIMPLE ELEGANCE IS THE ORDER OF THE DAY. PRESTIGE PRESENTS WRISTWATCHES THAT OFFER A LOT DESPITE THEIR CONSERVATIVE DESIGN.

Do the worldly men and women go to the opera ball dressed in tracksuits or jeans? It’s hard to imagine; surely the dress code would be made clear politely but firmly at the entrance. Nobody would be looking at your wrist on such an occasion. The question as to whether the hours, minutes, and seconds are also indicated by something completely unrelated is simply of no interest whatsoever. Regular ball, opera or theatregoers who are concerned about their image should also pay the same amount of attention to their watch. You may not be making a terrible faux pas with a striking sports chronograph or an opulent diving watch, but you're still way off the mark somewhere. There is no need for more than a pair of watch hands to tell the time and perhaps a date display for special occasions such as this. Reduction of this kind has nothing to do with luxury asceticism. Neither is there any taint of cheapness attached to it. “Real wealth”, according to the Slovenian philosopher and psychoanalyst Slavoj Žižek, “can be recognised by the fact that one no longer falls into the poor / rich stereotype, but rather that one transcends this stereotype in a sovereign manner.” Simple, elegant wristwatches worn with a tailcoat, tuxedo, or long dress derive their charm from their skilful limitation to the essentials. Their designers paid homage to the astute observations of aviator and author Antoine de Saint-Exupéry, according to whom perfection is not achieved when nothing more can be added, but when nothing more can be taken away. But when the surfaces are also ultra-flat, it can become quite complicated. Clockwork mechanisms of this kind present a particular challenge to manufacturers because as the dimensions decrease, so do the manufacturing tolerances. For example, watchmakers have to press in the jewels extremely carefully due to the low vertical play of the pivots rotating in them. Furthermore, clockwork mechanisms of this type require time-consuming manual work for precision machining, assembly and adjustment. And naturally, this has its price. From a gender point of view, simple elegance also fits perfectly on female wrists. Even 40 millimetres in diameter make for a good figure these days. Long live chronometric equality.

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A SLIMLINE MODEL MADE IN SAXONY It is almost impossible to do less with a luxury wristwatch. The 39 millimetre “Saxonia Thin” by A. Lange & Söhne only has hands for hours and minutes. Their length matches the proportions of the blue dial with slender line indices. The absence of a hand for seconds ensures a sense of relaxation in a hectic everyday life. A lady does not need to worry that the 2.9 millimetre flat manual winding calibre L093.1 will malfunction, given the high quality standards of the high-end Saxon manufactory. MODEST, SIMPLE, CLASSIMA At some point in every lady’s life there comes a time when she wants to purchase her first luxury wristwatch of Swiss origin. The newcomer brand belonging to the Richemont Group’s portfolio is called Baume & Mercier. The “Classima” is a reminder of the simplicity of the 1940s. The diameter of the case for the new feminine model is even referred to in the model name “Classima 27 mm”. The steel case with transparent back encloses Eta’s automatic calibre 2671. Its mainspring stores power for up to 38 hours. There is a choice of dials with or without diamonds. A WATCH AS A SIGN OF LOVE Carl F. Bucherer designed a ticking sign of love together with Chinese actress Li Bingbing. It is round, measures 35.5 millimetres and houses the Eta-based automatic calibre CFB 1971 with a small second hand at “6” and a date window. The new “Manero AutoDate Love” is available in many different designs for the worldly woman to enjoy. This refers to the colour of the dials, the material and features of the case and the leather or metal bracelet. All the designs are waterproof up to three bar and have sapphire crystals on the front and back. THE BARREL DESIGN IS COMMENDABLE There’s no doubt about it; Monsieur Louis was a talented designer. At the beginning of the 20th century, a man named Cartier made significant contributions to the evolution of the wristwatch from its circular pocket watch form. He designed the legendary “Santos” with this in mind in 1904. The no less famous “Tonneau” followed in 1906. Its elongated case fits snugly around the wrist. As a homage to a highly respected master of his craft, Cartier has entirely revised the “Tonneau”. The red gold case measures 23 x 46.3 millimetres and encloses a 2.9 millimetres flat-shaped manual winding calibre of 1917 MC. Its power reserve is 38 hours. A FRIEND FOR THE FEMALE WRIST Channel first showcased the new luxury timekeeping “Boy-Friend” line in 2015. While the octagonal, elongated case undoubtedly has masculine design elements, this watch is aimed solely at women. New in the collection is the “Boy-Friend Tweed”, available in three different sizes. This steel model with its black dial and tweed-inspired bracelet breaks down the barriers between the sexes. A precision quartz movement moves the two hands and the ring of the window date. FAIRNESS IS A TOP PRIORITY The case of the L.U. Chopard “XPS Twist”, limited to 250 units, is made of ethically extracted white gold. The total height is only 7.2 millimetres. Its automatic manufactory calibre L.U.C 96.26-L, displayed behind a transparent back, has passed the official Swiss

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chronometer test of the COSC. Consequently, the daily rate deviation must be between -4 and +6 seconds in a narrow delta. The entire watch meets the extremely strict Fleurier Quality criteria. The distinctly understated design reaches up to three bar of water resistance.

which can withstand water pressure of up to three bar, contains an automatic calibre known as the IWC 35110. Behind it is a flat Eta 2892-A2 with a ball bearing rotor winding on both sides and 42 hours of power reserve.

FLAT AND SIMPLE WITH A “FUEL GAUGE” Frédérique Constant is continuously expanding its range of watch mechanisms from its own manufacture. They’ve been around since 2004. Initially with a manual and then later with a self-winding movement as of 2006. The newly developed rotor calibre FC-723 is the inspiration for the “Slimline Power Reserve Manufacture”. As the name suggests, the oeuvre has a power reserve indicator. The corresponding hand moves in front of a blue dial. Once it has been wound fully, the power reserve will keep running for 50 hours. The date can also be read in analogue form in addition to the hours and minutes. The balance wheel oscillating at four Hertz can be observed through the transparent back of the 40 millimetre steel case, which is water-resistant up to three bar.

SLIMLINE MODEL FROM THE VALLÉE DE JOUX The designers from Jaeger-LeCoultre have created their “Master Ultra Thin Small Seconds” in the Vallée de Joux in a truly minimal ist style. In short, the 40 millimetre diameter case is only 7.58 millimetres high. A decisive contribution to an extra-flat appearance on the wrist is made by the automatic 896 / 1 calibre, which is manufactured from 223 parts and can be observed through the crystal sapphire back. The ticking microcosm is only 3.98 millimetres high with a small second at “6”. The manufacture movement will run for around 43 hours in a row without a power recharge. The water resistance of the reddish-golden casing reaches up to five bar water pressure. TICKING PRODUCT FORM In the early 1960s Max Bill set out to create “the useful, and the modest in a beautiful way”. His oeuvre also included dials for wristwatches. Junghans launched the timepieces on the market in 1962. The comeback in 1997 proved to be a real stroke of luck. Brand new on the market is the “Max Bill Automatic”, designed for ladies, which has a diameter of only 24 millimetres. The black PVD-coated stainless steel case protects an automatic movement based on the Eta 2824-2 calibre up to three bar water pressure.

REMINISCENCE OF THE YEAR 1966 The Girard-Perregaux GP3300 automatic calibre measures just 3.36 millimetres in height. The watchmakers assemble the microcosm using 185 components. After the rotor has done its job and the mainspring has been fully tensioned, a 46-hour power reserve is available. The “GP 1966 38 mm” Swiss manufacture movement model is enclosed in a rose gold case measuring 38 millimetres. The timeless oeuvre, whose water resistance ranges up to three bar, only weighs 8.62 millimetres on the wrist.

LA BOHÈME FOR WOMEN Expressis verbis for ladies, Montblanc turns to “Bohème”. The traditional brand devotes a great deal of time to details when designing their dials, which traditionally greatly contribute to the overall impression. Striking hour markers with their own typography, carefully selected hands, guilloché patterns, and eight diamond indexes are just a few examples. Because dates are a crucial factor in the world of business, the designers have come up with something special for the “Bohème Date Automatic”. An ogival window at “6” provides better readability. The movement in the 34 mm steel case with diamond bezel is an Eta 2824-A2.

TIME GALLOP When designing the “Galop d'Hermès”, Ini Archibong was inspired by bits, stirrups and harnesses, in other words objects related to horses. The exterior of this ladies’ wristwatch has a similar appear ance. This timepiece has no corners and edges. Its appearance is characterised by organic simplicity. You could refer to it as a pebble that has been polished perfectly by the continuous flow of time. 40.8 x 26 millimetres is the size of this unusual stainless steel case with a pointer setting crown at “6”. An equally comfortable and precise quartz movement saves a lady from having to wind up the watch herself.

REMEMBERING THE BAUHAUS Nomos has stood for clear, genuine design and Glashütte watchmaking since 1992. Nowadays, all the clock mechanisms are produced under the company’s own roof. The steel “Tangente 33 Duo” with its 32.8 millimetre steel case contains the carefully crafted Alpha 2 calibre. Owners are required to tighten the mainspring on a daily basis. The Bauhaus-style timepiece is water resistant up to three bar.

ALL GOOD THINGS COME IN THREES The success story of IWC's elegant “Portofino” line began in 1984 with the introduction of reference 5251. Since then, it has become an integral part of the Schaffhauser watch manufacturer’s product portfolio. The “Portofino Automatic” in stainless steel is simple, elegant, and restrained. Its 40 millimetre diameter case,

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WATCHES & JEWELLERY

TONDA MEANS ROUND One only has to look at the “Tonda Métropolitaine” to realise that Parmigiani Fleurier has devoted a great deal of attention to what women’s desires are. The 33.1 millimetre rose gold case fea tures a handmade Hermès leather wrist strap. The luxury Parisian bag maker has acquired a stake in the Vaucher factory. The flat automatic calibre PF310 with two barrels, 50-hour power reserve, off-centre second hand, and window date are all also manufactured in their workshops. A girl’s best friends are the 72 diamonds weighing a total of 0.52 carats that adorn the case, which is waterproof up to three bar. FOR EVERY 24 HOURS OF THE DAY For 20 years now, Patek Philippe’s Twenty-4 line has been aimed specifically at successful professional women who want to buy their own personal wristwatch. Of course, this does not prevent them from receiving one as a valuable gift from their partner. In addition to the rectangular version with quartz movement, there is now also a round version for all 24 hours of the day. The 7300 reference uses the 324 SC calibre with self-winding, assembled from 217 parts, to display the time and date. The 36 millimetre diameter case is available in steel or gold. The Geneva-based family manufactory also offers plenty of options when it comes to decorating with gemstones. FLAT PLATEAU The plateau known best as the “Altiplano” stretches from Peru to Chile. It is one of the highest human settlement areas, averaging 3500 metres above sea level. Piaget chose this region to name their ultra-thin wristwatches after. The dial of the 36 millimetre version with its white gold case and baguette-cut 2.51 carat diamonds is a radiant blue colour. All the owner has to do is turn the crown a few times to supply the calibre 430P, manufactured by Piaget, with fresh energy within 43 hours at the latest. Consequently, the 2.1 millimetre flat inner parts, assembled from 131 components, require a manual winding movement. GREETINGS FROM BENVENUTO At Rolex, “Cellini” stands for restrained elegance. The current collection is characterised by round gold wristwatches. Among the visible features of the white-gold “Cellini Date” are a 39-millimetre case with a finely ribbed glass rim on the outside and the date display at “3”. A total of four hands revolve around the guilloché dial in “Rayons flammés de la gloire” style. Of course, the crown is screwed to the case, which is water resistant up to five bar. Prior to installation, the automatic transmission 3165 must be sent to the COSC chronometer test centre. MORE THAN MEETS THE EYE Vacheron Constantin pampers ladies for whom inner values mean more than pompous outward appearances with the extremely discreet “Patrimony Automatik”. This white gold wristwatch, 36 millimetres in diameter, and the automatic calibre 2450 Q6 ticking in it at four hertz unconditionally meet the strict criteria of the Geneva Seal. They focus on the construction and craftsmanship aspects of the movement and the accuracy of the finished timepiece. It must not be off by more than one minute within seven days. It goes without saying that the case back has a transparent window.

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Times of change Author_Gisbert L. Brunner

SINCE TIME IMMEMORIAL, CHANGE HAS ALWAYS BEEN A PART OF THE ESSENCE OF TIME. IN 2020, THE TRADE FAIR INDUSTRY WILL BE CHANGING, ESPECIALLY WITH REGARD TO THE DATES IN LATE APRIL AND EARLY MAY. NEVERTHELESS, SOME BRANDS AND MANUFACTURERS ARE ALREADY PRESENTING INTERESTING NEW PRODUCTS.

Until 2019, the Geneva Watch Trade Fair SIHH has been taking place in mid-January and its Baselworld counterpart traditionally at the end of March. The announcement by the Swatch Group that it would not appear at the trade fair event on the Rhine as of 2019 brought changes to the industry. Breitling and Seiko also announced their exodus for 2020. All in all, Baselworld has reported a loss of around 1,500 exhibitors over the past ten years. This year, only around 600 brands will be presenting their products. How ever, changes will also be taking place on the Rhône. In 2020, Audemars Piguet and Richard Mille will no longer take part. The effort to have international customers and press representatives travel to Switzerland twice within a few months led to a change in the schedule. The SIHH, now renamed Watches & Wonders, will take place from 26 to 29 April. The 2020 Baselworld public trade fair will start four days later, on 30 April. It will end on 5 May. The French multinational luxury goods company LVMH, with its Bulgari, Hublot, TAG Heuer and Zenith brands, does not want to wait that long. Although the quartet, along with Rolex, Patek Philippe, Chopard and Tudor, will be among the highlights of the upcoming Baselworld, it presented itself at the Dubai Watch Week for the first time in mid-January. It is still unclear whether this event will replace participation at the Baselworld in the future. To avoid “peer pressure”, each brand shall decide on what it wants in terms of its activities. In view of the late trade fair dates in 2020, many watch brands are initially cautious about presenting true innovations. So things remain exciting.

