Frederick Latty Savoy Magazine Portfolio

M

A G

A

Z

Celebrity

I

N

E

Culture

NICOLA ADAMS

BAROQUE BLOODLINE

Witness the rise and rise of the female boxing champion

Go Beyond Caravaggio at the National Gallery exhibition

Art

Photography

KASPAR’S CURIOSITY

CITYSCAPE SNAPSHOTS

eet he Savoyʼs th g est in the Seafood Bar and Grill

Sneak a peek through a top ondon hotogra herʼs lens

Homes

Interiors

UNREAL ESTATES

DECO BY DESIGN

Where to get your hands on that ideal overseas property

Pierre-Yves Rochon on the hotelʼs show sto ing loo

Fashion

TAILOR-MADE TEA How couturier Suzie Turner brought cake to the catwalk

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ROYAL SUITE

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INTERIOR DESIGN

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SAVOY DESIGN

THE

DEVIL

IN

THE

DETAILS When The Savoy officially closed its doors in 2007 for an extensive renovation, there was only one man who the hotel could count on to revive its overall look and feel. In an exclusive interview, interior designer Pierre-Yves Rochon reveals how he added his own twist

PHOTOGRAPHY BY NIALL CLUTTON

to the national treasure

I

f walls could talk, The Savoy’s would certainly have a story or two to tell.

Glamorous movie stars, world-famous artists, revered literary figures and fabulous fashion icons have all been guests at some point throughout its 127-year history – a history that, today, can be seen in each and every room, thanks to celebrated, award-winning French interior designer, Pierre-Yves Rochon.

As principal and global design director of the eponymous PYR firm, Rochon was brought in for the hotel’s £220million, three-year restoration from 2007 to 2010, but has been overseeing projects for some of the most notable hospitality brands since 1979. During that time, he’s breathed new life into luxury spaces the world over, spearheading compositions based on location, culture and history.

“I’ve always loved films, and used to think I would be a director,” he says.

“But I found I was more inspired by hospitality – the spirit of travel, the different cultures, and the charm of a welcoming arrival experience after a long journey. The hotels we work on at PYR are like designing permanent movie sets; they’re high drama, impactful, and always set the scene for social engagements. The devil is always in the details.”

Indeed, despite his initial infatuation with the set design aspect of film, Rochon ultimately attended École Nationale Supérieure des Beaux-Arts et Arts Appliqués in Paris, where he focused on interiors. Beginning his career in the corporate sector, he was soon drawn to hospitality, securing one of his first major hotel commissions at the Four Seasons George V in Paris, which he still works on even now.

This love of classic French ideals has endured over the years, and is evident across Rochon’s portfolio. From further properties in Florence, London and Geneva, to Chicago, Vienna and Monte Carlo, he fuses traditional and modern materials, textures and furniture to create new concepts that are at once sophisticated, engaging and soothing – and The Savoy was no exception.

“The hotel’s iconic status is something that cannot be imitated by any other hotel in London,” he continues. “That’s why I was quite surprised when I first saw the property, because it was in such a state of extreme disrepair. But I was drawn to it because I knew it would require extraordinary effort to resuscitate, and that the transformation would be nothing less than dramatic.

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SAVOY SUITE SITTING ROOM

“To be entrusted with this project was an honour. However, we were certainly under heavy public scrutiny, particularly as a French company working on such an important British icon. Thankfully, we all had a common goal to create a place that was full of history, yet very modern in its luxury experience; a place that would go beyond its former glory.”

To accomplish such a feat, the original Art Deco and Edwardian aesthetic was authentically expressed in the refurbishment, while no two of the 267 guestrooms’ unique appearances were kept alike. Elegant colour harmonies of cream and light green now unite the lounge, Savoy Tea shop and winter garden with the historic River Room, American Bar and sleek black and gold Beaufort Bar. Immediately noticing that the lobby felt like a ‘hectic train terminal’, Rochon made the big decision to move the reception and cashier stations to their own quiet area – an idea that he admits is as contemporary as it is unusual, but one that he insists works well for the hotel nonetheless, offering a peaceful and relaxing check-in and check-out process for visitors.

“We study culture, history, architecture and geography as a starting point of every project we work on”

SAVOY SUITE BATHROOM

ROYAL SUITE BEDROOM

ROYAL SUITE LIVING ROOM

At the same time, some of the major historical pieces in the lobby were kept and restored, such as the glass-domed revolving doors, which had welcomed so many celebrities and historic figures in their time. Elsewhere, the layouts of the guestrooms were modernised and reconfigured to make the most of the windows, enjoying the spectacular views of the Thames.

“The first key to luxury design is having the right layout and a comfortable flow, before you start adding furniture, colour and materials,” Rochon explains. “Proportion, scale and symmetry are concepts from European classicism that have been applied throughout The Savoy to create the timeless ambiance you sense today.

“The two specific styles reflect the Edwardian period of when the hotel was first built, and the Art Deco period from Paris, which heavily influenced it in the 1920s and ‘30s. In France, and in Europe in general, there’s a great deal of history, and I think people tend to have a deeper appreciation for authenticity and craftsmanship because of that. Over a thousand craftsman can be credited to the detailed restoration at The Savoy.”

In order to achieve his vision, Rochon used stone, wood and period colourations for the Edwardian and Art Deco schemes, with more mahogany in the former and maple in the latter. Two recent highlights that utilise both to full effect include the open, light-filled Royal Suite revamp, as well as the brand new Savoy Suite, for which Rochon teamed up with ReardonSmith Architects.

The Royal Suite was remodelled to enhance the heart of the space and encourage harmonious flow between rooms, which reflect a comfortable, less formal, but just as luxurious experience. The Savoy Suite’s Edwardian influences, meanwhile, were combined with a bolder, contrasting cinnamon tone, providing a warmth that complements its use of wood, and accommodates a 21st-century clientele.

“The two new suites were a delight to work on, each with its own distinct personality,” reflects Rochon. “The Savoy Suite is more contemporary, done in rich creams with red accents. It has a very dynamic feel, with a private, seasonally revolving collection of modern artwork. The Royal Suite is more classical, done in ivory and shimmering gold, with a glamorous black and gold bar, reminiscent of the Beaufort Bar.

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“Both suites used to be more compartmentalised and closed off from room to room, but we joined spaces to create a more open layout, which has become much more popular in modern years. It’s always fun to reconfigure rooms and furniture to see what adds the most energy, and to anticipate how a guest will actually move, sit and set down their cocktail.

I’ll still walk through occasionally and find myself readjusting furniture and accessories – design is never done!”

Among the main challenges Rochon came up against was ensuring a seamless flow from one room to the next, so that guests’ time at The Savoy continued to remain as relaxed and enjoyable as possible. Fortunately, the building’s structural skeleton had already laid much of the groundwork, allowing an effortless stream of continuity to resonate through the halls.

“It can certainly be a challenge to make all the functional spaces feel interesting, unique and not repetitive, but still cohesive,” Rochon admits. “The navigation and flow throughout The Savoy is very natural, with an efficient space plan that allows for a comfortable circulation experience.

“I think having this foundation helps when we want to apply different styles and themes throughout the hotel.

We’re purposeful in applying common materials or colours that echo across both Edwardian and Art Deco areas, such as the classic, polished black and white marble you see in the lobby, outside the tea and chocolate shop, and in the guestroom bathrooms.”

As for Rochon’s personal favourites, the Beaufort Bar is undoubtedly towards the top of his list. Designed for an evening crowd, the space was renowned for its cabaret and burlesque performances in wartime – a talking point that Rochon capitalised on no end, placing the cocktail bar on the stage as ‘the star of the show’, and displaying dark silhouettes of legs in its backlight to capture the magic.

“When you transition from the lightness and charm of the Thames Foyer into the darker, more intimate spaces of the Beaufort Bar, the effect is dramatic,” he considers. “The simple combination of black and gold, when applied in particular textures, patterns and layers, along with the Art Deco furniture, creates high-impact glamour.

“There’s a very seductive atmosphere here, as if you’ve disappeared deep into a place of intrigue and exclusivity. As with all of our designs, the intent is to choreograph specific

types of environments that pull you out of your normal routine, and set the stage for creating new and memorable moments.”

Similarly, a grand sense of occasion permeates through much of Rochon’s work elsewhere. In the Thames Foyer, the timeless tradition of afternoon tea became the focal point of the room, which was designed entirely around the popular event, including a wrought-iron winter garden gazebo to help make its scale more personal.

“We study culture, history, architecture and geography as a starting point of every project we work on,” reveals Rochon. “That’s why each project is a learning experience, and no two projects are ever the same. The Thames Foyer was a space that spoke to me in particular because it was located in the heart of the hotel, and felt like it needed to be celebrated as such.

“I knew afternoon tea was a very special tradition in London, so had many discussions about how to create the most authentic English tea experience possible. When you’re sitting comfortably, with natural light filtering in from the glass dome, and live music playing softly as your tea is being poured in front of you, it’s a completely enchanting experience.”

A sentiment that rings true not only for the Thames Foyer, but for the hotel in its entirety. Whether it’s the sumptuous suites, beautiful bars or dazzling dining spaces, visitors can see Rochon’s personal touch around every corner. And although he continues to work in a wide range of styles, from classical to ultramodern, he’ll always instil a sense of timelessness in every nook and cranny.

“The Savoy feels like it exists at the intersection of a bygone era and today,” he concludes. “Things change very quickly these days; we’re now in the age of self-driving cars, selfie sticks and Snapchats. I like to think that the basic elements of luxury don’t change so much – things like comfort, elegance and craftsmanship.

“It’s an honour to continue to help the hotel evolve through the years, and to be a protector of its heritage and spirit. We’d love to keep working on The Savoy for as long as we can, and to continue delighting guests every time they step foot here.” www.pyr-design.com

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CAKE ON THE

CATWALK If you’re passionate about food and fashion, you’re in for a real treat when you visit the Thames Foyer on the first Wednesday of the month.

We chat with couturier Suzie Turner about her ongoing Salon Couture High Tea events, to find out what happens when dream dining meets sumptuous style

F

rom Audrey Hepburn to Sophia Loren, some of the world’s most glamorous fashion icons have

PHOTOGRAPHY BY JENNY HANDS

passed through The Savoy’s

doors in its 127-year history. For British couturier Suzie Turner, the gifted and highly skilled creator of luxurious clothing, it’s a tradition that’s still going strong to this day, in the form of her Salon Couture High Tea events, held monthly in the Thames Foyer.

“When discussions began with The Savoy regarding the possibility of a collaboration,

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“Our ultimate dream is to create a ‘go-to’ destination, and an aspirational presentation that can be the setting for celebrities, press, future fashionistas and aspiring models to attend each month. We aim to maintain and further develop the exclusivity and luxuriousness of the occasion” I jumped at the opportunity,” she says. “Working with The Savoy has been a dream of mine since I was a little girl.

The hotel has such an incredible fashion history, and it was so fitting to design a Salon Couture High Tea based around this history.”

Since 1990, Suzie has been producing timeless outfits for her customers, utilising the finest in British craftsmanship, and her own meticulous attention to detail. Every element of design and production is completed in-house in her London atelier, where she creates bespoke gowns that bring her clients’ dream dresses to life, ensuring a truly special couture experience.

“The Savoy was the perfect partnership for our brand, as they value, above all else, the customer and the client’s experience, and we pride ourselves on the journey our clients take with us,” she adds. “Our process is very much a collaboration between designer and client; every step of the way is guided by the client to create their dream gown.

“Anything is possible – it’s a beautifully exquisite process that will always result in a completely unique design. Our client always comes first, and our goal is to achieve only the best pieces, using the most skilled craftsmanship, ultimately resulting in their dream dress.”

Inspired by the salon-style shows of the 1950s, as well as the couture spectacles once held at The Savoy, these occasions showcase stunning gowns, and present 10 to 12 looks from Suzie’s eagerly awaited collection. In essence, high fashion is paired with high tea, resulting in a designer dream that’s evocative of the hotel’s world-famous style affiliations, patronage and heritage.

“We aim to make this a completely unique, one-off experience, as very few people have the chance to attend a Paris couture show, or get that close to a one-of-a-kind couture gown,” continues Suzie. “We’re creating an opportunity for guests to have a front-row seat, where they can almost touch the pieces and see how they

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THAMES FOYER

move in the incredible environment of the

the Thames Foyer, and tasting the exquisite,

Thames Foyer.”

“Within our pieces, we use exclusively

world-renowned éclairs,” Suzie insists. “The

Swarovski crystals, each individually

Indeed, The Savoy’s popular afternoon

attention to detail that goes into their service,

hand-knotted to ensure the highest finish,”

tea lounge was the perfect setting for Suzie

from the way they address the guests, down

explains Suzie. “Many of our gowns feature

to strut her stuff. Upon arrival, guests can

to the pocket watches within the servers’

tens of thousands of hand-knotted Swarovski

enjoy a welcome cocktail, accompanied

uniforms, is the same level of detail and

crystals. We’re currently in the process of

by a selection of delectable sandwiches,

precision that goes into our gowns.”

creating our next ‘showstopper’ piece, which

cakes, scones and éclairs, decorated with

Highlight dresses include an emerald feather

will feature over 400 individually hand-

intricate sketches of Suzie’s designs. With

gown, which features a corseted sweetheart

embellished red feather flowers. We’re so

its magnificent glass-domed atrium, the

neckline with over 40,000 hand-sewn

excited to show this piece in the upcoming

Thames Foyer makes for an enchanting

emerald Nagoire flat feathers. Elsewhere,

months at The Savoy!

fairy-tale backdrop.

another number is made with 27,000

“‘The Savoy experience’ is what we would

“It’s our aim to create pieces where even

Swarovski crystals, while a cream pearl

the untrained eye is able to recognise

love our clients to witness and experience

bridal gown boasts hand-appliquéd French

the level of skill and craftsmanship that

first-hand; to be able to see our presentation

corded lace, and more than 60,000 hand

has gone into the gowns. I would love

of gowns, while enjoying high tea within

embellished Swarovski pearls and crystals.

for the guests to appreciate the time and meticulous attention to detail that goes into each one of our gowns.”

AFTERNOON TEA IN THE THAMES FOYER

Of course, Suzie isn’t the first designer whose latest and greatest frocks have made their debuts at The Savoy. Today, she follows in the footsteps of the legendary Christian Dior, who displayed his second collection at the hotel in autumn 1947. Archive footage inspired the choreography of Suzie’s shows, as models were taught to walk in the fashion of their classic salon predecessors.

“The incredible fashion history of the hotel played a huge part in the inspiration behind the event,” she reflects. “Our main aim was to stay true to this tradition as much as we could.

The showcase of Christian Dior’s couture gowns was received with such acclaim in

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CHRISTIAN DIOR WITH MODELS IN 1950

London that it caught the eye of The

sumptuous feast for all the senses, be it

Queen Mother, and we would love

tucking into an indulgent afternoon tea, or

to think that our events may one day

taking in the most recent looks and trends

become as aspirational.”

from Suzie’s range. But whether it’s the

In honour of the past, Suzie built

food or the fashion, one thing that’s certain

on the characters of several 1950s

is that these in-vogue, on-trend affairs will

stars, such as Audrey Hepburn and

continue to mark unmissable dates on any

Marilyn Monroe, studying their

couture calendar.

facial expressions, posture and body

“Our ultimate dream is to create a

language to recreate the same level of

‘go-to’ destination, and an aspirational

elegance. The glitz and glam of the era

presentation that can be the setting for

is captured further through the music

celebrities, press, future fashionistas and

of a unique ‘Salon Couture sound’,

aspiring models to attend each month,”

which mixes Monroe with Sinatra to

Suzie concludes. “We aim to maintain

complement the ambience.

and further develop the exclusivity and

“This style of modelling beautifully emphasises the detail of the pieces, and

luxuriousness of the occasion.

“It’s such an honour to have the

the way the fabric falls and moves against

opportunity to work with the incredible

the skin, accentuating the luxuriousness of

Savoy. The hotel has so much history

the presentation and its setting,” considers

and provides me with such inspiration

Suzie. “Mixes relating back to Joe Gilmore,

for the gowns; its stunning architecture

the lead barman at The Savoy’s American

and ornate decor is the perfect setting to

Bar from 1940 to 1976, are created by DJ

showcase the glamour of high fashion.

Munro and saxophonist Simon Green, who

I’m so excited to continue experimenting

have collaboratively created the exclusive

with new fabrics and techniques to

‘Salon Couture sound’.”

create new pieces to show, month on

With all these elements in place, visitors and guests can look forward to a

month, which will hopefully then inspire others in the future.”

Taking place on the first Wednesday of every month at 5.30pm, Salon Couture High Tea is priced at £58 and includes a welcome cocktail, created

by American Bar head bartender Erik Lorincz. To find out more about Suzie Turner, visit www.suzieturner.com

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M

A G

A

Z

I

N

E

Events

DESIGNS FOR LIFE

Head to Somerset House for the London Design Biennale

Destinations

CULTURAL CAPITALS

All the worldʼs a stage on the West End and Broadway

Review

SUITE DREAMS

Novelist Kathy Lette looks back on a writing residency

Food

GORDON RAMSAY

The celeb chef talks of the Savoy Grillʼs legacy

Fashion

RETAIL THEATRE Why Selfridges is still at the forefront of luxury shopping

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JEWELLERY

SAVOIR'S LUXURIOUS SAVOY BED, PHOTOGRAPHED IN THE CHENG HOTEL'S FAMOUS BEAUFORT BAR ANGEL

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S U C H

S T U F F

A S

DREAMS A R E

M A D E

O N

You don’t know what a good night’s rest feels like until you’ve slept on a Savoir Bed – at least, that’s what celebrity guests at The Savoy have been saying for more than a century. Alistair Hughes, managing director of the bespoke bed company, reflects on more than 100 years of ‘sleeping beautifully’

L

ike so many things at The Savoy, even the beds you sleep on can lay claim to a heritage and history almost as iconic as the hotel itself. Enjoyed by such legendary luminaries as Winston Churchill, Giacomo Puccini and Marilyn Monroe, Savoir Beds

have been synonymous with the world-famous building since 1905, and laid upon by the great and the good of their times for over a century.

“Savoir Beds was the creation of The Savoy,” explains Alistair Hughes, who came aboard as managing director in 1997. “Emma Thompson claimed that The Savoy Bed cured her insomnia and promptly placed an order. The late King Hussan of Morocco was a little more extravagant, ordering 24 for his palace after a stay!”

Indeed, the stars who have flopped on the company’s flagship Savoy Bed have certainly come and gone, but the cloud-like comfort of Savoir has endured. Each bespoke mattress, box spring, headboard and topper is handmade in London or Cardiff – by one craftsman, for one client – using the best natural materials, including long, curled horse-tail, soft cashmere and British lamb’s wool.

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“We use the finest natural materials on all of our beds, which are designed to breathe and maintain the perfect body temperature,” Alistair continues. “This isn’t possible with synthetic material and foams, but lamb’s wool, cashmere and horsetail all do the job perfectly. These fibres have been scientifically proven to better regulate temperature, and to improve the quality of REM sleep.”

Using nested pocket springs to take individual shapes, as well as star-lashed hourglass springs to support different weights, Savoir ensures that all customers receive the support they need. What’s more, headboards, legs and fabrics are specifically tailored to every patron’s style requirements, meaning they not only feel fabulous after a sound night’s sleep, but look the part in the process too.

“We work with many top designers, be it from the world of fashion, such as Sacha Walckhoff, creative director of Christian Lacroix, or interiors, like Nicky Haslam and Robert Couturier,” explains Alistair. “We believe that our clients should be able to have whatever style they wish, but that comfort shouldn’t be compromised – ever.”

Today, Savoir is still making The Savoy Bed, now called the No.2. When The Savoy closed for refurbishment in 2007, discussions began about new models being produced for the hotel, incorporating the best of its historic legacy. Now, Savoir’s work can be seen in all of the Riverside Suites and the Royal Suite, in addition to gracing antique bed frames, super yachts and private jets.

“Savoir handcrafts four main bed models – No.1, No.2, No.3 and No.4,” Alistair reveals. “But as each one is totally bespoke, with almost limitless style options, they really are one of a kind. The key for The Savoy was, of course, comfort. A good night’s sleep requires perfect support and the right environment, and the hotel provides quiet, temperature-controlled rooms that can be near blacked out when the time is right for sleep.

“Working with The Savoy and using our expertise, we created a fabulous bed that can deal with clients of all shapes and sizes. Every detail has been considered by Savoir to ensure that those lucky enough to be sleeping on our beds in the hotel have a fabulous night.”

With showrooms around the world, from London and Paris, to New York and Shanghai, the global brand’s bread and butter is its craftsmen, who operate from Savoir Bedworks in West London and Wales. Calm, light and airy, these two bases are where the magic happens, defying the archetype of typical factories by replacing machines and production lines with true artistry and skill.

In London, foreman Arjoon Premaje has been making beds by hand since 1987. He’s one of three original Savoy craftsmen inherited by Savoir, and has trained most of the current team of 40, which includes a precision cutter and five seamstresses. Standards are so high that it takes at least a year to teach the techniques of making a bed base – two years if you count mattresses and headboards.

“Savoir’s Bedworks, just six miles from The Savoy, is amazing,” insists Alistair. “We invite all clients to visit, and many do. What they discover is that each craftsman works on one complete item – a mattress, for example – from start to finish, and signs it at the end.

Above each oak workbench, set above the beautiful tools, is the name of the client the bed is for. We like this close connection.”

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An average bed – not that there’s any such thing – consists of a mattress, topper and box spring, and takes between 40 and 120 hours to handcraft, while the headboard and style elements add even more time. Much like tailors, the unique structures’ speed and requirements depend on the project in question, but the precision, care, effort and quality remains consistent time and time again.

“In many factories, the fact that a real person will end up using the product is forgotten, but not at Savoir,” Alistair maintains. “Our way of working makes the job more interesting for the craftsperson, as it’s so varied. It might take 30 hours to make a box spring, combining many different skills and

ARJOON PREMAJE

operations. We need the best craftspeople, trained over many years, as materials such as loose, curled horse tail require great skill to use.”

Of course, when designing a new bed for The Savoy, it’s imperative that it complements and remains consistent with the hotel’s show-stopping interiors. Following the lead of designer Pierre-Yves Rochon, who masterminded the present look and feel of the place, Savoir took inspiration for its ‘Savoy 01’ not from the bedrooms, but instead from one of its most celebrated cocktail lounges.

“The aesthetic of the Savoy rooms was of course driven by Pierre-Yves Rochon, and guided by the Deco and Edwardian history of the hotel,” admits Alistair. “However, our creative director was inspired by Pierre’s stunning Beaufort Bar and the 1920s style to design a new Savoy Bed for our clients. This period represented a real heyday of glamour, jazz and movie stars at The Savoy.

“Visually, the bed echoes the slim, elegant lines of 1920s design, and has a futuristic look with the use of sharp angles and metallic bronze silk. The shape is emphasised by the deliberate use of a single fabric to upholster the whole bed, including the legs. Lastly, there’s no fussy detailing that might detract from the simplicity of the shape.”

Hearing Alistair talk about the process, you’d be forgiven for thinking you were listening not to a bed manufacturer, but to a visionary artist.

And rightly so, as creating fine art is exactly what Savoir does – like a painter with their latest masterpiece, these artisan innovators only put their names to a one-of-a-kind product, which will enhance the overall wellbeing of Savoy guests for generations to come.

“We’ve worked with The Savoy for over 100 years, and I very much hope that we’ll still be providing the hotel’s clients with the perfect night’s sleep in another 100 years!” Alistair concludes. “Many still decide that they’d like a part of The Savoy at home, and we can of course help with that. Sleep well, and the following day is so much better.

I’m sure that Savoy guests wakeup to a better day, and long

WINSTON 03, DESIGNED BY SAVOIR'S CREATIVE DIRECTOR, MANDEEP DILLON

may that continue.”

www.savoirbeds.co.uk

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LONDON THROUGH THE LENS

As one of the world’s most iconic – and photogenic – cityscapes, London has inspired more than its fair share of photographers, who still continue to capture its splendour in exciting and innovative ways. Matthew Joseph explains how he pulled back the capital’s curtain for his London Sleeps series PHOTOGRAPHY BY MATTHEW JOSEPH

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E

very Londoner has their own unique story

he employed a stripped-back, monochrome aesthetic, peering

of the city to tell. For photographers like

through the everyday hustle and bustle to visualise the place he

Matthew Joseph, whose perceptions are largely

wanted to discover in more depth.

determined through the lens of a viewfinder, such one-of-a-kind moments are perhaps even

“Black and white provides many benefits within photography,” he continues. “It removes a layer of distraction (colours), forcing

more precious, personal and poignant. Fusing artistic vision

the eye to search for light and shade among the angles – which

with technical prowess, these urban documentarians capture the

helps the photographer to emphasise certain aspects of what

capital at its most stunning, surprising, beautiful and expressive.

they see through their lens. Another key factor is its link to

That’s exactly what Matthew set out to achieve with his ongoing London Sleeps project, which aims to strip back the chaos of London, to reveal the breath-taking architectural infrastructure

timelessness; it has the ability to freeze time, or at least convey a neutral and timeless vista.

“The beauty of London is its rich history – trade, commerce

that lies beneath. This kind of bold ambition is hardly surprising; specialising in portraiture and lifestyle photography, the London snapper is known for pushing boundaries.

“After moving to London to live and work, it didn’t take me long to realise that, no matter how familiar I became with

and tourism have

“People assume that they’re seeing London

attracted cultures from

photographed at 5am on a Sunday morning,

played their own part

all over, which have all

but that would be translating ‘London Sleeps’

in its layout. However,

too literally – I wanted to make London ’sleep’

fascinating is that it’s a

while it was in fact wide awake, challenging the

what also makes London city in a constant state of flux; ever-changing,

viewer to look up from their smartphone the

with buildings coming

next time they’re walking to work”

simplicity of black and

the city, it never ceased

down and going up. The white means that this

to amaze me,” he says. “It was the depth of architecture, being

series could be continued for the next century, and still appear as

able to pinpoint periods in history, and seeing stories through the

though it was shot in the same year. That’s the plan, anyway!”

buildings that just made me think, “I love this place so much.” It

In addition to offering different takes on some of the bigger

was my mission to use my photography to reveal and expose the

tourist attractions, like the London Eye, Tower Bridge and The

London that amazed me, and present it in a new light.”

Shard, Matthew was equally keen to focus on the roads less

Honing in on the intricate and complex layout of the

travelled, which are so often lost among the helter-skelter of

landscape, Matthew utilised a black and white approach to

such a sprawling metropolis. Shooting the more subtle structures

full effect for his shoot. Often spending hours at a time in one

and side streets was key to exploring the generations of diversity

location, and always seeking to find an alternative point of view,

that had come before.

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PHOTOGRAPHY

“I wanted to focus mostly on well-known sights around Central London, with the odd exception,” explains Matthew. “I needed to use familiar settings to get the point across, so multiculturalism

have looked more at home in the mega cities of Far East Asia than the capital of England.

“Complexity and diversity speak for themselves – I don’t think I

isn’t easy to spot – until you dig a little further. That word, in

know of a more complex and diverse city. The centre of London

today’s context, is often used to talk about ethnicity as much as

being carved out by the twists and turns of the Thames, the

anything, but in the context of London’s history, it represents all

unplanned winding streets, Piccadilly, Trafalgar Square, Bank –

the different time periods of various monarchs, governments

it’s incredibly complex in the way it’s laid out, because it has the

and global influences.”

character and depth of an organic city that’s open to flux and

Indeed, the city’s cosmopolitan essence is very much at the heart of this piece. Far from nocturnal shoots in the dead of

susceptible to influence.”

Despite its transient nature, however, Matthew firmly believes that

night, Matthew made a point of working when the capital was

the city’s original beauty can still be glimpsed today, as long as

at its busiest and most vibrant, enabling its true colours to shine

people take the time to stop, look and appreciate it. As for London

through in spite of itself – even if they did so through a greyscale

Sleeps, he’s more than happy to keep his technical methodology

filter. As far as he’s concerned, it was this fast-paced period that

under wraps, so as not to detract from viewers’ experiences of his

proved to be the prime time to act.

work; all that’s important is what they take away from it.

“It’s all deliberately shot at rush hour, to emphasise the point

“I rarely want to be too specific with my work in terms of

that brilliance can be seen through the busyness,” he insists.

message,” he concludes. “I’d rather shoot with a concept in

“People assume that they’re seeing London photographed

mind, then leave a lot open to interpretation for the viewer. The

at 5am on a Sunday morning, but that would be translating

main story is that London isn’t rigid; the plethora of the cranes

‘London Sleeps’ too literally – I wanted to make London ’sleep’

across the horizon tells you this. The image of Southwark Bridge

while it was in fact wide awake, challenging the viewer to look

sums it up quite nicely – I spend a long time getting this frame

up from their smartphone the next time they’re walking to work.”

right! You have Vintners’ Hall dating back to the 15th century,

As London faces ever-increasing population growth, it was

the 20th-century Southwark Bridge, the modern City of London

certainly important to Matthew to ensure that his ideas didn’t

to the east, and the cranes to the west, representing change and

get lost among the resultant congestion. His favourite places

the future of London.

to shoot include the City, on account of its overall complexity

“There are certainly technical aspects to the way I shoot this

and multiplicity. With its glass-clad buildings and contemporary

series. This means I inevitably need to employ quite a few

architecture, it provided the perfect contrast to the neoclassical

lighting and camera techniques, but it’s not something I enjoy

brickwork seen elsewhere.

talking about, because it misses the point. The viewer needs to

“It’s really the birthplace of London, or ‘Londinium’, founded by the Romans,” Matthew considers. “If you walk for five minutes

be looking at the art and taking in the observation. Letting the technicalities remain a mystery is often best.”

around the corner to Leadenhall, for example, you suddenly find yourself surrounded by architecture that, 20 years ago, would

www.matthewjoseph.co.uk

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“The beauty of London is its rich history – trade, commerce and tourism have attracted cultures from all over, which have all played their own part in its layout.

However, what also makes London fascinating is that it’s a city in a constant state of flux; ever-changing, with buildings coming down and going up”

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CELEBRITY

I

f you tuned in to watch the BAFTAs on BBC One earlier this year, you would have spotted Cuba Gooding Jr gracing the red carpet at Covent

Garden’s Royal Opera House, before presenting the award for Best Original Screenplay. An Academy Award winner himself – for his portrayal of American football player Rod Tidwell in 1996’s Jerry Maguire – Gooding is no stranger to the glitz and glamour of the event.

Born in The Bronx, New York in 1968 to singers Cuba Gooding Sr and Shirley Gooding, the now 48-year-old actor rose to fame with his breakout role in 1991’s Boyz n the Hood. Since then, he’s appeared in such critically acclaimed ‘90s hits as A Few Good Men, Outbreak and As Good As It Gets; more recent big screen outings like Selma and The Butler; and a Broadway run in Horton Foote’s The Trip to Bountiful at the Stephen Sondheim Theatre in New York.

But his latest project, The People v. O. J. Simpson: American Crime Story, may well be his most challenging and immersive yet. Playing the title role of the celebrated athlete accused of murdering his ex-wife, Gooding leads viewers head-on into the ‘trial of the century’, a controversial court case spanning more than two months from 1994 to 1995, and described as the most publicised criminal trial in American history.