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The “Serpenti” watch series by the noble jeweller Bulgari from Rome goes back to the late 1930s. One important aspect is that it has a case in the form of a snake's head and a flexible strap that you wrap around your wrist several times. The design feature mentioned last, on the one hand, manages to attract attention in a magical way, but on the other hand, does not convince all women. One reason for this reserved attitude can be explained by the fact that the classic “Serpenti” is perfect for going out, but is less suitable for everyday use. This is why Bulgari launched “Serpenti Seduttori”. By sticking to the distinctive shape of the case, its high recognition value has been kept. However, it is worn on the wrist by means of a classic link or leather strap. Following this successful superlative philosophy, the watchmakers developed the BVL 150 hand-wound calibre for this wristwatch. It measures 22 x 18 millimetres and is just 3.65 millimetres in height. Due to its shape, it makes optimal use of the interior of the pink-gold case, which is 34 millimetres wide and water-resistant up to three bar. The uniqueness of the micromechanics ticking at three Hertz is due to a minute tourbillon. This rotates in a circular section of the dial, which is completely set with round brilliant cut diamonds, in front of which two hands represent the hours and minutes. The use of sapphire glass for bearing the filigree tourbillon, in which the balance wheel oscillates with three Hertz, allows for a perfect view. After manual full winding, the currently smallest tourbillon movement runs for around 40 hours at a time. A solid gold folding clasp increases the comfort of the alligator leather strap. The new “Spirit of Big Bang Meca-10” will undoubtedly attract the boys-at-heart. And that’s what Hublot really intends to do. The manufacturer that was founded in 1980 will be celebrating the 15th birthday of its successful “Big Bang” model in 2020. The principle of fusion postulated by Jean-Claude Biver as early as 2005 is implemented in this wristwatch. This is exactly what is

happening at the “Spirit of Big Bang” development level. Despite the tonneau-shaped case, its provenance is unmistakable. Hublot could, of course, fill the distinctive cases with extant circular movements. However, this would distort the proportions, on the one hand, and would make insufficient use of the available space on the other hand. The technicians were therefore commissioned to redesign one of the most successful Hublot calibres, namely the HUB 1201 with its 223 parts. And the result of this was the HUB 1233. No part of its significant look, reminiscent of metal kits from Märklin, Meccano or Trix, has changed. Perforated and screwed racks are also part of the new hand-wound clockwork form with a remarkable ten days of running power. The watchmakers now need 228 parts for one piece. The openwork structure and doing without the usual dial allows you to see the oscillating three-hertz regulator on the left. A small seconds hand rotates directly above it. On the right at the “3”, there is an unusually designed power reserve indicator, which also moves a rack below the “12”. After turning the satin-finished, 45-millimetre large and 14.45-millimetre high titanium case, two barrels are visible. Following tradition, the strap is made of black rubber. The case keeps water with up to five bar of pressure away from the manufactured movement. Carrera in English means nothing more than race. With this fascinating word, car enthusiasts spontaneously think of the legendary Porsche 911. Heuer presented its first “Carrera” chronograph to the world of watches in 1963. Jack W. Heuer picked up the resounding name, which goes back to the infamous “Carrera Panamericana” rally, at the 12 Hours of Sebring, pronounced by the experienced racing driver Pedro Rodriguez. When the wristband stopper was given the name accordingly, the agile company boss had the slanted inner surface of the metal plexiglass reinforcement ring printed with the seconds scale for the chronograph hand for

SERPENTI SEDUTTORI

SPIRIT OF BIG BANG MECA-10

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the first time. The dial was enlarged by almost two millimetres. Fields for permanent seconds and totalisers set a little lower offered impressive three-dimensionality. A Valjoux 72 calibre hand-wound clockwork shone in the 36-millimetre large “Carrera 12”. The new TAG Heuer “Carrera 160 Years Silver Limited Edition” commemorates this classic watch in 2020. In addition, it pays homage to the eventful company history. With a view to the year the company was founded, there are a total of 1860 pieces. The company’s own Heuer 02 ratchet calibre with self-winding mechanism by means of a ball-bearing-mounted rotor emphasises what the company can manufacture today. The ratchet for regulating the functions and the chronograph bridge are the only components of the stop mechanism that are screwed on to the main plate. All other components are simply fixed together or attached. The connection between the movement ticking at four Hertz and the stopper creates a friction coupling without jolting. Zenith and “El Primero” are quite synonymous. At the factory founded in 1855 in Le Locle, the year 1969 was the year when the world’s first automatic chronograph with ball-bearing- mounted rotor, ratchet control, classic horizontal coupling and, as a real unique selling point, five Hertz balance wheel frequency for precise tenths-of-a-second stops was made. The name “El Primero”, in plain English “the first one”, was not conceived by chance 51 years ago. The quartz revolution in the 1970s gave this movement an involuntary break. Production started again 30 years ago. Since then, the movement, which is legendary in its own way, has been an integral part of the Zenith portfolio. The “El Primero A384 Revival” commemorates 1969 and its first appearance. A384 refers to the reference marking that Zenith used at that time. To ensure an authentic comeback, a copy of the watch was made that was accurate in every detail. In this sense, the steel case has a moderate size of 37 millimetres. The dial with

the so-called panda look has also stayed the same. Together with the central stopwatch hand, the outer tacheometer scale enables you to determinate average speeds for over a kilometre. The two totalisers manage up to 30 minutes and 12 hours. Instead of the tritium-luminous material that is no longer permitted today, Super-LumiNova is now being used. Another tribute to the past is a solid screw-in bottom. Thus, the factory’s 400 Automatic does its job well without being seen. The steel ladder-style link band, once produced by the Gay Frères, makes the tribute to bygone times perfect. This means that the row of the central band links is not closed. There are an almost unlimited number of wristwatches with chronographs. The comparative form of normal timepieces with an integrated stopwatch function is that with an additional split-seconds hand. A Rattrapante chronograph is characterised by two seconds-stopwatch hands concentrically rotating in the middle of the dial. As the name suggests, one of them is “dragged” permanently by the actual chronograph hand. To record intermediate times, it can be stopped independently and synchronised again after reading. In addition, the results of two competitors can be compared by first stopping the split-seconds hand and then the chronograph hand. This performance range is one of the characteristics of Breitling's manufactured B03 calibre. It is based on the well-known B01 with rotor winding, 70 hours of running power, four Hertz balance wheel frequency, ratchet control and vertical coupling. The watchmakers mount the patented Rattrapante mechanism with a second ratchet and tongs under the dial. The unique double-dial wheel carries an O-ring made of nitrile rubber (NBR), whose friction coefficient makes the usual gearing mechanism obsolete. An isolator causes energy-saving separation of the stopped split-seconds hand from the continuing chronograph mechanism. This complex movement now also

NAVITIMER B03 CHRONOGRAPH RATTRAPANTE 45

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aimed at fascinating men. In front of the blue aventurine dial, two hearts turn every minute, so to speak. The one at the “9” replaces the usual seconds hand. But there is more to it than that. Due to the specially geared circumferences, the two interlock during the complete motion cycle. In 2010, with the “Roue Carrée” model, which was quickly sold out, the manufacturer first demonstrated that gears do not necessarily have to be round. The rotating spectacle with a square gear was made possible thanks to the Swiss University of Applied Sciences in Le Locle and Michel Vermot, head of the development department for movements at Maurice Lacroix. The absolutely amazing ladies’ wristwatch is based on the same design principles. In addition to the “hugging hearts”, there is a retrograde hand date at the “5”. Due to the point indexing, it is not easy to read. The automatic ML 258 calibre is located in the transparent steel case with a diameter of 40 millimetres. This is the tried and tested Sellita SW200, which has an exclusive module on its front. It offers water resistance up to ten bar of pressure. After a four-year break, a “Vendée Globe” race will take place again in 2020. This regatta is one of the toughest. Ulysse Nardin will be an official timekeeper and sponsor for the first time. With a view to the exceptional sailing event, the traditional Swiss manufacturer is presenting three highly resilient diving wristwatches. Each of the “Diver X” models with a five-year guar antee is limited to only 30 pieces. The 44-millimetre “Nemo Point” is dedicated to the most remote place on earth. Geographically, the point discovered only in 1992 with the coordinates S48°52.6’ and W123°23.6’ is located between Chile and New Zealand. The nearest land in the form of the islands of Ducie, Motu Nui and Maher is exactly 2688 kilometres away. This surely brings back memories of Captain Nemo, the main character of Jules Verne’s novel “20,000 Leagues under the Sea”. Because of the infinite vastness of the sea around Nemo Point and the nickname “Pacific Pole of Inaccessibility”, the colour blue plays an import-

breathes new life into a top version of the absolute Breitling icon. The new “Navitimer B03 Chronograph Rattrapante 45” has a 45-millimetre red-gold case, a stratos-grey dial and a circular slide rule typical of the model. Watches with a gold case are not part of Oris’ standard programme. But, exceptions prove the rule, as is well known. In this special case, the “Carysfort Reef Limited Edition” also serves a good cause. As the name of the model suggests, it refers to the Carysfort Reef in California and the corals there. The “Coral Restoration Foundation”, one of the world’s leading foundations in this area, takes care of its preservation. Oris has been cooperating with the non-profit organisation since 2014. In the case of this ticking gold piece, the traditional Swiss manufacturer supports this commitment with a total of three copies of the edition limited to 50 pieces. In order to achieve the highest possible amount of money, the numbers 02 / 50, 03 / 50 and 04 / 50 will be auctioned at several events. All dates will take place in spring 2020. The rest are, of course, available for sale. You get a diving wristwatch with a blue dial for your money. Its yellow-gold case with a solid gold screw crown withstands the pressure of water up to 30 bar. As a result, these proud owners can theoretically dive under the ocean up to 300 metres. A reliable automatic movement with an Oris 798 calibre tells you the time, which is particularly valuable when you are underwater. A Sellita SW 330-1 with 42 hours of running power serves as the basis. In addition to the usual hands for hours, minutes and seconds, a fourth one rotates at the centre. It moves 360 degrees during one day and can be adjusted in hourly increments regardless of the minute hand. At the bottom of the 43.5-millimetre case, there is a sticker. In addition to the limitation number, it also shows the endangered Carysfort Reef, to whose preservation this wristwatch makes a contribution. Maurice Lacroix showed its first novelties in mid-February at the Inhorgenta trade fair. In Munich, the brand once again focussed on women. The “Masterpiece Embrace” is definitely

CARYSFORT REEF LIMITED EDITION

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an hour and finally the additional minutes that have passed. A special material alloy makes the coil gongs struck by hammers sound particularly loud. An “all-or-nothing mechanism” prevents incorrect striking. The quality of the design and craftsmanship, as well as the high level of accuracy, is worthy of the demanding Geneva seal. MeisterSinger has been committed to the philosophy of timekeeping since it was founded in 2001. This means that the presented wristwatches do not have a minutes hand, but only an hours hand. Nevertheless, thanks to special indexing, the time can be read to precisely five minutes. One of the innovations in 2020 is the “Astroscope” with an unprecedented indication of the seven days of the week. As is well known, this period of time does not follow an astronomical rhythm. Rather, it is based, among other things, on Babylonian mythology. There, like other peoples, the number 7 was particularly sacred. It was linked to the celestial bodies Sun, Moon, Mars, Mercury, Jupiter, Venus and Saturn. Their names are derived from Roman gods. In contrast, the names of the days of the week are based on Nordic mythology. But the celestial bodies also played a decisive role there. Eloquent examples are Monday and Moon as well as Sunday and Sun. In addition, the “Astroscope” shows the days of the week with the planets Mars, Mercury, Jupiter, Venus and Saturn. However, this is not done in the traditional way, but rather seemingly oscillating in an illogical way. Nevertheless, the system used here follows a given astronomical constellation. The same is reflected by the disc printed with several dots, which rotates 360 degrees under the dial over the course of a week. The reliable automatic basic Sellita SW220 calibre serves as the drive mechanism. At the “6”, the 40-millimetre stainless steel wristwatch, which is water-resistant up to five bar, also has a date window.

ant role with this watch. The screw-down crown case, which is water- resistant up to 300 metres, has a rotating bezel that locks on one side and has a solid base made of titanium. UN-118 is the name of the built-in manufactured calibre with a self-winding ball-bearing- mounted rotor, a barrel, 60 hours of running power, a power reserve indicator at the “12” and calendar display. As a silicon pioneer, Ulysse Nardin uses this non-magnetic material for levers, escapement wheels and balance wheel springs. A nano-crystalline diamond layer also characterises the “DiamonSil” type of escapement parts. They therefore almost have the properties of the hardest materials. Roger Dubuis can rightly be considered a pioneer of openly designed movements. A look at the archives shows that the competence of traditional skeletonisation goes back to 2005. Three years later, the factory presented the first calibre, the transparent structure of which was created on the drawing board. A year later, what followed was what watch lovers know as the “Excalibur Spider”. In addition to the impressive spider web design, tourbillons are also a “bon ton” for the Geneva-based member of the Richemont group. Speaking of sound: sonorous appearance is one of the characteristics of the new “Excalibur Spider Unique Series, reference RDDBEX0862.” In the colour combination presented, this wristwatch with a 47-millimetre outer carbon case will only be available once. Other models have not been ruled out. An additional titanium case provides protection for the RD107 manufactured calibre, composed of 558 parts, with a “flying” tourbillon, two micro-rotors, 72 hours of running power and water resistance of up to five bar of pressure. Both materials underline the excellent acoustics of the repeater, which is also built in. After pressing the stopwatch on the left edge of the case, the current time is shown to the minute. First the number of hours, then up to three-quarters of

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TRENDS

HARRY WINSTON

The Winston Cluster is one of the most sought-after and iconic jewellery designs and the ultimate embodiment of timeless glamour and unsurpassed style. These exquisite earrings consist of six drop cut diamonds and four marquise cut diamonds with a total weight of around 4.59 carats. The diamonds are set in platinum.

AL CORO

White gold earrings from the “Serenata collection” with 1.12 carat diamonds. The collection lives on rows of diamonds that merge together to create catchy pieces of jewellery with incomparable sparkle.

BUCCELLATI

JEWELLERY

A tourmaline lies at the centre of this “Lapillo bracelet”, encircled by accents of yellow and gold. The bracelet around the gem is furnished with rigato engravings and ornato accents.

PIAGET

The “Treasures Collection” embodies Piaget’s promise of eternal elegance. The white and gold necklace is set with brilliant and marquise cut diamonds and a step cut emerald.

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MO TION MOT ION 74

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NEW BENTLEY CONTINENTAL GTC PRESTIGE

BRITISH OPEN AIR FEELING

Author_Patrick Frey Images_Bentley Motors Ltd.

MOTION

IS THERE A CLASSIER, MORE STYLISH CONVERTIBLE THAN THE NEW BENTLEY GT CONVERTIBLE? BY NO MEANS. THE THIRD GENERATION OF THE GTC ONCE AGAIN OFFERS TECHNICALLY SOPHISTICATED FUN IN THE FRESH AIR OF THE GENTEEL ENGLISH VARIETY. INDEED!

The closed coupé already enraptured the public, trade press and customers alike when it premiered at IAA 2017, as it raised the bar in the Luxury Gran Turismo segment considerably. Right in time for the brand’s 100th birthday, the market launch of the open version – the Bentley GT Convertible (or GTC for short) – followed this year. The elegant body design is pleasing to the eye – the profile of the convertible is longer and lower than that of the previous model. And the roof opens and closes in just 19 seconds, even at full speed in built-up areas (that is, up to 50 km / h). There are seven different colours to choose from for the hood, including, for the first time, an authentic tweed material – how fabulous! But what makes a Bentley special is its exquisitely handmade interior. A practically unlimited selection of material and lifestyle options are available. The standard range alone includes 17 paint colours, and a further 70 colours broaden the spectrum. There are also 15 luxurious carpet variants, eight different hand-

crafted wood veneers (with a further four options for combinations of these), and 15 leather options for the interior trim. Also on board are, of course, the fully digital and driver-oriented dashboard, already familiar from the coupé, and the unique Bentley Rotating Display, which displays either a generous 12.3 touchscreen, a pure veneer surface or three premium analogue instruments. A Bentley wouldn’t be a Bentley if it didn’t have enough steam under the bonnet. The 635 hp of the 6.0-litre W12 TSI engine (with cylinder deactivation) is transmitted to the new all-wheel drive via an eight-speed dual clutch transmission. Thanks to its maximum torque of 900 Nm, the GT Convertible reaches 100 km / h in 3.8 seconds and only stops accelerating at 333 km / h. Another technical highlight is the 48-volt architecture, which enables lightning-fast roll stabilisation for unrivalled vehicle control. The damper control changes the air volume in the air suspension depending on the speed and ground surface, thus optimally balancing comfort and handling. Three selectable driving modes change the settings of the suspension, engine, transmission and other chassis systems. Furthermore, the driver can also define individual dynamic settings. The neck-level heating system that is seamlessly integrated into the comfortable heated seats has also been revised, and is now warmer and quieter. Combined with the heated steering wheel, seat heating, and the new heated armrests, these comfort features ensure luxurious pleasure in the open-air in all seasons – also in Switzerland, starting from CHF 267,100.

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THE LAST OF ITS KIND Author_Swenja Willms Images_Hortons Books Limited

There has not yet been a comprehensive history of the EB110 in book form. Until now.

MOTION

Super sports car, record holder, and icon. The Bugatti EB110 has many nicknames. Until now, there has been no book that does justice to the significance of the Bugatti of the 1990s. Until now: Over the past seven years, three proven Bugatti experts have dedicated themselves to the Coupé and written a comprehensive biography. With “The Last Bugatti Racing Cars”, a comprehensive record with many new photos and information has been created. Protagonists and experts from the heyday EB110 will have their say. These include contemporary witnesses such as race engineer Dieter Gass, test driver Loris Bicocchi, and racing driver Derek Hill. The book contains previously unpublished documents as well as new insights into the saga of Bugatti Automobili S. p. A. Bugatti itself took a bow to the legendary EB110 only this summer with the presentation of the Bugatti Centodieci – Italian for 110 – a reinterpretation of the EB110.

public for the first time on 15 September 1991 – on the 110th birthday of Ettore Bugatti. Almost 2000 invited guests came to the presentation in Paris some 30 years ago. And three EB110s drove over the Champs-Élysées. The name of the EB110 model alone is a tribute to Bugatti founder, Ettore Bugatti. EB stands for Ettore Bugatti and 110 for his 110th birthday.

OVER 300 PAGES OF CONCENTRATED KNOWLEDGE

Over 300 pages contain meticulously researched data and information as well as over 350 photos from the factory archives and contemporary documents. The authors had access to historical pictures, technical drawings, data sheets, and race protocol data. These make it possible to trace the construction and development history of Bugatti’s last two factory racing cars. The book focuses on these two EB110 cars, which are also the last official Bugatti racing cars. This development of the racing versions is a story within the history of the EB110. So far, the Bugatti EB110 racing cars have received only a cursory description. And this despite the fact that the EB110 represents a technological revolution at the beginning of the 1990s. A vehicle for which the development is characterised by passion and skill. With the EB110 and the two racing cars, Bugatti pursued the vision of lifting the brand back to the zenith of car development – and being active in motor sports.

PARIS AS A SUITABLE PLACE FOR THE PRESENTATION

The authors and Bugatti experts Johann Petit and Pascal van Mele presented the book together with the editor and Bugatti historian, Julius Kruta, at the Retromobile Motorshow in Paris. An appropriate place. The event is one of the most important classic car fairs in the world. With 620 exhibitors on 72,000 square metres in the centre of Paris, the fair attracts more than 130,000 visitors every year. Paris is also the place where the EB110 was presented to the

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THE EB110 IS AHEAD OF ITS TIME

For the first time in a production car, the monocoque is made of carbon. Aluminium, carbon, and aramid fibre reinforced plastic are used for the body. The wheels are cast in magnesium, and each screw is made of titanium. The super sports car is powered by a 3.5-litre V12 mid-engine with four turbochargers. Two camshafts per cylinder bank and five valves per combustion chamber – a total of 60 valves – ensure rapid gas exchange. Depending on the model, the engine delivers between 560 and 610 HP. This power is permanently transmitted via all four wheels. The EB110 accelerates from zero to 100 km/h in up to 3.26 seconds, thus making it the

fastest production car of its time. The maximum speed is 351 km / h. Bugatti has set four world records with the EB110: fastest acceleration, fastest production sports car, fastest gas-powered sports car, and fastest production car on ice. Even after almost 30 years, the EB110 is still one of the fastest cars in the world. By 1995, around 96 EB110 GT and 32 EB110 Super Sport models – a total of around 128 vehicles, including two official factory racing cars with 670 HP – were built. They compete in the 24 Hours of Le Mans, in Suzuka, and in the American IMSA Series (e.g. the 24 Hours of Daytona). They are the last cars to leave the factory.

MOTION

THE LAST BUGATTI RACING CARS A total of 110 copies of the “IMSA Edition” in silver binding, 110 copies of the “Le Mans Edition” in blue binding, and 35 copies of the “Publishers Edition” in leather binding will be produced for Bugatti enthusiasts and collectors. The “Publisher Edition” is signed by important protagonists of the Campogalliano saga. Hortons Books Limited

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MOTION

The master of curved edges The design provocateur Luigi Colani relentlessly led a campaign against straight lines in design. He died at the end of last year at the age of 91, but his use of form will remain with us forever.

Author_Lone K. Halvorsen Images_ Archiv Dr. Albrecht Bangert

Aircraft Company in the United States, Luigi Colani began designing plastic chassis for Simca, a French car manufacturer. But Colani turned his back on Paris once again and went back to Berlin to learn about the automotive trade by completing an apprenticeship at Erdmann & Rossi, a prestigious bodywork company. Plastic played a dominant role in Colani’s designs from the very beginning and was continuously developed – until he transferred this design to his Colani GT in the 1960s. The small sports car, which was developed as a VW-based assembly kit, became a style icon of that decade. Colani justified his fascination with the car with the following words: “The automobile interests me because it is a constructional and philosophical agglomeration of highly specialized details, which are combined into one powerful commonality.”

Colani was not only one of the most famous designers of our time, but also one of the most controversial. Even though he was an unconventional man, as a designer he exclusively preferred round shapes. He always stressed that his world was round and detested straightness, right angles, and angular edges. Whether unpopular or popular, this visionary was for the most part ahead of his time. A METAL BIRD WITH NO STYLE Colani was born in Berlin in 1928 to a Polish prompter and a Swiss film architect. His parents attached great importance to his creative development and he learned how to use different materials from a young age. His special creative upbringing was guided by the saying “if you don’t get any toys, you have to create them yourself.” His parents’ plan worked out because at the tender age of four, little Lutz, as he was known back then, could enthusiastically solder and build cars, planes and ships. He grew up in close proximity to the Johannistal-Adlershof Airport, which ignited his passion for airplanes at an early age. However, his enthusiasm was not entirely positive because the “metal birds” genuinely unsettled Colani. The talents he acquired in his childhood bedroom were enhanced by studies at the Berlin Academy of Art – even though he traded it all in after two years for lectures on aerodynamics and ultra lightweight construction at the Sorbonne in Paris. After a short time working at the Douglas

EXTRAVAGANT SHAPES, BUT NO PRODUCTION Luigi Colani periodically stirred up the automotive industry, but he was unable to make a major breakthrough in car and truck design. A Colani car design was never realised beyond a sheet of paper. The reasons were partly due to the eccentric designs, which unfortunately were not compatible with mass production. Some people attributed Colani’s personal nature to his failure to achieve automotive success. Colani was extremely confident in his ideas and reacted very sensitively and harshly to any sort of criticism.

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Cooking like an astronaut in Colani's famous spherical kitchen for Poggenpohl 1968/1971.

MOTION

Everything from Colani was transgressive, like his conversion of a Volkswagen to an aerodynamic roadster. The marketing idea behind it: a plastic in-house prefabricated assembly kit.

“I AM A SUCCESSFUL SWINE AND HAVE HAD TREMENDOUS OPPORTUNITIES.” Luigi Colani

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“I am the most servant of servants in every product I design. So the car must always be adapted to the needs and movement patterns of human beings, even if this means that it has a few more bulges here and there than it did before”. Colani saw it as a moral obligation to serve people. In view of the current automobile debates, Colani’s words from the 1970s sound prophetic. Referring to a small car with an electric motor, he said: “It’s lunacy to build cars that are two-by-six metres for people who need a quarter of a square metre of space while driving. THE JUSTIFICATION FOR ROUND SHAPES “Take a stone and throw it into the water, the stone is round, the trajectory is round, the circles in the water are round, our world is round and moves in harmony with billions of other round celestial bodies in circular orbits. Round shapes excite us, which is why we as a species find curvature erotic. Why should I, a logical person, imitate those who see our world angularly? I continue the struggle of Galileo Galilei, even my world is round.” Philosophically speaking, the straight line had no right to exist for Colani. Although his love of round shapes was not only aesthetically justified. He always stressed that aerodynamic shapes would reduce fuel consumption in car or aircraft construction – and he proved it too. However, Luigi Colani was a man of many ideas, so it was important for him to expand his line of work. In the end he is said to have earned more money with his commercial products than with his cars. Whether it was a computer, furniture, household goods or a television set – he had rethought and optimised almost every object. There was nothing that was too trivial for him. All his products always used nature as an example so that form and content could harmonise with each other. Colani’s principle of organic language and biodesign was the so-called “humanisation of the human-machine interface”. This attracted a lot of attention, although this was possibly supported by Colani’s brilliant self-marketing.

MOTION

RECOGNITION IN ASIA Following his commercial success and rise as a media star, Colani opened a design factory in Harkotten Castle in Westphalia in 1972. An intensive and successful period began here. The Far East in particular became aware of Colani's designs. As his work was well received there, Colani gave up his studio in 1981 and concentrated on the Asian market, working for Canon, Sony and Mazda. His most successful design was the Canon T90. His design had a decisive influence on the brand and its development. In addition to the camera, Colani was widely praised for his foldable lightweight headphones from Sony from 1984, which were even included in one of MoMA's permanent collections. Luigi Colani lived in Japan for five years because this country was to remain an important location for his career. Here he met with understanding and admiration, but in Europe his work remained controversial and Colani often felt misunderstood. His design, which was characterised by utopia, of course remained location-independent. FAILURE LIES ON THE OTHER SIDE As is the case with many a designer, Colani added unconventional character to his undoubtedly impressive works. He polarized both the audience and the professional world with his self-promotional skills. He was hated by some, but for others he was a genius. Even though he was reluctant to admit it, Colani was slighted by the rejection which he received mainly because of his arrogant nature. “Failure lies on the other side,” he replied stubbornly. The fact is that he was streets ahead with his progressive ideas – especially in times of increasing energy problems. The number of designs he came up with, whether they were produced or not – is virtually immeasurable, and his ingenuity was also boundless. At the end of his life he claimed to still have ideas for the next 500 years.

As a pop star of design, Colani preferred to operate by himself, as here in the Performance for his all-purpose “Zocker” furniture for Burkhard Lübke. 1972 He wanted to connect the German furniture industry with Italy with his extravagant plastic furniture.

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MO TI ON

ASTON MARTIN

A daring new chapter and a milestone in Aston Martin’s glamorous, 106-year history: as the first SUV from the British luxury automobile manufacturer, the DBX is based on the principles of beauty, luxury and driving dynamics and offers a wide range of performance, from sports car dynamics to off-road ability.

VIK MUNIZ

Photographer and mixed-media artist Vik Muniz is known for converting everyday materials to make complicated, multi-faceted replicas of canonical works of art. As part of the “Artist Collaboration” with “The Skateroom”, the artist designed an eight-part series of skateboard decks.

KOENIGSEGG

The cuff links are decorated with the Koenigsegg shield made of hard enamel on gold-coloured metal. This accessory makes the lifestyle of Koenigsegg Automotive AB an everyday companion.

FERRARI

The versatile notebook with an integrated calendar for the years 2020 and 2021 in authentic Ferrari style is simple in form, and shows the iconic coat of arms on the firm cover. The red book is dedicated to the fans of the team from Maranello. The accessory has a practical, pull-out pocket on the back to hold business cards, notes or receipts.

TRENDS

#lafrenchvodka

Elev a ti ng the ord i n ar y to extra ord i nar y . w w w . l a f r e n c h v o d k a . c o m L a French Vo dk a enco u rage s re s p on s ib le d r in k in g .

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FASH ION FA SHION 90

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Coat and leather skirt: Dawid Tomaszewski Hat: Gucci Tulle top: Dawid Tomaszewski Shoes: Wandler

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COME, FLY WITH ME

Pan American World Airways opened its legendary luxury lounge – intended as a port of call for crew members after long transatlantic flights – in Berlin in 1966. The lounge quickly became a secret hotspot right in the centre of the western part of the divided city. Lavish parties, galas and receptions – this is where the great and the good came to meet. While the bourbon flowed at the bar, the big political and social players worked out the important issues of the day in this discreet setting. Only when the airline collapsed and the Berlin Wall fell did the lounge sink into oblivion. With the revitalisation of Berlin’s City West area, the Pan Am Lounge’s owner, Natascha Bonnermann, undertook a programme of renovation, paying great attention to detail and keeping in mind the historical importance of this location.

Authors_Swenja Willms und Snesha Bloom Images_Suzana Holtgrave

FASHION

She fell in love instinctively: Natascha Bonnermann discovered the abandoned Pan Am Lounge by chance and, by reopening it, revived the spirit of the 1960s.

PRESTIGE: Ms Bonnermann, the Pan Am Lounge was designed in 1966 for the airline’s crew members. How did a place to live become such a glamorous party hotspot? NATASCHA BONNERMANN: In 1966, at the height of the Cold War, Pan Am had its headquarters in the newly-built Europa Center in West Berlin. The airline had to think about where crew members would be staying during stopovers in Berlin. Thanks to its contacts, Pan American Airways was able to secure the Hotel Eden at Budapester Strasse 43 – a former high-society address. A penthouse was built on the 10th floor of the Eden high-rise – the legendary Pan Am Lounge. The Pan Am Airline parties were to go down in history.

to make major reparation payments and, at the same time, trust in the company waned considerably. With Berlin reunified, Pan Am had to remove the destination from its route network because the German airline Lufthansa was now able to fly in and out of Berlin. This fatal blow also meant that Pan Am’s mission – to connect Berlin to the free world – had been fulfilled. After the demise of the airline in 1991, the lounge was forgotten. Why did you decide to bring these premises back to life? I discovered the Pan Am Lounge in 2005 by pure coincidence. I was an actress at the time and had to travel a lot for filming. I ended up in this lounge and knew that I wanted to stay here. I’ve also had so many great encounters with Pan Am stewardesses and pilots over the past few years, whose daring, glamour and energy both moved and impressed me, that I want to allow this piece of the past to sparkle and shine again. I want this lounge to reflect the concept of service in first class on a Boeing 747 in the mid-1960s.