Broadcast on BBC Two in the UK, the 10-episode miniseries boasts an all-star ensemble cast – including John Travolta, David Schwimmer and Sarah Paulson – and aims to tell ‘the whole story’ of the infamous trial, from the highly publicised Bronco chase, to the subsequent media frenzy that ensued. In an exclusive interview, Gooding tells us more about getting into character, the impact of the story on contemporary audiences, and why the trial itself speaks volumes about modern-day society…

T R I A L

OF THE CENTURY In The People v. O. J. Simpson: American Crime Story, Cuba Gooding Jr transforms into the eponymous NFL player and convicted felon, to tell the true story of one of the most gripping and divisive criminal trials in recent memory. Frederick Latty chats exclusively to the star about bringing ‘an emotional truth’ to the role

Let’s begin with your recent visit to London – how was it being back in the UK? I have such a wonderful time whenever I go to London. There’s something so magical about being there to me; there’s so much history in the buildings and the architecture. So much of the city is still untouched, and you get that prestigious, nostalgic feeling as you walk through the streets. There’s something so elegant about it – it’s really a magical city.

You were here to present the award for Best Original Screenplay at the BAFTAs – is the ceremony close to your heart?

Every time I get invited to attend, I take advantage. Walking down the red carpet, the people get so excited for the pageantry of it. There’s such a rainbow coalition, which, to me, represents a hub, not just for Europe, but the entire world. It seems like all of Europe coagulates in London – you see all the generational, racial representations there, and that awards show is almost like the culmination. It’s a really magical evening, and I always jump at the chance to be a presenter.

You’ve also been promoting your new television series, The People v. O. J. Simpson: American Crime Story – was it a big responsibility for you to portray such a highly publicised, real-life figure in the title role?

Oh, absolutely. I play him in 1994, when he was at the top of his game in terms of his popularity and celebrity. He was an international movie star; he was a Heisman Trophy winner; and it was these aspects that informed my role. I wanted to focus on that time period, so I looked at a lot of footage from him, not just in his movies, but in the courtroom. When you see these 10 episodes, you’ll go on that emotional



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JEWELLERY

CUBA GOODING JR AS O. J. SIMPSON IN THE PEOPLE V. O. J. SIMPSON: AMERICAN CRIME STORY

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JEWELLERY

JOHN TRAVOLTA, DAVID SCHWIMMER AND CGJ IN THE PEOPLE V. O. J. SIMPSON: AMERICAN CRIME STORY

“I think it’s a real microscopic look into the judicial system of Los Angeles during this time period. There are a lot of questions still unanswered, and I think that’s what makes this show so relevant”

journey that he went on; you’ll see him at the

Does that apply to the recent ‘Oscars So

height of his popularity; and you’ll see the fragility,

White’ controversy?

not just of his mental state of mind, but his physical

All awards shows – all of them – are the end of the

state. As an artist, it’s a very fine emotional line to

chain. I think if you want to make a statement about

walk. What I looked to create and bring to this role

diversity, you have to start at the studio level, and

and this journey was an emotional truth.

recognise the fact that the racial colours of society are changing into more of a rainbow coalition. TV’s

Do you think the story of the O. J. Simpson trial

getting it right with shows like The People v.

is just as relevant today as it was then?

O. J. Simpson: American Crime Story, which are

I think it’s a real microscopic look into the judicial

more representative of what society is today.

system of Los Angeles during this time period.

There are a lot of questions still unanswered,

The series itself touches on issues of race in Los

and I think that’s what makes this show so

Angeles at that time – is that something that

relevant. We can’t just go idly into the night

influenced your performance?

and hope that people of authority will have our

You have to remember that I was a 22-year-old star

best interests in mind; we as artists have an

of a movie called Boyz n the Hood, in which I played

obligation to question, to search for the truth

a character called Tre Styles, who was harassed by the

and, through our artistry, expose certain ills in

police. I was harassed by police officers while filming

society, and hopefully by questioning them, we

that movie, and when I saw that Bronco chase cut into

can understand them.

my TV while I was watching a sporting event,



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1

CGJ AND TOM CRUISE

CGJ AND EDDIE REDMAYNE

2

3

and they announced that it was O. J. Simpson in the

Kardashians, the Osbournes and the ‘housewives of

back, I envisioned myself being in the back of that

the fill-in-the-blank’. I think it’s a way for us to feel

Bronco; a black man who was a celebrity living in

connected to celebrity without having to personally

Los Angeles, framed for killing his wife. What if that

invest in it, with the exception of the emotional

was me? He was a man who was being railroaded

connection we see in the images that flicker across

by the authorities, and I’ll never forget my frame

our screens. I think there’s a lot that can be said

of mind back then. So, all of those things informed

psychologically and what the ramifications are for us,

my performance in that movie, as well as in the 10

not just individually, but as a nation, and how that

episodes of this miniseries.

worldview reflects us.

Themes of media and celebrity are also

You’re one of many actors to make the

prominent – what do you think the show says

transition from film to television in recent years

about us as a society in that respect?

– in what ways has TV changed the way we as

I think the trial itself was the birth of reality television,

viewers interact with stories?

and the fallaciousness of celebrity that we get now. A

Back in the 1970s, they used to say cinema was

lot of American families today are dissected, praised

the golden age of film. You had your Francis Ford

and observed as being our pseudo-royalty, like the

Coppolas, your Martin Scorseses, your Sydney

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CELEBRITY

Pollacks and your Sidney Lumets – real filmmakers

but you also get the full picture of what the

who were telling the truth of society’s ills and dealing

filmmaker is trying to say. It’s very intoxicating

with real issues. And yet, they only had a platform of

for us as entertainers and artists to be able

two to three hours, whereas today, you have that same

to paint that picture; it’s why you have icons

platform shifted to 10, 12 or 13 hours. You have

like John Travolta stepping into this medium,

what’s called ‘binge-watching’ now, where, if you’re in

and it’s why you have storytellers with diverse

the right frame of mind, you can sit and watch a story

backgrounds, sexuality and race. And it isn’t

unfold over the entire 10 hours in a weekend.

just America anymore – there are real statements coming from directors now from

From an actor’s perspective, how did the

the UK and all across the globe. We as

creative process of TV differ from that of film?

artists are never going to stop telling

With the exception of The Trip to Bountiful on Broadway,

real-life stories about society, and now

this is the longest time I’ve ever been in the mind-set of a

we’ve found an outlet.

character. I played the same character, living his life for six months, so this was the longest time it took me to step away from a character. It really was all-encompassing, and one of those opportunities I’ll never forget.

The People v. O. J. Simpson: American Crime Story is available to watch for a limited time on BBC iPlayer,

Would you say television is now a leading

and will be released on DVD and Blu-ray later this

platform for great storytelling?

year. All production stills courtesy of Fox. Cuba

It enriches your experience, not just with

Gooding Jr was dressed for the BAFTAs by Hackett

the characters you see and their backstory,

London www.hackett.com

4

CREDITS: 1.BAFTA/RICKY DARKO 2.BAFTA/RICH HARDCASTLE 3.BAFTA/JONATHAN BIRCH 4.BAFTA/STEPHEN BUTLER 5.BAFTA/RICHARD KENDAL

5

CGJ AND SPOTLIGHT DIRECTOR TOM M C CARTHY

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SAVOY SUPPLIERS

KASPAR'S SEAFOOD BAR AND GRILL

FROM

CATCH TO KASPAR’S Located in Billingsgate Fish Market in East London, Chamberlain & Thelwell has been supplying The Savoy with high-quality fish for two and a half decades. We speak to co-owner and director Ray Steadman about his relationship with the hotel and making the journey from sea to service 

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BILLINGSGATE FISH MARKET

F

rom Simpson’s-in-the-Strand to Kaspar’s Seafood Bar and Grill, The Savoy is synonymous with world-class ‘fruits of the sea’. At the hotel’s award-winning restaurants, diners can choose from arrays of fresh and smoked fish, oysters and

caviar, enjoyed against the dazzling Art Deco backdrops of some of London’s most iconic and distinctive eateries.

For Chamberlain & Thelwell, the fish-fingered suppliers based in East London’s Billingsgate Fish Market, providing one of the world’s most celebrated institutions with the finest-quality seafood has been a privilege for more than a quarter of a century. As co-owner and director Ray Steadman explains, it’s a fruitful business partnership that continues to this day.

“We’ve worked with The Savoy for over 25 years, supplying the fish and shellfish for banqueting and the fine dining restaurants, from the old-time classics, to the modern and contemporary,” he says.

“Chamberlain & Thelwell is the longest-trading fish wholesaler in Billingsgate Market. The family-run business is in its fourth generation, having dealt with some of our suppliers for over 75 years.”

With an average of 25,000 tonnes of seafood products sold through its merchants each year, Billingsgate is very much at the heart of the Chamberlain’s story. The market covers an area of 13 acres and is the largest of its inland kind in the UK, with a trading hall of 98 stands and 30 shops. It’s from here that Chamberlain’s sells its wares, which are always as fresh, local and sustainable as possible.

“Billingsgate is Europe’s largest inland fish market, selling 50 tonnes of fish and shellfish each day,” continues Ray. “Chamberlain’s sources fish from the British fishing industry, which supports our sustainability policy of locally-caught fish from some of the best fishing grounds in the world.”

Working closely with The Savoy’s chefs, Ray and his team ensure that only the best produce makes its way onto guests’ plates.

Whether it’s delicious slivers of smoked salmon, cured sea bass and fresh rock oysters, or Dover sole, lobster and sea bream, all dishes are overseen by executive chef Holger Jackisch, who strives for perfection with each and every plate served.

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“Kaspar’s lends itself to creating the perfect menu by using produce from the UK with the freshest seafood Mother Nature has to offer,” Ray explains. “I update the chefs on a weekly basis with what seasonal fish to use. We try to work with the seasons to create a distinctive flavour on the menu, giving that summer sensation to a cold winter fish.”

Indeed, some of the favourites from the menus speak for themselves. Bestsellers include Kaspar’s pan-roasted diver scallops, which are dived for in North West Scotland, arrive live in the shell and are cooked the same day, resulting in simple and sophisticated flavours that never fail to impress the restaurant’s discerning clientele.

“Some the bestselling fish are Scottish lobster, Dover sole, monkfish and hand-dived scallops,” says Ray. “The lobsters are alive in our tanks, and we have around 500 kilos in storage from out of the water, delivered to The Savoy in 30 minutes. All these products are as local as possible, with the furthest from Scotland and the nearest from Devon.”

Before making its way to Billingsgate, the UK’s largest selection of fish is first sourced daily from across the shore, guaranteeing a continuity of fresh supplies. From there, it’s off to auction, where Ray bids on catches of the day, ready for delivery to The Savoy’s restaurants. A fast turnaround means time is of the essence if he's to get from fish to fork in time for service.

“We purchase every day from fish auctions around the coast, which start at 6am,” he elaborates. “We bid over the phone via our buyers who are live at the auction, giving us the freshest possible fish, which arrives in London in less than 24 hours. That fish can be on the table at The Savoy the very next day.”

It’s a seamless operation that certainly runs like clockwork – and for good reason, as the story and reputation of Chamberlain’s remains intrinsically linked with that of Kaspar’s and The Savoy. As the two brands continue to work together to further enhance visitors’ culinary experiences at the hotel, it’s safe to say that it will be fishy business as usual for many more years to come.

“As a company, Chamberlain’s works in partnership with its clients to ensure a long-term relationship,” concludes Ray. “We have an understanding of The Savoy and its standards, which over the years has proven to be one of the world’s best and most iconic hotels.”

For more information on Chamberlain & Thelwell and Billingsgate Fish Market, visit www.billingsgatefishmarket.org or head to www.kaspars.co.uk to book a table in The Savoy’s Seafood Bar and Grill.

Read on to find out how to create The Savoy’s bestselling scallop dish at home…

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JEWELLERY

ANGEL CHENG

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SAVOY SERVICE TEA

TEA TIME on the THAMES Guests wanting to extend the Savoy experience beyond their initial stay won’t want to miss a trip to Savoy Tea, the hotel’s bespoke tea shop.

Director of retail Angel Cheng reveals how the store captures some of the magic to take home, and prolongs the Thames Foyer’s afternoon tea tradition

U

pon your arrival at The Savoy, on your way to the Thames Foyer, you’ll pass

by Savoy Tea, the hotel’s bijou tea store. Located in the Upper Thames Foyer, the shop is inspired by London’s Edwardian shopping arcades, its walls

covered in intricate fabric – a nod to the drink’s Asian origins – while inside, a wide variety of beautifully packaged teas and bespoke accessories awaits, plus handmade jams, biscuits and a fresh patisserie.

Heading up the operation is director of retail Angel Cheng, who has been with The Savoy for more than a decade.

Starting out as a hostess in the Thames Foyer, she gained first-hand experience of the elegance and service required to make the traditional custom such a timeless favourite for guests. When the hotel closed for refurbishment in 2010, Angel stayed on to oversee Savoy Tea’s transformation, taking on the role of director of retail in 2014.

“I learned how to make proper teas and the procedures of how traditional or high tea should be served in a very English way,” she says. “The concept has evolved, as we decided to turn the area into a tea shop that complements The Savoy’s afternoon tea experience, and would enable guests to take a little bit of The Savoy home as a reminder.”

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SAVOY

MEET THE TEA TEAM Indeed, Savoy Tea and the Thames

Savoy’s impeccable standards are met,

Foyer have been inextricably linked ever

resulting in a smooth taste that’s just

since, the former acting as a literal and

as appealing on its own as it is with a

commemorative extension of the latter.

splash of milk. And with an assortment

With its marble floor and use of dark wood

of additional paraphernalia on offer,

and glass, the store’s interior design harks

Thames Foyer patrons can truly make

back to popular architectural trends seen

the entire visit their own.

in the Edwardian shopping arcades of old,

“The idea is that people are able to buy

while the traditional fabric

some pastries, as well as

used for the wallpaper is

celebration cakes, tea

representative of the Far

items and merchandise

East’s influence on tea

to complement the whole

culture and trade

experience,” Angel

in the UK. “It’s a small tea shop with an Edwardian design, which is one of the eras The Savoy embraces,” continues Angel. “An Edwardian shopping arcade is the inspiration, and the idea is to have a number of signature teas, where our suppliers work very closely with tea farmers to ensure they’re Fairtrade and that the quality is good.”

Offering a wealth of variety to its customers,

“We try to source the teas not based on their country, but on their origins; it can come from anywhere in the world, but it’s mostly from the Far East, particularly China and India”

explains. “If they want to take Savoy afternoon tea home, they’re able to do so. Most guests come for a special celebration or occasion that they cherish and want to remember, so it’s not just about the food, but also the items we use, like the design of the teapot or teacup, which formulates the whole experience.”

Of course, the shop has built up strong relationships with its

Savoy Tea is perhaps best

suppliers, who source

known for its bespoke

ingredients from all over

breakfast and afternoon

the world. One company

blends, produced exclusively for the hotel.

has been specialising in the tea industry

In particular, the breakfast tea remains a

for more than 20 years, travelling to

on what particular types of tea they are,”

popular option among shoppers; strong

different estates and working closely with

says Angel. “We try to source the teas

but not overpowering in flavour, it’s tested

tea farmers to ensure each and every

not based on their country, but on their

over 50 times before sale to ensure The

tealeaf is of the highest possible quality.

origins; it can come from anywhere in the

“In terms of the teas’ origins, it depends

world, but it’s mostly from the Far East, particularly China and India.”

A range of chocolate and pastry master classes take place at the store throughout the year, allowing grownups and youngsters alike to learn for themselves what it takes to be an award-winning chocolatier or pastry chef. Under the guidance of Savoy Tea staff, hands-on demonstrations and historical insights provide a fascinating glimpse into creating the sweet treats for which The Savoy is famous. And with a view to expand into weddings and corporate hospitality, Angel intends to add another string to the shop’s

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bow, while compromising on none of its

experience at home. From full tea ranges

Foyer’s afternoon tea experience, we

original charm and character.

and fine bone china, to a mouth-watering

also have one for our American Bar and

selection of seasonal cakes and pastries,

Beaufort Bar. Another accommodates

evolve our product range, especially now

they can not only buy the teas to take

guests who’ve stayed with us and would

we’ve established a regular client base,”

away and infuse themselves, but also

like to take a little bit of what they’ve seen

she reveals. “We want to feature more

capture the very essence of their time at

in the room back home with them. The

exciting items, whether it’s homeware, or

the hotel, no matter where they are or

shop has different parts, where there’s

something guests can carry with them when

what they’re doing. To that effect, Angel

something for everybody’s experience

they travel. We’re also reaching out to clients

and her team have expanded the shop’s

of The Savoy.”

and audiences outside the hotel, particularly

product range to include bed linens, towels,

from a corporate perspective. We’re now

Champagne glasses, cocktail shakers and

working towards being suppliers for a lot

leather coasters, enabling everyone who

of corporate companies and prestigious

passes through its doors to treasure their

brands, and want to tap into the area of

memories long after they’ve left.

“We want to continue to expand and

marketing ourselves for bespoke wedding

“The original idea was to complement

Savoy Tea is open from 10am to 6.30pm Monday to Thursday, 10am to 7pm on

favours; be it food items or merchandise, we

the Thames Foyer, but over the years

Fridays, 10.30am to 8pm on Saturdays

have the resources to do that.”

we’ve evolved to have different sections,”

and 9am to 6.30pm on Sundays. To find

concludes Angel. “As much as we have

out more, visit www.fairmont.com/

a section that complements the Thames

savoy-london/dining/savoytea

Back in the store, the emphasis remains on guests recreating their entire Savoy

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TRAVEL

SPIRIT of ADVENTURE With its Age of Discovery cocktail, The Savoy has teamed up with Cunard and Jack Daniel’s to create a remarkable drinking experience for its guests.

In a globetrotting adventure, we find out how this distinctive drink made its way to the ends of the Earth and back to capture the perfect flavour

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T

he creation of a new cocktail is no small feat at the best

barrel-aged, limited-edition cocktail, for guests of its

of times. It requires equal parts ingenuity, imagination

award-winning Beaufort Bar.

and impeccable taste, with a dash of foresight,

Setting sail on Cunard’s RMS Queen Mary 2, Age of Discovery

innovation and resourcefulness thrown in for good measure.

departed from Southampton on January 10 2016, encased

The task becomes even more challenging when the drink in

in a handpicked, 300-litre Jack Daniel’s barrel to mature

question is sent on a four-month, 41,000-nautical mile voyage

until its momentous homecoming on May 10. This distinctive

around the world aboard a transatlantic ocean liner. But that’s

collaboration between the three acclaimed brands was the

what The Savoy set out to accomplish with its new world-class,

brainchild of the Beaufort Bar team, which, led by bartender Neil

world-travelled and globally one-of-a-kind beverage.

Donachie, has spearheaded the pioneering project.

To launch its latest addition to The Savoy Collection – one of

For Neil and his colleagues, it was a chance to capture the

the world’s most prestigious collections of unique spirits and

tastes and aromas of the continents the Queen Mary 2 would

liquids – the iconic hotel has teamed up with British-American

visit – 39 ports in 27 countries, to be exact – from Europe to Asia,

cruise line Cunard and world-famous whiskey brand Jack

Africa, the Americas and Oceania. Taking its inspiration from

Daniel’s to produce Age of Discovery, a specially-created,

the thrilling era of naval exploration between the 15th



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TRAVEL A FOUR-MONTH JOURNEY ACROSS 41,000 NAUTICAL MILES, 39 PORTS AND 27 COUNTRIES

and 18th centuries, the concoction embodies all the romance and

will influence the final result. Prevailing temperatures, humidity and

adventure of this exciting bygone era.

sunlight – as well as more inclement conditions – will combine to

“Cunard has long been known as one of the greats of oceanic

produce this truly incomparable barrel-aged invention.

travel and, along with The Savoy, can be

“The journey contains a full circumnavigation of

considered one of the truly iconic brands of British

the globe, crossing the International Date Line and

hospitality on the world stage,” says Neil.

the equator on several occasions,” explains Neil.

“Its permeation and role in popular culture in

“This will expose the barrel to an extreme variance

the 18th century, when the Age of Discovery was

of weather conditions, from a winter crossing of

coming to an end and global travel between newly-discovered lands was ubiquitous for civilian travel, cannot be underestimated.”

Painstaking attention to detail and refinement has gone into the choice of ingredients, which comprise a blend of Savoy Select Jack Daniel’s Single Barrel, Jack Daniel’s Old No.7 and Bacardi 8, with Spice Trail Madeira, Dubonnet, Martini Riserva Rubino and Earl Grey and cocoa nib bitters. Such a fusion of flavours has been crafted to reflect both Cunard’s 175-year ocean-going heritage, and the decades of history and patronage associated with The Savoy’s famous cocktail bars.

“Cunard’s role in the transatlantic crossing – at the time the only means by which to travel to the

“The cocktail contains elements from each corner of the globe. It’s both a celebration and reminder of the importance this diversity holds in modern life”

Americas – was instrumental in the integration of European and American drinking traditions, which would see the rise of the American Bar in London, first adopted at The Savoy and still considered one of the world’s greatest and most historic cocktail bars to this day,” Neil continues.

Age of Discovery’s home for the journey – its Jack Daniel’s first-fill

the Atlantic and around the tip of South America, to the heat of Dubai in late spring, while always being ‘rocked’ to varying degrees by motion of the different seas for the full four-month period.”

Once back in the UK, the barrel will be ceremoniously unloaded in Southampton, returning to The Savoy on May 10, before travelling to the specially-commissioned Houston Bottling & Co-Pack plant for bottling in West Dunbartonshire, Scotland. Estimated to yield a minimum of 250 litres, the cocktail will be the latest addition to The Savoy Collection, which was launched in 2013 with the support of esteemed beverage experts, Speciality Drinks, to celebrate the rare and beautiful infusions from around the world. Age of Discovery will also be available at the Beaufort Bar as a limited-edition

'explorative' cocktail, of which there will only be 700 serves.

“The Savoy Collection has become one of the most collectible and illustrious independent bottlings in the world, and it’s important we honour this achievement by ensuring we add

American oak barrel – was carefully chosen by The Savoy’s assistant

something new to the offering,” Neil says. “The size and scale of

food and beverage director, Daniel Baernreuther, who travelled

the project, along with its inability to be replicated, means that

to the Jack Daniel’s distillery in Lynchburg, Tennessee to select it

Age of Discovery will add a unique product to both the retail

personally, before transporting it back to The Savoy for mixing,

market and the Beaufort Bar’s cocktail programme.”

bonding and sealing.

Savoy guests can keep up to date with the progress of Age of

Secured in open-deck space for the duration of the voyage, the

Discovery too. Charted via social media throughout the passage,

barrel has been exposed to the varied elements and climates that

across the oceans and in the world’s most iconic ports and cities,

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IMAGES COURTESY OF CUNARD

the barrel also has its own logbook; once again harking back to a historic period of endless new horizons and exciting possibilities.

“The cocktail contains elements from each corner of the globe, which became symbolic with the Age of Discovery,” concludes Neil.

Age of Discovery will be available at The Savoy’s Beaufort Bar

“Asian spices, New World spirits (American whiskey and rum) and

as an exclusive ‘explorative’ serve from Tuesday May 10. Guests

fortified wines associated with naval travel form the skeleton, but

who order the limited-edition cocktail will be given a special

more importantly, it attempts to use ingredients that are readily

keepsake to take home as a memento of the experience.

available to us today, but whose origins lie in the other continents

The un-aged cocktail is available now.

and cultures of other parts of the world. It’s both a celebration and

To find out more, visit www.brown-forman.com or

reminder of the importance this diversity holds in modern life.”

www.cunard.co.uk

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THIERRY STERN

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PATEK PHILIPPE

A TRADITION OF INNOVATION With 175 years of expert craftsmanship, family values and timeless design under its belt, Patek Philippe continues to lead the way in producing stunning watches that tell stories as unique as their owners. We chat exclusively to president Thierry Stern about what makes him tick after all this time

A

s any expert horologist will tell you, many of the world’s finest timepieces are handmade in Switzerland. In particular, Geneva, the birthplace of traditional watchmaking, remains the epicentre of timeless luxury chronometers sold all over the world, underpinning an enduring tradition of expert craftsmanship and intricate detail in each complication.

But while there are a great number of Swiss brands that evoke this quality and grandeur, few can boast the same timeless values as Patek Philippe. Founded in 1839 and later rebranded in 1851, Geneva’s oldest independent, family-owned watch manufacturer has been at the forefront of its industry for almost two centuries.

Gent's Gondolo in white gold, £17,900

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PATEK PHILIPPE

Since 1932, the prestigious brand has been in the hands of the Stern family. At the helm is president Thierry Stern, who, having succeeded his father, honorary president Philippe Stern, in 2009, represents the fourth generation of the business. On his watch, the brand has stayed at the leading edge of watchmaking technology and research.

“My task is to keep and use the knowledge from the past,” he says. “You need to keep it alive, but you also have to evolve, which is why we have a ‘tradition of innovation’. The line is narrow, but the DNA of the brand is quite a deep anchor in my body, and my idea of Patek is to continue in this field.”

For Thierry and his team, it’s a case of promoting and upholding the Patek Philippe Seal, an emblem of horological excellence that reflects the group’s 10 core values in every design; in short, it encapsulates the very essence of the company’s undisputed supremacy and unparalleled renown. Which isn’t to say they’re stuck in the past; far from it, as Thierry’s ‘tradition of innovation’ sees progress and previous achievements walk hand in hand.

“The challenge is always there,” he continues. “You have to innovate and show people that we have 175 years of tradition, but that doesn’t mean we’re old or satisfied with what we have. You don’t spend so many years in the watch industry without making mistakes; we’ve made a lot of mistakes, but we’re improving all the time and learning from that. It’s interesting to be part of it and I’m learning a lot. I’ll never be satisfied.”

In celebration of the company’s rich history and heritage, 2015 saw Patek Philippe mark its 175th anniversary with the Watch Art Grand Exhibition. Held at London’s Saatchi Gallery, the event presented 400 exhibits throughout 21 themed rooms, offering almost 43,000 visitors a rare insight into the unique and intricate art of watchmaking as an extension of Geneva’s own Patek Philippe Museum.

“When you do such an exhibition, the main idea is to show people that there are not only watchmakers, but many other people who have to be part of the process to realise such a watch,” explains Thierry. “It shows you the past, the present and some of the future, so it’s important that, when you leave, you know a little bit more, not only about the brand, but also about the watches. The purpose is to give you more confidence in mechanical watches.”

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Of course, it’s not just education that sets Patek apart; its quality is certainly reflected in the price tag too, which invariably fetches thousands, if not millions of pounds.

But aside from the brand’s prestige, the story behind the product remains closest to Thierry’s heart, as he insists there’s a sense of pride in the work that’s most inspiring.

“People like to see the product, but they’re also very curious to see the owner behind it,” he says. “We’re only making one brand and only watches, and by doing that, we still have good credibility. People respect Patek because they know we care about our company.”

Such care and respect has been passed from one generation of the Stern dynasty to the next – a key value reflected in their branding; far more than just a means of telling the time, a Patek is also a family heirloom, worn and preserved though the ages by fathers and sons and mothers and daughters. As for Thierry’s own family, only time will tell if they’re willing to follow in their father’s footsteps and lead the business into the future.

“I hope the new generation will take over, but it’s their own choice,” he says. “I chose my own destiny and they will have to choose theirs too. I didn’t have children just to take over Patek, but my duty is to prepare for the future, and I’m doing it as best as I can. I then have to cross my fingers and see if my children are willing to take over.

But we have time for that – I’m not ready to retire!”

Since time and tide waits for no man, it looks like Thierry has many more years in him yet, with a clear idea of where he wants to take his legacy. Once again, it’s a case of respecting the past and embracing the future, as he’s keen to see his baby continue to grow and adapt in the years ahead, but not at the expense of what has come before.

“I hope Patek Philippe will still stay independent; that’s the key and means I can choose the product and not the money first,” he concludes. “In the next 175 years, I really hope that Patek Philippe will keep focusing on the product first and not on business. You have to keep your own vision about the product, but you also have to adapt it a little bit and not change everything. You have to leave your own DNA sometimes, and once you decide to go your own way, that’s when you’ll be successful.”

Gent's Calatrava in rose gold, £22,750

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RALPH HEIMANS

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SAVOY

ART JEWELLERY

Redefining SHAKESPEARE As part of the ‘Shakespeare400’ celebrations, artist Ralph Heimans has produced a series of five portraits, all centred around authors who have rewired one of the Bard's plays in prose. We hear how his Shakespeare Revisited exhibition went from London’s Globe to the walls of our very own Savoy Suite

S

ince opening its doors

Bard’s death, the portraits depict authors

publisher Random House to reimagine

in 1889, The Savoy has

who have reworked the playwright’s most

them in prose.

enjoyed a long and fruitful

beloved masterpieces.

relationship with the arts.

It’s a tradition that’s still

“I love Shakespeare and it sounded like

Margaret Atwood, Gillian Flynn, Jo Nesbø, Anne Tyler and Tracy Chevalier

the most fascinating project,” says Ralph.

make up the assortment of popular

going strong to this day, as ‘writers in

“From an artistic point of view, there’s a

writers. Working in close partnership,

residence’ programmes have seen some

whole tradition of art surrounding his work

Ralph explored and captured the

of the finest scribes of our time take

and artists who have been inspired by him.

themes, characters and overall feel of

up lodging in the London landmark,

I found that fascinating as a context to

each storyteller’s respective take on The

while a selection of art commissions has

explore a series of portraits of writers with

Tempest, Hamlet, Macbeth, The Taming of

captured the very essence of this iconic

a Shakespearean filter, and delve into the

the Shrew and Othello.

building in recent years.

intersection between art and literature.”

The latest artist to pass through its

“It was fascinating learning about their

For Ralph, who’s perhaps best known

work,” Ralph continues. “The aim was to

doors is Australian-born Ralph Heimans,

for his official portrait of Her Majesty The

find an idea behind each representation

whose Shakespeare Revisited series has

Queen in her Diamond Jubilee year, it

that reflected the play they’d chosen. I

been transferred from the Globe to the

was a chance to work with a selection

drew inspiration from the art and pictorial

brand new Savoy Suite. Forming part of

of celebrated novelists, each of whom

tradition surrounding Shakespeare, which in

this year’s ‘Shakespeare400’ festivities,

brought their own unique perspectives to

part comes from some of the imagery in his

which mark the 400th anniversary of the

their chosen plays, having been tasked by

plays, so it’s a very multi-layered narrative.

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FAMOUS FIVE Ralph introduces the authors who inspired Shakespeare Revisited

JO NESBØ “In this portrait, I sought to identify Jo with the figure of Macbeth, and chose to evoke a particular moment in the play immediately after the death of King Duncan. Jo's menacing expression is suggestive of the violence of the play, reflecting the subject matter of his own novels.”

“Each of the authors really got involved

GILLIAN FLYNN “In retelling Hamlet, I saw Gillian in the guise of Ophelia, owing to the nature of her novels and their focus on tragic female protagonists. I drew inspiration from the wealth of imagery surrounding the death of Ophelia, especially Millais’ famous painting and the Pre-Raphaelite legacy.”