It was not only the airline’s parties that were notorious but also the history of the airline itself and the influence it had on Berlin. One of the airline’s best-known deployments was the famous Berlin Airlift in 1948. Pan Am assisted the US Air Force and ultimately prevented the Soviet Union from taking over the former capital. Within the space of 90 seconds, the huge planes landed at Tempelhof with clothing, food and fuel, unloaded the goods and took off again.

So the spirit of the airline can still be felt today? Our guests still have party blood coursing through their veins. It's very important to me to keep the Pan Am Lounge exactly as I found it back then. I’m sure we all know the situation where we have a favourite lipstick and then, one day, the texture, the formula or the colour changes because the manufacturer thought they had to move with the times. But I’m not doing that here. I’m carefully retaining every detail, even if they seem a bit prim and stiff by today’s standards, because they are part of the overall appearance. You arrive here in a time capsule and you want to keep it that way.

In the 1950s, the airline was considered the undisputed number one of the skies. What were the reasons for its collapse? Basically, it came down to three reasons: Pan Am only ever pursued one vision, and that couldn't always be implemented. For example, Pan Am built a route network in America that nobody really needed and that generated huge losses. After the first terrorist air attack, the attack on a Pan Am Airways plane, the airline had

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Pants and jacket: Hermes Body: Vetements Shoes: Prada Earring: Mango

FASHION

Top: Marcel Ostertag Trousers: Talbot Runhof Shoes: Balenciaga Glasses: Andy Wolf Rings: Xenia Bous

PHOTOGRAPHY:

SUZANA HOLTGRAVE FROM CALL LIST AGENCY ZURICH

MODEL:

SOPHIA FRIESEN FROM HER MANAGEMENT

STYLING:

ADELAIDA CUE BÄR FROM NINA KLEIN AGENCY

STYLING ASSISTANT: LAURA CAUFAPÉ

HAIR & MAKE-UP:

KATJA MAASSEN FROM LIGANORD AGENCY USING DIOR MAKE-UP

PRODUCTION:

SNESHA BLOOM FROM CALL LIST AGENCY ZURICH

LOCATION:

PAN AM LOUNGE BERLIN

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Jacket: Pallas Paris Top: Ganni Pants: Marcel Ostertag Shoes: Arket Hat: Spatz-Hut-design Passau Rings: Susan Bosslau Lab

FASHION Dress: Richard Quinn Tights: Tom Ford Earring: Uterque Rings: Thomas Sabo Shoes: Wandler

PRESTIGE LEFT Pants: Talbot Runhof Silk blouse: Balmain Belt: Marina Hoermanseder Earrings: Mango Shoes: The Attico RIGHT Jacket: Talbot Runhof Silk blouse: Balmain Belt: Marina Hoermanseder Earrings: Mango

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Coat and leather skirt: Dawid Tomaszewski Hat: Gucci Tulle top: Dawid Tomaszewski Shoes: Wandler

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FASHION Trenchcoat: Christian Dior Earrings, Necklace and Bag: Christian Dior Tulle top: Dawid Tomaszewski Skirt: Talbot Runhof Shoes: Bottega Venetta

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Dora Kallmus

Author_Beatrice Schönhaus Spirig

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CULT PHOTOGRAPHY – REDISCOVERED

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She must have been a fascinating personality: the photographer Dora Philippine Kallmus, who worked from 1907 under the pseudonym Madame d'Ora. Born on March 20, 1881 in Vienna, from very early on she knew exactly what she wanted! But let's not get ahead of ourselves.

Dora Kallmus came from an educated Jewish family, originally from Prague. Her father was a well-respected lawyer and court attorney in Vienna; her mother, the exotically-named Malvine Sonnenberg originally came from Croatia. She died at the age of 39. That is why Dora and her sister Anna Malvine came to be brought up by her grandmother on her father’s side. Dora wanted to be a photographer. But this was more than unusual and very difficult at the time, especially for a woman. On a trip to the Côte d’Azur, she bought her first camera of her own, a Kodak box camera, into which roll films were inserted. A little later, Dora had the rare opportunity to sniff the air of a real photographic studio, in the premises of photographer Hans Makart junior. She also managed to be the first woman ever to enrol in the theoretical course at the Vienna Graphic Teaching and Research Institute – however, she was barred from the associated practical seminars. After that, she decided to take photography and retouching lessons with Nicola Perscheid in Berlin to learn the practical side of the profession. Which she did, brilliantly. As early as 1907, Dora opened her own photo studio under the stage name Madame d’Ora in Vienna’s prestigious First District, together with Arthur Benda. Arthur Benda was first the director of the studio, then partner in 1922. Dora Kallmus was interested in people, their facial expressions and their charisma. She found Vienna’s then-very-active artistic and intellectual scene particularly exciting. It included big names such as Alma Mahler-Werfel, Gustav Mahler’s wife. She was a composer who had previously been married to the architect Walter Gropius and the poet Franz Werfel. What wasn’t made so public was that she was also the lover of painter Oskar Kokoschka and ran so-called artistic salons in New York, Los Angeles and Vienna, to which she invited celebrities. A femme fatale, as was common at the time. Dora also took a portrait of Vienna’s well-known Rothschild family. She was also fascinated by the cult writer Arthur Schnitzler; she photographed Gustav Klimt, Pablo Casals and Anita Berber. Berber was a dancer and actress, who stood out thanks to her lifestyle of excess: she drank a lot and lived large. But Dora Kallmus continued on her own path, and in 1916 she had the great and unique opportunity to take pictures of the coronation of Charles I, the King of Hungary, and of the Kaiser’s entire family. A windfall if ever there was one. And her big break. Thanks to this resounding success, Dora was able to get into fashion photography from 1917 and she produced photo series for the legendary fashion department of the Wiener Werkstätte. These photos can still be admired in famous museums. In 1927 Madame d’Ora moved to Paris and ran her own photo studio in the city of love. It was a courageous step to take in those days. But she was able to build considerably on her reputation as a society and artistic photographer and became the main photographer for big names such as Josephine Baker, the painter Tamara de Lempicka, Marlene Dietrich and Coco Chanel. She was regularly booked by fashion magazines such as “Vogue”, “Madame” and “L’Officiel de la Couture”, and indeed the big fashion houses Jean Patou, Lanvin, Chanel, Balenciaga and Rochas. Then came the Second World War. And with it the abrupt end of our society photographer. Dora Kallmus had to leave her Paris studio in a hurry when the German

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LEFT Actress and dancer Elsie Altmann-Loos. Photographed by Dora Kallmus in 1922 in the Setzer-Tschiedel photo studio in Vienna.

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A portrait of the exceptional photo pioneer herself.

MADAME D’ORA Under the patronage of Ronald S. Lauder, a philanthropist from the family of the beauty empire Estée Lauder, more than 100 pictures of the artist are shown. The book was lovingly compiled by the author Monika Faber for the occasion of a largeretrospective in one of the bestknown New York galleries, the New Gallery.

MACHEN SIE MICH SCHÖN, MADAME D’ORA! Dora Kallmus – photographer in Vienna and Paris. 1907 to 1957. Dora Kallmus’ portraits tell an impressive story of the dazzling highs and cruel lows of the 20th Century – from crazy avant-garde artists to emaciated refugees and survivors of the Holocaust.

Prestel Verlag 262 pages ISBN 978-3-7913-5970-0

Brandstätter Verlag 348 pages, circa 250 illustrations ISBN 978-3-7106-0221-4

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LINKS Hats by the French designer Madame Agnès, photographed by Madame d'Ora in 1938 at the Bonartes Photo Institute in Vienna.

troops invaded in 1940. She came as a refugee to a monastery in southern France. Later she sought safety on a farm in the Ardèche area. Her sister Anna, with whom she had lived in Paris, was deported to a concentration camp, probably to Chelmno in Poland. Like many of Dora’s relatives, she was murdered there. Shaken, Madame d'Ora did not return to Austria until 1946. Now she photographed completely different subjects: ruined Vienna, desolate refugee camps; she took pictures of old people and children. She later found her way into some society photographic work, and would portray the English writer Somerset Maugham, the musician and conductor Yehudi Menuhin and the painter Marc Chagall. Then the photographer suffered a cruel fate: after a car accident, Madame d’Ora lost her entire memory. She spent her last years in the care of a friend of her murdered sister Anna, in Frohnleiten in Styria. She died there in 1963 and was buried in the local cemetery. Years later, in 2019, she was exhumed on the initiative of the President of the Jewish Community in Graz, Elie Rosen. Today she lies in an honorary grave in the Jewish cemetery in Graz. Madame d’Ora took a total of around 90,000 photographs, a large portion of which are now kept in the Austrian National Library. Others are in the Albertina in Vienna and the Museum of Arts and Crafts in Hamburg.

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WALES BONNER

Grace Wales Bonnerâ&#x20AC;&#x2122;s spring collection is based on Cuba's culture of the 1940s and 1950s. The clothes of ballet dancers and military officers, which are mostly made of polyester, take centre stage.

GUCCI

Thanks to the additional strap on the side, this accessory can be carried both as a travel bag and as a backpack. The specially treated leather with a slightly used look creates a great-looking vintage f lair in the style of the 1970s.

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BALENCIAGA

Elegance and streetwear blend together in the 2020 resort collection by Demna Gvasalia. The ochre-coloured trousers with elastic waist and wide-cut silhouette can be combined in a casual and chic way.

PRESTIGE LEFT Jacket and shirt: Acne Studio Earring: Charlotte Chesnais RIGHT Top, sweater and skirt: Miu Miu Earrings: Goossens

HER(A). 108

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PHOTOGRAPHER: DIYALA KAYIRAN

HAIR- AND MAKE-UP ARTIST: NOELIA DE JESUS

STYLIST:

JUSTINE BLEICHER

MODEL:

IVANA DOMINKOVIC

AGENCY:

OPTION MODEL AGENCY

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PRESTIGE Trenchcoat: Stella McCartney Shoes: Amina Muaddi Rings: Dodo

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LEFT Top, sweater and skirt: Miu Miu Earrings: Goossens RIGHT Shirt and jacket: Paul Smith Earring: Zara

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LEFT Coat: Dries Van Noten Trousers: Margaux Selle Shoes: Amina Muaddi RIGHT Dress: The Frankie Shop Earrings and ring: Goossens

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WOMEN

TR EN DS by

TYLER ELLIS

The LJ is a semi-structured handbag with a triangular front flap and the customer-specific spear-lock closure.

LOUIS VUITTON

For its Spring / Summer 2020 collection, Louis Vuitton will be using its own storyline as a motif and will be blending two emerging centuries: the wonderful beginning of the 20th Century and the 21st Century.

JIMMY CHOO

Mahesa 100 made of Cuoio calf leather is the epitome of elegance. The slim and slightly angular cut foot gives this boot a modern feel.

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LIPSTICK AS A CULT OBJECT over the years Author_Anna Karolina Stock

THE SUCCESS STORY OF THE LIPSTICK BEGAN A LONG TIME AGO AND CONTINUES TO THIS DAY. THIS RITUAL OF APPLYING MAKE-UP HAS A REMARKABLY CHEQUERED HISTORY. AS A SYMBOL OF SEDUCTION, FILM SET PROP, OR POLITICAL STATEMENT – RED LIPS WERE NEVER MEANT JUST FOR KISSING.

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mouth in a matt dark red. The look was a mix of flirtatious and slightly disreputable and a symbol of emancipation. It was the so-called “Flapper Girls”, the young women who went out at night, chain smoked, drank Black Burn whisky, that helped the lip colour to grow in popularity. They were encouraged by black and white films, which presented the pout in its most daring form due to the required contrast – namely in colours ranging from black to garnet red. The stage and film stars of yesteryear are still known today for their characteristically made-up lips: Clara Bow, for example, for her Cupid’s Bow, or Mae Murray for her bee sting mouth – a make-up trick by Max Factor developed especially for film. Traditional pomades melted under the hot studio lamps, the mouth was completely covered with make-up, and then cupid’s bow lips were drawn on top. This round doll’s mouth was an integral part of the 1920s.

Whether cautiously natural or fiery red, shiny or matt, lipstick was never just a beauty utensil, but a barometer of mood and the expression of an attitude to life that could vary greatly depending on the era. Lip shape and colour trends change to reflect the era. This has been the case for the last hundred years and will continue to be so in the future. This is at least the view held by Lidewij Edelkoort, one of the world’s most renowned trend researchers for fashion and design, who has herself become a style icon over the years. The Dutch native travels around the world, commuting between her three offices in Paris, New York and Tokyo, always in search of marketable information about how we will live in the future, how we will dress, and which colours and materials we have a preference for. In a nutshell: what we want to buy. With her predictions, Li Edelkoort, as she is commonly called, is able to give fashion conscious women expert advice two years in advance and thus gleans insights into the hidden moods and desires of future customers. “Which lip shape is trendy at any given moment depends strongly on the role of women in a particular era. In the Baroque era, a heart-shaped mouth in subtle colours embodied freshness and virginity,” Edelkoort explains. In the 1920s and 1930s women were in fact more emancipated and independent than later in the 1950s and 1960s. Marlene Dietrich and Greta Garbo didn’t need seductive, sensual lips to appear strong and confident. “One thing is certain, there are indeed striking lipstick trends that occur more or less every ten years. Sometimes narrower, sometimes more accentuated, with sharp lines, and then more generous again.”

1930

A TIME OF DEPRESSION AND ANDROGYNY In the 1930s, the playful Charleston look gave way to a new severity with clear, straight forms. Lip fashion became more natural and austere. Instead of overdrawing the mouth, one simply drew a cupid’s bow. In addition to silky shiny brown and red tones, strong pink hues and fuchsia were also modern. Lip gloss could also be found on cosmetics shelves in department stores from 1932 onwards. Seven years later the first “Revlon Super Lustrous” lipstick appeared, a strong red tone called “Fire & Ice”, which was a bestseller until the 1940s – and is still worn today. More than 30 million units have already been sold, making the Revlon classic one of the most successful lipsticks of all time.