“I adore painting light effects and using

I approach a portrait, I draw inspiration

with participating in the exchange of

chiaroscuro,” he explains. “Shakespeare’s

from context and setting, which forms a

ideas. With each of these paintings,

work was written in the age of Caravaggio,

very important part of the storytelling in

there’s a wonderful link to the play, and

who was very much an artistic equivalent;

my portraiture. There’s a lot of storytelling

often to a character in the play, which very

his work is very theatrical, so I thought it was

that can be applied to Pierre’s work as

much says something about the author.

appropriate to use light as a unifying theme

well; it’s very contextual and there’s an

It’s not only evocative of their work, but of

throughout the paintings. It gives them all a

inspiration from the past, but blended with

the play and the time. It was a wonderful

very dramatic, theatrical quality.”

the contemporary, so there’s a good parallel

blending of art history and contemporary

Open and light-filled, The Savoy Suite was

between the interior design and the art.”

authors, and the series provided so much

the perfect setting for Ralph’s work, and a

fascinating material.”

natural extension of Shakespeare’s Globe.

suite also hosts a series of regular Artist’s

Here, guests have the opportunity to make

Salons. By introducing his paintings to guests

complex spatial arrangements, underpinned

the most of their own private exhibition,

during an informal evening event, Ralph

by an innovative use of geometry, reflection

coupled with award-winning design from

leads them on a journey into the world of

and perspective, Ralph utilised his technical

Pierre Yves Rochon and ReardonSmith

Shakespeare and takes their experience of

approach to its full potential. By paying

Architects, whose interiors can be seen

The Savoy to another level – a custom he’s

homage to the 17th-century masters of

elsewhere in the hotel.

only too happy to be involved with.

Renowned for placing his subjects in

chiaroscuro [the treatment of light and

“Pierre’s very well-known for taking

In addition to the artworks themselves, the

“It’s a wonderful idea that’s continuing in

shade], he exploited exquisite effects of light

inspiration from location and history, very

the great tradition of The Savoy as a cultural

to illuminate the inner worlds of his figures.

much in the way I do,” Ralph insists. “When

hub and meeting place of artists,” he says.

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SAVOY

ART JEWELLERY

ANNE TYLER “I decided to represent Anne behind the windowpane of her study, as she quietly observes the world outside. This is a reference not only to her famously reclusive character, but also to the domestic themes of her writing, which often centre around life within a typical Baltimore family home.”

“The Savoy has this fascinating, inspiring energy that comes from an understanding of its history, so it’s wonderful to feel like that tradition is continuing and to be part of it.”

Of course, it was this same tradition that inspired Claude Monet to paint his famous series of London bridges, from the same suite with the same unrivalled views of the River Thames, between 1899 and 1901. Since then, so prominent have The Savoy’s links been with the art world, that Ralph considers it an honour and a privilege to be standing on the shoulders of the giants who preceded him.

“It’s very much an inspiration to be walking in the footsteps of great artists of the past,” he muses. “It’s a dream and very inspiring. That energy somehow still lingers when you go into the suite; you can imagine a visual image of Monet painting his Thames landscapes from there. It’s wonderful to feel that energy and that presence.”

TRACY CHEVALIER “Inspired by the genre paintings of the little Dutch Masters, this portrait of the author of The Girl with a Pearl Earring speaks to the process of writing itself. The subject is depicted as if contemplating her next work, while the scene from Othello depicted in the tapestry behind refers to its subject matter.”

he aim was to nd an idea behind each representation that reflected the chosen pla s drew inspiration from the art and pictorial tradition surrounding ha espeare, which in part comes from some of the imager in his pla s, so it s a ver multi-la ered narrative”

MARGARET ATWOOD “This portrait is inspired by the imagery of The Tempest, which resonates with the post-Apocalyptic themes of Margaret’s novels. I sought to identify her with the enigmatic figure of Prospero, who’s seen as an autobiographical reference to Shakespeare himself.”

In the same vein, The Savoy Suite provides the setting for an authentic London stay, exaggerating its most captivating views across two large windows. And by maintaining the grandeur of the hotel, while adding a modern elegance for the 21st-century clientele, the space honours all artists who have been inspired by, and continue to take inspiration from, The Savoy.

“It gives guests a unique experience to combine their stay with a cultural exchange with an artist, to learn more about their work, and to have that work presented to them in an intimate way,” concludes Ralph. “They can experience it in their own time, which is very much continuing that tradition of The Savoy as a place where creative things happen.” www.ralphheimans.com www.shakespeare400.org

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PHOTOGRAPHY BY JAMIE MCGREGOR SMITH

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BURLINGTON ARCADE

The Beauty of

BURLINGTON As the ‘curators of London style since 1819’, Burlington Arcade is internationally recognised for housing some of the most exclusive luxury stores on Earth. Co-owner Markus Meijer reminisces about almost two centuries of quintessentially British retail therapy at the 19th-century fashion favourite

B

ehind Bond Street, from

Enter European real estate investment

design, as well as a floor commission

Piccadilly through to

and fund management firm Meyer

of British stone by leading architect

Burlington Gardens,

Bergman, which took the reins in

Jamie Fobert. In addition, Regency-style

runs Burlington Arcade,

October 2010 in a highly successful

Savile Row uniforms were introduced

England’s longest and oldest shopping

attempt to breathe new life into the

for the runway’s private police force,

gallery, and the epitome of luxury

premises. Today, its 48 traders welcome

the Beadles, which has upheld ‘The

London retail for nearly 200 years.

3.3million people a year to a gross

Arcade Rules’ since its inception.

A precursor of modern precincts, the

leasable area of 37,020 sq ft, making

Mayfair space was launched in 1819

up a significant footfall of eager

brands have opened up, from Chanel

by Lord Cavendish on part of his

patrons from all around the globe.

group labels like Maison Michel, Barrie

ancestral home, Burlington House, now the Royal Academy of Arts.

Comprising a parade of 72 shops,

“We were keen to reinstate the arcade

Elsewhere, high-end international

and Bell & Ross, to Manolo Blahnik, La

as a London retail landmark with a

Perla, Roja Dove and Frédéric Malle.

renewed sense of polish and glamour,”

This cluster of stores, many of which are

the colonnade was designed ‘for the

says Markus Meijer, CEO of Meyer

the first in the UK and can only be found

sale of jewellery and fancy articles

Bergman and co-owner of Burlington

at Burlington, has certainly diversified its

of fashionable demand, for the

Arcade. “It was important to evolve

offering, without compromising on the

gratification of the public’ at a time

the retail offer, which wouldn’t only

area’s prestigious legacy.

when the capital was booming,

enhance many of the longstanding

becoming a famed destination in British

tenants, but would also attract an

underestimate the attraction of

society and royal circles. With the

international clientele.”

London’s heritage to the national

development of other locations in recent

The extensive makeover included a

“First and foremost, you cannot

and international consumer,” Markus

years, however, it was clear the iconic

major £10million renovation, which

continues. “Burlington Arcade offers

institute was in need of a shakeup.

brought the walkway back to its original

a unique British experience that

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cannot be matched anywhere in the

20th-century sartorial fashions, while

handpicked by Burlington Arcade from

world. As soon as you step into the

equally reflecting the diversity of

the Condé Nast archives to create

arcade, you feel a sense of history and

present tenants’ contemporary styles.

an inspiring exhibition, transforming

tradition, whether that’s being greeted by one of the Beadles, or by the intimate

“The Vogue 100 art installation is a

the arcade into a walkway through

stunning display of 20 10-foot-high

Vogue’s history. It brought together

and bespoke service you receive from

prints of the original illustrated Vogue

two iconic British institutions and was a

the stores.”

covers from 1918 to 1950,” explains

fitting tribute to Vogue's centenary, as

Markus. “Each of the 20 covers were

Burlington Arcade approaches its 200th

These outlets boast a wealth of designer names, encompassing the world’s largest collection of vintage

anniversary as a Mayfair landmark.”

Highlights of the display covered

Rolex and Omega watches, alongside

works of early 1920s illustrators such

jewellers such as Hancocks, which

as George Wolfe Plank and Eduardo

sells one-of-a-kind finds with historic

Benito, which hung gracefully next to

provenance. Fresh ventures like True

boutiques like Manolo Blahnik, Maison

Grace, meanwhile, purvey unique

Michel and Frédéric Malle. Later

products, having created a bespoke

efforts by Porter Woodruff and Miguel

fragrance and candle specifically for

Covarrubias were placed among

Burlington Arcade.

longstanding institutions, counting

Earlier this year, a spectacular installation in partnership with Vogue

Hancocks, N Peal and Crocket & Jones.

More in-depth events and added

celebrated the publication of the

extras can also be enjoyed to

magazine’s centenary edition. Vogue

complement customers’ overall visits.

100 spanned the length of the building,

Be it a fascinating and insightful tour

resulting in one of the most glamorous

with the Beadles, a complimentary

art exhibitions of the season, which

shoeshine, or a one-of-a-kind VIP

weaved a historical narrative of

lounge treatment, there are plenty of

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BURLINGTON ARCADE opportunities to take advantage of in order

“As the present custodians, we’re firstly

to further enhance Burlington’s hospitality,

very proud to have achieved our aim

as Markus elaborates.

of restoring the arcade and reinstating

“Burlington Arcade Bespoke Experiences

its original Regency design with recent

offer guests exclusive access, whereby they

restorations, and celebrating its heritage by

can gain a unique insider perspective into

reintroducing traditions such as the opening

luxury and craftsmanship, and meet some

of the gates ceremony,” he concludes.

of the most talented and historic artisans behind iconic heritage brands,” he says.

Like The Savoy, Burlington has endured as

“We believe that taking this approach, along with ensuring there’s the right mix of the very traditional and more

a beacon of opulence, upheld by the twin

contemporary ‘Best of British’ retailers,

pillars of innovation and tradition. Through

complemented by high-end international

balancing the two, it will undoubtedly

brands providing a range of luxury

benefit from the best of both worlds under

goods in a fantastic traditional setting, is

its current leadership for many years to

fundamental to the continued success of

come. In the meantime, Markus remains

Burlington Arcade.”

honoured and privileged to be able to steer the ship in exciting new directions for its voyage ahead.

www.burlingtonarcade.com

“Burlington Arcade offers a unique British experience that cannot be matched anywhere in the world. As soon as you step into the arcade, you feel a sense of history and tradition”

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BAFTA

BILLY BOB THORNTON AND JOHN HURT

06 - VOL/01

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BAFTA

BEST OF

BRITISH

Alongside Hollywood, the UK film industry has made just as much of a splash across the pond in recent decades, thanks in no small part to the British Academy of Film and Television Arts. In an exclusive interview, CEO Amanda Berry tells us how BAFTA is still blazing a trail at home and abroad

F ALL IMAGES COPYRIGHT AND COURTESY OF BAFTA\SARAH DUNN

or film fans around the world, the start of a new year marks the most important period on the movie-going calendar: from the Critics’ Choice and the Independent Spirits, to the Oscars and the Golden Globes, awards season celebrates the very best the silver screen has to offer, recognising Hollywood’s great and good across the filmmaking spectrum.

When it comes to shining a light on talent a little closer to home, the British Academy of Film and Television Arts continues to lead the way.

Founded in 1947 as the British Film Academy, BAFTA’s origins can be credited to such major industry figures of the day as Laurence Olivier, David Lean and Carol Reed, all of whom were among its original founders and directors.

Today, its annual awards ceremony is widely noted as a beacon of home-grown prowess.

that has propelled BAFTA to its renowned global status. Providing a year-round, international programme of learning events, the independent charity offers unique access to some of the world’s most inspiring talent through workshops, master-classes, scholarships, lectures and mentoring schemes.

The woman responsible for this next step in BAFTA’s evolution is chief executive Amanda Berry. Joining the Academy in 1998 as director of development and events, the now 54-yearold was promoted to CEO in 2000. Since then, she has been instrumental in transforming the Academy’s fortunes at a time when it was suffering from a lack of funding and public interest.

But it’s not just the glitz and glamour of the red carpet

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BAFTA

“I was passionate about how high BAFTA could fly,” she says. “It had an incredible brand in 2000, but as an organisation it had been through challenging times and needed to believe in itself again. BAFTA is unique as an organisation: it’s the only one in the world that recognises and celebrates outstanding achievements in film, television and games. The film and television industries have become more global and BAFTA has done the same.”

Indeed, while BAFTA as a whole has expanded its presence to include Asia, another notable triumph during Amanda’s tenure has been moving its annual Film Awards from April to February in 2001. The manoeuvre was undeniably a fruitful one, positioning the ceremony in between the Golden Globes and the Academy Awards and boosting its international profile, both as a reliable predictor for the Oscars, as well as a pre-eminent body outside the Hollywood industry.

“This increased the profile of the event overnight,” explains Amanda. “It’s now the biggest film awards ceremony outside the USA and is broadcast globally. Its profile allows us to shine a very bright spotlight not only on British film, but on the numerous talented Brits working in film across the world within a ceremony that recognises the very best films from around the world.”

And it’s not just the best UK films that have been showcased, as BAFTA has also helped put our television, gaming and children’s media industries on the cultural world map. In addition to hosting their own awards ceremonies, all three deliver lectures from some of their sector’s biggest players, providing younger generations with an inside glimpse of how to break into their chosen fields.

“As a British organisation, BAFTA is in a unique position to champion the very best from our own shores,” Amanda says. “At our awards ceremonies, we celebrate British creativity, and BAFTA’s work across the UK, the US and Asia promotes excellence in film, television and games around the world.

“These three art forms of the moving image are an essential part of our global creative culture – practitioners aspire to win a BAFTA award and be involved in our activity, which in turn inspires the next generation to join our industries.

We also give audiences the tools to recognise excellence, inspiring them to explore new work and appreciate the myriad ways film, television and games enrich our lives.”

Outside the awards circuit, Amanda’s work has been equally valuable. By growing BAFTA’s charitable activities – including supporting new talent, commercial, fundraising and sustainability initiatives – she has developed the organisation to become a distinguished source of education and promotion in moving image art forms, for which over 200 events are programmed each year.

Her efforts haven’t gone unnoticed either, as she was named an OBE for services to the film industry in HM the Queen’s 2009 Birthday Honours List. Furthermore, her high-profile name has made its way onto numerous media power lists, and she has even partnered BAFTA with the Inspiring Women in the Arts campaign, advocating the need for women like her to reach the top of their game.

mpion a h c o t n e positio u q i n u A is in a T F A B shores” n ation, s w i o n r a u g r o ritish o est from b y r e “As a B v the

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BRAD PITT

“I hope I’m seen as a positive role model,” she continues. “I’m very aware that I’ve been lucky and found the right career path for me. Looking back – although not all of it was planned – I can see that every job I’ve had has helped me to get to where I am today. At BAFTA, I’m surrounded by lots of brilliant women, but there’s always room for more women at the top, and BAFTA is involved in a number of schemes to support people from all backgrounds to enter our industries.”

Certainly, for all its prestige and international renown, it’s education that remains the beating heart of BAFTA. With the help of Guru, an online content hub for career starters, the organisation gives budding creatives a fighting chance to make their mark and forge a bright future for the UK’s film, television and gaming sectors.

“We’re celebrating BAFTA’s 75th anniversary in 2022, and my hopes are for the organisation to be the very best it can be,” concludes Amanda. “While continuing to promote, support and develop excellence in film, television and games, I would also like BAFTA to be known as the foremost academy in the world for recognising, supporting and developing new talent.”

With that in mind, it remains to be seen where the young visual minds of tomorrow will take our cinematic offerings going forward. But, for now at least, it would appear that the industry is most definitely in good hands.

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THEATRE

π TIMES SQUARE, NEW YORK

A TALE OF TWO CITIES A stay in London or New York wouldn't be the same without a trip to the theatre – and there are no two better places to see the curtain rise than the West End and Broadway. Join us on a tour of the greatest cultural capitals on Earth, and discover why all the world’s still a stage for them both

JULIAN BIRD

CHARLOTTE ST MARTIN

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ATG

WWW.CARLOCONNELL.CO.UK

π HER MAJESTY'S THEATRE, LONDON

T

hey say there’s no business like show business; for visitors to the Curtain Up exhibition at the V&A earlier this year, truer words were surely never spoken.

Curated by the Society of London Theatre (SOLT) and the New York Public Library for the Performing Arts, the ground-breaking installation told the extraordinary story of the world’s two most iconic theatrical landmarks, London and New York.

Through the lens of award-winning plays and musicals, the South Kensington museum’s ambitious, breath-taking retrospective looked back over four decades of the West End and Broadway, celebrating the craft and collaboration that goes into creating some of the most spectacular international theatre ever to have graced the world stage.

Indeed, these destinations are leaders in their field, home to vibrant districts and famed for their first-class, critically-acclaimed productions. From London’s sprawling ‘Theatreland’, to New York’s more rigidly defined landscape, they thrive on a dynamic mix of new shows and firm favourites, which often intertwine as part of an ongoing international cultural exchange.

“The two great theatre capitals of the world have grown together and thrived independently and co-dependently,” says Julian Bird, chief executive of SOLT and executive producer of the Olivier Awards. “Nevermore has there been such an exchange of productions originating in one city and going to the other. There are no others that rival them in that sense.”

Described by Julian as ‘the guardians of the long-term theatre industry’, SOLT was founded in 1908 as the official body to champion and promote London’s live dramatic culture.

This is still achieved now through the glitz and glamour of



π PICCADILLY THEATRE, LONDON

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THEATRE

“The two great theatre capitals of the world have grown together and thrived independently and co-dependently. Nevermore has there been such an exchange of productions originating in one city and going to the other. There are no others that rival them in that sense” major events such as the Olivier Awards and West End Live,

recent sensation such as The Lion King or Wicked, there’s always a

and key development programmes like Kids Week and Get

place for popular hits that return again and again.

Into London Theatre.

Across the pond, SOLT works closely with The Broadway League

“Whether it’s a play or a musical, the classic titles come back in every generation,” Julian continues. “These are

and American Theatre Wing (which started the Tony Awards)

truly great productions that have stood the test of time and

to grow educational platforms, discuss trends, analyse diversity

become part of a much wider public consciousness. More

and arrange artist exchanges and transfers. In short, this creative

people go to London theatre than to premiership football

collaboration has opened up opportunities to preserve the sector’s

games each year, so it’s a big part of our fabric and the

past, celebrate its present and foster its future.

English psyche.”

“Shows from the West End have transferred to New York, and

That being said, there’s always fresh material emerging as

shows from New York have transferred to the West End,” adds

well. Per annum, Broadway boasts an average of 10 enduring

Charlotte St Martin, president of The Broadway League. “The

productions across 40 playhouses, leaving room for at least

current leadership of SOLT and the league were able to work

30 brand new shows to make their mark. In the West End,

together for both organisations to have better transferability of

meanwhile, in excess of 100 are eligible for the Olivier Awards,

shows, so we’re able to do many more things together.”

accommodating a whole host of original debuts annually.

Today, SOLT facilitates over 14million yearly attendances, while The

In the awards department, 2016 marks significant milestones

Broadway League brings the art form to more than 30million people

for both locations. As SOLT reaches the 40th anniversary of the

in 200+ cities across the US and Canada. Be it a long-running

Olivier Awards, The Broadway League and American Theatre

classic like Les Misérables or The Phantom of the Opera, or a more

Wing usher in the 70th Tony Awards – two of the hottest



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THEATRE

π GUYS AND DOLLS

“In one sense, theatre’s very simple – it’s storytelling on an empty stage.The thing that’s changed is how those stories are told. In a way, what we’re doing is very similar to how it’s always been, just sometimes with more bells, whistles and design elements. Productions and ideas evolve, but it’s great storytelling and great music that makes a production successful” dates on the theatregoing calendar, which recognise excellence

happen in cinemas around the country, or online at home – has

for individuals and productions across the board.

been adopted by numerous venues, broadening the accessibility

“They’re the premier awards and accolades you can win in the theatre world,” explains Julian. “Both the Olivier Awards

and affordability of the medium more than ever before.

“Anything that makes theatre more accessible to a wider

and the Tony Awards are great opportunities to demonstrate

population is a great thing,” insists Julian. “Not everybody in the UK

and expose the theatre world to a wider population. Both of

can travel to London, so digital means can help more and more

them have become vital for demonstrating excellence and

people experience these great productions. It’s not quite the same

marketing the theatre world as a whole.”

as sitting in a live theatre with a live audience, but it’s the next best

“For Broadway, the Tony Award is a significant seal of approval,” Charlotte agrees. “If you’re someone who doesn’t live in New

thing and becoming a very important part of what we do.”

“Live streaming is a brilliant idea, which we’re beginning to

York City and can’t go to the theatre every day, you need all the

do more of in the USA,” Charlotte emphasises. “Social media

tools you can get to help determine which shows you want to see

and the ease of buying tickets has certainly made it a lot easier

when you’re in the city. There’s no question that the Tony Awards

for everyone to see a show. There’s no question that social

really do help define the most successful shows.”

media and live streaming have really been helpful to grow

Recently, there have been dramatic shifts in the way theatregoers engage with and consume what’s on. The ‘live streaming’ revolution – which enables viewers to watch shows as they

subscriptions and attendance across the country.”

Further changes have been evident in production content too.

In New York, traditional all-white revivals are often performed

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THEATRE by casts of mixed ethnicities, diversifying the offering no end, and ensuring the industry has remained buoyant throughout the recession, consistently breaking records for attendance and gross.

“There’s no question that there’s a dramatic trend that’s taking place on Broadway, which is a diversity of shows,” reveals Charlotte. “This is a particularly diverse year for Broadway, but we’ve been moving towards more diverse casting, as well as more diverse shows, for at least eight of the last 10 years. We’ve really seen that change and there’s now something for everyone.”

Of course, Broadway and the West End have faced their fair shares of challenges throughout the financial crisis. At a time that’s rife with budget and funding cuts, each setting has adapted its approach and made its repertoire as broad and appealing as possible. It’s this flexibility that’s led to such consistent box office success, as they’ve steered the ship and weathered the storm together.

“We’ve been lucky and grown steadily every year through the recession,” Julian reflects. “That’s through innovation, making sure people of all ages can come and maintaining ticket prices at all

π SEVEN BRIDES FOR SEVEN BROTHERS

different levels. It’s never easy, but not for nothing are we the main theatre capitals of the world, so we’re excited that the way theatre has adapted and innovated has enabled us to continue to grow.”

And as shows become increasingly more advanced, with stunning visual effects forging a truly immersive experience,

directors and producers are forever on the lookout for unique, exciting and inventive ways to tell their stories. But, as Julian maintains, it’s the stories themselves that will always come first when filling the seats, no matter how much ‘razzle dazzle’

DOMINIC COOKE, WINNER OF THE OLIVIER AWARD FOR BEST REVIVAL, WITH JIM CARTER AND JULIA MCKENZIE

might accompany them.

“In one sense, theatre’s very simple – it’s storytelling on an empty stage,” he says. “The thing that’s changed is how those stories are told. In a way, what we’re doing is very similar to how it’s always been, just sometimes with more bells, whistles and design elements. Productions and ideas evolve, but it’s great storytelling and great music that makes a production successful.”

As for London and New York, their relationship is one that’s showing no signs of slowing anytime soon; on the contrary, it’s stronger than ever, as they consult on everything from labour issues to cross-marketing and educational panels. In spite of their achievements, however, they’ve never lost sight of what’s really important – spiriting their audiences away to a world of pure imagination.

“We continue to see more shows going back and forth from both sides, so there’s great transferability,” concludes Charlotte.

“Every performance is a little bit different and adds to the intimacy that an audience experiences. You escape from your everyday life into a little fantasy world, and that magic that occurs when you get into a show in a theatre just can’t be replicated.”

To find out more about SOLT, visit www.solt.co.uk or for more information on The Broadway League or American Theatre Wing, head to www.broadwayleague.com or www.americantheatrewing.org

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COVENT GARDEN

THE COVENT GARDENERS As a neighbourhood that combines rich culture and history with fantastic shopping, Covent Garden is home to all sorts of unusual stories and characters. Jeannine Saba, founder of The Covent Gardener magazine, speaks about some of her personal highlights from a resident’s perspective

J

“Despite being one of London’s most

The Savoy lies the bustling district

visited tourist destinations, Covent Garden

Lane, the popular London highlight is

C

between St Martin’s Lane and Drury

RY M TER

of Covent Garden. Located on

the eastern fringes of the West End,

GOUGH

ust a hop, skip and a jump from

within walking distance of Soho, the River Thames and Trafalgar Square.

As one of the capital’s most iconic landmarks, which also occupies its own idyllic suburb with easy

has managed to retain the fairy-tale feel of a small village in the midst of the city,” says Jeannine Saba, creative director of The Covent Gardener magazine, the area’s luxury quarterly. “Everyone here – from family-run business owners, to beautifully suited doormen – has exciting stories to share.”

Indeed, whether it’s the cultural hub of the Opera

access to The Strand, Covent Garden is home to

Quarter, health food hotspot Neal’s Yard, or

some of London’s finest shopping, theatre, bars,

London’s newest shopping and dining destination,

restaurants and culture, offering the best of both

St Martin’s Courtyard, there’s no shortage of

worlds to tourists and Londoners alike.

places to go, things to do and sights to see.

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COVENT GARDEN

“Covent Garden definitely is one of the loveliest areas in London, with a never-ending amount of gorgeous shops to visit, events to experience, foods to taste and Covent Gardeners to meet” In the 19th-century Covent Garden Piazza, the

“Literally a stone’s throw away, The Porterhouse Bar

Jubilee, Apple and East Colonnade markets offer a

brews its own beer, gin and whiskey, and offers delightful

wealth of jewellery, clothes and arts and crafts. You’ll

tasting experiences and live music on the premises,

also find the London Transport Museum here, which

where British painter J.M.W. Turner was born in 1775.”

explores the powerful link between transport and the

As part of the city’s West End circuit, Covent Garden’s

growth of modern London, plus a revolving door of

theatrical centre is naturally a big part of its appeal.

street performers who are as entertaining as they are

Housing some of London’s most beloved playhouses,

talented. It’s a square that has long been associated

it’s home to such dazzling shows as Matilda the Musical

with creative flair, including some of the biggest names

at the Cambridge Theatre, The Lion King at the Lyceum

in the history of the visual arts.

Theatre and The Woman in Black at the Fortune Theatre.

“When visiting the Royal Opera House, you inevitably

Of course, it would be impossible to talk about

pass through Covent Garden Piazza, which is where

Covent Garden without mentioning the Royal Opera

Alfred Hitchcock filmed Frenzie, his second to last

House. With its grand classical portico fronting Bow

feature film, in 1972,” Jeannine continues. “If you book

Street, the world-famous venue showcases the very

a walking tour with London Walks, the guide will show

best ballet and opera productions, including traditional

you exactly where and how the movie was made.”

recitals and commissions of brand new works from

Elsewhere, the fashionable Floral Street runs east from Garrick Street to Bow Street, while the

many of today’s most acclaimed performers.

“Another highlight is one of London’s best-kept

buzzy, atmospheric Seven Dials is one of the city’s

secrets, not only for opera fans: a backstage tour

most original and intriguing shopping and lifestyle

of the Royal Opera House,” Jeannine says. “It’s

networks. Wherever you find yourself, you’re bound

perfect to peek behind the curtain before attending

to stumble across an array of exciting possibilities to

a performance, or to experience a unique taste of

discover and enjoy.

theatre if you don’t have enough time to do so.”

“Maiden Lane alone has a lot to offer, like London’s

For food and drink, you couldn’t ask for a

oldest and legendary Rules Restaurant, which has just

better place to sample some of London’s most

been featured onscreen in the latest 007,” explains

mouth-watering meals. British dishes are readily

Jeannine. “Doorman Paddy is happy to share a story

available at chic urban eatery Scoff & Banter, situated

or two about the venue’s history.

at the heart of Seven Dials, as well as Tuttons on

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COVENT GARDEN Russell Street, one of the most famous and long-standing

you can get a 100% chocolate hot chocolate, or one

restaurants in Covent Garden. Additionally,

of the best vegetable tempura at Murakami on St

Michelin-starred L’Atelier de Joël Robuchon draws on

Martin’s Lane if you’re craving a savoury treat.”

the celebrated chef’s internationally renowned culinary expertise, serving simple, exceptional quality cuisine.

And if you’re more fashionista than foodie, you won’t

With so much to see and do, Covent Garden has been transformed into a vibrant, world-class destination in recent years, welcoming over 40million

be disappointed by the latest looks and trends on display.

visits annually. As a strong tenant line-up of retailers

Household names and international labels like Dior,

and restaurants continues to gravitate to the estate’s

Chanel and Michael Kors sit alongside a plethora of

energy and global appeal, it should come as no

independent boutiques, heritage brands, beauty salons

surprise that this cosy corner remains one of London’s

and men’s grooming specialists, where you can put

most captivating attractions, as Jeannine concludes.

your feet up, splash your cash and indulge in some

“Covent Garden definitely is one of the loveliest

well-deserved ‘me time’.

“Covent Garden is also home to some fantastic brands; we recently saw the arrival of Club Monaco

areas in London, with a never-ending amount of gorgeous shops to visit, events to experience, foods to taste and Covent Gardeners to meet.”

for Women in Monmouth Street, and for Men in Henrietta Street,” says Jeannine. “If you visit the quirky American brand Kate Spade on Floral Street, you’ll be greeted by the loveliest shop assistants. There’s

The Covent Gardener is a luxury, quarterly magazine

also Benjamin Pollocks toy shop inside the piazza,

celebrating Covent Garden. Its aim is to shine a

where you can purchase handmade and hand-drawn

light on the area’s culture and history, to promote its

miniature theatre sets.

businesses, and to champion its people – The Covent

“And to keep the spirit up with all this shopping, take a break at Hotel Chocolat on Monmouth Street, where

Gardeners themselves. For more information, visit www.thecoventgardener.com

A VIBRANT, WORLD-CLASS AREA TO ENJOY DINING AND SHOPPING IN LONDON

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07/04/2016 10:46

SELFRIDGES

THE

THEATRE of RETAIL It’s the second largest shop in the UK and has been delighting clients for over 100 years – but Selfridges is far from complacent. We hear from the London department store’s creative director about how it’s still diversifying to meet the needs of the 21st-century consumer after all this time

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T

here can be few better

The first storytelling window displays

paved the way for an utterly spellbinding

places for fashionistas to

and the opening of a rooftop ice

snap up that dream dress

skating rink were just a couple of these

or snazzy new outfit than

magnificent feats. Equally impressive

strong leadership and long-term visionary

London’s Oxford Street.

was the first public demonstration of the

strategy from the Weston family, which

As Europe’s busiest shopping district, the

world’s first television set, and the first

continues this legacy of surprising,

road is home to around 300 outlets and

celebrity-led promotions and events.

amazing and amusing its customers

welcomes roughly half a million visitors

Through ingenuity and innovation, Harry

by delivering a wealth of extraordinary

and ground-breaking way to shop.

Since 2003, the company’s had a

a day, who are consistently spoiled for

opportunities. According to Linda, no

choice when splashing their cash on the

year, week or even day is ever the same

latest looks and trends.

in the house that Harry built.

Among the most prominent is

“Selfridges offers a uniquely different

Selfridges, the flagship luxury department

shopping experience that distinguishes it

store that’s been at the forefront of

entirely from any other department stores,”

high-end merchandising for more than

she continues. “Cutting-edge fashion, the

a century. Founded in 1909 by American entrepreneur Harry Gordon Selfridge, the iconic institution was widely regarded as the first and best example of ‘retail theatre’, blazing a trail in a way never seen before, even in the US. “The store was built on Harry’s idea that shopping can be done for pleasure, not just necessity – a concept completely unheard of at the time,” says Linda Hewson, creative director at Selfridges.