1870

THE INVENTION OF THE FIRST MODERN LIPSTICK As they were known for being indecent and vulgar, it was only demimondames, idiosyncratic queens such as Elizabeth I of England, and later also actresses, that painted their lips a deep red in the course of cultural history. Even when Guerlain designed the “Ne m’oubliez pas” ("Don’t forget me”) in 1870, the first lipstick and the first tube in the history of modern make-up, nobody was really enthusiastic about it. And this even though the pink wax crayon came in an innovative holder with a sliding mechanism and – at the height of sophistication – was even refillable. Even when 13 years later, at the World Fair in Amsterdam, a stick wrapped in tissue paper made of coloured castor oil, deer sebum, and beeswax (with the melodious name “Stylo d'Amour” – “love stick”) was presented, the thing, which had been spurned as a “saucisse” (sausage), achieved anything but world fame. However, the French actress Sarah Bernhardt, a diva of the late 19th century, recognised the potential of the Parisian creation and helped it gain popularity by going out in public with a cherry red pout. Thanks to the growing film industry and the suffragette movement, which swept through New York with stoplight red lips in 1912, it was not long before the beautifier in its enamelled case was also available in department stores, and red lips became socially acceptable.

1920

EMANCIPATION, PROHIBITION, REBELLION Charleston, short hairstyles, and liberalness defined the style of the Golden Twenties. To match her permed pageboy and corset-free dress, the woman of the world gave herself a seductive, heart-shaped

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1960

At the same time, the thirties were a time of austerity and frugality in which the strong will and individuality of women were first observed. Actresses like Greta Garbo and Marlene Dietrich, who wanted to determine their own fate, belong to the style icons of the time. Wide Marlene trousers and blazers emphasised this androgynous fashion trend. But despite all their severity and boldness, women in the 1930s were still supposed to be beautiful. If your name wasn’t Marlene or Greta, dramatic eyeliner strokes and precisely plucked, narrow eyebrows were combined with a fine porcelain-like complexion to help achieve a similar look.

THE TIME OF EXTREMES AND CONTRASTS Woodstock, flower power, sexual revolution and the discovery of outer space – the sixties were turbulent and full of radical changes. People no longer put up with everything and questioned things more – including the beauty ideals that had been popular up to that time. While style icon Brigitte Bardot represented sex appeal and femininity with her voluminous hair and dramatic eyes, Twiggy completely transformed this image of women. Her anorexic, youthful chic created a clear contrast to the image of women as a sex symbol that had been in demand until then. As a sign of their rejection of conventionalized beauty, wealth and consumption, the women of the 1960s chose rather pale and inconspicuous lipstick colours such as pearlescent beige, baby pink or silver. Since the rebellious hippie look mainly relied

1940

THE SECOND WORLD WAR AND NEW-FOUND SELF-CONFIDENCE People longed for the beautiful things in life during the Second World War. Be it perfumes, tights or lipsticks, luxury goods were in short supply and only available on the black market. Those who owned lipstick used it for special occasions. Whereas lipstick tubes were still used as ammunition cartridges during the war, after 1945 the cosmetic accessory became more and more of an everyday object. In the post-war period lips tended to me made larger and more feminine again, and a strong vermilion was popular. Lip colour, however, was not so much aimed at seduction, rather for many women it became an instrument of personal morality, concealing suffering and signalling strength. It emphasised the courageous look of a self-confident woman who was coping at home with the hardships of war after her husband had been killed on the battlefield. The cinema screens in the 1940s also featured numerous Hollywood icons with headstrong characters and gaudy lips: strong characters like Rita Hayworth, Bette Davis, Hedy Lamarr, Vivien Leigh, and Katharine Hepburn. They all reflected this new feeling of personal strength and embodied the woman of the world to follow.

1950

POST-WAR AND ECONOMIC UPSWING After the reconstruction, the economic miracle of the 1950s followed. People wanted to finally leave the war behind and start a new chapter. The motto of that era was opulent and seductive rather than conservative. Even the lipstick holders were set with precious stones and lips shimmered thanks to voluminous glossy effects. Lips were outlined beyond the natural lip line in bright red or bright pink, which was typical for the economic miracle years. Striking colour schemes such as orange and coral also found favour for the first time. Typical icons of that time were Betty Page with her red lips and Marylin Monroe with her distinctive feminine curves. Even though opulence and passive femininity were clearly exemplified in film and television, the women of the 1950s were plagued by an inner conflict: on one hand, they fought for the independence they had won in the war and against the classic role of women, and on the other hand, they longed for security, a familiar home and clearly defined roles. Not surprisingly, a contrast to the sex bomb became established in this era: the boyishly graceful type of woman à la Audrey Hepburn. This very contrasting figure of a shy, coquettish “deer” wore either coral or a delicate reddishbrown on her lips and only used conservative lipstick, if any.

Revlon’s “Fire & Ice” is one of the most successful lipsticks of all time.

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Marylin Monroe embodied the era of the 50s with her seductive red lips.

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on heavily accentuated eyes, a light base coat in beige, light brown or rosé was often the only thing to be applied to the mouth to create as minimal an appearance as possible. A delicately shimmering gloss created a full, soft pout.

LEFT Punk became the anti-beauty movement of the 1980s. Most notably: Madonna. RIGHT “Rouge Pur Couture N° 19” by Yves Saint Laurent – the trend colour of the 1980s.

1970

THE DAZZLING DISCO DAYS The 1970s were colourful, dazzling and a bit crazy: “Saturday Night Fever”, “Studio 54”, the Bhagwan commune and colourful soul divas like Gloria Gaynor and Diana Ross dominated the decade. A clearly contoured, shiny mouth matched the disco look consisting of glittering costumes, flared trousers and platform shoes. Women went to university, abstained from getting married, were single parents, and broke with convention. The lipstick colour of the seventies was correspondingly self-confident: burgundy red, glittering and striking. But reddish-brown, orange, and purple were also popular again. Lip gloss made lips everywhere shimmer in all imaginable colours, especially in warm red tones. The first lipstick tubes made of plastic came onto the market – inexpensive and colourful for the general public.

1980

FROM “DALLAS” TO MADONNA By the 1980s, the hippie look was definitely a thing of the past. The stars and starlets from American TV shows, such as “Dallas” and “Denver” influenced the beauty trends of the eighties: an extremely strong and artificial make-up, reminiscent of the colourfulness of the fifties. However, instead of eyeliner, eye shadow was applied with a heavy hand, along with a bright red or pink lipstick. “Rouge Pur Couture N° 19” by Yves Saint Laurent, an intense fuchsia pink, was sold out worldwide within 14 days and is still one of the brand’s bestsellers today. As a backlash, the up-and-coming punk look marked the beginning of a new and exciting era. Women did not want to be attractive or cute and be seen as sex objects, they wanted to provoke. Punk became the anti-beauty movement of the 1980s – with the extravagance of Boy George and the fashion of Vivienne Westwood and Malcolm MacLaren. Both women and men wore their hair long – short at the front, long at the back, which was known as the “mullet”. Lip colours were dark to match the punk look and the black metallic effect was en vogue. Pop idols like Madonna or Annie Lennox represented the emancipated woman, who defied common beauty ideals with her androgynous beauty and became a role model for many women.

1990

TECHNO AND THE ERA OF INDIVIDUALISM The 1990s were a decade of commerce, characterised by mobile phones, the Internet, fun, a consumer society, techno, and the fitness wave. People abandoned the dictates of fashion and sought new freedoms and more individuality. The latter was lived out in the most diverse ways: tattoos, piercings, drugs, and electronic music. After the fashionable extremes of the 1980s, this decade brought a significantly more natural make-up look and a new simplicity with it. Subtle colours and a naturally outlined, cleanly

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contoured mouth determined the individual look of the nineties. Together with nude tones reminiscent of the sixties and the revival of reddish-brown lips in a wide variety of shades, dark lipliners became trendy and were used to give the lips clean contours and shading. The edges of the lips were often outlined much darker than the rest of the mouth.

2000

THE NEW MILLENNIUM AND THE SEARCH FOR HARMONY “Cocooning” was the buzzword for the turn of the millennium, which was accompanied by concern and uncertainty. The focus returned to traditional values such as family and friends and to paying more attention to inner values. The 2000s brought about a desire for harmony that didn’t stop at fashion: the trend became simpler, more minimalist and sportier. Lip shape and colour also followed this natural curve. Pastel, delicately shimmering shades such as beige, pink and apricot, so-called “non-colours”, underlined the wearer’s naturalness and symbolised a trend for reflection and the search for future orientation. Anyone who applied bright red lipstick was probably trying to attract attention.

2010

FULL LIPS AT ALL COSTS Full lips were more in demand in the 2010s than ever before. Hardly anyone had lips like Angelina Jolie naturally, but this ideal was pursued nonetheless. Any stars or starlets whose lips were not full enough simply helped themselves out: they injected, plumped, brushed, and cheated with permanent makeup. However, this trend played a rather insignificant role for the average consumer in the 2010s – for one thing, professional beauty treatments were expensive. “Fish lips”, which look like an unsightly swelling after a bee sting, were not uncommon. Marilyn & Me from Lawrence Schiller 210 pages TASCHEN ISBN 9783836536240

2020

AND WHAT DOES THE FUTURE HOLD? Fashion in the beauty and fashion sector has been changing at an increasingly rapid pace since the turn of the millennium. Trends change every six months, and lip fashion has also become more diverse: anything that pleases is acceptable. The growing need for individualisation means that every woman decides for herself what suits her and how she makes herself up. At the same time, we know that trends repeat themselves again and again throughout history. “In relation to lipstick, soft nude tones such as beige, rosé or apricot, both matt and shiny, will continue to symbolise the desire for deceleration and sustainability,” reveals Li Edelkoort. The decisive factor is not the dramatic effect, but that the shape of the lips remains true to their natural line and that lip colour is adapted to the individual complexion as optimally as possible. “Thinner lips will definitely become fashionable again in the 2020s. Maybe perfect red lips will catch on, harmoniously balancing the weight and proportions between the eyes, lips and silhouette – a clear signal of a post-recession and social reconstruction era”.

Madonna NYC 83 from Richard Corman 96 pages 80 illustrations Damiani Editore ISBN: 9788862082884NF

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BO(M)BASTIC

HAIR ADVENTURES

Katrin Roth works as a freelance journalist, copywriter and presenter. She has been doing her own blog

Author_Katrin Roth

since 2017 and has been trying out tubes, pots and treatments the cosmetics industry has to offer.

Aunty Stine found my new short haircut “so sweet” when she saw me. Whereupon, in the hope of receiving more “so sweet” complements, I spontaneously grabbed my parents’ nail scissors – and roughly 24 hours later I stood out, at least visually, with self-trimmed bangs when starting my job as a kindergarten teacher … That was more than four decades ago and the beginning of my hair-raising journey to find that perfect hairstyle, in the truest sense of the word. Not that something dramatic ever happened to what was on my head, but of course I still had the odd crisis with my hairstyle. One of them was in 2009 during an appointment at an extremely trendy hairdresser, where the star Figaro from France simply refused to give me the pixie cut I wanted. But instead, he cut my hair into some layers so that I looked like a ruffled chick afterwards. His reason was: “Your face needs to be covered up to look good.” Slightly traumatised after this horrible and dramatic

experience that was indeed quite expensive, the idea of having short hair was thus done with. Instead, I let my hair grow to shoulder-length, only to have a bob cut shortly afterwards as part of a spontaneous “I need a change!” decision. “A bob cut is a short haircut, which is typically cut straight around the head at about jaw-level. It was one of the most popular haircuts at times and is suitable for all types of hair”, says Wikipedia (German page) on the hairstyle that I have come back to my whole life as my photo album shows. The probable reason for this is because this haircut actually suits everyone. Above all, thanks to different ways of doing this haircut, the bob is never old-fashioned. This year, as I have read, real trendsetters have the iconic Jarred Edge bob haircut with fine layers. This is an excellent reason for me to make an appointment with my hairdresser soon. katrincroth

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BEAUTY HOURGLASS

An advanced anti-ageing lip treatment, the “Lip Treatment Oil” combines essential oils, vitamins and three powerful active ingredients in one luxurious oil blend. The applicator tip is plated in 24-karat gold.

FEUERSTEIN ESSENTIALS

This silk cream regenerates the skin’s natural moisture balance and thus combats wrinkles due to dryness. Silk proteins can store 300 times their weight in moisture. With grape seed oil and avocado oil.

TREN DS by

LA PRAIRIE

Eye care for exceptional radiance. The rich formulation of “White Caviar Eye Extraordinaire”, with golden caviar extract, stimulates collagen production and refines the contours of the eyes.

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With a memory-hold system, the “Lux Volume Mousse” guarantees long-lasting volume and exceptional hold as soon as it is activated by heat. Argan oil provides long-term moisture and visible shine, while botanical extracts ensure a healthy scalp and shiny hair.

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Author_Corina Rainer Images_Jan Kath Design GmbH

TREND AND TRADITION 129

JAN KATHâ&#x20AC;&#x2122;S MODERN ORIENTAL CARPETS BREAK WITH TRADITIONAL VIEWING HABITS BY COMBINING CLASSIC PATTERNS WITH CONTEMPORARY DESIGNS. THE 48-YEAR-OLD USED TO BE LAUGHED AT FOR HIS WILFULNESS. TODAY, KATH, FROM BOCHUM, IS ONE OF THE INTERNATIONAL GREATS AND REGULARLY SETS TRENDS IN THE SCENE.

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NOBODY

“Nobody really feels at home in clinically styled apartments with their highly polished concrete floors,” says Kath. “Our carpets are oases of well-being. They have a healing effect in cool interiors, without ruining the style.” He is considered a carpet pioneer, and was one of the first who dared combine traditional craftsmanship with modern designs. In the meantime, his creations are regularly awarded design awards and exhibited in museums. The entrepreneur originally did not want anything to do with carpets.

INFECTED BY A CALLING

Jan Kath was born into the third generation of a carpet dealer family. For this reason, he would accompany his father on visits to factories in Iran and Nepal when he was a young boy. During these trips, he developed an understanding of colour combinations and proportions early on – actually, this was the perfect preparation for him to later take over his parents’ business. However, when this became a topic of discussion in his youth, Kath found the idea anything but tempting. The then 20-year-old preferred hitchhiking through Asia as a backpacker. After a few months, he ended up almost penniless in the Nepalese capital, Kathmandu. That’s where, as if by accident, he met a friend of his father’s who was looking for a quality controller for his carpet production. Since Jan Kath didn’t feel like returning home yet, he accepted the job. But he didn’t know yet that he would one day take off internationally with this business.

UNCONVENTIONAL IDEAS ATTRACT ATTENTION

globetrotter, and Dimo Feldmann, a DJ, together developed an unmistakable signature for the “Jan Kath Design” brand. They created unconventional combinations: Persian carpets with scratched textures, wild forms and lettering reminiscent of graffiti. The designs stirred up the scene. In particular, the fact that Kath presented his works in abandoned industrial halls in the Ruhr was met with incomprehension. But he stood by his intuition, and the motto of his brand is: “You can still be cool without getting cold feet!”