“He was the first to bring a true sense of ‘entertainment’, pizzazz and showbiz to retail, by being the first to lay diverse and unexpected experiences in front of dazzled customers.”

“Selfridges has been trading

most beautiful jewellery and accessories, the best beauty brands and a Royal

for 107 years, and whatever

Warrant-holding Foodhall are all available

we do, from launching

without equal in the world of longstanding,

store-wide campaigns, to

under one roof, with a buzz and energy heritage department stores.”

Indeed, Harry’s charisma and

opening new departments,

revolutionary understanding of publicity

we always put our customers

committed to providing ‘theatre’ in the

at the heart of every decision

to its clientele, which take place in the

we take, and strive to go beyond their expectations”

lives on to this day. The business remains form of ‘beyond shopping’ occasions Ultralounge – a 3,500 sq ft space that’s been dedicated to special events for the past nine years, playing host to dozens of talked-about attractions.

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SELFRIDGES “Selfridges has been trading for 107 years, and whatever we do, from launching store-wide campaigns, to opening new departments, we always put our customers at the heart of every decision we take, and strive to go beyond their expectations,” explains Linda. “We believe this is one of the reasons the Selfridges brand continues to be so successful and remains relevant and exciting.”

For fashion, the brand’s still very much focused on the latest and leading designers. Whether it’s the avant-garde theatrics of Alexander McQueen, the Parisian elegance and modern rock and roll edge of Saint Laurent, or the all-American style of Ralph Lauren, there’s truly something for everyone, to suit a range of tastes and budgets.

“As Harry Gordon Selfridge incited from 1909, 'everybody’s welcome at Selfridges', and his mantra is still at the core of everything the brand does today,” Linda insists. “Selfridges has an unmatched high and low fashion offer – from Top Shop to Chanel and Tom Ford, with worldwide exclusive pieces from these brands, created for Selfridges and available nowhere else.”

Alongside its wide breadth and variety,

SHOE GALLERIES

the company sets itself apart as a fashion capital, by creating conceptual shopping

Highlights to date have included

of Shakespeare’s death. The 100-seat

areas across all of its categories, which

young British artists’ shows curated by

auditorium will stage a full production

provide an inspiring setting. The Shoe

Kay Saatchi, installations by the best

of the Bard’s Much Ado About Nothing

Galleries was the largest shoe locality in

urban artists such as Banksy, Vivienne

for a two-month run, bringing a whole

the world when it opened in 2010, and the

Westwood’s iconic shoe exhibition

new meaning to the ‘theatre of retail’ for

Denim Studio, launched in 2013, is 25,000

retrospective, and an immersive 3D

which Selfridges is so renowned.

sq ft dedicated entirely to women’s denim.

musical experience by legendary



musician Brian Eno. It was also once transformed into a late-night concert

DENIM STUDIO

venue with a fully licensed bar.

More recently in 2013, the lounge housed the temporary return of the store’s famous Silence Room, first conceived and opened in 1909 by Harry himself. A year later in 2014, it was converted into a 60-seat luxury cinema, and this spring, a fully-functioning gym, accommodating a residency by cult spin studio Psycle.

From August 2016, the room's been renovated into The ReFASHIONed Theatre to mark the 400th anniversary

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SELFRIDGES

the core of our business, be it through the brands and partners we work with, or the causes we support.”

In an age of increasing demand for instant digital shopping solutions at the touch of a button, the company has once again had to evolve and adapt to satisfy its customer base. But that’s just the thing about Selfridges – it’s been a step ahead This spring, the business unveiled another

is its Project Ocean initiative, which pushes

of the game from the very beginning,

world first – The Body Studio, a unique

boundaries to protect the world’s seas, and

without compromising on its rich history,

spot presenting 100+ labels and over

invites partners and suppliers to do the same.

heritage and tradition of turning retail

4,500 different options, edited together to

To put things into perspective, the

therapy into theatre.

revolutionise the way women buy bodywear.

campaign saw 400,000 single-use

Of course, a Central London location has

plastic water bottles removed from all

rise in digital technology,” concludes Linda.

been instrumental in nurturing that pioneering

four shops nationwide last year – London,

“Shoppers expect to access information in

spirit, setting the scene for a bright future, while

Birmingham, Manchester Exchange

real time, wherever they are. Embracing

never losing sight of its glimmering past.

Square and Manchester Trafford. And the

innovative technology and creating a

“The Oxford Street store is in itself a

“As a retail business, we can’t ignore the

positive response and feedback has only

seamless omni-channel experience

heritage landmark, which Selfridges

encouraged further action going forward,

across our four bricks and mortar stores,

will always celebrate and preserve,”

as Linda reveals.

online and on our newly-launched global

adds Linda. “However, it’s about striking

“As we move into the future, Selfridges

the exact balance between honouring

is very much focused on continuing to

tradition and the heritage that’s made

be brave and creative, while also acting

Selfridges what it is today, but with strong

responsibly,” she says. “Sustainability is at

shopping app, is crucial to remaining at the forefront of the retail industry.” www.selfridges.com

contemporary and future-facing creativity.”

It’s this originality that still sets Selfridges apart. The store’s ‘Buying Better, Inspiring

SILENCE ROOM

Change’ philosophy emphasises ‘the human element’, motivating its people, partners and patrons, and respecting the environment by sourcing responsibly and championing sustainable products that contribute to healthy and happy communities.

Earlier this year, the Global Department Store Summit 2016 awarded the brand in the category of World’s Best Sustainability Campaign by a Department Store, a testament to its progressive and forward-thinking approach. One case in point

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JEWELLERY

SEAN DAVOREN

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SAVOY_MAR16_MeetThe Butler2.indd 2

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SAVOY SERVICE

WHAT THE

BUTLER õ

õ

õ

õ

õ

SAW

From unpacking celebrities’ suitcases, to preparing the finest suites for royalty, head butler Sean Davoren has his fair share of Savoy stories to tell – but all that comes second to making your stay as unforgettable as possible. Frederick Latty lives a day in the life of a butler at the iconic London hotel

G

uests of The Savoy’s luxury suites

Perhaps the closest you’ll ever come to having your

will know all about the ‘butler’

very own genie in a bottle, The Savoy’s butlers are

button on the rooms’ telephones. It

trained to combine the discretion of a traditional

might sound like something out of a

English butler with the efficiency of a 21st-century

James Bond film, but rather than reveal a hidden

personal assistant. Led by Sean (who also oversees

bookcase entrance to a secret underground lair,

butler programmes for Etihad Airways), the 24-hour

this handy option summons your very own personal

team provides ‘personal service naturally’, arranging

butler to the door whenever you need them, who

dinner reservations, secretarial duties, personal

materialises moments later, seemingly out of thin

shopping, theatre tickets and last-minute travel.

air. Or, at least, that’s what they would have you

Operating both behind the scenes and in full

believe, as head butler Sean Davoren explains.

view, they’re the backbone and beating heart of

“A butler has a maximum of four and a half

the hotel’s world-famous hospitality. The service is

minutes to get to a room when they’re called, but

available around the clock to all guests and families

even that’s too long; I’d like you to get

staying in suites, ensuring each and every detail

there within three,” he says. “Butlers are meant to

of a visitor’s stay is attended to with equal parts

be behind the scenes, and you have to

precision, professionalism and panache.

look unflapped every time you see a guest.

He or she is the wind beneath your wing.”

“To me, training is everything,” continues Sean.

“London is a transient city; people come for the

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SAVOY

MEETSERVICE THE TEAM

“Butlers are meant to be behind the scenes, and you have to loo un apped every time you see a guest” Savoy name, and know you’re going to be trained to

When I meet Sean face to face one winter’s

a certain level, so you have to invest in people to get

morning in the Thames Foyer, the hotel’s afternoon

the best out of them. Retention is my goal and I’m

tea lounge, he’s every bit as elegant, charming and

a great believer in people growing, because people

charismatic as you’d expect a man of his stature

want that service element, that showmanship.”

to be. Hailing from Limerick, Ireland, he’s the

Indeed, The Savoy was the first hotel to establish

very essence of ‘Savoy’; his soft, dulcet tones and

its own school to train professionals. Recognised

immaculate appearance are certainly becoming of

worldwide, The Savoy Academy grooms a new

his post, while a pair of laughing eyes and a cheeky

generation of butlers who, over a six-month course,

smile convey a disarming sense of humour.

learn everything from floristry, sewing and suit

He’s flamboyant, to be sure, but never loses his

pressing, to valeting, antiquing and how to polish a

sense of composure or grace. The way he walks

pair of shoes. But for Sean, it’s all about nurturing

and talks is delicate, but by no means dainty;

what’s inside, as well as out.

commanding and purposeful, without compromising

“Our job is all about image, so you have to

on his ability to be out in the open, or completely

carry yourself,” he explains. “I want to see a

invisible. It’s a skill I suspect he’s taken years to

little bit of a spark in you, and I want to see

perfect, and while it might look effortless to the

your personality. Forget about the training

untrained eye, every fold of a garment, every spruce

– I can train a monkey to pack a suitcase if

of a room and every knock on a door is executed

I need to, but I can’t give you personality. I’ll

with pinpoint accuracy.

bring that personality out, give you confidence and make you a master of your trade.”

“Not everybody can make a grand entrance, but that’s what a butler does – you come in with your

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THE SAVOY WELCOME'S ETIHAD AIRWAYS TRAINEE BUTLERS

“If there wasn’t a service element to this building, it would be nothing; you have to work on the ambience, and I’m very proud of what I do” body language,” he reveals. “When you’re working

That he has. After gaining a diploma in food and

with many nationalities, you always want to make sure

beverage from Rockwell College in 1978, Sean

you’re understood. I still have an Irish accent because

began his career at Claridge’s two years later at the

I’m proud of my identity, but I’ve had to refine and

age of 19, where he rose to the position of foyer

work on it. I have to make sure people will understand

manager over the subsequent decade. Since then,

when I communicate.”

he’s been head butler at The Lanesborough and

He guides me through The Savoy’s bustling kitchen,

worked in Europe and the Middle East, but it was

where an elevator awaits to transport us up to the

The Savoy that called him back to London in 2010,

fifth floor. As we make our way to the hotel’s

when he came aboard as head butler for the hotel’s

pièce de résistance, the Royal Suite – a stately

£220million restoration.

procession of elegant rooms that spans the entire

“It’s been a great eye-opener,” he muses. “It was

riverside – he tells me about how he got started

a big challenge for me, but an exciting one because

in his role, never letting up in his professionalism,

I had raw materials to work with and was starting

yet remaining utterly captivating.

everything afresh. It’s a dying service, but service and

“The first part of my life was as a chef, but my

glamour are coming back into vogue again. If you

temperament means I like to be on show, so I went to

were to ask me to describe what a butler is now, he

front of house,” he informs me. “I’m Irish-born and

or she is a lifestyle manager.”

come from a farming background, so it was

There’s plenty of that going on when we reach the

far-removed and my parents were horrified that I

Royal Suite. Upon arrival, we’re presented with a sea

went into the business I did, but I’ve made a very

of suitcases and high-end shopping bags, all laid out

good profession out of it.”

for Sean to attend to while the current occupant is out

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SAVOY SERVICE

and about. He immediately gets to work, unpacking, hanging clothes and laying out toiletries just so.

“Our business is all about engagement,” he tells

“I have a reputation and I’m proud of it,” he insists.

“People might see me as ‘that mad Irishman’, but I know what I am, and I’m passionate about what

me. “You adapt for each nationality and have to

I believe in. If there wasn’t a service element to this

respect their religion, customs and little quirky ways.

building, it would be nothing; yes, the ambience is

It makes you a much more open person,

there, but you have to work on that ambience, and

so I try to put myself where a guest will sit and see

I’m very proud of what I do.”

what they might see. The room has to be fresh and

As our day progresses, we head back down to the

cleanliness is really important to us. Housekeeping is

Thames Foyer. He greets everyone we pass on the

a very hard job, and if you haven’t tapped into their

way, chatting with guests, checking in with colleagues

expectations, you’re going to have trouble.”

and generally working his magic at every turn. I soon

While we talk, I learn that the two most important

realise that Sean, far from a genie in a bottle, is more

features of any butler are their hands and shoes;

a magician, a conjurer and – dare I say it – a wizard

manicures are actively encouraged, and any

when it comes to his job. From the moment he dons

holes in socks will result in a swift reprimanding,

his uniform and gets into character, he’s as much a

no matter how small or apparently discreet.

chameleon as he is a thespian, able to adapt his role,

Perfection is everything, and Sean’s keen on building

while staying omniscient and omnipresent at all times.

relationships, so strives to make The Savoy a

After almost 40 years in the business, he never misses a

veritable home away from home for return visitors.

beat, never drops a ball and always knows everything

“My job is very simple: making sure what you require

that’s going on at The Savoy, which he personally

is there,” he emphasises. “You don’t know what I’ve

ensures runs like clockwork day in and day out.

done to achieve what you see, and I don’t want you

“I really love my work and still enjoy it,” he

to know it either; you’re trying

concludes. “You have to learn

to create a perfect ambiance.

to adapt, move with and

Some of our guests will notice,

understand the times and be

believe me, if something isn’t

very open-minded. You need

quite right, which is why we look

to embrace that and be more

at the detail.”

adaptable. You’re always looking

Attention to detail is an intrinsic

for something new that’s going

part of any butler’s life at The

to enhance your service, because

Savoy, it seems. From cleanliness

people love being special, which

and sanitation – no stone is left

is what we try to do here. I’m

unturned in that department,

looking for perfection.”

including door handles and

By the time we say our

telephones – to getting to know his guest’s every habit,

goodbyes, I feel like I’m walking off the set of

nuance and idiosyncrasy, Sean is naturally a master

Downton Abbey, star-struck by all I’ve seen and

of discretion. He tells me he’ll always do anything

heard. But as I head off to catch my train home, I

for whoever he’s attending to (providing it’s legal),

remember that Sean is paid to spin dreams, weave

safeguarding their privacy at all costs.

glitz and tailor-make the very essence of The Savoy.

Education is equally important. Sean insists on

I’m sure he takes none of it for granted, though,

‘re-educating’ people in the art of luxury, adapting

and am confident he’ll have found his ‘perfection’

to different nationalities and understanding different

countless times before I’ve reached the platform.

cultures; an essential point to grasp when you’re managing a team of 28 butlers, working for one of the world’s most iconic hotels in the multiculturalism

The Savoy’s butler service is included in The Savoy

of 21st-century London. To drive the point home,

Suite Welcome, available to guests staying in a

he applies the same open-mindedness to his own

Deluxe Junior Suite Partial River View or above.

role – he might choose to serve, but under no

To find out more about how to book

circumstances is he a servant, and is quick to remove

your very own butler during your stay, visit

the stigma.

www.fairmont.com/savoy/accommodations

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Luxury

MASTERPIECE MILLIONS Christie’s global president on the art of auctioneering

Destination

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Experience the fairy-tale feel of this iconic London district

Journey

AGE OF DISCOVERY

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Celebrity

CUBA GOODING JR

The Oscar winner reveals all about playing O. J. Simpson

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ROYAL OPERA HOUSE

THE

HOUSE

THAT

OPERA

BUILT With a rich heritage dating back to the 18th century, the Royal Opera House has become one of the world’s leading venues for opera, ballet and lyric theatre. We hear exclusively from the man at the top, Alex Beard CBE, about how the ROH has stayed at the forefront of innovation and creativity

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N

o stay at The Savoy would be complete without a visit to the Royal Opera House. Situated on Bow Street in London’s iconic Covent Garden district,

the world-famous, Grade I-listed theatre is home to both The Royal Opera and The Royal Ballet. With the help of the Orchestra of the Royal Opera House and the Royal Opera Chorus, they bring some of the most dazzling productions vividly to life onstage for more than 2,000 avid spectators, day in and day out.

“Both opera and ballet require roughly 300 people in the moment to do the impossible night after night,” says Alex Beard CBE, chief executive of the ROH. “That process is phenomenally difficult and requires a huge amount of dedication, professionalism and focus. It’s a really demanding culture to make that happen day after day, but that’s what makes the whole experience so worthwhile.”

For Alex, in whom a love of opera was instilled at an early age, taking on the role of chief executive in 2013 was a no-brainer. Having worked at the Arts Council and as deputy director of Tate, the Royal Opera House was a natural progression in his career, in which he’s also sat on Glyndebourne’s board of directors, and the philanthropy board of the Department of Culture, Media and Sport.

Today, it’s his job to oversee a team of 1,000 staff members, ensuring the place operates like a well-oiled machine.

“My first connection with the Royal Opera House was when I was 11,” he explains. “My mum was a flute teacher and had a single ticket to see a performance there in 1975. The babysitting option fell through, so she had no option but to take me along with her. I didn’t have a particularly refined critical response to it, but I did think, ‘What an extraordinary experience’.”

This same sense of wonder still permeates through

ROH/ROB MOORE

the acclaimed venue to this day. Whether it’s The Royal Opera’s outstanding performances of new and traditional works, or The Royal Ballet’s grand tradition, illustrious heritage and dynamic versatility, every performance – of which there are more than 500 per season –

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ROYAL OPERA HOUSE

unites innovation, daring and exceptional standards of artistry, creativity and stagecraft.

“We exist to enrich people’s lives through opera and ballet of the very highest quality, and to widen the net of what the art forms can do and the people who are able to enjoy it,” continues Alex. “We’re very careful to create a sense that this is one theatre with two great companies of equal standing. That sense of the Royal Opera House being about lyric theatre of the very highest order, and these two world-class companies drawing on a world-class orchestra, is absolutely fundamental.”

Accessibility is likewise key for Alex, who insists the ROH’s sustainability hinges on an openness to anyone with an interest in the arts. From initiatives like World Ballet Day, a day-long live stream from five of the world’s leading ballet companies, to Opus Arte, the venue’s multi-platform arts production and distribution company, both the ballet and opera’s potential and exposure is maximised for everyone to enjoy.

“We’re opening up to a wider audience across the country, in terms of the cultural horizons of the art forms and getting more of the best artists of today to develop their first steps into lyric theatre, opera and ballet,” Alex says. “We’ve got to be absolutely open at base, presenting

LA TRAVIATA

GIANNI SCHICCHI

ROH/BILL COOPER ROH/CATHERINE ASHMORE

a welcoming and warm face to our audience.”

One way in which Alex and his team have accomplished this is through a hugely successful live cinema season. Streaming productions to more than 1,500 cinemas in over 35 countries, the Royal Opera House has established itself as an international powerhouse in its own right, while making its programme available to the masses all year round.

“Attendance in cinemas is growing year by year, and you’re now never more than 30 miles away from the Royal Opera House, wherever you happen to live in the UK,” says Alex. “You may only be able to come to Covent Garden two or three times a year, but you can see a live performance of the very best opera and ballet, with some of the very finest artists in the world, 12 times a year in your hometown. That’s an extraordinary opportunity, and what it also does is open up the potential to use that nationwide reach to encourage new audiences to come.”

In an ever-changing world of smartphones, tablets and online streaming, it’s never been easier to access the ROH’s most breath-taking moments from far and wide.

But while such innovation might run the risk of diluting the value of the real thing, it’s quite the opposite

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as far as Alex is concerned, who firmly believes in the incomparable magic that comes from seeing shows in the flesh, up close and personal.

“If anything, I hope it will encourage people to try out opera and ballet for the first time, pieces they otherwise wouldn’t have seen, or to come more often and see what opera and ballet are all about,” he insists. “But that in no way replicates the thrill and excitement of entering one of the world’s finest theatres; that’s just the most extraordinary thing. So long as we’re true to our mission of working with the best artists to create life-changing experiences on this wonderful stage, it’s a virtuous relationship.”

for an institution as big as this one. But as a charitable company, the Royal Opera House has managed to weather the storm and remain buoyant throughout, thanks in no small part to the unwavering loyalty of its

ROH/JOHAN PERSSON

Of course, a culture of recession, budget cuts and arts funding shortages has presented its own obstacles, even

SARAH LAMB AND STEVEN M C RAE AS PERDITA AND FLORIZEL IN THE WINTER\S TALE

fans and followers across the globe.

“The economic challenge of presenting lyric theatre at the very highest level is huge,” Alex continues. “At a time of decline in public funding, the pressure is intense, but we have a very passionate, loyal and committed audience, many of whom are extremely generous with advocacy, attendance and financial support. We’ve been able to galvanise their enthusiasm, and we’re hugely encouraged that, although public funding is declining, the Government understands the importance of theatre and investing in really high-quality work.”

Investment in fresh, new talent is another key factor.

Through a series of young artists’ programmes, practitioners are given the necessary tools to make their first, second and third steps professionally across a broad spectrum of disciplines. By paving the way for the next generation, the ROH continues to attract future

“We exist to enrich people’s lives through opera and ballet of the very highest quality, and to widen the net of what the art forms can do and the people who are able to enjoy it”

talent through its doors and into the industry.

“Some of the very best artists in the world want to perform on this stage rather than any other, particularly when they’re developing their artistic experience and making a role debut, as we have one of the best support teams to expertly coach and prepare them,” explains Alex. "We’re the beneficiaries of centuries of artistic experiment and development,

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VENERA GINADIEVA AS VIOLETTA VALÉRY IN LA TRAVIATA

so it’s really important that we do our bit for the future.

We’re spreading the word and encouraging the next generation of audiences and artists to engage with the art form.”

And it’s not just opera and ballet for which the Royal Opera House is famous. As the official host of both the annual BAFTA and Olivier Awards, it has seen its fair share of red carpet splendour over the years, welcoming the great and the good from Hollywood and the West End to some of the glitziest events on the showbiz calendar.

“It’s really important that, as possibly the most beautiful theatre in the country, we’re part of the celebration of theatre and performance in the broader

ARTIST OF THE ROYAL BALLET AS THE WILIS IN GISELLE

ROH/BILL COOPER ROH/TRISTRAM KENTON

sense, so being able to host the BAFTAs and the Oliviers with stars from all over the world to celebrate creative achievement is really important,” Alex insists.

“As one of the glories of Theatreland, ensuring we do our bit to celebrate the glorious talents there are is just terrific and a wonderful thrill.”

Indeed, while the ROH’s position on the cultural world map remains firmly intact, it’s also a quintessentially British organisation; nevertheless, it makes no apologies for being as multicultural, diverse and vibrant as the city it’s based in. With work now underway on the extensive Open Up renovation programme, it has become more accessible and engaging than ever before, always striving to develop its audiences and break new ground in the presentation of lyric theatre.

“London is this remarkable world city where the world’s talents come together to exchange,” concludes Alex. “It’s a British city, but it’s also one of, if not the greatest world cities. We’re fortunate enough to present some of the world’s very finest artists, so I don’t see any tension between being rooted in Britain, but operating on a world stage.

“In fact, that’s the history of Britain – a small island nation that made its way in the world through exchange and being a home for new ideas, with an ambitious and expansive view of how those ideas can play out. I hope those are the values that we as an institution embody.”

To find out more about the Royal Opera House, or to book tickets for any of its upcoming events, visit www.roh.org.uk

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LONDON CALLING Our guide to the very best events and exhibitions Elegance

dynasty of diamonds

BOODLES SHINES A LIGHT ON ITS FAMILY LEGACY

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Why private aviation can be essential for business or pleasure

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TOP SEASONAL FASHION TRENDS TO LOOK FORWARD TO THIS YEAR

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How BAFTA is forging a bright future for UK film

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NATIONAL GALLERY

1

DARKNESS, DR DRA AMA, AMA, VIOLENCE AND LIGHT If you’re a lover of baroque fine art, you won’t want to miss The National Gallery’s Beyond Caravaggio exhibition. Curator Letizia Treves reflects on how the revolutionary figure’s legacy of intense naturalism, dramatic lighting and powerful storytelling inspired a generation

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2

W

ith Beyond

17th-century Paintings, orchestrating a

demonstrating how Caravaggio’s art

Caravaggio,

showcase like this one was too good an

came to inspire a whole generation of

The National

opportunity to resist.

practitioners in its wake.

Gallery in Trafalgar

“I had the idea about four years ago,”

“This is the first time the exhibition’s

she says. “I was thinking about our

been done in Britain, so I wanted to

Square is bringing the story of one of

own collection, as we have three great

approach it differently,” continues

the world’s most iconic artists vividly to

masterpieces by Caravaggio from each of

Letizia. “I was keen to explore whether

life – but not in a way you might expect.

the distinct phases of his career, but very

we could tell the story with pictures

Indeed, the exhibition, which runs until

little context for him. I was very keen to

principally sourced from regional

Sunday January 15, is the UK’s first

explore putting them in a wider context.

museums, stately homes and country

major display to explore the visionary’s

There’s a tendency to view him in isolation

houses in this country, showing what

influence on his contemporaries

because he’s so famous, so I wanted to

great treasures and lesser-known

and followers.

show his influence and impact.”

pictures we have here. I think scholars

Comprising a total of 49 pieces –

To illustrate her point, Letizia set about

and people who know about this

including six by Caravaggio himself – the

sourcing the works she needed, the vast

period will be very surprised at what

spectacle gives visitors a unique chance

majority of which came from museums,

we’ve managed to unearth.

to discover a number of hidden treasures

stately homes, castles and private

from around the British Isles. For curator

collections across Britain and Ireland.

argument as visually compelling as

Letizia Treves, who also oversees the

The intention was to select pictures that

possible, so the six Caravaggios in

gallery’s Later Italian, Spanish and French

would be unfamiliar to appreciators,

the show are positioned very carefully

“I very much wanted to make the

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3

4

5

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alongside the pictures by his followers.

of Christ. Above all else, it was Letizia’s

people will take away and be most

I hope the visual impact makes it very

aim to place the main emphasis on the

surprised by is the sheer quality and

clear what I’m trying to say in terms of

lesser-known talents.

power of a lot of his followers’ pictures,”

what people took from him.”

“All of these pictures get put under

she insists. “They’re all so varied from

Among the key highlights is the

this umbrella term of ‘Caravaggesque’

one another, which is largely because

gallery’s own Boy Bitten by a Lizard

because it’s convenient, but I think what

each of them took something quite

(1594-5), which hangs alongside

distinct from Caravaggio and mixed it in

compositions such as Cecco del

with their own styles, so the results are

Caravaggio’s A Musician (about 1615),

very different.

Bartolomeo Manfredi’s Fortune Teller

“He’s an artist whose biography

(about 1615-20), and a masterpiece

has somewhat overtaken his artistic

by French ‘Caravaggesque’ painter,

influence, so this isn’t an exhibition

Georges de la Tour, The Cheat with the

about Caravaggio himself. His career

Ace of Clubs (1630-34).

is very much interwoven with his

Other ‘Caravaggesque’ artworks,

biography, so they go hand in hand,

like Giovanni Serodine’s Tribute Money

but other than references to various key

(1625) and Antiveduto Gramatica’s Christ

episodes in his life, I don’t dwell on his

Disputing with the Doctors (about 1613),

biography at all, because I really want

are accompanied by Caravaggio’s own

the focus to be on the followers.”

The Supper at Emmaus (1601), as well as the recently rediscovered The Taking

7

Naturally, the gallery provided the perfect backdrop against which to

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NATIONAL GALLERY

stage such an event. Many of the masterworks can be viewed in the Sainsbury Wing, which was opened by Queen Elizabeth II and celebrated its 25th anniversary in 2016. Over the last two decades, the building has offered millions of people a fitting space to contemplate an outstanding early Renaissance collection.

“We’re known for our ground breaking exhibitions, which I think this is, in the sense that it’s not been done before in Britain, and has never been done before in this way,” Letizia considers. “The initial source of inspiration often stems from a painting – or a group of paintings – from our own collection. I think it’s what we do best.”

Of course, Caravaggio wasn’t always as beloved as he is today. Seduced by

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“All of these pictures get put under this

the power of his imagery, successors continued to emulate his style well after his death in 1610. By the middle of the

umbrella term of

17th century, however, his naturalistic

‘Caravaggesque’

of a more classical tradition. It wasn’t

approach had been rejected in favour until almost 300 years later that his

because it’s convenient,

reputation was fully restored.

but I think what people

Caravaggio’s always been fashionable, but

will take away and be most surprised by is the sheer quality and

“A lot of people assume that that’s really not the case,” reveals Letizia.

“There’s an obsession and still so much to learn about him, as he’s a relatively recent rediscovery. Although exhibitions on this subject have been done before in continental Europe and America, this is

power of a lot of his

the first time it’s been tackled in Britain,

followers’ pictures”

an artist who influences and speaks to

which I thought was long overdue. He’s many different art forms.”

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Speaking of the UK, Britain played a

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that it’s the first time we’ve done

who know this period well have been

substantial role in getting the show on

a collaboration between the three

surprised by some of the pictures in the

the road. In addition to locating the

Nationals, which is a very nice legacy

show that they didn’t know, by artists

selection of largely unknown images,

for the show in London.”

they hadn’t even heard of. It’s been

Letizia made it her mission to do so

Having opened its doors in October,

really satisfying to unearth some of these

within the confines of her own country.

the exhibit has been warmly received by

lesser-known names and bring them to

And as a natural extension of the

audiences and critics alike – a dream

a larger audience. They may not rival

legacy, the exposition will travel to the

come true for Letizia, who managed

Caravaggio, but they’re certainly worthy

National Gallery of Ireland in Dublin,

to obtain every work of art she asked

of greater attention from a wider public.”

and the Scottish National Gallery in

for, counting all the known original

Edinburgh, in 2017.

Caravaggios in the UK. And while it still

Beyond Caravaggio is open now until

has several stops to make, she remains

Sunday January 15 at The National

opportunity to see it London, Dublin

confident that it will create an equally

Gallery. For tickets and pricing information,

and Edinburgh have very different

big impact wherever it’s unveiled.

visit www.nationalgallery.org.uk

“For people who won’t have the

audiences, which adds another

“The show’s exactly how I imagined

or call 0800 912 6958.

dimension to the show,” Letizia insists.

it, which is very rare for a curator to be

Overseas customers can book

“What’s lovely about this show is

able to say,” she concludes. “Even people

by dialling +44 (0)20 7126 5573.

CREDITS: 1.THE NATIONAL GALLERY, LONDON 2.ASHMOLEAN MUSEUM, UNIVERSITY OF OXFORD 3.FERENS ART GALLERY, HULL MUSEUMS 4.ASHMOLEAN MUSEUM, UNIVERSITY OF OXFORD 5.THE NATIONAL GALLERY, LONDON 6.BIRMINGHAM MUSEUMS TRUST, ON BEHALF OF BIRMINGHAM CITY COUNCIL 7.THE BURGHLEY HOUSE COLLECTION 8.NATIONAL TRUST IMAGES/JOHN HAMMOND 9.KIMBELL ART MUSEUM, FORT WORTH, TEXAS 10.BIRMINGHAM MUSEUMS TRUST, ON BEHALF OF BIRMINGHAM CITY COUNCIL 11.NATIONAL TRUST IMAGES/JOHN HAMMOND 12.THE NATIONAL GALLERY OF IRELAND, DUBLIN 13.THE NATIONAL GALLERY, LONDON 14.HISTORIC ENGLAND 15.YORK MUSEUMS TRUST

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