In fact, Jan Kath took over the business after a short time and returned to his home country. Since oriental carpets were consid ered obsolete in Germany at that time, he first wanted to update their dusty image. He worked through the nights on his own designs, together with his friend, Dimo Feldmann. Kath, a well-travelled

FROM FACTORY HALLS TO ROYAL PALACES

Even if his style initially met with criticism, the “JK” carpets slowly found their way into numerous royal houses in Europe and the Arab world. Luxury hotel chains and stars such as Bruce Willis or Anthony Kiedis, the singer of the Red Hot Chili Peppers, also took note of his work. Kath received an increasing number of special requests. For example, in 2011, he had a 160-square-metre carpet made of 19 million knots woven for the Senate Hall in Bremen. Two rowing teams were required to carry the heavy carpet to the first floor of the building. In the same year, Prince Albert II and Charlène of Monaco also ordered a 103-metre red carpet from him for their wedding. There are now Jan Kath stores all over the world: Paris, Vancouver, New York, Berlin, Tokyo and Sydney. But the largest showroom and the creative centre are still in the Ruhr area. Here, in a former factory hall, amongst steel beams and old cranes, is where he prefers to receive his customers.

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to the history of the square. Its evenness makes it particularly suitable as the basis for a design. Plato once called the form “perfectly beautiful”. In addition, the square is the basic form of many meditation images in Hinduism and Tantrism, as well as the layouts of numerous temples, altars, monasteries and cities.

COURAGE TO EMBRACE IMPERFECTION

But Jan Kath also likes to play with imperfections in his designs. For example, in his latest collection, “East”: “For me, imperfections have their own magic. Even if our carpets are planned in detail, and the weavers are among the best in the world, mistakes can creep in. But it is precisely these flaws – as well as the irregularities in the hand-spun wool – that give my carpets their special emotion.” The Japanese art of “Kintsugi” also served as inspiration. Broken ceramic vessels are re-glued in this special technique. They are reassembled with a putty and the break lines are embellished with gold and platinum. Jan Kath is fascinated by the fact that the flaws are deliberately highlighted, and he implements this with “gaps” in the design, which are filled with brightly shimmering silk.

FAIR TRADE IS A MATTER OF COURSE

Even if Jan Kath is known for unconventional designs, he remains “uncompromisingly conservative” in terms of quality. For him, fair working conditions are essential: “It is a moral obligation to ensure that working conditions are right. We set up creches so that our employees’ children don’t have to play amongst the looms. This brings the necessary concentration and calm into the work. Because many of our designs are extremely complicated to weave. He also wants to keep the craft attractive, so that the entrepreneur can continue to rely on motivated specialists in the future”. When it comes to materials, he pays attention to fair trade and high ecological standards. The base material of the collections made in Asia includes Chinese silk, nettle fibre yarn and Tibetan highland wool. The shepherds bring the wool from the mountains to the base station with yaks, where it is washed in the river, combed and spun by hand. Ecologically tested special dyes from Switzerland are used for the colouring.

AGE-OLD CARPET WEAVING METHODS

Over 2500 employees in Nepal, India, Thailand and Morocco currently handle the production requests. Most of the time, the weavers sit side by side at the loom in teams of three to four people. They work for three to four months because there are over a million knots in about seven square metres of carpet. They always have to work synchronously: line by line. When a row of knots is finished, they are fixed with the “weft thread” and then battened with a comb beater. Only then can the next one be started. The more complex the design, the more detailed the knot pattern and the more colours, the more balls of wool lie behind the weavers. The craft goes back to centuries of tradition, and a different knotting method is used in every production facility. Each brings out the designs and materials in different ways: In Nepal, for example, the traditional Tibetan knotting technique is used. “In Morocco, we use the nomadic Berber knot, which has a rustic and archaic effect,” says Jan Kath. “I love these different forms of expression, and I have made it my task to preserve them.”

EVERY DESIGN TELLS A STORY

The Kath collections are varied and cover a wide variety of wishes. But they all have one thing in common: “Each of our carpets tells a story,” explains Kath. Such as the models in the “Spectrum” line. The unusual colour schemes and spherical patterns reveal legends and fairy tales that play in gloomy moors and fir forests. That’s why some of these models have names like “Levico” (a small, little-known lake in Italy). Or the “Yantra” collection, dedicated

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THE TECHNIQUES REMAIN A SECRET

A REBEL AND A TRADITIONALIST AT THE SAME TIME

However, the different knotting techniques are not the only secret to success. The techniques specially developed for Jan Kath are also crucial. Due to the special processes, his carpets are difficult to copy, and this protects his brand from cheap reproductions. In the “Erased Heritage” collection, for example, the carpet pile is burned down to create a special “used” look. The different heat resistance of the materials used makes this possible. This makes the carpet look like thousands of feet have already walked over it. But everything else is a trade secret. The process of washing can also significantly influence the look of the carpet: it either highlights the brilliance of the dyes, or makes them appear reserved. In the end, each carpet is painstakingly trimmed by hand before it is finally packed and shipped. This production process requires patience: from start to finish, it takes about half a year to finish a carpet.

Even if his designs are rebellious, Jan Kath remains a traditionalist as a businessman. For instance, he runs his company together with his brother and mother, David and Ruth Kath. His childhood friend Dimo Feldmann is still in the family business. They still tinker away together through the nights in Bochum. And Jan Kath still finds inspiration all over the world – be it a look out of the airplane window at the clouds over the Himalayas, or a folkloric tablecloth in a Russian bar in New York. Somehow, he manages to combine old and new, foreign and familiar, perfect and imperfect in his creations. Jan Kath is a master of contrasts. And it seems like that's exactly what makes his carpets so popular.

The Tibetan highland wool used has a heterogeneous structure, which is intentional.

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CLASSIC BLUE

THE RENOWNED PANTONE COLOUR INSTITUTE HAS SHOWN ITSELF TO BE TIMELESS, CONSISTENT AND ELEGANT THIS YEAR – J UST LIKE THE CHOSEN TREND COLOUR 2020 “CLASSIC BLUE”.

DECORATIVE The “Tandrillah” collection is a product of the imagination of French-Brazilian architect Elizabeth de Portzamparc combined with expertise of Lalique. “Tandrillah” is the crystallization of a new adventure in the “Crystal Architecture” series, which has been collecting original designs by the greatest creative forces in architecture since 2014. “Tandrillah” is the result of Elizabeth de Portzamparc’s many years of experiments in the fields of architecture, design and urban planning and also falls back on the 2020 trend colour.

ROYALE If you want to completely clad your room out in the trendy colour, take a look at the wallpaper: antique symbols, vintage patents and drawings, famous mathematical formulas or iconic photography can all be lived out in great colour. «La Volière», a wallpaper by Mindthegap, embodies pure elegance with large-format parrots and foliage illustration reproducing the appearance of a royal large bird cage.

PORTUGUESE FLAIR Hand-painted tiles have gained a privileged place in architecture over the centuries. Boca do Lobo created the Heritage Sideboard in classic blue, honouring Portuguese hand-painted tiles Inside there is a door and four drawers which are entirely lined in gold leaf, and there is also two bronze glass shelves.

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OF THE WORLD

DESIGN CAPITAL

As the European Capital of Culture, the French city of Lille has already won the public’s hearts in 2004. The metropolis of the northern French region of Hauts-de-France is now focusing on design.

Following the major cities of Turin, Seoul, Helsinki, Cape Town, Taipei, and Mexico City, 2020 marks the first time that a French city has been chosen by the World Design Organisation (WDO) as the World Design Capital for its many innovative initiatives in the field of design. Lille will present a programme full of surprises and innovation. CULTURAL HERITAGE The city of Lille forms the centre of the “Métropole Européenne de Lille”, or “Lille Métropole”, which also includes the neighbouring municipalities. It is located on the border to Belgium and is only one hour away from Paris. With a mix of French lifestyle and Flemish tradition, the beauty of the north of France is attracting increasingly more tourists. You can leave your car parked because in Lille, you can easily get around on foot, by cycle, or with public transport. This area has been somewhat unjustly neglected because the city is a treasure trove of architectural monuments reminiscent of the Spanish, Austrian, and Flemish history. The old town was lovingly restored when it was named European Capital of Culture in 2004. Those who stroll through the quaint alleys will encounter both cultural and gastronomic delights. UNDER THE BANNER OF DESIGN The Greater Lille area presents itself as a metropolitan region and prevailed against international competitors in the selection process for the World Design Capital with an original proposal. With innovative projects and fresh ideas, the capital of the Hauts-deFrance region and its 90 municipalities, which together form Lille Métropole, are now being rewarded for their economic, social, cultural, and environmental initiatives. The region makes design a change in all areas of life and presents design ideas intended to advance social, urban, and cultural developments. At the same time, innovative models are presented to the public with examples of best practice. The projects are coordinated by the “République du Design”, which brings together a broad consortium of interest groups. The mission is to inspire ideas in cities with their citizens, artists, start-ups and researchers make the transition from concept

Author_Lone K. Halvorsen

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The objective is: to make the brain cells glow and to gather as many ideas as possible on the subject of design and its significance for the future and well-being of all.

WITH ITS STRATEGIC LOCATION AT THE HEART OF EUROPE, LILLE IS A METROPOLIS OF CULTURAL AND CREATIVE RELEVANCE FOR THE ENTIRE REGION AND BEYOND. 138

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“work in progress”. In Lille, design becomes the incubator of an urban development that is sustainable, respects humans and their natural environment, and creates a future worth living.

to project, which can be tested and used as models. The programme is framed by talks, panel discussions, workshops, events, and guided tours throughout the year. Damien Castelain, the president of the “Métropole Européenne de Lille”, puts it as follows: “Design is an accelerator for economic, environmental, and social change. And this was urgently needed in Lille. I also knew that the ‘Métropole Européenne de Lille’ with its diversity, cultural richness, and entrepreneurship as well as the involvement of public and private actors and citizens, could offer ideal conditions for experimentation”.

DESIGN IS CAPITAL As the World Capital of Design, Lille Métropole will present a rich and creative programme spread over four seasons. More than 600 ideas and projects – from small to large – were registered as a large innovative experimental project and bear the title POC (Proof of Concept). It already began at the end of 2019 with the winter programme “Consciousness” and the World Design Street Art Festival. The questions “What is design? What is the purpose of design? Why is design relevant to all of us?” were addressed with the aim of further raising the awareness of the general public. To this end, workshops on the subject of “Designers for beginners” are being held for citizens and schoolchildren, among others. With the opening of the Maisons POC on 29 April 2020, spring will be characterised by “revelation”. To this end, numerous interpretations on the topics of housing, economy, the collaborative city, care, and public action will be presented. The third season, summer, is the time of “fulfilment” and will focus on encounters and exchange. Entertaining and participatory events will bring together the inhabitants of Lille Métropole in two major locations: the Grand Boulevard and the Deûle River – from the mining area to the Scheldt. In addition, the School of Applied Arts and Textiles in Roubaix will organise summer camps with the aim of bringing together designers, architects, and students from all over the world. The students will also present the challenges of the transformation of Lille Métropole by means of case studies. Autumn, on the other hand, is the time of completion and “achievement” – and at the same time, the last season of the year. With several events, the World Capital of Design will move onto the global stage in the final period. With the “Design Week” and, last but not least, the “POC Awards”, where the best achieve ments of all the projects and participants in “Lille Métropole 2020” will be honoured, the time as World Capital of Design will come to an end. For Lille Métropole, design will undoubtedly remain an important component in the future.

THE CENTRAL QUESTIONS The World Design Organisation (WDO) is an international nongovernmental organisation founded to promote the profession of industrial designer. The organisation is committed to innovation that will create a better world through industrial design by implementing international programmes with over 170 member organisations around the world. The WDO jurors decided on Lille after having seen the region for themselves. The industrial designer Prof. Mugendi M’Rithaa adds: “With its strategic location at the heart of Europe, Lille is a metropolis of intellectual, cultural, socioeconomic, and creative relevance for the entire region and beyond. In its application, the city of Lille refers to its creative tradition and diverse heritage, while impressively emphasising the role of user-centred design as a driving force for sustainable change at the local and regional level. The metropolis of Lille is thus ideally placed thanks to its diversity, cultural wealth, and entrepreneurial spirit as well as the involvement of public and private actors and citizens”. The former industrial city is trying to promote the necessary structural change with the far-reaching project “Eldorado: The Greatest Design Experiment”. This project, which places design at the centre of its economic, social, and environmental transformation and becomes a driving force for urban renewal, aims to strengthen the creative industries. During its two-year term as “World Design Capital”, the metropolis will ask the following three questions: What is design? How has design changed our society and our region? How can we use the experience of best practice from around the world to make our region the best it can be? Lille will therefore not be showing any results but rather a

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LIVING

FEUERSTEIN ESSENTIALS Feuerstein products don’t just smell wonderful, they are also elegant accessories that embellish your rooms. Three room fragrances in apothecary bottles with hand-turned wooden cones and dark capillary sticks. 1000 ml in violet glass.

F K KFF

“GAIA CASUAL” chair with armrests and soft, upholstered seat. 4-leg roundtube frame and comfortable turquoise backrest elements.

POLS POTTEN

HOUTIQUE

The spring-summer collection 2020 by pols potten dazzles with its deep colour shades. This jug in the form of a fish is made by hand from recycled glass.

The Bonnet Mirror by Italian designer Elena Salmistraro connects the past and the present to create a new, exciting future through ref lections.

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CAT E R IN G

andyz a u gg.ch

ST E R N E KOCHKURS COAC H IN G

andy@andyz a u gg.ch 141

+41 79 667 39 61

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CU LINA RI UM CULI NA RIUM

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VALS ENJOYS AN INTERNATIONAL REPUTATION NOT ONLY BECAUSE OF ITS MINERAL SPRINGS OR THANKS TO THE ARCHAIC THERMAL BATHS BUILT FROM MORE THAN 60,000 QUARTZITE SLABS BASED ON PLANS BY THE SWISS STAR ARCHITECT PETER ZUMTHOR. WITH THE 7132 HOTEL AND THE ASSOCIATED HOUSE OF ARCHITECTS, WHICH ATTRACTS DESIGN LOVERS FROM ALL OVER THE WORLD, THE VILLAGE WITH A THOUSAND RESIDENTS AT THE END OF THE LUMNEZIA VALLEY ALSO HAS ONE OF THE MOST EXCLUSIVE ACCOMMODATION ESTABLISHMENTS IN THE ENTIRE SWISS CONFEDERATION. THE CULINARY FLAGSHIP OF THE HOUSE IS THE STYLISH 7132 SILVER RESTAURANT, WHICH WAS AWARDED TWO MICHELIN STARS AND 18 GAULT MILLAU POINTS UNDER THE AEGIS OF EXCEPTIONALLY TALENTED MITJA BIRLO, PROBABLY THE MOST UNKNOWN TOP CHEF IN SWITZERLAND.

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THE AROMA MAGICIAN

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A TAXI

The 7121 hotel's exclusive fleet including a private helicopter leaves nothing to be desired.

A taxi flight with the hotel's own EC 130 Eurocopter from the helipad in Göschenen via the Oberalp Pass to Vals normally takes twelve minutes. When the weather is good, our pilot flies a panorama loop over Flims, Laax and the Rhine Gorge before finally touching down on a small meadowy area in the Lugnez district of Vals, where the hotel shuttle is already there waiting for us. Such a private helicopter transfer, which is already included in the room rate for guests of the penthouse suites from and to any international airport or helipad within Switzerland, is just one of the countless extras offered that make “7132” stand out from other hotels in the 5-star superior league. The gastronomic offer also has to live up to this, by all means. The circumstances under which chef Mitja Birlo had to take up his job in May 2018 were anything but happy. Birlo’s boss at the time, Sven Wassmer, under whose aegis the Bielefelder by birth had been working as his assistant for three years, quit his post to go to “Quellenhof ” virtually overnight after a quarrel with hotel owner Remo Stoffel, and the sous-chef was replaced almost as quickly and was catapulted from being assistant to chef of the kitchen of the already highly decorated "Silver" restaurant. But that is old news. Birlo has long since proven to critics and guests that he is a worthy successor to Wassmer with his own thumbprint in every respect. Assisting Birlo and his seven-person kitchen staff is Dominic Lackner, who is just 26 years old and a no less talented, highly likeable restaurant manager and sommelier who knows how to assist Birlos with his creations in a congenial way. He has an impressive wine cellar at his disposal, which currently stores precious items worth around two million francs. Thanks to completing his training as a cook at the same time, Lackner is also in top form for increasingly fashionable accompanying menus without alcohol. Some of the “elixirs” that he brews like a modern alchemist from fruits, vegetables, herbs and spices in the “Silver” restaurant kitchen even beat the most coveted items from the wine treasure trove when it comes to food and drink harmoniousness. By the way, special attention has always been paid to local wines from the Grisons region, including almost forgotten ones like the high-quality wines from the autochthonous Completer grape variety, as well as the finest Bordeaux wines, not least because these are a hobbyhorse of the owner Stoffel. In the end, the menu offers around 750 items with a partially remarkable vintage variety. And lovers of sparkling wine also get their money’s worth at the “Silver” restaurant. In fact, the “Silver” restaurant is one of Roederer Cristal’s

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biggest buyers throughout Switzerland, which in this case is not ordered in boxes, but in pallets. But Lackner also likes to add champagne from small producers, at best well-known to champagne connoisseurs, to his accompanying wine list, who not only assert themselves in terms of quality, but also boast an outstanding price-quality ratio. Back to the kitchen. Mitja Birlos, whose father works for an insurance company and whose mother studied fashion design, which perhaps explains why his philosophy in the kitchen boasts irrepressible creativity and technical perfection, as far as his dishes are concerned, that seem to go almost playfully hand in hand, can be summed up briefly like this: the best cuisine the region has to offer where it makes sense to blend sophistication with international luxury products. Because being regional is not a fetish for the “Silver” restaurant chef. On the contrary. The dishes have to be thought out. Pomeranian ducks, which the Tönz family breeds on their nearby farm exclusively for the “Silver” restaurant, mountain char and chicken from the Val Lumnezia or Valser Rustico and Ricotta are part of the Birlos creations just as Breton lobster, caviar, truffles or high-quality Kobe beef from Japan. Next up is a project with a breeder who will be raising rare Turopolje pigs originally from Croatia for the “Silver” restaurant. Laden with baskets and backpacks, the staff also sets out at least twice a week to gather fresh herbs, mushrooms, wild vegetables or berries in the forest and in the meadows from spring to late autumn, which the kitchen team then uses for its ten-course menu, where Birlo exchanges individual courses depending on the season and the availability of foodstuff, therefore developing them constantly. As a warm-up for the evening, the kitchen first sends out five small amuse-bouche. But not to worry, these are perfectly proportioned, so that you still feel great after various desserts and Mignardises (pastries and sweets). But what does a typical course with Birlos’ thumbprint look like? Well, let’s begin with the official menu starter: Chawanmushi, Japanese egg garnish reminiscent of silk tofu in texture, which can be flavoured very well, paired with hearty Valser Jerusalem artichokes and Kaviari Kristal caviar. An exciting combination of the earthy sweetness of Jerusalem artichoke with the salty-iodine note of fresh – that is unpasteurised – caviar and tender, creamy Chawanmushi, which blends the two aromatically. Wow. The delicacy is perfectly complemented by a Slovenian orange wine from the autochthonous Pinella vine. This menu starter is also a real feast for your eyes. This also applies to juicy pikeperch from Lake Maggiore, accompanied by pistachios and spicy salted lemons for the second course. Dominic Lackner either serves a 2009 Lagen-Riesling Smaragd “Vom Stein” from Nicolaihof in the Wachau region, Austria’s oldest winery, which already shows clear petrol notes, or, as a non-alcoholic alternative, a herbal drink based on roasted pistachios, cucumber and tarragon. Then come the Breton lobster, shiso and mint oil, which are much more international. While shiso’s complex aroma is reminiscent of a mixture of lemon, coriander and anise and is currently used almost inflationary in the star kitchen, it is above all the combination of the juicy lobster that is served in a strong bisque with this course with intense mint oil. This gives depth to the course and offers a surprisingly harmonious taste that we have never experienced before. Chapeau! The 2008 Puligny-Montrachet 1er Cru “Les Combettes” offered by cult winemaker Jacques Prieur is simply breathtaking. We also really liked a vegetable terrine, made up of countless wafer-thin, crispy vegetable strips, refined with Périgord truffles and yoghurt, accompanied by a true champagne delight: the “Fidèle” Extra Brut Blanc de Noirs by the small producer Vouette et Sobrée, which is produced in a kind of Solera system – as is usually known from sherries. After another intermediate course, brilliant beef tartare with saffron and horseradish, we finally

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RIGHT A “black” room designed by Peter Zumthor in the House of Architects.

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THE BEST THAT THE REGION HAS TO OFFER IN CULINARY TERMS, WHERE IT MAKES SENSE TO BLEND SOPHISTICATON WITH INTER NATIONAL LUXURY PRODUCTS

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WWW.7132SILVER.COM

The 7132 hotel's newly designed entrance area according to plans by the American Thom Mayne.

experience the Pomeranian duck mentioned at the beginning, here as sous-vide cooked breast with pumpkin and sage. Traditionally, the main courses in the “Silver” restaurant are always accompanied by a large Bordeaux wine. This is also thanks to a 2005 2ème Grand Cru Classé from Saint-Julien from the great Château Léoville-Barton, which currently presents itself as a first highlight. When it comes to dessert, the performance of the kitchen is also beyond any doubt sublime. We particularly like a sorbet based on quince, “Bündner Calvados” from the Tscharner winery and some Antica Formula vermouth, which is opened directly at the table with the help of liquid nitrogen. This is not only a great show, but also a very special kind of thrill: thanks to freezing the ingredients in nitrogen at minus 176 degrees Celsius, the ice crystals have practically no time to grow and remain so tiny that the sorbet feels like frozen silk on your tongue. This is a culinary moment that sends shivers down your spine and is a good example of how using technology can contribute to intensifying the experience of enjoyment and not just a gimmick for the sake of a cheap show effect. The two other desserts, a sweet-salty composition made from Vals ricotta, dried apricots and star anise, and velvety Jerusalem artichoke cream with pear and white Alba truffle, which virtually rounds off everything to the menu starter, finally offers a finale to a great evening. We are certain that we will be hearing a lot about Mitja Birlo and Dominic Lackner in the future!

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LOUIS ROEDERER

The “Cristal 2012” subtly combines vitality and finesse with the expressiveness and freshness of limestone soil. This full-bodied wine’s rich taste reflects the radiance derived from its white soils. Its rare intensity can be attributed to the perfect ripeness of the grapes harvested during its vintage.

TWG TEA

TRENDS

This black tea from the “Haute Couture Tea Collection” is carefully blended with a sweet hint of caramel and roses to create a cup fit for eternity. A taste that perfectly expresses the beauty of a f leeting moment.

CHRISTOFLE

A 24-carat gold plated cutlery set for six people, 24 pieces in an elegant chest. Contemporary cutlery with a luxurious finish.

LADURÉE

“Macaron Gourmand” with pineapple, mango and passion fruit compotes. Whipped cream with cocoa beans is the perfect finishing touch to the Parisian tearoom biscuit.

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LONG LIVE

THE QUEEN!

FOR A LONG TIME SHE WAS THE ULTIMATE SUPERSTAR, THE UNBEATABLE QUEEN, THE ALL-ROUNDER, RESCUER IN TIMES OF NEED, THE ONE WITH THE VELVETY SKIN. THE HOT-BLOODED SHARPNESS THAT TAKES YOUR BREATH AWAY AND AT THE SAME TIME BREATHES LIFE BACK INTO YOUR SPIRIT. UNTIL SHE GLIDES ACROSS THE FLOOR AND PUSHES THE OLD QUEEN OFF THE THRONE WITHOUT FURTHER ADO. BECAUSE THE NEW QUEEN IS A SLY OLD DOG AND ONE WHO CAN STRIKE LIKE A COMET. HRH TURMERIC. Author_Helena Ugrenovic

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It has been firmly rooted in Ayurvedic medicine for 4000 years and has also been used in North Africa and Europe since the Middle Ages. The genus Curcuma or turmeric, as it is called here, comprises 50 species in its native India and Southeast Asia. Like ginger, it is a reed-like, perennial plant with a bulbous rhizome and finger-like branches. It is far from easy to grow; on the contrary, Madame has quite an attitude and makes a lot of demands. Above all, the ground in which she settles must be of the very highest quality. She is quite decadent in terms of temperature and humidity; she demands almost unlimited amounts of both – as befits one of royal blood! Because she, the tropical plant of the mountains, is a saint. An all-in-one saint.

SUNSHINE ON THE TABLE

Whereas the fresh root of the super tuber is often used in Laos, Thailand, Vietnam and Cambodia, the dried powder is very popular in India and Myanmar. Turmeric is found in almost all lentil, fish, chicken, vegetable and curry dishes. The two rivals, turmeric and ginger, look deceptively similar but, once peeled, the queen is an intense yellow colour and different in taste. While ginger’s intense heat tends to dominate, turmeric gives the food a spicy, slightly bitter, resinous taste. What is interesting about a tête-àtête with Her Majesty is the fact that everyone describes the taste of turmeric a little differently. As with a whisky tasting, where some consider the noble drop to taste more of peat or of vanilla or of cherry. Although you might prefer to consume it with gusto, it is advisable to take it in tiny quantities and allow the delicate taste to unfold: less is indeed more. However, in order for the full aroma to develop, you need to warm it up a little and cook it in hot oil for a few minutes. With its bright yellow powder, it is the absolute favourite for colouring rice, sauces, puddings, couscous, paella, pancakes, butter, pastries or liqueurs and therefore also bears the name yellow

ginger, saffron root or yellow root. Unlike saffron, turmeric, despite its popularity and versatility, is a comparatively inexpensive spice.

HEALING SAINTS

In Ayurvedic medicine, it is one of the “hot” spices which are thought to have a cleansing and energising effect. Due to its antioxidant and anti-inflammatory properties, modern medical research attributes special healing powers to it and places it at the very top of the “top super foods” list. The miracle root not only has a stimulating effect on the production of gastric juices, but it is also said to alleviate skin diseases such as psoriasis and, especially in the case of colds, bronchitis and pneumonia, to be a true powerhouse, bursting with vitamins and strengthening the immune system. It is the curcumin that is responsible for the yellow colour and that is said to have a healing effect and that, with its pain-relieving and anti-inflamma tory properties, is said to achieve results similar to those of aspirin or ibuprofen. The only difference is that, as a natural remedy, it has no side effects. By regularly consuming the miracle bulb, curcumin can stimulate the production of serotonin and dopamine in the brain and it is also thought to support the cardiovascular system.

EFFECT

Just as the queen of the roots, when eaten, has a positive effect on our health, it also has a beneficial effect when applied to the skin. As an absorber of free radicals, the curcumin contained in the turmeric is an effective and natural anti-ageing remedy. Turmeric masks have a relaxing effect and provide the skin with moisture, smoothing away fine lines and significantly refreshing the face. Due to its anti-inflammatory and antibacterial properties, the mask is well suited for use with facial impurities. Caution! Turmeric is used as a colouring agent, so make sure that you wash your face several times with lukewarm water.

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INDIAN CHANA MASALA: CHICKPEA CURRY WITH TURMERIC Ingredients for three servings: A heaped teaspoon of turmeric powder Two tablespoons of coconut oil A teaspoon of coriander seeds A teaspoon of cumin seeds A teaspoon of mustard seeds One red onion Two cloves of garlic A thumb-sized piece of ginger A teaspoon of curry powder of preferred hotness A teaspoon of Garam Masala (Indian spice mix) Two medium-sized tomatoes One lime A can of coconut milk (400 grams) A can of chickpeas (420 grams drained weight) Salt and pepper to taste Heat coconut oil in a saucepan on a medium heat and roast the seeds (coriander, cumin and mustard) in it until they give off an aroma. Finely chop the onion, garlic and ginger and sauté until softened for two to three minutes with the roasted seeds. Meanwhile, cut the tomatoes into bite-sized pieces and add them along with the turmeric, curry powder and Garam Masala. Squeeze the lime, zest half of the peel and then add the juice and the zest along with the coconut milk and the drained chickpeas to the pan. Season with salt and pepper and simmer gently for about 25 minutes. This goes well with basmati rice or Indian Naan bread. Goodbye to coughs! The “turmeric & honey miracle antibiotic” Mix a tablespoon of turmeric with 100 grams of honey into a smooth paste. Put the paste into a clean jar (preferably boil it beforehand) and seal so that it is airtight. Recommended dose: On the first day, take half a teaspoon of the mixture every hour. Let the paste melt on the tongue for a few seconds before swallowing it. On the 2nd day, take half a teaspoon every two hours. From the 3rd day, reduce the dose to three times a day. Honey has disinfectant properties and turmeric has antioxidant, antimicrobial and anti-inf lammatory properties.

BEAUTY QUEEN: TURMERIC FACIAL MASK Ingredients: Two tablespoons of turmeric powder Two tablespoons of yogurt Two tablespoons of honey Blend all the ingredients well. Then apply the mask to the face, neck and cleavage and leave for about 20 minutes. Wash off with lukewarm water.

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TRADITIONAL FARE IN A FARAWAY PLACE Author_Heiko Laschitzki Images_Sühring

THE TWIN BROTHERS MATHIAS AND THOMAS SÜHRING, WHO HAVE BEEN AWARDED TWO MICHELIN STARS, FORM AN EXOTIC YET HOMELY TEAM. THE “SÜHRING” RESTAURANT IN THE HEART OF BANGKOK FEATURES THE BEST DISHES OF MODERN GERMAN CUISINE, INSPIRED BY CHILDHOOD MEMORIES, FAMILY RECIPES, AND YEARS OF TRAVEL EXPERIENCE, COMBINING THE ESSENCE OF TRADITIONAL DISHES WITH CONTEMPORARY CENTRAL EUROPEAN INFLUENCES. EVERYTHING IS ON THE LEVEL OF HAUTE CUISINE.

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Twins Thomas and Mathias Sühring offer German cuisine in Thailand’s capital.

PRESTIGE: Mathias and Thomas Sühring, you have been in Bangkok since 2008 and have been running your own restaurant since 2013. How did that come about? MATHIAS SÜHRING: We grew up in Berlin and decided to become chefs at a young age. This was not a hip job at the time because there weren’t many cooking shows on TV yet. After completing our training we worked our way up to Michelin level and worked with very good chefs in Germany and abroad. I worked in Holland and Thomas was in Italy with Heinz Beck. THOMAS SÜHRING: Heinz Beck had a promotional culinary event at the “Lebua Hotel” in Bangkok at that time and we cooked there together one night. When we were back in Rome, the management of the hotel called me and asked if I wanted to be the new chef. Since I was feeling unsure, I told them that I would only do this with my brother, and was convinced that the management would refuse. But, shortly after, we both got accepted and that’s how we ended up in Bangkok. Of course, at first, we thought it would only be for a year or two, but as we got used to life here and the mentality, our stay became longer and longer. How did you end up opening your own restaurant? MATHIAS SÜHRING: As a chef you are still an employee in a hotel. Even though you have the final say in the kitchen, you have no influence on how the food is presented, in what ambience, or in what atmosphere it is served. After six or seven years, we felt that we had reached the maximum we could achieve here, and so the idea of opening our own restaurant was born. By then we also knew a lot of suppliers, wine merchants, and many of the city's gourmets, so making the transition wasn’t too hard. And the idea of serving German cuisine? THOMAS SÜHRING: We didn’t intend on this at first, but friends and regular guests suggested it to us. Originally, we had wanted to offer a broader range of cuisine with European roots – French, Italian and German – something that appeals to everyone, considering that German cuisine is not exactly internationally known as gourmet cuisine. But we are just two Berliners in Bangkok, and so the idea to focus on German cuisine grew. And the fact that there is little German cooking in upscale gastronomy in Germany itself and that we were more occupied with French cuisine than with our own during our training somehow also spurred us on. MATHIAS SÜHRING: First, we did some research and experimentation, and we studied the history of many dishes in depth. In Asia, people often have an image of pork knuckles with sauerkraut served during Oktoberfest in their minds when they think of German cuisine, and we wanted to do something about that.

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THOMAS SÜHRING: We also found it really exciting to discover that we had an emotional connection to many of the dishes we knew from our childhood, which motivated us to cook and present these dishes at the highest level, especially abroad. Who are the typical guests at the “Sühring”? THOMAS SÜHRING: We didn't do any advertising or marketing when we first opened. We were lucky that many people knew us and that they promoted us on social media and also told their friends and acquaintances about us. And so, we were well frequented right from the start. At first, almost 100 percent of our guests were local Thais. German cuisine isn't that well known here and at the beginning, it was perhaps a little unfamiliar or rather unknown to many people. The thought of going out for a “German” meal in the evening does not trigger such strong emotions as going out for an Italian meal does. MATHIAS SÜHRING: But I think that was an additional incentive for us, too. To prepare good German bread with herb butter or a Hamburger Labskaus in such a way that Asian gourmets would remember it and to evoke new emotions with regards to German cuisine. In general, Asians are very curious about Germany. THOMAS SÜHRING: But we have also even had German guests who came to us after their meal and said that they hadn’t eaten such good German food in Germany. Are there any dishes on your menu that are particularly popular? MATHIAS SÜHRING: There are always some dishes that go over better than others. For example, once we had a Berlin pork knuckle on the menu, which, unlike the Bavarian knuckle, is not crisply grilled. This caused some confusion for some guests, as they were more used to the southern German version of the “pork knuckle” and were surprised when there was no rind. Then we changed that again. Apart from that there are a few classics, like the labskaus, which we have on the menu all the time, and many dishes that change seasonally. We also constantly strive to create new dishes. Additionally, we serve German wines from the Moselle and the Rhine, which are becoming increasingly popular here. Your location is also exceptional … MATHIAS SÜHRING: The establishment was a large residential building originally and so there is no large dining room, just different places where people can dine. We have a dining room here, then the winter garden, the small living room, and a bar by the kitchen, where guests can watch us cooking. We have about 60 seats in total.

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THE HOME OF

EASTER

spruengli.ch/shop

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Confiserie SprĂźngli Swiss chocolate tradition since 1836

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C D P DOLCE & GABBANA

Elegant scarf made of 100 percent pure silk twill with a glass panel print, tassels, and a logo print creates a unique and rounded look.

CARAN D’ACHE

Timegraph – the first fountain pen to feature a clock equipped with mechanical movement. This exceptional piece combines two famous Swiss traditions: Haute Écriture and Haute Horlogerie.

FINANCE

HUBLOT

The new “Classic Fusion Cruz-Diez” is characterised by a variety of colours and constantly changing colour combinations, which ref lect other paintings by the late artist Carlos Cruz-Diez.

PRADA

TREN DS

These two nylon pochettes with woven fabric cords and a Saffiano leather trim and drawstring are decorated with the Prada triangle logo.

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CHILDREN, EXPENSES,

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AND THE RISK OF FACING A CRISIS?

THEY ARE THE MOST VALUABLE THINGS WE HAVE: OUR CHILDREN. BUT THEY ARE ALSO EXPENSIVE DARLINGS TO FINANCE. AROUND CHF 1 MILLION ARE NEEDED TO RAISE THEM FROM INFANTS TO 20-YEAR-OLD YOUNG ADULTS. THIS CAN BE A PITFALL FOR SOME. Author_Wilma Fasola

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Therefore, a shift is currently taking place in this respect, as can be seen from the discussions about paternity leave, which is now commonplace in many countries. A CHILD COSTS MORE THAN A MILLION In its study, the Federal Office stated that women have around 1,000 francs less income per month for the first child. A rather conservatively estimated loss. But then this amounts to 240,000 francs during the child’s first 20 years. So we're already at 440,000 francs. However, the final indirect expenses for family and housework again really carry weight. Women spend 86 hours a week doing this stressful and often unsatisfactory task. That adds up to a total of 2,800 francs per month. Extrapolated over the 20 years, this amounts to the lordly sum of 672,000 francs. Therefore, the result is 1.12 million francs in 20 years. Which normal family can handle this without having to accept losses and taking the risk of slipping below the poverty threshold? MANY LIVE FROM HAND TO MOUTH Sébastien Mercier is the manager of debt counselling in Switzerland. With his team, he supports private households that are completely over-indebted. “There are households that are over-indebted as a result of the birth or adoption of a child,” he explains. “But very often birth or adoption is not the only cause of over-indebtedness, but in one out of ten cases it is the reason for their financial crisis.” Here, it is usually not the case that the child simply costs too much. “It’s always much more complex,” says Mercier. “Overindebtedness must generally be seen as a process. Many people live on a just-in-time basis and spend their monthly income immediately.” In this case, if there is a drastic incursion in one’s every-

Those having their first child are usually very generous as spending money is concerned. Buying a pram for well over 1000 francs is not uncommon. A few hundred francs are also quickly spent for a baby changer plus a crib and a cupboard. Then you have the amazing selection of cute children’s clothing, of which women can’t get enough. Tripp Trapp chairs for children with attachments for toddlers, the good old baby carrier from Rookie and the MaxiCosi for the car amount to another 800 francs. But it’s fun doing this; it really is, facilitated by an enormously high dose of hormones and an even greater portion of naivety. Because very few prospective parents are concerned about the massive impact the birth of their child will have on their financial situation. THE LOSS OF EARNINGS AFFECTS WOMEN FOR THE MOST PART A study by the Federal Statistical Office from 2009 estimates the monthly expenses for a child at 800 francs. That alone amounts to a proud sum of 190,000 francs for over 20 years. However, this only takes into account the direct expenses, i.e. consumption expenditure. On top of that, there are also indirect expenses. These include loss of income due to the children and unpaid family and household chores. This still affects women for the most part. Usually, she is the one who cuts down on her professional workload or initially “powers down to zero” partially or entirely. However, the fact that mothers have to take care of their children entirely on their own is becoming a thing of the past. The reasons for this can be ascertained quickly by these two verbs: wanting and having to. However, the image of women as housewives is no longer coherent for many women. Women like to go to work; they love personal fulfilment. The number increases disproportionately with increasing academic level. The same also applies to deciding whether to have children or not. The more educated the woman is, the more likely she will not have children.

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day life – divorce, accident, illness, loss of job – the downward spiral becomes faster, along with the discontent all those involved go through. FAMILY BUDGETS AS RISK PREVENTERS In his eyes, this can be counteracted by structured budget planning. “Plan a budget and stick to it,” says Mercier. “Don’t play around with consumer loans. Whenever possible, build up reserves. Get information about social benefits.” In his eyes, a balanced budget is the be-all and end-all, and Andrea Schmid-Fischer agrees with this. She is president of the Swiss umbrella organisation Budget Consulting and, above all, warns of dangerous consumption. “We are constantly exposed to influences. Thousands of specialists deal with the question of how they can make us spend money. They try to steer us in a targeted manner to spend money,” she says. “That’s why it is important to create a realistic budget and stick to it. It is definitely not easy, but constant control of what is coming in and what is being spent is very helpful.” In her day-to-day work, the budget consultant SchmidFischer, who is also active for the Lucerne Women’s Centre, regularly deals with questions relating to families' financial environment. “Children definitely cost money, but the biggest cost factor is really the loss of income in favour of childcare,” she explains. “Especially in the case of relationships in which the parents live together but are not married, there is an even greater shift to the caring parent being at a disadvantage.”

IT IS BEST TO CALCULATE ONLY FOR YOURSELF The budgeting expert agrees with the study as concerns direct expenses for a child. Based on her experience, they are around 300 francs for a toddler and 860 francs for young people at school. “If housing and education costs are also taken into account proportionately, the amounts can increase very quickly,” says Schmid-Fischer. “In any case, childcare is an important agenda. Here, there are big differences depending on the childcare model and in terms of state subsidy.” With regard to clothing, food and toys, it is important to adjust these with the existing and clearly defined household budget. The same applies to hobbies, both those of the children and parents. “Some manage their budget by using an app, just as our association does,” explains the expert. “Others use an Excel spreadsheet, withdraw budget amounts weekly or distribute cash amounts in envelopes.” Basically, the way you do it doesn’t matter. Compliance is the most important thing and is the ideal way to prevent a child from becoming a “money pitfall”. The pitfall does not happen because you have become parents. The pitfall takes place because consuming in a conscious way has become lost due to exuberant hormones and later also due to pressure from society to perform. You do not have to have branded clothing, nor the latest smartphone, and expensive family holidays are not a must – when it comes to planning a budget, each family has to not only devise a plan individually, but openly and honestly, i.e., to be open to each other and honest with regard to one’s own financial situation.

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SALARY TRANSPARENCY:

FINANCE

AN OPPORTUNITY FOR AN OPEN WORKING ATMOSPHERE

Author_Dr.â&#x20AC;&#x2030;Alexandra Arnold

The pressure for greater salary transparency is also being felt in Switzerland. Nowadays, thanks to digitalisation, employees can easily find out what the standard market salaries are by using online platforms. However, this is only of limited help in assessing whether one is being fairly remunerated within oneâ&#x20AC;&#x2122;s own company. For this reason, more and more employees, especially the younger generation, are demanding more open communication about salaries. Despite the increased need for more transparency, many companies are still sceptical about salary transparency. They are afraid of envy and resentment among their employees, of escalating salary discussions, or of having less leeway in salary determination. Below are six arguments as to why it can still be worthwhile for companies to talk openly about salaries in order to create an open and productive working climate in the long term: By making salaries transparent, be it by disclosing pay bands, target salaries, or even individual salaries, companies are being compelled to make their salary system both simple and transparent. This allows employees to have a better insight into how salaries are determined and also to have a better understanding of the rationale underlying the salary system. If there is salary transparency, employees are also more likely to be able to increase their own salaries, as they are better able to assess where they stand in comparison with others and what exactly it would involve. This in turn leads to higher levels of salary satisfaction among employees. It sends a positive signal if companies disclose salaries voluntarily. This is because anyone who discloses inside information to their employees signals to them that they have nothing to hide and that they are actively committed to fair wages. This leads to greater confidence in a company and creates a positive working atmosphere. Greater salary transparency reduces the risk of unwanted wage discrimination against certain groups such as women, foreigners, or temporary workers. The more clearly a company defines how much it pays for its respective functions, or under which circumstances salaries are increased, the fewer unconscious distortions are able to creep in when determining salaries. Furthermore, open communication with regard to salaries helps to prevent rumours and unrealistic salary expectations. Approximately one third of employees in Switzerland ask their colleagues about their salaries. The problem is that the figures provided by colleagues are not always precise and are sometimes rounded up or down depending on the situation. Thus, transparent salary communication can prevent false information from being circulated. Finally, transparent salary communication in job advertisements promotes an efficient recruitment process. Interested parties can find out in advance whether the proposed salary amount meets their expectations, and companies can eliminate lengthy salary negotiations, which also harbour the potential for additional discrimination.

DR. ALEXANDRA ARNOLD IS A SENIOR ASSISTANT AT THE CENTER FOR HUMAN RESOURCE MANAGEMENT (CEHRM) AT THE UNIVERSITY OF LUCERNE AND CO-FOUNDER OF HR CONSCIENCE, A CONSULTING FIRM SPECIALISING IN SCIENTIFICALLY SOUND AND EVIDENCE-BASED CONSULTING.

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ALTERNATIVE PROGRAMME HOLIDAY TRIP TO ONE'S INNER SELF

In the 1970s, Koh Samui on the Gulf of Thailand was a paradise for dropouts; today it is wellknown for its mass tourism and full-moon parties. At the Kamalaya Resort, however, a calm wind blows. Those who come here wish to sort themselves out and work on themselves. True to the motto “Feel life’s potential”, the majority of guests that check in at the “Kamalaya” are ones who have lost perspective, who are at a loss but want to do something about it.

VIEW VISITING 100 YEARS VILLA RENÉ LALIQUE

THE COLLECTOR JEAN-GABRIEL DE BUEIL

The businessman Jean-Gabriel de Bueil decided

to save the most traditional bistros in Paris and prevent them from disappearing completely. Four bistros are currently in his possession, which, for example, Serge Gainsbourg and other important actors, politicians or writers visited regularly. French cuisine keeps up the nostalgic flair of old Paris.

We walk in the footsteps of René Lalique, one of the most famous French a rtists and designers of his time. He demonstrated his masterful abilities through imaginative creations in a wide variety of artistic disciplines. In 1920, he had an impressive patrician house built in Wingen-sur-Moder, where he lived until his death in 1945. After being empty for a long time, the villa has now been brought back to life by a Swiss entrepreneur.

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